INVASION

EPISODE: CHANGE

A series of silent clips roll by, mostly fast action sequences, but in a few areas slow motion to intensify the moment and the emotions.

Somebody (maybe Mariel) is narrating, with background music and sound effect. The narration is calm, slow and introspective, in contrast to the mostly fast action clips.

NARRATOR - MARIEL:

Do we know who we really are?

INT. HOSPITAL OFFICE.

Mariel is reading reports in her office. Very still and focused.

CUT TO:

Mariel is running in the hospital, responding to an emergency call. Chaos all around.

NARRATOR - MARIEL:

Day in and day out… we go to work

…come home to our family.

We play the roles we have drawn out for ourselves.

We live in the safety of the familiar.

Mariel is examining a female patient - muddy, bloody and obviously has suffered terrible trauma. The patient's eyes wild and confused.

A little girl, who reminds Mariel of Rose, is accompanying the female patient. She is distraught, afraid. Mariel looks at the little girl briefly, sees the silent plea in her innocent eyes - 'please help my Mommy.'

NARRATOR - MARIEL:

But do we know what lies beneath

the surface of our familiar existence?

What lies beneath our own selves?

CUT TO:

EXT. COUNTRY ROAD. DAY

A rainy foggy gray day.

Eerie flashing lights peering periodically through the rain and fog. They are from a few police cars and ambulances parked all over a muddy road. There are overturned and banged-up cars strewn all over. Some partly covered by mud. This is apparently the scene of a mudslide. Tom is directing actions on the scene.

CUT TO:

Tom now stands at the edge of the muddy road on the side of a hill, peering through the fog and rain, looking over the hill.

NARRATOR - MARIEL:

What are we really capable … of doing?

NARRATOR - MARIEL:

Often times it is out of the ordinary

... under extreme conditions ... that we find out...

who we really are.

Tom sees something below. He immediately waves at his colleagues to come and help. But he wastes no time waiting, and begins sliding down the muddy side of the hill.

Tom arrives at an upside-down car, which still slides a little under the heavy rain. Tom sees a man's face pressing against the driver's seat window. The eyes wide open. The man is strapped upside-down in an awkward position. Tom gets a little closer to the window to look at the man, but sees no movement. Then all of a sudden, the man's eyes roll toward Tom, and looks at him. Tom is startled.

NARRATOR - MARIEL:

Find out -

Are we heroes

Or not?

Do we do -

what we are programmed to do?

how we are conditioned to react?

Or - do we have a choice?

The man is alive. Tom immediately springs into action, and tries to open the door to get the man out.

CUT TO:

INT. HOSPITAL ROOM.

Mariel is frantically trying to save the female patient, while another critically injured patient is being wheeled in.

Mariel knows she cannot work on both patients at the same time. She looks at the little girl briefly, who is now being lead out of the room by a nurse. She then looks at the critically injured patient just brought in. Mariel continues to work on her patient. She didn't realize that right there, right then, she has made a life-and-death decision, for somebody.

NARRATOR - MARIEL:

Maybe we'll surprise ourselves ...with our actions.

and wonder..

has this chapter of humanity…

been written before?

CUT TO:

Tom, while trying to get the man out of the car, all of a sudden turns and looks up, as if expecting something. Then out of the blue, a power line that previously slid from the road above, comes loose in the rain, and with sparks flying, falls straight toward the car. The man who is trapped in the car follows Tom's gaze upward, and realizes the impending doom. There is indescribable fear in the man's eyes.

Tom's colleagues, who are now on their way down the hill, hear the noise and see what's happening with the power line. They show intense emotions on their faces.

Tom stands perfectly still, his eyes dead on the advancing whip. And right when its about to strike the car, Tom unexpectedly raises his arm and pushes the power line away.

There is a loud bang, at the same time sparks and smoke up in the air. Tom gets pushed violently by the powerful shock, and ends up over twenty feet away. The power line ends up tangled up in a tree. Tom's back thumps into another tree. His shoulder impaled by a branch. Blood seeps out, and washed by the rain. Tom is unconscious. His clothes charred and still smoking.

