The Eternal Quill

My scripts, prose and poetry

2011-03-28T23:30:00.000-04:00

Poems and Prose

'Comfortably Numb(2011)'

'Amuse-bouche(2010)'

'Numb(2010)'

'Shattered Mirror(2010)'

'Burnt goat and seven other courses served cold at a dysfunctional family Christmas (2009)'

'Dimestore preachers and barstool prophets (2009)'

'Shadow Destiny (2009)'

'Brown Paper Bag (2008)'

'New Dawn (2008)'

'Darkest Eden (2008)'

'Eternal(2001)'

Short Stories

'Don't Snow the Snowman (2009)'

Comfortably Numb

2011-03-28T23:14:00.001-04:00

Tick,tick,tick.
That is the sound of the seconds
Disappearing from my life
Forever, never to return

Seconds left of precious solitude
Then its off to put in the time
One more day I tell my self
But its become such a drain

Numb and cold as the morn
Is my brain, no fire, no passion
Why, who cares?
Just another drone cranking out the crap

The sandman's dopamine cocktail
Creeps slowly out of my system
A fog surrounds my brain
That no amount of caffeine can lift

Out the dirty window
I can see the sun slowly making its ascent
Too battle the knight of darkness
And his creativity sapping shadow warriors

Eight hours to freedom
Then home again, too what?
Booze makes me sick
And cures nothing that hurts

The truth is, I'm not like most
I don't hide from depression
I look it right in the eye
And ask this monster to bring it

I have no weapons to hide
Adrenaline clouds your judgement
Pride talks too much
Crutches can only hold you up so long

Wisdom is the only thing I have
It tells me when to stay and fight
And when to abandon a lost cause
Judgement day is some day, just not today

Forty hours in hell are behind,
Seventy-two in purgatory are almost gone
And the their is no heaven
Just a chance to do it all over again, better.

I don't trust happy people,
They're simply full of crap
Sad people make me sick
Quit bitching and moaning

Am I weird? Maybe,
But I feel my best when it rains
Cleansed is my soul, clear is my mind
Comfortably numb, ready to do it again

Kendall Oliphant 2011

Amuse-bouche

2010-08-08T22:24:00.000-04:00

What was described as a tasteful dinner
Was really designed as a theatre obscura
Overlapping single vignettes of life magnificent
Through the eyes of an unwilling participant

Absence of meaning and context
That didn't stop at the door
An ambiguous number marked the portal
In the guise of a home of just another mortal

The anonymity of the building calls attention
To all the buzz about the place
All the apparent solidarity premised
Intrigued or I would be remiss

The guests move from amuse-bouche to dessert in
A synchronous ballet of gorging and self-contradiction
A bunch filled with hate, fear and self-righteousness
Kindness,guilt and selfishness

In other words, they are human beings
Multiply their traits by a billion
And you have a made to order
Recipe for world disorder

Amuse-bouche means to amuse the mouth
But bouche designates that of a human
This noir tale retitled, Amuse-gueule, for the banter
Was recollected from the mouths of canine ranters

Kendall Oliphant 2010

Numb

2010-07-04T16:12:00.000-04:00

Everything I know clearly must exist
because I think therefore I am.
I know this very distinctly. I must exist.
I can prove everything I know,
But doubt of everything gets in the way.
I cannot doubt the clear and distinct facts that I perceive.

How can I trust my senses to learn the truth,
the senses they do deceive.
Reason will not deceive me.
But the facts may not be there,
since I doubt everything.
This is my vicious circle.

My senses tell me the sun is tiny and far away,
thus unattainable.
In actuality the sun is an enormous opportunity.
My senses deceive me, they always do.
Always close,but yet so far away.
A horrible truth.

Memories of how I got into this state are becoming a blur.
As I write,
the truth becomes a hazy state of clear.
The drapes billow like the enigmas
that inhabit my ghostly
world of the abstract.

My fingers type the work I know.
Within my soul.
But my senses fuel my thoughts.
They do deceive.
I have grown so cold.

Love, passion, pain and regret.
All emotions I once felt.
But they have vanished.
Burnt by the sun.

My heart beats, strong and alive
inside my chest.
But my soul is but a distant star.
Cold and desolate.

Indifference clouds my mind,
to the point of no return.
I reach for the sun and it burns me.
And yet I feel no pain.

I am human, if I am cut, do I not bleed?
This is what we are told.
Yet, no blood flows from my veins.
My senses are in flux.
Reason says this should not be.
I am reminded.

Through the fog I peer.
I see the light back to everything familiar.
As I walk towards it, the light begins to fade.
Quickly, I must get back!
Into the light I make haste.
Before I get swallowed by the abyss of uncertainty.

Home again on the nick of time.
Battered and bruised,
it will take time to feel love and pain again.
But that's okay.
Because I think, therefore I am.

Kendall Oliphant 2010

Shattered Mirror

2010-03-05T05:00:00.000-05:00

when I look in the mirror
it scares me to death to see my reflection
am I as worthless as society deems
one who merely exists during the day
and wishes nightfall would come quicker
so I could hide my ugly face
from the blazing glares.
the window to my soul
a one way mirror I cannot see out
where people can see the rotting insides
so much rejection and pain
from these lying voyeurs
cracked and twisted
spectrum ascue
a simple punch
a loud smash
and that ugly reflection
is no more than a shattered mirror.

Kendall Oliphant 2010

Don't Snow the Snowman

2009-08-19T21:42:00.000-04:00

The air is cold, so cold that it makes my whole body crack, said I the snow man. This is the kind of wind that can suck the life right out of you. The sun sits so high in the sky, its rays barely touch the ballet of shadows as it slowly sets on the distant horizon. It shall not make me look away. I shall manage to keep together.

My eyes are as black as coal, darkened from years of being burnt by demigods passing themselves off as suns of worship. My mouth clenched tight, my smile only a distant memory.

I was born amid the joyous shouts of loving parents and welcomed with open arms. And then the sun went down and the fall moon rose, so large, clear and beautiful in the blue air.

The nights protector has rose for I, Snowman. Gone is that impostor, be gone. Ha! I have cured him of staring! Back to his hiding, I shall take the spotlight. It is my time to shine. Only if I knew how to move from this stagnant place. I very much seek a new horizon, if I could. I would run, yonder, so fast the ice would melt under my feet. But I don't understand it! I want too, but I can't run.

An old yard dog bellows at I Snowman, be away! Go now! It's voice hoarse from years of abuse of alcohol and smoke. His mouth rotted away, only his gums sneer. His words become more slurred with each utterance. Run now or the sun will return and melt you away. Like last winter and the winter before.

I don't understand you, old dog, I shall not run, that thing up their, the moon I mean knows no such concept. You may think the moon runs, quickly from side to side, but alas it always reappears from the other side.

You know nothing at all, barked the dog. But then you are only made of frozen water, your not really solid, just pretending. The moon shall not protect, it will only tease you with that you shall never obtain. The sun will return again and wash you away into the gutter. I can feel the change in the weather mocked the hound, for my hind legs twitch in anticipation.

I Snowman can't make head or tails of this dogs banter. All I know he is talking about something I disagree with. The sun is not my friend, as he calls it his, that I know. That I feel too.

Go away, go away, barked the dog, again, he chased his tail like he always does, then crept back into his cage.

The weather is getting worse, a think damp fog rolled over the hills. With it the sun, brought forth an icy wind and snow. Like some conquering army, these horseman rolled down into the valley, covering the trees and bushes with a whorish blush of frost. I Snowman found the splendor in the day. The ice made everything shimmer like a forest made of diamonds, and every bare twig seemed to come to life in wreathes made of lace. Snow danced on every twig. A tree swayed in unison with its wind of life partner. And when the sun shone through, the sun lit up in thousands of tiny lights, like a carpet bomb of white light.

This is beautiful said Blue Jay, who was joined by Cat as they settled next to I Snowman. Spring is on its way, said Blue Jay as her eyes sparkled in reflection from the snow.

And as we know you Snowman cannot be in Spring, said the Cat as he pointed to I, that just cannot be.

The Blue Jay laughed, pointing of I Snowman, asked about the Old Dog. You've been here longer than me, do you know him.

I Snowman sneered, should I! Oh yes, chimed Cat, We have thrown him a bone, so he does not eat us. "Gwaf!", scowled I, What are you two, a couple of kiss asses, you are a disgrace to your kind, "Be gone away from me! Dog arose from his slumber, riled by the disturbance. "They belong to me, I am their master!" retorted the dog. You where born not like me, you cannot know as much as I, I can see that in you. I have age and lived a hard life. I do not live in a house, I live here in the cold fastened to a chain. Away! Away!

The cold can be refreshing, said I Snowman. Please do not rattle your chain, it jars my very soul.

I told you to go away, barked the dog. I do not sit in a chair covered by my master. And enjoy the lap of luxury. Having my nose wiped with borrowed cloth. I am too big for that, I am my own master. I do not seek big cushions if silk, and food of the finest. Ah! I dream of warm fire to wash away the days pains.

A fire would be beautiful, but I am afraid it would consume me. I Snowman became lost in thought, thinking about a black hearth glowing from the fire within. Black like me within. I Snowman felt quite strange, an odd feeling came over me, I knew not what it meant, but you have to be a snowman to understand.

I Snowman looked up from my daydream and asked the dog "Why do you choose this life of misery, why did you leave the comfort of your home. I wish too, replied the old dog, "Society has cast me out, I bit the hand of man, because they dare to take the bone that I gnaw on from my mouth. They chain me too this post so that I cannot run, and I have lost my voice from the constant struggle to be heard. Go away! I wish not to talk!

I Snowman was no longer listening to him. I was yearning for the comfort of shelter and the fire within.

What a strange sensation, crackling within me! Will I never feel the warmth? Is it just a flight if fancy? I must act to fulfill my dreams.

"You will never get there!" said Dog, "You will be burned again"

If I stay out here with you, I am as good as gone anyway, I must go. I can endure it no longer, said I, how beautiful is the fire, it beckons me with its siren of flame.

It is a terrible dichotomy for I Snowman, and dogs alike. Settling for the cold comfort of certainty, but yearning for the fire of the unknown.

The dog continued to bark, "Go away! Go away!, the weather will change". The weather doesn't change, it only gets warmer. Those who remain stagnant thaw and wash way, only to be forgotten.

As it warms, and I Snowman decrease. If I remain silent and do nothing I will be no more than a pile of coal and water. Being picked at by Blue Jay and Cat. Curse it the infallible taunt :I told you so" I cuts through even the heartiest soul, like a dagger aimed right for the heart.

Dog continues to shout "Go away! Go away!" I understand you longing, the fire is fueled by coal, like the orbs in your head, you yearn for them to glow.

Winter will soon be over, green will soon cover the fields of diamonds, willows will stretch out, Robin will return to build her nest in the trees bountiful canopy. "Come out dear sun, come out!"

And at that tome, I Snowman realized the message of the fire, listen to the dogs and you will wash away and be forgotten all fir their lazed amusement. Embrace the flames that fan the winds of change and you shall be carried towards the light of the horizon.

With that I Snowman embraced the hearth and became melted into a puff of steam which quickly cast adrift. Before he left he reminded dog, "Don't try to snow the snowman".

Burnt goat and seven other courses served cold at a dysfunctional family Christmas

2009-07-23T09:48:00.000-04:00

Sister Mary likes to torture my ears

Help! stick a fork in this roasted goat

Her ugly sister

Just plain wicked and mean

Please kill me with the cheese knife now

Bully's beef was right suited for the bar

And a right piece of work that I'm sure

He's no one too know

Dev' rants, I nail a cross to the door

I am the strange one (as rumours spew)

All alone up in my bell tower

That no meat diet

Makes you right for jest

As if tofu makes you luna's kin

The air smells ripe with family dysfunction

Chicken nuggets dripping in pathos

Was served to quell the growing

Asps slithering 'round my feet

Full,the boys flocked back to their pit

Witch hazels brood(from questionable stock)

The comedy relief in this noir tale

Preforms for a dime

A price still too steep

Force fed crap can only go one place

His friends,no family of their own?

Always up for a free meal and drink

There'd be users and thieves

The puppet kings

Too jokers dance of the twilight imp

On the couch,sprawl the other relations

Bothers in law, drunk on bitter whine

They have nothing to say

Any other friggin' day

But tonight,my time is there's to fill

The silence of night shattered by a fight

Every beast is foaming at the mouth,eyes aglow

This ain't looking good!

But I don't really care

Look out stomach here I come,mint?

While the rotten fruit of their loin plot

Cus' I said, Auntie Social, and It

Quickly hash their plan

Fueled on bull crap and rum

A shiny new driver set is pulled

Waite I cry out! this is a little harsh

Is this about the gifts you gave last year

I loved the ankle socks

And the craft paper

The best gifts I ever gave away

From the sofa arose such a clatter

"Choke cherry pie and bitter aid for all"

Twas the last course served

At this my last supper

To all a good life, away from mine...

Kendall Oliphant 2009

Dime store preachers and barstool prophets

2009-05-09T21:00:00.000-04:00

Dime store preachers and barstool prophets is all
they are. Raising their voices and pumping their
fists, spittle flying from their dragon lips. Each
slack jaw jobber jostling for their position on the
corner pulpit. "I've got something to say, something
to sell...need a dime?...need some company sir?" Feel their
stare as you pass, how dare you spend your hard
earned cash without sharing it with them. Hand out,
unabashed, unashamed, impervious to the flames of
hell.Never gave, always take, but "I know what I want
and give it to me now!" 'It's not me, not my fault, the devil made
me do it!" They rehearse their mantras from their
bastardized book of honour. They curse those who walk
on the good side of the dotted line between saint and
sinner. Fools gold and cheap wine fuel the shadow
drifters machine. Close your eyes and listen to the
guttural rumblings of greed, smell the stench of
deceit and taste the putrid flesh of a rotting
society. Now ask yourself, how can you help return
the voice of reason to its rightful owners. Back to
the angels of destiny and away from the deities of
despair.

Kendall Oliphant 2009

Shadow Destiny

2009-03-29T13:51:00.001-04:00

I sit and try to think but nothing comes,
Through miles and miles of thought my mind does run.
Of memories shared or once forgotten,
Everything that was said or did.

I turn to the window and seek advice,
From what light the gloomy morn offers.
I want to embrace the rays of solace,
But longing questions lurk in the shadows.

There's happiness out there beyond this window,
But this window of my soul obscures all.
I hear the birds chirp, and hear the bees buzz,
But they're buzzing for everyone but me.

The outside is full of joyous laughter,
Children joining the chorus of suns rays.
But I'm deafened by the random white noise
Emanating from a butterflies wings.

This butterfly is not the cause of my angst,
Simply the catalysis for a pending storm.
The flapping wings stir the air and cause change
To the calm that I seek in a system.

Born out of chaos, my life is defined,
By some initial conditions bestowed
On me by some shadow master unknown
I'm one of destiny's shadow puppets.

My masters face hidden from my eyes,
By a torrent cascade of malevolence.
Brought forth by storm riders with blood on their hands.
I am now a maelstrom of emotion!

I step out hoping to irradiate
This beast of misery back to its lair
Return! Return to the darkness I scream out
You know nothing about me! I Know your game!

The anger subsides as quick as the wind.
If the butterfly had not flapped its wings,
Things would be vastly different, for sure.
But the butterfly did not cause the storm.

Light the dark corners of fate is the key
To finding answers for unknown questions
Set fourth by our master in his quest to
Lead us through the life we so desire.

Kendall Oliphant 2009

Brown Paper Bag

2008-12-29T00:56:00.001-05:00

Some days I feel like a brown paper bag.
Crumpled and torn,
Discarded without consequence.

Filled with miscellany and stuffed on a shelf.
On a shelf with other bags,
Old, new, shiny and plain.

Are these bags better than mine?
Is mine more special than another?
Bags full of pretence or promise.
I shall not judge,
Nor shall I be judged.

Pour out the contents and discover.
A jumble of small wonders.

Priceless lengths of metal,
A key to a forgotten portal,
A handful of tarnished coins.

Safety shoes saved for a path of thorns,
A road less and less travelled.
But never forgotten.

A nail bent under the strain of weights
To heavy, but not broken.
Ready to be straightened
And used once more.

A flower missing a peddle or two,
A little wilted, and curled,
Still a little fragrant.

In my hand is the brown bag,
Before me is the jumble of contents
Once contained.

If I could dump out
the contents of the other bags,
Are they different than mine?

Empty the contents of all the bags
Into a single pile,
And refill without prejudice.
All might be filled
Without altering the contents much.

A pair of coloured spectacles,
More or less, but who cares?
Perhaps that is how we are supposed
to stuff our bags.
What do I know?

New Dawn

2008-04-22T22:30:00.000-04:00

Cry cold is the night.
I pray for the dawn,
To shatter this icy tomb.

Hear me heavens above.
Burn this sickly fog,
that shrouds my dark soul.

Bring forth the full brunt,
of morns luminous.
And fill me full of life.

Show me opportune,
ways to partake in
all you, have to offer.

Scorch forever these
memories brought forth
by times of darkness.

Forever banish the
thoughts of decay and
despair to your pyre.

Set forth your new plan
full of fervour, hope
and boundless resurgence.

Kendall Oliphant 2008

Darkest Eden

2008-02-12T21:36:00.000-05:00

As I lay down tonight,
I pray for morns return.
To send the nights shadows,
Back to the dark corners.
Black as coal.

Do not fear nights cold stare.
Cast upon the blackness,
The fires that burn within.
And blind the piriah that
Takes its' toll.

Oh dearest heavens above
I ask not much of you.
Cast forth a single spark,
From your life giving pire.

Light up the darkest Eden,
This my soul.

Kendall Oliphant
2008

THE LIFE OF RILEY

2006-12-24T06:50:00.000-05:00

The Life of Riley

Written by Kendall Oliphant

Copyright 2006

The movie starts with a cartoon strip. It's not a Charles Schultz, it's not Garfield, Marmaduke or a Mad Magazine. This is a lesser known.

FADE IN:

On a "Darwin's Ape's" black and white panel, lying on a drafting table.

The title reads:

Darwin's Apes

Spanky and Harry Monkey

In

"Monkey Business"

PAN LEFT to the next panel which shows the stars of the strip. The first is Steve "Spanky" Monkey, a three foot monkey in a pair of school boy shorts and a tee-shirt posed with a mischievous smirk on his face. The other is his brother Harry Monkey. He is a large six foot ape, older than the other. Awkward in appearance, with his extremely long arms. When he smiles he shows his two large incisors. The panels begin to animate themselves.

Spanky and Harry Monkey

Are in the midst of an argument. The much smaller Spanky waves his fist at his brother in anger. Harry has an amused look on his face. Two large human female legs walk into frame. The VOICE belonging to the legs breaks up the argument.

VOICE
Steven Monkey, quit bugging your brother.

HARRY
(teasing)
Ya, Spanky quit bugging me.

VOICE
Harry please, quit calling him that vile name.

HARRY
Okay Miss Battleship.

VOICE
It's Miss Battle, anyway, I'm going to the hairdresser guys. Do you two think you can get along for an hour without destroying the house?
(voice turns ominous)
...'cause if you don't I will sell you to the circus.

Harry and Spanky gulp as they watch the legs disappear. We hear FOOTSTEPS recede and a door slam. Harry turns back to Spanky, but the little guy has already jumped onto the white sofa and has begun playing air guitar along with the hard rock video playing on the television.

SPANKY
(in a screaming squeal)
Back in Black! It's time to hit the sack!

Harry makes a dive for the remote control lying on the sofa. Spanky kicks it off the couch causing his brother to miss and tumble over the sofa onto the floor. Harry pleads with his brother in a shrill voice.

HARRY
Spanky, I mean Steve, stop. You heard what the land lady said!

Spanky

Ignores his brother. We FOLLOW him as he heads into the kitchen. He stops at the refrigerator, opens it and takes out the carton of milk and begins to drink from it, spilling some as he walks back toward the door.

HARRY

Rubbing his head, comes running into the kitchen, startling SPANKY causing him to spill the carton of milk onto the kitchen floor. HARRY steps into the milk causing him to slip and come crashing to the floor. When he looks up.

Spanky

Looks down at him with a goofy smile.

SPANKY
Oops.

HARRY
I am going to kill you when I get up.

SPANKY
Ah, you heard what Mrs. Battle said.

Spanky

Grabs a bag of cookies off the counter, smiles and EXITS through the swinging door.

HARRY

Swipes at SPANKY'S legs causing him to trip.

SPANKY

Falls, does a forward roll and comes back to his feet, still holding the bag of cookies and the half full carton of milk without spilling a drop.

HARRY

With his head stuck between the door and jam can't believe what he saw.

HARRY'S POV

Spanky is standing on the back of the couch eyeing the chandelier. Looking as if he is going to jump towards it.

HARRY

Gasps, and rockets toward the couch and SPANKY. SPANKY jumps, HARRY launches toward him like a wrestler throwing a cross body block. Catching him in the mid section. The two go crashing over the couch causing it to tip over in a loud crash. The DOOR opens. We SEE the two women's legs ENTER.

A PHONE rings.

MALE VOICE
(groggy)
Hello, yes this is Riley, who's this?

The comic strip stops animating and returns to the title panel. The rest of the panels are blank. We begin a slow PULL BACK to REVEAL that the animated strip was just a dilution of it's creator, Riley Jacobson. Who has been passed out on top of the piece of blank storyboard.

RILEY is in his early thirties, thin, unshaven. He wearily wakes and answers the phone. A beer can falls off the table.

RILEY
(into the phone)
What!

MAN'S VOICE
Riley! This is your editor, where the hell is this crap you sent me!

RILEY
(sheepishly)
This weeks strip?

MAN'S VOICE
Are you kidding me! What did I tell you? No more monkeys! No more jokes about master... Christ, you know.

RILEY
I don't know what you are talking about. Darwin's Apes is a satirical look at the evolution of the male species.

MAN'S VOICE
Riley! If you don't produce something that I can actually print, that won't have every newspaper in the country threatening obscenity charges, than you can kiss your job goodbye!

RILEY

Snaps his head up and falls back into his chair.

RILEY
Please, Roger I can give you a winner, just give me some time.

VOICE
I've given you four months and all you have produced is three weeks of dribble.

RILEY
Don't worry, by the end of the week you will have all of next months strip. I promise.

VOICE
I'm worried about you. But, okay. You have to the end of the week.

CUT TO:

INT -- DAY

The office of Roger Barton of Bar-goons Animation. ROGER is a man in his fifties. He sits in a large, padded leather chair, wearing an ill fitting brown suite. He is short and overweight and his face is craggy. He stares down at a pile of animation story boards. He scowls as he looks at them. In anger he throws them into the trash can. They are to large to fit and fall onto the floor. We see that they are entitled:

"DARWIN'S APES"

ROGER takes a shot of whisky from a Mickey bottle and scowls.

ROGER
How can I sell something called monkey men from Mars?

In disgust ROGER walks out of the door.

INT BAR-GOONS ANIMATION-- DAY

BARTON's POV

As he emerges from his office into a bustling animation studio where the workers have taken on the characteristics of the comic strips that are being produced. BARTON walks pass two BIT BULLS working at a drafting table. A parcel delivery FAT TABBY ENTERS and flirts with an unimpressed SIAMESE CAT secretary, filing her nails. A BULLDOG water delivery man replaces the empty tank with a fresh one as two MICE hurry past hauling a stack of pencils on a cart.

CLOSE

Roger fishes out a pack of smokes from his coat pocket and proceeds to take one out. Before he can put it in his mouth the SIAMESE secretary gives him a look of disdain and wags her paw.

ROGER
Animals.

As BARTON throws his cigarette into the trash a chubby balding man in a neatly pressed suite with a worried expression on his face, comes toward him. He is BARRY ASHTON, newspaper advertising executive. ASHTON is lead in by an entourage of ASSISTANTS trying to keep up. The other workers in human form, with similar characteristics as their animal characters, notice the man as he addresses them.

ASHTON
Starting tomorrow, there will be no more two hour lunches. Who takes that long to eat?

As the assistants dutifully record everything he says, Ashton sees a guy taking a nap at his desk.

ASHTON
(continuing)
And tell that guy sleeping over there that he's fired.

ASSISTANT
That's your brother, Bill.

ASHTON
Oh. Then wake him up and get him out of my site.

As the ASSISTANTS disappear, ASHTON approaches BARTON.

ASHTON
Barton! Where's Jacobson?

ROGER
Riley is at home sir, completing this weeks storyboard.

ASHTON
He better be! I pay him good money and all he has produced is garbage!

A YOUNG ANIMATOR rushes up to show ASHTON several story board ideas.

ANIMATOR
What do you think of these?

Ashton quickly scans the drawings.

ASHTON
No, that's not funny.

The ANIMATOR flips to another storyboard.

ASHTON
That's funny, put a hip hop hat on him, you know side ways. I'll even be funnier, huh Barton?

He grabs the board and shows BARTON. The rendering is of a group of various breeds of dogs, posing like a stereo type rapper, one even has a clock around his neck.

ROGER
(deadpan)
Yeah, that will kill them all, or they might want to kill me.

Ashton responds to Barton's sarcasm with a raised eyebrow.

ASHTON
If your boy Riley doesn't produce something funny, you will be out of a job.

He hands the storyboard back to the ANIMATOR who EXITS.

ASHTON
How long have you been in the business Barton?

ROGER
Thirty some years?

Ashton turns to his watch. TWO ANIMATED ELEPHANTS dragging a copier machine and a computer stack parade by.

ASHTON
Yeah, thirty years and all you have to show for it, is a car worth twenty five hundred bucks and debts up to your ass. All because you keep hiring losers who can't produce. Why?

ROGER
Riley has a good head for the business, he's just a little...

ASHTON
(interrupting)
Nuts.

ASHTON takes out a copy of the "NY TIMES" out of his pocket.

ASHTON
Here's your problem

(Reading)

ASHTON
Seen dining at the latest hot spot, with her new boyfriend was Haley Jacobson...estranged wife of young animator Riley Jacobson.

(Looks up)

ASHTON
His ex-wife acts like she belongs in a Pussy Cat Dolls show, but Riley thinks she's more like Faith Hill. That's what's eatin' him up.

ROGER
So what do you want me to do?

ASHTON
Hire someone to get some pictures of her doing her thing. Maybe that will wise him up.

ROGER
I can't, I won't.

ASHTON
Do it. She works in a dump of a club down in the village, called the Quill. You should get plenty of shots of her their.

ROGER
The jobs going to cost you, places like that aren't cheap.

ASHTON
Put it on your expense account, but hide it. I can't risk being audited again, over a stripper.

Suddenly BARTON jumps out of the way in reflex of a herd of ANIMATED SHEEP rushing by.

ASHTON
(chuckling)
Nervous Barton? It's just your minions heading to lunch. Now, when will I hear from you?

ROGER
As soon as I have something.

We FOLLOW ASHTON out of the office, through a door with a sign that reads:

"BAR-GOONS"

As he does the large sign falls crashing the now ANIMATED ASHTON in the form of a COYOTE. A ROADRUNNER like bird pops up into FRAME and sticks out its tongue and then races away in a cloud of dust.

ROGER
(shaking his head)
Damn I should be so lucky.

CUT TO:

EXT. BUSY CITY STREET-A BUS -- DAY

Is slowing to a stop in front of a rundown apartment building. Riley steps onto the bus carrying a portfolio case.

INT. BUSY CITY STREET-A BUS -- CONTINUOUS

Riley reaches into his pocket for the fare, but comes out with only eighty-five cents and a check for fifty dollars. He holds out his hand with the check.

BUS DRIVER
I'm not a bank pall, cash only.

The bus driver jerks his thumb toward the door. Riley suffers the public humiliation, of having to step down past the rest of the boarding passengers.

EXT. BUSY CITY STREET-A BUS -- CONTINUOUS

He walks around to the back of the bus where a gang of ANIMATED PUPPIES are loitering. As the bus pulls away, the puppies begin to laugh hysterically as Riley starts to walk dejected, carrying his portfolio low by the strap.

DISSOLVE TO:

EXT. NEW YORK STREET -- DAY

A billboard sign:

"NEW YORK TRANSIT-AMERICAS FINEST TRANSPORTATION SYSTEM"

PAN

Down to Riley...

RILEY
Ya, right.

We FOLLOW Riley as he crosses the street to a seedy house. A note is taped to the door.

CLOSE

On the note:

"How about tomorrow?"

RILEY

Takes the note and walks back across the street toward a bar. He climbs up a flight of stairs into a sports bar. The bar sports a red neon sign, that used to blink,

"Terminal Velocity Bar"

But now it just says,

"Terminal City"

INT. TERMINAL VELOCITY BAR -- DAY

The place used to be a pretty nice place in the fifties when it was built. Now the faded Irish green paint is peeling. There's various sports pennants and bobble heads on the shelf behind the bar. Working the bar is DANA. If you scraped off all the Goth makeup you's find an attractive women in her late twenties. She caters to an assortment of city low life's-- who are truly destitute.

RILEY

Enters the bar, lets his eyes adjust to the low lighting, then bellies up to the bar. He finds a spot between an ANIMATED ONE ARMED BEAR in an army surplus jacket and a PASSED OUT TURKEY. A loud car passes out front blaring an indistinguishable rap song.

The PASSED OUT TURKEY stirs, as he does his wing nocks over the BEARS partially full beer. The bear grabs a hold of the turkey by the neck and begins to throttle him. DANA intervenes.

DANA
(angry)
Hey, knock it off! Sit down Bruno, I'll get you another!

RILEY steps between the now human men, one large and burly, the other skinny and pale looking. Riley is a regular and knows Dana well.

RILEY
Hey Dana you mind if I help myself?

DANA
Sure Riley scotch is the first one.

Riley leans over the bar and pours himself a shot from the rack of bottles set up in their holders. Settling back into his stool, Riley turns to BRUNO.

RILEY
Hey what's new?

BRUNO
(disgruntled)
Got fired, they said I stole money.

The THIN MAN pipes up,

THIN MAN
(more angry)
My bitch left me.

RILEY
(sorry)
Well, sorry I asked, but that's women.

DANA overhears RILEY'S remark and storms down the length of the bar, shoving the THIN MAN out of the way.

DANA
(angry)
What was that about women Riley? Lemme' remind you pal, it was a women

(Emphasizing WOMEN)

DANA
Who took a hundred bucks out of the till and gave it to you so your landlord wouldn't toss you out on your ass. And it was a women...

(Again emphasizing WOMEN)

DANA
Who trusted you for the money when no one else in town would. And it's a women who's sick of waiting for you to get off your ass and draw something so you can make some money and pay me back.

RILEY
(hesitant)
Would this be the same women who's going to feel foolish when she finds out I got her money?

RILEY slides a check across the bar. DANA studies it. She calms down a little.

DANA
This is only fifty bucks, I need seventy-five before the accountant checks the books tomorrow.

RILEY
I'll have it in the morning, but for now can you lend me twenty bucks for dinner.

DANA
Where did you get this check from anyway?

RILEY
Check the name.

DANA
(reads)
Bar-goons Animation.

NEARBY, ROCKY an animated CAVEMAN sitting a few stools away starts banging peanuts against the bar.

ROCKY
(interjecting)
Bargain Animation? That like drawing pictures, or something? Hey I like that Chilly Willy one.

ROCKY chuckles at his own joke and goes back to cracking peanuts.

RILEY a little angry, STEPS up to ROCKY, a stocky muscular man.

RILEY
(angry)
Get this straight cave-boy. Animation takes a lot of skill, it's not like when you colour in your book.

(Realizing his message is falling on deaf ears)

RILEY
Forget it, you wouldn't understand.

RILEY STANDS and storms out of the DOOR.

ROCKY
(to Dana)
What's his problem?

DANA
He's having problems selling his work.

INT. QUILL CLUB -- NIGHT

BARTON ENTERS a run down, nondescript building in a run down factory area. As he walks through the doors of the 'Gentlemens' club he does so past an animated GORILLA bouncer. BARTON hands him a twenty.

ROGER
Barry says hi.

The GORILLA lets BARTON into the club.

BARTON looks over the dress of the bouncer, who is wearing a leather coat over a white shirt and tie.

ROGER
Is that your idea of a monkey suit.

GORILLA BOUNCER
(intimidating)
Do your business or leave, wise ass.

We FOLLOW BARTON down the hall toward the MAIN ROOM. We can hear laughter from within.

INT. MAIN ROOM -- CONTINUOUS

When BARTON steps through the doorway, we see the place. The club owners are trying to pass the place off as an upscale gentlemen's club, something like the speakeasies of the jazz era. Each table has a candle in the middle, no brass rail around the large riser in the middle of the room. Behind the bar, an OCTOPUS BARTENDER is using six of his arms to mix three cocktails at once. Meanwhile, FOUR FEMALE BUNNY WAITRESSES work the floor, serving drinks to the cat calling crowd.

ON STAGE

A "hack" comedian, an animated dog version of Rodney Dangerfield is in the middle of his set. 'Roderick Dangerous' as the banner behind him says, rips of one groaner after another to the chorus of playful 'boos' from the crowd.

THE AUDIENCE

Is loving the awfulness of the act. Laughing as they listen to the comedian deliver his truly bad set. The reaction is the same as the way people liked William Hung. People are laughing so hard tears begin to flow except...

BARTON

He lights a cigarette impatiently, not amused by the comedian. He spots an empty table off to the side and makes his way towards it. An OLD MAN stumbles down the aisle way, nearly falling into several patrons. As he passes BARTON, some of his drink spills all over BARTON'S jacket.

ROGER
Christ, you drunk, watch what you're doing!

OLD MAN
Sorry man.

The OLD MAN continues his wobbly path down the aisle. BARTON eyes and grabs the attention of a passing waitress.

ROGER
Scotch and soda, and can I get a napkin.

WAITRESS
Ya, sure...

(Handing a napkin)

WAITRESS
...and it's a two drink minimum.

The WAITRESS takes a napkin from her tray and throws it down on BARTON'S table. BARTON begins to wipe the spilt drink off his jacket.

ROGER
Great, make it a double.

BARTON throws a ten down on her tray. The WAITRESS grabs it and rudely walks off. At the same time the OLD MAN returns from his trip to the bathroom, still drunk, still staggering. This time he falls into ROGER'S lap. The OLD MAN starts laughing. BARTON throws him off, jumps up and grabs the OLD MAN by the shirt collar.

ROGER
I've had enough of you pal!

OLD MAN
(scared)
Calm down! I'm sorry, I didn't mean it!

The BOUNCER ENTERS, stepping between the two men. He TURNS his attention to the OLD MAN.

BOUNCER
Leave now! You've have had enough to drink.

The OLD MAN now in the form of a nasty looking MONGREL DOG, slumps his head and submissively whimpers out. The GORILLA BOUNCER turns to BARTON, angry.

GORILLA BOUNCER
Sit! And don't make me angry again...

A BUNNY hand ENTERS and plops a drink down on BARTON'S table. ROGER drops into his chair and swallows a large sip of his drink with a jerk of his head.

ON STAGE

The COMEDIANS set has reached it's end. RODERICK ends his set by dousing the front row of customers with a bottle of seltzer water. Two LARGE MEN stand and attempt to get onto stage and go after the 'hack' comedians. Two BOUNCERS hold them off. The COMEDIAN takes the opportunity to run off stage, doing so in a 'Charlie Chaplin, as a Keystone Cop' way, albeit, poorly the rest of the CROWD roars with laughter.

Now, from behind BARTON, we hear a high pitched VOICE.

WOMEN SELLING FLOWERS
Flower sir...Roger? Is that you?

ROGER
Ya, it's me nice to see you again Ginger.

GINGER
Where have you been? I've missed you around.

ROGER
Wish I could say the same. What are you working here for, Ginger?

GINGER
Works been slow, I needed something. I got a kid.

ROGER
I guess it's better being in here than you know...

GINGER
Hey! What's that supposed to mean?

ROGER
Your not a spring chicken anymore.

GINGER
Hey, I still got it. Those kids out there can't hold a candle to me. I used to make a couple grand a night.

ROGER
I have to admit, we used to have some fun.

GINGER
We still could.

ROGER
Sorry Ginger, I've retired. Wouldn't look good for business.

GINGER
Ya, right, your company produces those dirty comic books. I've seen them in the bathroom. Anyway, why are you here?

ROGER
Came here to talk to Haley Jacobson.

GINGER
You and every other guy in here, good luck.

ROGER
I don't mean it like that. I need her to give Riley another chance.

GINGER
You have a better chance of scoring with her.

GINGER walks away laughing. The lights dim.

ON STAGE

A DEPRESSING LOOKING MAN walks out with the spotlight following him. He's the EMCEE.

EMCEE
(deadpan)
Hello everybody. I hope you're all having as much fun as I am. I have a small announcement to make, Haley will not be able to dance for you tonight.

There's a roar of disapproval from the men in the audience. They shower him with empty beer cups. One flies from the crowd that isn't empty and hits the back wall, just missing the EMCEE.

EMCEE
(deadpan)
I was kidding. Without further ado, here's a women times two, the big apples' own enchantress of the night...Haley Jacobson!

There is an excited APPLAUSE from the CROWD as the lights dim. An ANIMATED BLACK CAT in shades hits the into music. 'Do her right' a spot light hits the curtain. Now a curvy long leg pokes out teasingly. The ANIMATED CROWD goes wild, as the rest of the body belonging to the character emerges. HALEY JACOBSON is a generously endowed blonde bombshell, ala 'Marilyn Monroe'. She's an ANIMATED human. Beautiful and sexy. Her figure is what many adolescents fantasies.

REACTION-ROGER

This is not quite the girl he expected Riley to have been married to. His jaw drops. His reaction is similar ri that of everyone around the room. The ANIMATED DOGS are panting heavily.

CLOSE-UP- HALEY

As she begins to strip in time to the music, she playfully, slowly unzips the zipper of her dress from hip to bust. Revealing a skimpy black bra and thong. HALEY comes off the riser, slinkily. She walks down the front row, teasing the DOGS as she goes.

An ANIMATED BARTON in the form of a WOLF lets out a yell, starting with a low 'Wolfman Jack' growl and crescendos in a full yelp. As the WOLF makes a rush for the stage, the GORILLA BOUNCER puts him back into his seat. BARTON, groggy shakes his head and returns to his human form.

HALEY continues her act, uninhibited by the reactions of the men. HALEY saunters over to a table of YOUNG MEN. Teasingly, she swirls the wisps of one mans hair, like a curly cue. He giggles gleefully and makes a grab at Haley's breasts. She slaps him and slips out of his grasp.

HALEY
(singing along with the song)
If you want her, you have to treat her right.

Now HALEY works her way over to BARTON. She stops at his table and sings tauntingly. Then, with a flourish, she throws herself into his lap and belts out the last line of the song.

HALEY
You have to treat her right.

There is a rowdy applause when she finishes, HALEY looks deep into ROGER's eyes.

HALEY
Thanks for the lap.

Before ROGER can answer, HALEY jumps off and slinks off stage, leaving BARTON speechless. He slugs the rest of his drink down and wipes the sweat from his brow.

When the lights come up, BARTON looks over to where GINGER is working the tables. She notices ROGER, grabs one of her roses and walks over to him. Hands him the rose and gives him a big wink. ROGER stands, throws a twenty down on the table and disappears backstage, following the BOUNCER.

BACKSTAGE

BARTON steps past the curtain, keeping a discrete distance. He follows the BOUNCER down a corridor and around the corner. The BOUNCER stops and knocks in the dressing room door. After a moment, it opens and the BOUNCER goes inside. ROGER checks over his shoulder, the corridor is empty. He eases over to the door and peaks through the crack in the partially open door.

POV THROUGH THE DOOR

HALEY is seated at her dressing table. The BOUNCER is busy applying lotion to one of her long legs, starting from the calf. As he reaches her upper thigh, he begins to smile gleefully. HALEY ever aware of his intentions swings her leg sideways, catching the BOUNCER in the groin. Haley laughs as she reaches for a tissue. The BOUNCER, embarrassed stands and EXITS the room.

ANGLE ON BARTON

while continuing to spy. The BOUNCER EXITS through the door catching ROGER off guard.

BOUNCER
Hey, what do think your doing back here?

ROGER
What do think you where doing in there?

The BOUNCER smiles, recognizes BARTON.

BOUNCER
Oh, it's Howling Wolf.

The BOUNCER grabs BARTON by the belt and leads him toward the fire door. He opens the fire door and heaves ROGER out.

EXT. ALLEY -- NIGHT

An ANIMATED WOLF comes flying out of the door and crashes into a bunch of garbage cans in the alley. The GORILLA BOUNCER stands in the doorway brushing his hands together, laughing at the dazed BARTON.

GORILLA BOUNCER
And don't let me catch you in here again!

ROGER
Go eat a bunch of bananas you ape.

The BOUNCER slams the door, BARTON picks himself up out of the garbage. He brushes himself off, then starts down the alley toward the rear of a building. We FOLLOW him around the corner where he steps under HALEY'S dressing room window. He drags over a garbage canto stand up on, takes out a small disposable camera out of his pocket. He hauls himself up on the garbage can and aims the camera through the corner of the window, as we HEAR a muttered conversation from within.

BOUNCER
So how about coming back to my place tonight?

HALEY
No, Marty, I can't, I have a date with Chad.

BOUNCER
(hurt)
But you promised...

HALEY
Oh, all right. But only for a couple of minutes.

BARTON'S EYES show his disgust.

ROGER
(under his breath)
I'm sure a couple of minutes is all it will take.

As he starts CLICKING pictures...

CUT TO:

EXT. RILEY'S APARTMENT -- NIGHT

There's one light on in the building high on the fifth floor.

INT. RILEY'S APARTMENT -- NIGHT

It's a studio apartment with walls covered with posters of 'Fritz the Cat' and Pavlov's Dog'. RILEY is seated behind a drafting table. Standing nearby is BARTON. He tries to calm an irate RILEY, who's holding a set of photos. Riley begins to rant.

RILEY
That bitch! Okay, let me get this straight, she's not only screwing the bouncer, she's screwing some guy named Chats too!

ROGER
His name is Chad, Chats are those things you punch.

RILEY
And that's what I'm going to do to him.

ROGER
Relax Riley, did you think you where the first guy Haley slept with?

RILEY
(flustered)
No! But, Christ, why? Let me see the pictures again.

BARTON hands RILEY the pictures who takes another look at them.

CLOSE-PHOTOS

They're shots of HALEY and the BOUNCER lying down in the throws of ecstasy.

BACK TO BARTON

ROGER gets up and crosses the room to the card table acting as a kitchen table. He pours two drinks from a bottle of Scotch as Riley starts sobbing.

RILEY
But I loved Haley, she was...the...John to my Paul.

ROGER
(mumbling)
More like Yoko.

RILEY
What?

ROGER
Nothing...look, drink this and goddamn it, stop crying.

ROGER hands RILEY a drink. Riley sniffles as he slugs the drink back.

RILEY
What do I do now?

ROGER
Well the important thing now Riley, is to put this relationship behind you.

ROGER, slugs his drink down in one gulp, so that he can gain the courage to continue his speech.

ROGER
I know this all seems painful now, but you'll find someone new, a good looking guy like you...

We FOLLOW BARTON as he walks back to the kitchen table and pours himself another drink, and then takes another slug.

ROGER
...the girls will be breaking down the door.

CLOSE- RILEY

The booze is taking effect. RILEY starts pounding on the drafting table, the story board he was working on begins to shake violently.

