ACT ONE FADE IN: 1 EXT. SALVAGE YARD - NIGHT A huge mountain of junked car bodies stacked like cord- wood against the sky. The ROAR of a truck as it swings out of a mass of wreckage, revealing ED BAIN. The truck is marked: STABER'S SALVAGE. 2 OMITTED 3 INT. PROBE CONTROL - CLOSE ON MONITOR watching a down angle view of a narrow walkway somewhere amid the tangled mass of wreckage at the salvage yard. A man, STABER, cautiously threads his way through the mountains of junk. Angle widens to include Cameron, Bianco. CAMERON (urgently; taut) We've come too far to blow it now, Bain. Remember, no heroics...! BAIN'S VOICE (sotto) You're not going to get any. EXT. SALVAGE YARD - FULL SHOT Probe Agent Ed Bain is poised above Staber, crouched low on a jutting car body, waiting to spring. Tense seconds as Staber takes another step, then hearing a NOISE, whips out a gun, looks up. 5 ACTION CUTS Staber FIRES. Bain leaps, hitting Staber in a flying tackle as they tumble to the ground. Locked in a death grip for the gun, they roll across the ground. Then, a MUFFLED SHOT -- and Staber goes limp. 6- 7 CLOSER Bain rolls out from under, reaches to check Staber's heart- beat. INTERCUT Control as HARRIS verifies it: HARRIS Trauma response on EKG. Vital signs weak, but still functioning -- (CONTINUED) 2. 6- 7 CONTINUED: BAIN (frowns) Staber's not going to be able to answer any questions for a while. CAMERON Ambulance on the way. We'll have to save the questions for the hospital. BAIN (wary glance around) That doesn't help me now. His partner's still around here somewhere. He reaches to pick up Staber's gun, rises. BIANCO Ed, the Police should be there within minutes. Let them handle Roman. BAIN Negative, Nick. It's a long way out here. Roman could be gone by the time the police arrive. NICK BIANCO starts out quickly. CAMERON (tautly) Where are you going? BIANCO (urgently) Ed and I've been through too many of these together. I'm not letting him go it alone. 8 EXT. SALVAGE YARD - ON BAIN Bain turns down the walkway, cautious, pausing at a blind corner to check the yard. We take a brief moment for a closer study. Bain is a senior agent, a competent, highly-trained man who doesn't take chances. He does his job efficiently, without flash or flair. 3. 9 HIS POV - ACROSS THE YARD A quick GLIMPSE of Staber's partner, ROMAN, stealthily darting from cover to cover, holding a gun ready. 10 BAIN His gaze shifts ahead of Roman, toward a small yard office where Roman's car is parked. Bain makes a decision, melts back. 11 ROMAN sweating it. He works his way to the rear of the office, flattens against the wall, looks around. Clear. He edges around a corner, moves toward the front. 12 FRONT OF OFFICE One last glance around, then Roman starts to bolt for the car. Suddenly, Bain is behind him, leveling a gun at his back as... quietly BAIN Two seconds, Roman... that's all the time you have to drop it. One... Roman stops dead in his tracks, instantly drops his gun, slowly turns. ROMAN Think I'M alone? BAIN Don't count on Staber. (gestures O.S.) He's already taken care of. That leaves just you and Ellis. ROMAN Never heard of him. BAIN Sure, you remember, Roman... your third partner... the one who helped haul away twelve hundred pounds of raw gold bullion from the Larabee armored truck robbery. ROMAN I wouldn't know. I don't read the papers. (CONTINUED) 4. 12. CONTINUED: BAIN You should. A million-dollar hit makes big headlines... all the way to Europe. Your boss must've promised a nice bonus. ROMAN Boss? What boss? BAIN Emmett Brugman... the one who pulled the strings for this job. Roman does not quite manage to cover his reaction at the mention of the name. He tries to shrug it aside. ROMAN I haven't heard from him since he was deported two years ago. BAIN The word is he's planning a big comeback. ROMAN I wouldn't know. BAIN Let me bring you up-to-date. Brugman wants to come back to this country and set up business at the old stand. That takes help from friends.., like you and Ellis. It also takes money... at least a million for starters. Now, I'll ask you just once: where's Ellis? Even facing Bain's gun, Roman seems strangely confident. A beat... he gives up fencing, offers Bain a metallic little smile as suddenly from the shadows, a tall, poli- shed deadly man steps forward. Unarmed, he is EMMETT BRUGMAN. BRUGMAN I don't think you're going to like the answer, Mr. Bain. Bain whirls to cover him. Shock, surprise erupts on Bain's face. (CONTINUED) 5. 12 CONTINUED: (2) BRUGMAN That's right, Mr. Bain. I'M already back in the country... Although I'M afraid on this occasion my visit will necessarily be very brief. As Bain's hand tightens on gun: BRUGMAN Don't you want to know why you're not going to like finding out where Mr. Ellis is, Mr. Bain? BAIN (warily; something's very wrong) I have something better than him, Brugman. You! BRUGMAN (light laugh) And Ellis has your wife and daughter. (at Bain's taut reaction) We knew you were on to us. So I bought a little insurance. You know... like in blackjack when the dealer has the ace... BAIN (tautly; concealing fear) It won't work, Brugman. Brugman smiles. Takes a step toward the office -- and the phone sitting on a work shelf at the window. BAIN (gun up; warning) Brugman! BRUGMAN (easily) I'M just going to call your home. (with contempt) Dealer! He lifts phone under Bain's cold, tense gaze -- Roman smiling, enjoying the show his boss is putting on. (CONTINUED) 6. 12 CONTINUED: (3) Brugman dials. A beat, then: BRUGMAN Mr. Ellis... Please put Mrs. Bain on. As Brugman hands Bain the phone: 13 INT. BAIN HOUSE - LIVING ROOM - TO INTERCUT - NIGHT ELLIS, a hard, cold, armed hood, hands a terrified LINDA BAIN the phone. Nearby a frightened eighteen year-old girl. This is TERRY, Bain's daughter. NOTE: She wears a locket around neck. LINDA Hello. (beat) Y-Yes, Ed... Terry's right here with me. Ellis' hand juts INTO FRAME, snatches the phone away from her. ELLIS They're both still alive, Bain. How long, depends on you... 14 INTERCUT PROBE CONTROL An urgent reaction: CAMERON (to Harris, James) Bain's house was supposed to be covered!! Get the police out there. Then I want to talk to Internal Security immediately! 15 BACK TO BAIN AND ROMAN Bain is stunned to hear Ellis' voice on the other end. Brugman and Roman watch his reaction, savoring it. BRUGMAN He's a little crazy... Better let me talk to him before he does something. Bain numbly offers him the phone. (CONTINUED) 7. 15 CONTINUED: BAIN (to Brugman) If anything happens to my wife and daughter, you won't have to worry about a trial. 