CUT TO:

EXT. COUNTRY ROAD. DAY

Flashing ambulance lights and sound in the fog. People talking in the background. Tom is carried on a stretcher to the ambulance, and begins to gain consciousness. The Deputy looks at Tom with concern, then calls on the radio. Tom is carried inside the ambulance.

CUT TO:

INT. HOSPITAL.

Mariel has just finished talking on the radio. Her face fills with shock and worry.

FADES TO:

INT. HOSPITAL EXAMINATION ROOM.

Warm light in the room.

Tom sits up. His upper body bare, except for bandages on one shoulder. His arm in a sling. His face a bit pale, but otherwise looks healthy.

Mariel is examining him. Tom's eyes, calm as water, is following her every move, with almost tenderness. On the other hand, Mariel is going about it very professionally.

MARIEL:

This is ONE for the text books ... I'd say.

She is pressing around Tom's neck.

TOM:

That bad, uh?

Tom says jokingly.

Mariel smiles in return.

MARIEL:

No burnt marks. No external trauma, except for the cut on the shoulder.

And all the scans came back negative…

Mariel is briefly re-examining Tom's hands and arms. And points to the injured shoulder.

MARIEL:

I don't know how you'd survived.

Mariel is shaking her head slightly, in disbelieve, frowning a little.

TOM (smiles):

Well, I am glad to see YOU too.

Tom said with a bit of an accusing tone, jokingly.

MARIEL:

Tom, I was so worried about you.

Mariel's frosty exterior now breaks down a little. Her frown melts into a smile.

MARIEL:

When (the Deputy) called in on the radio saying you were struck by power line,

I …there was this terrible feeling inside me…

And the next fifteen minutes before the ambulance arrived

was the longest moment I could recall.

But at the same time, I had this strange calmness inside -

That I was so certain you were ok…

I…

Mariel looks down and tries hard to recall those moments. It was painful and confusing.

TOM

Oh, Mariel

Tom gently gathers Mariel into his one arm (the good arm), and hugs her deeply.

MARIEL:

Tom...

Mariel is still confused and tries to think. Her eyes rest on Tom's injured shoulder, and her look turns tender. She touches his injured shoulder lightly.

Tom, feeling Mariel's hand on his shoulder, puts his hand on hers. And then slowly and deliberately, Tom lifts Mariel's hand to his lips, and plants a kiss on it.

Mariel looks at Tom. How can she not be touched?

Tom just earlier (the past few episodes of the show) thought that he has lost Mariel, is now beginning to feel thankful of this unfortunate day. Disasters tend to bring people closer together.

MARIEL: (softly):

They told me you saved a man's life today.

Mariel's eyes searching for Tom's. Tom looks back.

TOM (smiles):

You do THAT everyday. Here - in the hospital.

MARIEL:

But I don't risk my life doing that.

Mariel is mildly protesting.

MARIEL:

Why did you do that?

And HOW did you do that?

I don't know how ANYONE could have survived,

let alone walk-off, from such a powerful electric shock.

What happened out there today, Tom?

Mariel is now back to her questioning self.

TOM:
I don't ... really know.

I remember going down the slope after spotting a car down there.

Then I had a deja vu feeling, and ..

I can't recall…

Tom seems trying hard to recall. Mariel is now taken aback a little.

TOM:

Its been a long day.

MARIEL:

Yes. You are right.

It's a long day for me too.

MARIEL:

I'm prescribing you bed-rest.

Mariel now puts her professional hat back on, turns her back toward Tom, and is filling out some paperwork.

MARIEL:

And I am asking (the Deputy) to take you home.

Tom is now trying to get dressed. Mariel still has her back toward Tom. Her expression gradually turns serious and complex, betraying some of the turmoil boiling inside her.

CUT TO:

INT. INTERNET CAFE. NIGHT.

Larkin is watching her piece of Tom's heroic act and survival story on her computer. Rose is also watching, standing next to Larkin. Dave is working on the computer next to Larkin, updating his blog.

