Black Tapestry Excerpt


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Oliver Stone once described his 1991 film, JFK, as "counter-myth" to the "myth" that the Warren Commission created in 1963-64, and I have to say, Mr. Stone is being modest. After the twenty-some years that I subsequently spent studying the most complicated murder of the century, I have to say there is very little myth in Mr. Stone's masterpiece. Things that critics jumped on at the time are insignificant embellishments. There is very little chance that David Ferrie had nothing to do with the assassination, even though he was never formally charged. The role that Lee Harvey Oswald played is surrounded in more shadows than the heights of Kilmanjaro. There is strong reason to believe he was acting as an undercover agent for sources who wanted to avert the tragedy of November 22, 1963. Oswald wanted to be more than one person. He wanted to be a spy, live a life of adventure and excitement, and if he became a hero in the process, that was ok, too.

In my script, Black Tapestry, I have a few mythical moments as well. In the very first scene, we will see scenes taking place in the moments before the assassination which are not corroborated by any factual evidence, but tied to one of a million suspicious facts divulged by reliable witnesses. Lee Bowers was an employee of the railroad, which had an observation tower within view of whatever took place behind the white picket fence on the Grassy Knoll. In the half hour before the assassination, he later reported seeing three vehicles enter the parking lot for the Texas School Book Depository at different times, as if casing the area--for what, we don't know, but researchers have long considered the vehicles to be somehow tied to the assassination "team". He reported seeing a 1959 blue and white Oldsmobile with a "Vote for Goldwater" bumper sticker on its fender. This car entered the lot, encircled the perimeter, and then left. Black Tapestry begins with this vehicle returning to a kind of "nerve-center" for the assassination team: in this case, I chose an old farmhouse outside of the immediate Dallas area, populated with a mixture of those traditionally held responsible: certain military and intelligence players, certain Mafia figures, certain Cuban anti-Castro-ites who'd been betrayed by Kennedy at the Bay of Pigs, watching their brothers and best friends murdered by Castro's army; the rest were arrested and banished to prisons that make American jails look like country clubs. Do we know what became of that car with the Goldwater sticker? No. Has the driver ever been identified? No. But are we crazy to presume that he drove to a place where there were others suspected of also playing roles in the assassination? Was it a warehouse outside of the Dallas Metro area? Who cares? It's not the point where these individuals coordinated events. Likewise, the corresponding scene where the people in the farmhouse are communicating with overseers in Dealey Plaza who provide real-time updates is not a "fact" within the realm of conspiracy-research. And yet, Army Intelligence Officer Jim Hicks* was photographed in Dealey Plaza with a huge antennae from a field radio sticking out of his backpocket as he casually strolls behind those who rushed the Grassy Knoll after the shooting stopped. Coincidence? Sure it is. Not. Where were the parties he was reporting to via field radio? Kennedy was famously bereft of the proper protection measures, especially in Dallas, where there was much resentment against Kennedy's policies. If Hicks was there as undercover protection, why is this not explained in any of the reference materials? And why is he so blaise about utterly failing at his job? The "Lady in Red", Mrs. Jean Hill, tells of being grabbed by men she assumed were Secret Serice or FBI agents in the immediate wake of the shooting, escorted roughly to an office overlooking Dealey Plaza in the Dallas County Records building, where an overbearing "Official" demanded she change her recollection of how many shots she heard, claiming any more than three were the sounds of echoes, not more shots. If there were more than three, of course, Oswald couldn't be the only shooter, since he didn't have time to fire any more than three. Is it a stretch to say part of the assassination team weren't also holed up in one of those many offices overlooking the action?

These are the types of liberties I take with now-known historical facts. Not really liberties at all, but things presumed to be true once other facts are known. What do I hope to achieve with this story? Many things. First, Mr. Stone made a sublime mystery film based on historical facts, but no one can encapsulate everything pertinent to the case in a single film, even one clocking close to three hours long. That's where Tapestry picks up the slack, delivering much pertinent information that Stone simply couldn't film because of time constraints. My film involves certain characters never mentioned in JFK, while expanding on others. Definitely, anyone who sees my movie should've seen Mr. Stone's first. If you haven't seen it yet, shame on you. Another outcome I hope for is that a new generation is intrigued enough to go and do their own research, just like Mr. Stone's film caused me to do. Don't take my word for anything; go out there and read the preeminant researchers like Robert J. Groden, Mark Lane, Edward Epstein, John Newman, Lamar Waldron, Richard Russell, Jim Marrs, Jim Garrison and so many others. You'll see that the fictional parts of my movie, as in Stone's, are not merely cosmetic--they're presumed truths based on known truth. I don't seek to make a better movie than Stone; I seek to make a sequal, or companion-piece to his movie: the one that started it all.


