Dustcover: Profile 
In Silver And Other Screenwritings

J. Neil Schulman's
PROFILE
IN SILVER

And Other Screenwritings

Dust Jacket Edition Info Dedication Contents









Profile in Silver And Other Screenwritings.

Copyright © 1996 by J. Neil Schulman. All rights reserved.

"Profile in Silver" (First and Second Draft Teleplays)
Copyright © 1985, 1996 by J. Neil Schulman

"Timeshare"
Copyright © 1996 by Kate O'Neal & J. Neil Schulman
Used by permission of the co-writer.

"To Err Is Humanoid"
All characters, settings, and other materials not already copyrighted by Paramount Pictures are Copyright © 1996 by Kate O'Neal & J. Neil Schulman
Used by permission of the co-writer and under separation of rights specified by the M.B.A of the Writers Guild of America, East.

"No Strings Attached"
Copyright © 1986, 1990 by J. Neil Schulman

No part of this book may be used or reproduced in any manner except in the case of quotations embodied in critical articles and reviews.

No Strings Attached was originally published as a paperless booktm by Cadenza Communications, Inc., and electronically distributed by SoftServ Publishing Services, Inc., September, 1990.

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Cover by Billy Tackett, Arcadia Studios.
Author photograph of J. Neil Schulman by Kevin Merrill.
1979 Author photograph of J. Neil Schulman by Victor Koman.







To Victor Koman
















Table of Contents

Introduction

All The King's Horses

Profile In Silver: An Introduction

Profile In Silver: First Draft

Profile In Silver: Second Draft

Colorblind

Timeshare

No Strings Attached

The Mars Story

Figure 8

ST:TNG: To Err Is Humanoid

About J. Neil Schulman


Begin Reading Introduction.













INTRODUCTION

This book contains the outlines for, and two drafts I wrote of, my teleplay "Profile in Silver," which, after a "polish" and production, was first aired on the CBS television network program The Twilight Zone at 8:00 PM ET March 7, 1986.

It also contains "Colorblind," a second, unproduced screenplay which I wrote on commission for The Twilight Zone; and "Timeshare," a spec short script for that series which I co-wrote with my ex-wife, Kate O'Neal.

Also in this collection are All the Kings Horses, a feature-length 1983 screen treatment I sold to Vista Films but which was never produced; No Strings Attached, an unproduced full-length "spec" screenplay I wrote in December 1986; The Mars Project, a short treatment for a never-produced CBS TV movie I wrote on commission in 1987 for McDermott Entertainment; and Figure-8, a never-submitted spec movie treatment I wrote in March, 1988 -- a project on which I had intended to co-write the screenplay with author Léon Bing.

Last in this collection is "To Err Is Humanoid," a never- sold spec script for Star Trek: The Next Generation which I co-wrote with my ex-wife Kate O'Neal in May, 1989 -- and the only "episodic series" script in this collection.

From the publication of my novel The Rainbow Cadenza in June, 1983 to the publication of my short story "The Repossessed" in Carol Serling's anthology Adventures in the Twilight Zone in September, 1995, I published no fiction -- and that short story had actually been written February 26, 1984.

Further, my book Stopping Power: Why 70 Million Americans Own Guns, published in June, 1994, was my first booklength work seeing print since The Rainbow Cadenza eleven years earlier.

Aside from several Op-Ed pieces published in newspapers in 1994 and 1995, anyone following my writing could easily assume I had given up writing as a career... or at least fiction writing.

I hadn't given it up. I simply could not get the books I wanted to write published or the screenplays I was capable of writing produced. People who don't like my writing can conclude that it was time for me to choose another line of work: the market had spoken. Readers more sympathetic to my efforts can look to the quotation from Ecclesiastes 9:11 that "the race is not to the swift; nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, not yet favor to men of skill; but time and chance happeneth to them all."

I have my own thoughts on why my career stalled. If I were to tell it here it would seem to a lot of people to be whiny, paranoid, and self-serving. So, I'll give it a rest for the time being. Let's leave it for now that this book collects the bulk of what writing I was working on during the "missing" years.

Writing dramatic scripts and treatments is like writing literary short stories and novels in that both tell stories about fictional characters -- or at least fictionalized characters. They are unlike literary short stories and novels in that the dramatic form only lets you know what can be seen and heard. You are not usually privy to the characters' thoughts, or to the writer's -- unless the writer cheats by putting in a "voice over" narration, or some cute device such as subtitles, like Woody Allen did for one scene in Annie Hall.

Because of these dramatic limitations, the screenwriter must count on the production company, director, cast, and crew to bring the story to life. Without that help, screenwriting demands that a reader use even more imagination than is required from readers of literature.

That is probably why books containing screenwriting are usually of interest only to aspiring motion picture and television professionals. It also helps to explain why a lot of good scripts never get produced and a lot of bad ones do. The above quote from Ecclesiastes applies as much to the business of making movies and TV shows as it does to the career paths of its personnel.

If you are not familiar with reading screenplays, there are a few technical terms you need to know.

THE SHOT is what is seen and heard on the screen. In a screenplay it is indicated by material all CAPITALIZED, beginning at the script's left margin. "INT" means an interior shot; "EXT" means an exterior shot.

Material under the shot header using the full margins describes the scene and actions.

Material centered in narrower margins under a character's name is spoken dialogue. And, parenthetic material ( ) in dialogue margins is not spoken but indicates intent or directions.

"CUT" is an abrupt change of camera shots.

"DISSOLVE" is a slower change, usually indicating passage of time.

"B.G" is shorthand for "background."

"O.S." means off-screen (not visible on camera).

A "beat" is a dramatic pause.

Some of this terminology also finds its way into the screen "treatment," which is how a story is told in the movie-making business before a screenplay is written.

So, good luck. I hope you enjoy this but I have no idea whether you will. If you don't like this, you can console yourself that this book, not requiring the use of paper, ink, and glue, is dirt cheap.

--JNS, 1996

Go to Profile In Silver: An Introduction.

Return to Table of Contents.






Profile in Silver: An Introduction

Profile in Silver: An Introduction

I got the idea for "Profile in Silver" while driving to a lunch meeting with Robert Jaffe of Vista Films, the production company that was attempting to find a studio to finance All the King's Horses. Over lunch at Hamburger Hamlet in late 1983, I pitched Rob the idea as a feature and he loved it, but aside from sharing my notes with him, nothing concrete ever came of the pitch.

I also told the idea to my friend Alan Brennert and, two years later when Alan was on staff as executive story consulant for the revived Twilight Zone, and I was living in New Jersey, Alan phoned me and asked me if I could write my script for it at under an hour's length for the show. I said yes and Alan assigned me to write a story outline.

For the first time, I was officially employed as a Hollywood screenwriter. But I was still living 3,000 miles away, and that was a significant element in everything that followed.

"Profile in Silver" was controversial, inasmuch as nobody at that time had ever used the JFK assassination as a plot element in a TV show, or portrayed President Kennedy and his family in a fictional context. All previous portrayals of John F. Kennedy had stayed extremely close to real life, from PT-109 to The Missiles of October.

How things have changed now! Oliver Stone's JFK portrayed the assassination from the point of view of New Orleans District Attorney, Jim Garrison, who believed in a conspiracy. Quantum Leap put us inside the body of Lee Harvey Oswald, and the series lead character, Sam Beckett, changes history by preventing Jackie Kennedy from being assassinated, also. The X-Files has the Cigarette Smoking Man assassinating JFK from an underground sewer and setting up Oswald as a patsy. And NBC's new series Dark Skies has JFK assassinated because he's been told the truth behind the UFO landing at Roswell. I sometimes wonder whether any of these projects could have made it past industry executives if "Profile in Silver" hadn't been on CBS prime-time first.

Alan was concerned enough with the JFK element that I wrote two versions of the story, one with real names and history, and another version with what Alan and I called a "Greek Tycoon" approach, where the events and names were fictitious but close enough to reality that everyone would know what we were doing anyway. The Greek Tycoon had been a recent movie which had fictionalized Jackie's marriage to Aristotle Onassis using just that approach.

I wrote the outlines and Alan submitted them to Carla Singer, who was the executive at CBS Entertainment in charge of developing The Twilight Zone before it actually aired. Carla turned it down, on the grounds that using the JFK assassination as a plot element was in bad taste. Alan told me we would try again after the show was on the air and a different CBS executive was in charge of the show, and told me to develop a second story for the show in the meantime. I did, and it became "Colorblind."

Carla Singer turned that down, also. I was the only writer who had had any stories rejected, which caused Alan and Harlan Ellison, who was on the show as a creative consultant, to write several long memos to CBS complaining about being made to force the show into a straitjacket.

When Twilight Zone made it onto the CBS schedule, Carla Singer was replaced as overseer of the show by Tony Barr, who approved me to go to script on "Profile." But there were several story restrictions, the most emphatic was: the second assassin had to be removed from the story. Tony Barr's memo, which Alan read to me over the phone, said, "The CBS television network is not going to rewrite history."

Harlan wanted me to fight to keep the second assassin in, but there were other story elements I was more concerned about keeping in, most specifically, JFK's discussion of political power with Professor Fitzgerald on Air Force One. Alan fought for, and kept in, the story elements I most cared about.

I wrote two drafts of the script. I wrote the second draft after a telephone story conference with Alan, Harlan Ellison, story editor Rockne O'Bannon (who later wrote the movie Alien Nation), executive producer Phil DeGuere, and producer James Crocker.

Then, because of a production deadline, and my being 3,000 miles away where I couldn't meet their production needs, Alan did the final polish himself.