TIGHT-ON THE STORY BOARD

As it comes to life. HARRY MONKEY is irate. There's a rumble like a volcano ready to explode. Suddenly HARRY, foaming at the mouth and grunting, grabs a hold of HALEY BUNNY and begins to violently choke her. HALEY shrieks in horror as HARRY's grunting becomes more violent. The page begins to swirl as we,

PAN OUT:

To RILEY who angrily crumbles the story board into a ball and throws it.

RILEY
Son-of-a bitch.

(Turns)

RILEY
Sorry.

ROGER
Ah, I think I will be going now. And if you want my advice, forget about Haley, so you can get on with your life.

RILEY
(defiant)
Never!

Suddenly Riley jumps up and gets into Barton's face

RILEY
(angrily)
Just because all your marriages have ended in disaster doesn't mean mine and Haley's relationship are over. You'll see. We will be back together!

RILEY steps back and staggers and trips over the area rug, falling hard to the floor.

ROGER
Sure. I suggest you sleep on it. And when you wake up, you can get back to what you do best, draw cartoons.

BARTON EXITS the door slamming it behind him, leaving RILEY prone on the floor. From another APARTMENT an old lady yells.

OLD WOMEN
Will you two shut up!

ROGER groans as he rolls over.

FADE OUT:

INT. ROGER'S HOUSE --EARLY MORNING

CLOSE-EMPTY BOOZE BOTTLE

PULL BACK to REVEAL the bottle's on the floor next to the couch. BARTON's passed out on it. He's still dressed in the clothes from the night before.

PAN around the small one bedroom bungalow. In the kitchen, BARTON has created a makeshift photo lab. WE SEE a curtain on a clothesline, various trays and some pictures up on clothespins. The pictures depict HALEY and the BOUNCER in various states of undress.

Now there is a LOUD pounding on the door, but ROGER is still passed out. The pounding gets LOUDER, finally waking him, who staggers to the door. BARTON OPENS it and squints from the intense daylight. When his eyes focus,

REVEAL, A COP

ROGER
(annoyed)
Ya, what?

The COP ignores the question and regards ROGER with a look of disgust.

COP
Do you know a Riley Jacobson?

ROGER
Ya, sure, he works for me, why?

COP
He killed someone last night and you where the last person to talk to him, that's what.

ROGER
(under his breath)
Oh, Riley what have you gotten yourself into.

COP
A heap of trouble.

EXT. QUILL CLUB -- DAY

A New York police car turns into the lot of the Quill Club. There's all kinds of official activity outside the club...cop cars, a coroners truck, etcetera,

ROGER and the COP get out of the police car. The COP starts into the club, but he realizes BARTON isn't following him. He turns to see BARTON looking transfixed.

COP
Now what?

ROGER
Something doesn't feel right, but I don't know what.

ROGER'S P.o.v.

The sky over the club turns grey and the clouds form into the shape of an arrow pointing down at the COP.

COP, walks back and takes ROGER's arm.

COP
Let's go, somebody wants to see you.

The COP leads ROGER into the club.

INT. QUILL CLUB -- MOMENTS LATER

The COP leads ROGER into a large back office, stuffed with boxes of promotional items and liquor. The COP stops where a large safe is secured to the floor. A FORENSIC TEAM is at work around the safe. Taking pictures of a body half obscured by the safe.

COP
Looks like Riley surprised him, shot him, but didn't touch anything in a wide open safe, why would that be Barton?

ROGER
Riley, didn't do this, he couldn't have.

COP
Wait here...

The COP walks to HALEY'S dressing room where a sobbing HALEY is being interrogated. We can only see her, not the person doing the interrogation.

BACK in the OFFICE, ROGER slides over to where the FORENSIC guys are dusting the safe in which a stack of photographs partially stick out. One of the FORENSIC guys looks up from his work.

FORENSIC #1
Say, aren't you Roger Barton, you used to draw for DC comics, I used to read all your true crime fighter stuff as a kid, you where great, what happened?

ROGER ignores the young mans question and surveys the scene of the crime. The door of the safe is ajar. Barton tries to look inside. FORENSIC #2 closes the door with his knee.

Now we HEAR the voice of HALEY from behind them.

HALEY
Mister Barton?

ROGER turns to the voice. HALEY slaps him hard enough across the face too leave a hand print.

HALEY
I hope your proud of yourself!

She turns on her heel and storms off, crying. ROGER, smarting, looks after dismayed as do the FORENSICS guys.

FORENSIC #1
I guess she doesn't like you.

FORENSIC #2
What did you do to piss off a piece of ass like that?

Now two white jump suited men from the CORONERS office start to put the body into a body bag. As the hand is about to be tucked into the bag, ROGER stops the CORONER TECHNICIAN.

ROGER
What's that under his fingernails?

CLOSE-HAND

Imbedded under the fingernails is a reddish-brown substance.

FORENSIC #1
Could be blood...so?

ROGER squats down to take a closer look.

ROGER
That's not blood, Christ, it's ink.

Suddenly, a hand comes down on BARTON's shoulder. ROGER follows the hand up, past black pants, a black overcoat, to a sunken in face with a large beak like nose. The head is shaved. Tinted glasses obscure the eyes. The figure is backlit from a dim forty watt bulb giving the figure a ghoulish shadowy appearance. Although human, the appearance is almost cartoon like grim reaper.

DETECTIVE HEATH, accompanied by the COP.

HEATH
Trying to destroy evidence?

COP
No, Barton here was just trying to help, weren't you, Barton?

HEATH
Get a sample, what ever it is.

HEATH takes his hand off Barton's shoulder.

HEATH
Looks like the deceased struggled with your buddy who had ink on his hands. Any reason why Mister Jacobson would be here?

BARTON stands to face the DETECTIVE, who towers over him.

ROGER
Riley's hands where always covered in ink, yes he draws for me, but like I told your lieutenant, he couldn't have done this.

HEATH
We talked to a Mister Ashton, he told us Riley Jacobson's demeanor changed after Miss Jacobson, out there, left him.

ROGER
She was having an affair with the bouncer.

HEATH
He became so agitated when he found out that he was overheard saying that nothing would stand in the way of him getting him getting his ex-wife back. Is that true?

ROGER
Look pal, I don't like your tone.

HEATH
Would you rather listen to the judge?

HEATH smiles thinly at BARTON, turns and walks with a purpose towards the door. The COP and ROGER follow.

HEATH
Riley's movements are fairly clear. After you left him last night, he came back to the club, jimmied the back door open, grabbed a bat, but...

EXT. QUILL CLUB -- CONTINUOUS

HEATH leads the group outside and indicates a window.

HEATH
...confronted the deceased in his office, they struggled, the bat was knocked out of Riley's hands. They struggled more, until Mister Jacobson was able to get a hold of the bouncers gun and shot him. In the course of the struggle, the bouncer scratched Riley, leaving the traces of ink under his fingernails. After he cold bloodily killed the bouncer, Riley ran. Do you know where?

Heath nods his toward a group of sinister looking ANIMATED WEASELS. They're loitering by a truck with 'City Rat Catchers' on the side, cleaning their fingernails with knives and loading their guns.

ROGER
I think I'll call my lawyer now. I think.

HEATH
Yes, they do good work.

(Turns back to BARTON)

HEATH
Riley didn't contact you by any chance, did he?

ROGER
Why would he contact me? I just took some lousy pictures.

HEATH
So you wouldn't have any idea where he might be?

ROGER
The hell I would know.

HEATH steps into BARTON'S face.

HEATH
Interesting choice of words, if you don't co-operate and tell me where your friend is, you and Mister Jacobson will wish you where both in hell. You would have a better time.

HEATH EXITS. BARTON shoots a look to the COP.

ROGER
(aside)
What crawled up his ass?

COP
He's sen the worse crimes imaginable and unfortunately it's taken a toll on him. He's a good cop though.

As HEATH drives off the WEASELS get into the rat catcher truck and drive off behind.

INT. JAIL HOUSE -- NIGHT

STEVE "SPANKY" MONKEY is led into the prison by TWO LARGE PIT BULL cops. They have the little monkey held by the belt loops, forcing STEVE to walk in an uncomfortable fashion. His face shows a look of panic. DETECTIVE DEATH ENTERS.

SPANKY
(petrified)
No, please! Not Detective Death!

As SPANKY kicks his feet, he knocks the coffee the buzzard like detective is holding, causing it to spill all over his suit.

DEATH
Why you...filthy ape, look what you did to my suit.

SPANKY
I'll have it cleaned for you, if you let me go.

DEATH
You little...never mind. Send him to the tank.

The TWO PIT BULL'S drag SPANKY over towards the 'Tank'.

SPANKY
Oh, no! Not the tank!

SPANKY struggles as the dogs grab him by the rear end and lifts him into the air.

SPANKY
Hey, don't I have any rights?

DEATH
Yes, you do...don't worry, your punishment will be fair.

A group of TWELVE ANIMATED PIRATES ENTER. In a chorus of "aarrs!" The arrange themselves into a two row jury. TWO WEASELS in suites ENTER behind.

DEATH
Court is now in session.

He smacks SPANKY in the head.

DEATH
Spanky Monkey, you are charged with one count of murder. How does the jury find him.

The PIRATE JURY delivers their verdict instantly. They raise their mugs of beer and simultaneously chant.

PIRATE JURY
Guilty!

An ANIMATED 'HOWARD COSELL" ENTERS, a microphone drops from the ceiling. A RING CARD BUNNY walks around carrying a card reading "12-0"

HOWARD
And there you have it, a tough fought battle, but in the end the little guy was no match. The winner and still champion...

DEATH
I am Detective Death and I sentence you...

TIGHT as DEATH announces SPANKY'S fate like a game show host, with a guttural scream.

DEATH
...to the tank!

SPANKY
(over melodramatic)
No! Not the tank! I'm too young to die!

As DEATH approaches SPANKY who is being held by his ankles over a large tank of fluid by the PIT BULLS. DEATH gives the thumbs down sign, the dogs drop SPANKY into the tank.

INT. TERMINAL VELOCITY BAR -- DAY

A hand belonging to RILEY knocks over a glass of beer onto a story board, staining the work. We FOLLOW up to RILEY who is awaken from his drunken stupor by the accident.

RILEY
Shit, quick, Dana throw me a rag!

DANA, is behind the bar cutting fruit and preparing fir the days bartending duties. RILEY is the only customer. He obviously been drinking all night. DANA grabs a towel and starts to blot up the spilt drink. RILEY grabs it and tries to salvage his work.

DANA
Christ Riley, you look like shit!

RILEY
Thanks, I know okay! I've got alto on my mind right now. I stayed up all night trying to get this weeks storyboard done. If I don't get it over to the office by this afternoon, I'm going to get canned. Then I can't pay you.

DANA
I suggest you start downing the coffee then. Here.

DANA TURNS and pours a cup of coffee from a machine behind her, TURNS back and hands it to RILEY who takes the cup and raises it in the air in a mock toast.

RILEY
Here's to my career. I hope all those bastards who say it's over like crow, because I'm bringing a big helping of it.

RILEY, stuffs his storyboards into his portfolio and slugs down his last mouthful of coffee.

VOICE
Get me and my buddy Riley a round.

RILEY stops and follows DANA'S eyes down the bar. A man with slicked back, balding hair climbs up onto the stool next to RILEY.

DANA
What will you have sweetie?

ASHTON
You serve martinis?

DANA
If you want.

BARRY ASHTON slides his briefcase onto the bar.

ASHTON
Make it dry, baby, or do you prefer it wet?

ASHTON TURNS to RILEY.

ASHTON
I thought I'd find you here, Jacobson.

RILEY
Kind of lost aren't you Mister Ashton? What brings you to my neibourhood?

ASHTON
Yeah, I'd thought I'd go slummin' besides I've got some information you might you'd be interested in.

RILEY
What's that?

ASHTON
Someone's trying to frame you for the murder of the bouncer your ex-wife's been screwing.

RILEY
What the hell are you talking about?

ASHTON
The goon was killed last night and the cops are looking for you. I'd get out of here.

RILEY
I didn't kill anyone! I was home all night, ask Barton.

DANA brings ASHTON his martini. He turns his attention to her.

ASHTON
Thanks, babe.

When DANA turns around, ASHTON pats her on the rear. From over her shoulder.

DANA
Move it or lose it.

DANA spins around and produces a switchblade, snapping it open.

DANA
Got it...good.

ASHTON throws his hands in the air in mock defense. RILEY jumps back, his face shows a look of freight.

ASHTON
Easy babe, you can't help a guy for trying. Come on, I may look old, but I make up for it with experience. If you know what I mean.

RILEY
Look can we get back to me? What about this murder?

ASHTON returns his attention to RILEY.

ASHTON
C'mon Riley, where you so drunk that you don't remember what you did. Hey no offense, but, why did I hire a bum like you anyway?

DANA
(chiming in)
I kind of wondered that myself.

RILEY
Thanks for the vote of confidence.

ASHTON
And another thing. The cops say they found the safe empty, except a bunch of pictures of the two in the act. Did you take the money?

RILEY
No! What money? The pictures? I know all about them, I don't care.

ASHTON
Someone killed him to shut him up. That's what this is all about.

DANA
What's with the pictures Riley?

RILEY
Dana please, stick to watering down the drinks, will you?

ASHTON
I believe you Riley when you say you didn't do it, but watch your back. They found black ink under the goons fingernails.

RILEY
So what? Everybody uses black ink.

ASHTON
India ink. The type cartoonists use. The kind you use. Know any other animators who would want this guy dead?

DANA
What happened Riley?

ASHTON
What's your next move Riley?

RILEY
My next move? That's easy, I'm getting up and I'm walking out the door and continuing my life.

RILEY stands.

DANA
So that's it? Your just going to wait for the cops to come get you?

RILEY
I didn't say that. Haley will pay for this, that bitch is the one who's trying to frame me. Here Ashton, give these storyboards to Barton.

DANA
I'm worried about you Riley, but I don't think your a killer.

RILEY ignores her and walks out the door.

INT. RILEY'S APARTMENT -- DAY

RILEY comes in the door with his jacket over his arm. He tosses the jacket over a chair and walks to the bed and flops down into a pile of clothing and rumpled bedding and passes out.

HARRY MONKEY

Asleep in the bed.

RILEY still with his back to HARRY, rolls over and comes eye to eye with HARRY. They lock eyes. RILEY freaks out while HARRY remains calm.

RILEY
What the hell?

HARRY
(in a Bogart like tone)
Names Harry, Harry Monkey.

RILEY
I know who you are, I mean what you are, my creation. What the hell are you doing in my bed?

HARRY
I needed a place to hide, they got Steve and their looking for me. I'm in trouble Riley, I need your help.

RILEY
(dumb founded)
Your not real! I created you. Your a figment of my imagination. That's all.

HARRY
Don't worry Riley, no one knows I'm here.

RILEY
What's going on here?

HARRY
I asked around Riley, the guy at the newspaper stand, the guy at the diner, everyone knows about the murder.

RILEY
(panic)
Get out of here! I mean get out of my head!

RILEY jumps up and tries to open the front door, but HARRY blocks it, spider like, arms and legs extended.

HARRY
Please, RILEY, don't do, I'm not guilty, I didn't do it, I swear.

RILEY gives up trying to open the door and grabs HARRY, but he is much to big and doesn't move.

HARRY
Sure, I wanted Haley back, but not that way.

RILEY lunges again for the door knob. HARRY blocks him.

HARRY
After ~I left you, I went to see her at the Quill Club.

RILEY stops struggling and listens intensively too Harry.

HARRY
She was on stage, I was there to woo her back.

HARRY takes a piece of paper out of his pocket and unfolds it.

HARRY
Look, I even to tried to write a love letter, but all I got down was dear Haley. Then I started crying. Look the papers still wet.

RILEY leaps for HARRY and gets him by the throat. He rips the paper out of his hand and crumples it up and throws it down. He opens the door, throws HARRY out and quickly shuts the door. He leans against it breathing hard. Suddenly, HARRY slams open the door sending RILEY to the floor in a heap.

HARRY
Hey! Now I'm mad! My plan is to get Haley back and I'm not stopping until I do. But I need your help to do it.

RILEY crosses to the kitchen area and heads to the cabinet under the sink and comes out with a bottle of scotch. He takes the cap off and takes a swig.

RILEY
Look pal, if you're still here when I finish this off, I'm calling the cops.

HARRY
Don't do that I'm innocent. The police have already thrown Steve into the tank, don't throw me in there as well.

RILEY
If you're innocent, why did you run?

HARRY
We apes are allergic to cops, get it.

RILEY shoots down another swig of scotch.

RILEY
That's it!

RILEY crosses to the phone on the counter and lifts the receiver and starts to dial.

HARRY
That's it! The moment of truth! I've spoken the truth, and you don't believe me. Go ahead and phone the cops, it will be my coup de gars.

As Riley's finger hovers over the one, he puts his whisky bottle over a photograph in the newspaper on the counter.

HARRY
What's wrong?

Riley's attention is drawn to the photograph. Riley moves the whisky bottle.

POV-OF THE NEWSPAPER

The whisky bottle rests next to a picture of the BOUNCER and HALEY. The whisky bottle acts like a mirror, illuminating the back corner of the photo. In which, ASHTON sits at a table.

CLOSE- RILEY

He looks as if the truth has hit him in the face.

RILEY
Goddamn you Ashton.

Riley slowly returns the phone to the cradle.

HARRY
Now do you believe me?

Now, outside we HEAR tires screeching to a halt. RILEY RUNs to the window and pulls back the drapes. His eyes show his fear.

RILEY'S POV

A cop car has stopped in front of the apartment. Several police pile out.

RILEY jerks back the curtain.

HARRY
Thanks for believing me Riley.

RILEY slumps to the floor.

EXT. RILEY'S APARTMENT -- DAY

The COPS are filing up the walk to the front door. The leader eNTERS and starts up the stairs leading to RILEY'S apartment and pounds on the door.

POLICE OFFICER
Police!

INT. RILEY'S APARTMENT -- CONTINUOUS

RILEY jumps up from the floor and runs to the closet and opens it. A barrage of junk and sporting equipment fall out, knocking him to the floor. RILEY quickly gets up and looks for a new hiding spot under the bed.

Bang! Bang! Bang! The knocking is more impatient. RILEY breaths heavily from his hiding place under the bed.

RILEY
(whispering)
Christ think Riley.

POV

Riley looks over to a smiling HARRY who looks calm lying next to him under the bed.

RILEY
(whispering)
Not now go away.

POLICE OFFICER
Open up!

EXT. RILEY'S DOOR -- MOMENTS LATER

The POLICE proceed to break down the door, led by the leader. The remaining cops pile through the door into the apartment.

INT. RILEY'S APARTMENT -- MOMENTS LATER

The COPS begin to search the apartment, opening cupboards and doors, overturning furniture. The head COP spots blood all over the floor.

HEAD COP
We got him.

But when he looks behind the counter, it's only a broken bottle of ketchup.

EXT. REAR OF APARTMENT -- MOMENTS LATER

RILEY runs down the alley, grunting and growling, severely out of shape.

RILEY
(to himself out of breath)
Oh shit
(breath)
What the hell is this all about?

EXT. RILEY'S APARTMENT-THE FIRE SCAPE -- MOMENTS LATER

THE COPS

Come piling down the fire scape. They search the area. Suddenly one of them freeze to a point. TWO KIDS walk past the alley way dressed in sports clothes, adorned with a hockey logo. One of them blows into a plastic horn, letting out a bad, 'dum-dee-dum-teed-um'.

COP #1
Charge!

With that the COPS are off on the trail.

EXT. STREET --MOMENT LATER

RILEY emerges from the alley. He PAUSES momentarily to take a breath, HARRY APPEARS from around the corner smiling.

RILEY
Go away.

HARRY
If you want me off your back, you better follow me, okay?

RILEY
Fine.

HARRY
Good. This way.

They start across the street, almost getting hit by a cab pulling up to a house.

THE COPS

Come in a pack around the corner. They search the street for signs of RILEY, but when they see the waiting cab they take notice.

COP #1
They're!

He points toward the cab in which a hooded figure is about to ENTER, similar in height and build as RILEY. The cops almost trip on themselves as the surround the cab.

INT. CAB -- MOMENT LATER

The cabby raises his hands like he was being held up. The passenger, a WOMEN, SCREAMS as the cops search the cab. But don't see RILEY. As quickly as they surround the cab, they EXIT.

EXT. CAB -- MOMENTS LATER

As it pulls away. The COPS look around perplexed.

COP #1
Funny, I swear I saw him.

INT. CAB -- MOMENTS LATER

The WOMEN in the back of the cab removes a pile of dry cleaning from the seat opposite her. RILEY emerges from the bottom of the stack, SPITTING out the plastic bag covering his face. He hands five bucks to the driver.

RILEY
Thanks miss, thanks Jimmy, I'll explain later. It's all a mistake, really. Pull over here.

RILEY EXITS the cab, leaving the WOMEN and his friend looking confused.

INT. TERMINAL VELOCITY BAR -- DAY

DANA is busy adding water to the bottles of booze. The television is set to an episode of 'COPS' the theme song, 'Bad boys, bad boys, what'cha gonna do' is blaring. A crime reporter breaks into the show with a special bulletin.

CRIME REPORTER
This is a crime stoppers update. A city wide man hunt is on for one Riley Jacobson, suspect In the murder of an area bouncer. Police describe him as tall, skinny and dangerous...

DANA turns just as RILEY runs into the bar.

DANA
What the hell are you doing here Riley?!

RILEY motions with a calm down motion.

RILEY
Calm down Dana, it's all a mistake.

DANA
A mistake? Your on an episode of crime stoppers!

RILEY
(begging)
Please help me.

HARRY appears behind RILEY, his hands folded together in a praying motion. His eyes are wide and tearful.

DANA
Alright, but if they start questioning me, your on your own.

RILEY
Deal, anything. Hey you got anything to eat?

DANA shoves over a bowl of peanuts to RILEY who starts to wolf down the nuts. HARRY grabs a large handful and makes a drinking motion.

RILEY
Got anything to drink?

DANA
(annoyed)
No! Now get in the back room and hide yourself, before someone sees you.

We FOLLOW DANA as she leads RILEY across the hall. She stops at a door, unlocks it and leads them into the room.

INT. BACK ROOM -- CONTINUOUS

It's a tiny storage room with an old rack full of assorted cleaning supplies. Boxes are stacked all around. DANA shuts and locks the door behind her. RILEY goes to a metal locker and looks for a weapon amongst a pile of plumbing tools. He decides on the large crescent wrench.

DANA
I ought to have my head examined.

RILEY
Your helping me because you like me. Admit it.

DANA
Don't flatter yourself, I'm helping you because you would make a lousy bum buddy in jail. You don't have an ass.

RILEY quiets like a child for a moment.

RILEY
Thanks, I think.

HARRY mocks RILEY, making kissing noises. RILEY gives him an elbow.

HARRY
Ow! I was just trying to keep the mood light.

RILEY
(muttered)
This isn't the time for jokes.

DANA
You say something?

RILEY
No, nothing. I mean, that after this is all over we will all have a big laugh.

DANA
Sure, assuming the cops don't kill you. If they don't I will, if you don't tell me how you plan to get out of this mess.

RILEY throws the newspaper clipping of ASHTON standing behind HALEY and the BOUNCER, onto the desk.

RILEY
If I can convince the cops that it was Ashton who killed the bouncer, I will be free of the charges.

DANA
Why would Ashton want to kill a bouncer?

RILEY
He was jealous, he wanted Haley.

DANA
Okay, now we know Ashton wasn't of sound mind, but are you sure your ex-wife didn't give him a piece of her sound body.

RILEY
I resent that. Haley wasn't a slut. I should know...you know what I mean.

DANA
I believe you, trust me. Anyway, Ashton got a little hot for Haley and tried to woo her with his money, she refused and got her muscle head boyfriend to back up her point. Ashton got mad and got rid of the competition. Is that your story?

RILEY
That's about right Dana, but what I can't figure out, is why didn't Ashton just buy the club and get rid of the guy?

DANA
That wouldn't get him Haley.

RILEY
Unless, it wasn't Haley he wanted. Maybe it was her fathers money. Right! Her father is the head of some mega-media corporation. If he got in good with him, he could syndicate his comics all over the world.

DANA
Marrying Haley didn't help your career any, why?

RILEY
Her dad hated me because I'm just a working stiff, but Ashton has money up to his big fat rear. Haley's dad doesn't care who she marries, just as long as they live up to his standards.

Dana whistles over Riley's deductions.

DANA
Nice shit, Sherlock. Now all you have to do is convince the cops.

RILEY
Sure, then maybe Haley will take me back.

DANA
One step at a time.

RILEY and DANA stand and go to the door. HARRY follows them eagerly.

RILEY
(whispering)
Hear anything?

DANA
Nothing, I'll go out, stay calm. I'll come back to get you.

DANA EXITS, slams the door shut and re-locks it.

INT. PECAR CLUB -- DAY

CLOSE- ASHTON

He's in a booth in the middle of a business lunch.

ASHTON
Maybe money grows on trees where your from, Merrick, but not at Bar-goons Animations.

WIDEN-TO REVEAL

That ASHTON is sharing a booth with RICHARD MERRICK and his daughter HALEY.

MERRICK
Look, money aside, Riley Jacobson may have been willing to be your lackey, but I'm not.

ACROSS THE ROOM

A WAITER leads BARTON to a table near the door.

ROGER
This will be fine, I'll take a Scotch, I'll be right back.

ROGER looks across the room and notices MERRICK and ASHTON. He gets up from the table and starts across the room.

AT ASHTON'S TABLE

HALEY
I think you should know Barry darling, daddy here is in negotiations with Seltzer Animations to buy their entire catalogue.

ASHTON
Trying to scare up a building war between me and Seltzer, hmm? Well it won't work. I'll cut a deal with the Japanese, that will expose Bar-goon comics or millions of new readers.

MERRICK
Don't kid yourself, Barry, all you got is a drunk who draws like a school kid. What's his strip called, spanking the monkey?

MERRICK looks over to his daughter for confirmation of his joke, HALEY returns with a demeaning laugh toward ASHTON.

ASHTON
We'll see.

Now, BARTON ARRIVES, pulls a chair from the next table and sits down.

ROGER
Hello, Ashton. What a surprise to see you here.

ASHTON
Barton, what the hell are you doing here?

ROGER
I just thought I'd drop by and show you a photograph.

ASHTON
Forget it, I'll look at it later.

ROGER
This ones good, you'll be interested in this one.

BARTON takes out two photographs. The FIRST one is the one of HALEY and the BOUNCER in a compromising position. The SECOND a better copy of the newspaper photo with ASHTON standing behind HALEY and the BOUNCER. He puts them in the middle of the table.

ROGER
Anyway...enjoy your dinner.

BARTON stands and departs. But, his visit has done the trick. ASHTON looks like he has seen a ghost. We FOLLOW ROGER across the room to where his Scotch is waiting. BARTON looks over to ASHTON'S table where a heated discussion has ensued, he picks up his drink and makes a mock toast while smiling, thrilled with how his plan has worked.

BARTON'S P.o.v.

We SEE ASHTON, arguing with MERRICK. HALEY looks at the pictures with an embarrassed look on her face.

TIGHT

In on ASHTON'S table.

ASHTON
I don't know what he's trying to pull, but somebody's going to have to take care of him.

HALEY
Like you took care of Marty, no thanks.

MERRICK
Never mind, I'll take care of it. Come on!

MERRICK and HALEY stand and hustle out of the room. ASHTON flashes a look of anger across the room at a smiling BARTON, then hastily EXITS.

BARTON'S TABLE

ROGER drinks down the last of his victory drink, throws down a ten, stands and EXITS.

EXT. PECAR CLUB -- DAY

A taxi pulls up in front of the club. ASHTON climbs in and roars off. BARTON ENTERS the frame. He looks after ASHTON, then calmly starts walking down the street.

EXT. GREEN LAWN CEMETERY -- DAY

A car pulls up. BARTON climbs up. He calmly crosses the street and ducks behind the thick entrance archway pillars as ASHTON'S car roars through.

ROGER
(to himself)
Thought you would come here.

BARTON starts to walk up the hill...

CUT TO:

EXT. GRAVE SITE -- DAY

LONG SHOT

A hearse and a line of black limos are parked in the lane. Nearby MARTY the BOUNCER's funeral is in progress. Clustered around a grave site are the mourners... ANIMATED characters of all stripes, there's a large biker type BULLDOG hugging another STRIPPER BUNNY, TWO SCRUFFY ALLEY CATS, TWO RATS and TWO CROWS wearing leather. The eulogy is being delivered by a large CHICKEN with a southern accent.

SOUTHERN CHICKEN
Today, we stand here to remember the life of brother Marty, as we commit him back to the cold...cold earth. We shed no tears, knowing that Marty would have wanted it that way.

ANIMATED GUESTS
(in unison)
Hell ya.

ANGLE ON BARTON

As he leans against a tree on the hill. We have been watching the proceedings from his P.o.v. Now he see's ASHTON'S car pull up. He moves around to the other side of the tree as ASHTON passes and starts wading through the crowd.

AT THE GRAVE SITE

The MINISTER, a fat man nods to the funeral director, a pasty faced man. The DIRECTOR starts to turn the crank, lowering the coffin into the hole.

MNISTER
Ashes to ashes, dust to dust.

The biker type guests turn and head away from the grave and begin to head away. One mourner is left at the grave site.

REVEAL HALEY, sitting in a chair dabbing her eyes with a napkin. ASHTON walks up from behind her.

ASHTON
Trying to screw me over, huh?

HALEY turns, startled. She stands and faces ASHTON.

BARTON

Smiles and leans in. This is the moment he's been waiting for. Now, just as the conversation begins, it is drowned out by a GARDENER with a weed wacker. ROGER turns to see a kid trimming around a nearby grave marker. ROGER tries to get his attention as he keeps one eye on ASHTON and HALEY having an argument. There's finger pointing and angry faces. ASHTON gestures into his pocket at a folded set of documents.

HALEY tries to leave. ASHTON grabs her arm. They're screaming at each other, but we don't hear a word. BARTON tries in vain to get the kid to turn off the lawn trimmer but he is wearing head phones. ROGER turns in time to see HALEY kick ASHTON in the groin and stomp off to a red Corvette. She jumps in and speeds away as ASHTON staggers back to his car. The GARDENER shuts off his lawn trimmer and walks over to ROGER.

GARDENER
You say something buddy?

ROGER
(annoyed)
Forget it. Thanks.

EXT. QUILL CLUB-ALLEY -- NIGHT

A moving truck is parked next to the door. Two HUSKY MOVERS are moving large audio speakers and other equipment into the club. A third mover with his hat pulled down over his face and collar up approaches the truck and removes a box speaker and holds it so that it hides his face from view.

INT. QUILL CLUB-BACKSTAGE -- MOMENTS LATER

The mover carries the speaker over to the wall to where the rest of the equipment is, his back is to the camera. The first MOVER ENTERS.

MOVER #1
Hey get a move on, we have to get this equipment moved in an hour. The show must go on.

As the first MOVER EXITS through the door, MOVE IN on the mover hidden from view, as he raises his hat to REVEAL...

RILEY, looks toward the door leading to the back stage area, but then he hears FOOTSTEPS approaching. He ducks into a nearby bathroom stall.

MOVER #1
(exasperated)
Where the hell is that guy, Christ I have to take a leak!

INT. BATHROOM --MOMENTS LATER

The MOVER ENTERS the bathroom and takes up the stall next to RILEY.

TIGHT

In on RILEY as he sits crouched on the toilet seat, listening as the MOVER makes SOUNDS of RELIEF as he urinates, a fact that causes RILEY to grimace as the smell gets to him. The MOVER finishes and EXITS, much to the relief of RILEY.

ANGLE ON RILEY

as the MOVER'S VOICE recedes to 'muffled grunting'. RILEY EXITS the stall and eases out of the bathroom over to Haley's dressing room. As he starts to open the door, he HEARS scuffling from inside. RILEY puts his ear to the door. More SCUFFLING. RILEY straightens, then suddenly whips the door open and flicks on the light.

INT. DRESSING ROOM -- NIGHT

Nobodies there. Confused, RILEY CLOSES the door behind him and checks the bathroom. No one, he shrugs and starts to search the room. He goes to Haley's dressing table and rifles the drawers. In her purse he discovers a gun.

RILEY
What the hell does she have this for?

RILEY puts the gun back in the purse and closes the drawers. As he starts, he pauses, he sees a black and white gag photo in a frame of himself and Haley dressed like 'Bonny and Clyde' posed with machine gun props. RILEY smiles and turns from the table. Something catches his eye.

ANGLE ON THE FLOOR

behind the dressing table, the corner of a piece of blue paper peeks out. RILEY stoops down and fishes it out. It's a cover for a legal document- 'Land Deed-Quill Club'.

RILEY

Stands pleased. He opens the blue holder, and looks at it quickly. RILEY puts it in his jumper pocket and turns to go when suddenly an unseen hand flicks the light off.

RILEY
Son of a bitch!

We can't see anything in the darkness. But we HEAR the sound of fists hitting a face. There's a crashing of meal and falling items, crashing to the floor. Now the door opens for a second as the attacker escapes. Lights flood the room, illuminating RILEY on the floor, bruised and bloodied, covered in debris. As he struggles to his feet the door closes. The room is dark again. When he whips it open,

REVEAL

ASHTON framed in the doorway. RILEY is frozen. ASHTON flicks in the light and smiles wickedly.

ASHTON
The prodigal son returns...to meet his maker.

RILEY tries to make a break for it. Wham! ASHTON lays him out with a right cross.

FADE OUT:

FADE IN:

P.O.V. FROM THE FLOOR ---LATER

As his vision comes into focus, RILEY sees ASHTON, HALEY, the dead BOUNCER, the GROUP OF WEASELS and DEATH.

DEATH
Being caught breaking and entering is not very good. What where you looking for Mister Jacobson?

RILEY
Ask her.

RILEY nods toward HALEY, who stands coolly.

HALEY
What can I say, he wants me back.

RILEY
Look Haley, I still like you, but I'm not some nut who would stock you. I was looking for this

RILEY starts to remove the paperwork from his pocket, but DEATH stops him.

DEATH
Hold it there..I'll get that if you don't mind.

DEATH reaches into RILEY'S pocket and takes out the deed and looks at it with interest.

DEATH
Interesting, by the looks of this Marty was set to take over ownership of the club.

RILEY
Right, and Ashton there didn't like it so he killed him and had me set up to take the fall.

ASHTON
I think your drunk, Riley. That's one hell of a story.

DEATH
These are serious accusations, Mister Jacobson, do you have any proof?

RILEY
I was given a tape of those two together, arguing, I have it right here...

RILEY points with one hand at HALEY and ASHTON while he reaches into his pocket. But the tape is missing.

RILEY
It's gone they must have taken it.

DEATH
They?

RILEY
Ashton, after he knocked my lights out.

DEATH
I think you need to come with me downtown.

RILEY
Great, then maybe you will believe me.

INT. HEATH'S CAR -- NIGHT

DETECTIVE HEATH looks over his shoulder at a groggy RILEY, who looks up from his prone position with concern.

HEATH
What's wrong nervous? Don't worry, if your stories true, your clear, if not...

HEATH lets out a sinister cackle, just as a clap of thunder explodes from ahead, over the approaching prison.

EXT. NEARING THE PRISON -- CONTINUOUS

The car disappears into the dark tunnel leading into the prison underground. PAN UP to the stormy night sky.

DISSOLVE TO:

EXT. THE SKY -- MORNING

PAN DOWN to the tunnel. We can't see into the darkness, but we hear screaming coming from within. Whips cracking, bones crunching, all accompanied by the laughter of DEATH.

DEATH
Pull the ropes tighter! Give him another!

The SOUND of the ratchet tightening on a medieval rack is heard followed by another lash from the whip.

DEATH
Let him go boys, I think he's had enough.

After a beat, HARRY comes staggering out of the tunnel. His clothes are ripped to shreds, bruises cover his face. He trips and falls by the side of the road. HARRY lies their for a moment, catching his breath, cursing. HE gets to his feet and stumbles down the road.

INT. BUS -- DAY

RILEY steps aboard. The driver does a double take when he sees the condition of RILEY, clothes torn, bruised and bloodied.

BUS DRIVER
(from previous)
What happened to you?

RILEY
I spent the night in jail, they worked me over.

BUS DRIVER
I'll say, why did they do that to you?

RILEY
Don't know, I told them all they wanted.

BUS DRIVER
You should go to the hospital and have them check you out.

RILEY
No, I'll be fine.

BUS DRIVER
Okay, just trying to help, have a seat.

RILEY tries to hide his face as he walks down the aisle past a gauntlet of starring passengers. Finally he finds a seat in the back as the pulls away from the stop.

A LITTLE KID

Is sitting a few seats away with his mother. The kid looks back at RILEY and laughs. He leans over and whispers to his mom.

KID
Is that guy drunk?

MOTHER
Probably, don't talk to him.

RILEY
(under his breath)
Not as drunk as your dad was the night he conceived you. Little brat.

RILEY stands and scowls as he EXITS the bus as it comes to a stop outside his apartment.

INT. RILEY'S APARTMENT-BATHROOM -- DAY

We HEAR the sound of the shower. RILEY reaches for a bottle of booze, takes a swig and sticks his head under the shower head.

RILEY
(grimacing)
Ah...shit.

CLOSE-TUB DRAIN

The water swirling down the drain is tinged with blood.

CLOSE- RILEY

He pours some of the booze onto a cut, using it as a disinfectant. He uses a cloth to wipe off any of the remaining blood from his arm. The alcohol seems to bring him some relief. He shuts off the shower and slides the curtain back.

RILEY'S P.O.V.-HALEY

Is leaning up against the door jam, dressed in a revealing low cut top.

HALEY
Hello, Riley. I knocked on the door, but I guess you couldn't hear me.

RILEY
(grabbing for a towel)
Christ, knock louder then!

HALEY
Relax, I've seen it remember.

RILEY
(embarrassed)
What do you want!

HALEY
Just a little something from you. Which is all you where able to give.

RILEY
Look, as you can see, I'm not in the mood for your crap, now what do you want you lying bitch!

HALEY
You've got it wrong about me. I got used, just like you did. That's why I came to talk.

RILEY
Sure, I bet you do. Why me? What's the scam.

HALEY
(pleading)
No, Riley, I still love you, no scam.

RILEY
(unswayed)
Oh sure. Love? You where never the loving wife. I don't think your capable of love.

HALEY
Oh please, all you wanted was Betty Crocker in the kitchen and a whore in the bedroom.

RILEY
(argumentative)
And what did mister muscle head want from you?

HALEY
(taken back)
Nothing!, I mean he was just...a...

RILEY
(growing upset)
A quickie is that why you had him killed? You had too many guys on the go, all you where using. You couldn't keep your lies straight anymore! Is that what happened Haley? So then you had to have him killed? But why frame me? What did I ever do to you?

HALEY takes a cigarette out of a packet from her rear pocket. She lights it and blows a cloud of smoke. We PAN UP as the smoke narrates her side of the story in a flashback.

ASHTON AND HALEY are in a heated discussion at the grave site. This is the conversation we couldn't hear because of the lawn trimmer.

HALEY
Ashton came to me and told me he'd fire you if I didn't sleep with him. It was nothing, I didn't want to see you hurt. I know how much that job meant to you.

RILEY waves his hand dispelling the smoke.

RILEY
(annoyed)
Could you put that damn thing out.

HALEY
Sorry, so you see, I'm telling you the truth I got him off. That's all, but I didn't have anything to do with the murder.

RILEY
I wish I could believe you Haley. I don't know what you're up to, but I'm going to nail who ever is responsible for the murder and clear my name...even if that's you.

HALEY
Fine, what's stopping you from calling the cops on me now?

RILEY
I tried that and they threw me in a cell with a bunch of bikers. They where probably customers of yours.

HALEY
I'm sorry for what happened to you, but I had nothing to do with it. Look Riley, I came here to ask for your help, that's all.

HALEY comes to RILEY and hugs him, burying her head in his shoulder.

HALEY
(pleading)
Please, Riley, find it in your heart to forgive me and help me.

RILEY looks down at HALEY in his arms, considering the request. The moment is interrupted by the CLEARING OF A THROAT.

DANA
You that desperate, Riley?

RILEY, still in a towel, shocked and embarrassed turns his face to DANA, who's standing in the doorway.

RILEY
Dana! What the hell is this, grand central!

DANA regards HALEY with undisguised contempt.

DANA
(sarcastically)
Lemme' guess...she was short of dollar bills?

HALEY straightens up.

HALEY
Maybe I should go.

DANA
(even more sarcastic)
Really, you think?

HALEY
Goodbye, Riley...please I'm sorry.

HALEY kisses RILEY on the cheek. She saunters past the angry DANA and out the door. DANA walks to RILEY and hands him the pair of jeans hanging from a hook on the back of the door.

DANA
What was that?

RILEY
Haley was just here to tell me her side of the story.

DANA
(shocked)
And you believed her?

RILEY
I don't know, maybe she was just looking to stick the knife in deeper.

DANA
I just stopped by to tell you that I checked out that Quill Club probate.

RILEY
Ashton right?

DANA
Nope. Try Merrick.

RILEY
(startled)
What the hell would Haley's dad want with a strip club?

DANA
Got me. But unless you figure some way to stop him by Friday, you can kiss your ass goodbye.

As RILEY considers the new development, he cocks his ear. In the distance, we hear faint singing.

RILEY
What is that?

DANA
(listens)
It's coming from the bar, is that someone singing?

RILEY
Oh, no...

As RILEY grabs his pants...

CUT TO:

INT. TERMINAL VELOCITY BAR -- MOMENTS LATER

HALEY is using the small stage in the corner of the bar as a test for her new career in legitimate singing. A few patrons sitting at the bar, look on attentively.

HALEY
(singing)
It had to be. It had to be you. I wondered around...

The men of the bar start to CLAP.

HALEY
(continuing)
...and finally found somebody who could make me be true. Could make me blue.

The DOOR OPENS.

RILEY and DANA ENTER. RILEY stops in his tracks at the sight of HALEY'S performance... and the smiles on the faces of the men of the bar. HALEY gets to the melody of the Billy Holiday classic.

HALEY
...or even be glad. Just to be sad thinking of you. Some others, I've seen, might never be mean. Might never be cross, or try to be boss, but they wouldn't do. For nobody else gave me a thrill...

CLOSE- HALEY

Notices RILEY. Steps off the stage and looks directly into his eyes as she finishes the song.

HALEY
With all faults I love you still, it had to be you, wonderful you. It had to be...you.

HALEY puts down the microphone into the stage and starts her way over to a stunned RILEY and DANA.

All the regulars on the bar start clapping. As HALEY grabs RILEY'S hand and starts to lead him towards the back room. DANA confused decides to go with the flow, shrugs and joins in on the clapping. HALEY turns to the regulars and acknowledges them with a playful blowing of a kiss. The regulars eat it up and clap louder. RILEY flings HALEY around in embrace, picking her off her feet into the air.

HALEY
So does this mean you believe me?

RILEY
Your crazy, but ~I love you. When did this start?

HALEY
This is my new calling, I don't want to strip all my life. I've been taking singing lessons since I was five. What do you think? Am I good?

RILEY
Good? Did you hear those stiffs? They haven't cracked a smile in years, you had them eating out of the palm of your hands.

HALEY
And I didn't have to take my clothes off, they like me, for me.

RILEY
As soon as we clear this mess up with the cops, you can work here, no more stripping.