 *Groden/Livingstone, High Treason 


"Black Tapestry"

(Inspired By The Film JFK)

         1     EXT. DESERTED TEXAS BACK ROAD -- DAY                     1

               A 1959 blue and white Oldsmobile turns onto a lonely, unpaved
               road, driving maybe a half mile. A country song plays softly
               on the car stereo.

               It pulls into the driveway of a solitary farmhouse.

               As the car pulls to a stop, we see a "Vote for Goldwater"
               bumper sticker on the back bumper and Arizona license plates

               From the driver's side of the Oldsmobile, we see a boot
               descend to the ground as the DRIVER gets out, hear the car
               door SLAM, and follow a pair of blue-jeaned legs toward the
               back of the house. 

         2     INT. FARMHOUSE -- DAY/"ZERO HOUR"                        2

               Once inside, the driver leads our perspective into a
               hodgepodge of "types" in the room: MILITARY, MAFIA, CUBAN,
               and civilian COORDINATORS. The room is smoky, full of people
               tending to their individual duties with some trepidation. 

               Our POV ends on a wall-mounted clock that reads 12:25. 

                                                                CUT TO:

         3     TSBD/LUNCHROOM -- SAME TIME                              3

               The door of a refrigerator is opened, affording our POV of
               LEE HARVEY OSWALD, who searches for his lunch amidst other
               people's paper bags.

                                   DANIELS' V.O.
                         A wise man once said, "America is a
                         vast conspiracy to keep you happy."
                         At first, the patriot in me was
                         pissed off by that comment, that
                         someone could say that about my
                         country. It made me think of a
                         carnival, all flashing lights and
                         the sounds of happy people,
                         enjoying the delights of the
                         greatest country on earth.

               As he shuts the refrigerator door, our perspective goes
               black. Words on Screen: November 22, 1963 12:25 p.m.

                                                                CUT TO:

         4     EXT. DEALEY PLAZA/ASSASSINATION DAY                      4

               SPECTATORS line each side of Elm Street, all facing East,
               specifically where Houston Street crosses Main. There is a
               general din of upbeat voices.

         5     INT. TSBD LUNCHROOM -- SAME TIME                         5

               Oswald sits calmly eating his lunch, as we close in on him
               from behind.

                                   DANIELS' V.O.
                         But behind the lights, and the
                         smiles and the laughter, everything
                         goes dark, and witnesses are not
                         encouraged to question the shadows
                         beyond it. My sin was leaving the
                         midway, anyway, for a peek behind
                         this curtain of shadows that
                         surrounds the carnival.

         6     INT. FARMHOUSE -- DAY                                    6

               All the pensive faces in the room are now locked on the
               clock. A phone RINGS and is answered by a COORDINATOR in
               shirt and tie.

                         Affirmative, sir. We're ready.

               He hangs up and yells to the room...

                                   CONTROLLER (CONT'D)
                         Motorcade's turning onto Houston!

               We notice three MEN smoking cigars in the shadows at the back
               of the room, unidentifiable. We see them tense at the
               announcement; one standing up a little straighter. 

               All eyes watch the clock. 

                                   DANIELS' V.O.
                         Gradually, I realized the wise man
                         was right. What he didn't tell me
                         was that behind the conspiracy to
                         make me happy, the shadows go on
                         forever. But when I'd walked far
                         enough, a different kind of light
                         found me.

               A voice from somewhere in the room calls out...

                                   FLOATING VOICE
                         DC phones are down! 

               Another reports...

                                   FLOATING VOICE #2
                         The Cabinet plane over the Pacific

               The Coordinator waits with the phone to his ear, eyes glued
               to the clock. 

                             (To the room)
                         Turning on Elm! 

               Our POV/CU: the minute hand falls onto the six. 12:30 on the

               Some heads in the room sag sadly, while others express
               restrained but victorious anticipation. 