The main change that Alan introduced in his polish was taking the futuristic scenes from the beginning of my second draft and placing them in 1963. This was done because of the budget limitations on attempting to portray the Harvard campus 200 years in the future. I missed the parallel frame of having the story begin and end in the same future classroom, but Alan preserved a lot of that by beginning the story in a similar Harvard classroom in 1963, with Fitzgerald lecturing on inflation during the American revolution. Alan and I are both American Revolution history buffs, and Alan had pleasantly surprised me by taking a conversation the two of us had several weeks earlier and using my half of the conversation, almost verbatim, as Fitzgerald's lecture to his 1963 students.

Alan also felt that having Fitzgerald be too specific about the future in the Oval Office conversation with JFK was too distracting from the emotional content of the scene, so he cut that dialogue. It made the script less explicit about the author's political intent in writing the story, but dramatically stronger.

A word to budding writers: you have to be a top-level producer to have the control over your own screenwriting that a novelist takes for granted.

I flew to Los Angeles for the two-weeks filming of "Profile in Silver," and the experience was wonderful thanks initially both to the Twilight Zone production staff and director, John Hancock. John's major work has been as a stage and feature film director--Bang the Drum Slowly, Weeds, and Prancer among them.

John and I hit it off right away because my father is a violinist who had played ten years in the Boston Symphony, and John Hancock, a Harvard graduate himself, had been a violinist while at Harvard and had been concertmaster of the student orchestra at the Boston Symphony's summer residence, Tanglewood. I developed a warm relationship with him on the set, where he gave me a personal education in directing, with such wisdom as, "When the Director sits down, production comes to a halt."

John didn't sit down more than a couple of minutes for the entire shoot.

John invited me to stand as close to him as I wanted to during the entire shoot, and frequently consulted me about my opinion, in essence giving me authorial input into the final form of the production. John also invited me to discuss my interpretations on the scenes and characters with the actors.

I ran lines with Barbara Baxley, who had been cast as Dr. Kate Wang just 24-hours before her first scene, and hadn't yet had time to understand the time-travel elements of the story. Additionally, the character had been written for an Asian actress, but due to an error in the CBS casting memo describing the part, the talent agency representing most Asian actors had never sent over any Asian actresses in the right age-range to read for it. I improvised dialogue implying that "Wang" was a married name and Barbara added the words "a phrase my husband taught me" to cover the change in her ethnicity.

I also got a chance to discuss character elements both with Lane Smith, who played Professor Fitzgerald, and Andrew Robinson, who played JFK.

One of the first scenes filmed was the scene in Fitzgerald's office when Kate Wang materializes, and they discuss Fitzgerald's upcoming trip to Dallas. Lane was having trouble with his extensive speeches in that scene because Lane has a natural Southern accent which he was having to change to a Boston accent for the role. I suggested to him that he let his natural accent come out in the office scene, because it would be exactly like an actor coming out of a role for Fitzgerald to talk with someone from his own time. Lane took my suggestion, with John Hancock's approval.

I also got a chance to discuss my story intents with Andy Robinson before the scene between JFK and Professor Fitzgerald on Air Force One that set-up the entire emotional context of the story. Through interpretation, Andy was able to restore much of the meaning of my earlier drafts, even with JFK dialogue that was no longer explicitly in the Oval Office scene.

Many people have wondered why Andy Robinson, who had been best known as the bad guy Scorpio in the Clint Eastwood movie Dirty Harry, had been cast as JFK. Andy told me that he had played JFK, previously, replacing William Devane in the Broadway production of the satirical anti-war play, MacBird.

(Devane, who starred in The Missiles of October about the Cuban missile crisis, later went on to play a time-travelling historian in a TV movie who was trying to prevent the JFK assassination -- but could never prevent it. That movie was based on a book written after my original 1983 outline for "Profile," and was produced after "Profile" had already been shown on CBS.)

There are several milestones in the production of "Profile in Silver" that are worth mentioning.

The first is that I wrote into both drafts of my script JFK delivering the speech he was scheduled to give on November 22nd, 1963 at the Dallas Trade Mart. As filmed, we hear the speech in the background on the car radio, as the secret service agent is accompanying Fitzgerald to Love Field to meet Kennedy. Andrew Robinson recorded the entire speech so that CBS sound editors could lay it in the background of that scene. To the best of my knowledge, it is the only time that the speech JFK never got to make has ever been delivered by anyone in a motion picture or theatrical production.

Also noteworthy about that speech is that CBS's broadcast standards department sent a note to the Twilight Zone production staff questioning the authenticity of the Dallas Trade Mart Speech. The note said the speech didn't sound like authentic JFK. How time changes our perceptions! I had gotten the Trade Mart speech from a book of JFK speeches, and it's what you would expect: a speech meant to kick off JFK's bid for re-election in 1964.

CBS broadcast standards didn't have a single question about the authenticity of the speech I have JFK give at the end of "Profile," in a Harvard classroom 200 years in the future. I made that speech up completely, but it was inspirational in tone -- the way we remember JFK's speeches through the lenses of time.

I was also able to make use of a wonderful coincidence. November 22nd, 1963 was a Friday -- and on the CBS schedule for that night, as usual in its 7:30 PM time slot, was the original Rod Serling Twilight Zone. All regularly scheduled programming for that night was pre-empted by the JFK assassination in the universe we lived through -- but in the universe in which my futuristic history professor prevents the assassination, CBS decides to end its news coverage of the day's events just in time for that evening's airing of The Twilight Zone.

In the scene in the Treasury inspector's office where the secret service agent who found the Kennedy Half Dollar is having a fellow Treasury agent inspect the coin, we hear a special news bulletin cut back to regularly scheduled programming, and we hear the opening notes of the famous Twilight Zone theme just as the scene cuts to the Oval Office and JFK says he finds Fitzgerald being a Soviet spy "hard to believe."

Later, in the Dallas hospital scene after the assassination, in the filmed version, you can see a white-coated doctor looking directly into the camera for a moment. That doctor is Yours Truly, who submitted to a 1963-style short haircut just before the scene was filmed, so I could pull an Alfred Hitchcock. I was not overacting. John Hancock told me to look directly into the camera, and I was just doing what the Director told me.

As edited by John Hancock for broadcast, "Profile in Silver" came in at 26 minutes and 52 seconds. Scenes are short and cut quickly, so it plays more like a theatrical motion picture than an episode of a TV series. It took ten days to film and cost about $900,000 to produce -- very expensive for a TV series in 1986. When commercials were inserted, it broke the half hour and came in at 35 minutes -- which left the balance of the hour for "Button, Button," starring Mare Winningham.

USA Today ran a feature on "Profile in Silver" in its March 3, 1986 television column, and I was interviewed about the show by Gene Burns on a Boston radio talk show.

Lane Smith, who plays Professor Fitzgerald, went on to play Nixon in a TV biography, the prosecutor in My Cousin Vinny, and a corrupt senator in the Eddie Murphy comedy The Distinguished Gentleman. Lane now plays Perry White on Lois & Clark.

Andrew Robinson, who plays JFK, can now be seen (through a thick layer of theatrical appliances and makeup) as Garak, on Star Trek: Deep Space Nine. In a recent interview in Psychotronic Video, Andy Robinson spoke extensively about how much playing JFK in that episode meant to him, and how much he liked the script.

Alan Brennert, who bought the script and polished it, later shared an Emmy as Supervising Producer for LA Law, and is now writing feature film scripts.

And Carla Singer, who as the first CBS Executive in charge of the revived Twilight Zone turned down the story for "Profile in Silver"?

When she finally saw it, she changed her mind, and decided it was one of the best episodes.

CBS must have agreed: the hour containing "Profile in Silver" was the only one which they ran three times in prime time, before the show went into syndication, where it has run another dozen or so times in a half-hour edition.

That third airing of "Profile in Silver" was seen by the veteran TV producer who gave Rod Serling his first job in television. He thought my script was one of the few that carried the spirit of the original Twlight Zone series, and that's how I got the assignment for The Mars Story.

I have written two novels, short stories, and articles published in major magazines and newspapers. But the power of television is such that even a single episode of a series show that never got more than mediocre ratings after the first week or so has been seen by so many millions of people that it's probably the only thing of mine that most people have ever seen. The episode has been syndicated worldwide and sold on videotape overseas. I was in Paris just a few weeks before it was broadcast there.

It may only be 26 minutes and 52 seconds long, but if a writer has to be remembered for a single script, I'm delighted that the one I'm remembered for is "Profile in Silver."

Before you read the two drafts of the script that I wrote, here are the two versions of the story outline that I sent Alan Brennert.

Here's the first version with the real names used.



PROFILE IN SILVER
by J. Neil Schulman


JOSEPH K. FITZGERALD, PH.D.--a descendant of PRESIDENT JOHN FITZGERALD KENNEDY--is a 46-year-old Professor of American History teaching at Harvard University in the year 2163. Not a lot else has changed at Harvard 180 years from now but future scholars--particularly those with grants from Rand-Corporation- type think tanks--have a new means of studying their past: Time Travel. The lecture we see Dr. Fitzgerald delivering--while he nervously flips an old Kennedy Half Dollar--is before a Time Trip the Professor is about to make for his think tank to get a definitive answer to the question: Did Lee Harvey Oswald assassinate John F. Kennedy?