DAVE

Why aren't you working in your office, Larkin?

LARKIN

Had to pick Rose up.

A window pops up on Larkin's computer screen, showing Tom being discharged from the hospital.

ROSE

Is Tom ok?

Larkin looks at Rose and nods her head affirmatively.

DAVE

I can't believe he just walked out like that.

LARKIN

Terribly lucky man.

DAVE

I don't think LUCK has anything to do with it.

LARKIN

What are you saying?

Larkin looks at Dave quizzically.

DAVE

Ever since the big storm, strange things just kept happening. And in this small town? How can so many strange things converge on such a small place?

Its statistically impossible.

Something is happening! That's the ONLY explanation.

LARKIN

WHAT is happening then?

Larkin has a skeptical look.

DAVE

I don't know, yet.

But I'm sure its related to the EBE we found.

LARKIN

How can you believe in such a thing when there is no evidence, whatsoever,

to support that it is this - EBE you think it is?

DAVE

Larkin. How can you DISBELIEVE in such a thing, when there is no evidence, whatsoever, to support that it is NOT an EBE?

Besides, there is PLENTY of evidence to support the EBE theory. And the amount of evidence is growing everyday. Check out my blog.

Dave turns his computer monitor slightly toward Larkin to invite her to see.

Larkin scoots over and looks.

LARKIN

So this is your blog.

She sees that he has captured some of her reporting of Tom's incident in his blog, including Tom's picture of discharge from the hospital. She also sees other topics and phrases such as 'lights in the water', 'people pulled out from the water', 'personality completely change'.

Rose is looking back and forth Larkin and Dave, enjoying the lively conversation.

LARKIN (smiles at Dave)

I didn't know we have more than one reporter in the family.

LARKIN

But you know, good reporting is about being objective, and not being biased.

Can't say that about your blog.

Larking still looking at Dave's blog.

LARKIN

Click on this for me, will you?

Larkin addressing Dave, pointing to something on the screen.

DAVE

Here, here, you drive.

Dave pushes the mouse toward Larkin.

ROSE

Are you a reporter now, Dave?

Rose looking at Dave.

DAVE

No, Rosie. We'll leave the reporting to Larkin.

But leave the TRUTH to me.

DAVE

One day, somebody will figure out the truth about what's happening here.

And I bet that somebody is gonna be me.

Dave is looking absent-mindedly at his blog. Rose is also looking.

CUT TO:

Another computer, but same screen - Dave's blog. Zoom out and it shows the back of a beautiful woman in a nice suit sitting in a very elegant, but somewhat dark, library or office, looking at the screen, pointing and clicking away. She brings up the page about 'lights in the water'. Then she goes into the reporting about Tom's miraculous recovery from electricution And zooms in to the picture on Tom leaving the hospital.

A man in a suit walks up to where the beautiful woman is sitting. Only one of his hands and part of his back is showing.

THE MAN

Is this our man?

THE WOMAN

He appears to be the leader.

THE MAN

Was he found in the water like the others?

THE WOMAN

He was found in the water, but back quite a few years, when the plane that carried both he and his wife crashed into the Everglades.

He was the only survivor on that plane. Everybody else on the plane died.

And now, he walked away from an electrocution.

THE MAN

Mmm...there is a good chance…

The man's fingers tap lightly on the desk the woman is sitting at, as if pondering. One of his fingers has a ring with an insignia on.

THE MAN

Go to him.

We must find out!

The camera rests on the ring. The insignia is a pyramid with an eye on top, the same insignia as what's on the US dollar bill.

CUT TO:

INT. RUSSEL AND LARKIN'S HOME. NIGHT.

Larkin, Dave and Rose in the room. Larkin typing on her laptop. Rose watching

LARKIN:

Do you want to be a reporter when you grow up, Rosie?

ROSE:

A reporter like you?

LARKIN:

Yes.

Or, you can be a doctor like your Mom. Or, a scientist like your Dad.

