While Vanessa is at work, I run a few errands around Richmond. At one store, I spend $70 on a cheap prepaid cell phone with one hundred minutes of call time, and at another I buy the identical phone and plan for $68. I'll give one phone to Vanessa and keep the other. At a pharmacy, I load up on prepaid credit cards. I have an appointment with a man who owns a camera shop and calls himself a videographer, but his fee is too high. If I'm lucky and get an interview, I'll need two people - a cameraman and a gofer. This guy says he works with a full crew or doesn't work at all.

Vanessa and I have a sandwich for lunch in a deli not far from her office. For dinner, we go to a bistro in the Carytown section of Richmond. Our after-dinner routine is remarkably, and wonderfully, similar to the night before, and in the same hotel room. This could be habit forming. Our plans for the third night, though, are derailed when her son calls. He's passing through town and needs a place to stay. She figures he'll need some money too.

We're finishing dinner when the cell phone in my pocket vibrates. The caller ID says "Unknown," but then all calls to this phone are unknown. Expecting big news, I say to Vanessa, "Excuse me," and step away from the table. In the foyer of the restaurant, I answer the phone.

A vaguely familiar voice says, "Mr. Reed Baldwin, this is Nathan Cooley. I got your letter."

I tell myself to speak slowly and deeply. "Yes, Mr. Cooley, thanks for the call." Of course he got my letter - how else would he have my phone number?

"When do you want to talk?" he asks.

"Anytime. I'm in Washington right now and we finished filming today. I have some downtime, so right now is perfect. What about you?"

"I'm not going anywhere. How did you find me?"

"The Internet. It's hard to hide these days."

"I guess so. I usually sleep late, then work at the bar from about two until midnight."

"How about lunch tomorrow?" I say, a bit too eagerly. "Just the two of us, no cameras or recorders or stuff like that. I'm buying."

A pause, and I hold my breath. "Okay, I guess. Where?"

"It's your neck of the woods, Mr. Cooley. You pick the time and place. I'll be there."

"Okay, at the Radford exit off Interstate 81 there is a place called Spanky's. I'll meet you there at noon tomorrow."

"I'll be there."

"How will I recognize you?" he asks, and I almost drop my phone. Recognition is a far greater issue than he'll ever realize. I have subjected myself to surgery that radically altered my face. I shave my head every other day and my beard once a week. I have starved off twenty pounds. I wear fake tortoiseshell glasses with round red frames, along with black T-shirts, fake Armani sport coats, and canvas sandals one would find only in Miami or L.A. I have a different name. I have a different voice and delivery.

And this entire charade has been carefully put together not to mislead the people who want to follow me or kill me but to conceal my real identity from you, Mr. Nathan Cooley.

I say, "I'm six feet tall, black, thin, a slick head, and I'll be wearing a white straw hat, Panama style."

"You're black?" he blurts.

"Yep. Is that a problem?"

"No. See you tomorrow."

I return to the table where Vanessa is waiting anxiously. I say softly, "It's Cooley. We're meeting tomorrow."

She smiles and says, "Go for it." We finish dinner and reluctantly say good-bye. We kiss outside the restaurant and act like a couple of teenagers. I think about her all the way to Roanoke.

I arrive fifteen minutes early and park so that I can watch the vehicles as they turn in to the Spanky's lot. The first thing I'll see is his car, or truck, and this will reveal a lot. Six months ago he was in prison, where he had served a little over five years. He has no father, an alcoholic mother, and no education past the tenth grade, so his choice of vehicle will be interesting. As we talk, my plans are to make a mental note of everything I can possibly see - clothing, jewelry, watch, cell phone.

The traffic picks up as the lunch crowd rolls in. At 12:03, a sparkling-new silver Chevrolet Silverado half-ton pickup arrives, and I suspect it's Nathan Cooley. It is, and he parks on the other side of the lot. He glances around nervously as he walks to the front entrance.