16 INTERCUT - CAR IN TRAFFIC Nick Bianco drives, intently listening. CAMERON'S VOICE Bianco, are you monitoring? BIANCO I'M linked up. I'LL head for Bain's house... Ed, try and stall 'em. Keep talking as long as you can! During above speech Bianco whips his car into a wild turn. 17 BACK TO BAIN, ROMAN, BRUGMAN BRUGMAN (on the phone) Yeah... okay... but Staber bought it. (beat) No... he's still holding a gun on me...One moment, Mr. Ellis. (to Bain) A compromise, Mr. Bain... Back off, forget about my gold and me. Then I'll tell Ellis to let your wife and daughter go. BAIN Until I know they're safe, no deals! 18 OMITTED 19 INTERCUT BIANCO - NIGHT driving at high speed, listening. BRUGMAN'S VOICE Fine. Suppose I let Ellis allow them to walk out the door and stand in the yard where they can be seen. Then you can call a neighbor. If they're unharmed, then I'm free to leave the country until conditions are more suitable for my return. BIANCO Play it safe, Ed, whatever they want! All I need is a few minutes! 8. 20 EXT. SALVAGE YARD - WITH BAIN AND ROMAN - NIGHT The moment of truth. Bain still holds the phone, deliber- ating, under agonizing pressure. Brugman turns the screw: BRUGMAN You're risking your family, Mr. Bain... Don't you care about them? A beat... a terrible decision... then Bain slowly lowers his gun in defeat. Roman quickly moves in, grabs the gun, taking charge. ROMAN Like Mr. Brugman said, we covered ourselves BAIN (steeled; to Brugman) Now tell him! Tell him we have a deal! Brugman stalls a moment, watching Bain suffer. Then, into the phone: BRUGMAN Mr. Ellis, our business has been concluded. You may leave. But I suggest you take Mr. Bain's daughter along. We may find a hostage useful. 21 INTERCUT - BAIN HOME - NIGHT Ellis reaches to grab Terry's arm, pulling her to him. ELLIS (to Linda) She comes with me. LINDA NO! Linda lunges at Ellis like a tigress, fighting to protect her daughter. Startled, Ellis drops the phone. 22 BAIN, BRUGMAN AND ROMAN A bitter Bain, knowing he's been double-crossed, watches Brugman's reaction as he listens to the struggle on the other end of the line. (CONTINUED) 9. 22 CONTINUED: BRUGMAN (losing cool) Ellis?.. Ellis?! What's happening there?! The sudden, unmistakable SOUND OF A SHOT from the phone. Bain has also heard it. He stares at Brugman in a split second of stunned shock. A taut beat as Brugman lowers phone, then recovering his cool: BRUGMAN I wouldn't try anything foolish, Mr. Bain. Suddenly, with a wild savage grief-filled roar, Bain dives toward Brugman, ignoring in his rage, Roman. As Brugman sidesteps, Roman FIRES. Bain is hit in the arm, spins, falls. In far, far distance SOUND of police sirens. 23 BRUGMAN, ROMAN turn swiftly, move to Roman's car. ROAR away. 24- 25 CLOSE - BAIN sprawled on the ground, struggling to get up. Over this, the crosstalk of Probe Control on emergency procedure; HARRIS' VOICE Rapid pulse, shock reaction to injury! CAMERON'S VOICE How critical? MISS JAMES' VOICE Vital signs at trauma status, stabilizing! Blood loss potential: heavy! CAMERON'S VOICE Bain? Can you hear me? Bain?? Bain shakily gets to his feet, his bleeding arm hanging limply at his side. He's dazed, lost in his own anguish, blocking out all but one desperate concern: BAIN Linda... Terry... (CONTINUED) 10. 24- 25 CONTINUED: CAMERON Don't move, Bain... repeat... don't move! You're in shock and bleeding severely. Do you copy? Bain doesn't hear him, or the approaching SIRENS. His eyes glazed as he stumbles across the yard toward a parked truck. BAIN Got to... get home... help... them... 26 INTERCUT BIANCO IN HIS CAR - NIGHT racing through traffic. BIANCO Ed, do what Cam says!! I'M almost to your house. 27 BAIN Weak, disoriented, he ignores the voices, drags himself into the cab of the truck (marked Staber Salvage), starts the engine. SIRENS closer. BIANCO'S VOICE Ed?? Come in... Bain's face is a stony mask, intent now only in his mission to get home. He slams the truck in gear, veers out of the yard in a blind, careening run. WHIP PAN to approaching police car arriving too late to see Bain flee. CUT TO: 28 OMITTED 29 INT. BAIN'S HOUSE - LIVING ROOM - NIGHT The aftermath of tragedy. Lamps knocked over, draperies pulled down, obvious signs of a violent struggle. Bianco, grief on face, grimly watches as several ATTENDANTS carry Linda Bain's blanket-covered body out the door. Two POLICE OFFICERS are in b.g., going over the room for evidence. BIANCO (sotto to Control) Terry's gone. A neighbor saw her leave with a man who fits Ellis' description. (CONTINUED) 11. 29 CONTINUED: CAMERON'S VOICE What about Bain's wife? BIANCO (avoiding it) Check with you later... 30 INTERCUT - PICKUP TRUCK, STREET - NIGHT Bain is recklessly slashing his way through traffic at high speed, listening to the conversation between Bianco and Control. He cuts in, voice icily controlled. BAIN Finish your report, Nick. BIANCO Ed, where are you? 31 INTERCUT - PROBE CONTROL - NIGHT CAMERON (clicks off switch, a closed order) Position on Bain's scanner! Find him. HARRIS Homing in. Sector four-niner, heading south. CAMERON Pinpoint it! BAIN I'M waiting, Nick. Linda? BIANCO (stalling) I'LL meet you. Just tell me where... BAIN (snaps) No more double talk! Linda...? Bianco knows he can't stall his painful moment. (CONTINUED) 12. 31 CONTINUED: Bianco takes a beat, his voice softening as he tries to convey a deep personal sympathy. BIANCO I'M... sorry, Ed. There's nothing we could do. 32 SHOCK CUT - PICKUP TRUCK - LOW ANGLE FROM STREET - NIGHT as, suddenly, Bain slams on the brakes hard, skidding the truck into a violent, slewing stop. 33 CLOSE - BAIN hands gripped to the wheel, in shock, unable to absorb what he has just heard. BAIN There was supposed to be a twenty-four-hour security surveillance on my family... 34 INTERCUT PROBE CONTROL - NIGHT Cameron has no argument, nor does he want to offer one. He can only tell it like it is, which he does with helpless apology. CAMERON I won't lie to you, Ed... it was a foul-up. Security Division pulled off their men to cover a high-priority case. BIANCO (seething) What's a higher priority than protecting our own personnel?? CAMERON It was a mistake! I admit it, Security admits it! BAIN (sharply) Tell me how that's going to help Linda and Terry... BIANCO Ed. Give me your position! Bain just stares, tortured. (CONTINUED) 13. 34 CONTINUED: BIANCO Look, I know it hurts. You've got every reason to shut off -- but it won't help Terry. We still have to find her. Ed?? Answer me.. 35 PROBE CONTROL MISS JAMES We have a fix. 35A INSERT: SCREEN FOR OPTICAL MISS JAMES' VOICE Locked on scanner signal at Lake and Traverse Streets. 35B BACK TO CAMERON CAMERON Did you read that, Bianco? 