Dr. Fitzgerald makes preparations which involve putting on a Time Belt and donning a "homing device" disguised as a Harvard Class ring. Then, also taking along his Kennedy Half Dollar for luck, Fitzgerald de-materializes from the year 2163 and re- materializes--just seconds before the Presidential Motorcade arrives on November 22nd, 1963--in Dallas's Dealy Plaza. As soon as he is standing on the Grassy Knoll, Dr. Fitzgerald pulls out a small video camera to record everything: he zooms his focus in on the crucial window of the Texas School Book Depository Company and sees Lee Harvey Oswald inside with a rifle. The open Presidential limousine passes carrying the President, Jackie, and Governor John Connally. Fitzgerald points his camera toward the President's limousine and he sees, directly in front of him, A Second Gunman raising a pistol toward the back of Kennedy's head.

Fitzgerald forgets that he must remain only an observer and--reflexively trying to save Kennedy--rushes forward toward the Second Gunman. IN RAPID SEQUENCE: Fitzgerald shoves the Second Gunman as he fires; the bullet ricochets off the limousine harmlessly. Lee Harvey Oswald shoots from the Book Depository, wounding Texas Governor Connally. A Secret Service Agent throws himself onto the President: the assassination of John F. Kennedy has been prevented.

A second Secret Service Agent--seeing that Fitzgerald has saved Kennedy--grabs Fitzgerald and pulls him into the Presidential limousine, which then speeds off. The Agent tells President Kennedy: "This man just saved your life."

President Kennedy decides to return with Jackie to the White House immediately. Kennedy invites Fitzgerald to accompany them. Aboard Air Force One, President Kennedy and Fitzgerald find an immediate rapport when Kennedy sees that Fitzgerald is wearing a Harvard class ring; but Fitzgerald is evasive about why two Harvard men of the same age never met on campus--Fitzgerald finds himself having to invent an impromptu story for Kennedy about where he's from and what he does. As well, while Fitzgerald is enthralled by meeting Kennedy, he also knows that he interfered with History: the man he's liking so much is supposed to be dead. Troubled by conflicting emotions, Fitzgerald automatically resumes his nervous habit of flipping his Kennedy Half Dollar ... and during the landing turbulence, he misses catching the coin: it rolls away from him and he loses it, with no opportunity to look for it--the plane has landed. But as the President and Fitzgerald leave Air Force One, we see that a Secret Service Agent has found the coin, and is looking at Fitzgerald suspiciously.

Back in the Oval Office, Fitzgerald stays close to the President as an immediate crisis occurs: North Vietnam--with help from the U.S.S.R.--has launched an invasion into South Vietnam. The history professor looks on in horror as Kennedy begins making plans for War, knowing that this wasn't supposed to happen in 1963: history is on a wrong course, and it's his own fault.

But the trouble isn't only political: sudden and unexplained disasters are happening all over the world--earthquakes, volcanic eruptions, airliners crashing. It seems like the Apocalypse--the very fabric of time is ripping--and Fitzgerald knows that it's because Kennedy didn't die the way he was supposed to.

Meanwhile, the Secret Service Agent who found the Kennedy Half Dollar has done some investigating and--after diverting Fitzgerald--reports his suspicions to President Kennedy: there is no record for a "Joseph K. Fitzgerald" having attended Harvard, nor any Social Security files, tax files, draft files. Then the Agent shows Kennedy the Kennedy Half Dollar--which he reports having seen Fitzgerald lose. Kennedy looks at the Half Dollar and sees his own profile on the coin. The Agent tells Kennedy that even though it's impossible on the face of it--not only is the coin dated 1964, the next year, but it's against the law for U.S. coins to depict a living person--this half dollar meets all standards of the U.S. Government mint: it seems to be genuine.

After Kennedy and Fitzgerald are again alone together in the Oval Office, Kennedy confronts Fitzgerald with his lies and shows him the Half Dollar ... and Fitzgerald confesses the truth to Kennedy: he's a time traveler and one of Kennedy's descendants. A few lovely moments as Fitzgerald tells Kennedy a little bit about the future he helped create. Then Kennedy thinks aloud-- handling the coin--and looks at the date again. "Under the law," Kennedy repeats what the Agent told him, "the living cannot be depicted on money of the United States, and this coin is dated next year ..." Suddenly, Kennedy realizes that he was supposed to die in Dallas ... and that all these worldwide disasters are happening because he's still alive.

Kennedy goes to a shelf and picks up a copy of his book, Profiles in Courage, stares at it thoughtfully for a few seconds, then tells Fitzgerald: "I've got to go back. Can you take me back?" Fitzgerald, practically in tears, nods.

Fitzgerald explains to Kennedy that Kennedy must put on the Time Belt--it's set to take him back to the moment of the assassination and will automatically merge him back into the proper time stream. "Then how will you get back to the future?" Kennedy asks ... and Fitzgerald explains that his Harvard Class Ring is really an emergency homing device ... if he's separated from the Time Belt for more than a few minutes, it automatically sends him back to 2163.

Kennedy nods and says grimly, "Let's get this over with." While Kennedy is putting on the Time Belt, he turns his back on Fitzgerald for a second ... and Fitzgerald slugs President Kennedy.

A replay of the Kennedy Assassination in Dallas. The time stream is repaired: Fitzgerald is no longer on the Grassy Knoll to stop the Second Gunman. This time, the assassination proceeds as we remember--the screaming, the confusion, the Presidential motorcade speeding off to Dallas's Parkland Memorial Hospital.

Then, a scene at Parkland Memorial Hospital, after President Kennedy has been declared dead. A Doctor in private conference with a high-level Government Official, as the body lies under a sheet on a nearby gurney. The Doctor: "Of course there were serious head wounds, but--"

The Government Official shakes his head. "You don't understand--the country has been traumatized by this enough without raising questions about that body. The man over there is John F. Kennedy--got it?"

The Doctor raises the sheet ... and we see that the face on the slain body is Joseph K. Fitzgerald.

We jump forward in time to the lecture hall at Harvard, in 2163, where we first saw Fitzgerald lecturing, and we pan along the students as they listen to another lecture on American history, given in a familiar voice by a man wearing a Harvard Class ring. The CAMERA PANS AROUND:

And the man giving the lecture is John F. Kennedy.

The End



And here's the second "Greek Tycooned" version I did.



PROFILE IN SILVER
by J. Neil Schulman

DAVID K. LANCASTER PH.D.--a descendant of U.S. PRESIDENT ADAM LANCASTER KENSINGTON--is a 46-year-old Professor of American History teaching at Harvard University in the year 2163. Not a lot else has changed at Harvard 180 years from now but future scholars--particularly those with grants from Rand-Corporation- type think tanks--have a new means of studying their past: Time Travel. The lecture we see Dr. Lancaster delivering--while he nervously flips an old Kensington Half Dollar--is before a Time Trip the Professor is about to make for his think tank to get a definitive answer to the question: On October 23, 1963, in Long Beach, California, was Oscar Lynn Harrison the lone assassin who fatally shot President Adam L. Kensington?

Dr. Lancaster makes preparations which involve putting on a Time Belt and donning a "homing device" disguised as a Harvard Class ring. Then, also taking along his Kensington Half Dollar for luck, Lancaster de-materializes from the year 2163 and re- materializes--just seconds before the Presidential Motorcade arrives on October 23rd, 1963--onto Long Beach's Ocean Boulevard. As soon as he is standing on the street, Dr. Lancaster pulls out a small video camera to record everything: he zooms his focus in on the crucial window of the General Telephone Office Building and sees Oscar Lynn Harrison inside with a rifle. The open Presidential limousine passes carrying the President, the First Lady Chantale Kensington, and California Governor Cobden. Lancaster points his camera toward the President's limousine and he sees, on the street directly in front of him, A Second Gunman raising a pistol toward the back of Kensington's head.

Lancaster forgets that he must remain only an observer and-- reflexively trying to save Kensington--rushes forward toward the Second Gunman. IN RAPID SEQUENCE: Lancaster shoves the Second Gunman as he fires; the bullet ricochets off the limousine harmlessly. Oscar Lynn Harrison shoots from the Telephone Building, wounding California Governor Cobden. A Secret Service Agent throws himself onto the President: the assassination of Adam L. Kensington has been prevented.

A second Secret Service Agent--seeing that Lancaster has saved Kensington--grabs Lancaster and pulls him into the Presidential limousine, which then speeds off. The Agent tells President Kensington: "This man just saved your life."

President Kensington decides to return with Chantale to the White House immediately. Kensington invites Lancaster to accompany them. Aboard Air Force One, President Kensington and Lancaster find an immediate rapport when Kensington sees that Lancaster is wearing a Harvard class ring; but Lancaster is evasive about why two Harvard men of the same age never met on campus--Lancaster finds himself having to invent an impromptu story for Kensington about where he's from and what he does. As well, while Lancaster is enthralled by meeting Kensington, he also knows that he interfered with History: the man he's liking so much is supposed to be dead. Troubled by conflicting emotions, Lancaster automatically resumes his nervous habit of flipping his Kensington Half Dollar ... and during the landing turbulence, he misses catching the coin: it rolls away from him and he loses it, with no opportunity to look for it--the plane has landed. But as the President and Lancaster leave Air Force One, we see that a Secret Service Agent has found the coin, and is looking at Lancaster suspiciously.

Back in the Oval Office, Lancaster stays close to the President as an immediate crisis occurs: North Vietnam--with help from the U.S.S.R.--has launched an invasion into South Vietnam. The history professor looks on in horror as Kensington begins making plans for War, knowing that this wasn't supposed to happen in 1963: history is on a wrong course, and it's his own fault.

But the trouble isn't only political: sudden and unexplained disasters are happening all over the world--earthquakes, volcanic eruptions, airliners crashing. It seems like the Apocalypse--the very fabric of time is ripping--and Lancaster knows that it's because Kensington didn't die the way he was supposed to.