HALEY
I like that, but first...

RILEY
We need to get out of here, this place isn't safe, the cops are still out for me.

RILEY grabs HALEY by the hand and opens the door. But ducks back in quickly.

P.O.V. RILEY'S- THROUGH THE DOOR-DETECTIVE HEATH -- CONTINUOUS

Has ENTERED the bar. He stands framed in the doorway, two more cops perched on either side of him. The red neon bar sign flashes on his glasses making him look as if his eyes are flaming red. With the cops at the door behind him, the perpetually angry HEATH walks to the bar, his footsteps creaking on the worn wooden floor. He surveys the scene, leans on the bar and glares at DANA.

HEATH
I'm looking for Riley Jacobson. I know he's here.

The barflies try to avoid HEATH'S stare and SHOOT glances towards one another. HEATH glares at the guy to his right.

HEATH
Have you seen him buddy?

The SMALL MAN shrugs nervously and RUNS from the bar. The rest of the bar gets eerily quiet.

DANA
He's not here, so quit harassing my customers.

HEATH TURNS to DANA.

HEATH
I didn't come here to harass. I came to offer a reward to anyone who has evidence.

DANA
You already arrested him, I saw what you did to him, if you had something on him, you wouldn't have let him go.

HEATH
So, you do know where he is?

DANA
I didn't say that, now leave!

HEATH walks to the menu board beside DANA. On it, is written: "Today's Special Fried Chicken Strips with Dip $5.00" HEATH washes the "Fried" and the decimal point after the "five". Then he picks up the chalk and starts to write. The chalk squeaks annoyingly on the board. DANA looks on annoyed as HEATH writes, "Burnt" where "Fried" was and adds "Riley" before "Chicken" and replaces the "S" in "Strips" with "PER" making it say: "Stripper" and adding "Shit" after "Dip" and then "$5.00" now reads "$5000".

AT THE BAR-ALL EYES

Are fixed on the figure on the blackboard. A WISE ASS raises his hand.

WISE ASS
Hey cop, I see Riley...

The WISE ASS looks defensively at his buddies and then back to HEATH.

WISE ASS
He's right here in the bar.

But instead of pointing to the back, he points to the barstool next to him.

WISE ASS
Sat hello, Riley, see Riley is invisible, get it pig.

The tension is broke. Everybody in the bar starts laughing.

INT. BACK ROOM

HALEY turns to RILEY victoriously.

HALEY
You have friends here, it's going to be okay.

INT. THE BAR

HEATH stares down the regulars until the laughter stops. Meanwhile a cop starts searching around the stage where HALEY was singing. As HEATH turns to leave, the COP whispers in his ear, as he points to the back. HEATH smiles and taps the COP on the shoulder. He TURNS to the WISE ASS and the others.

HEATH
Now, it's my turn to laugh...get him out of here.

HEATH waves for his COP cronies to arrest the SMART ASS. The COPS ENTER and hook the man under each arm and lift him off the stool and escort him from the bar, furiously defiant.

TWO more COPS ENTER and flank HEATH as he strides through the bar to the back room. HEATH rips the door open.

INT. BACK ROOM

It's dark. HEATH flicks on the light. REVEAL HALEY standing behind a makeshift changing screen. She looks out at HEATH angrily as if he has caught her changing.

HALEY
What the fuck do you want, pervert!

HEATH
(embarrassed)
Nothing... I mean I'm looking for Riley.

HALEY acts as if she's trying to cover up.

HALEY
Riley? What would he be doing here? Now get lost, I'm trying to get changed, I've got another set to do.

HEATH
Another set? This ain't the strip club, girl, look tell us where Riley is hiding and we won't arrest you.

HALEY
I don't know where he is, honest!

HEATH walks over to a stack of boxes in the corner of the room.

HEATH
Not here? Really?

HEATH takes out his truncheon and swings madly at the stack of cleaning supplies, breaking open the containers of kitchen cleanser sending the powder flying everywhere.

DOWN BESIDE HALEY

RILEY is crowded into a ball, facing the boxes, but hidden from view by the makeshift screen. The CLOUD of POWDER covers RILEY'S face causing him to choke violently.

HEATH smiles and rips the sheet down to REVEAL HALEY standing in her bra with RILEY on the floor gagging from the powder that is covering his face. HEATH hovers over him with an evil grin.

HEATH
What's wrong RILEY, you look a little ill.

RILEY
Shit.

HEATH
You got that right and you are in a heap of it. Pick him up and bring her too.

HEATH EXITS the small room, looking disgusted as he brushes off some powder off his neatly pressed suit and overcoat. The TWO COPS lead RILEY and HALEY out of the bar.

INT. COURTROOM

DEATH strides confidently into the courtroom.

PIG BALIFF
Oink...oink...court is now in session.

HALEY BUNNY and HARRY are led out by a couple of PIT BULL COPS. As DEATH raps his gavel, the TWELVE PIRATES pop up in the jury box. A WEASEL lawyer snaps open his briefcase. An assorted GALLERY of RODENTS and LIZARDS look on intently.

DEATH
Harry Monkey is charged with the cold blooded murder of Marty Belcher. The jury will now direct their attention to exhibits A, B and C.

The WEASEL LAWYER displays photographs of HALEY BUNNY and MARTY in embrace, a blow up of one of the photographs in which devils horns are drawn on two and the words "die bitch die" and a forensics photograph of the dead body.

DEATH
Motive and evidence, how do you find the defendant?

Once again the PIRATES raise their beer mugs and in UNISON chant "A-a-r-r-g! Guilty"

DEATH
Guilty as charged. Case closed.

Death raps his gavel. The weasel slams his briefcase shut. Now two pig bailiffs wheel in the dunk tank. Death walks over to Harry.

DEATH
For this heinous crime, I sentence you to the tank!

HARRY
No, no! You can't take me, I didn't do it!

HALEY
I'm sorry Harry, I tried to tell them.

DEATH
For you Haley, for aiding and abetting, you are sentenced to spend eternity in hells kitchen entertaining the scourge of society. Forever!

DEATH CACKLES.

HALEY
Hey, doesn't Harry at least get a chance to defend himself?

HARRY
Can I get a second opinion? How about a drink at least?

DEATH
Why not? This case marks the end of my glorious career. I'm retiring and I just saved a bundle on my car insurance.

HALEY
Yeah? Well don't let the door hit you in the ass, you might break the mayors glasses!

DEATH pours a glass of whisky, filling it the brim and gives it to HARRY.

HALEY
Here you go baby, say hi to Steve for me, I miss the little guy.

HARRY
(confused)
But Haley you hated...

HALEY
Christ then I'll drink it!

HALEY grabs the drink and takes out a lighter and set the drink on fire and throws it at DEATH as if it was a molotov cocktail.

The drink hits DEATH exploding in a ball of fire. The judges bench, the bailiffs, the jurors, everything goes up in flames.

HALEY uses the distraction to punch the PIGS holding HARRY and then grabs him by the hand.

VARIOUS GALLERY animals join in on the action. A LIZARD whacks the WEASEL LAWYER in the back of the head with a chair.

A SNAKE crawls behind DEATH who's blinded by the fire and wraps himself around him and begins to squeeze.

TWO RATS gnaw on DEATHS ankles until he falls over, they start to dance on his head.

The LIZARD is now giving the WEASEL head buts like a pro- wrestler.

Finally DEATH wrestles his mouth free from the coiled snake.

DEATH
Get them!

As more PIG COPS ENTER the court room, HALEY BUNNY tips the tank over sending the water spilling toward them. The PIGS recoil from the water. Even DEATH cowers.

EXT. TERMINAL VELOCITY BAR -- DAY

HALEY and RILEY race down the street from the bar, toward HALEY'S pink Corvette.

RILEY
I don't the good old detective will be able to screw anyone over for a while.

HALEY
He won't be screwing for a while period.

HALEY opens the door of the car and slips over to the passengers side to let RILEY in.

INT. HALEY'S CAR

LEY goes to start the car, but the key is gone. Now from behind them comes the sound of a unique sports car, coming to a stop. A well dressed women leans out and directs herself to hALEY. She is a friend and fellow stripper named DAISY.

DAISY
Need some help Haley?

EXT. HALEY'S CAR

HALEY sighs with relief and jumps out of the car, RILEY in tow. HALEY, excitedly returns a reply to DAISY'S query.

HALEY
Hell ya! Nice timing as usual Daisy.

DAISY
Where you been, girl!

RILEY frantically looking around approaches behind HALEY.

RILEY
Girls, please, can we catch up on old times later?

EXT. PASSENGER SIDE OF DAISY'S CAR

HALEY and RILEY quickly jump into the car which is a rear engine mounted two seat model, which forces RILEY to lie prone into the space behind the front seats. HALEY jumps into the passenger seat hard, knocking RILEY in the head with the seat. DAISY leans over and hugs HALEY.

RILEY
Can we hurry, this isn't comfortable.

DAISY
Sorry.

The car zips away in a spray of sparks. The horn blares to the tune of the "William Tell Overture"

ANGLE ON TERMINAL VELOCITY BAR-THE COPS

come piling out. They search every direction. Detective HEATH comes out holding his crotch still in agony. He spots HALEY and RILEY in the convertible. The COPS and HEATH make a mad dash for their cars.

HALEY

Admires the sleek car with all it's leather interior and flashy sound system.

HALEY
When did you get this baby?

DAISY screams over the scream of the engine.

DAISY
A couple of months ago, business has been great! She's quick too, hang on!

With a ferocious up shift and a roar of the engine the car speeds up, prompting RILEY to let out an uncomfortable scream as he bounces around in the hole behind the seat. His feet bounce over the side of the car.

INT. HEATH'S CAR

Lagging badly behind. It's followed by a squad car, both with sirens blaring. HEATH turns to a UNIFORMED OFFICER in the passenger seat.

HEATH
What the hell do they have in that car?

UNIFORMED OFFICER
A three fifty turbo with a four barreled carburetor and nitrous oxide. Sir.

HEATH
I meant that rhetorically, dumb ass. Shut up.

UNIFORMED OFFICER
Yes sir.

EXT. STREET

HEATH'S town car makes a horrible sound as it hits its maximum RPM. The second squad car passes HEATH in a burst if speed.

HEATH
(dismayed)
Even the squad cars are faster than this Swedish piece of crap.

INT. DAISY'S CAR

Rockets down the street. DAISY takes a turn so wide she barely misses a hot dog cart as she drives over the curb onto the sidewalk.

HEATH'S CAR

The squad car isn't so lucky. It crashes into the cart, just after the vendor has enough time to bail out of the way. The collision causes the cart to explode in a shower of condiments, water and hot dogs all over the hood and windshield of the cruiser.

DAISY'S CAR

DAISY, HALEY and RILEY peeking up from the rear look back over their shoulder, laughing at the predicament of the cop.

HALEY
(with a whoop)
Now that's what I call giving it a little mustard!

Up ahead a delivery truck is double parked in an alleyway with only a small portion of the road clear. DAISY weaves around it just as they are about to crash into it.

HEATH'S CAR

Is much bigger. It tries to weave around the truck but smashes into the back, causing a television to fall off the back and come crashing down onto the hood.

RILEY

Looking back,

RILEY
Now that's what ~I call a close up, FYI Heath!

HALEY
Where did you learn to drive like that?

DAISY
I dated a race car driver once, he showed me how to drive, I showed him a few moves of my own.

RILEY
Figures.

DAISY weaves through traffic, scooting between cars. Two motorcycle cops join in on the chase. Up ahead traffic is stopped for a red light. With no where to go, DAISY guns it.

DAISY
Oh shit, hold on!

HALEY sucks back into her seat as DAISY'S car is nearly side swiped by two cars passing in rear and front of them.

WIDE SHOT

When DAISY clears the intersection we see the carnage left in the intersection, two cars have stopped in the middle, blocking a row of traffic from the opposite direction. The PEDESTRIAN'S yell obscenities.

BEHIND THEM

The crippled, HEATH car free of its encounter with the delivery truck, has a large dent in the hood. The front cover from the television hangs around the areal.

FROM THE AIR

We SEE a police helicopter flying after the fugitives, who's car is speeding along a tree lined street. Two COPS on the street string out a spike strip.

DAISY

Swerves right crashing over the embankment, now she swerves back left to avoid the half deployed spike strip, but one spike catches a tire, causing a loud explosion.

RILEY
What the hell was that!

DAISY
They blew out a tire, with a spike strip, no problem, I've still got three. Hey Riley, there should be some flares back their, hand them up.

RILEY
What! What the hell are you going to do with fares?!

DAISY
(coyly)
You'll see.

RILEY passes up th flares to HALEY who looks on in confusion.

DAISY
Light it and hand it to me.

HALEY
What!

DAISY
Do it now!

HALEY, scared, snaps the tip of the flare causing it to light in a sea of flame and smoke. She hands it to DAISY gingerly as if she expects it to explode.

FROM A CROSS STREET

The TWO MOTORCYCLE COPS approach as DAISY screams through the intersection. At the last second, DAISY flips the flare out of the car.

THE FLARE

Spins in slow motion through the air, finally landing in the lap of the approaching MOTORCYCLE COP. The cop swerves into a ditch of stagnated water.

When the smoke clears we SEE the MOTORCYCLE COP being helped out of the ditch by his partner, the bike is destroyed.

EXT. WINDING STREET

DAISY is leading a convoy of POLICE VEHICLES up and down the hills. Beside two more MOTORCYCLES, there are half a dozen squad cars.

But as DAISY comes over the last crest, we SEE the road dead ends into a lake. The POLICE have blocked off the street from all directions with squad cars. HALEY and a scared RILEY see the dead end approaching fast. RILEY ducks back down behind the seats, HALEY covers her head, bracing for impact.

DAISY
Hope the brakes still work!

DAISY hits the breaks. Smoke pours from the damaged front tire as they burn up, their speed is barely broken.

HALEY
Oh sh-i-te!

The car smashes through the wooden novelty fence surrounding a park picnic area and sails into the lake. The car comes to a sudden stop.

THE POLICE CARS

Screech to a stop at the edge of the lake. HEATH jumps out and yells out to the fugitives in the car. He turns to the other COPS with a smirk, when he turns back again, the smirk disappears from his face.

ANGLE ON THE LAKE

HALEY and RILEY watch terrified as the water starts to rise up along the sides of the convertible.

HALEY
We're going to die!

DAISY
Relax, watch this.

THE CAR

DAISY flicks a switch on the dashboard, the wheels rise up and a jet ski nozzle drops from the undercarriage of the car. The rear mounted outboard intake starts up on the hybrid water car with a roar. The TRIO start off across the lake.

They head in the direction of a party boat anchored a few meters out. The GUESTS on the small craft look on with open mouths.

THE PARTY BOAT

The three fugitives pull upside the boat. They are greeted with a wave of cheering from the mostly teen party goers. One throws down a can of beer to RILEY, who catches it, pops the top and drinks it down in one gulp as he shakes from a combination of cold and nerves.

PARTY TEEN
That car is the shit man!

DAISY'S CAR

RILEY still shaking down the last of the beer.

RILEY
Ya, cool car, now can it get us out of here?

DAISY
No problem.

DAISY smiles as she slams the gear shift throttle control into high gear, causing the car to jump out of the water and RILEY to ll back into his hole and hit his head again.

CUT TO:

EXT. ALLEY -- EARLY EVENING

DAISY peeks around the corner, then tip toes into view, RILEY then HALEY follow down the alley until they stop in front of a back door.

HALEY
Thanks, Daisy.

DAISY
If you ever need me, just whistle.

HALEY
Will do, keep your nose clean.

DAISY
You two, nice to meet you Riley, thanks for the tire.

RILEY
Same here. No problem, anytime.

DAISY waves and disappears back around the corner. The SOUND of her car peeling out is heard. The RILEY goes to the door and unlocks it. As he and HALEY head up the stairs...

CUT TO:

INT. BUILDING-CLOSE-DOORWAY

A hand painted design on the glass shows a winged horse. The lettering around it says "Jacobson and Son Animation"

RILEY sticks his key in the door and unlocks it. HALEY studies the banner.

HALEY
And son?

RILEY
My dad. Get inside.

He ushers HALEY into the office.

INT. OFFICE

It's a small office with a drafting table, small couch and a window. Behind the table is two stools. RILEY closes the door and locks it.

HALEY
Your dad was a cartoonist?

RILEY
One of the best back in the sixties. He was master of the nine panel strip. His Penny the Loafer strip was one of the best.

HALEY
What happened to it?

RILEY
Ashton stole the idea before my dad could copy write it. He changed the name and sold it to a rival. Left my dad broke.

HALEY
At least you are keeping his name alive.

RILEY
And Ashton is doing what he did to my dad all over again to me. He's going to leave me penniless.

HALEY
Don't talk like that, no he won't. Lets get some rest.

RILEY
Sure, we can't do anything until morning anyway.

RILEY moves a stack of animations off the couch and lies down, HALEY slides beside him.

CLOSE UP- RILEY

The problems of the day weigh heavily on his brow. Finally his eyes close. After a beat, we HEAR RILEY snoring. It's loud HALEY'S eyes pop open. She rolls over and pulls the small pillow from under RILEY'S head and puts it over her head, trying to drown out the infernal sound.

RILEY- sits up.

RILEY
What's wrong?

HALEY playfully throws the pillow back at RILEY and closes her eyes. RILEY shakes his head and lies back down and closes his eyes.

We PAN UP off his face and past the window where the sun is setting. As the CAMERA moves along the wall we see a gallery of framed newspaper clippings. "Willie Jacobson newest kid on the animation block" and "Penny the Loafer walks all over the competition" and "Penny creator uses good old common sense". The PAN CONTINUES until we get to the window again. Now it's dark outside.

MOVE DOWN to RILEY'S sleeping face. He stirs, then opens one eye. Now they both pop open.

RILEY'S P.O.V.

HALEY'S eyes are wide open as well.

RILEY
What's wrong?

HALEY
Just looking around, wondering what happened. What made you so dark and embittered?

RILEY
I never told this to anyone, but I think Ashton killed my father.

HALEY
What makes you believe that Ashton's a killer?

RILEY
Ashton hated my dad.

HALEY
Ashton's rude, vile and disgusting but that doesn't make him a killer. What proof do you have?

RILEY
After my dad died, I was going through some of his stuff and I found a taped to the back of the safe in my dads office a letter from Ashton addressed to my dad. He was blackmailing my dad for the rights it the Penny strip. Ashton was threatening to expose an affair my dad had ten years earlier, that would have destroyed my mother.

HALEY
Why didn't your dad take it to the cops?

RILEY
He couldn't. He knew Ashton had his mob buddies watching his every move. If he went to the cops Ashton would have had my dad killed. So, he did the only thing he could do.

HALEY
Give control of his work to Ashton.

RILEY
Dad's career was over at that point, he couldn't take it, so he shot himself in the head. Ashton never even came to the funeral.

RILEY'S- Cell phone rings

HALEY
Who's that?

RILEY
Don't know, yet.

The phone rings two more times and stops.

HALEY
Wrong number?

RILEY
No,

RILEY answers the phone.

RILEY
Dana?

INTERCUT:

INT. TERMINAL VELOCITY BAR

DANA, on the phone.

DANA
Your there good. Barton's been looking for you. He says he needs to talk to you tonight. He says he can help you.

RILEY
I bet. Straight to jail you mean.

DANA
Give him a call Riley, you can trust him.

RILEY
What have I got to lose? Keep it cool Dana.

DANA
I will, I'm closed for a couple of weeks for renovations, when I reopen I'll be looking for a new house singer, know one?

RILEY
Sounds great, I'll tell her. When this things over, we'll all get together. How does that sound?

DANA
Be careful Riley.

DANA hangs up the phone.

INTERCUT:

INT. OFFICE- RILEY

He clicks off the phone and dials.

RILEY
Barton? What do you want?

ROGER
(on the phone)
I can help you put Ashton away.

RILEY
I'm listening.

ROGER
(on the phone)
Meet me at my office at ten o'clock. If you know what I think you do we can stop Ashton for good.

RILEY
Know what?

CLICK. BARTON hangs up. RILEY clicks off his cell phone and goes to a small safe. He spins the combination.

HALEY
Do you think you can trust BARTON?, He's been Ashton's right hand man for years.

RILEY
I have to, I've got nothing to lose. I have to stop Ashton before he does what he did to my father to me.

HALEY
I'm coming with you.

RILEY
Forget it. This could get messy.

RILEY reaches into the safe for a black .22 caliber hand gun. He checks the clip. Then he takes out a box about 8"x12". He closes the safe, puts the gun into his waist band and puts his shirt over it, then the box into a bag.

HALEY
I can handle myself Riley, let me come.

RILEY
No Haley, if Ashton shows up, I don't want you to get hurt.

RILEY goes to the door, pauses.

RILEY
If I don't come back by midnight...

HALEY
Don't say it.

RILEY
Listen to me, if I'm not back by midnight, go to the Valhalla Room in Queens.

RILEY closes the door, leaving HALEY alone. She paces back and forth.

HALEY
(out loud)
The Valhalla? Why that crap hole?

EXT. BAR-GOON STUDIO -- NIGHT

The building is deserted. Now a headlight cuts through the darkness. BARTON'S car pulls up in front of the building.

INT. BARTON'S CAR

ROGER reaches over and opens the glove compartment and takes out a small semi-automatic handgun. As he gets out of the car we SEE the clock on the dash says 9:55.

INT. BARTON'S OFFICE-OUTSIDE

BARTON ENTER'S from the fire stairs and hustles up to his office door. He looks nervously over his shoulder, then goes inside.

INT. BARTON'S OFFICE

ROGER switches on a small table lamp. He goes to his desk and takes out the gun and puts it in the left hand drawer. He then opens the right hand drawer and removes a sixteen ounce bottle of whisky, half full. As he removes the cap and starts to take a drink with his shaky hand, another hand comes into frame.

RILEY
Don't waist the good stuff Barton.

BARTON jumps back as RILEY steps from the darkness holding the bag with the box in it.

ROGER
Shit! Riley!

RILEY
Sorry I had to make sure it wasn't a trap.

RILEY takes the bottle from BARTON and takes a drink. BARTON goes and sits down in his chair. He looks to the gun in the hiding place. RILEY walks around the desk and leans over BARTON placing his hand on the drawer.

RILEY
You're too stupid to be a killer.

ROGER
Your right. I'm not a killer.

RILEY
But you make a great lackey.

ROGER
No, you have to understand, Riley, I had nothing to do with that bouncer getting killed. I just wanted to get Ashton off my back, so I went along with his plan to get rid of Haley's boyfriend. That was the only way her dad would buy Bar-goons. We needed his money or the studio would close.

BARTON gets up from his chair, highly agitated.

ROGER
It embarrassed Merrick to have her daughter dating a bouncer of a strip club. But then it all went to hell. I've been doing this job all my life. I can't sit around and watch it all be destroyed.

BARTON eyes RILEY'S bag.

ROGER
You got what I asked for, the deed.

RILEY
No, I don't.

ROGER
What the hell are you trying to pull Riley?

RILEY
Take it easy.

ROGER
There's no time to take it easy! You don't realize how sick Ashton is!

ANGLE ON WINDOW

a SNIPERS RIFLE is poised set to fire from an open window across the street.

ROGER
If you don't have the deed by midnight, we can all kiss our asses...

RILEY

Sees a reflection of a snipers scope in the glass of a framed cartoon poster on the wall. He turns. But it's too late! The SOUND off a silenced bullet followed by broken glass. BARTON crumples, caught in mid sentence. RILEY dives behind the desk and draws his gun. He looks over at ROGER's dead body on the floor.

RILEY
(under his breath)
I ain't kissing anything.

RILEY crawls to the window where the shots came from. He looks out.

RILEY'S P.O.V

The silhouette of HALEY runs to he car, jumps in and roars off.

RILEY

Grabs the bag, runs out of the office and heads down the fire exit stairs.

EXT. OUTSIDE BAR-GOON'S -- NIGHT

RILEY jumps into Barton's car. He hits the gas and takes off after HALEY.

NEW ANGLE

As the car pulls away, the trunk lid lifts. HARRY peers out, disoriented, then closes it.

EXT. STREET -- NIGHT

HALEY'S Corvette speeds along. RILEY in close pursuit in BARTON'S car when HALEY'S car disappears into a tunnel.

RILEY

Slams on the brakes. The car goes fishtailing finally spinning to a stop at the foot of a "Quill Club" billboard.

RILEY gets out of the car irate. He looks down the tunnel. He paces back and forth at the tunnel mouth. He looks up at the billboard and the characture of Haley and suddenly smashes a road sig with his fist. It spins around and catches him in the back of the head. RILEY stumbles forward but catches himself.

Embarrassed and mad RILEY walks back to the car with purpose. He grabs the bag and puts it on the hood. He opens it and takes out the box.

CLOSE-BOX

As the box is opened, REVEAL his dads silver Smith and Wesson revolver.

RILEY

Takes the gun tucked into his pants and places on the hood of the car. Then picks up his dads gun and holds it respectfully. Then he clicks open the chamber to reveal a fully loaded clip of bullets. RILEY is obviously prepared for the worse.

RILEY
(to himself)
I've been drunk for the past five years, no more. It's time for Riley Jacobson to stand up and fight.

He cocks the hammer back. The gun is ready to fire a round. RILEY takes a half empty 16oz bottle of booze from his pocket and unscrews the cap with his teeth and pours the rest of the liquor on the ground. When it's drained, he tosses the bottle into the air and fires off the shot. It makes the sound like a cannon.

RILEY

Watches as the bullet shatters into tiny fragment that fall to the ground at his feet. RILEY tucks the gun into his belt, grabs the second gun off the hood and climbs back into the car. He puts it into gear and pulls into the tunnel.

IN THE TUNNEL-DRIVING

As RILEY drives toward a light at the other end of the tunnel, a song comes over the radio.

RADIO ANNOUNCER
Welcome to the oldies hour. Here's a favourite, love hurts.

The song starts "L-o-v-e H-u-r-t-s"...

RILEY punches the next preset button but to no avail. The song plays on the next station and then the next. Fed up he hits the off button.

RILEY
(annoyed)
Fucking stupid song!

RILEY emerges from the tunnel.

RILEY'S P.O.V

Through the wind shield we SEE we have arrived in a town straight out of the "American Gothic" painting. It's a beautiful sunny day. RILEY is now driving down a completely animated 'Norman Rockwell' painting. The trees and buildings bend inward as if to greet RILEY.

He looks to his left and SEES a huge wolf hood ornament on the front of an ANIMATED 1936 Rolls Royce. Then as the car starts to pass him he sees another wolf...then another...another...another...more wolves, sixteen in all, all in a pack along the full length of the enormous hood.

Finally Riley sees the driver, "Howling Wolf" We remember from the "Quill Club", he's wearing a pair of wrap around shades and flashes a diamond incrusted smile. An ANIMATED LAMB sits in the passenger seat. HOWLING WOLF flashes the middle finger and a grin.

HOWLING WOLF
Loo-ser

Now RILEY arrives past an ANIMATED BUILDING under construction. The construction company sports the name "BS Construction". The sign out front says: "Building for Our Future". RILEY looks up and before he can drive by, the building gets built floor by floor like an erector set in about two seconds, with accompanying sounds.

UP AHEAD the street is clear for blocks. Then suddenly cars pour out of all side streets at once, clogging the street. There is mad honking and aNIMATED ANIMALS yelling and screaming. RILEY shakes his head. He pulls over and parks and gets out.

RILEY pulls out his gun. Suddenly the street empties in the blink of an eye. Shutters close and doors lock. It's so quiet you can hear a pin drop, or in this case a crow bar smashing against something metal and then hitting the ground. RILEY whirls around, levelling his gun at the sound.

ANGLE ON THE CAR-HARRY

peeks out of the trunk of the car.

HARRY
Don't shoot, riley it's me!

RILEY lowers the gun as HARRY emerges.

RILEY
What the hell are you doing here!

HARRY
I followed you to Bargoons, I figured you could use my help. When I heard the shots, I dove for cover in the trunk. Then the lid closed and I got locked in.

RILEY shakes his head in disbelief.

RILEY
Remind me to never let you help me again.

RILEY heads across the street with HARRY in tow.

AROUND THE CORNER

Stops at a street sign. The names are written in a foreign language. Up to a directional arrow pointing down the street and finally a sign which says "Low Do Ho The Best Rabbit in Town". RILEY follows the arrow down the side street to a high rise building.

INT. HIGH RISE BUILDING

RILEY catches a glimpse of the ANIMATED HALEY darting into the elevators. He runs like a dog after her.

RILEY goes to the elevators and watches the floor indicator slowly going up until it reaches the fiftieth floor with a ding. A second elevator opens. RILEY steps in.

IN THE ELEVATOR

RILEY hits the fiftieth floor. The elevator takes off at a gut wrenching speed. RILEY is bounced around the car viciously. The doors open. He gathers himself and steps off the elevator.

NEW ANGLE

As the door opens we HEAR dark foreboding music, ala an old fifties mystery movie. We SEE...

A DARK CORRIDOR

Wearily RILEY walks down the hallway, gun drawn. There's a noise from behind him. RILEY turns around as a dead body falls out from an apartment landing at RILEY'S feet. A gangster VOICE like that of 'James Cagney' comes from behind RILEY.

GANGSTER VOICE
You dirty rat!

RILEY whips around to see an ANIMATED CAT perched on a RAT picking his teeth. RILEY kicks the cat. The cat scrambles for cover.

As RILEY continues on, we see...

HALEY BUNNY

Steps out of the shadows behind him and aims a gun at his back.

HALEY
Don't move, Riley.

RILEY turns around slowly to see HALEY'S gun pointed directly between his eyes.

RILEY
I always had a feeling it would end like this.

HALEY BUNNY fires. A cloud of smoke, when it clears, RILEY is still standing. We hear a crash behind RILEY as a large figure falls to the ground from an overhead air duct.

HALEY
I think I got him.

HALEY runs past RILEY to the figure. He follows bewildered.

ANGLE-ON THE GROUND

We SEE a large GORILLA ARM.

RILEY
Christ you killed Harry!

HALEY
That's not Harry. It's Marty. He faked his own death.

HALEY moves to the head and tugs on it, peeling off the latex face. Underneath is MARTY the BOUNCER. In his hand is a gun.

RILEY
Haley, I think I owe you an apology.

HALEY
Oh don't worry, you will be apologizing, a lot...for the rest of your life. But, that's going have to wait. Lets bail!

As they RUN down the fire exit steps...

CUT TO:

INT. BARTON'S CAR-HARRY

Is behind the wheel impatiently revving the engine. He accidentally puts the car into reverse at high speed.

AROUND THE CORNER

HALEY and RILEY come racing down the street.

HALEY
It was Death who helped Marty fake his death and then he pinned it on you.

RILEY
Why didn't you tell me?

HALEY
I didn't know if I could trust you.

RILEY
We're even, by the way, I got your ex-husband with me.

HALEY
(excited)
Where is he?

RILEY
He's right here in the...

The SOUND of a speeding car coming towards them and a scream.

RILEY
...car coming right, now.

He shakes his head.

INTERCUT TO:

THE CAR

Is reversing down the street towards them. Out of control HARRY slams through a fruit stand, produce all over the windshield. Unable to see. HARRY nearly hits a POODLE delivering newspapers. As the POODLE dives out of the way, HARRY waves to the dog.

HARRY
Hey, I've got a scoop for you kid.

INTERCUT TO:

RILEY AND HALEY

Who are now facing a squad of ten ANIMATED DOBERMAN COPS. They charge in a snarl of teeth and claws.

RILEY knocks HALEY to the ground. The dogs leap over them and go crashing into a pile of used toilets. One of the dogs comes INTO FRAME with a toilet seat hanging around his neck.

RILEY picks up a watermelon from a nearby stand and bowls it toward the ten dogs, knocking nine of them down. HALEY throws her purse at the remaining dog, knocking it over. HALEY and RILEY whoop as if they picked up the spare.

RILEY
How did you know about Death?

HALEY
Marty told me. Death was after the club, so he could shut it down. That's why he tricked him into helping him fake his own death. He promised him he would split the insurance money with him, if Death left the club alone

RILEY sees another DOBERMAN trying to attack. He wheels and punches him in the long snout. Sending the dog reeling with a whimper.

RILEY
How did he expect to make his return?

HALEY
He planed on getting plastic surgery and laying low until it heeled. In the meanwhile I was to run the club as it stated in his will

RILEY
But the will Death found was blank.

HALEY
I had the real will.

Now DOBERMAN'S are coming at them from every direction. RILEY aims his gun at a tanker rolling their way. But when he pulls the trigger the gun clicks. Empty.

HALEY
It looks like this could mean our ink has run dry.

RILEY
Let me guess where you get your bad puns from.

RILEY shakes his head. Now they are completely surrounded by DOBERMAN'S.

RILEY
Well I guess we won't be dunked in vain.

Suddenly, there's a rubber burning screech as HARRY arrives with an ANIMATED DAISY. She is a statuesque, amazon beauty of a RED FOX.

HARRY
Look who I found?

DAISY
I told you, anytime you needed help...

HARRY whistles. RILEY and HALEY climb in. The four take out a few more DOBERMAN'S sending them crashing like spinning tops.

DAISY spins off taking a hard right into the next block when it starts to snow. DAISY starts to loose traction. Barton's car starts to skid and slalom.

The dogs pursuing are now HUSKIES tied to a dog sled. On the back if the dog sled driving is DEATH wearing a black hooded cloak. The SOUND of out of tune sleigh bells accompany.

HARRY grabs a barber pole as they pass a barber shop and throws it at the dogs javelin style. The pole lands in front of the sled, sticking in the ground, causing the dogs reigns to wrap around it. The HUSKIES and DEATH crash into each other and then to the ground

HALEY
Riley, do something, get us out of here.

RILEY
How?

HALEY
Draw!

RILEY grabs a pencil and paper from the glove compartment.

RILEY
Hold on a second.

DAISY quickly speeds toward the end of the road. At the end, a dark bottomless pit.

HALEY
Hurry, Riley!

RILEY, hurriedly starts to draw a bridge at the end of the road, but the pencil breaks in two. The sharp end falls onto the floor. The road with the half finished bridge approaches fast. Quick thinking RILEY grabs his lucky drafting pencil from his jacket and scribbles a rainbow stretching over the abyss.

DAISY makes her break for the rainbow, just in the nick of time.

EXT. RAINBOW-NEW YORK SIDE

A roadblock is set up in front of the road. From over the rainbow the SOUND of Barton's car engine coming closer. Now a FOOT comes out of the darkness and stands behind the roadblock. As the SOUND of the car gets very loud. Flames erupt from the tip of a flare.

NEW ANGLE-THE FOOT

Belongs to DEATH. DEATH smiles sadistically as the car with HALEY, RILEY, HARRY and DAISY aboard comes shooting down the rainbow like as if it was a slide. When DAISY SEES the trap she hit s the breaks causing the car to skid.

DAISY
Uh-oh...hang on to your...what ever!

The tires explode as they hit the spike strips. Without tires, DAISY spins out of control, finally ending up in the ditch.

Before anyone can make a move the car is surrounded by a pack of ANIMATED PITBULL, RATWEILLER, and DOBERMAN dogs all holding buckets of water.

DEATH
Who do we have here?

DEATH opens one of the cars doors and helps HALEY out. RILEY climbs out after her. The DOGS quickly take his guns. HARRY and DAISY are held at bay by the DOGS holding the water.

DEATH
It's not safe to be in this town alone, a person can get dunked very easily.

RILEY
Your the one who needs to be dunking!

DEATH
Enough of your crap!
(to the DOGS)
Put him in my car. I think they'll enjoy the opening of my new place.

The DOGS prod RILEY and HALEY into DEATH'S Hearse. A DOG refers to HARRY and DAISY.

DOG
What about them?

DEATH
Erase them.

DEATH climbs into the car and zooms off. Sounds of water being thrown and screaming are heard from behind.

DAISY

Crawls out from the ditch.

DAISY
Bastards!

She makes it up the road. And sees the car has been destroyed by the dunk water, she looks around for HARRY we see...

HARRY ducked down under the seat of the destroyed car.

DAISY
Harry, your alive!

HARRY
Nobody tries to dunk this ape and gets away with it, lets go!

DAISY hobbles over to the car and gets in the drivers seat. The car is just a chassis, wheels, engine, two front seats and steering wheel.

HARRY
To the club!

DAISY
Who the hell are you Batman!

HARRY
No, I'm...
(dramatic pause)
Ape Man!

The wreck of the car lurches as DAISY speeds away, out of frame.

DAISY
Good lord Harry get some new material.

INT. QUILL CLUB

DEATH'S car is parked inside the lot. There are several other cars parked as well. There's a bulldozer, wrecking ball and huge tanker truck, full of water.

RILEY AND HALEY

Are held at gunpoint by a couple of DOGS, while several others are busy swinging the wrecking ball at the brick wall at the far end of the building. DEATH turns to the DOGS.

DEATH
Search her. See of she has the deed and will.

Several Dogs pounce for the opportunity to frisk Haley. The head Dog slaps another out of the way. He then proceeds with the task, panting and slobbering. He starts to move his hands over her body when Haley knees him in the groin.

HALEY
Get your hands off me you slimy mut!

The DOG drops to the ground, groaning in pain.

DEATH
Nevermind.
(checks his watch)
I don't expect that the deed will show up in the next five minutes. By then I will own this place, legally.

HALEY
You're the ultimate evil.

DEATH
Don't flatter me, I'm not that good...
(pause)
Yet.

RILEY
Come on Death, what the hell do you want with this place anyway?

The wrecking ball operator delivers another swing at the wall, bringing down a rein of bricks from off the corner.

HEATH
It's not the club, its the land I want.

DEATH goes to the truck and starts turning on the valves and compressors.

HEATH
You see this club was built over an old tunnel.
(to demolition man)
Start flooding the tunnel, as soon as the pressure comes up.

The DEMOLITION MAN nods and starts to work the leavers. The truck starts to make a high pitched whine as the pressure in the valves increase.

HALEY
Tunnel?

HEATH
That's right. During a routine inspection I found an old rum running tunnel used by the back in the thirties, right under the club.

RILEY
What do you want with an old rum tunnel?

HEATH
The tunnel runs right into Canada. My friends up there have already sealed their ed with a valve, once I knock this dump down, I can do the same. Once I flood the tunnel, I can just float in all the crack I can sell.

EXT. TERMINAL VELOCITY BAR

DANA and DAISY have been watching the proceedings through a window. They turn to each other stunned.

DANA
I don't like the looks of things over there.

DAISY
We have to do something?

DANA scurries back to the bar and grabs a gun from a lock box under the counter.

DAISY
What are you planning to do with that?

DANA
Riley's a good friend and I plan on saving him, stay here.

Reluctantly, DAISY ducks behind the counter.

DANA
Okay, but be careful.

DANA runs back to the window.

EXT. QUILL CLUB

HEATH grabs a hose connected to the water truck and carries it over to the entrance of the tunnel uncovered by the wrecking ball.

HALEY
You're sick Heath. Those drugs will kill thousands.

HEATH
What do you care?

RILEY
We care a lot.

HEATH
Who cares if a couple thousand junkies die, it's not like they have a future. I'm just trying to quicken their death and save the city a few million, wasted on taking care of the slime.

EXT. TERMINAL VELOCITY BAR

DANA, draws her gun and heads out of the club.

DANA
Here goes nothing.

EXT. QUILL CLUB-HEATH

Continues expansively.

HEATH
Right here where your standing, will be the gateway to the new trend in commerce.

RILEY
You mean your gateway to hell.

HEATH
I'm only doing smart business, there's a demand for my product and I found the quickest and cheapest route to supply the goods.A win, win for everyone.

RILEY
That's what this is all about. Tell me, what are you going to do when all your customers are dead?

HEATH
Don't worry. I plan to start small. I'll introduce my customers to my product a few tons at a time, in a low grade dose. I'll get them hooked and then let them spread my message to the masses. You se, the demand will never dry up.

HALEY
You are sick Heath!

HEATH steps up into their faces. Behind him several if the DEMOLITION CREW grab pipes, wrenches, anything that can be used as a weapon.

HEATH
I'd offer you some free samples, but I don't think your going to be around long enough to make it worth my effort.

Suddenly DANA EXPLODES into the parking lot, gangster style, leveling her gun at HEATH.

DANA
Step back from them or I'll kill the bastard!

HALEY
Riley, here, take this.

HALEY grabs a gun hidden down in her dress and hands it to RILEY.

RILEY
I new those would come in handy some day.

HEATH
Put the guns down you idiots, before you get yourself killed.

DANA
Go ahead, give me a reason to blast holes in you.
(over shoulder)
How you doing Riley?

RILEY
Real good Dan...but maybe I should take over.

DANA
And deny me my right to fulfill my civic duty, and rid the city of this corrupt piece of trash.

Milking the moment, she shifts the gun from hand to hand and circles HEATH. RILEY covers her.

DANA
You think you could get away with this?

P.O.V OVERHEAD

We look down on the proceedings from high in the cab of the wrecking ball crane. PULL back to REVEAL we're watching from the POV of the operator. Who's smiling with his hands perched on the swing control lever.

The OPERATOR calmly nudges the lever sending the ball swinging toward RILEY.

CLOSE- RILEY

He never sees the ball coming. Smash! The ball glances off him, sending him flying one way and his gun the other.

HEATH
Oops, sorry, I forgot to say heads up Riley!

HEATH picks up the gun. HEATH'S GOONS pick up RILEY. He shakes his head, HALEY looks on with concern.

HEATH
I'll be taking that.

HEATH grabs DANA'S gun.

HEATH
Tie the three up.

The GOONS grab ropes and tie them around the hands of HALEY, RILEY and DANA. They take a longer rope and hook it to the power winch. They hit the button and raise RILEY until he is ten feet above the ground, right in the path of the water tanker.

HEATH
Hit the hoses and let his friends watch him drown, then kill them and throw the bodies into the tunnel.

HEATH turns and starts to walk away.

ANGLE ON THE GROUND.

HEATH hits a patch of water and falls on his rear end.

THE GOONS

Break up at HEATHS misfortune. The one in charge of the water is so overcome with laughter he hits the down button on the winch, lowering RILEY. RILEY takes the opportunity as he is being lowered to kick the operator in the stomach, sending him reeling. RILEY tries to grab the down leaver with his teeth. Last he gets it:

HEATH
Nice try.

HEATH walks over to the water truck and hits the pump engines.

The engines groan back up to life. THREE GOONS take up position on three large hoses and aim them at RILEY.

Beads of sweat break out on RILEY'S face.

A GOON with a look of evil, starts to turn the leaver on the hose to the open position.

HALEY
You guys think this is real funny, don't you?
(to RILEY)
Don't give up Riley.

At the last second RILEY shouts at the GOON.

RILEY
Hey!

The GOON looks up to him.

RILEY
Before you kill me, I want you to know something.

GOON
What's that?

RILEY
Your ass is about to become grass!

Suddenly DAISY comes speeding into the lot in an old beat up car. She heads straight for HEATH, crashing into him sending him flying onto the hood.

TIGHT ON HEATH'S FACE

HEATH looks terrified as he watches DAISY laugh as she drives the car over too a large mud puddle and then slams on the breaks.

HEATH goes sailing off the hood and lands head first into the mud.

DAISY reverses quickly and heads into the pack of GOONS sending them in all directions. DAISY then points the Juggernaut at the crane.

She revs the engine and races in a head on tact towards the side of the crane. At the last second she bails from the speeding battering ram.