It's been four years since I've seen him, and he appears to have changed little. Same weight, same blond shaggy hair, though he once shaved his head in prison. He looks twice at the Florida tags on my car, then goes inside. I take a deep breath, put the Panama hat on my head, and walk to the door. Be cool, you idiot, I mumble to myself as my bowels flip. This will take a steady hand and nerves of steel.

We meet inside the front foyer and exchange pleasantries. I remove the hat as we follow the hostess to a booth in the rear. Across the table, we face each other and talk about the weather. For a moment, I'm almost overwhelmed by my ruse. Nathan is talking to a stranger, while I'm talking to a kid I once knew quite well. He doesn't seem at all suspicious: no staring at my eyes or nose; no squinting, or raised eyebrows, or distant glances as he listens to my voice. And, thankfully, no "You kinda remind me of a guy I once knew." Nothing, so far.

I tell the waitress I really want a beer, a tall draft, and Nathan hesitates before saying, "The same." The success of this long-shot mission could well depend on alcohol. Nathan was raised in a culture of hard drinking and meth addiction. Then he spent five years in prison, clean and sober. I'm assuming he's back to his old habits now that he's out. The fact that he owns his own bar is a good indication.

For a hillbilly who was never taught how to dress, he looks okay. Washed jeans, a Coors Light golf shirt some salesman left at the bar, and combat boots. There is no jewelry and no watch, but he does have an incredibly ugly prison tattoo inside his left forearm. In short, Nathan is not flashing around money with his appearance.

The beer arrives and we tap glasses. "Tell me about this film," he says.

Out of habit, I nod, pause, tell myself to speak slowly, clearly, and as deeply as possible. "I've been making documentaries for ten years now, and this is the most exciting project I've seen."

"Look, Mr. Baldwin, what is a documentary film exactly? I watch some movies and all, but I don't think I've seen too many documentaries."

"Sure. They're typically small, independently produced films that you don't see in the big movie houses. They're not commercial. They're about real people, real problems, real issues, no big movie stars and all that. Really good stuff. The best win awards at film festivals and get some attention, but they're never going to make a lot of money. My company specializes in films that deal with the abuse of power, primarily by the federal government, but also by big corporations." I take a sip, tell myself to go slow. "Most are about an hour long. This one might run for ninety minutes, but we'll decide that later."

The waitress is back. I order a chicken sandwich, and Nathan wants a basket of wings.

"How'd you get into the bar business?" I ask.

He takes a gulp, smiles, says, "A friend. The guy who owned the bar was going under, not from the bar, but from other properties. Recession got him, I think. So he was trying to unload Bombay's. He was looking for some fool to take the deed and assume the debts, and I said what the hell. I'm only thirty, no job, no prospects, why not take a chance? So far, though, I'm making money. It's kinda fun. Lots of college girls hanging around."

"You're not married?"

"No. Don't know how much you know about me, Mr. Baldwin, but I just finished a five-year prison sentence. Thanks to the federal government, I ain't had too many dates recently; just now getting back in the game. Know what I mean?"

"Sure. The prison time arose out of the same incident in which your brother was killed, right?"

"You got it. I pled guilty and went away for five. My cousin is still in prison, Big Sandy over in Kentucky, a bad place. Most of my cousins are either locked up or dead. That's one reason I moved to Radford, Mr. Baldwin, to get away from the drug business."

"I see. Please call me Reed. My father is Mr. Baldwin."

"Okay. And I'm Nathan, or Nate." We tap glasses again as if we're suddenly much closer. In prison we called him Nattie.

"Tell me about your film company," he says. I anticipated this, but it is still shaky ground.

I take a gulp and swallow slowly. "Skelter is a new company based in Miami, just me and two partners, plus a staff. For years I worked for a bigger production company in L.A., an outfit called Cove Creek Films, you may have heard of it." He has not. He just glanced at the rear end of a shapely young waitress. "Anyway, Cove Creek has won a ton of awards and made decent money in this business, but last year it blew up. Big fight over creative control and which projects to do next. We're still in the middle of some nasty litigation that looks like it will drag on for years. There's an injunction in federal court in L.A. that prohibits me from even talking about Cove Creek or the lawsuit, pretty crazy, huh?" To my relief, Nathan is rapidly losing interest in my film company and its problems.