Meanwhile, the Secret Service Agent who found the Kensington Half Dollar has done some investigating and--after diverting Lancaster--reports his suspicions to President Kensington: there is no record for a "David K. Lancaster" having attended Harvard, nor any Social Security files, tax files, draft files. Then the Agent shows Kensington the Kensington Half Dollar--which he reports having seen Lancaster lose. Kensington looks at the Half Dollar and sees his own profile on the coin. The Agent tells Kensington that even though it's impossible on the face of it-- not only is the coin dated 1964, the next year, but it's against the law for U.S. coins to depict a living person--this half dollar meets all standards of the U.S. Government mint: it seems to be genuine.

After Kensington and Lancaster are again alone together in the Oval Office, Kensington confronts Lancaster with his lies and shows him the Half Dollar ... and Lancaster confesses the truth to Kensington: he's a time traveler and one of Kensington's descendants. Then Kensington thinks aloud--handling the coin-- and looks at the date again. "Under the law," Kensington repeats what the Agent told him, "the living cannot be depicted on money of the United States, and this coin is dated next year ..." Suddenly, Kensington realizes that he was supposed to die in Long Beach ... and that all these worldwide disasters are happening because he's still alive.

Kensington tells Lancaster: "I've got to go back. Can you take me back?" Lancaster, practically in tears, nods.

Lancaster explains to Kensington that Kensington must put on the Time Belt--it's set to take him back to the moment of the assassination and will automatically merge him back into the proper time stream. "Then how will you get back to the future?" Kensington asks ... and Lancaster explains that his Harvard Class Ring is really an emergency homing device ... if he's separated from the Time Belt for more than a few minutes, it automatically sends him back to 2163.

Kensington nods and says grimly, "Let's get this over with." While Kensington is putting on the Time Belt, he turns his back on Lancaster for a second...and Lancaster slugs President Kensington.

A replay of the Kensington Assassination in Long Beach. The time stream is repaired: Lancaster is no longer on Ocean Boulevard to stop the Second Gunman. This time, the assassination proceeds as history remembers--the screaming, the confusion, the Presidential motorcade speeding off to Long Beach Memorial Hospital.

Then, a scene at Long Beach Memorial Hospital, after President Kensington has been declared dead. A Doctor in private conference with a high-level Government Official, as the body lies under a sheet on a nearby gurney. The Doctor: "Of course there were serious head wounds, but--"

The Government Official shakes his head. "You don't understand--the country has been traumatized by this enough without raising questions about that body. The man over there is President Adam L. Kensington--got it?"

The Doctor raises the sheet ... and we see that the face on the slain body is David K. Lancaster.

We jump forward in time to the lecture hall at Harvard, in 2163, where we first saw Lancaster lecturing, and we pan along the students as they listen to another lecture on American history, given in a familiar voice by a man wearing a Harvard Class ring. The CAMERA PANS AROUND:

And the man giving the lecture is Adam L. Kensington.

The End

Go to Profile in Silver (First Draft).

Return to Table of Contents.






THE TWILIGHT ZONE
"Profile In Silver"

(First Draft)
by J. Neil Schulman


FADE IN


EXT. CAMPUS - HARVARD UNIVERSITY  - 2163 A.D. - DAY

SERIES OF SHOTS and SUPERIMPOSED TITLES--
"HARVARD UNIVERSITY - 2163 A.D."--
to establish.  Even almost two centuries in the future, Harvard
still has ivy-covered buildings and students running late to class--or
taking advantage of warm, sunny weather to study outside.  The only
obvious indication of a future century--aside from odd clothing and
hairstyles--is that after a group of students climb into a beat-up car
and rev the engine, the car shoots off vertically.


INT. "DEPARTMENT OF HISTORY" LECTURE HALL

and this, too, has changed little.  Students are seated at tablet
armchairs listening to a lecture.  That is, those students who aren't
catching up on sleep or secretly finishing work for their next class. 
Delivering the lecture is their professor, DR. JOSEPH K. FITZGERALD, a
handsome man in his mid-forties, whose suit and hairstyle is obviously
professorial, but still, somehow, futuristic.  While he lectures, as a
nervous habit, Fitzgerald is flipping a silver coin in his hand.

                             FITZGERALD
              Living today in worldwide freedom, peace, and
              prosperity, it's almost impossible for us to
              comprehend political violence two centuries
              ago.  The Twentieth Century was a time of
              world wars, brushfire wars--the everpresent
              threat of nuclear war.  Genocide, riots,
              hijackings, tyranny--political terrorism.  But
              there was one event which encapsulates the mad
              violence of that period: the assassination in
              November, Nineteen-sixty-three of the American
              President, John F. Kennedy.  

A STUDENT wearing a LETTER SWEATER raises his hand with perhaps a
touch of arrogance.  Fitzgerald recognises him.

                             LETTERMAN
              Your ancestor, Professor Fitzgerald?

                              FITZGERALD
              Yes, I am proud to say.  While I can hardly
              expect you to approve the politics of that
              insane era, John Fitzgerald Kennedy rose above
              the insanities of his time by being a man of
              vision and a man of courage.  Most important
              to you, John F. Kennedy was a Harvard man.

STUDENTS laugh appreciatively. 

When they stop, Fitzgerald waves his hand in an odd way; suddenly the
lights dim and WE SEE FILM PROJECTED behind him: STOCK NEWS 
FOOTAGE of that fateful day in Dallas--the motorcade, the shots, screams, 
the limousine tearing out into traffic.

                             FITZGERALD
                             (continuing over film)
              There have always been unanswered questions. 
              Was Lee Harvey Oswald the assassin?  Was there
              a conspiracy?  Did this relate to other
              political killings of that era--Diem of
              Vietnam, Robert Kennedy, Martin Luther King? 
              Until now, we could only speculate. 

Fitzgerald pauses, then resumes flipping his coin nervously.

                             FITZGERALD
                             (continuing)
              After trying for six years, my historical-
              research grant from the Rand Institute has
              come through.  I leave for the past tonight. 
              In the next lecture, I hope to bring you some
              firsthand answers.

As Fitzgerald continues lecturing, his VOICE FADES AND 
WE HEAR:

                             NARRATOR
              Dr. Joseph Kennedy Fitzgerald, a Professor of
              History at Harvard ... descendant of a man who
              graduated Harvard and went on to make some of
              the history the Professor teaches.  In a few
              hours, Dr. Fitzgerald will make a journey back
              in time to a fateful day in history ...
              November twenty-second, Nineteen-sixty three. 
              Dr. Fitzgerald is searching for an ending to a
              history lesson.  But the ending he finds will
              go beyond history ... it will go beyond
              politics ... it will stretch the limits of
              human courage.  Perhaps it will stretch even
              the boundless dimensions of ... 


CLOSE ON THE COIN

as it drops into Dr. Fitzgerald's hand.  WE SEE that it is a 1964
KENNEDY HALF DOLLAR. 

                             NARRATOR
                             (continuing)
              ... The Twilight Zone.   
                                                       CUT TO:


ESTABLISHING SHOT "RAND INSTITUTE FOR TEMPORAL 
STUDIES" - NIGHT

a formidable-looking hi-tech glass-and-steel office complex, still
active at night, its sign also glowing in the darkness.


EXT. "TEMPORAL DISPLACEMENT PLATFORM"  - NIGHT

which looks like a sports arena during a night game, with a floodlit
riser at its center--the PLATFORM.  But except for two TECHNICIANS
sitting at a control console near the Platform, it is vastly empty.

We follow Dr. Fitzgerald--now styled and dressed in a suit-and-tie
appropriate for 1963--as he walks toward the Platform with DR. KATE
WANG, a distinguished, Chinese woman in 2163 garb. 

On a table near the Platform are a MAN'S LEATHER BELT with a
rectangular buckle, a SIGNET RING, A WALLET, AN ANALOG 
WRISTWATCH, and what looks to be a 1963 MODEL 8-MILLIMETER 
MOVIE CAMERA.  Wang shows Fitzgerald the Belt first--it matches his 
1963 suit.

                             WANG
              We've imbedded the temporal displacement
              circuit inside the belt, and hidden the
              control panel in its buckle.  Proper I.D. in
              the wallet.  The wristwatch is your computer.

Dr. Fitzgerald puts the Wallet into his jacket, then starts putting on
the Wristwatch and the Belt.

                             FITZGERALD
              Will it tell time?

                             WANG
              That's a very old joke.

                             FITZGERALD
              Sorry.  Where have you hidden the emergency
              homing circuit?

                             WANG
              In a Harvard signet ring.  If the displacement
              circuit in the belt fails or is separated from
              the ring it will home back here directly. 
              We've set it on five minutes failsafe.

Dr. Fitzgerald nods, placing the Ring on his right hand.  Wang hands
Fitzgerald the "Movie" Camera.  He straps it over his shoulder.

                             WANG
              An F-minus-infinity retina, auto-zoom with
              three-sixty peripheral.  Only a fifty gigabyte
              disk, but you won't need more.  Ready?

                             FITZGERALD
              I've been ready for the last six years.

                             WANG
              Feel lucky you're going at all.  After the
              Sodom and Gomorrah meltdown, our insurance
              premiums tripled.  

Fitzgerald's only reaction is to frown and step onto the Platform. 

Dr. Wang joins the Technicians at the control console.  The console
starts to VIBRATE with the force of great amounts of energy being
gathered; the Platform starts to PULSE in changing colors.

                             CHIEF TECHNICIAN
              Dr. Wang, I read a few grams unexpected mass.

                             WANG
              What is it, Joe?