HALEY
Everyone grab cover!

HALEY and DANA run behind the winch and hit the down button, sending RILEY crashing to the ground in a heap. DAISY joins the trio and takes cover.

IN THE CRANE

The GOON in the crane collapses in the swinging lever, as the car crashes into the crane. The ball swings wildly toward the water tanker, hitting it, causing the tank to burst open spraying water everywhere as if an damn burst.

RILEY spots HEATH trying to escape, soaked he stumbles to his feet and flies across the lot and hits HEATH with a flying tackle. They both hit the ground.

HEATH gets up, leaving RILEY stunned. He sprints pt where the gun has been dropped. RILEY shakes it off. He sees HEATH about to reach the gun. He sprints across the lot for the crane hook and swings it around toward HEATH, hitting him square in the chest, sending him crashing into a pile of supply boxes.

RILEY takes the moment to pick up HALEY and hold her in his arms.

HALEY
Riley, I want you to know that I love you. I have always loved you.

RILEY
If this is it for us , I want to die in your arms.

They both close their eyes, waiting for the worst to happen. As the GOONS close in on them from all sides. But it never comes.

HARRY
Get down!

HARRY and STEVE have climbed aboard the steamroller and start it up. HARRY puts it into gear and starts it rolling toward DEATH.

DEATH comes around to see the huge steamroller bearing down on him. At the last second DEATH grabs a two by four and hits HARRY in the shoulder causing him to turn the steering wheel, swerving it into the building.

STEVE jumps DEATH. But DEATH is stronger. He throws STEVE off and starts whacking him with his fist. He pummels STEVE back against the drum of the steamroller. HARRY still in the cab grabs DEATH in a headlock with his large legs. STEVE grabs a rope and hogties DEATH'S legs with one end and attaches the other to the drum. HARRY starts the drum. DEATH frantically tries to free himself. The roller starts to suck him under.

DEATH
Noooo!

HALEY BUNNY and HARRY advert their eyes as the steamroller crushes DEATH.

HALEY, HARRY and STEVE breath a sigh of relief.

HALEY
My hero!

HARRY
(bashful)
Aw shucks.

SPANKY
Ahem, what about me?

HARRY
Oh ya, thanks Steve, oh by the way, what happened to you?

SPANKY
Oh nothing, just, Death tried to dunk me. But I fought like a tiger and hung on to the side of the tank and when the goons weren't looking I climbed out and hid until I new I could make my return.
(dramatic pause)
I-m b-a-a-c-k!

HALEY
We're all back, now where's Riley. We need him or nobody will ever read about us.

RILEY stirs from the ground in a daze and slowly takes stock of his surroundings.

INT.ANGLE DOOR OF HIS APARTMENT

DANA and HALEY come rushing into his apartment. Excitedly, HALEY runs to RILEY and wraps his arms around him.

HALEY
We did it!

RILEY
(groggy from sleeping)
Did what?

DANA
Heath, he admitted to the murder.

HALEY
Your off the hook!

RILEY
Really, yes. I mean hell ya!

DANA looks down at the stain on RILEY'S shirt. A dark stain.

DANA
Riley, are you bleeding? Do you want to go to the hospital?

RILEY looks down at the stain.

RILEY
That's not blood. That's ink. I've been working all night so I can finish these new story boards.

HALEY
New boards? For who? Bargoons is finished?

RILEY smiles with pleasure, as he delays his answer, milking the dramatic effect of his announcement.

RILEY
I sent my idea for a new strip to Cartouch Animations last week and they liked it. They want me go over to their Manhattan office and sign a contract and drop off these.

DANA overcome with emotion, hugs and kisses RILEY on the cheek RILEY is a little set back by the sudden show of compassion from DANA.

RILEY
What was that all about? When did you start caring about my work?

DANA
If this means you will start making money, than I'm happy. Now you can pay me back all the cash you owe me and get your damn ass out of my bar.

RILEY laughs as he can't disagree.

RILEY
I'll even throw in a dinner. My treat.

DANA
Deal. Hey Haley what are you going to do now?

HALEY
I think I'll give singing a try.

DANA
Your always welcome to perform at Velocity.

HALEY
I think I will. Until I can get enough cash to fix up and re-open the Quill.

RILEY feels something in his pocket.

RILEY
Remember the story in the paper about them finding a cover letter for a will and deed, but never found the actual papers?

HALEY
Ya, the cops figured Heath stole it and destroyed it.

RILEY reaches in his pocket, pulls out the paper.

CLOSE-PAPER

"LAST WILL AND TESTAMENT"

RILEY
(reading)
Last will and testament. In case of my untimely demise, I leave the property and building that the Quill Club currently sits on and my life's savings of three hundred thousand dollars, plus an insurance policy worth the double indemnity sum of one million dollars to one Haley Jacobson.

PAN

To HALEY who has tears streaming down her face.

HALEY
You scamp. How did you...

RILEY
Don't ask. What counts is that the club is now yours to do what ever you want with it.

HALEY
I'll give my customers the best music, food and drink around. No more sleazy strip club.

TWO SHOT- RILEY AND HALEY

They stand side by side looking at each other in the eye.

RILEY
What are you going to name it?

HALEY
I thought I'd name it after the man I love. I'm going to call it
(pause)
The life of Riley.

DANA,

Rolls her eyes.

DANA
Aw yuck. If you two are going to get mushy, I'm out of here. See you later. Haley, don't forget what I said, anytime, the place is yours.

A KNOCK AT THE DOOR

DAISY ENTERS.

DAISY
Hey, Haley, the guys at Velocity said you where up here. I came up to ask a favour. Can I borrow a couple of bucks so I can get my car out of the shop. That water really screwed up the seats, but you should see it now.

HALEY laughs realizing her friend doesn't know the good news.

HALEY
Sure, I think I can spring for a couple of bucks. And I would like to thank you for everything you did for us. Partner.

DAISY
(confused)
Partner?

HALEY
Let's go, I'll fill you in over a cappuccino. My treat.

A bewildered DAISY follows HALEY OUT. DANA gives a mock salute and does like wise. Leaving RILEY to gather his storyboards.

TIGHT On-STORYBOARDS ON DESK

PAN

The title reads "DARWIN'S APES" below HARRY and STEVE ANIMATE. They LOOK out of the storyboard into the CAMERA. STEVE high fives HARRY who puts his arm around his brother, with the other hand he gives the thumbs up.

HALEY BUNNY ENTERS and playfully wraps her arms around HARRY and smiles.

PAN DOWN

To the last frame, Reads:

THE END.

IN LOVE AND WAR-THE JIM STOCKDALE STORY

2006-12-23T06:53:00.000-05:00

IN LOVE AND WAR-THE JIM STOCKDALE STORY

By

Kendall Oliphant(2005)

EX. DECK OF U.S.S TICONDEROGA -- DAY

WIDE-

Fifteen single seat F-8 Crusader jets line the sides of the deck of the carrier.

TIGHT-

On the fuselage of one of the planes, an air to ground rocket hangs in its underbelly carriage

PAN-

Across the rocket and up over the fixed wing to a small insignia "Stockdale"

CUT TO:

INT. JIM STOCKDALE'S STATEROOM -- DAY

INSERT-

Headline "New York Times- Beatles single Hard Days Night Goes Number One-Yankees Out Slug Twins 6-4"

PAN-

Up to Jim writing in his journal,

JIM
My pilots and I know we are making history, yet sometimes I feel the people around us-particularly the intelligence officers, whose job it is to record our flights accurately are not conscious of the impact of what is going on

A knock at the door.

Jim closes the journal, walks over to the stateroom strong box, opens it and places the journal under some personal effects, closes the lid and locks it.

JIM
(towards the door)
Enter

A Young NAVAL OFFICER enters and solutes

YOUNG NAVAL OFFICER
The bridge requests your attendance at a mandatory meeting of all fighter squadron fifty one pilots, at o nine hundred, sir

JIM
(Surprised)
Tell the Admiral I will be right there, anything else?

YOUNG NAVAL OFFICER
No sir, nothing

JIM
Good then on your way

The YOUNG NAVAL OFFICER nods, salutes and exits.

CUT TO:

INT. BRIDGE OF THE U.S.S TICONDEROGA -- MORNING

An ADMIRAL stands surrounded by all twenty members of the SF 51. In the center JIM STOCKDALE stands attentively.

ADMIRAL
Good morning men, I am sorry to cut short your so deserved time off, but intelligence has brought to my attention something that requires your immediate knowledge. The USS Maddox is currently steaming full speed up the Gulf of Tonkin, off the coast of North Vietnam. The purpose of this mission is to reaffirm our navy's right to passage in international waters. The code name for this operation is Desoto Patrol.

PAN-

Across the content faces of the pilots. Resting on Jim. Jim's face echoes his men's content.

ADMIRAL
Good, if there are no questions, you are dismissed until twelve hundred. Good day.

Jim and the rest of the pilots nod and exit.

EXT. ABOVE THE U.S.S TICONDEROGA -- AFTERNOON

Jim takes the lead out in front of four Crusaders, flying wide formation loops around the aircraft carrier.

COCKPIT-JIM

Jim monitors the feed from the carrier as his men banter back and forth.

JIM
(to the pilot on his right wing)
Looking good Lieutenant Hastings

LIUTENANT HASTINGS
Thank you, woo wee! Sure is a 'beut up here today

COMMANDER ROBAIR MOHRHARDT
Sure is

LIEUTENANT-COMMANDER EV SOUTHWICK
Hey, Jim, looks like Mantle's a shoe in for another MVP

JIM
Looks that way Ev, excuse me

CLOSE-

Jim responds to a message from the carrier and switches his radio over to strike control.

JIM
Stockdale

STRIKE CONTROL
We have conformation from the USS Maddox of a sighting of enemy torpedo boats, take your patrol and rendezvous with the destroyer

JIM
Yes sir, I'm on my way

EXT. ABOVE THE U.S.S TICONDEROGA -- AFTERNOON

JIM
Maintain radio silence, we don't want the reds out on Hainan to know what we are up to

The four Crusaders spread out and climb on a north-westerly heading. In the distance through the haze we can barely make out Hainan Island.

Robair and Ev fan out to the left and up above Jim, leaving a couple of miles between each plane, in a defensive combat manoeuvrer. Hastings follows suite to the right.

EXT. ABOVE HAINAN -- AFTERNOON

Russian built Migs occasionally pierce the haze around the island

COCKPIT-JIM

Jim hears a tick-tick in his head set

JIM
(To himself)
Thank you Ev

TIGHT-

On the gauges as a hand eases of the throttle, the altimeter drops to thirty-two thousand feet.

STRIKE CONTROL
This is strike control, in a few minutes we will be out of communication range, so this is our last message before we switch you over to the control of the USS Maddox. I have conformation that indeed the Maddox has been threatened by surface vessels lying in wait off the island of Hon Me

JIM
Confirmed, over and out

Jim switches to the Maddox's frequency. Scratchy at first, Jim fights to bring in clear.

U.S.S MADDOX AIR CONTROLLER
(excited)
...under attack by three PT boats...torpedoes in the water...engaging the enemy with main battery...

CUT TO:

EXT. FIGHT PATTERN -- AFTERNOON

Jim leads his wing man towards the Maddox.There is now only Hundred feet between the planes, as they track north parallel to the North Vietnamese coastline apparent through the haze

INT. JIM'S COCKPIT -- AFTERNOON

JIM
(to Maddox air control)
Maddox, we have you in our sight

U.S.S MADDOX AIR CONTROLLER
Attack and destroy the PT boats

EXT. FIGHT PATTERN -- AFTERNOON

The planes begin to dive, down over the Maddox, heading south. The PT boats, situate five miles north, just turning northwest for home. The boats travel at a quick forth knot pace, long foamy wakes travel behind the boats.

Two of the boats travel out ahead, shoulder to shoulder and the third travels a mile behind making haste to catch up.

INT. JIM'S COCKPIT -- AFTERNOON

Jim realizes that they are a few minutes late and has to act quickly.

JIM
(To his men)
Lets not let them get away, Robair and Ev, attack the trailing boat, Hastings, spread out to the right and follow me so we can get them together

HASTINGS
I'm with you buddy

Jim presses down on the stick

EXT. FIGHT PATTERN -- AFTERNOON

Jim drops below a thousand feet and fires a single zuni rocket. We see the rocket track towards its target.

CUT TO:

EXT. DECK OF THE NORTH VIETNAMESE GUN BOAT -- MOMENTS LATER

The crew of the small boat fire at Jim with an anti-aircraft gun attacked to the stern.

INT. JIM'S COCKPIT -- AFTERNOON

Jim flies through the tracers. He pulls out left and watches as his rocket miss the target, splashing close to the port beam.

INT. HASTING'S COCKPIT -- AFTERNOON

Hasting's fights to keep his plane form crashing

HASTINGS
(excited)
I've been hit!

INT. JIM'S COCKPIT -- AFTERNOON

Jim listens to his friends plight

HASTINGS
...my port wing is shot up

INSERT-

A hand jams the throttle forward

Jim immediately picks up Hastings through his side window climbing left.

JIM
Cut back towards the Maddox

Jim joins up with Hastings to survey the damaged wing

JIM
There's no scorch marks, no fire, you only have a torn leading edge, drop your speed and see if you can gain control

HASTINGS
That's better

JIM
You'll be fine, you just got a little over excited, you over stressed the plane when you jerked the stick up to quick, you wait here with the Maddox, I'm going back to the war

CUT TO:

INT. SOUTHWICK'S COCKPIT -- AFTERNOON

SOUTHWICK
(to Jim)
We've hit our minimum fuel reserve, we are heading back to the Ticonderoga

JIM
Meet you guys there, I've still got ammo left

EXT. FIGHT PATTERN -- AFTERNOON

Two planes head back towards home as Jim moves in for one last strafing run. He fires his cannons and then a missile and then pulls up.

CUT TO:

EXT. NORTH VIETNAMESE GUN BOATS -- AFTERNOON

Jim's missile slams into the hull and explodes. Two soldiers jump into the water, the gunner continues to fire hopelessly as the ship begins to sink quickly.

INT. JIM'S COCKPIT -- AFTERNOON

Jim looks out of his cockpit towards Hastings and notices that his plane is flying at an impaired speed.

JIM
Hastings, you won't make it back to the Ticonderoga, I'll escort you to the air force base at DeNang, landing a plane on a carrier is tricky enough, never mind a crippled one. I'll see you later

HASTINGS
Sounds like a plan

The two airplanes turn

EXT. U.S.S TICONDEROGA-INTELLIGENCE -- LATER

Jim enters with haste looking for answers

JIM
(towards the Commanding Officer)
Sir, request permission to review the attack log

COMMANDING OFFICER
Permission granted, the Maddox intercepted radio transmissions from the North Vietnamese ship. The Ticonderoga has an intelligence communication van between its stacks; in it we have a crew of Vietnamese language trained crew. They overheard a plan to attack the Maddox. The boats executed said plan, luckily the torpedoes they fired missed. The only damage that occurred was a harmless shot from a small machine gun.

JIM
Thank you sir see you in the morning

INT. JIM STOCKDALE'S STATEROOM -- NIGHT

Jim lies in his bunk holding a picture of his wife Sybil and his four boys.

FADE OUT:

FADE IN:

INT. STOCKDALE HOME -- NIGHT

Sybil sits on a large sofa holding her youngest son age one in her arms. Nearby Jimmy age twelve, a large strapping boy, a carbon copy of his father, sits. Sid age ten plays with his brother, Stanford age four, in front of the sofa on the floor. The happy family faithfully watches the evening news report.

NEWSCASTER
In todays update on the war in North Vietnam, reports from the White House state that, in the Gulf of Tonkin, the destroyer, USS Maddox had been fired upon, causing retaliation from fighters of the fifty first squadron, based on the aircraft carrier, USS Ticonderoga. There are no damage reports at this time.

SID
(turning to his mother)
That's dad's squadron

Sybil smiles nervously, Jimmy puts his hand, already bigger than his mothers, over hers in a sign of support.

JIMMY
I'm sure Dads fine

CUT TO:

INT. WAR ROOM- U.S.S TICONDEROGA -- MORNING

Pilots and ship personnel sit around the small dinning room eating there morning breakfast.

Jim rushes in and as routine, grabs the morning press clips, sifting through looking for Sunday's events.

INSERT-NEWSPAPER CLIPPING HEADLINE

"President Lyndon Johnson meets with Defence Department to discuss PT Boat attack"

CLOSE-

JIM reads to himself out loud

JIM
They met for five hours and decided to issue a warning, but agreed that no further actions will be taken. Both sides consider the attack merely the impulsive act of a trigger happy PT Boat Commander.

PILOT
(reacting to the look of disdain on Jim's face)
What do you make of President Johnson's back peddling

JIM
He's playing right into Goldwater's hands, Americans won't put up with this soft Defence approach

Jim grabs a tray and a cook ladles out some food.

FADE OUT:

FADE IN:

EXT. DESOTO PATROL -- DAY

WIDE-

Of general fling activity along the Desoto Patrol by the Americans from Jim's squadron.

CLOSER-

JIM and three of his fellow pilots circle the Maddox and a second destroyer the C. Turner Joy.

LATE AFTERNOON--

The planes make wider circles around the cruisers. The cloud cover becomes increasingly lower and the sea grows choppier.

EXT. DECK OF U.S.S TICONDEROGA -- LATER

Jim walks down the deck after parking his plane. The skies are extremely overcast with dark ominous clouds heading towards the carrier from the north, in the vicinity of the Desoto Patrol. Over Jim's shoulder to the northwest, lightening flashes light up the sky.

INT. PILOT'S MEAL ROOM -- NIGHT

Jim still dressed in his flight gear enters, other pilots and personal are already seated enjoying their meal. Casual conversation engulfs the room.

OFFICER
(turning to Jim)
...did you hear? The Maddox picked up the Vietnamese talking about their current position

JIM
We want them to see us, that's the purpose

CUT TO:

INT. PILOT BRIEFING ROOM --NIGHT

Jim joins the other fourteen pilots of the squadron, all decked out in their flight suits after dinner for their pre flight briefing.

SCHEDULING OFFICER
There is no fling scheduled for tonight, but I have been instructed to have two crusaders on stand by for combat air patrol, should a need to arise. The two planes are already parked in the catapults, fully fueled and armed. The following two pilots are to report to the deck immediately.

The scheduling officer hands the status board to Jim.

JIM
(reads and expresses concern to the Scheduling Officer)
Are you sure? Both of these are first time crusader pilots, why not let me take Hastings or Ev up?

SCHEDULING OFFICER
Not necessary, just routine

LATER-

Jim sits talking to a relief pilot casually. The air in the briefing room has grown uncomfortable. The storm has increased, the humidity is so great, the pilots are now gathered around the small air conditioner trying to gain some comfort.

The roar of an unexpected group of planes engines reviving up, catches Jim's attention.

JIM
Spads?

Listening to the engines crank up to high power

JIM (CONT'D)
They're launching them?

Jim's friend from the Combat Information Center sticks his head in the door. Jim notices.

JIM (CONT'D)
What's going on?

FRIEND
The destroyers suspected that they were about to be attacked.

JIM
Who ordered the attack?

FRIEND
Rear Admiral Moore ordered the Skyraiders to head out.

JIM
Why are the Crusaders in the catapults?

FRIEND
Two are to follow for support

Jim rushes out of the room

CUT TO:

INT. READY ROOM -- MOMENTS LATER

Jim runs into the ready room where the flight gear is stowed. He rips his flight helmet out of the bag, then grabs his torso harness and slithers into it.

A Crusader engine begins winding up. Jim continues to dress in haste.

JIM
Those guys are good, but I know how to sink those PT boats.

Jim straps on his helmet and ascends the ladder, leading to the flight deck.

EXT. FLIGHT DECK -- MOMENTS LATER

Jim crosses the blacked out flight deck just as the Crusader on the starboard catapult is being given its' per-flight checks.

Jim sprints into the crowd of personnel around the plane. Jim grabs his plane captain and yells into his ear.

JIM
Lower the steps and open the canopy

PLANE CAPTAIN
I can't do that sir

JIM
(defiantly)
I know what the plan is, I know those PT boats like the back of my hand, I know how to sink them, now lower the ladder.

PLANE CAPTAIN
Yes sir

The Plane Captain steps to the port catapult and lowers the Crusader's steps and the opens the canopy and steps down.

Jim climbs the steps and screams above the engine noise into the ear of the startled junior pilot.

JIM
Unstrap and get out. I'm getting in

Jim steps down to let the pilot out. The pilot obeys, unstraps and exits.

Jim jumps into the seat of the plane and straps on his parachute. In quick succession a dozen or more switches are set.

Jim gives the thumbs up signal. The Plane Captain signals back. The canopy is locked shut and the steps raised.

INT. LIEUTENANT MILLER'S PLANE -- CONTINUOUS

Lieutenant Miller looks over to the Catapult Officer and gives him the signal. The Lieutenant returns the thumbs up signal.

TIGHT-

Miller shoves his throttle all the way forward.

INT. JIM'S COCKPIT -- CONTINUOUS

Jim watches Lieutenant Miller's plane shoot down the track straight and normal from a dead stop to a hundred seventy miles an hour. As soon as he enters the black clouds all of his lights go out.

JIM
(dismayed)
Good lord! His electrical generators out

Several breathless seconds pass before the Lieutenant's lights come back on and he reappears through the clouds.

JIM
(into his radio)
What happened Miller?

LIEUTENANT MILLER
I don't know, everything went dead, I've switched to emergency back-up and heading back

LAUNCH COMMAND
(breaking in)
Lieutenant, jettison your fuel at two hundred feet and then set a course to re-land

LIEUTENANT MILLER
Yes sir

Jim growing impatient breaks in

JIM
Launch me immediately, forget the wing man

INT. BRIDGE OF THE U.S.S TICONDEROGA -- CONTINUOUS

Commanding Officer Captain Hutch Cooper sticks his head between two radio officers and talks into the microphone.

HUTCH
You got it Jim, you have permission to take off

INT. JIM'S COCKPIT -- CONTINUOUS

Jim inches his plane forward until it locks into the catapult. The power comes up to full, the lights come on. Jim gives it full throttle.

Jim's head is thrust back into the head rest. He gasps for breath, while his files of vision narrows like a focusing telescope. Darkness surrounds Jim as he lifts off the catapult bridle and off the carrier.

TIGHT-

On Jim's gauge cluster, altimeter reads five thousand feet.

PULL OUT-

As Jim hears an old friend's voice checking in with strike control. Jim listens with content.

MACDONALD
Strike control, this is squadron commander MacDonald, our eta for rendezvous with USS Maddox is fifteen minutes.

JIM
(into his radio, to his friend)
Don't push those a-y's to hard Wes

Jim pushes the stick forward and the plane rises through the ever darkening clouds.

JIM
(to Ticonderoga control)
Ticonderoga, I'm leveling off at twenty-five thousand feet. Switching over...

Jim's hand switches his radio over to the destroyer's frequency. The clock to the right reads twenty one hundred. Lightening flashes catch Jim's attention.

JIM
Another hundred miles, To bad Syb and the boys are missing these fireworks, whoo!

Jim's reverie is broken by the sound of Clem McCarthy from Maddox's air control.

MCCARTHY
We have multiple bogey's on the radar

JIM
Hold on Clem I'm on my way

Jim takes the plane into a fast descent.

JIM
I'm passing ten thousand feet and forty miles away, preparing cannons for fire.

MACDONALD
Maddox, I'm in radio contact do you read me?

TICONDEROGA CONTROL
Read you

JIM
Wes, I will stay below two thousand feet, please stay above that unless stated otherwise

MACDONALD
Will do

Jim throttles way back, keeping the nose down. The plane flies in and out of clouds and rain squalls, heading towards the water.

Jim levels off.

JIM
Clem, I'm picking up two wakes several miles ahead of you, flash your mast head lights for a check.

Pause as Jim watches the ships red mast lights flick on and off.

JIM
Confirmed

The surroundings go dark again

INT. CONTROL ROOM OF THE MADDOX -- CONTINUOUS

RADAR OPERATOR
Their closing in from the east, maybe five miles out.

CAPTAIN ON THE MADDOX
Open fire, do you read me Turner Joy?

INT. CONTROL ROOM OF THE TURNER JOY -- CONTINUOUS

CAPTAIN ON THE TURNER JOY
Open fire and launch flares to the port so we can see what we are shooting at.

INT. JIM'S COCKPIT -- MOMENTS LATER

Jim watches at the ill attempt as the projectiles burst in the clouds and the flares burn out as soon as they drop below the clouds.

JIM
What's going on?

INT. CONTROL ROOM OF THE MADDOX -- CONTINUOUS

RADIO OPERATOR MADDOX
They all disappeared

RADIO OPERATOR TURNER JOY
We've picked up a torpedo in the water!

A blip lights up the radar screen of the Maddox

RADIO OPERATOR MADDOX
I see it! Another one!

CAPTAIN ON THE MADDOX
Tack hard left!

INT. CONTROL ROOM OF THE TURNER JOY -- CONTINUOUS

A frenzy of activity engulfs both destroyers.

RADIO OPERATOR MADDOX
I don't see it!

RADIO OPERATOR TURNER JOY
I got it!

CAPTAIN ON THE TURNER JOY
Fire!

INT. CONTROL ROOM OF THE MADDOX -- CONTINUOUS

CAPTAIN ON THE MADDOX
Tack right! Turner Joy, there's one on your stern!

RADIO OPERATOR MADDOX
I don't hear anything on the sonar!

INT. JIM'S COCKPIT -- MOMENTS LATER

JIM
Clem, can you hear me? What's happening?

MACDONALD
This is unreal, the Turner Joy is firing on targets that the Maddox can't track and the Maddox is dodging torpedoes that the Turner Joy can't hear on it's sonar.

JIM
(frustrated)
I can't see anything on my horizon

INT. COCKPIT-WES MACDONALD -- MOMENTS LATER

MACDONALD
I hear you Jim, I've dropped a dozen flares, but I still can't see anything

EXT. ABOVE THE BATTLE -- CONTINUOUS

The other planes stay high, Jim's plane stays low, ready to pounce, staying right over the destroyers.

INT. GUNNER TOWER OF THE TURNER JOY -- CONTINUOUS

The ships gunner makes visual contact with his target.

GUNNER OF THE TURNER JOY
I see it! Firing!

INT. JIM'S COCKPIT -- CONTINUOUS

Jim follows the flashes and fires. The shots disappear into the darkness.

RADIO OPERATOR TURNER JOY
Batter up, one o one, we are taking a boat under fire abeam to port, two thousand yards.

JIM
Roger, I see your fire, I'll go in and hose the area down

RADIO OPERATOR MADDOX
Batter up, we think there is a boat closing in on us from astern

JIM
Roger, I will fire astern of you

EXT. ABOVE THE BATTLE -- CONTINUOUS

The battle rages on, flashes fill the night sky.

INT. JIM'S COCKPIT -- MOMENTS LATER

Jim begins to sweat profusely, and becomes annoyed

JIM
I've got to see him!

EXT. ABOVE THE BATTLE -- CONTINUOUS

Jim dives low right above the water and launches a zuni rocket. The flash of the rocket leaving the plane disappears into the darkness.

INT. JIM'S COCKPIT -- CONTINUOUS

Jim follows the path of the rocket.

JIM
There she goes!...Come on hit something!...nothing dam...

MACDONALD
Something wrong Jim? You're a little low, pull up

Jim realizes his mistake and corrects his course by pulling up on the stick.

JIM
All say, I can almost taste the salt water.

MCCARTHY
Anything?

JIM
Nothing, the destroyers's are talkin' about hits, but where are the sparks and gun flashes?

RADIO OPERATOR TURNER JOY
Cease fire!

JIM
Just in time, I'm out of fuel, I'll jettison my rocket and magazine to astern of you Turner Joy, heading back to the Ticonderoga.

CUT TO:

INT. READY ROOM -- NIGHT

Jim wheels into the ready room, coming face to face with a group of officers-all with sheepish grins on their faces. Their mood is informal and jovial, obviously, they had some big joke on Jim.

OFFICER #2
What in hell has been going on out there?

JIM
Beats me, the guy on the Maddox's radio was giving blow-by-blow accounts just like he did on Sunday, turn left, turn right, torpedoes to the right of us, torpedoes to the left of us. Boom!, boom!, boom!

OFFICER #2
Did you see ant boats?

JIM
Not a one. No boats, no bow-wakes, nothing but black sea and American fire power, but how could all that commotion have built up out there without something behind it?

OFFICER #2
Have a look at this. This is what Herrick, the Commander on the Maddox, has been putting out tonight.

TIGHT-

Jim is handed a few sheets of a rough communication log. Jim reads as the Officer points out the important parts.

OFFICER #2
That's all the messages from the Maddox since you left the Ticonderoga

WIDER-

JIM
The Commodore sounds like he was turning himself inside out.

OFFICER #2
Right, for the first hour it was all assertive

JIM
That's Clem, then...I remember...suddenly...there were reports of sonar not operating properly, radar not locking on targets, probable false targets and lack of visibility. That kind of doubt is not like Clem.

OFFICER #2
At the end of the report the Commodore expresses doubt that there had been any boats out there at all. He urges a complete evaluation of the mix-up before any further action is taken.

JIM
Good grief. Three hours of hell, all because some spooked operators were seeing and hearing ghosts on their equipment! Wait until the chain of command gets my report of no boats.

OFFICER #2
At least there's a Commodore up there in the gulf who agrees with you and has the guts to blow the whistle on a screw up and take the heat.

Jim exits in disgust

INT. JIM STOCKDALE'S STATEROOM -- DAY

A junior officer enters and awakes Jim

JUNIOR OFFICER
The captain sent me down sir

JIM
About what?

JUNIOR OFFICER
Washington just ordered us to the oil-storage facilities in the city of Vinh. The captain wants you to start getting ready to lead the big one sir. The oil tanks are Washington's priority target.

JIM
What's the idea of the strikes?

JUNIOR OFFICER
Reprisal, sir

JIM
Reprisal? For What?

JUNIOR OFFICER
For last night's attack on the destroyers, sir

Jim takes the news as if cold water had been poured on him. A few awkward seconds of silence pass. Jim gets out of his bunk and exits.

EXT. FLIGHT DECK -- MORNING FIVE A.M

A group of working parties go on about their business around the ammunition hoists in the darkness of the per-dawn.

PAN-

A long a row of thousand-pound bombs laid out on their racks. A worker adds fuses to the bombs.

WIDE-

Two workers wheel the first bomb ready in the row under one of the prop driven spads.

INT. AIR INTELLIGENCE OFFICE -- MORNING

Jim enters the Intelligence office, eager to get to the bottom of the invasion story. He spots Lee McAdams, Executive Officer of the Spad Squadron; and approaches.

JIM
What's the story? I hear planes tuning up?

LEE
They're launching several jets and a few props to go out and look for battle debris in the water up where you were last night. Planes of the Constellation spent most of the early morning trying to locate retreating boats, with no luck.

JIM
(muttering)
Don't hold your breath

LEE
Let me show you the plan

Jim and Lee walk over to a large map on a stand. Pictured is the city of Vinh. On it an area is marked off denoted as a fuel and oil storage compound. Arrows represent oil tanks.

LEE
This storage compound contains fourteen oil tanks.

JIM
How do you want to approach it?

LEE
Your planes are slow and vulnerable, the key is to surprise the enemy.

JIM
(pointing to the map)
We can use these hills to the south of the city to our advantage.

LEE
Right, you can have the Spads approach from behind them, just high enough to build up speed in a near vertical dive, release your bombs, pull out, wheel around and still have enough speed to get back over the hills.

JIM
If not we got a tail full of flak. What about the anti-aircraft emplacements.

LEE
The jets are going to carry out simultaneous attacks.

JIM
Fine, I will tell the ships operations officer to wait till the Spads are half an hour down the road before starting up the jets.

LEE
Agreed

JIM
And I want Wes MacDonald as my second in command of the raid.

LEE
Fine. His Skyhawks and your Crusaders will meet up with the Spads a few miles offshore.

EXT. FLIGHT DECK --NOON

Jim leads his pilots onto the flight deck. One of his pilots comes running up in a hurry to relay an important message.

PILOT #2
The President has announced on television that we would be attacking North Vietnamese targets.

The news stops Jim in his tracks.

JIM
What?...Pray hard for those Spads boys

Jim forcibly straps on his helmet and heads for his plane.

EXT. ABOVE THE U.S.S TICONDEROGA -- DAY

Forty minutes out from the carrier. The Skyhawks and Crusader jets fly in formation heading for their rendezvous with the Spads, through the cloud layers and intermittent rain.

JIM
(to his pilots)
Keep your eyes out for the Spads. If they get their without us, they will be blown apart.

MACDONALD
(cutting in)
How's it feel to be making history, Jim?

JIM
I feel like atlas, with the world on his shoulders.

Jim suddenly spots the tail of one of the Spads coming out of the clouds. Perfectly camouflaged to the exact colour of the clouds.

JIM
(jovial)
Hallelujah? You big beautiful prop driven babies!

MACDONALD
I see the hills, I'm heading down

JIM
Roger, I'll hold back until everyone's in position.

EXT. ABOVE AND INTO THE CITY OF VINH -- DAY

The three units start to take up battle position. The four Spads start climbing and angling. The Skyhawks swoop down over the lush green country side, heading west of the climbing Spads.

Jim sets his Crusader into a gentle climb just above the mountains, peering into the small city.

The Crusaders take up position high and out front. The city spreads out in the bright sunshine in front of them as they pass the harbour mouth.

INT. COCKPIT-WES MACDONALD -- CONTINUOUS

POV.

Wes takes up position behind Jim as the view of the city envelopes his wind screen.

MACDONALD
Panther lead, this is Champion lead, play ball, play ball.

JIM
Panther lead, roger Champion.

INT. JIM'S COCKPIT -- CONTINUOUS

JIM
...Play ball

Jim turns the plane on a big left-hand arc.

EXT. ABOVE AND INTO THE CITY OF VINH -- CONTINUOUS

The Crusaders enter from the north while the Spads and Skyhawks enter from the south.

INT. JIM'S COCKPIT -- CONTINUOUS

POV.

Jim spots the fourteen storage tanks

CLOSE-

Jim nods to his wing man and then starts his Crusader down.

EXT. OVER THE CITY OF VINH -- CONTINUOUS

The four spads drop straight down one after another in quick succession, preparing to fire.

Jim takes up position going north to south, head to head with the lead Spad pulling out from his northward dive.

INT. JIM'S COCKPIT -- CONTINUOUS

POV.

Through the sunlight Jim spots a cluster of guns encircling a tub like abutment in the center of the city.

CLOSE-

Jim squeezes the stick trigger. The lower right rocket pair fire. Jim follows with cannon fire and then pulls up.

EXT. CITY OF VINH -- MOMENTS LATER

TRACK-

A Zuni rocket tears into the abutment. Dust and red roof tiles fly everywhere. Flames explode through the four city block tank enclosure.

ABOVE-

A Spad releases a TNT bomb, heading for the center of another tank.

EXT. NINH OIL REFINERY -- MOMENTS LATER

North Vietnamese soldiers in the city scramble around inside the gun tub, another begins to return fire. Orange flashes come out of the gun muzzles.

A Spad TNT bomb makes a direct hit on the gun placement. Flames burst into the air up to five thousand feet. Red flames and black smoke billow up past ten thousand feet and more.

INT. JIM'S COCKPIT -- MOMENTS LATER

Jim fires his upper-left pair into the city and follows with a blast of cannon fire. He digs his wing right to view the damage. The last Spad connects on its target.

JIM
Home free! Let's go home boys

The radio becomes full of pilots cheers and whistles, as Jim turns his plane for home.

INT. JIM'S COCKPIT -- LATER

Jim checks in with the Ticonderoga out over the water away from the coast.

JIM
This is Double-O-Seven. Airplanes clear of Vinh. All bombs within the fence. All tanks hit and exploding. Attacking PT boats now out.

MACDONALD
(cutting in)
Not bad for a minute and a half worth of work

FADE OUT:

FADE IN:

INT. SQUADRON MEETING ROOM -- DAY

Caption reading "August 11, 1964"

Jim sits at his desk doing paperwork. Suddenly the ship's yodel blares a welcome.

VOICE
All hands, Vice Admiral on deck

A phone rings

JIM
(answering)
Captain Cooper? What can I do for you?

CAPTAIN COOPER
Jim, a couple of guys have just come aboard and they want to talk to you

JIM
Gladly, sure, I'll be up to your cabin in a minute

Jim hangs up the phone and throws on a clean shirt and exits.

INT. CAPTAIN COOPER'S CABIN -- LATER

Jim enters to a room in which two guys wearing sports shirts and slacks sit. One is the same age as Jim, the other five years younger. Jim extends his hand to the younger one first.

JIM
Jim Stockdale, nice to meet you both

FRIEDMAN
Alvin Friedman, Deputy Assistant Secretary of Defence for Internal Affairs

STEMPLER
Jack Stempler, Special Assistant to Secretary of Defence Robert McNamera

Jim has a look of hesitation and slight interpretation.

JIM
Gentlemen, nice to meet you, I understand you wish to ask me some questions. I would be happy to provide you with all the answers I can.

Jim steps into the cabin and closes the door.

INT. CAPTAIN COOPER'S CABIN -- CONTINUOUS

Jim stands across from Stempler and Friedman.

STEMPLER
We were sent here just to find out one thing. Were there any boats out there the other night or not?

Jim's experience tells him not to make any rash statement. He pauses making the men wait for an answer. We pan out as we hear Jim give his overview of the tone of the rest of that days conversation.

JIM
That said at all, I could have stood right there in the cabin and wrote the script of what was to come. Washington's second thoughts, the guilt, the changes of heart, the back out. And a generation of young Americans would get left holding the bag.

FADE OUT:

FADE IN:

INT. ANNAPOLIS GUEST HOUSE -- DAY

Caption "Easter 1946- Annapolis"

Flashback to the first meeting between Jim and Sybil. Twenty one year old Sybil sits in one of three chairs arranged in a semicircle in the living room of the guest house she shares with her college friends, twenty-one year old Bebe and twenty-three year old Anne.

BEBE
Well Sybil, I've never seen you get nervous, what's wrong?

SYBIL
I'm worried I've never been on a blind date

ANNE
Relax, Jim is a good friend of my Joe. They're both Midshipman at the Naval Academy.

BEBE
So, are they as cute as your fiance...

The three midshipmen enter the living room. Jim clears his throat on Bebe's words. The three girls look over with innocent girlish looks, as the men make their way over to the girls we hear Sybil's first impressions over the introductions.

SYBIL
The guys looked stunning in their dark blue uniforms, gold buttons sparkling and white gloves gleaming. First Joe introduced me to Marvin, a nice tall blonde guy. Then he introduced we to a shorter, dark haired, blue eyed guy named Jim Stockdale. Something about him connected with me right away.

Sybil and Jim stair transfixed, Sybil beams radiantly, obviously taken by Jim's striking rugged features.

ANNE
Well, I can see that you too have hit it off, lets go for a walk.

JOE
See you back here later buddy

Joe pats his friend on the shoulder as he leads Anne, BeBe and Marvin out. Jim nods and then returns his gaze to Sybil.

SYBIL
So where are you from, Jim?

JIM
A small town in Illinois called Abingdon, near Galesburg and about two hundred miles southwest of Chicago.

SYBIL
Did you go to college in Illinois?

JIM
I went to Monmouth for one year and then the war broke out. I transferred to the Naval Academy. Where did you go to college?

SYBIL
I went to Mount Holyoak in Connecticut, that's where I met BeBe. We studied like crazy and graduated early.

JIM
Impressive, what do you do now?

SYBIL
I teach Medieval History and Modern Dance at Saint Catherine's school in Richmond. We come up here every summer.

JIM
I've met some other girls from Connecticut, some of the guys wives and girl friends, you are not like them...you are...

Jim pauses awkwardly, searching for an appropriate polite word to convey his feelings. Sybil eases the awkward moment and then changes the subject.

SYBIL
Some of those girls from New Haven can be a little much, I guess. It's all that city air. What does the three narrow gold stripes on your sleeve mean?

JIM
(pointing)
These mean I'm a midshipman officer and member of the brigade staff, one of only seven in charge of the entire student body.

The camera pans out as Sybil and Jim laugh as they exchange stories in the doorway of the house, looking out at the rich view of the Midwest sun getting closer to the horizon. The stunning view is punctuated by Sybil's recap of the events to come.

SYBIL
Jim's personality burst the confines of his five foot nine rugged, powerful body. I found it hard to concentrate as he told me about life growing up on the rural Midwest and life at the naval academy, all in an adorable Midwest accent.

MONTAGE OF SHOTS- Depicting the rapid progress of Jim and Sybil's relationship

EXT. NAVAL ACADEMY -- DAY

A large gathering of Navel graduates and love ones turn out on this warm June day.

PAN-

Across the family section, stopping at Sybil sitting next to Jim's parents, BeBe and Ann, watching proudly as Admiral Chester Nimitz makes his way through the commencement ceremony.

WIDE-

From the rear of the gathering towards the Admiral as he hands a diploma to a graduate who gives the appropriate solute before proceeding to accept his diploma with one hand and shaking hands with the other. A brief pause for a photo opportunity and then the graduate exits the stage.

CLOSE-

On the podium

ADMIRAL NIMITZ
Jim Stockdale

WIDEN OUT-

Jim rises to the polite claps of his parents and friends Marvin and Joe sitting nearby.

TIGHT ON-

A proud Sybil and Ann conversing as they do we see Anne's engagement ring, Sybil drops a bombshell that catches her friend off guard.

SYBIL
I think I've found the man I want to marry.

Anne's jaw drops open briefly before resuming clapping.

PAN-

Back to Jim standing with Admiral Nimitz posing for numerous pictures before the Admiral walks over to the microphone to make a further announcement about Jim. The crowd waits in anticipation.

ADMIRAL NIMITZ
I have a special award to give to you Jim, on behalf of myself and the united States Navy. I wish to give you this award for the highest achievement in academic study. Not only did you obtain the highest academic grades of this years class, but that of its three predecessors.

The crowd stands and greets Jim with a standing ovation.

FADE OUT:

FADE IN:

INT. SYBIL'S PARENTS HOME -- DAY

Jim comes up to Connecticut to meet Sybil's parents. Jim sits in the living room of the modest home, laughing with her father. Sybil and her mom sit on a smaller sofa adjacent. Sybil's mother gives her daughter a nod and a look of approval.

SYBIL'S FATHER
So what are your immediate plans?

JIM
All new Ensigns are required to take a month of special training in Jacksonville before being placed on permanent duty.

SYBIL'S FATHER
Sybil, are you prepared to spend that much time alone/

SYBIL
I will be bust with teaching, so it won't be all that bad.

SYBIL'S MOTHER
I'm happy for both of you

FADE OUT:

FADE IN:

EXT. NAVEL SHIP YARD -- DAY

Sybil stands at the foot of the walkway leading to a destroyer docked on this November day. Sailors stream off the ship to be greeted by their love ones. Sybil waits patiently for Jim.

Finally Jim makes his way to the top of the ramp. He catches a glance of Sybil and politely pushes his way through the crowd of sailors. Once he is clear he runs to Sybil and embraces her with such force that it takes her off her feet. They kiss while other sailors make their exit from the dock area.

FADE OUT:

FADE IN:

EXT. NAVY FOOTBALL GAME -- AFTERNOON

Jim in his Navy uniform and overcoat and Sybil dressed in a smart cloth coat and hat sit amongst other Navel soldiers and family enjoying the game.