               We return to the Coordinator's face as he listens with his
               eyes on the clock. His expression is almost inscrutable. The
               room is quiet enough to hear a pin drop.

                                                                CUT TO:

         7     EXT/SKIES OVER OAK CLIFF, TEXAS -- DAY                   7

               We commence from the POV of a bird flying over a residential
               district under a bright and sunny afternoon. It could be any
               suburb in America. 

                                   DANIELS' V.O.
                         This light is dimmer, less
                         revealing of what's around you.
                         Even when your eyes get used to it,
                         things don't become much clearer,
                         and the further behind you leave
                         the midway, the more you realize
                         you've actually left one carnival
                         behind in favor of another. But
                         this one is different.

         8     EXT. MODERN MOVIE THEATRE -- NIGHT                       8

               A crowd emerges from a theatre into a rainy night. Like rats,
               they scatter into the parking lot. Meanwhile, a YOUNG COUPLE
               break away to walk along the building. 

               As the shot widens, we see "JFK" on the marquee above the
               front entrance.

               Words on Screen: Sterling Heights, MI (Date/1991)

                                   DANIELS' V.O.
                         This one is far more extreme than
                         the one you came from, but also
                         somehow more honest, no matter how
                         many lies are told.

               As the shot reverts to follow the couple out into the parking
               lot, we see the gaudy lights of a parking lot carnival,
               complete with a Ferris Wheel. 

                                                                CUT TO:

         9     EXT/SKIES OVER OAK CLIFF--ORIGINAL SHOT                  9

               The bird's eye view in flight continues, rising from the
               suburb below called Oak Cliff to reveal the daytime Dallas
               skyline. In this shot we should also see the parallel
               viaducts called Houston Street and Jefferson Boulevard, both
               spanning the Trinity River, connecting Oak Cliff to Dallas.
               It'll be relevant later.

                                   DANIELS' V.O.
                         This is the story of how a twenty
                         four year old ex-marine headed into
                         the darkness in search of this new

        10     INT. CAR/1990 -- NIGHT                                  10

               The young woman is driving, but our eyes close in on the
               young man, whose eyes in turn are staring out the passenger
               side window through a veil of cigarette smoke, internally

                                   DANIELS' V.O.
                         The more time you spend in this
                         second carnival, the more
                         unrecognizable the first one
                         becomes, the more you lose sight of
                         the lights you left behind. 

                                                                CUT TO:

        11     EXT. SKIES OVER DEALEY PLAZA/TSBD ROOF -- DAY           11

               We are closing in on the northeastern corner of Dealey Plaza,
               which remains concealed by the roof of the Texas School Book
               Depository, from which a flock of pigeons flies away from our
               POV, instigated to leave by the sound of a high-powered rifle
               SHOT, fired by the TSBD ROOF SHOOTER now laying prone in the
               southwest corner, invisible from the street below. As we get
               closer, he vanishes as a spirit returns to the ether. In the
               same shot, we can see prisoners filling the windows of the
               top floor of the Dallas County Jail. They are, in unison,
               reaching through the bars and pointing at the upper floor of
               the adjacent TSBD. 

                                   DANIELS' V.O.
                         The horror comes from learning the
                         second version is actually controls
                         the first, and, like the Devil,
                         those who run it are very good at
                         convincing the world no second
                         midway even exists. 

        12     EXT. THE "BLACK MIDWAY" -- NIGHT                        12

               The young man turns a corner between circus tents and steps
               into a dirt midway, where he stops, attention enrapt. 

                                   DANIELS' V.O.
                         The day I found this second midway,
                         I began to change, even before
                         realizing I had someone else to

        13     EXT. SKIES OVER DEALEY PLAZA/ELM STREET -- DAY          13

               We drop past the TSBD, maintaining a bird's eye view of the
               scene unfolding below us, in Dealey Plaza. The activity seems
               to be centered around Elm Street, a freeway access road
               passing directly in front of the TSBD. Only peripherally do
               we see the motorcade as our POV reveals instead the DAL-TEX
               building and Dallas County Records building, focusing on the
               DCRB ROOF SHOOTER before lowering to the fire escape that
               traverses the side of the Dal-Tex Building. From the window
               of a second floor janitor's closet, we see the DAL-TEX
               SHOOTER withdraw with his rifle into the shadows. 

