SEARCH "A HONEYMOON TO KILL" Written by S. S. Schweitzer PROPERTY OF: WARNER BROS. TELEVISION FINAL DRAFT 4000 Warner Boulevard OCTOBER 3, 1972 Burbank, California SEARCH "A HONEYMOON TO KILL" FADE IN: 1 INT. LUCCHESE CASTLE - HUGE BEDROOM - CLOSE ANGLE - CARMINE LUCCHESE - DAY An intense looking patriarch, he sits in a wheelchair, shawl covering his knees. A glass of milk in hand, he stares tensely, almost sightlessly out the window. PULL UP now into a HIGH ANGLE to REVEAL that a private MALE NURSE stands nearby. Across the room, STUART UPSON, a handsome, fortyish American glances at watch, also seems waiting, tense. We can also NOTE the large T.V. set not far from Upson. A beat, then: CARMINE (his voice harsh, echoing) Well - Upson?! His voice echoes in the marble room. 2 NEW ANGLE UPSON Give her time, Signor Lucchese. (slight nervous laugh) After all... Some of her wedding guests are still here. Carmine turns to face Upson, is about to retort when he stops at the SOUND OF DOOR OPENING O.C. He looks off to: 3 CARLA LUCCHESE Beautiful, twenty-six, she wears a simple, elegant white dress. The kind of modern, $3000 dress only the very rich, very tasteful would wear for a wedding. She stands hesitantly in doorway. CARMINE (O.S.) (suddenly hearty) Come in, come in, Carla... What Joy to see you... 4 NEW ANGLE CARMINE How beautiful you look. (MORE) (CONTINUED) 2. 4 CONTINUED: CARMINE (CONT'D) (to Stuart) Isn't she lovely, Stuart... Isn't she... CARLA (cuts in coldly) You sent for me, Father - why? CARMINE (bewildered) Why?... A man's daughter gets married...he's too sick to attend and -- CARLA (cuts in again) I'm sorry you're not well. It seems to me the sooner I leave the sooner you'll be able to rest. A long beat, then Carmine reaches into bathrobe pocket, nods to Nurse, who wheels him forward to Carla. Reach- ing her, he removes a check from his pocket. As he continues to hold it: CARMINE I'M grateful you honored me by having your wedding in our family home. Julian is a man I approve of. For that I am also grateful, Carla. This is my present to you. He hands her the check. As she takes it, stares at it: CARMINE (continuing; forced joke) A half million dollars... Please see that it lasts the year. Carla hesitates only a half second more, then methodi- cally tears the check into pieces. As Carmine stares at her in disbelief: CARMINE (continuing) Your new found conscience, huh? Years of useless existence and now suddenly you are Saint Carla... too good for her father's dirty money! (CONTINUED) 3. 4 CONTINUED: (2) CARLA (a beat, then) Goodbye, father. She turns to go. Recovering: CARMINE (voice up) Carla! As she continues to door: CARMINE (continuing) Carla! At door - she turns: CARLA (coldly) Thank you for the wedding, Father. CARMINE (harshly) To do it gave me pleasure... Don't you understand? Why can't you believe I love you? CARLA Because you don't. She turns once more, exits, door slamming behind her. A beat, then Carmine whips his chair to face Upson. CARMINE I'M worried. How do I know she's really going on a honeymoon. She's a clever girl, headstrong... if she decides to go to Luxembourg... UPSON You're over reacting, Signor... After all, no matter how she feels she is still your daughter. As Carmine stares... UPSON (continuing) Don't worry... She will not go anywhere near Luxembourg... CUT TO: 14. 5 EXT. CASTLE - SHRUBBERY - DAY We are TIGHT on a gun, silencer attached. As we SEE the weapon tracking something O.C. 6 REVERSE SHOT To SEE passing French windows of a room, Carla. The gun is tracking her. 7 INT. CARLA'S BEDROOM - DAY She moves back and forth, completing packing one of many suitcases in the room. She's changed into a traveling suit. Her wedding dress hangs prominently nearby. Sud- denly a WHOOSHING SOUND. A mirror is shattered an inch from Carla's head. She whirls in terror toward open window. A second WHOOSH. Her whirling has saved her life. The bullet smashes a lamp right next to her. Des- perately now she dives out of window view. Waits. A beat, two, then grabbing just one suitcase, she turns and runs out of the room. As she does: CUT TO: 8 EXT. LE MANS - WIDE ANGLE - DAY Hairy sequence of 917’s and 513’s dicing with attendant shunt. SOUND loud. Carry through, then: 9 INT. PROBE CONTROL SCREEN - ANGLE ON 917 - DAY TIGHT ON car as helmeted figure starts to climb out. Others, including KURT VON HECHT, race-suited, good- looking Swiss, rush to driver. Driver takes off helmet. REVEAL Carla Lucchese, shaking out thick, titian tresses. CAMERON (O.S.) Carla Lucchese, twenty-six years old. Third place finisher in the Le Mans Twenty Four Hours with co-driver, Kurt Von Hecht. GROVER (O.S.) Anytime she wants to grind my valves - 10 ANGLE FAVORING CAMERON CAMERON'S displeasure in sidelong look that GROVER shrugs off. Cameron turns to screen. (CONTINUED) 5. 