36 BAIN Something has snapped. His mouth tightens in a hard, decisive line. He's all steel now, a pure animal instinct taking over. BAIN Don't bother, Nick. I won't be here much longer. I'M not working for Probe now. I don't need any more mistakes... CAMERON'S VOICE Ed, this is a direct order. Stay where you are until Bianco can reach you. Acknowledge! Bain removes his scanner from his tie tack. His voice is calm, no trace of emotion: BAIN Yes, Control... I acknowledge. Sorry, I can't comply. And don't waste your time trying to home on my scanner. I'M de-activating it... BIANCO'S VOICE Ed, don't be stupid. BAIN Thanks for trying, Nick. Over and out. 14. 37 INTERCUT CLOSEUP OF THE TINY SCANNER (INSERT) as Bain de-activates it. 38 SNAP CUT - PROBE CONTROL, SCOPE SCREEN watching a signal pattern from Bain's scanner abruptly chop off. ANGLE WIDENS as the team reacts. HARRIS We've lost Bain's signal! MISS JAMES We can't pick it up! CAMERON Find it! 39 EXT. STREET - PICKUP TRUCK making a sharp tire SQUEALING U-turn. No more reason for Bain to go home. He has new purpose now. CUT TO: 40 WATERFRONT DOCK - NIGHT watching Bianco's car pull up nearby. He gets out, looks O.S. 41 HIS POV A forlorn, rusty old boat is tied at the end of the dock. 42- 43 BIANCO He studies the boat a moment. INTERCUT Probe Control as Cameron discusses it with him. CAMERON Admittedly, it's a thin lead. BIANCO It's all We've got. This is the last place Ed hit before he closed in on Roman. We find Roman or Ellis and we find Terry. CAMERON Ed's last report indicated that the skipper gave him a bad time. Don't expect any hospitality. (CONTINUED) 15. 42- 43 CONTINUED: BIANCO (as he walks) Okay, I won't stay for dinner. Any word from the Med. Staff? CAMERON Yes. If Ed keeps playing this game, he could bleed to death... BIANCO (a try) You heard him, Ed... we both know your ear jack is still linked up. Let me help you! 44 INTERCUT PICKUP TRUCK - BAIN - NIGHT driving, his face drawn, in pain. BIANCO'S VOICE Ed? You can't find Terry by yourself...! Bain's expression is stony, tortured. 45 BACK TO BIANCO No response, dead air. Bianco wearily gives up, starts up the gangplank. 46 EXT. BOAT - NEW ANGLE - NIGHT CLOSE on a tough, hard-eyed CREWMAN standing at the head of the gangplank, blocking Bianco. BIANCO Skipper around? CREWMAN (flat, hard) No. BIANCO What a shame. I was planning to rent your boat for the weekend. CREWMAN Yeah, what a shame. (gives him a shove) Get outta here! 16. 47 ACTION CUT Under the Crewman's cold warning gaze, Bianco pretends meek acceptance, turns, allowing himself to be shoved away. Then, suddenly, he spins back, drops the Crewman like a sack of cement into the water. Beat, then behind Bianco: PIERSON'S VOICE (O.S.) It's still not for rent. 48 NEW ANGLE to include the skipper, PIERSON, standing in a nearby hatchway, eyeing Bianco with cool indifference. Bianco smiles. BIANCO Maybe it's my personality. You, Pierson? PIERSON That depends. You a copy? BIANCO Let's say I have a free-wheeling curiosity... about one of your ex-employees. PIERSON (shrugs) They drift in and out... bums... all of 'em. BIANCO Not this joker. Name's Ellis and he's got style. Collects gold bouillon... when he's not working for you, that is. PIERSON I think I heard about that robbery. BIANCO What else did you hear? PIERSON Somebody's already been around askin' the same questions. I still don't know nothin' about Ellis. BIANCO Naturally... and I don't blame you. (MORE) (CONTINUED) 17. 48 CONTINUED: BIANCO (CONT'D) I mean, who wants to be associated with a known smuggler who brings in boatloads of hot merchandise from Mexico... Bianco has tapped a sensitive nerve. Pierson stiffens. PIERSON You can't prove I'm involved in any smuggling! BIANCO I could try. Pierson suddenly whips out a knife. Bianco chops it away, slams Pierson against wall. BIANCO Now you listen, pal, and listen good. I'VE got a friend who's in trouble. Big trouble. Somebody's holding his daughter and if she gets hurt, or he dies, I'M gonna come back here and tear you to pieces... now what about Ellis?! PIERSON (a beat) He quit two months ago, stole a gun from me... outta my personal collection. BIANCO There oughta be a law. PIERSON So I went lookin' for him... BIANCO To what? Break a jack handle over his head? PIERSON I couldn't find him. BIANCO (tightening his grip) This help your memory? (CONTINUED) 18. 48 CONTINUED: (2) PIERSON (gasps) The Skipper Inn. When I asked him about the gun, a couple of guys jumped me. All I got out of it was a fractured jaw. That's the last time I saw Ellis... I Swear! BIANCO His buddies... what'd they look like? PIERSON Who knows. Just two bums, like him. 49 INT. PROBE CONTROL CAMERON His story checks, Bianco. It's the same one he told Ed. 50 BACK TO BIANCO An apparent dead end. Bianco frowns, still not wanting to turn loose. BIANCO That's all? Absolutely nothing else you can remember? 51 NEW ANGLE PIERSON You tryin' to cut yourself in on that gold robbery? BIANCO If I was, would it give your memory another little twitch? PIERSON It might. Maybe I could remember something else about Ellis if the price is good... BIANCO The price is very good. I can break your head or your arm... (CONTINUED) 19. 51 CONTINUED: PIERSON (choking) That night... when I walked up to the table, he was saying something about 'Polestar'... BIANCO 'Polestar?' What does that mean? PIERSON I don't know... that's the truth. 52 INTERCUT PROBE CONTROL - NIGHT CAMERON Check out the word 'Polestar' -- all computer banks! Try Northstar, Shining Star... anything similar. CUT TO: 53 THRU OMITTED 57 58 EXT. HIDEOUT - NIGHT Lonely, abandoned factory area in shipping area. A con- demned building with broken windows. As we ZOOM IN, we HEAR the sharp RINGING of a phone. Note: Roman's black Cadillac is parked outside. 58A INT. SHACK - NIGHT CLOSE ANGLE on Terry watching in mute terror as Roman crosses past her to phone. Ellis is at window, staring out, on the alert. Roman picks up phone: ROMAN Yeah...? 59 THRU OMITTED 62 62A INT. AIRPORT - TIGHT - BRUGMAN ON PHONE - TO INTERCUT - NIGHT BRUGMAN So you know. I arrive back in Europe 11:30 tomorrow your time. (MORE) (CONTINUED) 20. 