                                   DANIELS' V.O.
                         And yet, the cells had been forming
                         by then for several years,
                         connecting bridges between terms
                         like "Bay of Pigs"..."Cuban Missile

        14     EXT. MIDWAY -- NIGHT                                    14

               Daniels' POV pans, growing wider as it takes in the breadth
               of this Black Midway. There are blue lights only, and seem
               veiled in a fog. There's something here, but we can't clearly
               distinguish anything.


               We are now, in effect, drawing backwards, raising our POV to
               see Shooter #3 in the sixth floor SE corner window, just as
               he lowers his rifle and backs out of sight. Pulling back our
               POV even further, we see Shooter #4 in the SW corner window
               on the same floor withdraw his rifle from view. 

                                   DANIELS'S V.O.
                         These terms took hold in my
                         subconscious and went to sleep
                         there, dormant, while other things
                         struggled with each other to take
                         center stage: Growing up, chasing
                         girls, learning the ropes, in
                         hopeless love with my country and
                         my long future in it.

        16     EXT. SKIES ABOVE DEALEY PLAZA -- DAY                    16

               Finally the angle comes to rest on the Presidential limousine
               with it's open top. JFK is clutching his throat with both
               hands, elbows at 90 degree angles from his body. He begins to
               sag toward his left, toward JACKIE KENNEDY, who leans into
               him, not fully aware of what's happening to her husband.
               GOVERNOR JOHN CONNOLLY falls into his wife, NELLIE's lap,
               having been shot in the back near the right shoulder. As the
               limousine slows to 5 mph, we continue to pull back, but not
               so fast that we don't see Kennedy's head explode (obscured by
               Connolly) due to the impact of a projectile fired from his
               right: the infamous Grassy Knoll, and behind him: the Dal-Tex

               Beyond the limousine's left corner (our right), motorcycle
               policemen BOBBY W. HARGIS and B.J. Martin waver as they pass
               through a veil of Kennedy's blood and brain matter.
               Ultimately, we see the Secret Service driver, BILL GREER,
               glancing over his right shoulder into the backseat before
               abruptly facing forward to floor the gas pedal, finally
               driving "under" our POV. 

               We pan to follow the limo heading for the on-ramp to the
               Stemmons Freeway. For two seconds, we watch it go, but once
               it's on the ramp, our POV pans quickly back to the Elm Street
               aftermath. From this same position, we watch the pandemonium
               break out amongst those in the immediate area. After several
               seconds, a crowd begins to run across Elm Street toward the
               Grassy Knoll.

                                                                CUT TO:


                                   DANIELS' V.O.
                         Born in 1973, "Watergate" was the
                         word I would hear growing up that
                         baffled me the most. 

               Words on screen: Offices of the Democratic National
               Committee, Watergate Hotel, (specific date)

                                   DANIELS' V.O. (CONT'D)
                         What could be so important about a
                         simple break-in, even if it was the
                         offices of the Democratic National

               The offices are dark, until a vertical spear of light made by
               the opening of an office door begins to illuminate our
               surroundings. We see one shadowy figure enter, followed by

                                   DANIELS' V.O. (CONT'D)
                         How could a so-called "third-rate
                         burglary" become synonymous with
                         the highest political corruption,
                         ultimately causing the forced
                         resignation of the only US
                         President in history? 

               We see further flash-images and film clips depicting the fall
               of Nixon: Various members of his "Plumbers" swearing oaths
               before the Senate Watergate Committee, a photograph of E.
               Howard Hunt in a different court setting; this, his lawsuit
               against Mark Lane. At the end, Nixon boards the helicopter
               stairs, turning, and offering peace signs to a crowd who
               hates him.  

                                   DANIELS'S V.O.
                         At the time, nobody believed there
                         was any connection between the
                         Watergate burglary and what
                         happened in Dallas a decade before. 

                                                                CUT TO:

        18     EXT. GRASSY KNOLL -- ASSASSINATION DAY                  18

               Among the crowd rushing to the top of the Grassy Knoll,
               toward the white picket fence at its summit, where we see
               Deputy Sheriff ROGER CRAIG vault the fence.

                                                                 CUT TO

        19     INT. A PRIVATE LIBRARY                                  19

               A tight close-up of 2-3 books on a shelf, being put in place
               in the order they were written, with names like Mark Lane,
               Harold Weisberg, and Edward J. Epstein on the covers. As the
               shot traverses the shelf, we see names like Jim Marrs, Lamar
               Waldron, and Robert Groden. 