Or you can be a pilot, and fly planes. Or.. pretty much ANYTHING you would like to do with your life.

Rose ponders for a moment.

ROSE:

Can I be myself?

LARKIN(smiles):

Of course, dear. You will ALWAYS be yourself.

But you'd also like to do something productive when you grow up.

Something you'd enjoy doing, at the same time, be worthy to society.

DAVE:

You mean - get a job worthy enough to get paid. Huh.

LARKIN:

Yeah. If you want to put it that way.

Rose smiles, enjoying the exchange.

DAVE:

Actually I agree with Rosie.

Why can't we just be ourselves. Right, Rosie?

Dave eyeing Rose, as if they are on the same team.

DAVE:

You see. Choosing a particular professional LIMITS you to that profession.

The longer you are a reporter, the nosier you get.

Dave glances at Larkin, then winks at Rose and smiles.

DAVE:

If you become a scientist like your Dad, you may get stuck in the gear of objectivity, and lose your natural intuition.

Rose seems confused now.

DAVE:

I am sorry, Rosie. I don't mean to criticize your Dad.

Its just a joke.

LARKIN:

You think we should all be a bump like yourself then?

Larkin snaps back.

DAVE:

Larkin, the world can certainly use another free thinker, free agent, like myself.

One who is not bought into anything. Not bought by anyone.

Therefore, free to find out the truth, the whole truth, nothing but the truth.

LARKIN:

The truth! What is this TRUTH you are always talking about?

Larkin shakes her head a little, but in good spirit.

DAVE:

THE truth - of course.

Who am I? Who are we? Where do we come from? Where are we going?

What is this EBE we found? You know - Just the kind of truth humanity has been searching all along.

Dave turns to Rose.

DAVE:

So, do you want to be another brick in the wall? or..

LARIN:

Or OFF the wall, like you?

Referring to Dave, still in good spirit.

ROSE:

I think I want to be - a deepsea diver when I grow up.

Dave and Larkin look at each other, amused.

DAVE:

There … you have it. Finally, A deep sea diver in the family!

CUT TO:

INT. TOM AND MARIEL'S HOUSE. KITCHEN. NIGHT

Mariel and Kira are preparing dinner.

KIRA

Is Dad - really ok?

I mean, he seems fine on the outside. But maybe he's just pretending to be fine, so that we won't worry about him.

MARIEL

Your dad is fine, Kira.

Mariel pauses for a moment.

MARIEL

For now, at least.

KIRA

What do you mean?

Kira now turns and looks at Mariel.

MARIEL

Typically, victims of electricution can be asymtomatic for months after the incident.

KIRA

You are saying Dad will get sick in a few months?

Mariel gets closer to Kira.

MARIEL

Not always. But sometimes symptoms like forgetfulness, change of character, or even hot flashes could gradually emerge.

You understand?

KIRA

Hot flashes? And change of character?

What will Dad change into?

MARIEL:

I don't know, Kira.

Nobody knows.

MARIEL:

Actually I am not sure how much I know your Dad BEFORE the electrocution.

Kira finds that odd.

KIRA:

But you two are married.

Mariel manages to smile.

MARIEL:

Do you - remember your Dad before the plane accident?

KIRA:

The plane crash that killed my mom?

That was a long time ago.

And I'm glad I don't remember much about it.

Kira looks a little down.

MARIEL:

I am sorry, Kira.

I don't mean to bring that up.

KIRA:

It's o.k.

Maybe Dad had changed since the accident. Wouldn't you?

It was such a terrible thing that happened.

I heard people change a lot during wars and stuff like that too.

MARIEL:

Post Traumatic Stress Syndrome.

KIRA:

Yea.

Or maybe Dad had not changed at all. Maybe its me who'd changed.

If you are my age, you'll see your friends change around you so fast, its amazing.

Mariel is now reflecting on herself. Maybe the strangeness she has felt inside her after the hurricane is just Post Traumatic Stress. Sometimes traumatic experiences forces one to look inside oneself, for the first time in some cases. Kira continues.