                             FITZGERALD
              A family keepsake--a good luck charm.

Fitzgerald reaches into a jacket pocket and pulls out his KENNEDY 
HALF DOLLAR.  Dr. Wang walks up to the platform and examines it.
                            
                             WANG
              It's dated one year after your destination. 
              Against policy.

                             FITZGERALD
              But not strictly forbidden.  No anachronisms
              found in any historical document.  I ran a
              full search.                            

He puts the COIN back into his jacket.

                             WANG
                             (wary)
              Don't get involved back there, Joe.  You're an
              historian.  Stick to your job.

                             FITZGERALD
                             (smiles)
              What are you worried about, Kate?  Afraid I'm
              a revisionist?

                             WANG
                             (seriously)
              Frankly, yes.  You have a very Chinese view of
              ancestor worship.

She steps back to console and nods to the Chief Technician.                            

                             CHIEF TECHNICIAN
                             (to Wang)
              All circuits test positive ...  Tachyon
              modulation positive ... Phasing five point
              five nominal ... Plasma bottle charged ...
              Displacement on command--Ready.

                             WANG
              Go.

The Chief Technician nods to the Second Technician who pulls a lever.            

                             CHIEF TECHNICIAN
              Energized.

On the Platform, Dr. Fitzgerald flashes bright red.

                             CHIEF TECHNICIAN                            
                             (continuing)
              ... We have temporal coherence.

Suddenly, Dr. Fitzgerald shrinks to infinity and a super-powerful
laser beam shoots up from the platform to the starlit night sky,
punching a hole in Time.

                                                       FLASH CUT TO:


EXT. DEALY PLAZA - DALLAS - NOVEMBER 22, 1963 - 
JUST BEFORE 12:30 PM

as Dr. Fitzgerald materializes on the sidewalk near the Grassy Knoll,
just as the Presidential motorcade is approaching.

A TEXAN does a double-take as Fitzgerald pops in next to him.

                             TEXAN   
                             (to Fitzgerald)
              Where in Sam Hill did you come from?

                             FITZGERALD
                             (off-handed)
              Boston.

Before the Texan can get any further into it, Fitzgerald lifts his
"movie" camera up to his eye and starts recording.  The Texan goes
back to watching the approaching motorcade.



FITZGERALD'S POV THROUGH RANGEFINDER

VARIOUS SHOTS as he ZOOMS IN ON the open Presidential limousine and
sees (our actor) PRESIDENT JOHN F. KENNEDY.  
[NOTE: for reasons that will become apparent later, the two Actors 
playing KENNEDY and FITZGERALD should bear strong physical resemblance.]  
To the President's left--our actors--JACKIE KENNEDY (in her famous pink
suit), on the jumpseat in front of JFK, TEXAS GOVERNOR 
CONNALLY. SECRET SERVICE AGENT GREER is driving the limo, 
SECRET SERVICE AGENT KELLERMAN is on Kennedy's right.

SECRET SERVICE AGENT RAY KINGMAN is walking alongside the Presidential
limo, on Fitzgerald's side of the street.

Additional limousines follow in the motorcade with more Secret
Service, VICE PRESIDENT LYNDON JOHNSON (our actor), 
press and dignitaries.

Crowds line the street, waving flags, shouting greetings to the
President.

A "DALLAS POLICEMAN" (our actor) steps into Fitzgerald's POV and
pauses.

Fitzgerald ZOOMS CLOSE IN on the crucial window of the TEXAS
SCHOOL BOOK DEPOSITORY COMPANY, and WE SEE (our actor) 
LEE HARVEY OSWALD taking aim with a rifle on the Presidential 
limousine.


FITZGERALD'S POV - IN RAPID SEQUENCE

THE "DALLAS POLICEMAN" is surreptitiously--with his pistol still
holstered--raising his pistol.

Oswald FIRES his rifle, hitting Texas Governor Connally--the SOUND of
the SHOT is delayed.

The "Policeman" now has his still-holstered pistol aimed directly at
JFK's head.

                                                       SMASH CUT TO:


RAPID SEQUENCE - FITZGERALD AND THE "POLICEMAN"

as Fitzgerald drops his camera onto its shoulder strap and instantly
realizes--emotionally--that the man in front of him is not a Dallas
policeman but a Second Assassin--and this assassin is about to murder
John F. Kennedy.

To Fitzgerald, for the first time, this is no longer the dispassionate
study of the long-dead past: this is happening now.  He hesitates,
realizing that he's just an observer, then the emotional pain becomes
too great.

                             FITZGERALD
              NO!

And with that bellow, Fitzgerald leaps forward onto the disguised
gunman just as he FIRES.


RAPID SEQUENCE - SECRET SERVICE AGENT KINGMAN

as he HEARS Fitzgerald's shout and spins around just as the
"Policeman" FIRES, to SEE Fitzgerald jump him.


RAPID SEQUENCE - FITZGERALD AND "POLICEMAN"

As Fitzgerald tackles him, the "Policeman's" GUNSHOT is redirected
away from Kennedy's head and impacts harmlessly on the limo.


RAPID SEQUENCE - SCREAMING BYSTANDERS

At the SOUND of the two GUNSHOTS.


RAPID SEQUENCE - IN LIMO - AGENT KELLERMAN

as he throws himself onto JFK and Jackie. 

Agent Kingman and ANOTHER AGENT arrive at the spot where Fitzgerald
has tackled the "Policeman".  KINGMAN grabs Fitzgerald and pulls
him toward the President's limo; the other Agent holds the assassin.


RAPID SEQUENCE - KINGMAN AND FITZGERALD

                             AGENT KINGMAN
                             (shouting to
                             Fitzgerald)
              Come on!


RAPID SEQUENCE - THE PRESIDENTIAL LIMO

as Kingman pulls Fitzgerald onto the Presidential limousine just as
everyone realizes that Governor Connally has been shot.

                             KENNEDY
                             (to agent driving)
              The Governor has been hit!  Get him to a
              hospital! 

                             AGENT GREER
                             (driving; to radio)
              I'm pulling out!
LONG ON THE LIMO

as it pulls out of the motorcade and accelerates.


BACK IN SPEEDING LIMO

as Kingman and Fitzgerald are settled in the front seat, quietly
TALKING to each other in the b.g.  WE SEE Fitzgerald reach into his
jacket, take out the Wallet, and hand a 1963 Harvard "Faculty I.D.
Card" to Agent Kingman.

                             AGENT GREER
                             (continuing; to radio)
              Alert Parkland Memorial Hospital that the
              Governor will be there in four minutes.

President Kennedy nods, satisfied, then notices Agent Kingman and
Fitzgerald.

                             KENNEDY
                             (to Kingman)
              Mr. Kingman, who is this man?

                             AGENT KINGMAN
              Mr. President, this is Dr. Joseph Fitzgerald,
              one of your constituents from Harvard.  He
              just saved your life.


KENNEDY AND FITZGERALD

as they look at each other for the first time.

                             KENNEDY
                             (warmly)
              Dr. Fitzgerald, Harvard, and I, are in your
              debt.


CLOSE ON FITZGERALD

as he realizes the full impact of what he has done. 

                                                       CUT TO:


EXT. EMERGENCY ENTRANCE - PARKLAND MEMORIAL 
HOSPITAL - DAY

as the limousine pulls up.  A stretcher crew immediately takes the
wounded Governor out.

JFK gestures to Agent Kellerman that he wishes to get out of the
limousine, but Jackie stops him.

                             JACKIE
              You can't do any good in there, Jack.

The others wait expectantly for a moment while JFK decides, then
Kennedy nods determinedly.

                             KENNEDY
                             (to Greer)
              Mr. Greer, radio ahead to the Dallas Trade
              Mart.  I'll speak as scheduled.

                             AGENT GREER
              Yes, sir.

                                                       CUT TO:


INT. THE DALLAS TRADE MART

where President John F. Kennedy is delivering the luncheon address
that history had never intended him to give.

Dr. Fitzgerald stands on the sidelines, an historian still, recording
it all in his "camera."                          

                             KENNEDY
              We in this country, in this generation are--by
              destiny rather than choice--the watchmen of
              the walls of world freedom.  We ask,
              therefore, that we may be worthy of our power
              and responsibility--that we may exercise our
              strength with wisdom and restraint--and that
              we may achieve it in our time, and for all
              time, the ancient vision of peace on Earth,
              goodwill toward men.


MASSIVE LUNCHEON AUDIENCE (FROM STOCK FOOTAGE)

There is APPLAUSE.


CLOSE ON FITZGERALD'S FACE

as he realizes that Kennedy's vision was destined to be fulfilled--but
will it be, now that history has been changed?




PRESIDENT KENNEDY AGAIN

                             KENNEDY
                             (continuing)
              That must always be our goal--and the
              righteousness of our cause must always
              underlie our strength.  For as was written
              long ago: "Except the Lord keep the city, the
              watchman waketh but in vain." 

As APPLAUSE greets the end of Kennedy's speech, we

                                                       CUT TO:


SIDE WINGS OF TRADE MART

As JFK, Jackie, Vice President Johnson, Fitzgerald, and the rest of
the Presidential entourage are walking out.

AN AIDE rushes up to the Vice President and addresses Johnson
frantically.

                             JOHNSON AIDE
                             (breathless)
              Mr. Vice President, we've got more problems!
              Tornadoes have sprung up all around the state! 
              One is heading here, another just ripped its
              way through downtown Austin, and another just
              hit your ranch!

                             JOHNSON
                             (grimly, to Aide)
              Better get the choppers ready, son.

The Aide runs off.