62A CONTINUED: BRUGMAN (CONT'D) I expect my delivery on schedule... no more hitches. No more mistakes. ROMAN (touch of fear) You have nothing to worry about, Mr. Brugman. BRUGMAN I never worry, Roman... people who work for me... worry. He starts to hang up. ROMAN Mr. Brugman...! BRUGMAN Yes, Roman? ROMAN (glancing at Terry) What do we do with Bain's kid...? CAMERA ZOOMS IN on Brugman: BRUGMAN (almost indifferently) You'll be at sea tomorrow. When you're out in the deep water, crop her overboard. HOLD ON his malevolent face, then... FREEZE FRAME. FADE OUT. END OF ACT ONE 21. ACT TWO FADE IN: 63 INT. NORTH STAR MISSION - NIGHT A waterfront haven for drunks and derelicts. Perhaps a few of them at a table in b.g., slurping soup. A large sign on the wall identifies the mission for us, and ex- plains why Bianco is there, talking to the mission's director, BROTHER SAM. Brother Sam gestures to the sign on the wall, gives Bianco an amused smile. BROTHER SAM Yes, I've heard an occasional humorous reference made about the name of our mission and the word 'Polestar'... BIANCO Humorous? BROTHER SAM Some of our unfortunates have been known to call these humble quarters the 'polestar Palace.' I like to think it's a term of affection. BIANCO (smiles) I hear you serve the thickest soup and the shortest sermons on the block. BROTHER SAM Every day, rain or shine. (curious frown) But I can tell you didn't come here out of need, brother. BIANCO Not for soup, anyway... just information. Ever heard of any merchant seamen named 'Ellis' or 'Roman' or 'Staber'? BROTHER SAM Ship out of this port? BIANCO They used to before they moved into a different line of work. (CONTINUED) 22. 63 CONTINUED: Brother Sam searches a hazy memory. Something hits, a vague nudge. BROTHER SAM Ellis... Ellis... something familiar about that one. It's a fairly common name, of course -- but there was a seaman named Ellis who was brought in here several months ago. He'd been beaten up in a bar fight. Big man, tough-looking... BIANCO It could fit. Who brought him in? BROTHER SAM Friend of his. I'm not sure but I think his name was 'Deaner' or 'Danner' or something like that... 64 INTERCUT PROBE CONTROL CAMERON Cross-index all possibles to match the I.D.! 64A QUICK OPTICAL AS MONITOR SCREEN COMES ALIVE (INSERT) 65 BACK TO SCENE BIANCO You've been very helpful. BROTHER SAM That's our job. Bianco reaches to stuff a bill into the "poor box," a gesture of gratitude. BIANCO Just in case I ever get back to the 'polestar Palace,' I want the best seat in the house... BROTHER SAM (smiles) Right on, brother! CUT TO: 23. 66 EXT. SKIPPER INN - NIGHT A cold, waterfront night. Ed Bain, trying to hide his injury, cautiously edges into the dim light. His face is worn and stubbled; and he moves heavily, with an aching fatigue. Pausing to check the dark street both ways, he pushes through the door. 67 INT. SALOON - NIGHT Even more dark and dismal than outside. Some grizzled SEAMEN are hunched at the far end of the bar, involved in a boisterous drinking bout as they laugh and trade insults with each other -- the juke box drowning out their dialogue. Another Seaman, DUNNER, a big, thick-shouldered gorilla is nearer the door. Perhaps we SEE a few other customers scattered around at the tables. 68 CLOSER ON BATH He surveys the room a moment, shakily crosses to the bar, leans against it. BARTENDER (coming up; looks him over; then) You look like you could use a double... Bourbon or Scotch... BAIN (like a knife thrust) Pete Roman... and Danny Ellis... Bartender hesitates, continues to pour... BAIN (tight) That wasn't a brand name... it was a request. BARTENDER (stares; sarcastic) You're offering what... a hundred, two? Bain starts to reach in pocket, in b.g. Dunner has turned to stare at him. (CONTINUED) 24. 68 CONTINUED: BARTENDER (coldly laughs) Put your hand back in your pocket, Mister... Whatever you got wouldn't even cover my funeral expenses... BAIN (suddenly desperate) Please...I got a kid... She's... BARTENDER I got a kid, too, Mister... three of them... (before Bain can protest) Now get out of here. He moves away. Bain stares after him. Then ignoring drink, he turns, exits. PAN BACK TO: 69 THRU OMITTED 72 73 CLOSE DUNNER He hesitates. Slugs down rest of his drink. Rolls his coat collar up, moves out slowly after Bain. CUT TO: 74 EXT. STREET - WATERFRONT - NIGHT Bianco exits from a Poolroom, looking faintly disgruntled. He moves to his car. BIANCO Cam, I'VE got an idea about 'Polestar.' May give us a lead... CAMERON (V.O.) Spell out. You have my undivided attention. BIANCO Ed, you listening? 75 INTERCUT - BAIN - WATERFRONT STREET - NIGHT He's sticking to the shadows, walking slowly, wearily. (CONTINUED) 25. 75 CONTINUED: The voices are coming in loud and clear, but he's not about to answer. CAMERON'S VOICE We both know Bain can hear you, Bianco. But you might as well be talking to a wall... BIANCO Not this time. Ed, I'VE got a sure thing. If we work on it together, we can find Ellis and Roman. Bain listens, numb, robot-like. Bianco tightens the pres- sure, going for broke. BIANCO We both want to find Terry, don't we? The longer it takes, the shorter the odds... Bain stops walking. Bianco's words are searing into him. BIANCO What's it going to be? Both of us stumbling around separately on a hit-and-miss prayer... or do we get it together and make things happen? (beat; waiting) It's not up to me... and your daughter doesn't even get a vote. It's your package, Ed. You decide... 76 INTERCUT BETWEEN BIANCO, CAMERON AND BATH as they sweat the silent eternity. Bianco has used the heavy artillery. 77 CLOSE - BAIN He's cut wide open. He fights it, but he can't resist the bait. He reaches in his pocket, takes out the scanner, activates it. A long hesitant beat, then: BAIN Okay, Nick... Let's hear your idea. 26. 78 INTERCUT CONTROL as Cameron hits a switch. Talking away from mouthpiece directly to Harris so Bain can't hear. CAMERON Lock on Bain's scanner! HARRIS On vector and homing! A tense smile of relief flashes on Bianco's face at Bain's response. BIANCO Let's meet somewhere, talk about it. BAIN You can tell me whatever it is right now. BIANCO I can... but I'M not going to. I want to see you in person, make sure you're still on your feet. BAIN Negative! No more games. BIANCO Then no more talk -- Silence. Bianco sweats his gamble, taking the big chance that he's got Bain in a vise. Hours... then: BAIN Nick? No answer. BAIN Nick -- answer me? Still silence. Bianco waits, stretching it just a little more. Finally, Bain cracks: BAIN Okay, we'll meet. Just us. No tricks. I want a promise on that... BIANCO No tricks. (for Cameron) And that goes for Control. No Police calls, no stakeouts. 27. 79 INTERCUT - PROBE CONTROL CAMERON (grudgingly) Objection to an unauthorized procedure, Bianco! BIANCO It's your party, Ed. Where do we meet? CUT TO: 80- 81 OMITTED 82 EXT. WATER STREET - NEAR ALLEY - NIGHT as Bianco's car slides to the curb: BAIN'S VOICE Drive to the end of Water Street. Park there... stay in your car. The headlights douse. Street is empty, dark. 83 INT. CAR - BIANCO - NIGHT As instructed, he sits, waiting, his eyes scanning every shadow on the street. A long moment... then: BAIN'S VOICE Hold it right there, Nick. Start talking. BIANCO Wait a minute! Where are you? 84 POV SHOT A SLOW SCAN through Bianco's eyes, searching the darkness of the street. Nothing. BAIN'S VOICE In the alley... CAMERA WHIPS BACK to frame the blackness of the alley. Somewhere within it, a match strikes, flares slightly for a moment, illuminating Bain's face. Then abrupt darkness again. 