"Why are you based in Miami?"

"I went there a few years ago working on a film about bogus government defense contractors and fell in love with the place. I live on South Beach. Ever been there?"

"No." Except for the trips arranged by the U.S. Marshals Service, Nathan has never ventured more than two hundred miles from Willow Gap.

"It's a happening place. Beautiful beaches, gorgeous girls, wild nightlife. I got a divorce four years ago and I'm enjoying the single life again. I spend about half the year there. The other half, I'm on the road filming."

"How do you film a documentary?" he asks, then knocks back some beer.

"It's far different from a feature film. It's usually just me and a cameraman, maybe a technician or two. The story is the important part, not the scenery or the actor's face."

"And you want to film me?"

"Absolutely. You, maybe your mother, maybe other members of the family. I want to go to the place where your brother was killed. What I'm after here, Nathan, is the truth. I'm onto something, something that could really be big. If I can prove the DEA systematically knocks off drug dealers, that they murder them in cold blood, then we might be able to bust these sumbitches. My nephew was breaking bad, getting deeper into the crack trade, but he was not a hard-core dealer. Stupid, yes, but not dangerous. He was seventeen and unarmed, and he was shot three times from point-blank range. A stolen pistol was left at the scene, and the DEA claims it belonged to him. They're a bunch of liars."

Nathan's face slowly contorts into anger and he looks as if he wants to spit.

I press on: "The film will be the story of three, maybe four of these murders. I'm not sure if my nephew's will be included because I'm the filmmaker. Maybe I'm too close to his death. I've already filmed the story of Jose Alvarez in Amarillo, Texas, a nineteen-year-old undocumented worker who was shot fourteen times by DEA agents. Problem is, no one in his family speaks English and there's not much sympathy for illegal immigrants. I've filmed the story of Tyler Marshak, a college boy in California who was peddling marijuana. The DEA broke into his dorm room like a bunch of Gestapo goons and shot him dead in his bed. You may have read about it." He has not. The Nathan Cooley I knew played video games hours a day and never looked at a newspaper or magazine. Nor does he have the innate curiosity to check out either Skelter Films or Cove Creek.

"Anyway, I have some great footage of the dorm room, the autopsy, and statements from his family, but they're currently tied up in a lawsuit against the DEA. I may not be able to use this."

Lunch arrives and we order more beer. Nathan rips chicken off the bone and wipes his mouth with a napkin. "Why are you so interested in my brother's case?"

"Let's say I'm curious. I don't know all the facts yet. I would like to hear your version of what happened and walk through the drug bust at the scene. My lawyers have filed Freedom of Information applications to get the DEA records and also the court file. We'll plow through the paperwork, but there's a good chance the DEA has covered up everything. That's what they typically do. We will slowly piece things together, and at the same time we'll see how you and your family look on camera. The camera doesn't like everyone, Nathan."

He says, "I doubt if the camera likes my mother."

"We'll see."

"Not so sure about that. She probably won't do it. You mention anything about Gene's death and she falls all to pieces." He licks his fingers and selects another wing.

"Perfect. That's what I want to capture on film."

"What's the time frame here? What are we looking at?"

I take a bite of my sandwich and chew for a while as I ponder. "Maybe a year. I'd like to finish all the filming within the next six months, then have that much time to cut, splice, edit, maybe reshoot some stuff. You can tinker with these things forever and it's hard to let go. As far as you're concerned, I would like to shoot some initial footage, maybe three or four hours, and send that to my producers and editors in Miami. Let them see you, hear you, get a feel for the story and your ability to tell it. If we all agree, then we'll keep shooting."

"What's in it for me?"

"Nothing, other than the truth and exposing the men who killed your brother. Think about it, Nathan. Wouldn't you love to see these bastards charged with murder and put on trial?"

"Damned right I would."