During a break in the action Jim turns to Sybil with a serious look on his face.

JIM
Do you want to come with me to Annapolis tomorrow and look at miniatures?

SYBIL
(looks stunned for a moment and then breaks into a nervous laugh)
Do you mean what I think you mean?

JIM
(confidently)
Yes

Jim then removes his class ring and places it on Sybil's ring finger too complete the proposal.

SYBIL
(overcome with emotion)
I would be happy to become a Navy wife, your wife

FADE OUT:

FADE IN:

INT. TEACHERS LOUNGE -- AFTERNOON

Sybil sits in the lounge reading the Navy Wife Handbook, smiling happily at the portrayal of her future life.

SYBIL
(to herself)
I can't wait

Sybil's principle obviously impatient, enters the room.

PRINCIPLE
Sybil, didn't you hear me?

SYBIL
(embarrassed, tries to cover)
Sorry, I was...just studying something

PRINCIPLE
Well, if you please, I called for a staff meeting to start fifteen minutes ago.

SYBIL
(looking at the clock, becomes alarmed)
Oh, sorry, I will be right there

PRINCIPLE
This isn't like you, what ever is happening in your life, you can't let it effect your work.

Sybil gathers her books and exits with her principle, smiling sheepishly.

INT. WEDDING CHAPEL -- DAY

Caption "Connecticut Spring 1947"

Jim dressed in his white navy formal attire, leads Sybil, dressed in a simple white wedding gown and veil. She holds a large bouquet of roses as she is led down the isle of a packed wedding CHAPEL.

VARIOUS SHOTS-

Of the gathered as they look on proud during the ceremony.

TIGHT-

On the minister as he delivers the final pronouncement of marriage.

MINISTER
...and I announce you man and wife.

Sybil and Jim kiss to the enjoyment of their new united families and friends.

EXT. SYBIL AND JIM'S FIRST HOME -- DAY

Jim leads Sybil blindfolded up to the doorway of a tiny home in Key West Florida. Once in place Jim opens the door and swings it wide open, then removes the blindfold. Sybil opens her eyes and shows her jubilance as she spies the interior of her new home.

The camera swings around too show a completely furnished home.

JIM
I'm sorry it's only a rental but at least it's furnished.

SYBIL
I love it.

A tourist bus drives by and stops at the house next to that of Jim and Sybil's.

PAN-

Over to the bus as tourists stream off the large bus. Couples and families with kids of all shapes and sizes pour off the bus, clamouring for a look at the house. As the tourists pass into the house a sign is revealed reading,

"The Southernmost House in the United States"

EXT. PUBLIC POOL IN FLORIDA -- DAY

Sybil sits on the edge of the pool with other navy wives; laughing and conversing. She holds a copy of the 'Navy Wife'.

NAVY WIFE
So how do you like Key West?

SYBIL
I can do without the tourist's looking at me while I hang laundry, but I wouldn't have it any other way. With Jim taking sonar school down hear, he doesn't have to go to sea or be on duty aboard a ship for the next eight weeks.

NAVY WIFE #2
(slyly)
With all that free time are you going to try and make a baby?

SYBIL
I think we will wait until after he finishes his training.

The women continue to laugh and kid.

EXT. SEA WALL NEXT TO THE OCEAN -- EVENING

Jim and Sybil hold hands as they walk along the sea wall that holds back the tropical sea. Dressed in their pajamas, they take in the beauty of the location. The sun just peaks above the horizon, casting the sea in a ribbon of red. The water shimmers in the light.

Jim and Sybil stop and look out onto the water. Jim wraps his arms around his wife. The 'Southern Cross'; a grouping a stars frames the background.

EXT. HOSPITAL ROOM -- DAY

Sybil lies in a hospital bed holding her newly born infant Jimmy; surrounded by Jim in his uniform, decorated with Ensigns stripes. Sybil provides the insight of the couples hectic life so far.

SYBIL
By the time Jimmy was born in December of ninety fifty, we were living in Norfolk and Jim was in an anti-submarine squadron.

CUT TO:

INT. NT. NORFOLK HOME -- DAY

Jim and Sybil bring Jimmy home, Sybil sits with her son on the couch. Jim's face shows the frustration of the vagabond life style of a navy officer.

JIM
Home sweet home
(pause)
Again

SYBIL
You've finished all your training maybe now we can settle down.

JIM
I know all the moving has been tough, but it was worth it.

SYBIL
Now that your stationed in Norfolk as a signal officer, we won't have to travel.

JIM
(unhappily)
It's a great job and they need me here, but I think I know I would be of better use in Korea.

Sybil looks at Jim stunned, unsure of what she has just heard.

SYBIL
Why Korea?

JIM
You have to understand, Sybil, fighting is my profession. My country is at war, and I want to be part of it, that's what I'm trained to do.

Jim sits down next to Sybil who offers a comforting hug.

CUT TO:

INT. HOME IN MARYLAND -- DAY

Caption "1954, Patuxent River, Maryland"

Jim opens a letter, Sybil enters the living room holding new born Sydney, Jimmy now four stands at her side. Sybil sees the concern on his face and inquires.

SYBIL
What's wrong, is it work?

JIM
Yes, Hank's plane was shot down in Korea, he's dead.

SYBIL
Oh my god, Connie must be devastated.

JIM
I'll call some of the guys, we will organize a trip out to Arlington for the funeral.

SYBIL
Will the navy shut down operations for the day?

JIM
No, that would be the worst thing they could do. It would destroy morale and depress everybody. Death is part of the business.

Jim closes the letter and exits, leaving Sybil staring out of the window of the country house, towards a church cross in the distance.

CUT TO:

EXT. DECK OF A CARRIER -- DAY

Jim stands on the deck of a carrier in the western Pacific surrounded by other members of his fighter SQUADRON. Jim opens a letter from Sybil.

INSERT-

Letter "December 6, 1959"

SYBIL
How are you enjoying the western Pacific? I have some good news for you. Today I gave birth to another son. I called him Stanford like you suggested. I hope my studies for my masters degree at his namesake goes as smoothly. Love you, see you when you get back. Love Sybil.

Another pilot taps Jim on the shoulder and indicates with a hand motion, that it is time to depart the ship for duty. Jim reciprocates, first carefully folding the note and placing it in a zipped pocket in his uniform.

CUT TO:

EXT. HOME IN STANFORD, CONNECTICUT -- DAY

Montage of normal life in Jim and Sybils home in the hills of Connecticut. The home is situated on twenty-five acres of pasture land.

Down a long driveway, Jim sits in the passenger seat of the family sedan, patiently teaching eleven year old Jimmy how to release the clutch and back out of the driveway.

JIM
That's it, slowly, ease the clutch

Jimmy lets out a whoop as the car begins to move.

EXT. BEACH NEARBY IN STANFORD -- DAY

Sybil stands on the shore of a small nearby lake watching eight year old Sydney swing from a rope over the lake and then drop in. Sybil plays with two year old Stanford in the sand, while rocking a stroller with a new born Taylor in it.

SYBIL
Woo! Nice form Sydney

FADE OUT:

FADE IN:

INT. OFFICE IN THE HOME -- NIGHT

Jim sits in his private office home pouring through a stack of philosophy books. Sybil enters with two mugs of tea.

SYBIL
How's the studying going?

JIM
Good. I have another semester to go before I get my degree, then I think I'll ask for a transfer to San Diego.

SYBIL
Great, I know you've wanted to be part of that fighter SQUADRON since the beginning.

JIM
Squadron fifty-one is the best.

Sybil exits leaving Jim to his studies.

EXT. CORONADO, CALIFORNIA -- DAY

Caption "April 1964"

Sybil and her friend doyen sit on the front porch of Sybil and Jim's home. Doyen, another navy wife, is a couple years older than Sybil. Nearby, sybil's children now thirteen, ten, four and two join Doyen's four children similarly aged, playing.

DOYEN
Are you ready for your first Navy Wife's meeting?

SYBIL
I am not sure I'm comfortable with the idea of being referred to as a senior wife.

DOYEN
Get used to it, while Jim and Budd are on the Ticonderoga with the rest of the men, there are a lot of young wives that need help, just like you did once.

SYBIL
Don't get me wrong, I enjoy being apart of all the organizations, it's just the part of accompanying the chaplain around when he has to give news about a husbands death.

DOYEN
It never gets easy.

INT. SYBIL'S HOME -- DAY

Montage of correspondence between Jim and Sybil, expressing his concerns over his assignment in Vietnam.

Sybil stands in doorway of the home looking out over the scenery of the Californian hills, narrating a series of letters.

SYBIL
June seven, nineteen sixty-four, Jim is excited. A secret message from Vice Admiral Moorer, Commander of the Seventh Fleet, requested for Jim and his eight F-Eight Crusaders be equipped with air to ground capabilities be sent to the USS Constellation off the coast of South Vietnam.

CUT TO:

EXT. U.S.S CONSTELLATION -- DAY

Jim steps onto the deck of the aircraft carrier USS Constellation and starts his per-flight planning.

SYBIL
The next day Jim wrote me form the Constellation and told me that the situation in Vietnam was at a turning point. Ten planes from another carrier had been shot down over Laos and they wanted Jim to escort photo planes over the jungle.

INT. JIM'S COCKPIT -- DAY

Jim flies over the Loa's jungle canopy, carefully scanning for traces of anti-aircraft fire.

SYBIL
Jim never sugar coated the facts, we agreed to be honest with each other. Jim spelt out with mathematical precision that his chances of being killed were only one in ten thousand. I thought those were pretty good odds.

INT. WAR ROOM-U.S.S CONSTELLATION -- EVENING

Jim joins the other personal of the Seventh Fleet hierarchy in the war room. A heated discussion ensues.

SYBIL
June, twelfth, the Seventh Fleet hierarchy was being bypassed now. The war effort has escalated and all important events were being ran from the white house.

Jim stands and prepares for the night targets. A senior officer from military command enters and talks to the group. Jim's face takes a look of disappointment.

SYBIL
Every night, targets were assigned for the next day, then, at about two am messages from Washington would come in cancelling the orders. Jim was becoming more and more frustrated.

On Sybil's last words Jim slams down his clip board hard onto the table.

FADE OUT:

FADE IN:

INT. HOSPITAL ROOM -- DAY

Sybil sits at the side of Jim's father who lies in a hospital bed hooked up to oxygen.

JIM'S DAD
(struggling to speak)
How's Jim doing in Vietnam?

SYBIL
Yesterday Jim's SQUADRON, attacked a PT boat base and blew up the oil tanks. Jim's fine, he even asked the first man back ashore to phone me to tell me he was okay.

JIM'S DAD
Don't feel guilty about Jim not being hear, he's doing his job.
(pause)
I'm so tired

Sybil nods as Jim's Dad closes his eyes.

FADE OUT:

FADE IN:

EXT. SHIP DOCK YARD -- DAY

Jim steps off the carrier and is greeted by a solemn Sybil.

JIM
I got your message, has the chaplain been to see you?

SYBIL
Yesterday at Doyen's, I left the kids with her, I haven't told them yet that their grandfather has passed. I wanted to wait for you.

JIM
How are you?

SYBIL
I feel so guilty about being happy your home.

JIM
Don't, come on let's go.

EXT. GRAVE SITE -- DAY

Jim sits with his mom in front of the open casket. Jim's mom holds a cane and looks visibly frail. Jim holds his mother's hand as they observe the navy guard fire their volleys in solute. A navy band plays 'Taps' nearby.

A Legionnaire folds an American flag and places it in Jim's mother's lap.

JIM'S MOTHER
It's time to go.

Jim's mother gets up with the help of her cane and exits with Jim and Sybil.

FADE OUT:

FADE IN:

EXT. PROMOTION CEREMONY -- CONTINUOUS

Caption "Nine Months Later"

Jim stands on the deck of his new post the USS Oriskany. The flight deck is a wash in a sea of brilliant blue morning sky.

San Diego is clearly visible on the opposite side of the harbour.

Sybil watches proudly as Jim receives his promotion from his Navy Commander; amongst the brightly coloured flags and a navy band.

NAVAL COMMANDER
I proudly promote Commander Jim Stockdale to Carrier Air Group Commander. Part of his new duties will be the daily oversee of the six squadrons currently stationed here off the Oriskany. Congratulations.

Jim steps to the podium amidst respectful clapping.

JIM
Thank you. Being promoted to CAG is the pinnacle of a navel officers flying career. I am honoured to be among the elite few to have ever received such an honour.

Jim exit's the podium to the accompaniment of the navel band.

CUT TO:

EXT. STREETS OF TOKYO- JULY -- DAY

Jim and Sybil walk down a crowded street in the heart of Tokyo. The masses of Tokyo residences, peer at the couple.

SYBIL
The vacation came at the right time, you look so tired Jim.

Jim stops in the middle of the street and places his arms around Sybil.

JIM
I miss you, I can feel the tension of the war, I know things are heating up.

SYBIL
Is that why the Commander came to speak at the last wives meeting?

JIM
What did he have to say?

SYBIL
He gave us the guidelines about how to conduct ourselves in case any of our husbands are shot down and taken prisoner. He said we were not to talk to any strangers on the phone or the media, and not to acknowledge to anyone but family that our husbands were prisoners. What's going on Jim? How serious is the war getting?

JIM
Don't worry, the Commander is only doing his job, it's only a precaution. I hear that only a few American's are being held right now and the North Vietnamese are treating them in accordance to international law.

Jim gazes blankly over Sybil's shoulder as if hoping his words have consoled Sybil's tears and perhaps his own.

INT.YOKOSUKA HARBOUR-JAPAN -- DAY

Jim and Sybil ride in a cab through the Japanese country side. Workers till their small immaculate gardens. Sybil is an awe of her surroundings.

SYBIL
I can't wait to tell Dad about this, he would love the view.

JIM
Are you going to be okay for the next nine months?

SYBIL
I'm a navel wife, it is part of life. I won't be alone, I have the kids and all the rest of the wives. I will be fine.

Jim leans toward Sybil and kisses her softly on the cheek.

The cab nears the dock, as it does, the immense size of the carrier begins to dwarf the view of the harbour. Small fishing vessels are small dots along side the floating city size ship.

EXT. YOKOSUKA HARBOUR-JAPAN -- CONTINUOUS

Jim helps Sybil from the cab. As they step towards the carrier, Sybil tries to bring the scale of the ship into proper proportion.

SYBIL
How many people are aboard?

JIM
Almost five thousand people work and live on that ship.

SYBIL
That's more than the population of your home town.

JIM
Come on up, I'll show you around. Watch your step.

Jim helps Sybil up the steep gang plank as they enter the ship.

FADE OUT:

FADE IN:

INT. HOTEL LOBBY -- NIGHT

Jim and Sybil try to convey to a Japanese speaking hotel employee that they wish to dine.

JIM
Do...you know a good...place to...

Motioning with his hands.

JIM
...eat.

The employee motions to follow.

INT. DINING ROOM -- CONTINUOUS

The employee leads the couple to a large, airy room with a view of the hills. The young man nods and exits.

An old women enters and bows.

JIM
I wish to eat a traditional Japanese meal.

The women motions for them to sit on the bamboo mats laid out on the floor, surrounding a small table, only a foot off the floor. The two nod and take the offer.

The women steps to a charcoal burner and begins to prepare Sukiyaki. She places thin strips of beef and vegetables into a hot wok. As the steam surrounds her she turns to Jim and Sybil.

JAPANESE WOMEN
(in broken English)
Are you...American?

JIM
Yes

JAPANESE WOMEN
My husband was...soldier...in World War....he was killed by a bomb.

SYBIL
I'm sorry.

The Japanese women smiles politely and begins to dish out the food.

JAPANESE WOMEN
Here...you eat now...soldiers need to be strong.

The women nods and smiles, jim and Sybil graciously excepts the dish of food and returns the nod. The women exits.

FADE OUT:

FADE IN:

INT. CARRIER -- DAY

Jim and Sybil prepare for a day of shopping. The two exit their room on the ship and begin to walk down the corridor.

As they walk they pass a heavily bolted boor marked restricted.

SYBIL
What's in there?

JIM
Intelligence

SYBIL
Can you go in?

JIM
If I want to. But I'd rather not know that stuff.

SYBIL
In case you are taken prisoner right?

Jim continues to walk with Sybil and does not answer.

EXT. SHOPS OF TOKYO -- DAY

Jim and Sybil laugh as they sift through a stack of boxer shorts. Sybil looks humorously at the lack of selection. The only shorts available are adorned with pock-dots. Jim shakes his head and places a couple of pairs into a basket for purchase.

Jim and Sybil pass a shop selling kimono's. Sybil looks at Jim, Jim reciprocates with a smile and the two enter the shop.

INT. KIMONO SHOP -- CONTINUOUS

Jim wearing his Kimono waits for Sybil to exit the change room. She exits does a twirl to the delight of Jim. Jim motions to the sales women to wrap two Kimono's up.

INT. HOTEL DINING ROOM -- NIGHT

Jim and Sybil join another American navel couple for dinner. A Japanese waitress enters carrying a large dish of chicken curry. Hawaiian music plays in the background.

Sybil looks around the room in awe.

SYBIL
I can't believe this, this is almost indecent, such luxury.

Jim and the couple nod in agreement.

A waiter enters and places a small note in front of Jim.

CLOSE-

The front of the letter reads "Confidential Jim Stockdale, U.S Navy"

SYBIL
Who's it from?

JIM
(solemnly)
It's from Jerry Denton's's wife, he's been shot down and captured in Vietnam.

SYBIL
Who is Jerry Denton's?

JIM
We were class mates at the Navel Academy.

The couple accompanying Jim and Sybil offer their silent condolences.

SYBIL
(leaning closer to Jim, whispering)
I just know God will bring you back to me.

FADE OUT:

FADE IN:

INT. TOKYO AIRPORT -- DAY

Jim and Sybil stand at the counter of the customs office, filling out their customs list.

JIM
Do you have everything?

SYBIL
I think so, a radio for Jimmy, a walkie-talkie for Sid, a toy telephone for Stanford and a stuffed dog Taylor. That should be it.

JIM
I think your missing something?

SYBIL
(perplexed, begins to re-check her list)
What?

Jim removes a jewelry box from his coat pocket and opens it to reveal a strand of pale blue pearls in a baroque setting.

JIM
Merry Christmas

Sybil accepts the gift with a smile and the two hug and kiss passionately.

WIDE-

Sybil begins to cry.

SYBIL
I love you

An announcement comes over the Airport speakers, indicating that Jim's plane is ready for take-ff.

JIM
I love you too Sybil.

Jim picks up the presents.

JIM
I'll keep them with me and bring them home when the ship returns to San Diego for Christmas.

Sybil nods and smiles through her tears and begins to watch Jim walk towards the gate. Remembering something, Sybil calls out to Jim.

SYBIL
Wait!

Jim returns.

SYBIL
I wrote...you this.

Sybil places a love note in Jim's pocket. The two kiss and then Jim departs.

TRACKING SHOT-

Jim walks the length of the airport, never looking back, in strict regulation of their agreement with each other.

FADE OUT:

FADE IN:

INT. ABOARD THE ORISKANY -- DAY

TIGHT-

Jim writes in his journal.

JIM
August tenth, nineteen sixty five, my mind has been scanning...

PULL BACK-

JIM
...the events and trends in the air war in North Vietnam since the attack on the Vinh oil storage a year ago. Washington is now calling all the shots. All targets are being selected by politicians on the naive idea that delicate, peace making signals could be transmitted by military action.

Jim is interrupted by the presence of Captain Brat Connally standing in the doorway.

CAPTAIN CONNALLY
Can I talk to you Jim?

JIM
I'm guessing it's about the missions Washington has had us doing.

CAPTAIN CONNALLY
I know you are not happy with the situation, but it is your duty as Air Commander to follow the rules.

JIM
Rules? The ones that put planes and mens lives at risk on meaningless targets?

CAPTAIN CONNALLY
As long as you maintain your current level of tactical effectiveness, I can't question your interference of the rules.

JIM
I agree with the rules, but those men are like family and I don't like the idea of burying family.

CAPTAIN CONNALLY
I agree, which leads me to a tough question, what do you wish for me to do if you go missing?

JIM
If you think I'm dead, even if there's no proof, declare me killed in action, for Sybil and the kid's sake, that way she can re-marry.

CAPTAIN CONNALLY
Agreed, we have a briefing in one hour.

Captain Connally exits. Jim removes the love note from his pocket and begins to read it.

FADE OUT:

FADE IN:

Montage of scenes showing the turn for the worse in the air war over North Vietnam.

INT. JIM'S COCKPIT -- MORNING

A small group of shanty roofs peak through the heavy canopy of jungle.

Jim presses the release button on a guided bomb. We TRACK as the bomb lands in the middle of the compound. Explosions followed by flames light up the dark jungle.

Muzzle flashes erupt from the jungle a few feet from the compound, up towards Jim.

Jim takes evasive action as several bullets rip through his starboard wing.

JIM
(to his men)
I'm hit, but I will be fine. Mission accomplished, lets head back to Yankee station.

PILOT #3
I hear you

Jim pulls back and left on the stick, turning his plane.

EXT. DECK OF THE ORISKANY -- DAY

Jim steps on to the deck and heads for his Skyhawk. A group of pilots stand in front of the plane, smiling.

PILOT #3
Captain Stockdale, the guys and I would like to show our appreciation for the job you are doing as SQUADRON leader.

JIM
Thank you, what's this all about?

The guys split sideways to reveal a new name decal painted on the side of the plane.

TIGHT-

Name Plate "007 James 'Bond' Stockdale"

WIDER-

JIM
(amused and appreciative)
Thanks guys, really, now are we ready, we have a dragon to slay.

PILOT #3
(proudly smiling)
Yes sir

CUT TO:

A fleury of activity ensues, as pilot run towards their planes and ground crews prepare for their take off.

EXT./INT. HIGH OVER THE DRAGONS JAW BRIDGE/ COCKPIT-JIM -- DAY

Jim briefs his men on the details of the mission.

JIM
I realize this may seem old, we keep hitting this bridge and the North Vietnamese just keep rebuilding it, but if we don't break this dragons jaw, the Vietnamese will still be able to bite.

A volley of small bombs hit the bridge, causing damage to the deck planks.

JIM
Ed, drop your two five-hundred pound bombs, I'll follow right behind with a thousand ,that should finish the job.

The bridge all ready in flames, is struck again by Jim's bomb, causing the center of the bridge to sag and then collapse.

The SQUADRON pulls up and begins to head towards the next target, leaving the bridge with a hole in the center, but the main supports still in tact.

JIM
Let's go we will get it another day, we own the sky, but they own the jungle.

A group of planes make another run on the jungle target. A bomb rips into the darkness, doing little damage. A volley of fire is returned.

A strife of bullets rip through a Skyhawk fuselage.

PILOT #3
Mayday! Mayday!, I've been hit!

JIM
Pull up! Pull up!

A huge fire ball erupts from the jungle as the plane crashes into the ground.

FADE OUT:

FADE IN:

INT. CHAPLAINS OFFICE -- DAY

Jim stands in front of the senior chaplain scheduling a memorial service for the pilots lost that week.

JIM
Ed Davis, KIA married three weeks before we left San Diego. Mike O'Donnal, KIA, father of two, Jeff Rodgers, single, nineteen years old.

Jim chokes back his emotions on the last name.

CHAPLAIN
Thank you, I will make the necessary arrangement, funeral services will commence tomorrow at o eight hundred.

JIM
Thank you, now excuse me.

Jim exits.

INT. PILOT BRIEFING ROOM -- DAY

Jim approaches pilot Harry Jenkins.

JIM
I hear you took some bad flack yesterday.

JENKINS
Two shots ripped right through the cockpit. I was lucky too get the plane back aboard. I'm glad my one hundredth mission was a lucky one.

JIM
I am happy your back.

JENKINS
Oh, did you hear they rescued Lieutenant Burton from the sea, twelve miles off the coast of Vietnam.

JIM
Burton? Good thing they rescued him.

JENKINS
Why do you say that?

JIM
Burton has a peculiar restriction because he's done intelligence duty. He was not to be exposed to possible capture until after September, when the material he encountered is out of date.

JENKINS
Here we are busting our humps everyday, bringing back flak holes the size of grapefruits, and this guy gets the royal treatment.

JIM
I guess the US government thinks they can win the war using propaganda bombs.

Harry and Jim continue to exchange small talk Jim narrates the true meaning of his statement.

JIM
I wish I could have told Harry the truth, the fact that what ever Lieutenant Burton knew failed in comparison to the knowledge I had in my possession. If I were captured and if my captors were to read my name in newspaper accounts of the Tonkin Gulf episodes. The simple confession they might be able to extract...

INT. JIM STOCKDALE'S STATEROOM -- CONTINUOUS

Jim sits on his bunk writing in his diary continuing his thought.

JIM
...from me would be the biggest Communist propaganda scoop of the decade.

CLOSE-

On the diary page as Jim's hand writes the following,

"American Congress commits to a war in Vietnam on the basis of an event that did not happen"

FADE OUT:

FADE IN:

INT. SODA SHOP -- DAY

Fourteen year old Jimmy sits in a Michigan Avenue soda shop, listening solemnly to a report from President Johnson. The boys around him groan and react to the bad news.

PRESIDENT JOHNSON
The war effort in Vietnam needs to be stepped up to the next level, if we are able to keep our goals on track, that we established at the beginning of the war effort. Our goal is to provide the most safe conditions for the men already serving in North Vietnam. It is necessary to double the draft call and add fifty-thousand troops to the line in the south, if we are to achieve our agenda.

PULL BACK-

As Jimmy's friends boo and hiss, showing their disgust for the President's speech. Jimmy silently gets up from his stool and quietly exits.

CUT TO:

INT. JIM STOCKDALE'S STATEROOM -- MORNING

CLOSE-

On a sounding alarm clock reading 5:00am

WIDEN-

JIM leaps from his bunk and opens his drawer. On top of his socks and shirts are the gifts he bought for Christmas in Japan. JIM lifts the walkie-talkies and the box containing the pearls, underneath he removes the red-polka-dot boxers, smiling.

JIM
(to himself)
I need all the good luck I can get.

JIM takes out a watch, turns it over and looks at the inscription.

TIGHT-

On the inscription on the back, "JBS, 1942, Love Dad"

JIM grabs his flight suite and heads for the bathroom.

CUT TO:

EXT. FLIGHT DECK -- MORNING

In the dim light of dawn the crews are preparing the thirty-seven Skyhawk planes for launch. JIM walks confidently toward the gathered flight crew.

JIM
What's the weather report?

WEATHER SCOUT
You should have acceptable visibility for your raid at the Dragon's Jaw Bridge.

JIM
I assume you all know the plan.

The pilots nod, the announcement to "stand by to start engines" comes across the flight deck bull horn.

The flight deck takes on a look of a ballet stage. Dozens of sailor technicians duck down beside the catapults. Yellow shirted plane directors to signal the pilots to turn their planes toward the catapults.

INT. JIM'S COCKPIT -- DAY

JIM continues his briefing as his POV of the open water replaces the view from the carrier.

JIM
(into his radio)
We will cross the coast about sixty miles south of Vinh and gradually bend around to make a run into the bridge on a north east heading.

Just as the view of the beach comes into view directly below JIM the weather scout breaks in to damper the jubilant tone.

WEATHER SCOUT
Heavy rain at the bridge, ceiling and visibility zero.

TIGHT-

JIM face shows his displeasure.

JIM
This is double-o-seven. Break up and proceed to secondary targets. See you all back aboard ship.

JIM waves to his wing man and rolls his Skyhawk sharply left and starts down through the clouds.

As he descends through the clouds, JIM becomes relaxed and unstraps his oxygen mask.

JIM
Wynn, I'm heading up the coast to the railroad. I can make good use of my bombs there.

WYNN
Great idea, I'll follow you, there's never been a problem with flak up there.

JIM and WYNN turn their planes downward, setting up for a low altitude drop on a row of train cars. JIM turns to WYNN on his right and gives a casual thumbs up and then switches on his gun sight.

JIM plane drops down the middle of the box cars and fires a bomb that hits perfectly. The box car is turned to a pile of rubble.

JIM starts to pull up. The sound of 'boom boom' from a fifty seven millimetre anti-aircraft gun roars over the engine noise and wind. JIM turns his head to the right.

Fire Balls from a Vietnamese cannon, hidden in the jungle erupt towards JIM at point blank range.

JIM feels the impact.

JIM
Mayday! Mayday! I'm hit bad. My instrument panel reads all red! I'm on fire! Hydraulic systems are gone. My control system is going out! And I am heading into a zero g nose down pitch.

JIM puts his oxygen mask to his mouth and gives his last instructions to WYNN.

JIM
The g forces are incredible, I can't reach my injection curtain! I can see the gulf about three miles ahead. I don't know if I can make the safe zone, but I'll try.

The Skyhawk pitches over and heads for the ground.

JIM pulls the alternate seat firing handle located between his legs. The cockpit canopy flies off and JIM accelerates up the ejection track. JIM looks straight up to see his parachute open .

EXT. HIGH ABOVE THE VIETNAMESE JUNGLE -- CONTINUOUS

JIM goes into a tumble as the chute deploys. He begins to skim the tops of the towering jungle trees. He begins to drift over a highway.

Rifle fire from below cuts slits in the parachute. JIM looks up and tries to look calm as his parachute drifts through the trees, finally snagging on a scrub tree.

EXT. VIETNAMESE TOWN -- CONTINUOUS

JIM bobs up and down over the street. Instinctively JIM, with his right hand pops the two quick release latches on either side of his chest. The parachute straps snap up and away into the tree. JIM becomes aware of the sound of heavy combat boots thundering there way through the jungle.

A mob of Vietnamese townsfolk angrily run through the jungle towards JIM. Each carrying clubs.

The mob descends on JIM and begins to pummel their captive. The mostly teen try to show off for one another. Each trying to get in the hardest blow. JIM tries to ward off the blows, but they come fast and hard. A teen lands a shot to JIM's head that knocks him semi-unconscious.

Vietnamese police descend on the fallen JIM, blowing their whistles. They grab JIM and sit him upright. The police dressed in civilian clothes and pith helmets begin to wave off the crowd.

Three boys step out of the crowd and begin cutting JIM's uniform off, in quick angry slashes. As they get down to his polka-dot shorts, cries of laughter grow in the crowd. Unphased a teen quickly slashes at the shorts, leaving JIM lying naked in the middle of the street.

The crowd pulls down the parachute from the trees and begin to cart off there trophy. One of the police points down at JIM's boots and shouts angrily in broken English.

VIETNAMESE COP
Boot...boot..off!

JIM
(struggling)
Okay, give me a minute, my legs are broken. I have morphine in my bag, over their, let me get it.

JIM tries to reach for his flight bag lying nearby in the street. The Vietnamese cop smiles and steps on JIM's hand and reaches down and snatches up the bag. In Vietnamese he motions to a teen and throws him the bag.

Two more teens join the other teen to loot through the bag. They laugh as they pull out various gear. A teen with three watches on his arm motions at JIM's watch. The cop, still standing on JIM's arm, forcibly grabs JIM's engraved watch off his wrist with such force the band breaks. He hands it to the teen with the watches and smiles with excitement and then runs off.

JIM becomes aware of aircraft engine noises overhead as he is being hauled down the street naked by the mob. A man in civilian clothes comes running through the crowd. In clear and distinct English addresses JIM.

VIETNAMESE MAN
Are you James Bond Stockdale?

JIM
(yelling)
Yes!

The Vietnamese man nods knowingly and runs off to the north. JIM passes out.

FADE OUT:

FADE IN:

EXT. VIETNAMESE TOWN -- LATER

JIM comes too, as the sun begins to set, he is still lying naked in the town square.. He is now surrounded by Vietnamese army personnel in uniform. One tosses a dirty pair of blue shorts and a work shirt at JIM. JIM quickly puts them on.

Four soldiers take a hold of a limb each, much to JIM's discomfort, and begin drag JIM through the woods.

EXT. VIETNAMESE TOWN-WOODS -- CONTINUOUS

The soldiers drag JIM to the edge of the woods on the other side, to a highway. Thirty trucks are parked under the overhead of trees beside the road, all aimed south. Each is laden with Vietcong war material.

Men and women in and on top of the trucks help throw JIM up on a canvas cover atop a loaded truck. The trucks depart to a roar of hooting and hollering. The trucks have dim shielded headlights and the people on top keep watch for aircraft.

EXT. VIETNAMESE TOWN-HIGHWAY -- NIGHT

Now dark the moon fills the sky as the trucks come to a stop at a check point. JIM is hauled off the truck and handed over to a group of civilians.

One of them a hulking man, takes charge and motions the other men to take JIM to a hut on a nearby cliff, overlooking the sea.

INT. VIETNAMESE TOWN-CABIN -- NIGHT

JIM is hauled into the wooden cabin and thrown onto a wooden slab bed. Three of the men leave, the two other begin to argue. The argument is halted when a crazed man bursts through the cabin door carrying a milk stool.

The man slams the stool into JIM's stomach with force, twice. JIM musters the strength to grab the stool and throw it into the corner. The stool crashes into pieces.

Enraged the man pulls out a pistol and fires two shots at point blank range. One shot rips into a bed plank below JIM's torso, the other grazes his foreleg, causing a small wound.

The two Vietnamese men forcibly grabs the crazed man and throw him out of the cabin. One of the men exits and then returns with a white rag and begins to tend to JIM's wounds.

The crazy man re-enters this time motioning for the other two to carry JIM out, the two oblige.

CUT TO:

INT. VIETNAMESE HOSPITAL -- MORNING

The Vietnamese men drag JIM into a concrete building and lay him onto a cement slab bed.

A Vietnamese doctor in full surgical garb, including a white face mask, comes in carrying a black medical bag. He starts laying out his tools. JIM looks on terrified, as the surgeon lays out a surgical saw and all sorts of large scalpels.

JIM
(fractically trying to communicate)
No! No! Don't cut off my leg!

The doctor shrugs and places the saw back on the table. The doctor turns back and begins to examine JIM's shoulder and back. Turns back to retrieve a veterinary needle and proceeds to fill it with a clear fluid. The man shoves the needle into JIM's right elbow. At the count of three JIM passes out.

CUT TO:

INT. VIETNAMESE HOSPITAL -- NIGHT

His left arm and all o f his upper torso are placed in a plaster cast. One of the men exit. JIM works his way to a sitting position.

CLOSE-

On JIM's legs, which are also placed in full casts from his ankle to the mid thigh. JIM slumps back down in relief.

JIM
(to himself)
Thank you lord.

The doctor swings back into the room, still dressed in white, with him a Vietnamese man who speaks in broken English.

VIETNAMESE MAN #2
Those are travel casts...you can move your leg only a bit...we can go now.

EXT. OUTSIDE VIETNAMESE HOSPITAL -- NIGHT

A female Vietnamese and two male civilians help JIM into an open bed truck and one throws a quilt over him. The women climbs into the back of the truck and the men step onto the cab of the truck. The truck starts up.

EXT. VIETNAMESE COUNTRY SIDE -- NIGHT

JIM looks up as the truck passes over the Dragons Jaw Bridge. The truck crawls over the bridge due to the bombing damage. JIM slumps back down into the truck and drifts off to sleep.

CUT TO:

EXT. VIETNAMESE COUNTRY SIDE -- DAY

The truck pulls into a country barnyard with limestone ridges rising all around it. Three men pass the truck, conversing in Vietnamese. JIM struggles to listen to the muffled conversation. JIM clearly hears the words 'Hanoi'

JIM realizes the scope of the situation and begins to tear off his plaster casts, with his good right arm. JIM gets through his upper body cast, then gets to work on his heavy leg cast. He gets half torn apart and begins to paint for breath when his escorts come back up the road.

The Vietnamese men look on without the least bit of alarm. The women picks up the strewn plaster and throws it out of the truck. The men step into the cab of the truck and drive away.

CUT TO:

EXT. CITY OF HANOI -- MORNING

JIM awakens to realize he is on the outskirts of the city of Hanoi. It is straying to rain when the truck makes a sharp veer to the side and parks at the curb. JIM flat on his back, facing too the rear of the truck, looks up to see a beautiful French built public building in a heavily wooded park, to his left and a very long prison wall to his right.

The two men exit the truck and take JIM off the truck, one blindfolds him while the other handcuffs him hands behind his back.

FADE OUT:

FADE IN:

INT. SYBIL'S HOME -- NIGHT

SYBIL spends another quiet night in Coronado. The stairs in the old house creak as SYBIL leads the youngest son Taylor, three up to bed. At the top of the stairs two rooms side by side frame the shot. SYBIL leads Taylor into a room where five year old Stanford and eleven year old SID ready for bed.

SYBIL
Did you finish your math problems?

SID
Yes mom

SYBIL
Great, good night
(too Taylor)
And don't let the bed bugs bite.

Taylor climbs into his bed and SID reaches over and shuts the table side light off.

INT. JIMMY'S ROOM -- CONTINUOUS

SYBIL enters JIMMY's room adjacent. JIMMY sits transfixed to a telescope set up in front of his window, pointed at the sky.

SYBIL
What star are you looking at tonight?

JIMMY
(turning around)
I'm looking at the moon, dad says the United States is going to put a manned rocket up there.

SYBIL
Your dad would know

JIMMY
You okay mom? You seem quit tonight, do you know something about dad?

SYBIL
(trying to reassure)
No, Jimmy, is just this house seems empty without your dad, anyway, happy star gazing. Don't stay up too late. Good night.

As SYBIL exits JIMMY returns to his telescope.

INT. SYBIL'S HOME -- CONTINUOUS

SYBIL enters the living room, as she does a KNOCK at the door alerts her.

Opening the door SYBIL is greeted by DOYEN and a CHAPLAIN who greets her with solemn looks.

SYBIL
Doyen? What brings you here, so late?

DOYEN's instinctively reaches out and hugs SYBIL in an effort to soften the terrible news she is about to deliver.

DOYEN
There's a message...
(forcing herself to get the words out)
Jim is missing

Silence,

SYBIL
(in shock)
That's impossible, Jim isn't missing. He's alive, he can't be missing, he's alive. He has to be somewhere in the world, missing? How can that be?

DOYEN
His plane was shot down and they think he got out, this is Lieutenant Parker. He will tell you the rest.

LIETENANT PARKER
(his ~voice shaky)
Jim's parachute was sighted, but we don't have any sign of a chute after Jim descended. That's all we know so far.

SYBIL
Is he dead?

JIMMY enters the room on SYBIL's last word.

JIMMY
Mom, is dad dead?

SYBIL turns to JIMMY and hesitates for an answer, sensing her loss for words, Lieutenant Parker tries to lessen the blow.

LIETENANT PARKER
You must be Jimmy, your a spitten image of your father. Hi, I'm Lieutenant Parker. I'm sorry we had to meet like this, as I was saying to your mother, we don't know yet the status of your dad. So for now he is listed missing in action.

SYBIL stands in shock as the news sinks in. She begins to shake, JIMMY walks over to console his mother.

JIMMY
Can I get you anything mom?

SYBIL
(embarrassed, tries to fight back her emotions)
That's okay Jimmy, go back to bed.

JIMMY nods and hesitantly EXITS. DOYEN replaces JIMMY in consoling SYBIL.

DOYEN
Come over and sit on the couch, I'll get you a glass of Sherry.

SYBIL sits on the couch, DOYEN, EXITS, LIEUTENANT PARKER stays at the door.

LIETENANT PARKER
(taking out a folder from a brief case)
I've written down all the information here, I'll leave it with you. Good Night Sybil.

LIEUTENANT PARKER drops the file next to SYBIL and EXITS> DOYEN Re-ENTERS with a glass of sherry.

DOYEN
Would you like me to stay the night?

SYBIL
No, I'll be okay, I've got the kids.

DOYEN
I know, Jimmy is growing into such a man, but if you need to talk don't hesitate to phone me.

SYBIL
I will, I promise.

DOYEN smiles, nods and EXITS, leaving SYBIL alone to contemplate her actions.

INT. SYBIL'S HOME -- MORNING

SYBIL sits in a large chair in the living room, deep circles ring her eyes, obvious signs that she had been up all night.

JIMMY leads the two older boys into the room.

JIMMY
I told them you got some news about Dad, nothing else.

SYBIL
Thanks, come sit here.

SID and STAN crawl up into the chair next to their mom. JIMMY hovers over the chair.

SYBIL
Jimmy, you know I have always been honest with you, your old enough for the truth. When you asked me whether your Dad was dead alive, I told you the honest truth, I don't know.

SID
Mom, Daddies okay, he's fighting the bad guys, right?

STAN
Come on Sid, we will miss the school bus.

The two children climb down from the chair and EXIT leaving SYBIL and JIMMY.

JIMMY
Don't worry about Stan, he's a smart kid, Taylor is too young, it's Sid I worry about.

SYBIL
I know, I pray the day never comes that I have to tell him that there father is...

SYBIL chokes on her last words. JIMMY intervenes.

JIMMY
I'll pray too. I've got to get to school.

JIMMY leans down and kisses SYBIL on the cheek and EXITS.

INT. SYBIL'S HOME-LAUNDRY ROOM -- DAY

SYBIL is helped with the laundry by STANFORD.

STANFORD
(touching SYBIL's arm and looking straight into her eyes)
Mom, I'm so sorry about Dad

A KNOCK at the door.

SYBIL
Wait here, I'll be right back.

INT. SYBIL'S HOME -- MOMENTS LATER

Answering the door, a reporter smartly dressed in a top coat and hat smiles.

REPORTER
Sorry, to bother you Mrs. Stockdale, but I have a couple of questions about your husband to ask you.

SYBIL
(mildly annoyed)
I'm sorry, I can't answer any questions right now. All I do know is that I have been reassured by the commander that the U.S Government believes the Communists are treating all United States Navy personnel captured, with dignity and respect and will continue to do so.

REPORTER
So you believe that your husband is still alive?

SYBIL
Yes, now excuse me.

The REPORTER reluctantly EXITS.SYBIL begins to shut the door, but the presence of the mailman stops her.

MAILMAN
I don't make it a habit to deliver mail up to the house, but I had to tell you in person, how sorry all of us at the post office are.

SYBIL
Thank you.

MAILMAN
Oh sorry, here's your mail.

SYBIL takes the mail and leafs through it, stopping at one and opening it.

INSERT-

On a letter addressed "JIM Stockdale, Coronado Mortgage Company. Balance due October 01, Final Notice."

WIDER-

SYBIL looks at the letter solemnly as the realization of the situation sinks in. She places the letter nest to the phone and EXITS back toward the laundry room.

INT. SYBIL'S HOME -- LATER

SYBIL sits in a chair next to the phone, holding the letter from the mortgage company, she dials a number.

SYBIL
(into the phone)
Yes, hello, this is Sybil Stockdale. I wish to talk to the commander.
(pause)

SYBIL
Yes, is this the Commander of Fiscal Affairs...right...thank you...I've called you three times now about receiving Jim's pay directly.
(pause)

SYBIL
I'm sorry, I realize your busy, but you keep telling me you are doing something about it, but this is September, I called you in the middle of July.
(pause)

SYBIL
Yes, and you told me you would send the paperwork, so that I could have Jim's pay check sent to me.
(pause)

SYBIL
I've waited long enough! I'll give you until Monday to find out about the pay or I'm going to call the Admiral in Washington, who I'll remind you is head of all Navy personnel!
(pause)

SYBIL
I thought so, I will look for the check tomorrow. Thank you for all the work that you have done.