28. 85- 86 BIANCO He gauges the distance between them, figuring chances, stalling. BIANCO I thought we could at least sit down over a cup of coffee... BAIN'S VOICE Don't press it, Nick. I don't have time. What did you want to tell me? BIANCO I talked to a guy over at the North Star Mission. He remembers seeing Ellis a couple of months ago... Ellis and a 'friend.' We're running a trace on the 'friend's' name. BAIN'S VOICE (sharp; angry) I heard all that before. You're stalling me, Nick! Bianco has run out of bluff and they both know it. He levels his anger also building. BIANCO What am I supposed to do -- let you bleed to death somewhere in a dark alley? You can't make this a one-man show, Ed! BAIN'S VOICE You said no tricks. I bought it because you're a friend... BIANCO I'M still a friend -- the best one you've got right now! We're both trained agents. We both know the wheels turn faster when everybody's on the same side!! Through this, INTERCUT a SHOT of BATH, standing in the alley, a vague silhouette... skittish, ready to bolt. BAIN Don't wave a flag at me! (CONTINUED) 29. 85- 86 CONTINUED: BIANCO Get down off the mountain, Ed. Quit acting like this case is your own personal property! BAIN (controlled) I bought the right. My wife's dead and Terry's been kidnaped. BIANCO (easing up; reasoning) Okay... okay... nobody's arguing with your reasons. Just let me help you! Give me a chance! Bain struggles with it, almost ready to yield to Bianco's pleading. But something tightens again, a rigid self- imposed discipline. His jaw clenches. BAIN No, Nick. If too many people get on their tail... if there's just one more mistake... they'll kill Terry. I can't take that chance... understand, Nick... Terry's all I got left in the world!! 87 BIANCO Carefully hiding his movements, his hand reaches to open the car door, readying himself. BIANCO Ed... you're slowing down... you can't keep running much longer... BAIN Long enough. 88 SUDDEN ACTION CUT Bianco suddenly explodes out of his car, streaks toward the alley. We HEAR but do not see Bain retreating fast. Bianco is running for all he's worth when he suddenly hits something, spilling to the pavement in a bruising fall, scattering debris and rubbish cans. 30. 89 CLOSER Bianco is dazed, out of the race. CAMERON'S VOICE Bianco, what happened? Bianco sits up, shakes out the stars, giving it a rueful survey. BIANCO Ed did exactly what I would've done. He covered himself for a fast exit. Take a look... Bianco turns his scanner back toward the obstacle that stopped him. 90 POV SHOT - CONTROL MONITOR A dark, fuzzy image in the dim light. At first, we see nothing, but the entranceway to the alley. CAMERON Zoom in... focus! The image tightens, focuses -- and we detect what appears to be a faint line traced across the lower part of the monitor picture. Cameron squints, puzzled. CAMERON What is it? We do not copy... BIANCO An old Commando trick for tripping up old friends. A fine steel wire has been stretched tautly from wall to wall at the entrance to the alley, about 12 inches above the pavement. 91 BIANCO He picks himself up, disgustedly gazes down the empty alley. Bain is long gone. BIANCO Ed's right. No more games. Every time we communicate, we tip him off, Cam... we tell him our moves. (CONTINUED) 31. 91 CONTINUED: CAMERON'S VOICE Bain's ear jack is on your frequency. I can't block him. BIANCO No, but I can. I can do the same thing he's doing... go off the air. CAMERON'S VOICE Negative! Repeat... negative! You must maintain contact with me! BIANCO Put it in your report... With that, Bianco simply drops his scanner into a coat pocket, shielding it. 92 CONTROL watching Bianco's scanner monitor black out. Cameron in total command: CAMERON Boost power! Maximum transmission signal! Bianco -- come in! 93 PROBE SCREEN - OPTICAL HARRIS' VOICE Full power -- no response. MISS JAMES' VOICE Signal intensity on maximum sweep. We cannot make contact. 94 BACK TO CAMERON A picture of smoldering impotence. CAMERON Two agents playing blind man's bluff with each other. It's insanity! CUT TO: 32. 95 EXT. WATERFRONT SIDE STREET - NIGHT Watching a man dart along the shadows beside a building, furtive, forcing himself to maintain a painful half-run, half-walk. He stops, gulping air as he glances back over his shoulder. ANGLE TIGHTENS now to recognize Bain. He's a hunted animal, weak and desperate -- but still running free. Bain reaches to touch his injured arm, gritting back the pain, then moves on. 96 SHOCK CUT Dunner, the burly seaman we saw in the saloon, suddenly looms out of doorway dead in front of Bain, gazing at him with a cold, predatory smile: DUNNER Heard you asking questions about Roman and Ellis... Bain freezes, trapped, eyes checking for running room. BAIN You a friend of theirs? DUNNER Not exactly... but I got a strong hunch you ain't either. 97- 98 ACTION CUT Dunner moves in as Bain tries to sidestep, defending him- self as best he can. But Bain's injury makes him no match for the hulking seaman. Dunner slams him against the wall, pounds at him with sledgehammer ferocity. Bain sinks to the street, unconscious. Dunner towers over his victim., savoring his good luck. HOLD as MUSIC hits and we: FADE OUT. END OF ACT TWO 33. ACT THREE FADE IN: 99 PROBE CONTROL - NIGHT The team is on station, at their consoles. Cameron enters, grousing as he hurries toward his console. CAMERON So, Mister Bianco finally decided to contact us! MISS JAMES Yes sir. CAMERON How charitable. HARRIS Yes sir. Cameron reaches his console, hits a button -- but nothing happens. He blinks. CAMERON He's not on monitor! MISS JAMES No sir... (delicately) He's on a pay phone calling in. CAMERON (like a Roman candle) Pay phone?? Five million dollars worth of sophisticated communication gear and our own agent has to use a pay phone!! (snaps up phone; barks) Bianco -- this is against procedure 100 EXT. PHONE BOOTH (TO INTERCUT) - NIGHT Bianco at a phone booth, his car parked b.g. BIANCO So was leaving Ed's house unguarded. (CONTINUED) 34. 100 CONTINUED: CAMERON How long do we live with that mistake, Nick? BIANCO Until we get Ed's daughter back. In the meantime, using the phone keeps Ed from tuning in on us. Now what about that lead we got at the North Star Mission -- the names? CAMERON (acidly) Miss James, kindly pick up the phone and relay the requested data -- unless of course Bianco prefers we exercise equal precaution and send it by carrier pigeon. Miss James smothers a smile, picks up her phone... MISS JAMES We've got four possible derivations on that 'Deaner-Danner' lead, Mister Bianco -- all in the waterfront area. BIANCO (pencil poised) Let's have 'em. MISS JAMES Albert Dentner, 414 Burnside; Joseph Dentley, 1026 Port Drive; George Difner, 759 Bayside; and Sam Dunner, Iris Motel, 370 Pacific Front. BlANCO Got it... thanks. And say goodbye to Papa Bear for me. Cameron makes a stab for the phone, to get a final word. CAMERON Bianco! His answer is the disconnected HUM of a hang up. He smolders. CUT TO: 35. 