Thomas Veil reflects that until recently, he has been alone in his fight to recover his life. Then from some dark corner, an ally appeared, who claimed that he was working for the people that Tom has been looking for and that he wishes to destroy the very organization that employs him. He opened a doorway for Tom in the form of a small palmtop computer. The files in that computer have taken Tom into situations that he never dreamed existed, but it still hasn't answered his most pressing questions: Why was his life erased? By whom? What can he do to get it back? The battles he has fought with his enemy have not compared with the ones he's fought with himself. It's been a constant struggle to maintain the hope and faith that he will one day get his life back. He had expected to feel elated and full of anticipation as he arrived in Washington, DC. Instead, he feels overcome with fatigue and the belief that at the end of every tunnel, all he would find would be another tunnel.
As Tom walks through a busy bus station, he hears an announcement: "Would Mr. Thomas Veil please pick up the nearest white courtesy telephone?" Tom looks around at the people passing nearby, then hears the message repeated. He answers a nearby telephone "Tom Veil", then laughs silently in bitter amusement when he's told he'll be connected. An English voice he recognizes as that of his contact in the organization greets him: "Good morning, Tom. I see you've been putting my little plaything to good use." Tom sullenly tells him that the question is who's getting more out of it. The Voice says that it depends on how he looks at it--he's done considerable damage. Tom says he hasn't gotten any closer to the answers, but The Voice asks how he knows that, when he doesn't know what the answers are. Tom coldly tells him that he doesn't suppose he's brought him here just to chat. The Voice says it's time that they meet face to face. Tom asks heavily, "Why?" The camera scans past a row of optical equipment as the Voice complains that Tom keeps treating him like the enemy. He says he's his friend. Tom tells him he doesn't have any friends. The Voice suggests they say then that he'd like to be his friend and tells Tom that it's time he had his questions answered. He instructs Tom to meet him at The Tavern on 5th at 1:00. Tom asks how he'll know him. The Voice assures him, "I'll know you, Tom."
Alexander Hale hands the cell phone to a shadowy figure standing beside his chair and tells him, "He'll be there." The man asks if he understands that he's to stick to the list of approved questions. Hale says that they've made that quite clear. The man tells him that what might not have been clear is that in additional to the optical modifications they've made to him, they've added some security measures. Hale says ironically, "My, how you people hate to lose control." The man gestures towards an instrument panel and a second man turns a dial. As the needle on a gauge moves halfway towards the center, Hale gasps and throws back his head, his body rigid. He collapses into the chair when the current is shut off, perspiration beading his forehead. The first man tells him that's just a click on the dial; they can turn it up. Hale asks why they don't just kill him now. He's told that he's a traitor, but killing him now would be a disservice to the organization, at least while he has Mr. Veil's confidence. They expect he'll use it effectively. Hale says that it appears he doesn't have much choice. A refractor is moved in front of his face and the lenses rotate around his pupils.
A black-and-white image of a restaurant appears with a busboy carrying a bin of dirty dishes. As Tom appears through the doorway, a quiet whirring sound is heard as Hale looks in his direction. He stands and offers his hand when Tom nears his table, saying that it's a pleasure to meet him. When Tom sardonically says that he's sure he's made his day, he lowers his hand and says that in that case, perhaps he can help make his. Hale offers Tom a drink and three men watch the monochrome view from Hale's perspective on a large screen as Tom sullenly asks if there's something to toast. Hale says that depends on him. Tom tosses his bag on the bench; as he sits down, he says that he doesn't have the answers, Hale does. Hale tells him that he has more answers than he might think. He asks why this photograph is so important. Tom suggests that he tell him. Hale tells him that he intends to, but if he can't prod Tom's memory, he can't help him. He says he needs to know exactly what he recalls about the events surrounding this photograph. Tom argues that this is old news--they all know what happened there. Hale asks him to go over it for him, from the beginning. [One of the shadowy observers declares, "Gentlemen, we're about to find out just what we've been waiting for."]
