duction team had traveled up and down the valley, and Kerney had learned a good

deal about the
lay of the lan
d. With that, a
nd what Julia had told him about the location of the
Harley homestead,

he felt fairly

certain he could find his way to the barn where he kept the van. He'd come out to the ranch tonight, try to take a closer look at the van, and then decide on a course of action if one was needed. They arrived at the copper smelter, the last stop of the day, right on schedule an hour before sunset. To the west the bare, blinding sand of the playas stretched like a ribbon on the desert floor, and the grim Animas Mountains sloped upward, craggy and inky black in long shadows th

• Identify Terrorist Targets.
• at masked the eastern slope. The warning
• beacon on the smokestack blinked faintly in the glaring light of
• a hot yellow sun, and the metal roofs of the smelter buildings
• reflected the sun's glow in shimmering waves.
• Usher and Johnny looked completely exhausted, a
• nd the remainder of the crew not much better.
• With bottled water in one hand and shooting scri
• pts in the other, they followed Usher as he walked t

o the area he

had chosen for the brawl between the cowboys and the cops. He stood on the rail spur near the ore delivery dock and explained what he wanted: cattle running loose among the ore cars, cowboys scattering as police cars careened over railroad tracks, vehicles overturning, cops on foot chasing mounted riders, cowboys roping cops-all of it to be filmed against the backdrop of the smelter and the mountains. Fortunately for Kerney, Julia had elected not to accompany the production crew to the smelter. Freed from her company he gave his full attention to learning more about the intricacies of motion picture making, which in this sequence included some major stunts. By nightfall the team had finished their work, except for C

harlie Zwic

Target Audience

k, who continued talking on his cell phone to the mining company's corporate attorney as he negotiated the details for using the smelter in the film. He was still on the phone, talking to somebody else about preparing a location lease agreement, when the weary crew wandered into the old mercantile store for a late dinner. Kerney had hoped to eat quickly and then get back out to the Granite Pass Ranch for a surreptitious look at Walter Shaw's panel van. But Susan Berman, the unit production manager, delayed his departure. She'd approached him at his table with a slightly worried look on her prett

y face, asked for a moment o
f his time, and explained tha

t the count

y sheriff, because of staff shortages, had turned d

Each jurisdiction scheduling a course must organize participants and supply other personnel and equipment support

own her r

• equest to do background checks on all the cast and crew members before actual filming got under way. Berman was a tiny, attractive brunette in her late
• thirties, no more than five two, with blue-gray eyes and a confident, businesslike demeanor. "Since nine-eleven we'

Co-requisites

ve become much more security minded," she said as she sat with Kerney, "and because Playas is now being used for antiterrorism training, we have to satisfy the

government that there ar

• e no criminals, insurgents, fanatics, or terrorists working on the film. Thank God, they haven't as yet told us to exclude hiring any bleeeding-heart, progressive Hollywood liberals. That would totally shut us down." Kerney laughed. "Whe
• A screen suitable for viewing at any angle by the entire class.
• n would you need the information?" "Aft
• er the cast, extras, and crew hiring has been done. About a week before we start a

ctual production." How many people?"

Over a hundred," Berman replied. "Get me names, so

• cial security numbers,
• and birth dates, and I'll, have my depar
• tment do a computer check for wants and warrants." Be
• rman smiled warmly. "That would be great. I'll fax the information to you in Santa Fe as soon as it's

complete. Did you have fun today?" Kerney nodded. "The complexity of making a movie seems staggering." Berman laughed. "This is the mellow part of putting a film together. Wait until the cameras start rolling.

" "How does Johnny figure into the filming?" Kerney asked. "His particip