101 TNT. MOTEL ROOM - NIGHT A sleazy transient's room. Ed Bain has been tied up, is on the bed. Dunner stands at window, smoking a cigarette. DUNNER (brooding; angry) Million bucks. That's a big haul... And all I get out of it is ten thousand... Bain senses discontent, a chance to pump Dunner. BAIN I told you. You've been had. DUNNER (moves away from window; tensely) Still not bad pay, just for arranging to put extra cargo aboard. BAIN Your ship? Or did Roman and Ellis just pick one out of a hat? Dunner gives him a wary smile. DUNNER Want me to throw In the name and the sailing schedule too? BAIN Moving twelve hundred pounds of gold is the toughest part of the job. You're the one who's going to be sitting on the bomb, not Roman and Ellis. DUNNER I got it all set. Load it here, unload it there. Simple. I'm the First Mate. BAIN Yeah, you ye got every move figured but one. It's not a three-way split. Think about that. You're extra freight... Bain's working him. Dunner frowns, defensive. (CONTINUED) 36. 101 CONTINUED: DUNNER They can't move the stuff without me! BAIN No... but once the gold gets to Emmett Brugman, they don't need you anymore. This wrenches the machinery. Dunner flares: DUNNER They need me plenty! BAIN (sardonic) You're that sure... DUNNER Shut up! No more talk or I finish it here! Bain stares in rigid silence, helpless. Smoldering, Dunner turns, crosses to pick up a phone, keeping his back to Bain to shield his conversation: DUNNER (to the operator) Local call -- six-one-seven- eight , -eight-oh-three. 102 REACTION CUT - BAIN Listening, a faint movement of his lips, repeating the number to memorize it. 103 DUNNER waiting... then: DUNNER Roman? Dunner. I been thinkin' it over. I don't like the price... 104 INT. HIDEOUT (TO INTERCUT) - NIGHT Ellis in b.g. keeping close watch on Terry. Roman on phone: (CONTINUED) 37. 104 CONTINUED: ROMAN Sure, Dunner... I understand. Maybe we can sweeten it a little more. Dunner has him cold meat. Roman sweats, groping for a way to cover his panic. A glance at Ellis. Ellis gestures his gun, a tacit message. Roman's voice is suddenly agreeable and friendly again. ROMAN Let's talk about it tomorrow. DUNNER We'll talk about it now... I'll be there in ten minutes. 105 DUNNER He hangs up, turns back to Bain, reaches to check the ropes on Bain's wrist, making sure they're tight. DUNNER Try movin' around too much, that bullet hole's gonna open up like a faucet. Satisfied his prisoner is securely tied, Dunner crosses to the door, exits. A key turns from the outside, locking it. ANGLE TIGHTENS on Bain, painfully, futilely, struggling against the ropes. CUT TO: 106 OMITTED 106A EXT. WATERFRONT BUSINESS ESTABLISHMENT - NIGHT Bianco is talking with DIFNER, an older citizen. Difner shakes his head no. Bianco nods thanks, turns back to his car parked at the curb. 107 INSERT: Bianco pauses to study his list of names, frowns, draws a line through that of George Difner. CUT TO: 108 THRU OMITTED 114 38. 114A INT. HIDEOUT - NIGHT Roman is playing Dunner. Terry hidden in b.g. along with Ellis. ROMAN A hundred thousand...!!? Mister Brugman doesn't like to be squeezed. I don't like it either! DUNNER Squeeze you, Roman? I don't have to. I'LL turn loose of Bain and let him do it. ROMAN We took all the risks. All you did is get the stuff on aboard ship. DUNNER (like stone) They put me away same as you if we get caught. ROMAN Come on, give us a break. We agreed on a deal -- Mister Brugman okayed it. DUNNER Hundred thousand, Roman. Totally unaware of it, Dunner has been made ready for the hit. Roman pretends to concede as he keeps to one side, a signal to Ellis. ROMAN Okay, Dunner -- Your way. A SHOT. Dunner's face constricts in mute shock as the bullet tears into him. CUT TO: 114B EXT. MOTEL - NIGHT Bianco enters. 115 INT. IRIS MOTEL - NIGHT We PICK UP Bianco. Bianco, checking his list, walks upstairs. 39. 116 INSERT: LIST To see the name SAM DUNNER. The last name on list, the others crossed out. 117 ANGLE AT DUNNER'S DOOR Bianco moves up quietly, studies the situation a moment, then KNOCKS. 118 INT. ROOM - NIGHT Bain is still securely tied, and exhausted from his efforts to free himself. The knock is salvation. BAIN (summoning strength) Door's locked! Get help!! 119 REACTION CUT - BIANCO Startled at the sound of his friend's voice. BIANCO Ed?? Bianco tries the doorknob, then steps back, kicks, smash- ing the door open. He rushes in. 120 INT. ROOM Bianco is to Bain in a second, untying his wrists as the words spill out in a torrent, half angry, half relieved: BIANCO What happened? Never mind, don't talk -- relax -- you're home free. Why didn't you listen to me, Ed?? Why did you run?? You've probably lost enough blood to kill yourself -- and you don't even know it!! The ropes are yanked free and Balm gets up, a little shakily, tries to work out the stiffness, favoring his in- jured arm. He gives Bianco a bleak look of gratitude. BAIN Did I ever tell you, you give rotten lectures? (CONTINUED) 40. 120 CONTINUED: BIANCO That's because I've got a rotten listener. (gestures ropes) Dunner do this? BAIN (nods; holding on to bedpost) He might've stuck around if he'd known company was coming... Bianco cocks an eyebrow at Bain's stoic attempt to soft pedal it. BIANCO The whole steel-jawed bit right to the end, huh? Okay, Ed... you can practice the rest of the jokes at the hospital. I take over from here... Bain seems strangely subdued. Very weary. A submissive nod. BAIN Guess you're right. I'M not doing much good, am I? BIANCO At least we agree on something. Suddenly Bain sways, falls forward on bed. Hurriedly Bianco moves to him, turns him over. Takes pulse. Opens Bain's eyelids. Bain clearly, or seemingly clearly, is out cold. BIANCO (removing scanner from pocket) Cam... I'VE found Ed. Get an ambulance to the Iris Motel! Fast! 121 MOVING WITH BIANCO - CLOSE SHOT Swiftly now, scanner back on, Bianco moves to a bureau where several bottles of liquor rest. Hastily he selects a bottle of brandy. Starts to pour a belt into a glass when: THUNK! Bianco is suddenly hit with a sharp karate chop across the back of the neck. He sags unconscious. 41. 122 CONTROL - MONITOR SCREEN A dizzying, whirling image from Bianco's scanner as he goes down. HARRIS Red lights! MISS JAMES EG crisis! 