10 CONTINUED: CAMERON Last of the madcap heiresses. (turns back to screen) Daughter of Carmine Lucchese head of Lucchese Internationale -- 11 ANGLE ON SCREEN MONTAGE of iron works, shipping, assembly lines, etc. CAMERON (O.S.) (continuing) Worldwide cartel of mining, petroleum, munitions, ship building, war plane factories... 12 ANGLE ON SCREEN - CHANGE TO EXT. CASTLE - DAY CAMERON (O.S.) (continuing) Owner of one of the world's largest private collections of Renaissance art, open to the public at Castello Lucchese, Milan, Italy. 13 FEATURE GROVER, CAMERON GROVER You can stop right there, sir, I know why you called me, and I'm willing. I'll marry the young lady so she can take me away from all this. CAMERON I'M afraid you're just a little late. MISS WILSON Film clip on line. He nods to her and she punches up. 14 ANGLE ON SCREEN - TIGHT ON CARLA in wedding veil.... CAMERON (O.S.) Yesterday, at Castello Lucchese, Carla Lucchese was joined in holy matrimony to.... (CONTINUED) 6. 14 CONTINUED: PULL BACK as she kisses JULIAN WHITFIELD, good-looking, sincere, young American, in cutaway.... CAMERON (O.S.) (continuing) Our employer, Julian Whitfield, field director of the International Peace Foundation. NOW ON SCREEN a Wedding Party picture appears. Group surrounding young couple. CAMERON (O.S.) (continuing) Among those in attendance were... FREEZE FRAME on LUIGI LUCCHESE, sallow, bespectacled, purse-lipped, thirtyish. CAMERON (O.S.) (continuing) Carla's brother Luigi Lucchese, senior executive in his father's cartel... FREEZE FRAME on PENNY LUCCHESE... Good-looking, very stylish, British Lady.... CAMERON (O.S.) (continuing) The present Contessa Lucchese, Carla's stepmother, former British fashion model, Penny Winslow. ZOOM BACK, PAN, then FREEZE FRAME, ZOOM on Stuart Upson. CAMERON (O.S.) (continuing) Stuart Upson, legal and financial advisor to Carmine Lucchese... GROVER (O.S.) How much did they get for the TV rights to the wedding? 15 BACK TO CAMERON, GROVER CAMERON The wedding was televised over a closed circuit for Carmine Lucchese. (MORE) (CONTINUED) 7. 15 CONTINUED: CAMERON (CONT'D) He's been desperately ill, with doctors and nurses in constant attendance. GROVER Should never have tried to lift all that money. 16 ANGLE ON SCREEN - INT. CARLA'S BEDROOM - DAY HAND HELD CAMERA MOVING through empty room, with wedding dress still hanging, bags packed as before... As well as shattered mirror and lamp. CAMERON (O.S.) Carla Lucchese Whitfield came back to this room to change from her wedding dress. According to Julian, he and Carla were leaving on a honeymoon that would take them through Switzerland, the Black Forest, with a stopover in Luxembourg, five days after the ceremony... For some reason Carla insisted that their plans be kept secret. 17 BACK TO SCENE At Grover's look: CAMERON Julian refused to elaborate on just what she feared, but one thing we can be sure of... Carla was not paranoid. GROVER (guessing) She's disappeared.... CAMERON (nods) After somebody tried to kill her... Two bullet holes were found in Carla's room. GROVER I'LL catch the first flight out. Have Whitfield meet me in Paris. (CONTINUED) 8. 17 CONTINUED: CAMERON You have four days, Grover, four days to find Carla Lucchese Whit field. 18 EXT. ORLY AIRPORT - WIDE ANGLE - DAY A plane coming in for a landing... 19 INT. ORLY CORRIDOR - ANGLE FAVORING JULIAN, GROVER - DAY Whitfield tries to hurry C.R. toward boarding gates. C.R. juggles raincoat, shoulder bag, attache case, magazines. C.R. stops, puts down attache case, adjusts other parcels. JULIAN Our plane for Milan leaves in six minutes. I imagine you'll want to start your investigation at the point where Carla disappeared. GROVER You got any idea who'd want to take a shot at your bride, Mr. Whitfield? JULIAN (bursts) I don't know. I don't know anything. The whole thing is insane. What frightens me most is that I haven't heard from her. If she's all right.., why hasn't she contacted me? C.R. moves forward, leaving attache case behind. GROVER About the honeymoon -- Why Luxembourg? I mean I can understand the Swiss Alps -- the Black Forest -- but Luxembourg -- JULIAN (upset) Is that really important?! GROVER It must have been or you wouldn't have decided to break your trip there five days after your marriage. (CONTINUED) 9. 