KIRA:

You turn around, and you found YOURSELF changed. And sometimes those are not changes you like either.

Its like - all these chemicals start invading your body at about 13. Sometimes they can really turn you into monsters.

Mariel smiles at Kira, with a hint of approval - such a wise girl for her young age.

MARIEL:

You know what?

I think we'll ALL be fine.

Your Dad is a real survivor. And we'll be there for him too.

Kira nods affirmatively.

KIRA (smiles):

But hot flashes?

At this time Tom enters the kitchen.

Kira and Mariel stop talking and follow Tom's every movement, as if studying him.

TOM:

Oh, eh.. go on with your conversation. I'm just gonna get a glass of water.

Tom feels he is intruding on some women's issues here, something to do with hot flashes. So he turns toward the fridge. And whistles on his way.

KIRA
Dad, you NEVER whistle.

TOM (big smile)

I do now.

Mariel and Kira look at each other, as if saying - has the change already begun?

CUT TO:

EXT. STREET SCENE. DAY

Tom is talking to somebody on the street next to his patrol car, apparently busy in some police work. He still has his sling on. His deputy taking notes and talking to another person a few steps away.

A pair of eyes have been following Tom's every move and expression. They are from a small boy. Tom notices those bright eyes when he was done talking to the person. Tom looks down and gives an expression, as if asking - what's up, my little friend?

BOY

Does it hurt?

TOM (smiles)

Not really.

BOY

I will do that too - when I grow up.

TOM

Do what?

Now curious.

BOY

I saw you on TV the other day. My mom said you got hurt saving a man's life.

The deputy comes by at this point and waits for his boss, listening to the conversation.

TOM

You like helping people?

The boy nods affirmatively.

TOM

Most people do. But you know what?

The boy's eyes widened, waiting for Tom's answer.

TOM

Not everybody likes to be helped. I'll tell you that.

But - everybody likes to feel like they are helping.

So - the best way to help people

is actually let OTHER people help YOU.

The boy just stares at Tom for a little while, then turns around and runs off. Little kids do that - when they encounter something they cannot process in their mind, they just drop the whole thing, and go on to something more interesting.

Deputy

Wow - that's very ... Zen

TOM

Uuh?

Tom looks at the Deputy quizzically.

Deputy

Deep. What you said was so deep it was so over-my-head.

Woo..sh!

The Deputy smiles and makes an over-the-head hand jesture.

Tom smiles back. They start walking.

DEPUTY

So your wife lets you come back to work so soon?

TOM:

You know me. I'm not the type of person who can lay around the house and do nothing.

DEPUTY

I don't know how you do it. But I can never convince my girlfriend on anything.

If my girlfriend thinks I should stay in bed for three days. You WILL find me in bed for three days.

More so if my girlfriend were my doctor.. well, you know what I mean.

Tom looks at his deputy, mildly amazed.

DEPUTY:

Its not like I do everything my girlfriend wants me to do. Nothing like that.

The deputy doesn't want to sound too weak before Tom.

DEPUTY:

Its just that it generally takes more energy to argue with her, than to just go ahead and DO what she wants.

Less headache that way.

DEPUTY:

Especially in this day and age, men are supposed to be sensitive and all.

TOM:

We are?

DEPUTY:

Yea. We are supposed to be sensitive to women, and listen to what they have to say.

But one thing I can tell you - the listening part really works!

Women LOVE you listen to them.

TOM:

They do?

Tom seems interested.

DEPUTY:

Yea. THAT had scored a lot of points for me in the past.

And you know what works as well?

They want YOU to talk about yourself once in a while, about your feelings and stuff.

Tom is chewing on that.

DEPUTY:

I bet they want us to be strong and macho and protective at the same time.

But the sensitive man is really IN these days, I'm told.

Our fathers and grandfathers would never have imagined that their sons will come to this, eh?

Time has changed. Or should I say women have changed, so followed men.

Its like birds. If the female birds prefer males birds to have colorful feathers and elaborate tails,

All the male birds WILL eventually have colorful feathers and elaborate tails, since those who DON'T won't get any female interested, so those genes won't get passed on...