123 BACK TO BAIN standing over his unconscious friend, staring down in brittle regret; then Lain whirls, bolts shakily out the door. 124 EXT. MOTEL - NIGHT Bain glances around, searching for fast transportation. He spots Bianco's car, breaks toward it, running in a semi-stagger. 125 OMITTED 126 EXT. MOTEL ROOM - NIGHT Bianco is dazed, stumbles out of the door. 127 HIS POV - NIGHT in time to see Bain ROAR away In his car and disappear around the corner. 128 BIANCO Stares out grimly. CAMERON'S VOICE Bianco... what happened? Where's Bain?! 129 INTERCUT: BIANCO Getting away -- in my car! Get another car over here fast -- and a gun! CAMERON Will comply on the car -- negative on the gun. That takes special permission from Weapons Division. (CONTINUED) 42. 129 CONTINUED: BIANCO Then get it! Ed's out of control. Not thinking straight because of Terry. He's willing to take a hundred to one odds to save his kid... But I'm not! (A personal aside; jaws clenched) Hear that, Ed? 130 INT. BIANCO'S CAR (MOVING) - NIGHT Bain drives, his face a granite mask as Bianco's voice pounds at him through his ear jack. BIANCO'S VOICE I'M not going to let you or Terry get killed! Not a flicker. Bain's gaze is locked straight ahead, no feeling, no distraction, his total concentration devoted to only one mission -- finding his daughter. 131 EXT. THE CAR Streaking through traffic, it makes a sharp skidding turn around a corner and INTO CAMERA. FREEZE FRAME as MUSIC hits. FADE OUT. END OF ACT THREE 43. ACT FOUR FADE IN: 132 EXT. PHONE BOOTH - NIGHT Bain is talking to a special operator, bluffing it, his voice calm and authoritative -- a sharp contrast to the haggard urgency and desperation on his face. BAIN That's right, operator -- Security Clearance Division, Probe Control. We need a trace on a phone number -- (beat; frowns) Bain... Ed Bain... I have full authorization. (beat) Yes, I know you have to verify it but this is an emergency. You'll have to give me the information now... A beat, Bain untenses. His bluff has worked. BAIN The number is six-one-seven-eight,- eight-oh-three. This number, we will recall, is the one Dunner used to reach Roman at the beach shack. The wait is an eternity for Bain -- then he scribbles quickly as: BAIN One-nine-seven Beach Front Road. Thanks. He hangs up, lurches out of the booth toward his car b.g. CUT TO: 133 EXT. STREET. CORNER - FRONT OF IRIS MOTEL - NIGHT Bianco hurries to a car as it stops at the curb. Miss Lewis gets out, efficient and business-like as she offers him the car keys and a revolver. MISS LEWIS Tank's full. (then, the gun) Forty-five Automatic... loaded... on safety. (CONTINUED) 44. 133 CONTINUED: BIANCO You're a model of efficiency, Miss Lewis. MISS LEWIS I also have a message from Mister Cameron. BIANCO (getting in the car) Don't tell me, let me guess. It's a valentine greeting. MISS LEWIS Not exactly. First, he wants you to re-establish scanner contact. BIANCO I'll take it under advisement. MISS LEWIS Second, we just found out that Agent Bain called the phone company to get a trace on a number. BIANCO They give him the trace? MISS LEWIS Agent Bain was very persuasive. BIANCO Let's have it... MISS LEWIS One-nine-seven Beach Front Road. BIANCO Sorry I can't give you a lift. MISS LEWIS (smiles) You already have. Bianco snaps it In gear, ROARS away. HOLD a beat on Miss Lewis, watching him, a faintly-Wistful and speculative smile on her pretty face. CUT TO: 45. 134 INT. HIDEOUT - CLOSE - WALL SURFACE - NIGHT directly above the phone. A cryptic message has been hurriedly scrawled on the surface with a pencil: M/S NORSTJERNAN - 8. ANGLE WIDENS to reveal Bain looking at the scrawl, puzzling it. A possibility firms. He pivots toward the door. 135 CLOSER As Bain starts to exit, his eye catches something on the floor -- a small, shiny object. He bends to pick it up, recognizing it instantly. It's Terry's locket, a small, gold heart on a chain. Bain holds it up, gaze tortured as he watches it spin on the chain, a tiny, tragic reminder. CUT TO: 136 EXT. PIER A freighter is docked. A GUARD is at bottom of gangplank. Ellis, Roman and Terry approach him. GUARD Hey, Roman... Where's Dunner? He's late. ROMAN (shrugs) He'll be along. GUARD You know where to go. The crew will be shipping on soon. As they go up gangplank: ELLIS We can't hide all the way to Stockholm -- not without Dunner. ROMAN Once we get out to sea, I'LL handle it. Give the Captain a couple of grand. (hard) We stay with that gold, Ellis -- just like Mister Brugman told us! Ellis' gaze flicks to Terry, a malevolent hatred. ELLIS What about her? (CONTINUED) 46. 136 CONTINUED: ROMAN I got my instructions. Terry stands rigid in mute terror, trying to hold back the tears. TERRY You're going to kill me, aren't you? Just like my mother. ROMAN (cold smile) It'll be a little different... I promise. They disappear from view. CUT TO: 137- 138 OMITTED 139 EXT. PIER - NIGHT CAMERA ANGLES to see Bain veer Bianco's car into a dark dead-end niche. He gets out, surveys the scene. 140 HIS POV A slow scan of the pier area. 141 BAIN His gaze shifts to the freighter, taking a more careful look at the name on the bow. 142 POV ZOOM IN CLOSE on the name: N/S NORDSTJERNAN. ABRUPT CUT TO: 143 INT. HIDEOUT - CLOSE - ON WALL - NIGHT The name scrawled above the phone: N/S NORDSTJERNAN - 8. ANGLE WIDENS to see Bianco looking at it this time, also puzzling it. He's closing on Bain's heels. SHOCK CUT TO: 47. 144 EXT. FREIGHTER GANGPLANK - NIGHT As Bain chops Guard down, slides his form behind crates, then hurries up gangplank. CUT TO: 145 BAIN'S CAR left abandoned. The flare of headlights as CAMERA WHIPS to see Bianco pulling in. He checks the car, verifies it for himself, then turns, moves toward the distant freighter. CUT TO: 146 BAIN Aboard ship, he moves stealthily along the deck, holding himself together by sheer force of will. CUT TO: 147 EXT. DOCK - BIANCO AT CAR - NIGHT Bianco pauses to check the freighter - and the name on the bow. Something registers. He reaches inside his pocket, takes out his scanner. BIANCO Okay, Cam -- we're back in contact. 148 INTERCUT WITH PROBE CONTROL CAMERON About time! Where are you, Bianco? BIANCO Pier 8. Get some police units over here. I want the whole pier area sealed off. CAMERON What about Bain? BIANCO He's here someplace... and he wouldn't be unless he's getting close to Roman and Ellis. (a glance toward the freighter) I need a translation -- the name of a ship. HARRIS Go ahead, Bianco. (CONTINUED) 48. 