Tom tells Hale that he had been on assignment in Nicaragua and was counting the days until he could go home. He turns at the sound of breaking glass, reminding him of the hotel bar where a younger Tom sat smoking, baseball cap turned backwards, as he watched a young waitress clear up the broken debris from a dropped tray. Tom recalls that there was a clean bed and a warm woman waiting for him back home; he was just twenty minutes away from being picked up and taken to the airport when he got a phone call from Harrison Barton, the local expatriate stringer for one of the national wire services. For the last two years, Barton had been holed up in the mountains somewhere in Chile. The word around the press corps was that he was better suited to fast women and fast living then he was to acquiring reliable news. A boisterously chummy voice tells Tom that he wants them to meet "mano a mano." Tom says he doesn't have time--he's going home. Barton points out that he hasn't had time for a national cover photo, either. He says that what he's got is going to blow the lid off every major newspaper and glossy in the States. He tells Tom that he's going to make the same mistake he did in Iraq and he left there a day early and a million dollars short. He tells Tom he can go get on that plane, but he's telling him that this is going to make Iran-Contra look like a bake-off. [Tom tells Hale that he thought about home and what was waiting for him, but Harrison was right: he needed a break. He needed a national cover.]
Tom recalls that the winter freeze still had a grip on the Andes, but Harrison lived on low ground. At his place it was perpetual summer. Tom's knock on the door of a white stucco house shaded by a large palm tree is answered by an attractive young woman. Harrison rises from the hammock where he reclines with a second young woman and crosses the room to give Tom a delighted embrace. Tom cuts off his friendly chatter by telling him that he's here; what's the scoop? He knows he didn't bring him down here to discuss the wife and family. Harrison epansively says that it took him five beers to get here, so don't shoot him down. Besides, they don't talk about the wife and family here, he adds as he buries his face playfully in Yolanda's midriff. She speaks to Harrison in Spanish, then hands Tom a bottle of beer with a friendly smile as she walks by him to leave the room. Harrison exclaims about the beautiful women down here and asks Tom if he's sampled the local menu. Tom replies curtly, "No thanks. I like to eat at home." Harrison tells him he's missing out on something; the girls here don't know what to do for you next. He holds out a small mirror coated with a white powder and says, "Speaking of the local menu, pick-me-up?" Tom tells him that the motor's running; he should say what he has to say. Harrison says he's a lot of laughs and drops the mirror on the table. He asks what Tom would say it he were to tell him that the United States army is engaging in illegal warfare against the local guerrillas. Tom responds that he would say that he's had one pick-me-up too many. He argues that it any US troops were down here, someone would know about it. Harrison exclaims that someone does know about it, one of his contacts. Tom asks doubtfully who his contacts are. Harrison demurs, stating that the first rule of journalism is that you protect your sources. Tom puts down his beer, saying "It's been real" as he heads for the door. Harrison says that there's a second rule of journalism: the hell with the first.
A woman in garters and black stockings walks up the stairs of a smoke-filled brothel holding the hand of a young man. Harrison knocks on a door at the top of the stairs. Tom dubiously asks if this is his contact. Harrison says that she may not be the mayor's wife, but she's very reliable. Tom asks, "At what?" After a man comes out, Harrison enters the room, whispering Angela's name. She exclaims, "No, I told you, no more! Go away!" Harrison tells her she has him all wrong this time; he has money. He asks Tom if he has a few extra bucks--he's a little short. Tom sorts through a handful of bills with exasperation before handing them to Angela. Her eyes light up when she sees the money and she tells him in Spanish that it's his money, his pleasure. Tom tries to explain to her "No" and Harrison intercedes. He asks her to tell Tom about the tattoo. She pulls her dress away from one shoulder, revealing a tattoo of an eagle. She asks if he likes it and tells him that it's just like Harry's. She says that Harry is an American soldier. Tom asks if she means a soldier from the United States Army. She asks if there's another kind and says that Harry is a G.I . boy. She tells him that Harry said not to worry, that the American army is here to kill the rebels and end the war. Harrison says that Harry also told her that they had a base camp in the valley just a little south from here; he tried to smuggle Angela in a for a little on-campus R&R. When he sees Tom's skepticism, he insists that Angela's not making this up. He tells her to show Tom what she got from Harry. Tom rolls his eyes as she takes his hand with a knowing smile and guides his fingers between her cleavage to pull out a set of dog tags dangling from the chain she wears around her neck. Harrison says they're US army dog tags but mockingly points out that there's no US military activity down here.