SYBIL hangs up the phone and smiles in satisfaction.

INT. SYBIL'S HOME -- EVENING

SYBIL sits in her chair writing a letter.

INSERT-

SYBIL writes.

SYBIL
Dearest Jim, I hope you are being treated well, I look forward to the day we all can be united.

WIDER-

SYBIL
The boys ask about you everyday. They are growing like weeds, I've been told to keep my letters short, which will be tough. I just wanted to say, I will continue to cope and believe the way I believe you would want me to. Bye for now, love Sybil.

SYBIL folds up the letter and places it in an envelope and addresses it.

INSERT-

The envelope. "JIM Stockdale, US State Department c/o The

Red Cross"

MONTAGE-

Showing how SYBIL and the kids try to maintain as normal of a life as could be expected under the circumstances.

EXT. HIGH SCHOOL FOOTBALL GAME -- DAY

DOYEN and BUDD join SYBIL in the bleachers, cheering for JIMMY as he leads the local high school team to victory.

EXT. MOVIE THEATRE -- DAY

DOYEN, BUDD and SYBIL with the boys exit a movie theatre. Everyone has a look of enjoyment.

INT. RESTAURANT -- NIGHT

DOYEN and BUDD welcome SYBIL to their table for a night out.

INT. SYBIL'S HOME -- DAY

DOYEN carries a birthday cake over to SYBIL who is surrounded by the boys and BUDD. The gang sings and laugh as STANFORD enjoys his day.

INT. SYBIL'S HOME -- NIGHT

SYBIL surrounded by the boys places a small cake with a single candle on it and lights it.

INSERT-

Cake. "Happy Birthday JIM, Return Soon"

INT. SYBIL'S HOME-DECEMBER -- MORNING

JIMMY leads the boys and his mom to the Christmas tree, two large grey boxes sit under the tree.

JIMMY
These arrived yesterday, there from the navy, open them.

SYBIL bends down and opens the first and begins to remove the contents. A large picture of her and then several smaller ones of the boys. The kimono they bought in Tokyo, the Christmas gifts they bought for the boys, the radio, the toy telephone, the toy dog and the walkie-talkie. SYBIL hands the gifts to the boys.

JIMMY (CONT'D)
Open the other one.

SYBIL opens the second box and begins to smile as she lifts out a letter placed on top of the blue pearls.

JIMMY (CONT'D)
Let me help you put them on.

SYBIL puts on the necklace and JIMMY closes the clasp.

SYBIL
How did you know what was in the boxes.

JIMMY
(coyly)
I took a peek.

SYBIL smiles and wraps her arms around all the boys together.

SYBIL
Where ever you are Jim, I feel closer to you.

FADE OUT:

FADE IN:

EXT. SYBIL'S HOME-APRIL -- MORNING

SYBIL removes a pile of flyers and mail from the mail box at the top of the driveway. TAYLOR stands by her side. She leafs through the pile until one particular letter stops her dead.

INSERT-

Address on the letter "SYBIL Stockdale"

PAN UP-

To SYBIL's face. SYBIL looks intently at the hand writing for a few seconds and then becomes excited.

SYBIL
(to TAYLOR)
Come on honey, lets read a letter form Daddy.

The two exit quickly toward the house.

EXT. SYBIL'S HOME -- CONTINUOUS

SYBIL turns over the letter and reveals four stamps bearing the word 'Vietnam'

TIGHT-

To the round post mark indicating 'Hanoi'. SYBIL shifts to the envelope just beneath this one. This letter bears the same stamps and post marks, addressed to SYBIL, but in a different hand writing.

WIDE-

SYBIL slumps into a nearby chair and stairs at the second letter with fear. Her hands begin to shake as she unfolds the thin manilla paper and begins to read.

SYBIL
February third, nineteen sixty-six, my dearest Syb.

Puzzled SYBIL open the first letter and begins to read.

SYBIL
December twenty six, nineteen sixty five...

CUT TO:

INT. JIM'S CELL IN HANOI PRISON -- DAY

Two guards armed with rifles stand guard, a third guard hands JIM a piece of paper and a pen and motions for him to write. JIM calmly continues the letter SYBIL began to read.

JIM
...My dearest Syb and boys, yesterday on Christmas day, the authorities granted me permission to send you greetings. I have been given your letter of October third, describing your football outings with the Salsig's. It is a great comfort to me to know that Aunt Hazel has come to the aid of mother. A winter visit by mother accompanied by Hazel seems a good tonic for mother's loneliness. Please give her my enduring love. I am adequately housed and fed. I'm about one hundred and forty pounds. I have a bum knee and shoulder which were well treated in the hospital here. I'm told that I will soon be able to return to the hospital where the doctors will finish the job. So don't concern yourself with my physical well being. I'm being taken care of. I frequently dream, Sid and Taylor...

CUT TO:

INT. SYBIL'S HOME -- MORNING

On JIM's last line, SYBIL continues JIM's letter.

SYBIL
...have been featured of late. How wonderful it is that our children's ages cover such a time span. My writing time is nearly up, and I must hurry with the more down to earth ideas I've been savouring. I do hope you were able to have Christmas dinner with the Salsig's again. I've hoped that the old shipmates that I liked so well stopped by to see you. Incidentally, I wish you would repay Paul Engel a couple of stamp books that I borrowed. Just drop by- he lives right across from the Shugart. Boys don't count your old man out for very long. We Will be together soon...

PULL OUT:

To reveal that TAYLOR, STAN, SID, and JIMMY have now joined their mother, leaning over the letter as SYBIL gets to the parts of the letter that pertains to them.

SYBIL
...I pray by even this summer. Rosy-cheek Taylor, I know you're king of the sand box. Stan, I've thought of you a lot and visualized you marching off to school with your books and pencil box. Sid, I love you dearly, and wonder how the typical Mister regular boy spent the fall. Flag football, again perhaps. Jimmy, you've inherited the big load of temporary man of the family at an early age. You've met our every dream and I rest more easily knowing your mature and watchful eye is making sure your mother gets as much assistance as you boys can give her.

WIDER-

As JIMMY pats TAYLOR on the head and smiles.

SYBIL
Jimmy, I think you should read this part.

SYBIL hands JIMMY the letter, he begins to read.

JIMMY
...Jimmy, I'm particularly proud of your quality of character and I know you said to me as you rode away to school on your bike the morning I left, we will be praying for you. How much significance that remark has been since held for me! Also, glad to hear of your athletic achievements this fall.

JIMMY smiles and hands the letter back to his mom.

JIMMY
Here this parts for you mom.

CLOSE-

SYBIL continues the letter.

SYBIL
...Syb, I've just been given the word that I may expect to be given a letter a month. Happy day. It was also explained that my outgoing mail can go to only one address. By the same token, only one, yourself, should write to me in the monthly schedule. All my love Jim.

PILL OUT-

As the boys surround SYBIL.

JIMMY
Read the second letter

SYBIL
Oh I'm sure it's more of the same.

SYBIL smiles awkwardly as if something bothered her about the letters.

FADE OUT:

FADE IN:

INT. SYBIL'S HOME -- DAY

SYBIL sits with two men from the Office of Naval Intelligence. She holds the two letters in her hand.

SYBIL
Thank you Mister Steele for coming, as I mentioned to you on the phone something bothered me about the letters Jim wrote me.

MR.STEELE
We read them, nothing sounds unusual, what do you mean?

SYBIL
Don't get me wrong, I'm glad he's alive thank god, but a couple pf parts pf the letters didn't make sense.

MR.STEELE
Which parts?

SYBIL stands and holds out the letter for MR.STEELE to read along.

SYBIL
Here, the part about dropping by at Paul Engels across the street from the Shugarts. That is strange, the Shugarts live in Lemoore. California. Four hundred miles north of here.

MR.STEELE
What would make him say just drop by?

SYBIL
Look and here, in this letter he tells Jimmy to say hello to his old football buddies- Bobby-Tom, Badly and Red Dawg. I didn't tell Jimmy about this part because it would have sounded crazy.

MR.STEELE
Crazy? What's crazy about remembering your sons friends?

SYBIL
Badly Chapman and Red Dawg are fellow aviators, but they never played football. Bobby-Tom Jenkins played football with Jim at the Naval Academy, but the boys have never met him and I haven't seen him in years. He lives in Alabama somewhere.

MR.STEELE
I don't know what to say Mrs. Stockdale. The navy doesn't normally pry into the personal affairs of its officers or their family, but we are most interested on any information about Jim's circumstances.

SYBIL
I think Jim is trying to tell us something using some sort of code.

MR.STEELE
Code? Explain what do you mean?

SYBIL places the two letters side by side on a table in front of MR.STEELE and the other man.

SYBIL
Here, Jim reports his weight to be one hundred and forty pounds. That means he's lost about thirty pounds in three months-and in the next letter he said he'd lost even more. That's a lot of weight loss considering they are adequately housed and fed.

MR.STEELE
Maybe Jim feels he's lost more weight than he actually has.

SYBIL
(unswayed)
Here, he comments about man's inhumanity to man. He mentioned that to me when we where leaving the movie theatre in Japan after seeing in harms way. And here, dropping by Paul Engel to repay him for some stamp books.

MR.STEELE
Does Jim normally fret about repaying his debts?

SYBIL
No, not a couple of stamps and the reference to his buddies, Red Dawg, Bobby-Tom and Badly as his football buddies. This all worries me.

MR.STEELE
Is there any other part of the letter that seems strange?

SYBIL
The most significant part of the letters, the thing that made me feel the saddest, was the phrase, there was cold and darkness, even at noon.

MR.STEELE
Does this have any significance in your, or Jim's life?

SYBIL
I think Jim is referring to Arthur Koestler's book, darkness at Noon. It describes life in a Communist prison as complete hell.

MR.STEELE
Is there anything else in the second letter that seems to convey a message in code.

SYBIL
The banner he refers to was the American flag from on top of his dad's casket. And I don't know why he had printed the letter. Maybe because of his bad shoulder or being cold and stiff, but I thought it was more likely he'd been told to right it that way.

MR.STEELE
Thank you Mrs. Stockdale, we will be in touch.

MR.STEELE and the other man stand and prepare to exit MR.STEELE turns back to SYBIL.

MR.STEELE
Don't worry to much about the parts of Jim's letters that seem unusual.

SYBIL
Thank you, I'll walk you out.

SYBIL smiles, but her expression seems forced as if she got the impression they knew more about the strange passages than they let on. SYBIL and the two men EXIT.

INT. SYBIL'S HOME -- NIGHT

SYBIL sits in her chair next to the phone. She picks up the receiver and dials zero.

SYBIL
Yes, the San Diego Union, please
(pause)
Hello, I just wanted to know when the morning edition is delivered to Coronado
(pause)
I see they come over on the boat at two am, thank you.

INT. SYBIL'S HOME -- LATER

SYBIL checks in on the sleeping boys and notices JIMMY stirring.

SYBIL
(whispering)
Jimmy, Jimmy

JIMMY
(groggy)
Hmm.

SYBIL
(whispering)
I'll be right back, I'm going to get a paper.

SYBIL EXITS.

EXT. BOAT DOCKS -- NIGHT

SYBIL approaches a man loading news papers into his truck.

SYBIL
Excuse me, this may sound crazy, but I need to get a paper.

NEWSPAPER MAN
(shaking his head in disbelief)
Sure here.

SYBIL, pays the man for the paper and EXITS.

CUT TO:

INT. SYBIL'S HOME -- MOMENTS LATER

SYBIL rushes in and sits in her chair in the living room. She switches on a small light and begins to skim the paper, turning the pages quickly looking for a story about JIM.

INSERT-

Newspaper Byline "San Diego Union May 2"

PAN LEFT-

Picture of JIM. His head somewhat bowed. The picture itself is somewhat dark, his face is unshaven and he is clothed in a pajama top.

PAN RIGHT-

Back to the article, "Tokyo (AP)- Hanoi's Vietnamese News Agency has identified a San Diego who..."

WIDE-

To SYBIL's face as she becomes excited as she reads through the article.

SYBIL
(muffled)
...it says was captured after his navy plane was shot down over North Vietnam last September. He was identified as Commander James Bond Stockdale, forty-two. The agency identified four other American pilots Saturday...

CUT TO:

INT. PENTAGON OFFICE -- AFTERNOON

SYBIL enters the office of COMMANDER BOUROUGHS. He wears a dark business suite instead of a uniform. SYBIL takes out the letters from JIM and hands them to the Commander.

SYBIL
Thank you for seeing me, Commander.

COMMANDER BOUROUGHS
Now, you said on the phone you felt their was something odd about your husbands letters and he could be trying to send encoded messages.

SYBIL
Yes, and I think parts of the messages is meant for the US Navy.

COMMANDER BOUROUGHS
(reading the letters)
He mentions Paul Engel. Interesting, commander Harry Jenkins lived across the street from Paul.

SYBIL
Does that tell you something?

COMMANDER BOUROUGHS
(looking up)
Harry Jenkins was listed as missing, I think Jim is trying to tell the navy that Jenkins was alive in Hanoi.

SYBIL
Hw also mentions three men who he referred to as football mates, are they connected?

COMMANDER BOUROUGHS
I must stress Mrs. Stockdale what I have told you is to be kept in strict confidentiality. You must not talk to anyone about it.

SYBIL
I understand

COMMANDER BOUROUGHS
Now, Sybil, if it is true that Jim is trying to tell the Navy the truth of the situation, I would like your help to try to get a secret message to Jim.

SYBIL
Help in what way?

COMMANDER BOUROUGHS
I want you to send a picture with each letter you write from now on.

SYBIL
That sounds dangerous, what if he gets caught?

COMMANDER BOUROUGHS
I want to ensure you the Navy would never put any of its officers in danger, but there is the chance your husband could be harmed. That's why I would like you to go home and think about my offer. Carefully.

SYBIL
If I agree, how would this plan work?

COMMANDER BOUROUGHS
You would send Jim a special picture when the North Vietnamese would be most likely to give it to hum for Christmas, probably in early October.

SYBIL
I'll think about it, and get back to you in a couple of days.

COMMANDER BOUROUGHS
Thank you, oh one more question. Does your husband have a favourite song?

SYBIL
(perplexed)
Sure, he had several, one was Near You; another was Que Sera Sera: a third was. Sorry this may sound silly, but, Fry me a cookie in a can of lard.

COMMANDER BOUROUGHS
That doesn't sound silly at all, thank you, I'll send for a driver to take you back to the airport.

COMMANDER BOUROUGHS walks around the desk and escorts SYBIL out of the office.

FADE OUT:

FADE IN:

EXT. SYBIL'S CONNECTICUT HOME -- EVENING

SYBIL sits on the sea wall in front of he Connecticut cottage, watching the sunset. SYBIL's father ENTERS from behind and touches her shoulder.

SYBIL'S FATHER
I came out to let you know that we've been watching the news inside, they've been showing some pictures of prisoners marching through the streets of Hanoi.

SYBIL turns.

SYBIL
(excitedly)
Could you make out anyone you thought was Jim?

SYBIL'S FATHER
No, I couldn't see any of the faces clearly. It all went so fast. They said more, but I'm sure they won't go through with it.

SYBIL
What father? What did they say?

SYBIL'S FATHER
They said they're going to try the prisoners for war crimes.

SYBIL's FATHER gives SYBIL's arm a squeeze in support.

SYBIL'S FATHER
(in a strong Voice)
I'm sure they won't go through with it, Sybil.

SYBIL's FATHER settles beside SYBIL on the sea wall, they sit motionless watching the last of the sun sink below the horizon.

FADE OUT:

FADE IN:

INT. PENTAGON OFFICE -- DAY

SYBIL walks onto a large office and is greeted by the inly friendly face she knows, COMMANDER BOROUGHS, seated at the large table are ADMIRAL MCDONALD, AMBASSADOR HARRIMAN and a PHOTOGRAPHIC SPECIALIST.

COMMANDER BOUROUGHS
This is Admiral McDonald, the chief of Naval Operations and this is Ambassador Harriman.

SYBIL
Nice to meet you, Commander Bouroughs. Firstly, I wanted to tell you that I have already began sending Jim a photograph with each of my letters, like we agreed.

COMMANDER BOUROUGHS
(his face lights up in a broad smile)
Terrific, now my Photographic Specialist here would like to know if there was anyway you could secretly signal Jim to soak a photograph in water.

PHOTOGRAPHIC SPECIALIST
He would then pull the photograph apart, and he'd be able to read an enclosed message.

SYBIL
What if we take a picture of a women and say it was his mother, have her dressed in a bathing suite standing in the ocean.

PHOTOGRAPHIC SPECIALIST
I'll get right on it.

The PHOTOGRAPHIC SPECIALIST stands, nods and EXITS.

SYBIL
Now, Admiral, I wish to have Jim listed as a prisoner of war and I want the Navy to launch its own anti-North Vietnamese propaganda campaign.

ADMIRAL MCDONALD
I will give your ideas the greatest of thought.

AMBASSADOR HARRIMAN
Mrs. Stockdale, Hanoi has been making it's threats about war-crimes trials, the State Department's efforts on behalf of our men, covered a wide range of activities. Now Mrs. Stockdale, I have a few questions to ask that may seem odd.

SYBIL
That's okay.

AMBASSADOR HARRIMAN
Mrs. Stockdale, how are they treating you at the Pentagon?

SYBIL
The navy's doing a fine job, Ambassador Harriman.

AMBASSADOR HARRIMAN
How do you think your husband is getting along, Mrs. Stockdale? I understand you've had mail from him. Can you tell very much about his circumstances from what he says?

SYBIL
Ambassador Harriman, have you ever seen a letter from a prisoner in Hanoi?

AMBASSADOR HARRIMAN
No.

SYBIL hands AMBASSADOR HARRIMAN JIM'S first letter. He receives it and begins to read. His eyes begin to widen.

SYBIL
I plan to send a newsletter to the other wives in my circumstances, telling them about the reassurances he had given me.

AMBASSADOR HARRIMAN
That's a fine idea.

SYBIL
I believe that I am making some progress helping Jim. So if you excuse me all, good day.

SYBIL stands and EXITS. Leaving the men sitting silently.

FADE OUT.

FADE IN:

EXT. SYBIL'S HOME -- DAY

SYBIL exits a taxi and walks up the driveway to her house. A yellow telegram is neatly tucked into the metal scroll work encasing the screen door. SYBIL pulls the telegram out, unfolds it and begins to read.

SYBIL
(skimming the telegram)
The Secretary of Defence has determined that the best interest of the personnel missing in action in Vietnam will be best served if those who we believe to be prisoners of North Vietnam be so listed. Accordingly, your husband... is now listed as captured instead of missing in action... We regret the continual refusal North Vietnam to comply with the provisions of the Geneva Convention and to furnish the names of the prisoners being held.

SYBIL's face shows a look of content as she ENTERS. Her home to the chorus of cheers from her children rushing out to meet her.

EXT. CORONADO POST OFFICE -- DAY

SYBIL clutches a letter addressed to JIM for a second before placing it on the counter in front of the teller. She is greeted by a fellow Navy Wife LORRAINE.

SYBIL
I would like to mail this, it's too my husband.

LORRAINE
Hello Sybil.

SYBIL turns and is greeted by LORRAINE SHUMAKER.

SYBIL
Well hello Lorraine, what brings you here.

LORRAINE
I received mail from Bob and I couldn't wait too write back, oh and how's Wallace?

SYBIL
I'm sorry who?

LORRAINE
(leaning in too whisper in Sybil's ear)
He's my contact with those people in Washington we never talk about.

LORRAINE winks and smiles and steps towards the counter leaving SYBIL with a rye smile on her face.

FADE OUT:

FADE IN:

INT. INTERROGATION ROOM -- AFTERNOON

JIM lies on what looks like a wooden library table in a small Vietnamese interrogation room. Aeronautical maps lay on the table next to him rolled up.

A FIRST GUARD ENTERS and removes them, before a second guard hereby referred to as EAGLE, ENTERS. This one is a greying man with a beard. He walks with the confidence of a seasoned OFFICER. As he enters he shows obvious disgust for JIM.

EAGLE
(in broken english)
Why do you refuse?

JIM
I have nothing to tell you Eagle.

EAGLE
Your cute names do not amuse the North Vietnamese Army, we are only interested in your Navy's in-flight refuelling areas.

JIM
Like I've been telling you for the last ten days, we don't have any special fueling areas. We just do it where ever it is convenient.

EAGLE
I must have a secret mark on the map. Co-operate and we will show you our gratitude.

JIM
Sorry, I don't know of any such secret re-fueling places.

EAGLE shows disgust and EXITS. JIM lies back down on the table.

LATER-

Another interrogator, from here on referred to as OWL ENTERS. He is the same rank as EAGLE. JIM sits up alert.

OWL
(annoyed)
I bring word from the General Staff Officer. You have made a very grave error. Things will not go well for you.

OWL EXITS. A YOUNG SOLDIER, low in rank ENTERS wheeling in a stretcher. JIM is blindfolded and instructed to lie on the stretcher. JIM does not resist, and makes the first move off the table onto the stretcher. The YOUNG SOLDIER forcibly grabs a hold of JIM's pants at the waist and finishes the task. JIM is then tied down at the wrists and feet before being EXITED out of the out of the room.

INT. PRISON CELL -- LATER

JIM's blindfold is removed, by a TALL GUARD, here on referred to as MICKEY MOUSE, appears from the darkness, bearing a large pair of crutches, he signals for silence, with a finger across his lips. He is followed by the YOUNG SOLDIER and a JEEP DRIVER.

INT. PRISON CORRIDOR -- MOMENTS LATER

The three guards escort JIM through a green door on the right of what turns out to be a tunnel. JIM walks clumsily, aided by crutches that a foot too long. JIM's gait shows that his knee is still badly damaged. He walks with somewhat a straightened leg, swinging it out to the side with each step.

INT. PRISON HOSPITAL -- CONTINUOUS

As they enter through the door, the scene returns to a depressing grey hallway littered with debris, including a batch of blood soaked bandages. The ceiling of the hospital is high with dirty white paint and four bolted cell doors on either side. All are padlocked, except the first door on the left. A barred window above each cell door is boarded up.

INT. PRISON CELL -- CONTINUOUS

Inside the cell are two crumbling cement slab bunks on either side of a very narrow aisle. Leg stocks are attacked at the foot of each slab, by the door. A small opening to an outside gutter sits between the bed heads. A mosquito net was rigged over the bunk to the left.

MICKEY MOUSE throws two pairs of khaki prison pajamas, a blanket, a bar of soap, a wash rag, a pair of sandals and a drinking cup, tied up in a bundle onto the cement slab to his right.

MICKEY MOUSE
Keep silent

The cell door is slammed and bolted, two pairs of footsteps retreat leaving JIM alone in the dim cell.

JIM turns back towards the door and begins to read the posted statement pasted on the door, in English.

INSERT-

The notice is illuminated by a dim bulb on the ceiling. "Criminals are obligated to give full and clear answers to all questions.

Criminals must demonstrate a polite attitude toward the officers

The criminal must maintain silence in the detention room.

Any disobedience or opposition, or any attempt to get out of the detention camp are all punishable.

Anyone who prevents violations..."

CLOSE-

JIM
(reading in a whisper)
...and who reveals the identity of those who attempt to act in violation of the foregoing provisions will be properly rewarded. However, if any criminal is aware of any violations and deliberately tries to cover it up, both he and the perpetrator will be punished.

JIM shakes his head, turns and pulls up the net and sits down on the slab. Lays the crutches across his prison gear and makes the sign of the cross.

JIM's eyes PAN around the small room. First down at the leg stocks at the foot of the cement slab, then up above to the feeding chute, then back over his shoulder at the small hole with a small open toilet bucket beside it.

JIM springs up from the slab, takes off his shorts and work shirt and puts on one pair of pajamas and drapes the other over the mosquito net to keep the light out. JIM lies back and transfixes his eyes on the ceiling.

FADE OUT:

FADE IN:

INT. PRISON CELL -- MORNING

The sound of a clang of a metal pipe against a section of iron railroad track dangling from a tree echoes from outside JIM's cell. JIM awakes and follows the path of the rhythmic drumming emanating from loud speakers coming from the courtyard. Clapping in time from the music follows as the guards begin their morning calisthenics.

JIM's cell door flies open, the guard known as DIP, enters and yells in Vietnamese while pointing to the little white bucket, bar of soap and wash rag. JIM struggles to understand the instructions. Understanding it is wash time, JIM grabs his crutches and struggles to his feet.

As DIP turns towards the door, JIM glances over his left shoulder and catches a glimpse of an American looking face, peeking down at him through a crack three feet above the door.

INT. DISGUSTING CELL -- MOMENTS LATER

JIM is thrown by DIP into a cell, duplicate of the cell he had just left except the inclusion of a water spigot above the small hole. JIM walks over to the small hole and dumps his bucket and begins to wash his face. DIP slams the door behind him.

JIM's crutches skid on the wet floor, causing JIM to nearly fall. PAN down to reveal the floor is covered in urine. BACK to JIM's face, showing the disgust of his surroundings/

JIM
(disgusted)
Who would do this?

JIM strips down and traces with his hands his now perturbing rib cage, down his dirty body to his deformed knee, outlined with scars. JIM begins to shiver from the cold.

Whispering from the adjacent cell catches JIM's attention. JIM falls to the floor and puts his mouth towards the crack.

JIM
(whispering)
Hey are you American?

DAVE
(whispering back)
Ay, my name's Dave Wheat, what's your's.

JIM
Jim Stockdale, Navy Pilot.

DAVE
Me too, off the Independence, just get here?

JIM
Yes, you?

DAVE
Been here a week, listen, don't worry about the mess of cell eight, I guess there's no house keeping at this hotel. The guards come into our hall and use the floor every night, rather go to the more distant latrines.

JIM
What's the name of this hotel?

DAVE
Heart Break hotel. Are you able to get up above the door?

JIM
No, my knee is pretty broken up.

DAVE
I'll be your eyes for you, up here you can see all the hall activities, I can see DIP a couple of strides before he hits the green door.

JIM
Great, whistle if you see him.

INT. DAVE'S CELL -- NIGHT

DAVE whistles Pop goes the Weasel. DIP's heavy footsteps outside DAVE's cell, proceeds the sound of a heavy door opening. DIP yells in Vietnamese for DAVE to get up. DAVE obliges, only to be met by a slap from a heavy leather strap.

INT. DISGUSTING CELL -- CONTINUOUS

JIM sits in silence listening to the sounds of torture coming from DAVE's cell and then it stops.

INT. DISGUSTING CELL -- MORNING

JIM is awakened by the presence of DIP's footsteps and yelling form a cell across from JIM's.

INT. CELL SIX -- CONTINUOUS

DIP enters the cell, were a young prisoner, known as Lieutenant Rodney Knutson, sits, two more guards forcibly remove him and usher him out, while DIP berates him in Vietnamese.

INT. DAVE'S CELL -- MOMENTS LATER

DAVE listens for DIP and the guards to EXIT and whistles Mary Had a Little Lamb, a signal for all's clear, then crawls to the hole.

JIM
Who were they taking away?

DAVE
Lieutenant Rodney Knutson, he is a shipmate of mine.

CUT TO:

INT. INTERROGATION ROOM -- DAY

Two guards hold Rodney's arms behind him as he is forced down into a small wooden chair, DIP interrogates in english.

DIP
Who do you work for?

LIEUTENANT RODNEY KNUTSON
I'm Lieutenant Rodney Knutson, United States Navy, serial number three five nine one five six zero, born January thirty-one, nineteen forty six.

DIP
(annoyed)
Tell me where your ships are placed?

LIEUTENANT RODNEY KNUTSON
I repeat, I'm Lieutenant Rodney Knutson, United States Navy, serial number three five nine one five six zero, born January thirty-one, nineteen forty six, sir.

DIP
(extremely irate)
If you don't co-operate you will be executed, do you understand

RODNEY remains silent, DIP walks over to the door, opens it and signals for two guards in the hallway. The guards enters, the first is muscular with a receding hair line and expressionless eyes, hence known as PIGEYE. The other guard is tall, hence known as RABBIT. DIP leads the guards over to RODNEY and EXITS.

RABBIT
I have permission from a high authority to do what was necessary to make you talk.

PIGEYE slaps RODNEY about the head and shoulders, knocking him off the chair. The guard then removes a hemp rope from around his waist and ties it around RODNEY's upper arms, shutting off his blood circulation and bending him double. RODNEY cries out from the excruciating pain.

LIEUTENANT RODNEY KNUTSON
(in pain)
Okay, I'll tell you what you want to know

CUT TO:

INT. LIEUTENANT RODNEY KNUTSON'S CELL -- LATER

Two guards lead RODNEY back into his cell, with force they throw the battered soldier hard to the cell floor and slam the door shut.

INT. HALLWAY -- CONTINUOUS

The guards walk past the three cells heading for the green door, conversing and laughing in Vietnamese.

INT. DAVE'S CELL -- CONTINUOUS

DAVE listens for the green door to shut and whistles Mary Had a Little Lamb.

DAVE
(whispering)
Hey Rodney you okay?

LIEUTENANT RODNEY KNUTSON
Yes, fine, sore, bastards tried a new rope trick, I gave them nothing.

INT. DISGUSTING CELL -- CONTINUOUS

JIM
Hey, my name is Jim, nice to meet you, who beat you?

LIEUTENANT RODNEY KNUTSON
The interrogator's name is Rabbit, tall with pointy ears, the torture expert's name is Pigeye, he shows no emotion.

JIM
I see, rest.

FADE OUT:

INT. DISGUSTING CELL --EVENING

JIM's cell door opens, PIGEYE slides a bowl of food towards JIM. JIM studies the older guard, around thirty five to forty. JIM's eyes travel the length of PIGEYE's muscular frame. PIGEYE EXITS and shuts the door.

CUT TO:

INT. DISGUSTING CELL --MORNING

JIM's cell door opens, PIGEYE motions for JIM to grab his wash bucket. JIM stands, picks up the bucket, soap and wash cloth and is led from the cell.

CUT TO:

INT. DISGUSTING CELL -- AFTERNOON

PIGEYE enters the cell and gives JIM the sleeves up signal. A cutting action of one hand across the wrist. JIM rolls up his sleeves. PIGEYE ushers him from the cell.

INT. TUNNEL -- CONTINUOUS

PIGEYE leads JIM through the green door and down the tunnel out into the courtyard.

EXT. COURTYARD -- CONTINUOUS

JIM is led in the rain across the courtyard and up a set of steps that leads to the interrogation room.

INT. INTERROGATION ROOM -- CONTINUOUS

PIGEYE leads JIM into the room that he was first housed. The library table has been replaced by a small table draped in blue cloth. A lamp on the table is the only light. RABBIT sits behind the table, cast in shadows. JIM is led up to a low stool situated in front of the table by PIGEYE. JIM is instructed to bow, which he does. RABBIT waves for PIGEYE to EXIT.

RABBIT
(in English)
Have a seat.

JIM sits down on the stool.

RABBIT
How are you?

JIM
Fine.

RABBIT
Are your clothes adequate?

JIM
Yes

RABBIT
Is the food adequate?

JIM
Yes, fine, permission to speak.

RABBIT
Of course.

JIM
In accordance to the Geneva Convention of nineteen forty nine, pertaining to the treatment of prisoners of war. No prisoner is to remain in solitary confinement for any extended length of time. Cleanliness should meet basic standards of living and prompt medical care is to be offered to all prisoners.

RABBIT answers JIM's truculent bravado first with silence and then disgust.

RABBIT
You have no right to protest, you are a criminal.

RABBIT then produces a newspaper with the header 'The Stars and Stripes'

RABBIT
We know you well.

JIM
So that's where you got your information from.

RABBIT
Yes, we know all about you James Bond Stockdale and the murderous acts in the Tonkin Gulf on August twelfth last year. It is true that my country agreed to the terms of the Geneva Convention, but later we filed an exception for those captured in wars go aggression. You are nothing but a common criminal, guilty of bombing schools and churches. And of crimes against humanity. You have medical problems and you have political problems, and in this country we take care of medical problems only after political problems are resolved.

RABBIT stands hastily and screams out in Vietnamese. PIGEYE once again ENTERS.

RABBIT
(to Jim)
Get out of here, you have made a grave error. You have offended an Officer of great influence. I sit on the General Staff.

JIM is hastily pulled of the stool by PIGEYE and ushered out of the room.

CUT TO:

EXT. COURTYARD -- LATER

JIM is led back across the courtyard by PIGEYE. JIM walks solemnly. JIM sums up his grave situation.

JIM
I have just had my first taste of North Vietnamese politics. I am their mouse, they are the cat.

JIM is led into the tunnel, leading back towards his cell.

FADE OUT:

FADE IN:

INT. HALLWAY -- LATER

JIM is led down the hallway past cell two by PIGEYE. JIM notices two guards, busy bringing in a new prisoner. PIGEYE stops, opens JIM's cell and shoves him in.

INT. DISGUSTING CELL -- CONTINUOUS

JIM's cell door is slammed shut. JIM waits until he hears PIGEYE's heavy boots fade in the distance and the sound of the green door slamming, then gives the accustomed whistle. But a new tapping signal is returned.

JIM
(whispering)
What happened to Dave?

ROBBINSON
Sent to the zoo, where they send all the prisoners who aren't a threat.

JIM
(whispering)
What's your story?

ROBBINSON
I did the ten days at Heartbreak in room twenty four. The one with the table. Then they sent me too the outlying camp. They caught me organizing a program of resistance and hauled me back here to the new guy village.

JIM
Did they show you the rope trick?

ROBBINSON
Yes, new and improved. First they put me in leg iron, then put me on short rations for a month and then closed in for the kill. I was blindfolded and walked through trees and ditches until I was disoriented.

JIM
My names Jim by the way

ROBBINSON
Robbinson, I know all about you from the guys in the zoo, do you know Ed Davis?

JIM
Yes, he was declared killed in action in August. Glad he's alive. Listen what was that tapping?, Morse Code?

ROBBINSON
No, better. It's a code that I learned from a guy in survival school years ago. It's easier than Morse Code. Five rows across, five rows down and you use c for k.

CUT TO:

INT. DISGUSTING CELL -- LATER

JIM proceeds to draw a crude diagram in the dirt covering his cell floor. A box, five spaces long by five down, starting from the left he places a letter of the alphabet in order in each box, excluding k.

JIM
Okay?

INT. ROBBINSON'S CELL -- CONTINUOUS

ROBBINSON
Unlike Morse Code, there's no dashes. The first signal refers to the number of the row, reading across, the second signal refers to the column, reading down.

ROBBINSON gives one tap, followed by one tap.

ROBBINSON
Thus the letter a, try it, call me up with the shave and a haircut beat. I'll let you know if I am ready to receive my first word by answering
(tick tick)
I'll spell out my message, then shave and a haircut and then
(tick tick)
Then you give me a shave and a haircut and then start your answer. Try it.

INT. DISGUSTING CELL -- CONTINUOUS

JIM taps out, (tick-tick-tick-tick-tick-tick) to the beat of shave and a haircut and then listens.

ROBBINSON replies, F-R-E-E-D-O-M (tic, tic-tic...tic-tic, tic-tic-tic-tic...tic-tic-tic-tic-tic, tic...tic-tic-tic-tic-tic, tic...tic-tic-tic-tic, tic...tic-tic-tic-tic, tic...tic-tic-tic-tic, tic-tic-tic...tic-tic, tic-tic-tic). Shave and a haircut (tick tick).

JIM smiles and returns the message, shave and a haircut (tick tick). H-O-M-E (tic-tic-tic, tic-tic...tic-tic-tic-tic, tic-tic-tic...tic-tic, tic-tic-tic...tic-tic-tic-tic-tic, tic). On his last tap, he solemnly speaks his message.

JIM
(softly)
We will all be home, soon.

FADE OUT.

FADE IN:

INT. DISGUSTING CELL -- MORNING

JIM wakes to hear ROBBINSON's cell door open.

INT. HALLWAY -- CONTINUOUS

TWO SHOT-

Of both JIM and ROBBINSON's cells. ROBBINSON is shoved back into his cell, PIGEYE opens JIM's cell. By his side stands RABBIT and CAT. CAT wears a brand new Sears and Roebuck suit and steps forth. RABBIT acts as interpreter. JIM is motioned to stand, which he does.

CUT TO:

INT. CAT'S ROOM -- MOMENTS LATER

JIM is lead into a carpeted room and sat on a stool in front of the table. CAT speaks in Vietnamese RABBIT interprets.

RABBIT
Welcome, have some Christmas tea with us.

A turkey gobbles from outside the window, catching JIM's attention.

RABBIT
(interpreting for Cat)
I thought this would make you feel at home.

CAT
(in broken English)
I will try to speak your language, Mister Staw-dale, you and I are the same age, we are both life long military officers, we both have sons the same age. But we are from different social systems. There is a wall between us which will always be there, but you and I must try to see through it. We must join together and bring this imperialist war to an end.

CAT begins to speak in Vietnamese again.

RABBIT
(interpreting)
You must help me make the other criminals realize that it is mon our mutual interest to stop the war. You must help me. You do not realize it now , but you will...

On RABBIT's last words, JIM's eyes widen and his mouth drops open.

JIM
You are asking me to entice my junior officers to betray their code of conduct, their country.

RABBIT
(interpreting)
Your code of conduct has allowed your government to bomb this great nation continually for over a year and then lie to the world.

JIM tries not to show his anxiety. CAT removes an envelope from his inner breast pocket of his jacket and slides it in front of JIM. JIM notices sybils handwriting.

INSERT-

Envelope, "JIM STOCKDALE"

CAT
Now go back to your room and think about what I've told you, Staw-dale. You are very old and you are not well. You must think of yourself. You must think of your family who wrote you that letter. You must help me end this war.

CAT motions to RABBIT and PIGEYE ENTERING, to escort JIM out of the room. JIM grabs the letter before being led out.

INT. DISGUSTING CELL -- LATER

JIM enters his cell and lets his crutches crash on the floor and sits down on the slab and begins to read. SYBIL narrates the letter.

SYBIL
October, dearest Jim. It is early morning here and the world is waiting for the sun to rise. The world seems very special in these moments before dawn. It seems to be pausing and waiting to hear the birds begin to sing. We have been having a Santa Ana wind here this week. It made it difficult for our team to play their best football, Friday night. Doyen, Budd, Sid and I went to see the game. Jimmy played particularly well, but in spite of this, our team lost by a few points. Yesterday afternoon Stan, Taylor, Sid and I went to the beach. We made lovely sand castles right at the edge of the water. A big wave knocked it down and washed it away, but we didn't get discouraged. I don't know if I mentioned in my last letter, but I talked to your mother again this week and Hazel is still with her. They both may come here for a visit this winter. We are all fine here Jim and send you...

JIM picks up the letter.

JIM
...all our love, Syb.

JIM's eyes begin to well with tears. A tear falls and lands on the page just above the word love.

RABBIT ENTER's JIM's cell carrying a pad of paper and pen.

RABBIT
Here, read the instructions, each letter must be properly addressed. You are allowed to write a short letter to one person and you are to copy and enclose the mailing instructions.

JIM receives the paper and pen and nods, RABBIT EXIT's

JIM sits writing. PAN down to the page as JIM begins to print neatly.

JIM
My dearest Syb and boys. Yesterday on Christmas day, the authorities granted me permission to send you greetings. Incidentally say hello to our old football mates Bobby Tom, Badly and Red Dawg. All my love Jim.

JIM replaces the letter and the instruction in the envelope as advised.

RABBIT ENTER's the cell and takes the note.

CUT TO:

INT. DISGUSTING CELL -- MORNING

JIM listens as ROBBINSON taps out a message.

"~CG" tic, tic-tic-tic (pause) tic-tic, tic-tic

JIM replies.

"Y" tic-tic-tic-tic (pause) tic-tic-tic-tic-tic

Then crouches under the door, a cigarette rolls past his cell. JIM slides his crutch out under the door to retrieve it.

BANG goes the green door. PIGEYE begins to yell. JIM's cell door is thrown open and PIGEYE and MICKEY MOUSE barb him and pull him to his feet.

PIGEYE
(angrily)
You are guilty! Not only of violating the camp regulation prohibiting communication, but of moral turpitude. In gratitude for the undeserved humane and lenient treatment Ho Chi Minh is providing you.

JIM
I apologize to you and the people of Vietnam, please except my dearest apologies.

PIGEYE
(irate)
Move him out.

MICKEY MOUSE ENTER's the cell and removes the net, bucket and blanket. PIGEYE escorts JIM from the cell, still on crutches.

INT. ANOTHER HALLWAY- CONTINUOUS

JIM's led down a dark hallway, with four cell doors on the left and a blank wall on the right. The third door is open.

JIM peers into the somewhat narrow but much longer cell. Concrete bunks offset head to toe rather than side to side.

INT. CONFINEMENT CELL -- CONTINUOUS

MICKEY MOUSE leads JIM into the cell.

MICKEY MOUSE
Get up on the bunk!

JIM hobbles over to the bunk in the back, below a high window and swings himself up on it.

MICKEY MOUSE removes JIM's crutches and raises the large locking bar of the leg irons. JIM's legs are placed in, the bar lowered and padlocked. JIM's arms are bound behind him. MICKEY MOUSE begins to berate JIM in Vietnamese.

INT. CONFINEMENT CELL -- NIGHT

JIM awakes in darkness to church bells ringing in the distance of Hanoi.

JIM
(to himself)
Midnight, Happy New Year, nineteen sixty-six. Happy New Year Syb, boys.

CUT TO:

INT. CONFINEMENT CELL --BEFORE DAWN

The cell door flies open two guards enter and approach a groggy JIM. The guards remove the ropes from his wrists in back and re-tie them in front. A blanket is thrown over him. JIM works the blanket over his shoulders.

CUT TO:

INT. CONFINEMENT CELL -- AFTERNOON

JIM's cell door is opened and a metal dish so slid on containing a handful of grains of rice. A guard ENTER's and removes the ropes around JIM's hands and places the plate of rice in front of him, then EXITS. JIM eats furiously.

CUT TO:

INT. CONFINEMENT CELL -- NIGHT

JIM begins to pound his fists on the cell wall, and then talks loudly.

JIM
Can anyone hear me? Are there any Americans?

Vietnamese giggles follow JIM's query, coming from next door to the left. JIM stops pounding and talking and sinks back onto the bed.

CUT TO:

INT. CONFINEMENT CELL -- DAY

PIGEYE enters and proceeds to remove the three foot long shackle bar and motions for JIM to stand and follow. JIM stands and is led out of the cell.

CUT TO:

INT. PASSAGEWAY -- CONTINUOUS

JIM is led down another passageway toward a court yard.

INT. OUTSIDE ROOM EIGHTEEN -- CONTINUOUS

JIM is led through twin green doors with white painted glass panels in the top half. JIM looks at the number on the door.

INSERT-

Number 18 painted in black on the door.

INT. ROOM EIGHTEEN -- CONTINUOUS

JIM is led through the door into the room. JIM looks around the room to see a big table and a little table, each covered with a blue cloth. From the ceiling, a giant hook hangs from a rafter.

RABBIT marches in and sits at the table. JIM bows as expected. PIGEYE nods toward the little stool in front of the table. JIM hobbles over and sits.

RABBIT
It has been decided that you must write to your government and explain the plight of the Vietnamese people and their willingness too fight four, eight, twelve years to defeat your imperialist aggressors. You must explain that the war is illegal and immoral and must be stopped.