               Intercut with a progressive widening of this shot are quick
               shots from various scenes-to-come and historical footage:
               "ALLEGED OSWALD" in the wake of the Tippit killing, running
               at a flat-out sprint down Patton Street in Oak Cliff; HELEN
               LOUIS MARKHAM raising her right hand before the Warren
               Commission; a packed courtroom during the HSCA hearings of
               the mid 70's; crowds picketing in favor of releasing JFK
               documents from the National Archives in the 90's. 

               By shot's end, where we remain, we're wide enough to see that
               a long bookshelf has been filled with books on the

                                                                CUT TO:

                                   DANIELS' V.O.
                         A horrible thing happened on that
                         day, but an event so critical for
                         so many people that the black
                         midway grew clogged. Certain people
                         participated in order to avoid
                         deportation, some did it to stay
                         out of prison, or just keep their
                         names from being ruined. 

        20     INT. DAL-TEX BUILDING/OFFICE -- SAME TIME/DAY           20

               Two SPOTTERS with high-powered binoculars are focused through
               floor-to-ceiling windows on the action below them, in Dealey
               Plaza. Near them stands COORDINATOR #2, a phone to his ear. 

                                   SPOTTER #1
                         I count two hits.

                                   SPOTTER #2
                         I have three. Two kill-shots at
                         almost the same second. 

                                   COORDINATOR #2
                             (On the phone with the
                              farmhouse Coordinator)
                         Is Lancer down or not?

                                   SPOTTER #1
                         I have confirmed at least one head
                         shot. Jackie's crawling out on the

                                   COORDINATOR #2
                         No one gives a fuck about Jackie!

                                   SPOTTER #2
                         Lancer is down. Umbrella

                                   COORDINATOR #2
                         Lancer is down. I have on-site
                         confirmation. The clean-up crew is
                         moving in.

                                                                CUT TO:

        21     INT. FARMHOUSE -- DAY                                   21

               Coordinators flurry throughout the one large main room. At
               the front of the room, an ASSISTANT stands at a chalkboard,
               writing something we can't see. 

                                   DANIELS' V.O.
                         Some did it for revenge, or to make
                         money, or to ensure themselves
                         prestige in their respective
                         These interests, directed by a
                         common goal but not necessarily
                         united, resembled the cast of
                         Murder On the Orient Express, each
                         as guilty as the next of plunging
                         the knife into Mr. Ratchett. 

               The Coordinator on the phone receives the information from
               Coordinator #2.

                         Lancer is down! Repeat: Lancer is

               A murmur of blended voices rules out distinguishing any
               specific response, positive or negative.

                                   COORDINATOR (CONT'D)
                         Stow it! Get ready! ID's are coming

               Nearby, the Assistant stands at the ready, chalk in hand. 

                                                                CUT TO:

        22     INT. EMBASSY ROOM OF THE AMBASSADOR HOTEL               22


               Live Footage: We see ROBERT F. KENNEDY from the back, a sea
               of lights beyond him as he stands at a podium, surrounded by
               members of his entourage. 

                                   DANIELS' V.O.
                         JFK's brother Bobby wanted to be
                         the guy who took down the mob, and
                         Jack was practically a movie star.
                         Women wanted JFK and men wanted to
                         be JFK. Then there were those who
                         wanted him in the ground, and they
                         had to put him there. 

        24     INT. DAL-TEX BUILDING/OFFICE -- SAME TIME/DAY           24

               Resume setting from Scene 11.

                                   DANIELS' V.O.
                         Jack was going to win another term
                         in office, and after that, Bobby
                         would be a serious contender.
                         A 16 year Kennedy Administration
                         simply could not be allowed to
                         happen. Bobby's administration
                         would've seen the end of the mob in
                         America. Like Trafficante said, you
                         want to kill the dog, you cut off
                         it's head, not it's tail. 

                                   SPOTTER #1
                         So far, I've got three cameras who
                         caught it up close. Guy standing on
                         the abutment by the pergola. Woman
                         -- brown coat, blonde hair --
                         standing in the center median.
                         These are movie film, not stills.
                         Tell your collectors.

        25     EXT. DEALEY PLAZA -- SAME TIME                          25

               JIM HICKS listens to the orders coming over his handheld
               radio, then puts it in his back left pocket and saunters
               after the crowd still rushing toward the Grassy Knoll.