Thunder rumbles as Tom and Harrison travel by jeep down a forest road. Tom says they've been driving around for three hours--there's nothing out here. Harrison tells him that according to Angela's map, the base camp's right behind this hill. Tom takes a photograph of a woman wrapped in a red shawl, cradling the head of a motionless man along the side of the road. Harrison comments that somebody's always killing somebody in this country. Tom points out that it doesn't seem to send him home packing. Harrison says it's a small price to pay for life here. He asks if he knows what twenty bucks buys you down here. Tom says dryly that he's noticed, but Harrison says that he's not talking about the girls; he's talking about the homes, the land, everything. Bursts of gunfire suddenly hit the front of the jeep. Harrison stops the jeep. Young men run out of the underbrush, brandishing rifles that they point at the two Americans. Harrison laughs nervously and speaks to them in Spanish, pointing at Tom. Tom anxiously asks what he's talking about. Their leader smacks the barrel of his rifle against his palm and yells something at Tom. Harrison explains that they want him to get him out of the car. Tom says he's going to be really annoyed if he goes home in a box. Arms raised high, he's guided to the center of the clearing where the leader points his weapon at him and shouts something at Harrison, who gets out of the jeep holding a camera. The grinning leader turns Tom to face Harrison, the other four rebels gathering around them. Tom awkwardly holds his hands halfway up as Harrison smiles and says, "Now, that's a picture." The leader puts his hand on Tom's shoulder and smiles encouragingly as Harrison takes several pictures in succession with the instamatic camera. Tom forces a smile as he lowers his hands. He leans over and takes a deep breath while the rebels run to Harrison and happily collect the photos. The leader calls Tom "amigo" and shakes his upraised fist, shouting "Rock on, dude!" before disappearing into the forest. Tom tells Barton that he's almost afraid to ask him what the hell he thought he was doing. Harrison says that he told them Tom was Jim Morrison; they're big rock fans. Tom angrily points out that Morrison's been dead for twenty years. Harrison blithely says, "Hell, the things you miss out on down here. Anyway, they didn't know that." He suggests they get out of here. [Hale comments that Tom must have been desperate to continue traveling with the man. Tom tells him that it's like he said, he needed the cover.]
As they continue to follow the rutted forest road, Tom complains that he has to ask himself why he even took Harrison's call, then why he actually showed up. After fours hours of sitting in this jeep, he's decided that the answer is because he's an idiot. Harrison hands him the map and tells him to see if he can make heads or tails out of it; Angela's an artist, but not when it comes to making maps. Tom asks incredulously if that's what he's been going by. Harrison tells him it's all they've got. Tom tosses down the map in disgust and starts to open the door of the jeep. When Harrison points out that he's not going to find any fast food out there, he tells him he's going to relieve himself, which he should have done earlier and taken the plane out of here. Harrison grows increasingly nervous as he sits alone in the jeep and finally gets out, calling Tom's name. The wind whistling through the trees is his only answer. He scans the brushy hillside dotted with snow, then starts through the woods searching for him. He jumps at Tom's hand on his shoulder, complaining, "You trying to end this beautiful life I'm living?" Tom motions for him to be quiet, telling him that there's something coming down the road over there. Stepping over fallen branches, they make their way to a rise where they can see a Humvee leading two army trucks along a muddy road. Harrison excited says, "What did I tell you, pal? When was the last time you saw regular army driving a Humvee down here? If that's not US Army, I'll give up drinking on the spot!" [The first observer comments that his memory appears to be intact. A second one says that's assuming he trusts Hale enough to tell him the truth. The first man declares that they can only hope that from Mr. Veil's point of view, there is only one truth.]
Tom takes photographs as the gate of a pick-up truck is lowered, revealing stacks of glassine bags filled with a white substance. He asks what the hell they're doing. Harrison questions whether Tom thinks he'd be out in the middle of nowhere alone with him drinking water if he knew the answer to that, but says that his best guess is cocaine. Tom asks skeptically, "The US Army transporting cocaine?" Harrison is surprised at his naivet; if the US Army's down here conducting illegal operations, how the hell does Tom think they're funding them? He says they don't take Mastercard in the bush. He struggles with the cap of a medicine bottle. Tom asks for a couple of them and after a surprised Harrison hands him the bottle, tosses out the contents. Harrison watches the pills disappear among the tree roots and asks sarcastically, "You don't like prescription drugs either, huh?" Tom tells him that what he does on his own time is his deal, but when he's out here with him, he wants him to have his head on straight; he might actually need his help. He continues to take photos as the last bags are passed along a line of soldiers and loaded into one of the army trucks. As the soldiers climb in their vehicles, the man in the passenger seat of the Humvee shakes the ash from his cigar out the window.