JIM
Under the Geneva Convention of nineteen forty nine I am not obliged to follow such a demand.

RABBIT pushes a hand written document and a piece of paper in front of JIM.

RABBIT
This is what you must write. You are an old man, you must think of yourself. Go back and work on it.

JIM stands and is led out of the room by PIGEYE.

INT. CONFINEMENT CELL -- LATER

JIM is led back into his cell. This time a bowl of pumpkin soup and a half loaf of French bread sits on the unused bunk. PIGEYE places the writing material on the bunk beside the food and EXITS.

JIM, free of his restraints, sits on the bunk and stares at the food and the prepared statement.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- DAY

JIM hears his cell door open in the darkness of the early morning. PIGEYE lets RABBIT in first. JIM holds his crutches in one hand and bows. PIGEYE grabs the sheets of paper and contemptuously glares at the blank pages.

RABBIT
You will learn.

RABBIT marches out with PIGEYE. JIM hobbles to the door and listens.

CUT TO:

INT. ROOM EIGHTEEN -- DAY

JIM is lead into Room eighteen by RABBIT and MICKEY MOUSE. MICKEY MOUSE lays out the paper and ink and pen on the small table.

PIGEYE stands behind JIM in the dark corner. With his right hand he holds a heavy iron bar, its end resting on the cement floor. The bar is longer than PIGEYE is tall and has two big ankle lugs at the bottom. In his left hand he has a coil of hemp rope.

RABBIT pauses so JIM can take in the effect of the surroundings.

RABBIT
You are insolent and stubborn, This is your last chance. Write the paper.

JIM shakes his head no. PIGEYE lets loose with the iron bar.

The bar crashes into JIM's shoulder. RABBIT and MICKEY MOUSE shout in glee. PIGEYE leaps toward JIM, sending the heel of his hand into JIM's jaw.

JIM is knocked off balance as PIGEYE tosses his crutches aside and tackles JIM to the ground. Preying over JIM, PIGEYE proceeds to hit JIM in the jaw with both hands making loud slapping noises.

Mickey mouse joins in grabbing JIM by the arms, pinning them behind his back. PIGEYE goes for the bar and connects JIM's legs to the shackles, in spread EAGLE fashion.

PIGEYE threads the hemp rope about JIM's upper arms in a complicated knot. He places his foot into JIM's back as he pulls his shoulders and arms together in jerks.

JIM cries out in pain as he is bent forward at the waist. PIGEYE places a barefoot on JIM's right shoulder and mounts his back sending JIM's head forward toward his knees.

PIGEYE pulls on the rope, cinching JIM's shoulders and arms even tighter, causing JIM to scream in pain. MICKEY MOUSE ENTERS shoving a rag into JIM's mouth.

PIGEYE's bare heel presses into JIM's bowed head, sending his head between his calves and legs.

Suddenly all action stops, PIGEYE removes the rag.

RABBIT (CONT'D)
Keep quiet! Do you submit? Are you ready to comply?

JIM
(suffocating)
Yes, I submit, I submit.

PIGEYE dismounts, and as JIM raises his head, the ropes are loosened. A look of relief comes over JIM's face as the blood starts to circulate throughout his arms.

JIM is thrown onto the stool in front of the ink, pen and paper. RABBIT motions for JIM to write. JIM's hand shakes as he begins to copy the note.

PIGEYE tosses JIM's sandals over to him and walks to the table and examines the writing. Satisfied he picks up JIM's crutches, puts them beside him and waves him to follow.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- NIGHT

JIM sits on his bunk rubbing his arms in the darkness. He stairs at the concrete with a look of shame.

RABBIT ENTERS JIM's cell with another piece of paper, ink and pen.

RABBIT
The General Staff Officer said for you to write a letter to the Political Military Policy Division of your navy and it must be in proper form, double sized, left margin, paper creased in exactly thirds.

JIM
There is no way to make this sound like me. Senior military men follow certain procedures. If I violate them, my superiors would know there was foul play afoot.

RABBIT
What is your idea?

JIM
American naval commanders do not dare write directly to the Foreign Secretary of State. They must go through the military chain of command. You want me to send a political document that you had made me copy. Everybody in my government knows that I would send it to the Political Military Policy Division of the US Navy Department. Then they would forward my letter up the chain. The cross over to the Foreign Secretary of State occurs at the highest level. Also, your words are that of your national radio propaganda. I should have to use the US Navy style of speech.

RABBIT
(hesitant)
Write it your way, I'll pick it up in a few minutes.

RABBIT leaves and JIM takes the pen and starts to write furiously, smiling.

INT. CONFINEMENT CELL -- LATER

RABBIT enters the cell and grabs the letter. His face shows a sneer as he picks up the writing supplies and EXITS. JIM nervously begins to laugh.

FADE OUT:

FADE IN:

INT. ROOM EIGHTEEN -- DAY

JIM is tied up and placed on the hook again. RABBIT is perched over him waving a stack of papers, yelling at him in Vietnamese. JIM does not respond, sending PIGEYE into a frenzy. Several kicks to JIM's mid-section punctuate their intent.

The beating stops as JIM once again concedes to their demands with a nod of his head. JIM winces as the ropes are untied. JIM is hauled up and forced down into the chair, in front of rabbits desk by PIGEYE.

RABBIT stands over JIM and hands him the per-written forms he is too copy. JIM's summarizes the situation.

JIM
The winter of nineteen sixty six was a bad one, I was alone in new guy village. I was to taste the ropes again, Rabbit methodically forced me to fill in the squares. His words for trying to get the information the Vietnamese asked for. I spent the winter filling in their biographical forms and confessions of misdeeds all my way. It was all part of the fear and guilt package that any extortioners know is the key to the breakdown of human will. I felt guilty at my failure to endure the ropes better. I feared that I would give up military secrets. Tonkin Gulf facts. It was clear the Vietnamese had me on a downhill run that would force me to the bottom.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- MORNING

JIM sits in his cell in the early morning, song birds sing outside telling us that spring has arrived. JIM's skin is covered in dirt and his face masked by a thick matted bird. The sound of his cell door alerts JIM to his crutches, as RABBIT ENTERs JIM tightens his pajama strings and hobbles to his feet.

RABBIT
I am to take you to an important person tonight. Be ready.

RABBIT stairs at JIM for a moment and then grabs away his crutches, forcing JIM to catch himself against the slab.

RABBIT
You're walking well enough without those now.

RABBIT EXITS with the crutches.

INT. BACK OF JEEP -- DAY

RABBIT sits next to him giving direction to the driver while talking to JIM.

RABBIT
Be polite.

The Jeep stops, the driver steps around to the back to help RABBIT haul JIM out of the Jeep. On the ground RABBIT reaches up and removes JIM's blindfold and then reaches behind and removes the handcuffs.

INT. MEETING ROOM -- CONTINUOUS

JIM is led limping into a room to the sight of fifteen men sitting with their backs to him. All of them, except two wear Vietnamese military uniforms. The room is smoke filled and carpeted. All of the men are facing a man in civilian clothes sitting on a sofa against the opposite wall.

RABBIT shoves JIM towards a low stool in the centre of the room. JIM obliges sitting. RABBIT takes a seat in the corner and removes a note pad.

A man dressed neatly civilian suite gets up from his seat, situated between JIM and the man on the couch. The man on the couch. The man on the couch speaks to his interpreter. The interpreter turns to JIM and translates in clipped English.

INTERPRETER
We welcome you.

The INTERPRETER's introductions are halted by angry shouts coming from the military men seated behind him. The INTERPRETER turns and bows and apologises in Vietnamese. The men accept his apology nag grant him permission to continue. The INTERPRETER turns back to JIM.

INTERPRETER
The members of the High Council have asked you here so that you can be privy to the superior Voice of Vietnam.

JIM nods and settles in his chair and watches as the INTERPRETER begins to volley ideology with the fervour of a theatrically trained performer.

The INTERPRETER's hands illustrate his words as he speaks. The remaining men sit, sipping tea, listening intently.

INTERPRETER
Have you studied Plato?

JIM
A little.

INTERPRETER
You must agree with him when he says that the biggest dogma that plagues man is that wrong doing is inevitable.

JIM
Yes of course all man is destined to err, it is a flaw that is imbedded deep in mans fibre.

INTERPRETER
Than you agree that your President Johnson's wrong doings are a flaw of the American fiber.

JIM
I don't understand your question.

INTERPRETER
Your President intends to inflict great harm and injury on the people of Vietnam, all to appease the American lust for blood, don't you agree?

JIM
No, sir, I cannot agree, with you. My President does not wish to inflict any unnecessary harm.

INTERPRETER
Your Mr. Johnson seeks to bring the proud Vietnamese people down to the level of a common dog, not unlike Hitlers mantra for the Jews.

JIM
That's a ridiculous notion. Hitler believed in a delusional notion of a homogeneous world devoid of cultural diversity. The United states, under President Johnson thrives on the free sharing of cultural ideology from all walks of life. That you surely cannot deny.

The INTERPRETER nods and smugly smiles at JIM on that point, quietly conceding his point.

INTERPRETER
It has been a pleasure to exchange ideas an American intellectual of your standards.

RABBIT places his tea on the table, stands and walks over to JIM and motions for him to stand. JIM stands and is ushered out of the room leaving the INTERPRETER and the men conversing in Vietnamese.

EXT. OUTSIDE THE MEETING ROOM -- CONTINUOUS

RABBIT escorts JIM back towards the Jeep and takes the opportunity to gain his say on the nights event. Exclaiming the point of the Vietnamese.

RABBIT
Our country may not be able to defeat you on the battlefield, but war is not decided by weapons so much as by national will. Once the American people understand this war they will have no interest in pursuing it. We will win this war in the streets of New York.

FADE OUT:

FADE IN:

INT. INTERVIEW ROOM -- DAY

JIM is led into a second interrogation room, back at the prison. This room has blobs of plaster fixed to the walls as insolation from screams of pain when tortures are being conducted. CAT, RABBIT, MICKEY MOUSE and PIGEYE greet JIM at the door. JIM bows and intense glares are passed as JIM is led in and sat on a stool.

CAT
Tomorrow you will go to a press conference. There will be foreign news man who will ask you about your views on the American Imperialist aggressors's bombing of the Democratic Republic of Vietnam. The whole world is watching America. Even Fullbright who supported the trumped up charges of the so called Vietnamese PT boat attacks nearly two years ago.

JIM's eyes begin to waiver around the room, he sits motionless.

CAT
You will tell the world.

JIM shakes his head.

JIM
I will not go to any press conference.

CAT points to PIGEYE.

CAT
You know this man can make you submit. You are old and crippled. You are a fool. You must think of yourself.

RABBIT slides a hand written paper across the table towards JIM.

RABBIT
You will sign this now and read it at the press conference tomorrow. If you misbehave you will be severely punished.

JIM loses his cool, succumbing to the pressures and bolts out of his chair. He takes his hand and swipes rabbits's paper off the table and begins to shout and wave his fists.

JIM
(angrily)
I am not going!

The men react with shock. CAT's face shows real panic, his eyes widen and his mouth drops open. RABBIT and MICKEY MOUSE begin to converse in Vietnamese and reach a state of shouting and head shaking. CAT sharply gestures for another guard standing nearby to escort JIM out. The GUARD obliges. CAT gets the last words in as JIM EXITS.

CAT
You are a lunatic!

CUT TO:

INT. CONFINEMENT CELL --DAY

JIM lies on his slab. Restless and in pain. JIM listens to the action in the courtyard. Raised Vietnamese voices and cell doors slamming make it hard for JIM to rest. JIM's cell door opens. A GUARD enters, JIM raises to his feet and bows. The guard signals for JIM to follow.

INT. 2ND INTERVIEW ROOM -- DAY

JIM ENTERS a lighted room and is met by a thin Vietnamese Army OFFICER who motions for him to sit on a low stool. JIM studies the OFFICER's frail features and mutters under his breath a cartoon name that he feels fits.

JIM
Chihuahua

CHIHUAHUA faces JIM and delivers his speech with a smile.

CHIHUAHUA
On the occasion of your religious holiday the Democratic Republic of Vietnam provides you with sweets. We also offer you a banana. These were brought here by Cuban visitors from that fraternal Socialist country in your native Western Hemisphere.

JIM takes the banana and stuffs it into his mouth. Than reaches for the drawer and takes out a pair of envelopes. As JIM extends his hand...

Bright lights flood the room behind him. A Vietnamese camera crew springs into action, the DIRECTOR instructs the camera man to begin rolling. The sound of a camera starts. CHIHUAHUA starts speaking into a microphone, facing the camera.

CHIHUAHUA
In accordance with the humane and lenient policy of the Democratic Republic of Vietnam, on the occasion of Christmas my government presents you these letters from your wife.

CHIHUAHUA turns to JIM and presents him with the already opened envelopes.

CHIHUAHUA
Also, here are two photographs, one of your wife and children and one of your mother.

JIM grabs the photographs from CHIHUAHUA and fractically scans them.

INSERT-

Photograph of SYBIL and the four boys standing in front of the shore house.

WIDE-

JIM smiles as he flips to the second photograph. His expression changes to one of puzzlement.

INSERT-

A photograph of an elderly women standing in the ocean in a posed fashion.

CHIHUAHUA
What do you have to say about your Christmas letters and photographs?

JIM looks up from the pictures to notice CHIHUAHUA holding a microphone to his face.

JIM
That's not my mother.

CHIHUAHUA looks at the director with a puzzled look. The DIRECTOR gives the cut sign, a quick slashing motion with a finger across the throat. The lights go out and the camera stops running. Self-conscious chatter fills the back of the room. The DIRECTOR steps forward smiling, nods and makes the motion for the guard to remove JIM.

CUT TO:

INT. CONFINEMENT CELL -- NIGHT

JIM sits in his cell reading the letters and then takes the picture of the elderly women and examines it intently.

JIM
(to himself)
This doesn't make sense, mom sounds like she has lost her marbles. First she's preparing the country house for sale and move into town, then she's buying an airline ticket to California. Arriving unannounced in a taxi, saying she wanted to go swimming! Because she needs a good soak...

On his last words JIM jumps from his bunk in a fit of revelation.

JIM
...soak that's it! Sybil I love you!

JIM takes his drinking water jug and sticks the picture into the half full jug. JIM swishes the picture of the elderly women around and then pears into the jug. A look of disappointment comes over his face. JIM places the jug on the floor and begins to pace.

JIM walks over to the door to check for the presence of a guard and then walks back over to the jug to take another look. JIM takes the picture out of the water, which has begun to fray at the edge.

JIM notices the fray and pulls the back off. With amazement JIM notices specks on the paper. JIM holds the paper to the light.

INSERT-

The light reveals a paragraph of small print beginning to appear on the inside of the picture back as it dries.

WIDE-

The sound of doors slamming makes JIM hurry to read the hidden message in the dim light.

JIM
(hurried, softly)
The letter in the envelope with this picture is written on invisible carbon. All future letters bearing an odd date will be on invisible carbon. Use after you write a letter... put your letter on a hard surface, carbon on top and paper on top of that. Write message on top of paper with firm pressure, but not enough to make an indentation on the paper below. Best to write invisible message on lines perpendicular to lines of your letter home.

JIM hears footsteps coming closer and hurries to continue.

JIM
(hurried, softly)
Use stylus directly on invisible carbon if extra paper not available. A piece of invisible carbon can be used many times. Begin each carbon letter with darling and end with your adoring husband. Be careful, being caught could lead to espionage charges. Soak any picture with a rose in it. Hang on.

A gong sounds, the footsteps get closer, JIM tears up the scraps of the picture and mixes them in the bucket, then removes the decal like thing that had the message on it and puts it in his mouth and begins to chew.

The GUARD enters the room as JIM swallows.

GUARD
(shouting)
Wall!

JIM turns to the cell wall and extends his hands flat against the cement as high as his broken shoulder allows. JIM can hear things being shoved around, the bucket being moved, opened, lid slammed back. JIM has a look of relief on his face.

GUARD
Turn

JIM turns and lowers his arms.

GUARD
Bow!

JIM obliges and the GUARD EXITS. JIM slumps down and shows his relief with a large exhale.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- DAY

JIM is aware of a commotion outside his door. Voices of a YOUNG OFFICER shouting. He opens JIM's cell door and ENTERS with a stack of paper and envelopes, JIM begins to smile and then bows.

YOUNG OFFICER
The American delegation Strike for Peace is leaving for the United states tonight. They want me to carry criminals mail back to their families. You will be permitted to write one page. Act quickly, I must pick up soon.

The YOUNG OFFICER EXITS. And the door is locked behind him.

JIM quickly gets the paper down on the bed slab and starts writing.

INSERT-

Paper as JIM writes,

JIM
Darling...

WIDE-

JIM signs his name,

JIM
Your adoring husband Jim.

JIM flips the page over and scurries to retrieve the stashed piece of blank paper from under the bed. JIM places the hidden carbon on top of the new letter, then the blank paper on top of that and presses hard, picks up the pen and begins to write.

JIM
Following men here in prison,

JIM writes names furiously as he hears a door in the distance.

JIM
Make it clear there is torture involved.

As the footsteps grow nearer, JIM tears up the top piece of paper into small pieces and starts to chew them. He quickly places the carbon back under his bunk.

CUT TO:

INT. CONFINEMENT CELL -- CONTINUOUS

The cell door opens, the YOUNG OFFICER enters as JIM sits on the bed addressing the envelope. The YOUNG OFFICER takes the letter, quickly scans it, sneers and EXITs.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- NIGHT

Sounds of scuffling can be heard in the cell next to JIM, doors slam and furniture shuffling. JIM waits for the guards footsteps to disappear, then he begins to tap shave and a haircut in code on the wall.

(pause)

The faint tapping of tick-tick.

JIM begins to tap elated in code, N-U-M

(pause)

Tapping T-H-R-E-E.

JIM continues to tap his message and listen.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- NIGHT

JIM sits on the slab writing a message, he places the top sheet over the carbon.

JIM
List of new prisoners since January two... the solar plexus of this war machine is the Hanoi propaganda radio station. That must be destroyed.

INSERT-

JIM draws a crude map showing three prison camps and a railroad track.

WIDEN-

JIM
We can hear the trains roll out of Hanoi, heading past the camp south every night just after dark.

JIM is still printing franticly when the door flies open. JIM freezes with panic. The GUARD bears down on him yelling.

YOUNG OFFICER
Wall!

PAN-

To the bed board. A stack of papers pilled up in order, on top the list with clearly printed in bold letters names of the prisoners.

PAN BACK-

To a smiling YOUNG OFFICER presses JIM's nose into the wall. JIM hears the room being ransacked, voices in Vietnamese talking excitedly. The YOUNG OFFICER slaps JIM on the shoulder and spins him around and shows another OFFICER how to frisk him. JIM peeks over his shoulder at the stack of papers untouched.

The YOUNG OFFICER finishes the frisk and commands the other GUARD to follow him out of the cell, leaving the YOUNG GUARD at the door. He waits as JIM finishes the letter and puts it in the envelope. The YOUNG OFFICER gives a haunting glare as he receives the letter and EXITS.

FADE OUT:

FADE IN:

INT. OFFICE OF ADMIRAL SEMMES -- DAY

SYBIL, angry, storms into the office of ADMIRAL SEMMES, head of the Bureau of Naval Personnel, interrupting a meeting between him and ADMIRAL Moorer. She carries a file folder.

SYBIL
Admiral Moorer, before we start our meeting, I'd like your permission to read what I have to say today.

ADMIRAL MOORER
Of course.

SYBIL
(taking a deep breath)
As you know, my husband Captain James Stockdale, has been prisoner of war for two years. I am certain you and all the families of war prisoners have read the Jack Anderson article. I would like you to comment on the allegations of a Pentagon hush up. Do you feel that the report is basically true or false?

ADMIRAL MOORER
Mrs. Stockdale. Please let me assure you that every effort is being put forth by your government to secure the release of prisoners as well as bring the Vietnam conflict to an early, successful conclusion. Let me further assure you that your government has made strenuous attempts to assure humane treatment for American prisoners and to obtain more information for their families. I know of no basis what so ever for Mr. Anderson's accusation of neglect.

SYBIL
I understand, but I am dismayed at our government's letting the North Vietnamese fill our media with propaganda and never responding. The enemy has been allowed to flagrantly violate the Geneva Convention without recourse. Packages sent to our men at Christmas were refused. My husband Jim's loyalty and his risking of his life in supplying covert communication has been rewarded by sloppy bungling by the Bureau of Personal I would like an explanation, in writing of this incompetence. Up to now I'd had faith, that my government would do the right thing, but now my faith is wavering.

A hush comes over the room as SYBIL finishes reading her prepared address. ADMIRAL SEMMES clears his throat and stands.

ADMIRAL SEMMES
Mrs. Stockdale please have a seat, join us.

SYBIL takes up a seat across from the ADMIRAL's. ADMIRAL SEMMES, continues.

ADMIRAL SEMMES
Mrs. Stockdale, would you consider my offer to come work for me as a civilian. I will match your teaching salary and pay for all moving expenses for you and your family to come to Washington. Your job would involve telling other wives in your circumstances what the navy was doing to help them.

SYBIL
Admiral Semmes, I feel you are trying to buy me off, I am enraged that you still don't understand the depth of my disillusionment and dismay about the way your department is mishandling my husbands welfare.

ADMIRAL MOORER
(interjecting, trying quell the argument)
Sybil please, how are the other women in San Diego getting along?

SYBIL
(taking a deep breath and smiling)
I am sorry, but understand. I felt it was necessary for you to understand how dire the situation is.

FADE OUT:

FADE IN:

INT. CONFINEMENT CELL -- MORNING

JIM lays in his bunk sleeping in an effort to keep warm. He has taken his pajama bottoms and tied the draw string snugly and then inserted his legs into the cuff end, essentially creating a makeshift sleeping bag. He also is wearing two shirts.

JIM's sleep is broken by a GUARD shouting the only English name he could pronounce.

GUARD #2
Don! Don!

Holding up five fingers.

GUARD #2
(in a thick accent)
Lole up!

GUARD #2 EXITS.

JIM throws his injured leg over the side of the bed and acknowledges the guards commands. He begins to methodically pack his goods, putting sybils letter. The papers and the carbons between layers of clothing, then into a blanket. The sound of his cell door opening, quickens his pace. He shoves a porcelain drinking cup under a middle layer.

The GUARD #2 ENTERS and places a tight blindfold around JIM's eyes. JIM feels for the blanket roll. The GUARD grabs his arm and forcibly leads JIM out of the cell.

CUT TO:

EXT. COURTYARD -- NIGHT

JIM is the sixth in a line of prisoners led into the back of a truck parked just inside the gate. Each is first removed of their bed role and then handcuffed and lifted by two guards into the truck, where a third seats them. The flap of the canvas top is tied down placing the prisoners in darkness. A GUARD taps on the back of the truck summons the driver to head out.

INT. TRUCK -- CONTINUOUS

JIM sits in the truck and starts to hear a familiar sound coming from across from him. A guttural half snort, half throat clearing. A glimmer of light coming from a hole in the tarp lights up JIM's lower part of his face, revealing a slight smirk.

JIM
(under his breath)
Harry Jenkins, you bastard.

JIM immediately clears his throat and scuffles his bad foot, camouflaging his vocalization. As he does, he feels a foot against his.

PAN DOWN-

HARRY and JIM's feet are toe to toe. JIM places his foot on top of HARRY's and presses down deliberately in code. Dum-dum-ad-dum-dum. A second passes, HARRY places his foot on JIM's dum-dum

PAN UP-

JIM smiles.

PAN OVER-

HARRY smiles.

The sound of gears grinding down signal the end of the trip. The truck comes to a halt. JIM gets in one last message, fond farewell.

EXT. HANOI PRISON -- MORNING

The flap of the canvas top is thrust open by two armed guards, four more stand behind them pointing their weapons. The day light glimmers off the impressive show of power. The GUARD on the truck motions for each prisoner one at a time off the truck. They are helped off by two guards on the ground. Each is handed their bed rolls and appointed a GUARD which leads them into a grey, decrepit building. JIM is last off the truck and handed his bed role. JIM clutching his bed role against his chest, is led through the door.

INT. OUTSIDE JIM'S CELL -- CONTINUOUS

A GUARD leads JIM up to a cell door, stops, opens the door, removes JIM's blindfold and shoves him into a brightly lit cell and then shuts the door behind him.

INT. SMALL CELL -- MORNING

Strains to take in his new surroundings against the bright light coming from the overhead lights. Brand new brick and mortar make up the cell block.

JIM takes in the sounds of his new surroundings. He hears loud distant tapping. JIM feverishly digs his drinking cup from his bed role and begins to tap on the outside wall of the cell, where are you.

JIM
(listening to the reply, repeats softly)
Round the bend

A tap from another location, from another prisoner.

JIM
First cell on the right, Jerry Denton.

Another location.

JIM
Right and back corner, George Coker.

From the first location.

JIM
Centre, backside Harry Jenkins

From Fourth location.

JIM
Front, Sam Johnson.

JIM taps feverishly.

JIM
Jim Stockdale, centre front.

JIM listens to the flood of information, dumbfounded.

JIM
(softly)
We are back in the Hanoi Hilton. But why go through the trouble of building solitary cells inside the courtyard?

JIM begins to laugh.

JIM
This is a farce, these walls are like a drum.

The sound of an angry Vietnamese GUARD booms from outside JIM's cell, from here on known as BUGEYE

BUGEYE
(in broken english)
No communication, or you will be killed!

The guards heavy boots diminish as he leaves the cell block. JIM taps the all clear signal which is met with a reply.

JIM
(laughing)
Bugeye, perfect name Sam.

JIM taps a reply and then signs out with the familiar, god bless. JIM lies against the wall and grins uncontrollably.

FADE OUT:

FADE IN:

INT. SMALL CELL -- DAY

JIM listens to the network of messages conveying location. JIM begins to tap, map. JIM begins the process of making a mental image of the hole block.

JIM
(taps and then listens)
Jim, Thunderbird, command...Dave Hatcher, northeast Thunderbird... Las Vegas... Stardust... Desert Inn... The Mint... Golden Nugget... Riviera.

CUT TO:

INT. SMALL CELL -- LATER

JIM
(tapping then listening)
...Thunderbird six west... Stardust four guardroom... Riviera three baths.

CUT TO:

INT. SMALL CELL -- DAY

A GUARD enters JIM's cell and gives the sleeves up signal, JIM obliges and is ushered out of his cell.

INT. HALLWAY-HANOI -- CONTINUOUS

JIM is led down the hallway then right, up to a gate.

EXT. GATE-HANOI -- CONTINUOUS

JIM is led through the gate set in an eight foot wall through a courtyard over to a house like shed. JIM takes in his surroundings.

JIM
Stardust, right, Las Vegas.

INT. CAT'S QUIZ ROOM -- CONTINUOUS

JIM is led into a room, where sitting side by side behind a long quiz table are RABBIT and CAT.

JIM
We meet again.

CAT
(assertively)
Staw-dale, the illegal war brought upon my country continues. My job and yours is to make every effort to bring this aggressive war of Johnson and McNamara to an end. You will help me. You will help me whether you know it or not. I have instructed my people to provide you clothing, shelter and food and time to think. Think and get well Staw-Dale, but let me wary you, do not tamper with our work with the other criminals. Things can go very bad for you very quickly. Do you have any requests?

JIM
Yes. I've been alone for a year and a half. I want a cell mate.

CAT
We will study your request. It will depend on your attitude go.

JIM is led out by the GUARD.

FADE OUT:

FADE IN:

INT. CAMP RADIO ROOM -- AFTERNOON

A YOUNG AMERICAN SOLDIER sits in a chair in front of a microphone. Behind him his INTERROGATOR sternly waves a copy of the 'New York Times'.

INTERROGATOR
We want all American criminals to hear the latest news from their homeland.

The INTERROGATOR places a hand on the man's shoulder as positive re-enforcement.

YOUNG AMERICAN SOLDIER
(in a weak Voice)
Questions have been raised concerning President Johnson's efforts to end the war...

The man stops and clears his throat. The INTERROGATOR prompts him to continue. He nods and with a grin continues this time with more vigour.

CUT TO:

INT. PRISONERS'S CELL -- CONTINUOUS

A PRISONER in his cell listens intently to the YOUNG AMERICAN SOLDIER address over the speaker mounted on the wall in the corner of his cell.

YOUNG AMERICAN SOLDIER
...as I said President Johnson in his attempts to communicate with...

Begins to speak in a comical Vietnamese accent.

YOUNG AMERICAN SOLDIER
...President Horse Shit-Minh.

Muffled laughter breaks out through out the cell block.

CUT TO:

INT. SMALL CELL -- CONTINUOUS

JIM pounds on the wall with his fist and expresses his frustration. He immediately begins to tap a message.

JIM
Todays announcement was the result of the endless frustration that we all felt. But, even in jest, bad mouthing an American by another American will not be tolerated. New rules needed to be quickly implemented. To talk on the camp radio requires a licence. The licence costs one week in leg irons. The licence is good for one week and then must be renewed.

CUT TO:

INT. CELL BLOCK -- MORNING

PAN-

Down the series of cells as several inmates stand staring at their loud speakers, nervously awaiting to see if anyone defies JIM's order.

CUT TO:

INT. SMALL CELL -- CONTINUOUS

JIM looking slightly unconcerned as the radio silence continues. The sound of the INTERROGATOR breaks the silence.

INTERROGATOR
Todays reading has been cancelled and won't return until further notice.

JIM taps out a message.

JIM
Unity.

FADE OUT:

FADE IN:

INT. CAT'S QUIZ ROOM -- MORNING

JIM stands before CAT who holds out a letter.

CAT
(with a smile)
Staw-Dale you have a letter from your wife.

JIM takes the letter and unfolds it a picture slides into his hand.

INSERT-

Picture of SYBIL and the four boys standing in their living room. Date on envelope reads, December 19, 1966.

PAN UP-

JIM smiles at the sight of his family. He clutches the letter tightly.

CAT
One last thing. You have a new cell mate, take care of him Staw-Dale, he is a very young man.

JIM
(trying not to show any emotion)
Yes.

JIM is escorted out.

INT. SMALL CELL -- DAY

JIM is ushered back into his cell where he meets his new cell mate. A bright looking little man, some twenty years younger than JIM. JIM offers his hand in salute.

JIM
Jim Stockdale, US Navy Captain.

DANNY
Danny Glenn, Lieutenant Commander.

JIM and Dan sit facing each other on the bunks.

JIM
What do you do back in the US.

DANNY
I am an architect and construction engineer.

DANNY hears the flow of tapping messages and begins to tap out his name and rank. JIM looks on in amazement.

JIM
How did you learn that?

DANNY
Oh I've been practicing alone, the code and how you use it is all written on the bottom of the quiz table in the knobby room. I spent my first night in Hanoi tied up on that torture room floor. I looked up at the bottom of that table and some Yank had written all American prisoners learn this code.

JIM
I'm impressed, you're smart and young. Listen I need you to get out my messages. It seems that Las Vegas section is a permanent residence for senior prisoners, but only a holding point for younger men.

DANNY
I understand, I'll do what ever I can.

JIM
It won't be as simple as telling everyone to bey the code of conduct, that would be a cop out. I have to decide how the code should be applied in specific situations. I have to select certain of Cat's key programs that we might be able, by democratic effort, defeat.

DANNY
How are you going to write this law?

JIM
It won't be easy, the Vietnamese work each prisoner on a rotation system. If a prisoner was ordered to do something and refused, that is a minor offence, unless they refused to do something after having already done it before. That's when they break bones.

DANNY
How about an order not to bow?

JIM
That would be folly. An order not to bow would mean the beating of all of us into submission. That is if the offence was committed inside the camp/ but they couldn't afford to show their viciousness in public, so, don't bow in public is a good, practical law.

DANNY
And we could stay off the air, no broadcasts, no recordings.

JIM
That's two, we are all forced to make confessions, but it is important to avoid the word crime when doing so. Thus no crimes is three.

DANNY
What about a buddy system?

JIM
We must stick together, a loner is only helping themselves. If you refuse to communicate with other American's, the Vietnamese will leave you alone. Keeping your nose clean is betraying America. It must be apparent that what ever you give up in the interrogation room must be shared, take lumps together. If necessary everyone goes down together. Our highest value has to be placed on the support of the man next door. To ignore him is to betray him. The bottom line is to place prisoner unity over selfish intents.

DANNY
Unity over self, we need a way to quickly spread these laws.

JIM
Remember this acronym, back us, bow, air, crime, kiss, unity over self. Get this out to every younger man.

DANNY
I will sir. Your plan is flawless.

JIM
(solemnly)
No, it has a life span, and it is very short.

FADE OUT:

FADE IN:

INT. RADIO ADDRESS ROOM-LAS VEGAS -- AFTERNOON

RABBIT is animated as he gives an afternoon speech to the prisoners outlining his latest programs.

RABBIT
I am disappointed in the uncooperative attitude of many of you guests of the Vietnamese government. Some of you Americans are cooperative and willing. Some are die hard's. However, most criminals are in between...

CUT TO:

INT. SMALL CELL -- CONTINUOUS

JIM listens to RABBIT's speech with a look of foreboding.

RABBIT
...the latter must devote themselves to proper behaviour. They must throw off the evil influence of those blackest criminals who incite others to oppose the camp authority.

JIM shakes his head and drops his head to the floor.

CUT TO:

INT. RADIO ADDRESS ROOM-LAS VEGAS -- CONTINUOUS

RABBIT sits forward to emphasise the outline of his plan. Speaking directly into the microphone.

RABBIT
...a place is being prepared for the blackest of criminals. It is a dark place to which they will be banished. All the rest of you must strive to be worthy of Vietnamese generosity and those who show true repentance in actions as well as words...

CUT TO:

INT. SMALL CELL -- CONTINUOUS

JIM looks up at the speaker with intensity and shock.

RABBIT
...will be permitted to go home even before the war is over.

JIM
(softly)
I over estimated you Rabbit, great plan. Turn the war into a game, get the Americans to compete for early release. Only those who come out winners in hate America speech contests on the radio, get to the finals. Banner waving American prisoners against the war. That will catch the American public's eye.

CUT TO:

INT. SMALL CELL -- LATER

JIM listens to a NEW SOLDIER talk about his plan, from under the door. JIM and DANNY listen to the words of encouragement. Meanwhile RABBIT's earlier speech is re-run over the loud speaker.

NEW SOLDIER
Don't worry, from what I hear through the grape vine, their isn't a single one of us who is stupid enough to fall for their game. Anyone wanting early release would have to buy his way out by graveling before the commies. I ain't no ass kisser and I don't bad mouth America.

JIM
(whispering)
Your a good soldier and I know I can count on you. Get the word out that no one is to take part in their early release program. We will all go home together.

NEW SOLDIER
You can count on me, I ain't no fink.

JIM gets up from the door, shaking his head and turns to DANNY

JIM
Once that gets all over the system and Cat gets hold of it, he's really going to be mad. He will scrap the early release plan for sure.

DANNY looks at JIM sceptically.

FADE OUT:

FADE IN:

INT. SMALL CELL-- DAY

Caption "Spring 1967"

In the distance sounds of bombs falling and aircraft fire can be heard hitting all around Hanoi. JIM and DANNY look in the direction and smile. The sound pf the cell door breaks up their jovial mood. Two angry VIETNAMESE GUARDS ENTER and motion for DANNY to EXIT. DANNY stands, shakes his head before being ushered out. One GUARD EXITS with DANNY, the other watches until they leave, then gives JIM the roll up demand.

INT. CAT'S QUIZ ROOM -- AFTERNOON

CAT sits with dark rings under his eyes, across from JIM

CAT
It is time for you to help me. I am worried about you criminals. As you know the weather in Vietnam is unusually hot and because of your governments illegal bombing of the cities water station, there is a shortage of bathing water. It is to my understanding this has caused many skin problems amongst you prisoners. So in an act of kindness, ~I offer you Americans an opportunity to have lots of fresh air and plenty of bathing water.

JIM
What's the catch?

CAT
No catch, I can make this all possible, if you Americans would help clear up the debris from the cluttered bomb damaged debris.

JIM
No, Americans will not be used for the purpose of propaganda.

CAT
Well, I am sorry. I want you to remember that I gave a chance to do something good for your fellows.

JIM stands and EXITS without making eye contact with CAT in a show of defiance.

INT. SMALL CELL-- DAY

JIM sits with his new cell mate. Talking about the clean up program. LAMAR, is a tall, thin PILOT in his early twenties.

LAMAR
(shaking his head)
It's a trap.

JIM
I agree, for every prisoner there would be two cameramen snapping propaganda shots. There we would be in the world press. American prisoners and North Vietnamese patriots as Yank bombs rain on Hanoi.

LAMAR
What do we do?

JIM
Get out another general order. Do not work in town.

INT. SMALL CELL -- LATER

JIM takes up position on the floor talking to a YOUNG PRISONER under the door.

YOUNG PRISONER
Cat is pushing hard, interrogations everyday this week. They want us to volunteer for their work program, but we aren't budging and they know it.

JIM
Good stuff, remember, united resistance.

CUT TO:

INT. SMALL CELL -- EVENING

JIM and LAMAR sit in their cell, a GUARD opens the door and quietly gives the dress for quiz signal. JIM stands and turns to LAMAR, starring straight into his eyes, extending his hand, LAMAR reciprocates. The two are ushered out separately.

CUT TO:

INT. INTERROGATION ROOM- -- LATER

JIM is escorted into Riviera three by an armed GUARD. Upon entering JIM bows and is confronted by a hostile young english speaking Vietnamese man with a greasy complexion. Another junior OFFICER and several excited guards accompany, including an older, tough, tall thin GUARD with a scowl on his face, known as JAKE.

GREASY
Your biographical file is incomplete. Take these sheets of paper and write a description of your duties ever since you entered the service. Be specific about secret briefings and bombing missions.

JIM
(standing defiantly)
No!

GREASY
Stand facing the corner.

The ARMED GUARD leads JIM into a corner, GREASY and JAKE stand and are followed over to JIM by the rest of the guards, forming a circle.

JAKE removes a pair of handcuffs from a pouch on his belt.

JAKE
Throw the book at him.

JAKE spins JIM around and locks his wrists behind him and escorts him out.

INT. BATH STALL -- LATER

JIM is led into the open air stall by JAKE where legs irons and an iron bar are already laid out on the floor. JAKE signals for JIM to sit down on the concrete. JIM obliges. JAKE proceeds to clamp the leg irons over JIM's legs and then places the bar over top. JAKE scowls and EXITS.

FADE OUT:

FADE IN:

INT. BATH STALL --NOON

JIM struggles against the noon day tropical heat beating down on him on this the first of three days tied up.

CUT TO:

INT. BATH STALL -- NIGHT

JIM lies in the darkness starring out at the only light befalling the cement stall, that from the full moon. Large mosquitoes swarm around JIM, praying on his exposed legs, face and arms. JIM's face is swollen from the beatings.

CUT TO:

INT. BATH STALL -- MORNING

JIM awakes from a restless slumber, his lips parched from lack of water. Desperate for relief from the sun, JIM begins to call out an emergency signal.

JIM
Bao Cao! Bao cao!

A GUARD comes in and slugs JIM in the face, five times with his fists.

GREASY ENTERS and halts the beating, JIM groans in pain and looks up at GREASY in defiance.

GREASY
My Guard can do anything he wants.

GREASY and the GUARD EXIT, laughing.

CUT TO:

INT. BATH STALL -- AFTERNOON

JAKE ENTERs the stall carrying a pair of regular police style ratchet cuffs. Removes the manacles, then puts JIM's elbows behind him again and proceeds to clamp the ratches way up by his elbows.

CUT TO:

INT. BATH STALL -- EVENING

A group of guards surround JIM and take turns kicking and punching him. JIM cries out in pain. JAKE steps between two guards and stuffs a rag into his mouth and proceeds to cinch up the ratches on JIM's handcuffs another notch. The guards and JAKE EXIT.

JIM rolls over on his side and starts to bang his head against the bathroom floor in frustration.

CUT TO:

INT. BATH STALL -- DAY

The door to the stall swings open to reveal the warrant OFFICER, named SPOT. JAKE enters right behind. SPOT looks on concerned and motions for JAKE to remove the rag and place a blindfold on JIM. JAKE nods and does so.

Two other guards ENTER and remove the leg irons and lift JIM to his feet, and usher JIM out of the stall. SPOT and JAKE follow.

INT. HALLWAY-LEADING FROM BATH STALL -- CONTINUOUS

JIM is led down a hallway blindfolded by the two guards. JIM's adrenaline begins to flow and he has the sense to try to get a communication out to the grape vine to his position.

JIM
Stockdale, heading for Heartbreak!

JIM stumbles along, he is led left and then nudged to step up. JIM is relieved to no longer be feeling the tropical heat. JIM's blindfold is removed.

INT. ROOM EIGHTEEN -- CONTINUOUS

JIM strains to take in his new location, he looks back to the door and spots the eighteen on the door, then looks back at the Vietnamese soldier known as MOLE.

MOLE looks sleepy as though awakened from his noon sleep.

MOLE
(motioning)
Sit, quietly and contemplate your crimes.

JIM
I am going to lose my arms if you don't loosen these cuffs, they are cutting off my blood flow.

MOLE reluctantly stands and walks around behind JIM. He motions for JAKE to remove the cuffs. JAKE ENTERS and takes several seconds to force the ratches to loosen.

As the cuffs are removed, JIM winces in relief as he feels the blood returns to his hands. JIM brings his arms around to his front and examines his blue and swollen arms.

MOLE
That will teach you to disobey the orders of the camp authority. Now complete the sheets as the officers asked.

MOLE and JAKE stand and EXIT. The sound of the heavy door shutting accompanied by the lock can be heard, leaving JIM alone starring down at the blank paper and pen.

JIM sits at the long table and with difficulty, grasps the pen with his swollen right hand and begins to write.

CUT TO:

INT. ROOM EIGHTEEN -- LATER

JIM finishes writing and neatly stacks the papers on the table and then lays down on the dirty red tile floor and breaths deeply.

FADE OUT:

INT. ROOM EIGHTEEN -- LATER

JIM is awakened by a GUARD who motions for him to come. JIM stands and is ushered out of the room.

CUT TO:

INT. RIVIERA THREE -- EVENING

JIM is led into his new cell, known as Riviera Three, a low ceiling, rickety wooden building with lots of peep holes leading to a view of the prison yard. On the bed, a pile of new clothing and a blanket sit neatly stacked. On top a stack of letters, in their opened envelopes sit. JIM ENTER's the cell and proceed to go through his belongings searching several times as if something is missing. We see JIM's bare feet.

JIM sit's on the bed. Effects of concussion bombs landing close by shake the rickety hut. Another lands so close that it causes the door to pop open and hang ajar from the bottom hinge. A frightened GUARD yells in Vietnamese as half hearted props the door back into position and then runs by.

Through the gap left between the half hung door and the jam, JIM watches two prisoners being led into the baths. The two are lined up, shackled and interrogated. A GUARD gives the bow motion, both refuse, this is met with a sharp blow to the stomach from the guards.

INT. BATH STALL -- CONTINUOUS

As we get a good look at the prisoners. The first, a young PILOT in similar condition as JIM, slender from the lack of proper diet but still coherent. The second, not doing well, he stagers from the blow, as he stands we see his ribs have begun to show through his skin.

INT. RIVIERA THREE -- CONTINUOUS

JIM looks on hopelessly as the men are berated and beaten continuously.