                             JOHNSON
                             (continuing; to
                             Kennedy)
              Mr. President, if I were you, I'd hightail it
              back to Washington and mind the store. It
              looks like fate is set on spoiling our
              barbecue tonight.


FITZGERALD             

He knows it's not fate that's doing this.



ALL AGAIN
                             KENNEDY
                             (tersely)
              Take care of your people, Lyndon.  Let me know
              how I can help. 

                             JOHNSON
              Yes, Mr. President.

Johnson rushes out.  Kennedy turns to Fitzgerald.

                             KENNEDY
              Dr. Fitzgerald, I can use an extra Harvard
              professor in my Brain Trust right now.  Are
              you free to be my guest at the White House? 

                             FITZGERALD
                             (shocked)
              Uh, yes, sir.

                             KENNEDY
              Then let's get going.  This is turning out to
              be "one of those days."

As they rush out of the Trade Mart, we

                                                       CUT TO


EXT. (LOVE) AIR FIELD - STORM - AFTERNOON

as strong rain and winds surround AIR FORCE ONE while it takes off.


STOCK FOOTAGE - TORNADOES

As they wind their way through Texan cities.

             
EXT. AIR FORCE ONE - BREAKING ABOVE CLOUDS - AFTERNOON

to ESTABLISH.


INT. AIR FORCE ONE - IN FLIGHT

this time, not carrying a flag-draped casket and a just-sworn-in new
president, but with JFK still alive and well.

Jackie is sitting forward, being interviewed by a reporter.

Kennedy is sitting catercorner to Fitzgerald in a living room area. 
Both men have drinks.  Agent Kingman is seated nearby, reading. 

AN AIDE comes up to the President.

                             PRESIDENTIAL AIDE
              Mr. President, news out of Texas is bad. 
              Parts of Dallas, San Antonio, Austin--gone. 
              Hundreds dead, more missing.  The Lieutenant
              Governor is requesting federal disaster
              relief.  The only good news is that Parkland
              Memorial was untouched.  Governor Connally is
              out of surgery in stable condition.

                             KENNEDY
              Thank God for that, at least.  Okay, get the
              paperwork going.  I want disaster relief on my
              desk before I go to bed tonight.

                             PRESIDENTIAL AIDE 
              Yes, sir.  One more thing.  In addition to the
              fake policeman Dr. Fitzgerald apprehended,
              Dallas police arrested a man named Lee Oswald. 
              They've charged Oswald not only with shooting
              the Governor, but with murdering a Dallas
              police patrolman.

Kennedy nods seriously. 

                             KENNEDY
              Thank you.

The Aide leaves.  The historian from the future can't resist asking. 

                             FITZGERALD
              Mr. President, do you have any idea--

                             KENNEDY
                             (interrupting)
              Jack.  Men who've saved my life call me
              "Jack." 

                             FITZGERALD
                             (delighted)
              "Jack." ... I'm "Joe" to everyone but my
              students. 

                             KENNEDY
              Good name.  My Dad's name.  Also my late
              brother's.

                             FITZGERALD
                             (emotionally)
              I ... know. 

                             KENNEDY
              You were asking something?

                             FITZGERALD
                             (nods)             
              If you have any idea who would have reason to
              shoot at you?

Kennedy takes a sip of his drink before answering.

                             KENNEDY
              Considering the awesome power wielded by the
              President, who wouldn't?  Two centuries ago,
              the Founding Fathers tried to set things up so
              we wouldn't have a king anymore.  Now, because
              we're always a pushbutton away from war, the
              President has been stuck with more power than
              any king in history.  It's no wonder my
              administration has been called "Camelot."  

                             FITZGERALD
              Like King Arthur, you had to win your office. 
              It must gratify you, no?

                             KENNEDY
              What gratified me was getting the world
              through the Cuban Missile Crisis in one piece. 
              Providence was with us that time.  But
              Scripture tells us to "put not your trust in
              princes."  Maybe someday people will take that
              good advice.   

                             FITZGERALD
                             (drily)
              That would leave you unemployed.

                             KENNEDY
              This job gives me few moments of great joy. 
              I'll tell you, Joe, after I'm out of office
              what I'd best like to do is help you Harvard
              professors find a way to beat nuclear bombs
              into plowshares.              

                             FITZGERALD
                             (with certainty)
              A century from now, nuclear bombs will power
              rocket ships.

                             KENNEDY
                             (nods)
              We've studied that idea.  But how do you
              prevent enemy nations from regarding nuclear
              rockets as weapons?

                             FITZGERALD
                             (offhanded)
              Insurance companies.  Next century, people
              will replace nation-states with insurance
              companies.

                             KENNEDY
                             (laughs)
              You have a wicked sense of humor, Joe.  I'll
              have to tell that one to Senator Goldwater
              when I see him. 

Fitzgerald is puzzling out that remark when the Aide returns.

                             PRESIDENTIAL AIDE
              Mr. President, there's a radiophone call for
              you from Defense Secretary McNamara.

                             KENNEDY
                             (rising)
              Excuse me.  (still chuckling)  Insurance
              companies.

The President gets up and walks aft, leaving Dr. Fitzgerald alone with
his thoughts.  Without thinking, Fitzgerald sticks his hand into his
jacket pocket, pulling out his Kennedy Half Dollar, and automatically
starts to flip it in his hands.

Suddenly, the plane is hit by turbulence, and Fitzgerald misses
catching the coin.  The coin rolls to where Agent Kingman is sitting. 

Agent Kingman sees the coin, and looks up to meet Fitzgerald's frantic
gaze; Fitzgerald looks away quickly.  Kingman picks the coin up.


CLOSE ON KINGMAN 

as he sees what the coin is.


KINGMAN AND FITZGERALD

As Kingman--seeing Fitzgerald trying to look innocent--realizes that
this must be Fitzgerald's property.


AFT AGAIN

as President Kennedy returns to the seat next to Fitzgerald, JFK
passes his Aide and waves him over.

                             KENNEDY
                             (quiet but urgently)
              Listen carefully.  I've just placed our
              Strategic Forces on Yellow Alert.  Set up an
              Emergency Cabinet meeting for tonight at ten. 
              Rusk is on a plane to Japan--see if you can
              get him back.  Tell Bundy, Taylor, Sorensen. 
              And Bobby!  But act normally and do it
              quietly--I don't want the press onboard to
              know anything's wrong. 

                             PRESIDENTIAL AIDE
              Yes, sir.

As the Aide leaves, Kennedy straps himself in again and turns to
Fitzgerald, likewise speaking quietly but with urgency.

                             KENNEDY
              How familiar are you with the history of our
              Berlin situation?

                             FITZGERALD
              Completely.  My specialty is this era.

Fitzgerald sees Kennedy's confusion and corrects himself quickly.

                             FITZGERALD
              I mean this area.  Why do you ask?

                             KENNEDY
              Soviet troops just captured West Berlin.  The
              Russian premier is demanding we pull our
              forces out of the rest of Germany or they'll
              kill every American in Berlin.

                             FITZGERALD
                             (shocked)
              But Khrushchev never would have done that!

                             KENNEDY
                             (nods with finality)
              Premier Khrushchev was assassinated today. 

On Fitzgerald's startled look, we

                                                       CUT TO


EXT. AIR FORCE ONE - ON THE GROUND - AFTERNOON

as the door opens.  The Secret Service, JFK and Jackie, Fitzgerald,
the Warrant Officer with the "Black Bag," and the rest of the
entourage begin deplaning.

AGENT KINGMAN

as he watches Fitzgerald getting into the Presidential limousine with
the Kennedys, then LOOKS DOWN again at the mysterious Kennedy Half
Dollar.  Kingman slips the coin into his pocket then walks up to
another SECRET SERVICE AGENT. 

                             AGENT KINGMAN
              I need to do some research at Treasury before
              it closes.  Can you spare me?

The Agent nods.


THE PRESIDENTIAL LIMOUSINE

as it departs.

                                                       CUT TO


EXT. THE WHITE HOUSE - THE LIMOUSINE ARRIVING - AFTERNOON

as JFK and Jackie get out of the limousine first and two children run
to meet them: six-year-old CAROLINE and three-year-old JOHN, JR.

                                                       CUT TO


CLOSE ON THE COIN

as we see it being held in a man's hand.


WIDER - INT. OFFICE - AFTERNOON

as Agent Kingman is sitting across a desk from another TREASURY MAN. 
The T-MAN is looking at the coin through a watchmaker's loupe screwed
into his eye, then removes the loupe and leans back in his chair.

                             TREASURY MAN
              Remarkable.  Utterly remarkable.  I've never
              seen counterfeit work this faithful to Mint
              standards.  Whoever did this is a real artist.

                             AGENT KINGMAN
              Then it is a counterfeit?  It's not something
              our Mint has in the works for next year?

                             TREASURY MAN
              Of course not.  How could it be?  Other
              countries stamp reigning sovereigns on their
              coins, but it's against U.S. law to mint the
              image of any living person.

                             AGENT KINGMAN
              Could it be a practical joke of some sort?  Or
              a prototype of a campaign handout?  Maybe one
              of the President's brothers ... or the
              Republicans ...

                             TREASURY MAN
              I doubt it very much.  They'd have to know
              it's a felony ... and possibly treason, since
              it implies President Kennedy is going to die
              by Sixty-four.  This man who lost it ... you
              saw him save the President's life?

                             AGENT KINGMAN
              Absolutely.  Or I wouldn't have allowed him
              anywhere near the President until his
              credentials had been confirmed. 

                             TREASURY MAN
              And were they?