148 CONTINUED: BIANCO (spells) 'N-O-R-D-S-T-J-E-R-' HARRIS (overlaps; pronouncing it) Nordstjernan. It means 'North Star' in Swedish. BIANCO (it hits) North Star -- Polestar! We've just found the gold! CAMERON Punch up maritime shipping schedule! MISS JAMES On two. A monitor screen fills with shipping schedules. An elec- tronic line underscores the one for the Nordstjernan. CAMERON The North Star's supposed to sail at twenty-one hundred tonight. BIANCO (glances at watch) Forty-two minutes from now. If they're not on board, I've got a strong hunch they'll be making a try very soon... 148A NEW ANGLE Bianco sees some of the crew pass by to board the freighter, spots anchor chain and hand-over-hand climbs aboard. 149 OMITTED l49A INT. BOAT - NIGHT Roman, Ellis and girl are making their way to the hold. 150 REVERSE ANGLE - BAIN - ABOVE THEM - LOOKING DOWN He's found what he's looking for. He starts carefully down after them. CUT TO: 49. 151 OMITTED 151A EXT. BOAT DECK - BIANCO - NIGHT He's searching for Bain. Too dark, too many places to hide. Bianco stops, frowns, makes a direct appeal. BIANCO Ed, I don't know where you are... but I know you're on board. 152 INT. BOAT - INTERCUT BAIN - NIGHT still moving. BIANCO'S VOICE Do we go after Roman and Ellis as a team or is this open competition for a hero medal? (beat; waiting) Ed... come on! They'll cut you apart if they get a chance! And that won't do Terry much good! Bain makes no response, his expression dead, locked in one purpose. He stops now, freezes in the shadows, as he hears, Ellis and Roman's voices. 153- 154 OMITTED 154A INT. BOAT - DEEP IN ITS BOWELS - NIGHT ELLIS The crew finds us before we sail, it's all over! Suddenly, Terry makes a break for it. Ellis grabs Terry's arm, pulls her close, warning: ELLIS One sound... not one little sound! ROMAN (gun out) Take her over behind those oil drums. I'LL cover us from here. 155- 156 OMITTED 156A INT. BOAT - BIANCO He's taking same path Bain did to the bowels of ship. 50. 157 INT. BOAT - BAIN - NIGHT He's seen them. Weak, half-dragging himself, he stops, groping out to catch hold of a box to steady himself. He wipes at his eyes, trying to clear his vision. 158 HIS POV Floating, out-of-focus images smear over each other. Shapes and shadows seem to melt together. 159 BAIN He claws at his eyes, desperately trying to stay on top of it, to reach Terry. He moves in toward Ellis and Terry, trying to work around behind them. He's on the edge of passing out and he knows it. He gropes into his pocket for the scanner. He's working against time. CUT TO: 160 THRU 163 OMITTED 163A INT. BOAT - BIANCO An urgent voice suddenly cuts in on his ear jack. BAIN'S VOICE Nick! Where are you? BIANCO Close behind you. BAIN'S VOICE I'VE found them. BIANCO Stay where you are. I'LL move around to cover! BAIN'S VOICE No time. Terry's panicking. I'm afraid Ellis'll kill her. BIANCO Ed. Don't move. Where are they? 163B ON BAIN BAIN Ellis and Terry are about fifty feet from the port side. (CONTINUED) 51. 163B CONTINUED: BIANCO'S VOICE How about Roman? BAIN Not sure... He leans further over for a better view, kicks a wrench which clatters to the floor. 164 ELLIS AND TERRY Ellis drops low, pulls Terry with him behind the oil drums. 165 ROMAN Wheels, gun at ready. ROMAN (a hoarse whisper) Ellis? 166 BAIN Drags himself from shadow to shadow, hanging on by sheer grit... Trying to get to Terry. 167 BIANCO closing fast. 168 THRU OMITTED 171 172 ACTION CUT - AREA BELOW DECK - ELLIS Bain stumbles out in the open. BAIN (to Ellis) Get away from her! Startled, Ellis pivots away, snapping a SHOT at Bain. Bain dives out of the way as the bullet chips a freight box near his head. Ellis bursts away, dragging Terry, seeking better cover. 173- 174 OMITTED 52. 174A INT. BOAT - BIANCO BIANCO Ed, are you hit? BAIN'S VOICE No! Ellis has Terry. BIANCO I'LL take it from here. Stay where you are! Bianco moves swiftly out. 175 ROMAN sees Bianco, sprays a VOLLEY OF GUNFIRE toward Bianco. Roman dives behind a huge stack of boxes. 176 OMITTED 177 BAIN On the floor, gulping air, crippled with pain. He drags himself to a better vantage point to view the action. 177A INT. PROBE CONTROL Cameron, Harris, Miss James watch tensely. 178 THRU OMITTED 185 186 INT. BOAT - NIGHT A desperate quick look. Bianco sees Ellis and Terry pass beneath him. Beside him is a chain with a cargo hook. No wait. No pause as Bianco swiftly diverts Ellis' atten- tion away from him by flinging a nearby oil can. Ellis whirls; his back now to Bianco, he loosens his grip on Terry. Simultaneously Bianco swings down on a chain, clobbering Ellis from the back. Ellis lets go of the girl and his gun upon Impact. He falls to the floor near a stack of compressed auto bodies. Having no weapon, he picks up a compressed auto body and charges the fallen Bianco. Bianco reaches for his gun and catches Ellis in motion, stopping him cold with TWO SHOTS. 53. 187 TERRY darting across the floor to reach her father. TERRY Daddy!! 188 BAIN He lunges out into the open in a desperate attempt to wave her back. BAIN No! Get back, Terry -- GET BACK! With the last ounce of strength in him, Bain gropes out to sweep Terry into his arms, covering her as he takes them both to the floor. 189 ROMAN In a rabid fury, he arcs his gun toward Bain and Terry. 190 BIANCO His GUN FIRES a split second before Roman's as: BIANCO Ed -- look out! 191 ROMAN Hit, he tumbles backward into a pile of crushed auto bodies. 192 CLOSE - BAIN AND TERRY clutching each other in a fervent moment of relief. Terry's face is buried in her farther's chest, sobbing uncontrollably. Bain comforts her, holding her closely. BAIN It's all right, Terry... All right. My little girl's going to be fine... 193 BIANCO It's all over, the sudden echoing silence. His gun lowers, watching Bain and Terry, feeling some of their emotion. Now, the distant SOUND of sirens. Bianco snaps out of the moment, looks off. (CONTINUED) 54. 193 CONTINUED: BIANCO Hear that, Ed? It's all downhill from here. Bain turns to look up at Bianco, the strain etched deep in his face. BAIN It wouldn't be if you hadn't stayed on my back. BIANCO What're friends for...? 194 INTERCUT - PROBE CONTROL CAMERON I'M glad you and your daughter are safe, Ed. Ambulance is on its way for Roman and Ellis... Now can you tell me what happened to that twelve hundred pounds of gold? BAIN (gestures) All neatly packaged and waiting to be unwrapped, Cam... 195 POV SHOT to see the crushed car body that Ellis threw. It is cracked open revealing gold dust coming out of its seams. BAIN'S VOICE The gold is compressed in those scrap car bodies. Roman and Ellis were going to deliver them to Stockholm, where Emmett Brugman could pick them up. 196 BACK TO SHOT CAMERON Ingenious idea. It could've worked. BIANCO But it didn't... When Brugman lands, I suggest you have Interpol waiting... All his gold bought him was Murder One. Now ANGLE WIDENS FULL to take in the vast enormity of the boat's bottom. Bianco moves in to help Bain and Terry to their feet. MUSIC UP and we FADE OUT. THE END