Tom and Harrison follow the small convoy, mystified as to what could be out here. Tom says that it's nowhere near what Angela drew on her map. The trucks pull to a stop at what appears to be a dead end. Tom and Harrison watch as a soldier drags a fallen pine tree out of the way, allowing the trucks to pass through. Harrison wonders if it's a road to a secret army base. When the tree is dragged back across the lane, Tom says they'll have to go the rest of the way on foot. Harrison says sarcastically, "Oh, a walk through the woods without chemical stimulation? I should have brought my mother along. She'd have been more understanding."
The vehicles are parked near a solitary tent in the midst of the pine forest. Harrison remarks that they can scrap idea one--this is no army base. Tom says that if Harrison's right about the drugs, it could be a factory. Tom photographs the soldiers carrying stacks of the bags into the tent. He suggests they cut around the back. As he starts through the brush, he says that if the US Army has gotten itself into the drug business, this is going to be one hell of a story. Suddenly realizing that Harrison isn't following him, he circles around, uneasily calling his name. With a shout of "Manos arriba!" (hands high), a dark-haired man in a tan jacket brandishes an automatic weapon at him. Tom raises his hands and says "No comprende" as the man continues to shout at him in Spanish and shoves him around to face the other direction. The man abruptly falls to the ground, hit over the head by Harrison, who sarcastically tells Tom that he just loves hearing him speak in foreign tongues. They drag the man out of sight, then move along the side of the tent to a point where Tom pulls the flaps slightly open to peer inside. Women of all ages sit at rows of treadle sewing machines, stitching away by lantern-light. He looks closely at the cloth in the machine of a woman wearing a red poncho and high-crowned felt hat---the band she attaches to the camouflage-pattern material reads U.S. Army. They can hear shouts of "Come on! Let's go!" and move to where they can see young men in civilian clothes jump out of the back of another truck. Two women carry piles of uniforms out of the tent. Sergeant Rock tells them they will put them on and they will wear them proudly. He says he knows they have been kept in the dark since they left the States. He also knows they came here expecting some action. He says that they're going to get that action. He concludes, "Gentlemen, welcome to the US Army." [Hale comments that Tom's not one for turning back. Tom explains that someone was working hard to create the impression that the US military was operating in Chile They didn't know why yet, but they knew it was big.] Tom tells Harrison that this is going to be like wrestling an alligator--either you win or you die. Harrison glances at two recruits off by themselves having a smoke after changing clothes and comments that he always thought Tom would look good in a uniform.
Sergeant Rock calls the roll as the soldiers get in the truck. There's no response when he gets to Holcombe. He calls the name again, and Tom quietly tells Harrison that he looks more like a Holcombe. Harrison says "Yeah, right" then snaps off a "Present, Sergeant!" as he tosses his bag in the truck and climbs in after it. The Sergeant barks that they'll leave him behind the next time. When only two men are left, Rock calls the name De Angelo. Tom looks around him briefly, then when the other man doesn't respond, calls "Here!" and climbs into the truck. The truck moves slowly through the woods, its engine straining. Rock looks them over and strikes up a conversation with Harrison. He comments that he looks a little old for this work. Harrison says he was a lot younger before he got here. Amidst the laughter, Rock tells him he's got that right--wait until he's been here a few months.
The army camp is a busy place, teaming with men dressed in camouflage fatigues. Rock tells them that Sergeant Dirksen has their bunk assignments. They're to prepare their bunks and be ready for inspection in one hour. Dirksen leads them towards a row of tents near a quonset hut. Tom asks Harrison if he has any thoughts as to who the hell there people are. Harrison replies that whoever they are, they aren't US military. Tom points out that somebody's going to an awful lot of trouble to make it look like they are. At the sight of two large satellite dishes next to the hut, Harrison exclaims that they're not trying to check out Oprah with those puppies. Tom says that it looks like long-range communications equipment. Harrison remarks that he'd sure like to know where they're getting their orders from; it looks like one of them is going to have to get their sad butt in there. Tom laughs and says, "Hey, I'm just the photographer. OK, Scoop?" Dirksen yells for them to keep it quiet back there. Harrison replies briskly, "Yes, Sergeant! Sorry, Sergeant! We're all chatted out, Sergeant!" Dirksen orders them to keep it that way.