        26     INT. FARMHOUSE -- SAME TIME/DAY                         26

               The Coordinator listens to information coming in from Dealey
               Plaza and calls out to the room. 

                         Witness Teams: Preliminary head
                         count: (#) women, (#)men, (#)
                         children. So far, two film cameras;
                         three still cameras...

               The Assistant writes this info down on the chalkboard.

                                                                CUT TO:

        27     INT. DAL-TEX BUILDING/OFFICE -- SAME TIME/DAY                                                                                                                                                                 27

               The Spotters continue analyzing the scene in Dealey Plaza.

                                   DANIELS' V.O.
                         Bobby was the tail, and cutting
                         down JFK meant Bobby's days were
                         numbered. LBJ hated both of them.
                         In the shadows, the evidence was
                         set up to blame Castro, at which
                         point the American people would
                         demand an invasion of Cuba, and LBJ
                         would be sure to replace him with
                         an America-friendly puppet. 

               Insert historical footage of various US puppets: the Shah of
               Iran, etc.

                                   DANIELS' V.O. (CONT'D)
                         The only problem was Moscow, and
                         how they would react to our
                         invasion plans. Moves like these,
                         had they occurred, means you and I
                         wouldn't be here talking about it

                                   SPOTTER #2
                         I've got Ruby! Ground control is on
                         site! Repeat: Ground control is on

                                                                CUT TO:

        28     EXT. TSBD -- SAME TIME/DAY                              28

               We see Jack Ruby standing near the doors of the TSBD (or
               mounting the Grassy Knoll) in real time, but then...

               We cut to the Phil Willis photograph, which shows evidence of
               the above, or the (other photograph/See Groden).

        29     INT. FARMHOUSE -- DAY                                   29

                             (To the room)
                         The Cleaner is on-site. Phase One
                         is a success! Repeat: the Cleaner
                         is on-site. Phase One is a success!

               A few random CHEERS are heard, but the temperature of the
               room is largely quiet, unsettled. 

               Two PHONE OPERATORS don switchboard headsets, which leaves
               one ear free to receive reports from the spotters in Dealey

                                   PHONE OPERATOR #1
                         Repeat: bring her to the FBI
                         Interrogators. [Reference to Jean

                                   PHONE OPERATOR #2
                         Woman standing on south side of Elm
                         took a Polaroid. Move in.

               The Mafia clique congratulate each other. One reaches for a
               phone behind him. 

                                   DANIELS' V.O. 
                         For the mob, the assassination was
                         like taking out two birds with one
                         stone: eventually the Dictator
                         who'd kicked them out of Havana's
                         casinos, and the Attorney General
                         who wanted to kick them out of the
                         United States, just by shooting the
                         President who was letting him get
                         away with it.

        30     EXT. TEXAS THEATRE -- DAY                               30

               In slow motion, LEE HARVEY OSWALD is ushered out through the
               front doors amidst a crowd of ONLOOKERS screaming for blood.
               He is protesting, mouthing the words: "I am not resisting
               arrest," even though he's drowned out by the din. 

                                   DANIELS'S V.O.
                         One reason for the cover-up was to
                         settle the nerves of the American
                         people in the wake of a national
                         disaster: the murder of a President
                         whose only crime was being the head
                         of the dog. That was the reason
                         Oswald had to go down alone. 

               The angle passes over the heads of the onlookers until
               pivoting to "draw backward," giving us a widening angle of
               more PEOPLE arriving to gawk, as we continue until reaching a
               shop called "Bernie's Hobby House," two doors down from the

                                   DANIELS'S V.O. (CONT'D)
                         If it wasn't a lone nut, it was
                         likely Castro behind the
                         assassination, and if The People
                         demanded Castro's head, in the
                         words of LBJ, it would lead us into
                         a war with the Soviet Union that
                         "could result in the deaths of
                         forty million Americans in an

               The shot stops on BERNARD HAIRE, who sees the futility of
               trying to see what's happening.
               From his POV, he cannot see Oswald. Instead, he turns and
               steps back into his shop, continuing on toward the back, as
               we follow him...