The deputy's voice fades away. And Tom appears to be absorbed in deep thought.

CUT TO:

EXT. DAY

A car pulls up to a roadblock. A beautiful woman hands over some paperwork to the guard. The guard looks at it and waves his superior over. The superior reads the paperwork and immediately let the woman pass.

CUT TO:

INT. OFFICE BUILDING

The beautiful woman enters the TV station that Larkin works in.

She is next seen talking with Larkin behind glass door. Their conversation cannot be heard. But they appear to be in a friendly conversation. Larkin then writes down something on a paper and hands it over to the woman.

CUT TO:

INT. TOM AND MARIEL'S BEDROOM. NIGHT.

Tom is having difficulty taking his shirt off, due to the injured shoulder and sling. Mariel comes to help.

MARIEL

So do you want to talk about it?

TOM

If you're asking WHY I did what I did out there - I don't have an answer for you.

MARIEL:

That man you saved out there

said you pushed that power line away as if its nothing.

TOM

Its like a reflex reaction to me, as far as I remember.

Its like - when there's something flying toward your eye,

your reflex is to extend your hand to protect your eye, since the eye is more vulnerable than your hand.

MARIEL

But you used your own body to protect another person.

I'm just trying to understand that.

TOM

What's there to understand?

MARIEL

This heroic thing that you did,

Did you think of your wife and daughter at the time?

TOM

What are you saying?

You two are the most precious people in the world to me. I think of you all the time.

MARIEL

How do you think we would feel if anything would have happened to you out there?

Mariel chokes up a little at this point, showing her vulnerability.

TOM

Oh Mariel.

Tom pulls her gently to his chest.

Mariel lets him.

MARIEL

I don't know if I know you. I don't know if I ever did.

TOM:

Does it help if I tell you a dream of mine?

In this dream I was walking by a moonlit pond in the Glades and ...

MARIEL (chuckles lightly)

You dream? I don't even know you sleep.

Mariel says jokingly, pushing him off slightly so that she can look into his eyes, searching for something.

MARIEL:

Seriously, I woke up the other night, and you were not in bed.

What were you doing in the middle of the night?

Mariel is increasingly suspicious, and pushes him away further. Now they are no longer touching each other.

TOM:

I was … just walking around.

MARIEL:

Come to think of it, every morning when I woke up, you were already up.

No matter how early I woke up, you were ALWAYS up before I did.

Mariel tries to recall.

TOM:

I couldn't sleep sometimes.

Tom is trying to get closer to Mariel again.

MARIEL:

Walking around!

Serial KILLERS walk around in the middle of the night.

Sheriffs don't walk around in the middle of the night.

Mariel is getting more distant.

Tom appears hurt.

TOM:

I am just trying to get closer to you.

I want to share my dreams and fears with you.

I want to share MY LIFE with you.

Tom is getting frustrated. He looks at Mariel intently for a little while, then turns and walks away.

CUT TO:

INT. RUSSEL AND LARKIN'S HOUSE. LIVING ROOM. EVENING

Larkins comes into the living room. Dave is sitting on a couch.

DAVE:

Do you have some change for a beer run? We are TOTALLY out.

Larkin reaches into her purse and pulls out a bill. Hands it over to Dave.

LARKIN:

I got a 5.

She reaches into her pocket and pulls out another bill.

LARKIN:

And a 1.

Dave takes the dollar bill too, and notices something on the dollar bill.

He sits up, excited.

DAVE:

Hey, this sign. I know this. This is the signature of the Illuminati!

Dave points at something on the dollar bill to Larkin.

Zoom in. There is the regular pyramid with a capstone having an eye in its center. But there is more on this one bill. Somebody has added some rays of light eminating from the capstone. A total of 6 rays of light.

DAVE:

Where did you get this?

LARKIN:

I found it in my office. I must have dropped it myself without knowing it.

LARKIN:

What is this Illuminati you are talking about?