I lean in fiercely, my eyes on fire. "Then do it, Nathan. Tell me his story. You have nothing to lose and a lot to gain. Tell me about the drug trade, how it wrecked your family, how Gene got caught up in it, how it was simply a way of life in these parts, there were no other jobs. You don't have to name names - I don't want to get anyone in trouble." I take a sip and finish off my second beer. "Where was Gene the last time you saw him?"

"Lying on the ground, hands behind his back, getting handcuffed. Not a single shot had been fired by anyone. The deal was gone, the bust was over. I was handcuffed and led away, then I heard gunshots. They said Gene tripped an agent and sprinted into the woods. Bullshit. They killed him in cold blood."

"You gotta tell me this story, Nathan. You gotta take me back to the scene and reenact it. The world needs to know what the federal government is doing in its war on drugs. It's taking no prisoners."

He takes a deep breath to let the moment pass. I'm talking too much, and too fast, so I spend a few minutes with my sandwich. The waitress asks if we want another round. "Yes, please, for me," I say, and Nathan quickly follows. He finishes off a wing, licks his fingers, and says, "My family is causing problems right now. That's why I moved away and came to Radford."

I shrug as if this is his problem, not mine, but I'm not surprised. I ask, "If you cooperate, and the rest of your family does not, will that cause more trouble?"

He laughs and says, "Trouble is the norm with the Cooleys. We are notorious for feuding."

"Let's do this. Let's sign a one-page agreement, already prepared by my lawyers and in English so plain you don't need to hire your own lawyers unless you enjoy pissing away money, and the agreement will state that you, Nathan Cooley, will cooperate fully in the making of this documentary film. In return, you'll be paid a fee of $8,000, which is the minimum required of actors in these projects. From time to time, or whenever you want, you can review the film in progress, and - and this is crucial - if you don't like what you see, you can walk and I cannot use any of your footage. That's a pretty fair deal, Nathan."

He nods as he searches for loopholes, but Nathan is not the type to analyze things quickly. Plus, the alcohol is urging him on. I suspect he's drooling over the word "actor."

"Eight thousand dollars?" he repeats.

"Yes, as I said, these are low-budget films. Nobody will make a lot of money."

The interesting point here is that I mentioned money before he did. I sweeten the deal by adding, "Plus, you'll get a small piece of the back end."

A piece of the back end. Nathan is probably thinking of something else.

"That means that you'll get a few bucks if the movie sells some tickets, but don't expect it," I say. "You're not doing this for the money, Nathan. You're doing it for your brother."

The plate in front of him is littered with bones. The waitress brings our third round and removes the scraps. It's important to keep him talking because I don't want him thinking.

"What kind of guy was Gene?" I ask.

He shakes his head and looks as if he might cry. "My big brother, you know. Our dad disappeared when we were small. Just me and Gene." He narrates a few stories about their childhood, funny stories about two kids trying to survive. We finish our third beers, order another round, but vow to stop after that.

At ten the following morning, Nathan and I meet at a coffee shop in Radford. He looks over the contract, asks a few questions, and signs it. I sign as the vice president of Skelter Films and hand over a check for $8,000 drawn on a company bank account in Miami.

"When do we start?" he asks.

"Well, Nathan, I'm here and I'm not leaving. The sooner, the better. What about tomorrow morning?"

"Sure. Where?"

"I've been thinking about that. We're in southwest Virginia, where mountains are important. In fact, the land here has a lot to do with the story. The remoteness of the mountains and so on. I think I'd like to be outdoors, at first anyway. We can always move around. Do you live in town or in the country?"

"I'm renting a place just outside town. From the backyard, there's a nice view of some hills."

"Let's take a look. I'll be there at ten in the morning with a small crew and we'll check out the lighting."

"Okay. I talked to my mother and she says no way."

"Can I talk to her?"

"You can try, but she's pretty tough. She doesn't like the idea of you or anybody else making a movie about Gene and our family. She thinks you'll make us look like a bunch of ignorant mountain folk."

"Did you explain that you have the right to monitor the film as it progresses?"

"I tried to. She was drinking."

"Sorry."

"I'll see you in the morning."