        31     INT. BERNIE'S HOBBY HOUSE -- SAME TIME/DAY              31

                                   DANIELS'S V.O.
                         Within the hour after Kennedy was
                         killed, only one thing was obvious,
                         according to J. Edgar Hoover and
                         LBJ: Oswald did it alone, with a
                         cheap rifle that jammed on every
                         fourth round, with a misaligned
                         scope, fired by a man who was a
                         terrible shot, shooting through a
                         Texas Live Oak tree in full bloom
                         and making the world's greatest
                         shot anyway.  

               ...Through the store, out through the back door into the

                                   DANIELS' V.O.
                         Saying it was Oswald alone, was the
                         same as saying it was no one at
                         all, that the nukes could stay in
                         their silos, that the whole event
                         was no one's fault. That was part
                         of Bobby's big plan to keep the
                         world turning no matter what Castro
                         got away with, including a
                         Presidential assassination. 

               Our POV: once we've cleared the back door, we turn to the
               left and stop abruptly. Haire's back is turned toward us.
               Beyond him, we can make out a parked DPD squad car further
               on, out of focus, outside the rear entrance of the Texas

               A Medium CU of Haire, staring at this car. 

                                   DANIELS' V.O. (CONT'D)
                         There was only one problem: not
                         only was Castro innocent, so was

                                                                CUT TO:

        32     EXT. TEXAS THEATRE FRONT ENTRANCE -- SAME TIME          32

               Oswald being shoved down into the backseat of the squad car.

                                   DANIELS' V.O.
                         "A lone nut" they called him, even
                         though he had certifiable ties to
                         the FBI, the CIA, the Office of
                         Naval Investigation, and the Mafia 
                         - all facts we wouldn't learn for
                         many years -- just like Bernard J.


               Haire's POV: a DPD squad car, nose facing us. Through the
               back door of the theatre, in slow motion, we see two COPS
               emerge with a THIRD MAN in custody. He is ushered into the
               backseat of the squad car, the cops climb into the front
               seats, and the car backs further away in order to turn

                                   DANIELS'S V.O.
                         ...Who believed, for the next
                         twenty-five years, that he was the
                         sole witness to the arrest of Lee
                         Harvey Oswald. 


               Historical footage: A crowd of raucous JOURNALISTS are massed
               outside the doors of the National Archives as Chief Justice
               EARL WARREN steps into frame, intending to get through them
               to the building's doors. He is followed by GERALD FORD and
               HALE BOGGS. Words on screen: First Formal Meeting of the
               Warren Commission, December 5, 1963

                                   DANIELS'S V.O.
                         Within seven days, LBJ established
                         the Warren Commission, whose job
                         was not to investigate the
                         possibility of a conspiracy in
                         JFK's murder, but to make a
                         specific case against Lee Harvey

                                                                CUT TO:

               INT. DPD/CORRIDOR/ANTEROOM/NOVEMBER 24, 1963 -- DAY

               We are following three men: Detectives J. R. LEAVELLE and L.
               C. GRAVES, who bracket Lee Oswald. This "real-time" footage
               is mixed with actual historical footage showing this last
               "perp walk" of the President's accused assassin.

                                   DANIELS'S V.O. 
                         Thus the whitewash was made the
                         official account of history, with
                         clever wording that claimed "no
                         evidence" of a conspiracy, as
                         though killers like these might be
                         clever enough to pull off the crime
                         of the century, but too dumb to
                         clean up any loose ends. 

               The path of these three men turns a corner and heads toward
               double doors beyond which wait a crowd of journalists. Flash
               bulbs begin POPPING before they're all the way to the doors.
               Just as they cross through...

                                   DANIELS' V.O.
                         Hoover's FBI prepared the initial
                         report incriminating Oswald, then
                         passed it off to the Warren
                         Commission, who accepted it as the
                         Gospel According to Hoover, even if
                         it left a thousand questions
                         unanswered, just like we mostly
                         accepted the Warren Report, at
                         least at first...

                                                          CUT TO BLACK:

                                   JACK RUBY

               We hear a single GUNSHOT, followed by verbal pandemonium.

                                   DANIELS'S V.O. 
                         Nobody wanted to believe a lie was
                         forged to explain this tragedy,
                         simply to make us happy, and many
                         still buy it even today, even
                         though five subsequent commissions
                         have since refuted it. 

               Credits end on black screen, replaced only by the heavy
               BREATHING of someone running.

                                                               FADE UP:
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