DARKNESS. As the MAIN TITLES BEGIN, the theater thrums with
a subsonic HISS which mounts in all the rattling power of
THX, and we...
BURN IN, BRIGHT LIVING COLOR:
EXT. STRATOSPHERE - DAY
The glory of stratospheric dawn. The engines of a silver
Lockheed U-2F rasp upon the trace oxygen here at 72,500 feet.
Scattered cloud formations hang over the blue brilliance of
sea far, far below. In the haze, the looming edge of land.
FLIGHT G-3101. OCTOBER 14TH, 1962. OVER CUBA.
The spy plane's CAMERA DOORS whine open. The glassy eye of
the 36-inch camera focuses. And then with a
BANGBANGBANGBANG, its high-speed motor kicks in, shutter
MATCH CUT TO:
INT. O'DONNELL BEDROOM - DAY
A simple CAMERA, snapping away furiously in the hands of a
giggling MARK O'DONNELL, 4. He's straddling and in the face
of his dad, KENNY O'DONNELL, 30's, tough, Boston-Irish, with
a prodigious case of morning hair. Kenny awakens, red-eyed.
Mark, get off your father!
Kenny sits up to the morning bedlam of the O'Donnell house.
KIDS screech, doors bang all over. Kenny pushes Mark over,
rolls out of bed, snatches up the corners of the blanket and
hoists Mark over his shoulder in a screaming, kicking bundle.
INT. O'DONNELL HALLWAY - DAY
Kenny, with Mark in the bundle on his shoulder, meets his
wife HELEN going the other way in the hall with LITTLE HELEN,
1, in her arms.
They kiss in passing. Daughter KATHY, 12, races by in angry
pursuit of her twin, KEVIN, 12.
Don't forget, Mrs. Higgins wants to talk
to you this afternoon about Kevin. You
need to do something about this.
Kids are supposed to get detention.
Kenny dumps the bundle with Mark in a big pile of dirty
SMASH CUT TO:
EXT. MCCOY AIR FORCE BASE - FLORIDA - DAY
A pair of massive FILM CANISTERS unlock and drop from the
belly of the U-2. TECHNICIANS secure them in orange carrying
cases, lock them under key, fast and proficient. They whisk
them out from under the spy plane.
The Technicians run for an idling Jeep. They sling the cases
into the rear of the vehicle which in turn accelerates away
hard, curving across the runway for another waiting plane.
SMASH CUT TO:
INT. O'DONNELL KITCHEN - DAY
A kitchen out of the late 1950's. Kenny drinks coffee, ties
a tie, rifles through a briefcase at the kitchen table. The
horde of kids, ages 2-14, breakfast on an array of period
food. Kenny grills the kids while he goes over papers.
Secretary of Defense...
Wrong, and you get to wax my car.
KENNY JR. smirk at Kevin.
Rusk is State, moron. Robert McNamara.
Got time for pancakes?
Nope. Attorney General?
A PHONE RINGS as the kids cry out en masse.
Too easy! Bobby, Bobby Kennedy!
Kenny glances up at the wall. There are two phones, side by
side. One RED, one BLACK. It's the black one ringing.
Helen answers. Kenny goes back to his papers.
All right, wise guys, Assistant
Secretary of State for Latin America...
SMASH CUT TO:
EXT. STEUART BUILDING - DAY
A U.S. Navy truck lurches to a stop in front of the run-down,
brick-faced seven-story Steuart Building on 5th and K. Rear
doors BANG open, and out hop two MARINE GUARDS, side arms
drawn, film canisters in a carrying case between them.
NATIONAL PHOTOGRAPHIC INTERPRETATION CENTER
(NPIC), WASHINGTON D.C.
As the Marines approach the building, front doors SLAM open.
INT. OPERATIONS OFFICE, NPIC - DAY
A bespectacled OPERATIONS MANAGER hands a clipboard to one of
the big Marine Guards who in turn hands him a set of keys.
The Manager unlocks the film cases. PHOTO INTERPRETERS swoop
in, whisk away the contents: SPOOLS OF FILM.