                             AGENT KINGMAN
                             (nods)
              I checked during the President's speech. 
              Matched Fitzgerald's prints with FBI.  Clean. 
              Checked Harvard, Internal Revenue, the Army. 
              All in order.  But that's the really odd
              thing.  The documents are all there, but I
              can't find anyone who's ever heard of
              Fitzgerald.  It's like somebody got into the
              records and just dropped him in.  And yeah, I
              checked with CIA.  They've never heard of him.

                             TREASURY MAN
              It wouldn't be the first time the Company
              didn't tell us about one of their Spooks. 

                             AGENT KINGMAN
              Maybe.  Still, this Harvard professor is
              Johnny-on-the-Spot to save the President's
              life ... he loses a coin that shouldn't exist
              ... he's got three of the President's family
              names ... he even looks like the President. 
              Now, with a crisis more dangerous that Cuba
              coming on, the President is confiding in this
              stranger like a long-lost brother.  If you ask
              me ...

Suddenly, the office starts shaking violently with a rolling motion
Californians are too familiar with ... but that shouldn't be happening
in Washington D.C.

An earthquake.  Lamps fall over, fixtures swing ...

Kingman and the T-Man both jump up, startled out of their wits.
             
                             AGENT KINGMAN
              My God ... an earthquake in Washington?

                                                       CUT TO


INT. OVAL OFFICE - THE WHITE HOUSE - SAME TIME

as JFK sits behind his desk talking on the telephone ... and the
earthquake hits here, too.

Kennedy drops the phone and jumps to his feet ... and by doing so
saves his life again as a massive BOOKSHELF topples onto his chair
where he was sitting.

The Presidential Aide runs into the Oval Office in a flash, as the
RUMBLING DIES AWAY.

                             PRESIDENTIAL AIDE
              Sir, are you all right?

                             KENNEDY
              I'm fine!  Find out if my kids are okay!

The Aide runs out.  Kennedy pulls the phone out from under some books
and picks up the receiver again. 

                             KENNEDY
              You still there, Bobby?  (beat)  You're damn
              right we felt it here!  (beat)  Yeah, I'll
              talk to you later.

The President hangs up just as the Aide returns.

                             PRESIDENTIAL AIDE
              Nobody hurt, sir ... the children weren't even
              really frightened.  I'm afraid the First Lady
              isn't doing quite as well ... we just lost
              half her favorite bone china.

                             KENNEDY
                             (almost smiling)
              Tell her to break out the paper plates!
                             (more serious)
              What the Devil is going on today?

                             PRESIDENTIAL AIDE
              I don't know, sir.  But my father's a minister
              and I can bet you his sermon this Sunday is
              going to be on the Apocalypse ... if we make
              it to Sunday.


PRESIDENT KENNEDY

as he wearily drops his face into his hands.  HOLD on him, then

                                                       CUT TO


INT. WHITE HOUSE GUEST BEDROOM - FITZGERALD

as he turns a lamp upright again then starts talking to his Wristwatch
Computer, rubbing his back as if it's been injured.

                             FITZGERALD
              Resume program ... Last parameter, three-
              times-ten-to-the-ninth non-parallel vectors. 
              Compute time-line status.

                             WRISTWATCH
                             (Voice like HAL 9000)
              After pressure release by tornadoes at
              intervention site, Stable Two was achieved by
              Khrushchev assassination.

                             FITZGERALD
              Stable, my aching back!  What about the
              earthquake just now?

                             WRISTWATCH
              Shockwave backwash from first intervention in
              time line.  No major effects.

                             FITZGERALD
              All right, then.  With Khrushchev
              assassination as Stable Two, give me worst-
              and-best-case outcomes on this time-line, with
              assigned probabilities.

                             WRISTWATCH
              Worst-case scenario: Three-hundred megaton
              nuclear exchange between the Superpowers
              within nine days, resulting in total
              annihilation of biosphere.  Probability:
              seventy-seven percent.  Best-case scenario:
              surrender of Western Europe to the Soviet
              Union within six years, resulting in collapse
              of Soviet economy.  In desperation, Soviets
              blackmail West for food, West is provoked into
              agro-bacterial war between the Superpowers,
              resulting in total annihilation of biosphere
              within century.   Probability: twelve percent.

                             FITZGERALD
              There's only an eleven percent possibility of
              avoiding total war on this time-line?

                             WRISTWATCH
              Three percent.  Eight percent
              includes all other scenarios leading to--

                             FITZGERALD &
                             WRISTWATCH
              --Total annihilation of biosphere.

                             GIRL'S VOICE (O.S.)
              Why are you talking to your watch?

Fitzgerald looks up, startled.


IN DOORWAY - CAROLINE

as she walks into


GUEST ROOM - FITZGERALD AND CAROLINE

                             FITZGERALD
              Because it gives me smarter answers than I get
              from most people.

                             CAROLINE
              You should talk to my Daddy instead.  He gives
              me smart answers on everything.

                             FITZGERALD
                             (smiling wistfully)
              Yes, I'm sure he does.

                             JACKIE'S VOICE (O.S.)
              Caroline, dear!  It's time for your dinner!

                             CAROLINE
                             (answering)
              I'll be right there, Mommy!
                             (to Fitzgerald)
              I talk to my pony Macaroni, sometimes.  But I
              never get any answers.  See ya!

Caroline ducks out.

Fitzgerald checks the corridor, then resumes talking to his
Wristwatch, more quietly.

                             FITZGERALD
              Since this time-line is non-viable, give me
              all options for repairing original time-line.

                             WRISTWATCH
              There exists only one viable option for
              repairing original time-line.  The
              assassination of President John F. Kennedy
              must occur as history originally recorded.


ON FITZGERALD'S HORROR

as the thoughts of the little girl he just met--and the answers she
gets only from her "Daddy"--hit him hard.  He drops his face into his
hands exactly like JFK did.

                                                       CUT TO


INT. THE OVAL OFFICE - NIGHT

JFK is alone, in his famous ROCKING CHAIR, puffing on a cigar and
thinking.  A TELEVISION next to his desk is on in the b.g., a CBS
TELEVISION SPECIAL NEWS REPORT.

                             ANCHORMAN (ON TV)
              --certainly an indication of a conspiracy by
              Soviet hard-liners.  However, the tornadoes in
              Texas and the earthquake in the Capital would
              certainly have to be put down to one of those
              unbelievable coincidences that you meet so
              often in the news business.

There is a knock at the office door.  (TV SOUND continues UNDER.)

                             KENNEDY
              Come in!

Agent Kingman enters.

                             KENNEDY
              Hi, Ray.  (Indicates chair)  Take a load off. 
              Want a drink?

                             AGENT KINGMAN
              Thank you, sir, but I'm still on duty.

                             KENNEDY
              I won't tell on you.

Kingman remains standing and smiles ... letting us know that this is a
game the two of them have played before.

                             AGENT KINGMAN
              Mr. President, I have some concerns about Dr.
              Fitzgerald.  I've checked with Harvard, and
              even though they have him in their records as
              a full professor on sabbatical, nobody there
              has ever heard of him.  It's possible that Dr.
              Fitzgerald is a spy.

                             KENNEDY
              For who?
                             (with terror)
              Yale?

                             AGENT KINGMAN
                             (used to being
                             straight-man)
              I don't know for who, sir, but I wouldn't
              eliminate the Soviets.  I can't think of a
              better way to get an agent close to the
              President than to set up an assassination and
              have your man save the President's life.

                             KENNEDY
                             (shakes head)
              I know people, and Joe Fitzgerald is no Soviet
              spy.  Also, the Soviets are subtler than that
              ... if they wanted to pull something this big
              they'd use sleeper agents who'd been in place
              for twenty years.

                             AGENT KINGMAN
              There's more, sir.

Kingman reaches into his pocket, pulls out the KENNEDY HALF DOLLAR,
and hands it to Kennedy.

                             AGENT KINGMAN
                             (continuing)
              Dr. Fitzgerald lost this on Air Force One.


CLOSE ON KENNEDY - IN PROFILE

as he LOOKS at HIS OWN FACE IN PROFILE on the half dollar.

                             KENNEDY
              I think someone is taking this Camelot stuff a
              bit too far.
                             (beat; more
                             seriously)
              All right.  You'd better get Fitzgerald in
              here.


STANDING IN DOORWAY - FITZGERALD

Fitzgerald has his "camera" strapped over his shoulder.

                             FITZGERALD
              I was already on my way here, Mr. President.


OVAL OFFICE - ALL

In the b.g., WE HEAR

                             CBS ANNOUNCER
              --This concludes this CBS News Special Report. 
              We now return to our regularly scheduled
              programming.

Kennedy gestures Fitzgerald into the office.

                             KENNEDY
              Dr. Fitzgerald, were you part of an
              assassination conspiracy in Dallas today?

                             FITZGERALD
              No, sir, I was not.  But I knew about the
              assassination before I came to Dallas.

                             AGENT KINGMAN
                             (to Kennedy)
              Excuse me, sir.
                             (to Fitzgerald)
              Where did you get that coin?

                             FITZGERALD
              It's been in my family for almost two hundred
              years.

                             KENNEDY
              You'll pardon me if I say that's a little
              unbelievable.

IN THE B.G.., we HEAR the original "Twilight Zone" THEME MUSIC and:

                             ROD SERLING'S VOICE
              There is a fifth dimension beyond that which
              is known to man.  It is a dimension as vast as
              space and as timeless as infinity.  It is the
              middle ground between light and shadow--
              between science and superstition--

                             FITZGERALD
                             (gesturing toward TV)
              People of your generation should have paid
              more attention to the classics.