Harrison walks through the compound where uniformed men toss a baseball and chat, and asks Tom to take a walk with him. He shows him a pair of lieutenant's bars. When Tom asks where he got them, he sarcastically tells him he was finishing a box of Wheaties and there they were. Harrison tells him that he'll decoy the nancies out front, but Tom has to go in there. Tom asks, "What, did I miss the vote?" Harrison says there is no vote; whatever they find in there is going to be something they need pictures of. He approaches the two privates guarding the hut and barks, "Ten-hut." They snap to attention at the sight of the bars on his collar. He begins by affably telling one soldier, "Looking good there, soldier" but then tells the other one that he looks like he's put on a little weight. He impresses on the first private his duty to keep his friend from "going to hell like this." Harrison suggests he could take him for a few laps around the camp to help him take off the spare tire he's carrying. The private answers, "Yes, sir" but tells him that they've been ordered to guard the building. Harrison stands inches away from the second private and asks if he can see these bars and if he understands that Sergeant Rock can see these bars. He says he's sure that Rock will understand that he gave them an order to move out. The soldiers leave the building at a trot.
Harrison motions Tom through the open door and says that for his sake, he hopes they're slow. The room behind an inner door is sparsely furnished with several tables and maps mounted on a pair of easels and the wall. [Hale asks if he had any idea of what he was walking into. Tom tells him that he had no idea what he expected to find in there, but even if he had, it wouldn't have been what he found: maps. He says that it appeared that whoever these people were, they had a very tight communications network in place. Who was the question that still needed to be answered--what he was beginning to find out was where.] The maps he photographs are marked with circled red dots connected by a series of arrows. Outside in the camp, Rock and Dirksen step out of a tent and wonder what's going on when they see the two privates jogging around the camp perimeter. Tom photographs a map of the western hemisphere, centering on a circled island in the Caribbean. Harrison watches from the front window as the two privates stop running and salute the sergeants. He opens the door to the other room and tells Tom that he needs him. He asks if he got it. Tom tells him he did and that he's not going to believe it. Harrison agrees with alacrity when Tom suggests they get out of there.
They run along the side of the tent and into the woods. When they stop, Tom smokes a cigarette, drawing deep drafts of smoke into his lungs as Barton gasps for breath and asks if he's going to tell him what he found back there or has he turned into his personal aerobics instructor. Tom asks what he knows about St. Kitts. Harrison responds that it's an island in the Caribbean and asks why. Tom says that from everything he could see back there, St. Kitts is the brain center of this operation. He tells him to think about it: it's close to the US mainland and it's pretty easy in or out of there from either side of the Atlantic. Harrison exclaims that this is a story--wherever the hell it ends up taking them, this is one hell of a story. The officer leading the soldiers appearing through the trees tells him that he doesn't think it's going to take them very much further. He grabs Barton by the collar and asks who the hell he is. Harrison quips, "Funny, that was the next question I was going to ask you." The corporal knees him in the groin. Gasping as he kneels on the ground, Harrison ask if he can quote him. The corporal says "No" and holds his pistol at arm's length as he shoots him. He asks the stunned Tom if he wants to take a crack at the same question. Tom resolutely replies, "Sure. How many guesses do I get?" A single shot rings out and the officer falls face down. Automatic weapons fire drops several of the soldiers, including Rock. Guerrillas run into the clearing, one of them pointing his rifle at Tom, who lies facedown on the ground. He's pulled to his feet and led from the clearing, his hands above his head.