DAVE:

Well, the Illuminati is a mythical Christian sect that dates back over 200 years ago. It is somehow related to the Freemasons… as I recall. Some people think there has been an Illuminati Freemason Conspiracy that dates back to the 1700's, the conspiracy to dominate the world. That's a lonng conspiracy, I'd say. These people often point to Masonic symbols such as the pyramid and the eye on the back of the dollar bill, as evidence that the lodge had infiltrated the highest level of our government since day one.

Larkin listens to Dave patiently, with interest.

LARKIN:

Why the name Illuminati? Something to do with light?

DAVE:

Right on. Their message is Enlightenment.

'Illuminati' is Greek meaning illumination, a name given to those who submitted to Christian baptism in the old days. Those who were baptized were called 'illuminati' or the 'illuminated one'.

And you know, in those days, baptism could be quite traumatic. Imagine being held and completely submerged under cold dark water in rivers or ponds. And some of those who were baptized were from the desert, and had never seen a body of water bigger than a puddle before in their life.

Larkin smiles and looks at Dave with a glint of admiration - her brother seems to know what he is talking about.

LARKIN:

And this symbol on the dollar bill here? With the light rays drawn eminating from the eye? This an Illuminati symbol?

Larkin pointing to the dollar bill.

DAVE:

That's what some people THINK. There has been a lot of writing on this conspiracy theory recently, linking the Illuminati with the CFR and the New World Order…

LARKIN:

CFR - The Council on Foreign Relations?

DAVE:

Yep.

Lots of US Government offices such as the CFR, some of the world's very rich and the elite, including some past US Presidents, or so the conspiracy theorists claim, are deep into this conspiracy.

LARKIN:

You believe in all these?

With disbelieve.

DAVE:

Of course - NOT.

You think I'm nuts?

Dave smiles at Larkin. Can't tell whether he is serious or not.

DAVE:

Put it this way, I neither BELIEVE nor DISBELIEVE any of these.

I'm completely open-minded about it.

But not sure why this conspiracy theory is gaining a lot of momentum on the web these days though. There is 'news' literally on it every day.

CUT TO:

EXT. COUNTRY ROAD. NIGHT.

A car (the mysterious woman's car) is driving on a country road. It turns all of a sudden onto a gravel road, fast. There is skill and confidence in the driving.

It's a moonlit night. The car stops at the top of a small hill overlooking the edge of the Everglades. There is an eerie peacefulness about the surrounding. The reflection of the moon calmly rests on the surface of the water.

The shape of a beautiful stylish woman calmly gets out of the car. She walks to the back of the car leisurely, and opens the trunk. For the first time, her face is revealed under the moonlight. She is as beautiful as one could have imaged by the shape and movement of her. She has a young soft face, but surprisingly hard and intelligent eyes that could have belonged to somebody much older. And there is an other-worldly beauty and calmness about her as well.

She looks at the content of the trunk long and hard.

CUT TO:

EXT. NIGHT.

A shadow of somebody is walking on a path by the edge of the waters of Everglades. The reflection of the moon rests on the calm water.

The shadow stops by the edge of the water. And for a long time, there is absolutely no movement seen, and nobody can make out what that shadow is.

Then the shadow comes out, and reveals by moonlight to be Tom, dressed in casual clothing. He is walking perhaps toward the water, but hard to say exact where he is going, or what he is about to do.

All of a sudden, Tom turns to his left and looks up, seems to be focusing on something at a distance. He gives out with a strange look.

CUT TO:

The beautiful woman's face is seen focusing on something. Zoom out and it turns out that she is looking through the scope of a weapon of some kind.

All of a sudden she seems startled by something she sees through the scope. Her eyes moving away from the scope. And she is now looking in the direction of her subject at a distant through her naked eyes. For a moment she maintains that position. And her expression is seen to have changed from surprise to mild amazement, to a complex look that betrays a hint of admiration.

She recovers from the surprise. Then quickly and impeccably she places her eye at the scope again. She refocuses, puts her finger on the trigger of the weapon, and then she pulls the trigger.

THE END.