                             KENNEDY
              My generation?  You're the same generation as
              me!

Fitzgerald walks over to the TV set.

                             ROD SERLING'S VOICE
              --And it lies between the pit of man's fears
              and the summit of his imagination.  It is an
              area which we call--

Fitzgerald switches off the set just before we hear the words "The
Twilight Zone."  Then he faces his ancestor directly.

                             FITZGERALD
              No, Mr. President, I am not.  I am of a
              generation that won't be your age for another
              two-hundred years.  I am a time-traveler from
              the future ... and your direct descendant by
              two converging lines.

                             KENNEDY
                             (concern)
              Dr. Fitzgerald, the matters we are discussing
              are much too serious for you to joke about
              them.

                             FITZGERALD
              I'm not joking, sir.

Fitzgerald picks up his camera. 

In a split-second, Agent Kingman has his gun out, pointed at
Fitzgerald.

                             FITZGERALD
                             (calmly)
              This isn't a weapon.

Fitzgerald points his "camera" toward the wall--away from both 
Kennedy and Kingman--and turns it on.


IN FRONT OF WALL - KENNEDY GIVING SPEECH 
AT TRADE MART

in a Full-size, 3-D, Full-color and Sound Playback.

                             KENNEDY HOLOGRAM
              We in this country, in this generation are--by
              destiny rather than choice--the watchmen of
              the walls of world freedom.  We ask,
              therefore, that we may be worthy of our power
              and responsibility--

KENNEDY AND AGENT KINGMAN

as they watch this phenomenon, open-mouthed.

                             KENNEDY HOLOGRAM
              --that we may exercise our strength with
              wisdom and restraint--and that we may achieve
              it in our time, and for all time, the ancient
              vision of peace on Earth, goodwill toward men.


ALL AGAIN

Fitzgerald turns the "camera" off and the Kennedy Hologram 
disappears.

Kingman holsters his pistol again.  After a pause, he speaks first.

                             AGENT KINGMAN
              Mr. President, request permission to go off
              duty, sir.

                             KENNEDY
              Granted.  For both of us, also.

Kingman immediately goes over to the liquor and pours three stiff
drinks.  He hands one each to Kennedy and Fitzgerald.

                             FITZGERALD
                             (to Kennedy;
                             automatically)
              Your health.

He has time to ponder his remark as the three men drink.

Fitzgerald and Kingman draw up chairs.  Kennedy breaks the tension 
in the room.

                             KENNEDY
                             (to Fitzgerald)
              Insurance companies, huh?

                             FITZGERALD
                             (smiles)
              That's only a transitional phase.  By my time
              we've put together a social system I'm sure
              you'd consider much-more bizarre than that. 
              But we have achieved your dreams.  We've
              eliminated war, poverty, and tyranny.  Your
              dream of humankind moving into space has
              become a reality ... I took my graduate degree
              out near the orbit of Jupiter.

                             KENNEDY
              I never thought humanity would achieve that
              sort of Utopia.

                             FITZGERALD
              It's not even close to being Utopia, sir. 
              We've taken the Biblical advice about not
              putting our trust in princes, but we haven't
              beaten our swords into plowshares.  We just
              finally got it through our skulls that it's
              safer to avoid princes with big swords. 

Kennedy gets up (Kingman and Fitzgerald rise immediately) and JFK
starts pacing near his desk.  He is still holding the Kennedy Half
Dollar and he looks at it thoughtfully.

                             KENNEDY
              You come from the future.  Did you come back
              to tell me what I'm supposed to do about the
              Berlin crisis today?

                             FITZGERALD
              No, sir.
                             (suddenly choked up)
              I ... didn't know about that.

                             KENNEDY
                             (surprised)
              Didn't know?  How could you not know?

Kennedy looks at the Coin one more time.


ZOOM IN ON THE COIN'S DATE - 1964


WIDER AGAIN

as Kennedy sees it and suddenly realizes what it means. 

                             KENNEDY
              You came to Dallas to observe an
              assassination.  My assassination. 
                             (almost swooning)
              Dear God in heaven.

Kennedy looks down and sees--on his desk where the earthquake left
it--a copy of his book, Profiles in Courage.

                             KENNEDY
              This Berlin crisis would be the end of the
              world, wouldn't it?

Fitzgerald nods.

Kennedy picks up Profiles in Courage, then puts in down again, 
firmly. When he speaks again, it's with the firm resolve of a P.T. boat
commander.

                             KENNEDY
              You're here, which proves that it wasn't. 
              You'll have to take me back.  Can you take me
              back?  Can you make it like it was intended to
              be?

Fitzgerald drops his head forward.  Then he looks up again and removes
his Harvard Signet Ring, extending it toward Kennedy.

                             FITZGERALD
              You'll have to put this ring on.

                             KINGMAN
                             (alarmed)
              Mr. President!

                             KENNEDY
              Agent Kingman, stay out of this!

                             FITZGERALD
                             (beat)
              If there's anyone you need to say goodbye to--
             
                             KENNEDY
                             (gently)
              I couldn't make myself leave them if I did. 
              And they wouldn't remember, would they?

President Kennedy takes the ring, closes his eyes, and slips the ring
onto his right hand.


KENNEDY

as he flashes, on-and-off, bright red, and 
freezes in place.


WIDER AGAIN

                             KINGMAN
              What's happening to him?

                             FITZGERALD
              You've taken an oath to protect the life of
              "Lancer."

                             KINGMAN
              Only Secret Service know that code name for
              President Kennedy!
                        
                             FITZGERALD
              Yes.

Kingman understands.

                             KINGMAN
              What do we have to do?

                             FITZGERALD
                             (after pause)
              We've got to go back.

After several long beats,

                                                       CUT TO


EXT. DEALY PLAZA - DALLAS - NOVEMBER 22, 1963 - 
JUST BEFORE 12:30 PM

just as the Presidential motorcade is approaching.


THE TEXAN

watching the approaching motorcade.  This time Fitzgerald is nowhere
around.


VARIOUS SHOTS

on the open Presidential limousine, AS BEFORE.


AGENT KINGMAN

as before, walking alongside the Presidential limo, but suddenly--
momentarily--he FLASHES BRIGHT RED.


VARIOUS SHOTS

Additional limousines follow in the motorcade.

Crowds line the street, waving flags, shouting greetings to the
President.

The "Dallas Policeman" steps forward and pauses.



ZOOM CLOSE IN

on the crucial window of the TEXAS SCHOOL BOOK DEPOSITORY 
COMPANY, and WE SEE (our actor) LEE HARVEY OSWALD 
taking aim with a rifle on the Presidential limousine.


RAPID SEQUENCE - THE "DALLAS POLICEMAN"

surreptitiously--with his pistol still holstered--raising his pistol.


RAPID SEQUENCE - OSWALD

as he FIRES his rifle, hitting Texas Governor Connally--the SOUND of
the SHOT is delayed.


RAPID SEQUENCE - THE "POLICEMAN"

as he now has his still-holstered pistol aimed directly at JFK's head.


RAPID SEQUENCE - LONG ON THE PRESIDENTIAL LIMOUSINE

as WE SEE a FLASH OF RED LIGHT surrounding the limousine.


RAPID SEQUENCE - THE DISGUISED GUNMAN

just as he FIRES.


RAPID SEQUENCE - SCREAMING BYSTANDERS

At the SOUND of the two GUNSHOTS.


RAPID SEQUENCE - AGENT KINGMAN

as he jumps onto the Presidential limousine.


RAPID SEQUENCE - FRONT SEAT OF 
THE PRESIDENTIAL LIMO

                             AGENT GREER
                             (driving; to radio)
              The President's been hit!  I'm pulling out! 


RAPID SEQUENCE - LONG ON THE LIMO

as it pulls out of the motorcade and accelerates toward the hospital.

                                                       CUT TO
INT. SIDE ROOM - PARKLAND MEMORIAL HOSPITAL

as a gurney holds A SLAIN BODY COVERED BY A SHEET.

Agent Kingman is next to the gurney in conference with an 
EMERGENCY ROOM DOCTOR.

                             DOCTOR
              Of course there were serious head wounds, but
              still, that doesn't account for--

                             AGENT KINGMAN
              Use logic, Doctor.  It couldn't be anyone else
              ... and the country will be traumatized enough
              without raising silly questions about the face
              on that body.  This man is President John F.
              Kennedy--got it? 

The Doctor pulls back the sheet on the body ... and we


ZOOM IN ON

THE SERENE FACE OF DR. JOSEPH K. FITZGERALD.

                                                       CUT TO


INT. LECTURE HALL - HARVARD - 2163 A.D. - DAY

as WE SEE THE BACK of a man dressed in 2163 garb, delivering a
lecture--in a wholly distinctive voice--to the HISTORY CLASS.

                             LECTURER
              History records many facts ... some of them
              right, some of them wrong.  But let the record
              show that, in any age, good or bad, there are
              men of high ideals ... men of courage ... men
              who do more than that for which they are
              called upon.


CLOSE ON THE LECTURER'S HAND

as WE SEE that on it is A HARVARD SIGNET RING.

                             LECTURER
                             (continuing)
              You will not always know their names.  But let
              their deeds stand as a monument, so that when
              the human race is called to judgment, we may
              say--this, too, was humanity.



REVERSE POV

and WE SEE that the MAN delivering the lecture is JOHN F. KENNEDY.


THE STUDENTS

as they RISE TO THEIR FEET IN APPLAUSE, WE HEAR:

                             NARRATOR
              A fitting tribute of the sort only to be found
              in ... The Twilight Zone.

                                                       FADE OUT

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