JIM
Riviera Three would be home for the next two weeks. Here I was able to observe other Americans in punishment status. I was shocked to see for the first time in prison two old buddies. Bob Shumaker, a young Crusader Pilot, charged with making half hearted bows. Bob was the second longest held prisoner in Hanoi, being shot down in sixty-five. He looked to be holding up pretty well. I can't say the same for my other old Friend, Nels Tanner, the best signalling Officer in the pacific fleet. I found out later, they starved him for a week until he gave up the names of the fellow pilots who gave up flying because of the unjust nature of the war. There were no such men, but Nels gave them a couple of ringers, Navy Lieutenant's Clark Kent and Ben Casey. The North Vietnamese gullibly blew up the revelation as a giant news story and many American newspapers exposed the farce as the biggest joke of the war.

The Vietnamese guards finish their interrogation and lead Nels and Bob off individually, first Bob, then Nels. JIM continues.

JIM
American leftists wrote the North Vietnamese, exposing Nels and he spent the rest of the war in leg irons.

FADE OUT:

INT. HEARTBREAK CELL -- EVENING

Caption "Summer 1967"

JIM sits listening to the chain of command up and down the hall until a particular message catches his attention. The prisoner next door whispers.

PRISONER
Hey, you Jim Stockdale.

JIM
(whispering)
Yes.

PRISONER
I got a message from Bill Lawrence at the end of the hall, Bill says he saw Sybil aboard the Carrier Constellation in San Diego, this Spring. Sybil looks great and all four boys are doing fine. Your name was on the last captain selection list, you made it a year ahead of anyone else in your academy class.

JIM
(smiling)
Tell Bill, thanks, talk to you later.

JIM sits back in his bed, smiling.

MONTAGE-

Showing the Vietnamese' increase in the use of torture to get the information from their American captures.

INT. INTERROGATION ROOM -- DAY

A YOUNG NAVEL OFFICER is bound in rope from two posts. Two GUARDS shout orders at him. The YOUNG NAVEL OFFICER new too the rules shouts out an erroneous response.

YOUNG NAVAL OFFICER #2
No sir, that is against my commanding officers orders.

An irate GUARD signals. CAT ENTERS, angrily and motions for the ropes to be tightened. The four ropes are pulled tighter simultaneously by four GUARDS, causing his legs and arms to be pulled in different directions. The YOUNG NAVY OFFICER cries out in pain.

YOUNG NAVAL OFFICER #2
Okay, I'll tell you want you want!

CUT TO:

INT. INTERROGATION ROOM -- EVENING

Another American is bound in leg irons and hand cuffs with a rag in his mouth. His screams are muffled as he is beaten until he succumbs. His body falls limp. CAT calls off the beating and his lifeless body is carried from the room by two of six guards. CAT smiles with sick pleasure.

CUT TO:

INT. INTERROGATION ROOM -- AFTERNOON

Nels Tanner is placed into a chair in the interrogation room. Thin and haggard from starvation and torture. A camera is thrust into his face. The Vietnamese Soldier operating the camera shouts out at him.

SOLDIER CAMERA OPERATOR
Tell us the meaning of Unity of Self!

NELS TANNER
(wearily)
We Americans will die together before we give in for the purpose of self interest.

SOLDIER CAMERA OPERATOR
Have you been given orders to disobey our orders?

NELS TANNER
United Resistance.

SOLDIER CAMERA OPERATOR
Is Jim Stockdale behind these laws?

NELS TANNER
(resistant forced to look into the camera)
Yes.

CUT TO:

INT. HEARTBREAK CELL -- NIGHT

JIM watches another PRISONER being taken for interrogation. As they pass, JIM begins to tap quietly on the wall with his cup. JIM listens for the reply and then turns to his cell mate SAM.

JIM
(whispering)
They've tortured Dan Glenn, Nels was forced to give a confession on tape and Norm Schmidt died last week.

The light to the cell block goes out, casting it into total darkness.

SAM
Something's going to happen tonight, they've cut the power purposely. Look even the emergency lights are out.

SAM motions towards the lights through the crack in the wall.

Muffled noises are heard from outside the cell door, then a GUARD opens the peep hole and shines a flashlight in and shouts derogatory comment in Vietnamese. SAM and JIM remain silent. The VOICE of RABBIT is heard and the door flung open.

JIM angry, takes the lead and walks out into the flashlight glare. He spots RABBIT and four other guards. RABBIT makes an enraged charge at JIM, yelling.

RABBIT
You and your communication!

RABBIT pushes JIM back into the cell. JIM counter charges and throws RABBIT right out into the hall. RABBIT regains his composure and signals for the door to be closed. Another GUARD does so.

JIM finds his bunk in the dark, moments later the prison lights come back on and rabbits VOICE booms over the loud speaker.

RABBIT
(irate)
A criminal has just made a provocation against an Officer of the Democratic Republic of Vietnam. Totally strict camp discipline is going into effect.

On his last words the sound of doors opening heard all over the cell block.

EXT. HALLWAY-HEARTBREAK--LATER

Dozens of armed guards quickly enter the hallway and begin throwing open the prison cell doors. One by one every PRISONER is forced from their cells.

INT. HEARTBREAK CELL -- CONTINUOUS

JIM's cell is forced open, two guards shout at SAM to EXIT. A second later JIM is moved out with his gear.

INT. MINT CELL BLOCK-SOLITARY CONFINEMENT -- LATER

A GUARD throws SAM to the floor of a small solitary confinement cell, a second GUARD ENTERS and helps the other shackle SAM into leg irons.

INT. MINT CELL BLOCK-HALLWAY -- CONTINUOUS

A second PRISONER is thrown into cell three, as JIM is brought down the hallway and stopped in front of cell one. JIM strains to catch a glimpse of his friends. A GUARD opens JIM's cell door and forces him in.

INT. MINT CELL BLOCK-JIM'S CELL -- CONTINUOUS

The first GUARD EXITS, leaving the second GUARD alone with JIM. He motions that he will be right there, pauses for a moment before turning back to JIM and beginning to fain tightening his restraints.

SECOND GUARD
(whispering)
The Central Staff Officer has decreed that you are too meet with some of his friends. You must keep calm. Do not make a disturbance or you will be severely punished. You have made alto of trouble for the General Staff Officer. He is very, very angry. Criminals at camps miles away all know your rules. The General Staff Officer says that you have set back the Camp Authority two years.

The GUARD stand and EXITS, closing the door behind him. JIM sits motionless, dumb founded.

FADE OUT:

FADE IN:

INT. FRENCH MANOR HOUSE -- DAY

JIM is led into a meeting held in the front room of a French manor house, the centre of a makeshift prison.

JIM's blindfold is removed to reveal a large table surrounded by a dozen Vietnamese officers and two burly Russian men in civilian clothes. JIM takes a seat without bowing.

CAT ENTERS and sits between the Russian men. CAT converses in English to JIM.

CAT
These men are Russian and they want to talk to you.

RUSSIAN MAN
What is your name?

JIM
Jim Stockdale.

RUSSIAN MAN
Are you American?

JIM
Yes.

RUSSIAN MAN
Let me get to the point. Don't you as an American see a certain similarity between the American Revolution and the revolution in Vietnam?

JIM
No, there is no comparison. In seventeen hundred and seventy six, we were English men who were merely trying to relax the ties between us and the motherland.

RUSSIAN MAN
(sneering)
I see, take him away.

Two guards ENTER and remove JIM from his seat.

FADE OUT:

FADE IN:

INT. MINT CELL BLOCK-JIM'S CELL -- MORNING

JIM hears the shave and a haircut tap from SAM, puts his cup to the wall, as SAM taps out good morning, the war siren echoes through the block. Two guards burst into JIM's cell and force him out.

CUT TO:

INT. KNOBBY ROOM --MOMENTS LATER

A long table is against the wall opposite the door as JIM is ushered in. Behind it are a half dozen Vietnamese officers. The man in the centre is a portly man nicknamed MAO, he speaks in English. PIGEYE sits next to his left, next to him is his assistant. BIG UGH is a big young kid.

MAO
I have not been here long, but I have heard a lot about you, and it's all bad. You have incited the other criminals to oppose the Camp Authority.

PIGEYE stands and takes a rope from the table and walks over to JIM and proceeds to force JIM's head down. PIGEYE loops the rope under JIM's left leg and around his neck, then forces his head further down to his left knee. JIM's leg is bent backward so severely that it causes the already damaged cartilage to pop. JIM SCREAMS in pain to the delight of the room.

JIM
(screaming)
I submit! I'll tell you what you want!

PIGEYE
(letting up on the ropes)
Continue.

JIM
Yes, I had opposed the camp authority, and I had incited the other criminals to oppose the camp authority.

The half dozen men sitting around the table stand, smile and EXIT one by one, MAO and PIGEYE are the last to EXIT, leaving JIM sitting on the floor.

FADE OUT:

FADE IN:

INT. KNOBBY ROOM -- MORNING

GREASY, PIGEYE and BIG UGH stand over a seated JIM, shouting and taking turns beating him. JIM succumbs and starts signing a pile of files. PIGEYE removes each file as they are signed. The shouting continues.

GREASY
How does your chain of command work? Who are the principles?

PIGEYE
How is communication handled?

JIM
Okay, I'll give you a list of all two hundred and twelve Americans in rank order who make up our organization. It is lineal responsibility list. It is like a snake you can't kill. The head will always grow back, take me out and Denton will take over, take Denton out and Jenkins will fill in.

PIGEYE looks up at GREASY with a look of content, nods, GREASY nods back and PIGEYE takes a fresh sheet of paper and places it in front of JIM and motions him to write.

FADE OUT:

FADE IN:

INT. MINT CELL BLOCK-SOLITARY CONFINEMENT -- DAY

The GUARD EXITS.

CUT TO:

INT. MINT CELL BLOCK-SOLITARY CONFINEMENT -- NIGHT

Hight falls the sky over the prison. Everything is silent. JIM stairs at the cell floor, intently watching a beetle being consumed alive by ants. JIM continues to follow the carnage as the beetle tries in vein to get to it's feet and make its escape. The beetle crawls towards the door sill with the ants all over it.

PAN UP-

JIM
God, help me. Give me the strength of that beetle.

FADE OUT:

FADE IN:

INT. MINT CELL BLOCK-SOLITARY CONFINEMENT -- NIGHT

Caption "October 25, 1966"

The sound of a key being inserted into his cell door brings JIM out of his uneasy sleep. A GUARD enters, summons JIM to stand from the floor and roll up his sleeves. JIM obliges slowly.

JIM
Hallelujah.

The GUARD helps JIM pick up his bed role and then leads him out of the cell.

CUT TO:

EXT. WOODED AREA -- NIGHT

JIM is helped off a truck by a GUARD at the entrance too a wooded area.

JIM listens to the sound of a dog barking in the distance and then crickets nearby, as he is led through the grass, onto a sidewalk into some light.

The GUARD stops JIM outside a rusty gate while he opens it. The two proceed through the gate and down a flight of steep steps.

INT. ALCATRAZ CELL -- NIGHT

This one has no bunk, just a raised slab of concrete floor. The GUARD motions JIM to hang his mosquito net under a straw mat lying on the slab. JIM nods as the GUARD slaps on leg irons and EXITS.

JIM sits on the mat and places the net next to him and begins to maniacally laugh as he remembers something RABBIT had said. He punctuates with his fingers.

JIM
So, Rabbit this is the dark place you were preparing for the blackest of criminals who opposed the Camp Authority. I shall call it, Alcatraz.

INT. PRIVY -- DAY

JIM ENTERS carrying his waste bucket and takes in the view of his Alcatraz buddies, ten in all. JIM stands smiling in the doorway and mentally does a head count as he scans around the room.

JIM
Howie Rutledge, Harry Jenkins, Sam Johnson, Bob Shumaker, Ron Storz, Nels Tanner, George Coker, George McKnight, Jerry Denton, Jim Mulligan.
(pause)
Twenty five guards to watch, harass and interrogate us.
(pause)
A favourable number.

JIM is prodded by one of two head guards, a man with a large sloped forehead. The other a short man. JIM carries his bucket over to an empty spot next to JERRY DENTON. JIM proceeds to 'scrub' out a message in his bucket with his brush in the same manor as he had tapping on the wall. JERRY DENTON replies.

JIM
Camp Commander Slopehead, Second in command Rat.

INT. ALCATRAZ MEETING ROOM - DAY

Caption "Four months later February 1968"

RABBIT stands over JIM quizzing him.

RABBIT
(sarcastically)
I'm sure your happy to see me, I was in the area and decided to stop by.

JIM
Nice to see you.

RABBIT
Tell me, does your Navy really have a political policy division?

JIM
Yes.

RABBIT
(nervously)
You know, the Camp Authority has set up a review board to screen all material sent to your country. In the past we have been badly damaged by criminal trickery.

JIM
Is that so?

RABBIT
Yes but the criminals have paid for the trickery, as you will if we find falsehoods. In any event the General Staff Officer wants you to reword parts of that paper. You will hear from us.

JIM sits already hashing out a plan to kill this plan.

INT. ALCATRAZ CELL -- NIGHT

JIM whispers a message to NELS TANNER in the next cell.

JIM
Do you feel the Clarke Kent, Ben Casey matter inoculated you against having to produce more propaganda?

NELS TANNER
Yes, I was never asked to write anything after the gooks' American left wing friends sent them those news paper clippings.

JIM taps out the 'later' sign and sits back against the wall relieved.

INT. PRIVY -- MORNING

JIM stands washing out his bucket eying two burned sticks lying on the ground. JIM feigns a pain in his leg and bends down and retrieves the burnt sticks. He straightens and places the sticks into his bucket, under his soap. Nearby JERRY DENTON silently slips a piece of paper towel up JIM's sleeve.

CUT TO:

INT. ALCATRAZ CELL -- LATER

JIM removes the soap from the bucket and proceeds to soften the flakes into a paste and then mixes the charcoal ashes from the sticks into the paste. With his fingers he forms the blackened soap into a crude crayon.

JIM takes the piece of paper towel from under the bunk and begins to write.

JIM
Dear Jerry, I am very worried about an old letter I wrote to the US Government addressed to a fake office in the Navy. It was much worse than the Tanner letter about Clarke Kent and Ben Casey. When the word gets back here about how I made fools of the Vietnamese people that bastard Rabbit will have my hide. I am very worried about the slander of the Vietnamese people. Jim.

INT. ALCATRAZ CELL -- DAY

JIM's cell door opens and a GUARD ENTERS with a group of new Vietnamese guards in training. The GUARD motions as he demonstrates in Vietnamese, how to preform a proper search. A YOUNG GUARD ushers JIM out of the cell as three others start searching the cell.

INT. BATH AREA -- MOMENTS LATER

A GUARD stands watch as JIM proceeds with his sponge bath. Excited shouts come from his cell catch both the GUARD and JIM's attention. Another GUARD comes in shouting.

GUARD #3
Don! Don! Come quick!

The GUARD ushers JIM, still nude out of the bath area following the second GUARD.

INT. ALCATRAZ CELL -- CONTINUOUS

JIM is led nude into the cell by the two guards. The head GUARD turns to JIM holding the note, surrounded by the group of excited new Guards.

JIM first looks shocked, the guilty and then frightened as he glances at the letter.

JIM
Please have mercy.

The HEAD GUARD motions slightly for one of the guards to bring JIM's clothing, the GUARD nods and EXITS.

INT. ALCATRAZ CELL -- MOMENTS LATER

A pile of clothes are thrown at JIM's feet as the HEAD GUARD motions for all the guards to EXIT, they oblige. The HEAD GUARD grasps the note and scowls at JIM as he EXITS, leaving JIM in the middle of the torn up room.

As the door slams shut, JIM smiles wildly and claps his hands.

JIM
This is even better than I planned!

INT. ALCATRAZ MEETING ROOM -- DAY

JIM is led into a room in which SLOPEHEAD sits at the head of a table, flanked by RAT and the HEAD GUARD.

SLOPEHEAD
(angrily)

The charges against you are very serious, calling a Vietnamese OFFICER a bad name and communicating.

JIM
I apologize for uttering an indignity to the Vietnamese people, but please, I have not been communicating. There was nothing in camp regulations about writing a note, only passing a note.

SLOPEHEAD sits silently for a moment and then swiftly motions for the room to be cleared. RAT and the HEAD GUARD oblige. SLOPEHEAD crumples the letter and throws it on the floor in a fit of anger.

INT. ALCATRAZ CELL -- LATER

JIM is brought back into his cell by RAT.

RAT
You have been found guilty as charged. You are to be confined in leg irons around the clock for a month.

JIM sits in the mat while RAT places the leg irons on. PAN up as JIM cracks a smile.

CUT TO:

INT. ALCATRAZ CELL -- DAY

Caption "Christmas 1968"

A letter is slid under the door, JIM quickly gathers the envelope and tears it open. Photographs tumble out, along with a hand written note. JIM smiles as he begins to read.

SYBIL
All the boys are okay. Jimmy is a college freshman now, he has contracted a non life threatening disease called Osgood- Schlatter, a temporary bone inflammation that has affected his legs. Stan is doing fine in the third grade and Taylor is in the first grade. I'm sorry Jim, but I have some bad news, I have sold your mothers house and put all her things in storage.

JIM folds the letter and begins to leaf through the photographs. A song begins to play over the loud speaker outside the cell. A haunting tune called 'Till' by American piano player Roger Williams. JIM begins to cry.

JIM's melancholy state is broken by the sound of his cell door being thrust open. A GUARD enters.

GUARD #3
Roll up!

The GUARD takes out a short piece of wire and bends it around JIM's wrists from behind and then places a blindfold on JIM. The GUARD leads JIM out.

CUT TO:

INT. ROOM EIGHTEEN-HALLWAY -- LATER

Still blindfolded JIM is marched up to a door. As the blindfold is removed we see the number eighteen on the door.

JIM
Back at Hoa Lo, room eighteen, your not messing around.

INT. ROOM EIGHTEEN -- CONTINUOUS

JIM is forced through the green doors and the doors shut behind him. JIM is confronted by RABBIT and PIGEYE. JIM bows, RABBIT stairs intently, brushing off JIM's gesture.

RABBIT
It is you who has caused me to be brought back here from my new office. I don't like it. We will get you this time. I don't want to talk about what happened at the camp you just left. I want to know only one thing.
(pause)
Will you be my slave or not?

JIM
(defiantly)
No!

PIGEYE lunges forward with a metal bar and connects a shot to JIM's jaw, knocking him out.

FADE OUT:

FADE IN:

INT. SYBIL'S BEDROOM -- NIGHT

A hot humid summer night befalls the Connecticut home of SYBIL. We see her sleeping restlessly, as if troubled by a dream.

CUT TO:

EXT. DRAGONS JAW BRIDGE -- DAY

Dream sequence showing JIM half way across the narrow bridge leading from Hanoi prison to freedom. JIM stops, remembering something that he has forgotten and turns back. Gun fire erupts sending the bridge and JIM up in a cloud of smoke.

CUT TO:

INT. SYBIL'S BEDROOM -- NIGHT

SYBIL awakes covered in sweat, looking exhausted. She clasps her stomach in a fit of nausea. SYBIL throws her bed covering back and EXITS toward the bathroom.

FADE OUT:

FADE IN:

INT. OFFICE OF BOB BOUROUGHS -- DAY

SYBIL sits in BOB BOUROUGH's office. A REPORTER from the Copley News Service, as seen on the plaque on his desk.

BOB BOUROUGHS
I agree with you Syb, I'm in favour of publishing your paper outlining the Prisoner's plight in Vietnam, but...

SYBIL
(cutting off Bob)
...But what?

BOB BOUROUGHS
...but I am worried about having your name in print, because of your covert communication with Jim.

SYBIL
It is important for me to take the leap on going public. To give other wives the courage to do so.

BOB BOUROUGHS
(hesitantly)
Okay Sybil I'll publish your story.

SYBIL
Thank you, I just want the world to have the truth.

FADE OUT:

FADE IN:

INT. SYBIL'S HOME -- EVENING

Caption "November 1968- Election Day"

SYBIL and another wife sit watching the election coverage. The western states results begin to roll across the screen of the small television. SYBIL sits on the edge of her chair and turns to her FRIEND.

SYBIL
Richard Nixon has to win, the Democrats will only follow Johnson's wavering policy. We need to have a change of party leadership. Nixon will bomb the enemy into submission and end this war.

ELECTION REPORTER
...and as the polls in California begin to count their votes, it is becoming clear that the next President of the United States will be Richard Milhouse Nixon.

CUT TO:

INT. A MEETING HALL-SAN DIEGO -- DAY

Three representatives from the Department of Defence and a former POW from the Korean War meet with the League of Wives. SYBIL sits centre of the group of wives.

1ST REPRESENTATIVE
First of all, President elect Nixon sends his warm regards and expresses the deepest interest in the plight of the US POW's currently held in Vietnam. And assures that he is prepared to do what ever it takes to bring and end to the conflict and bring each and everyone of your husbands home safely. Now do you have any questions?

SYBIL
(standing in disgust)
Firstly, I am disgusted by the current governments performance. There must be a change to the keep quiet policy. I point out the fact that no one has any mail since October. Mister Nixon assured that things were going to get better. They seem to be getting worse.

The three representatives look on in stunned disbelief. They whisper too themselves amongst the growing cries of support of SYBIL's comments from the room full of wives.

1ST REPRESENTATIVE
Excuse us, someone will be in touch with you, have a nice day.

The three representatives, mildly embarrassed stand and one by one leave the room, followed by the Korean War vet.

FADE OUT:

FADE IN:

INT. SYBIL'S HOME -- DAY

A television REPORTER from New York interviews a nervous SYBIL. SYBIL tries to forget about the camera.

NEW YORK REPORTER
So what do you think about the Secretary of Defences' public denouncement of the North Vietnamese treatment of prisoners.

SYBIL
It is nice to finally be able to read a letter from my husband again, it has taken two years and a change of government, but I think we are on the right track.

SYBIL stairs right into the camera on her last word.

FADE OUT:

FADE IN:

INT. MR. GOTTLIEB'S OFFICE -- DAY

SYBIL enters Mr. GOTTLIEB's New York Today Show office.

GOTTLIEB
Mrs. Stockdale, sit.
(pause, as Sybil sits)
How was your publicity campaign coming along?

SYBIL
Great, my story and pictures have appeared in the New York Times. This morning I was over at Cbs. I just came over to find out about a possible future appearance on the Today Show?

GOTTLIEB
I would love to have you on, what else do you have planned?

SYBIL
I'm seriously considering going to Paris to see the North Vietnamese in person at their embassy.

GOTTLIEB
I've got to hand it to you, all I have to say is watch out Vietnam.

SYBIL smiles.

FADE OUT:

FADE IN:

EXT. BRANTFORD, CONNECTICUT -- DAY

SYBIL teary eyed, says goodbye too a nineteen year old SID. STAN and taylor stand behind him.

SYBIL
(to Sid)
Don't cry I'll talk by phone soon.

SYBIL kisses him quickly and steps into the car. She looks back to see him standing at the door trying to smile. SYBIL waves and STAN and taylor wave back.

CUT TO:

INT. PARIS MEETING ROOM -- AFTERNOON

SYBIL, joined by four other wives and a man from the league of families arrive at the meeting room in Paris. Four Vietnamese men greet them. The head man XUAN OANH, directs SYBIL to sit opposite him while the others sit on both sides of a long table.

SYBIL stands and makes her opening remarks.

SYBIL
My name is Sybil Stockdale, my husband Jim is a Prisoner the North Vietnamese government. I know he is injured, but I have no evidence his injuries have been properly treated. I also want proof that he was no longer in solitary confinement.

SYBIL removes a large stack of letters from an attache case and hands them to XUAN OANH.

SYBIL
These letters are from all one hundred and fifteen members of our organization. I am asking you to tell me the circumstance of each of these men, Mister Xuan.

XUAN OANH
(slowly to answer)
Your written inquiries will be answered.

SYBIL
I would like those answers before our Thanksgiving.

XUAN OANH
I will do my best, now Mrs. Stockdale, I have some questions for you.

SYBIL looks on nervously as XUAN OANH stands and pulls out a copy of the New York Times picture.

INSERT-

Picture of SYBIL.

Holding it he leers forward.

XUAN OANH
We know all about you, Mrs. Stockdale. We know you are the founder of this movement and, we think you should direct your questions to your own government.

SYBIL sits back in her chair and shows signs of relief.

SYBIL
Sir, I assure you I have spent much of the last five years visiting many American government offices.

XUAN OANH
Come, lets have some tea and the finest Vietnamese candies.

XUAN OANH stands and ushers the six Americans toward a smaller room, the Vietnamese men follow.

CUT TO:

EXT. STEPS OF THE WHITE HOUSE-OCTOBER -- DAY

SYBIL delivers a direct ultimatum to the North Vietnamese surrounded by a large throng of journalists.

SYBIL
During our September visit you promised that the families of the men missing and captured in North Vietnamese would receive replies to their inquiries about their loved ones from your government. We've know learned that this information will be available only from the new Mobilization Committee hear in Washington. To force the prisoners families to comply to such a political organization is an unnecessary exploitation of their helplessness in such an arrangement. I entreat you to hasten the release of the information which you have promised.

We TRACK in on SYBIL's stern face as she concludes her speech. The photographers flash bulbs go off and reporters fractically write their notes.

FADE OUT:

FADE IN:

INT. JIM'S CELL IN HANOI PRISON -- DAY

JIM is sickly thin, around one hundred and thirty pounds. His face and body is covered in fresh bloody welts and bruises from the repeated beatings. MOLE ENTERS carrying two cups of tea. He is accompanied by a second GUARD whom MOLE instructs to remove JIM's leg irons. He obliges.

MOLE
Will you have some tea?

JIM
Yes.

JIM sits up and receives the cup from MOLE.

MOLE
Why do you choose to disobey us? Why do you do this to yourself?

MOLE punctuates his words by motioning to a deep gash on JIM's arm.

JIM
I am tired of being treated like an animal, being questioned, hounded, I am a Prisoner of war.

MOLE
You are a criminal, but this morning you will be moved. I hoped you have learned your lesson and cease to communicate. The Camp Authority is investigating the possibility of improving your living conditions. The Senior Officer is no longer in charge.

MOLE and the other OFFICER leave. JIM sits free of his chains, silently contemplating.

CUT TO:

INT. JIM'S CELL IN HANOI PRISON -- DAY

JIM's peep hole is opened, CAT shouts.

CAT
Hello, Staw-Dale, I am the Camp Commander here now. I am here to talk too you.

JIM sits up in shock, as the cell door opens. CAT ENTERS. JIM stands and bows and then sits again.

CAT
(sardonically)
I am glad you are well again.

CAT hands five letters to JIM.

INSERT-

Address on the top letter indicates that the letter is from SYBIL.

CAT
Staw-Dale you have been alone a long time. You are an old man. I am going to arrange for you too have a cell mate. He has been alone too. And Staw-Dale please take care of him.

CAT smirks and EXITS.

INT. JIM'S CELL IN HANOI PRISON -- LATER

JIM reads the first letter from SYBIL and looks at the picture. He sums up recent events in retrospect.

JIM
I couldn't know it then, but by her extraordinary achievements Sybil very probably saved my life in that September incident when the Vietnamese discovered me on the floor of room eighteen covered on my own blood. Because of her, my picture had been widely publicized in the world press, and for me to suddenly die in Hanoi, would have presented North Vietnam with a major public relations problem.

CUT TO:

INT. OUTSIDE THE OVAL OFFICE -- DAY

SYBIL waits for her and four other wives meeting with President Nixon. The door to the office opens, NIXON EMERGES.

SYBIL
Mr. President, I wish to go over those points you want to make for the press once more. I'm so excited just being here. It's taking me longer than usual to function today, sorry I'm late.

PRESIDENT NIXON
No problem, come into my office.

SYBIL nods to her friends and EXITS into the office with NIXON.

INT. OVAL OFFICE -- MORNING

SYBIL sits in a chair in front of a large desk, NIXON settles behind the desk.

PRESIDENT NIXON
What points are a concern to you?

SYBIL
I wish for you the time to clearly describe each husbands' circumstances and what their wives knew.

PRESIDENT NIXON
You and your friends will be granted all the time you require. I will be the first President since the war in Vietnam broke out to go on record in support of the Geneva Convention relative to the treatment of Prisoners of War.

SYBIL
For the first time in years, I will sleep soundly tonight, assured that the United States of America is in capable hands. Thank you.

SYBIL stands, shakes NIXON's hand, turns and EXITS.

FADE OUT:

FADE IN:

INT. JIM AND JOHN DOE'S CELL -- AFTERNOON

JIM sits in his new cell with his new cell mate. JIM smiles, only to be greeted by a long silence by a man, bundled up, arms clasped around flexed knees.

JIM
I'm John Stockdale.

JOHN DOE
(irritated)
I know, I'm Lieutenant Colonel John Doe.

JIM
Excuse me would you keep a watch under the door for the Guard, I need to go to the wall and check the Thunderbird communication system.

JIM grabs is cup and starts over to the wall, but is halted by an angry JOHN DOE.

JOHN DOE
Listen you bastard! Don't you realize that half the Americans in these cells are working for the Vietnamese? I've been had by people like you in this place before. I don't want you in this cell and that tap code is useless.

JIM
(angrily)
No, it's the only way to avoid the Vietnamese from monitoring what is said.

JOHN DOE
Bull, people like you have brought nothing but grief onto me since my capture. The only way to keep the commies away is to live like a totally silent mouse.

JIM
This is what Cat wants, to force us to participate in the liberalizing of our prison regime. He has put me in here to lock me out of command. A master stroke.

JOHN DOE
The Vietnamese are omniscient and omnipotent. It is dangerous for you to communicate in my presence, because I can not offer worthy resistance to giving up secrets. If you communicate, I guarantee, I'll burn you in the end.

JIM
I realize you hate the North Vietnamese and want to destroy Communism, we all do, but hate is a debilitating emotion. You've got to keep your mind clear, free of hate, if you're to win in here. Think of ways to mouse trap your sobs, but don't hobble yourself emotionally by going around choked up in a rage all the time.

JOHN DOE puts his head down in to avoid eye contact with JIM.

CUT TO:

INT. CAT'S QUIZ ROOM -- DAY

CAT talks to JIM in a drawn way.

CAT
I brought you in to tell you that we have closed the other prison, your friends are back, all of them, including Jerry Denton.

JIM
Great.

CAT
How's doe doing?

JIM
He's okay.

CAT
Good.

CUT TO:

INT. JIM AND JOHN DOE'S CELL -- LATER

JIM gives the latest news to JOHN DOE.

JIM
I find it strange that Cat mentioned where Denton was.

JOHN DOE
(enraged)
It's obvious that Cat is trying to goad you into contacting Denton so the Vietnamese could close in on us.

JIM
Cat, even asked about you.

JOHN DOE
It's just a plot to get me into trouble.

JIM
(frustrated)
That's it, go ahead burn me.

JIM angrily picks up his cup and begins to tap out a code to DENTON. DENTON replies. JIM pauses with the seriousness of the news he hears.

JIM
(quietly)
A hunger strike.

FADE OUT:

FADE IN:

INT. CAT'S QUIZ ROOM -- DAY

JIM ENTERS the quiz room limping, and sits on the stool in front of CAT. CAT shows the signs of a long war, thin and his hands have begin to shake.

CAT
(solemnly)
You Americans hunger strike has forced me to punish you. You will be removed from your friends and placed back into solitary confinement. Unless you make a public appearance with me, than all will be forgotten. I have an obligation to get someone to talk to an American professor who is visiting Hanoi. I assure you there will be no propaganda, all I want you to do is see him.

JIM
No, you know I won't do that.

CAT
(desperately pleading)
You know Staw-Dale, that I did sit with the General Staff. We have alto in common, we are the same age and we both know about the kind of pressure the military can place on their men.

JIM
No, sorry.

CAT motions for a GUARD to remove JIM. The GUARD ENTERS, grabs JIM by the elbow and brings him to his feet. CAT steps around the desk and stands on the other side of JIM to support his other arm. The three begin toward the door.

CAT
How long has it been Staw-Dale?

JIM
Nearly five years.

CAT
I am afraid it's going to be a few more.

JIM is led through the door. We see them EXIT through the door and the door close, leaving behind the empty interrogation room.

FADE OUT:

FADE IN:

INT. SOLITARY CONFINEMENT -- MORNING

Scratch marks in the dirt floor of the cell mark the months and days of JIM's stay in solitary confinement. Six long ones, fourteen short ones.

PAN DOWN-

JIM lies on in the dirt, covered in sweat. The door bursts open, the intense light causes JIM's weak eyes to dilate. With one hand as a shield he presses against the ground and stands, the GUARD ENTERS and gives the sleeves up signal.

INT. ALCATRAZ CELL -- DAY

JIM weak from his six and a half month stay in solitary confinement slumps to the floor of his old cell, without a room mate. Desperate for news, JIM picks up his cup and begins to tap. Several seconds pass without any reply. JIM shows signs of despair; then he hears the familiar 'Shave and a haircut' reply.

JIM
(relieved)
Gracious god, Bob and Nels.

JIM taps back a brief 'who's left', a reply comes back that brings JIM to the point of tears.

JIM
(emotionally)
Rest in peace, Storz, goodbye Friend.

JIM buries his head into his hands sobbing.

FADE OUT:

FADE IN:

INT. ALCATRAZ CELL -- MORNING

Caption 'November 21, 1970'

JIM wakes to a flurry of activity around the camp, the air is full of airplane activity and the sound of bombs falling. Outside the cell, the sounds of excited guards and hammering and sawing.

A radio announcement plays, in a loud sarcastic tone a CAMP OFFICIAL talks bravado.

CAMP OFFICIAL
And how dare Congressman Rivers say that America could land airplanes on the streets of Hanoi and pick up prisoners.

A loud course of yelps of joy goes up around the prison. JIM pumps his fists in joy.

JIM
(joyous)
Finally! We are free! We are going home!

JIM's and all other cell doors burst open, groups of North Vietnamese guards, burst in and blind fold and urgently remove each inmate.

CUT TO:

INT. LARGE PRISONER HOLDING CELL -- NIGHT

All the prisoners of Hoa Lo prison are gathered into one of several large cells. JIM is one of the last to be ushered in. As his blindfold is removed, he is overwhelmed by the festive mood in the cramped cell. The cell is so full there is no place to sit. Men hug and laugh, as JIM searches for familiar faces. JERRY DENTON rushes through the crowd and grabs JIM in a bear hug.

JERRY DENTON
Merry Christmas buddy!

JIM
(emotional)
Christ hallelujah!

JIM spots another FRIEND, GEORGE COKER, some twenty years younger than he and JERRY.

JIM
(excitedly)
George, how you keeping kid!

GEORGE COKER
Fine, sir.

JIM
Call me Jim. Well buddies, I guess we really stuck it to the Vietnamese, we made it.

JERRY DENTON
You got that right, for Jerry Storz' sake, I hope we have a President that has the guts to make good on his promises.

JIM
(addressing the whole cell)
Let's hear it for the men of camp unity.

THE MEN OF THE CELL REPLY WITH CHEERS.

FADE OUT:

FADE IN:

INT. SYBIL'S OHIO HOME -- MORNING

SYBIL picks up the morning newspaper and stairs at the large headline.

INSERT-

Newspaper headline 'Two or three day bombing halt in Hanoi'

PULL BACK-

SYBIL's hands begin to shake as she reads on.

SYBIL
The bombing has been halted to allow the pow's in Hanoi secret, safe transport to Hong Kong.

SYBIL stops reading.

SYBIL
They are being released!

SYBIL throws the paper down on the chair and picks up the phone and rapidly dials.

SYBIL
(talking into the phone)
Hi, yes, I would like to speak to the commander, this is Sybil Stockdale.
(pause)
What do you mean he left for vacation? I talked to him a couple of days ago.
(pause)
Can I speak to the captain then?
(pause)
He's on vacation too?
(pause)
Fine, thank you, have a nice day.

SYBIL places the phone back on its cradle. Flabbergasted, she shakes her head.

SYBIL
They must be gone to pick up the pow's, I've got to talk to someone.

CUT TO:

INT. CAPTAIN ZEMBROWSKI'S OFFICE -- DAY

The captain greets SYBIL into his office

CAPTAIN ZEMBROWSKI
What brings you hear Sybil?

SYBIL
I hope you don't think I'm strange or have finally lost my mind, but something tells me Jim's ordeal is over and an announcement will be made soon, possibly on flag day.

CAPTAIN ZEMBROWSKI
I don't think you have lost your mind, what you have said makes sense. I received a message a couple of weeks ago asking about the USS Constellations capacity for hauling a large number of recuperation cases.

SYBIL
Does that mean the Constellation isn't going to Japan? It's actually headed for Hong Kong to bring back the pow's

CAPTAIN ZEMBROWSKI
Yes.

SYBIL
Excuse me, I'm starting to feel faint, can I have some water.

CAPTAIN ZEMBROWSKI
Have a seat, I'll get you some.

CAPTAIN ZEMBROWSKI EXITS, SYBIL sits and goes through a series of emotions from relief to elation and finally begins to sob.

FADE OUT:

FADE IN:

INT. RED CROSS MEETING -- NIGHT

SYBIL is surrounded by other wives taking a Red Cross course. SYBIL proceeds to check another wives pulse. In the background a television plays at a low level. A news report comes on.

SYBIL
Shh, everybody, someone turn it up, it's President Nixon.

Another wife turns up the State of Address, all activity is halted and everyone's eyes are glued to the television.

PRESIDENT NIXON
(on the television)
Tonight, Saturday, January the twenty-seventh in this year nineteen hundred and seventy three, a cease fire agreement between the United States of America and the government of North Vietnamese has been signed.

Loud yelps of joy erupt through the room, the women laugh, hug, cry and kiss in celebration.

FADE OUT:

FADE IN:

INT. CHIHUAHUA'S OFFICE -- DAY

CHIHUAHUA
(angrily)
The former General Staff Officer has asked me to warn you against saying anything bad about the camp authorities or the Vietnamese people when you get home. He reminds you that in the course of your stay here, he has had you write many documents that he can acquire.

JIM
(defiantly)
That sounds to me like some more of Major Bui's blackmail.

CHIHUAHUA
Major Bui no longer speaks for the Vietnamese government. Go back to your cell and pack up.

JIM leaves with a smile on his face.

FADE OUT:

FADE IN:

EXT. OUTSIDE HOA LO PRISON -- MORNING

The first group of prisoners is marched out of the prison, the first to EXIT include JIM and JERRY DENTON. On a rainy morning, JIM stops to take a look at the surroundings, he PANS around to the Ministry of Justice building and Hoa Lo Street. Over to the bomb damaged bridge that he crossed when he arrived.

Transport jets sit on a distant parking ramp. They have USAF markings on them and the class marking C-1415.

The formal line, although guarded but not harassed, begins to break up into informal groups of three or four.

A second group pf prisoners is released from the camp, a mix of American and South Vietnamese officers. A GUARD MOTIONS for JIM's group to head towards the planes.

EXT. EXIT GATE -- CONTINUOUS

JIM is next in line to EXIT through a check point gate set up in front of the row of planes. RABBIT holds a clipboard, checking off the names of the Americans as they board the plane.

RABBIT
James Bond Stockdale.

JIM looks at RABBIT, smiles faintly, RABBIT glances up with a knowing eye, before returning to his duty. JIM steps through the check point.

RABBIT
Wendell B. Rivers

EXT. ENTRANCE OF THE PLANE -- CONTINUOUS

JIM makes his way to the USAF Colonel, acting as the official greeter. The burly SERGEANT RIVERS, comes through the gate and hooks JIM by one arm, the COLONEL hooks JIM by the other arm and the three head up the ramp of the plane.

FADE OUT:

FADE IN:

EXT. TRAVIS AIR FORCE BASE -- DAY

JIM gives a speech to a handful of reporters plane side, behind him all of the men aboard the plane stand proud.

JIM
For the past seven or eight years I doubt that there was a Prisoner of war in Hanoi who did not occasionally hum that old refrain, California, here we come, well California, we have come. I'm proud to represent this group of warriors right behind me and to express to you, our thanks for your loyalty. The men who followed me down the ramp know what loyalty means, for the past several years. I mean loyalty to our military ethic, loyalty to our Commander in Chief, loyalty to each other and now we are home. As Sophocles wrote over twenty four hundred years ago, nothing is so sweet as to return from sea and listen to the raindrops on the roof tops of home. We are home America! America! God shed his grace on thee.

The crowd erupts in a courses of clapping.

FADE OUT:

FADE IN:

EXT. MIRAMAR AIRPORT-SAN DIEGO -- DAY

JIM steps off a smaller plane, a REPORTER steps forward and extends a microphone.

REPORTER
Captain Stockdale, are you aware that the United States has landed a man on the moon?

JIM
No, I was unaware of that, I am not surprised, but that wasn't the greatest news I had ever received from Vietnam, she is...

SYBIL and the boys make their way up the ramp. The REPORTER EXITS back into the plane.

SYBIL
(teary eyed)
Jim, I love you, you're so thin and... and your hair...I like the grey.

JIM struggles to raise his good arm to hug SYBIL, JIMMY ENTERS and takes his father under his arm.

JIM
God Jimmy how did you get so tall.

JIMMY
Welcome home father,
(turning to his brothers)
Sid, Stan, Taylor come up.

SID a strong sixteen year old ENTERS with eleven year old TAYLOR and a quiet thirteen year old STAN.

JIM
Sid, your mother has been writing constantly about all the football championships you have won, congratulations.

SID
Thank you, father.

JIM
I bet you don't even remember me Taylor, how could you?

TAYLOR
Mother has told me all about you, welcome home.

STAN
Welcome home father.

STAN corrals TAYLOR and SID joins JIMMY and SYBIL in a group hug around JIM.

FADE OUT:

FADE IN:

EXT. WHITE HOUSE LAWN -- DAY

PRESIDENT FORD awards JIM with the Congressional Medal of Honour in front of a packed gallery full of wives, soldiers and media.

PRESIDENT FORD
For conspicuous gallantry at the risk of his life above and beyond the call of duty while senior Naval Officer in the Prisoner of war camps of North Vietnam. Recognized by his captors as the leader of the prisoners of war resistance to interrogation and their refusal to participate in propaganda and exploitation. Rear Admiral Stockdale was signaled out for interrogation and torture. Rear Admiral Stockdale resolved to make himself a symbol of resistance regardless if personal sacrifice. He deliberately inflicted a near mortal wound to his person in order to convince his captors of his willingness to give up his life rather than capitulate. By this heroic action he has earned the everlasting gratitude of his fellow prisoners and his country. Rear Admiral Stockdale's valiant leadership and extraordinary courage sustain and enhance the finest traditions of the United States Naval service.

JIM steps onto the stage wearing the traditional blue Admirals dress uniform. PRESIDENT FORD pins on the medal as the crowd rises and claps in a standing ovation.

FADE OUT:

END
(ADMIRAL, JIM, OFFICER, SYBIL)

EPILOGUE

Accompanied by stills of SYBIL, JIM, the boys and various shots from the book 'In Love and War'.

In April 1976 Jim Stockdale was transferred to the Pentagon. In August 1977 he became a Vice Admiral and President of the Naval War College in New Port, Rhode Island. Two years later he retired from the Navy. At Jim's fair well ceremony, the Chief of Naval Operations presented Sybil with the US Navy Departments Distinguished Public Service Award. She is the only wife of an active duty Naval Officer ever to be so honoured.