Inside a tin shed, Tom sits with his hands tied behind him, shaking as he tries to convince the guerrilla leader that he's telling him the truth--he's an American journalist, a photographer. He tells him to look inside his bag and check his credentials. The guerrilla opens his wallet and pronounces his name as Thomas J. Veel. He asks which paper he works for. Tom stumbles over the word freelance, telling him that he was down here working with a friend. The guerrilla says that they have many American friends down here and Tom's friends are killing his friends. Tom insists that those men are not from the US army. The guerrilla slaps him and asks if he thinks they're stupid. Tom desperately says that he doesn't think they're stupid; he thinks that whoever those people are, they're doing a good job of making it look they're US Army. The guerrilla crosses his arms and says that many of them have lost their families to these people; even if what he says are true, they are still Americans. He shouts that Tom is an American--why should he believe him? Tom's tells him that they just executed a friend of his and were about to kill him; does he think those people are his friends? The guerrilla holds Tom's camera in front of his face and asks if he has photographs of these men. He asks what he will do with these photographs. Tom vows that if he'll let him out of here, he'll publish them; he'll get the story to every paper in the States. The guerrilla speaks to one of his men, angrily repeating the order when the man apparently argues with him. The man approaches Tom, who shakes violently when a knife is held across his throat. The man steps behind him and grabs his shoulder as he cuts the rope binding Tom's wrists. Tom asks for a cigarette but his trembling hands can't work the lighter. The guerrilla leader lights the waving cigarette. Tom asks him what these people are doing down here. The guerrilla asks, "You mean besides killing our families?" He says that they have bought off their government. Tom asks what they want. The guerrilla asks, "What does anybody want? Power. Control." He tells Tom they're stealing their land, taking over their farms; there's much coca down here, something they are happy to finally rid themselves of, but not this way. He hands Tom the camera and says that if what he told them here is true, this will be proof. His men will take him in to town; from there he can find transportation to where he needs to go. If he publishes his pictures, he will have done them all a great justice. Tom turns at the door, his face haggard, and thanks him. The guerrilla tells him that he killed some soldiers and in the process he saved his life--he was only trying to kill the soldiers.
As Tom walks away from the shed with one of the guerrillas, he is thrown to the ground by an explosion directly in front of him. Tom runs for cover as soldiers pour down the wooded hillside towards the shack. The four remaining guerrillas run out the door of the building, but are surrounded and outnumbered. Their leader motions for them to surrender their weapons. Rock orders the soldiers to move them down to the truck. [Tom tells Hale that he didn't know whether to just get out of the country or follow them. Hale says it seems he knows him better than he knows himself--he followed them, of course}
Two young women in colorful dress run across a clearing bordered by shacks as the truck stops and the captives are herded out. Tom watches as ropes are thrown over the crossbeam of a crude gallows. A man pleading with the soldiers is shot. Villagers run towards the clearing, babies crying and women wailing as the hands of the four men are bound and burlap hoods lowered over their heads. An eagle with outspread wings is tattooed on the biceps of the soldier tying the hands of the guerrilla leader. The Humvee pulls into the clearing. Two peasants are thrown to their knees beneath the scaffold, while the two young women cling to each other as nooses are placed around the victims' necks. One by one, wooden boxes and benches are kicked from beneath the men's feet. From cover, Tom photographs the tableau: a man standing in the open door of the Humvee watching as four hooded bodies swing beneath the beam.
Hale asks if that's everything as he remembers it. Tom says that's everything that happened. He explains that after he took the photograph, he got back to town and made his way out of the country. Hale asks if he really believes everything he just told him. [The first observer exclaims angrily, "What the hell is he doing?"] Tom irritably asks, "What do you mean, do I believe it? It's the truth. That's what happened." He asks if Hale is going to tell him what this is all about. Hales says calmly, "They caught me, Tom. They're going to kill me." [The observer shouts, "Stop him!" One of his subordinates walks towards the button on the control panel.] Hale presses his hand to his head, shouting with pain, and tells Tom that everything he remembers isn't real--it never happened. Hale fights a new spasm as the unseen button is pressed again, dishes shattering when he pulls the table with him as he falls to the floor. He manages to tell Tom "Exit 28 off Interstate 8." He throws his head back at a new attack, gasping "None of it is true, Tom. It never happened." The other diners watch passively as he thrashes on the floor. With a final effort, he says wearily, "Oh, the hell with all of you." The screen goes black in front of the three watchers.
Tom leaves the interstate at Exit 28 and parks along the side of the road. Muted traffic noise can be heard as he walks down a hill through the forest to reach a clearing. He walks past a false-fronted shack and a wooden box leaning against a scaffold, remembering ropes being thrown over the crossbeam. The rustling wind sustains a baby's cry as he stands beneath the gallows, seeing once more every detail of the execution. The picture pulls back past the edge of the forest to reveal the Washington and Lincoln monuments overlooking the clearing.
Synopsis © 1996 Marge Brashier
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Used by permission.
March 5, 1996