19 CONTINUED: JULIAN All right, Mr. Grover. I suppose you're entitled to know. Ten years ago, on the advice of Stuart Upson, Carmine Lucchese transferred five billion dollars to a Luxembourg Trust with Carla as the sole beneficiary. He's been able to save over a million a year in taxes -- GROVER A family of four could live on that. JULIAN It's blood money, Mr. Grover. Made from war. Killing. GROVER I'LL give it back. JULIAN The trust expires on Carla's twenty- seventh birthday. That's in three days. If Carla isn't there to sign for the assets of the trust, the property reverts to Carmine Lucchese. GROVER So naturally you'd want her to pick up her marbles. Julian stops and turns to Grover, near a gate marked MILANO, ROMA, NAPOLI, DEP. 114:35. JULIAN There's something you'd better understand, Mr. Grover: I love Carla. I didn't marry her for money. I even signed a waiver that meant I'd never inherit. Not a dime! Carla feels the same way I do about the Lucchese cartel -- it's evil, destructive and should be broken up. GROVER But the old man has other heirs -- JULIAN Her brother, Luigi -- her stepmother, Contessa Lucchese. (CONTINUED) 10. 19 CONTINUED: (2) GROVER How do they feel about "blood money?" JULIAN They can hardly wait to collect the interest. 20 ANGLE TO INCLUDE SINISTER FIGURE He moves towards C.R. C.R. turns, pushing raincoat at him. They grapple. A knife falls to floor. As the Sinister Figure tries to pick it up, C.R. kicks knife away. Julian moves in to help C.R.; the assassin pulling free for a half second, grabs the oncoming Julian, flings him out, knocking C.R. off balance. Then the Sinister Figure runs off, losing himself around a corner. Julian stares after the assassin. JULIAN That man was trying to kill you! C.R. (indicating slit in raincoat) Hope it doesn't rain where we're going... He bends to pick up rest of his gear as: P.A. ANNOUNCER (in French) Last call for Alitalia Flight number 317, for Milano, Roma and Napoli. JULIA N We better get on board. C.R. checks. GROVER My attache case! 21 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON There isn't time: You'll miss your plane. 11. 22 INT. ORLY TERMINAL - ANGLE ON GATE GROVER (to Julian) Go ahead, save me a seat. C.R. runs off. Take him past gate that reads: FLIGHT 36 ZURICH MUNICH VIENNA. DEP. 114:37 CAMERON (V.0.) Grover! 23 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON Grover, if you louse up and miss that plane -- He shakes his head. 24 INT. TERMINAL - ANGLE ON GROVER Racing back to where he left attache case. GROVER I've got a spare scanner in my attache case. I don't want to lose it! He reaches attache case, picks it up. GROVER (continuing) Try to get a make on that guy who lost his knife. 25 INT. PROBE CONTROL TO INTERCUT WITH TERMINAL 26 ANGLE ON SCREEN - GROVER'S P.O.V. - TERMINAL Dodging through other passengers. Two gates appear on scanner -- one to Milan plane, other to Zurich plane. CAMERON Copy... you have two minutes, Grover! GROVER (puffing) I copy! Scanner turns to Zurich gate! (CONTINUED) 12. 26 CONTINUED: CAMERON Grover! 27 INT. TERMINAL - ANGLE ON GATES C.R. sprints through gate to Zurich plane, disappears from view. CAMERON (V.0.) You're taking the wrong plane! 28 INT. PROBE CONTROL - ANGLE FAVORING CAMERON JET SOUND up high. CAMERON The wrong plane! You're supposed to go to Milan, not Zurich! 29 EXT. ORLY LANDING STRIP - ANGLE ON PLANE - DAY It moves to take place in take-off pattern. CAMERON (V.0.) Of all the incompetent exponents of congenital stupidity! Our client is on the way to Milan... 30 INT. PROBE CONTROL - ANGLE ON CAMERON gripping microphone... CAMERON And you're bound for Zurich! GROVER (V.0.) (getting his breath) Yeah. That's halfway between Milan and Luxembourg. Cameron reacts. Maybe it wasn't a goof-up after all. 31 INT. PLANE - FEATURE GROVER - DAY GROVER Sir. Do you think you might check on the tours that were going through the Lucchese art collection the day Carla disappeared? Especially any that were heading North into Switzerland? 13. 32 ANGLE ON CAMERON CAMERON Grover. I must confess, you are a source of continual amazement to me. 33 INT. PLANE - GROVER - DAY GROVER Yes, sir. Sometimes I think it's my primary purpose in life. 34 EXT. JURA MOUNTAINS - PANORAMIC VIEW - DAY To set where we are. 35 EXT. SOUVENIR STAND - ANGLE FAVORING GROVER - DAY He turns from souvenir stand having bought a souvenir. Sign on souvenir stand confirms we are in Switzerland. C.R. turns, looks OFF. 36 SCANNER SHOT - BUS Pulling into parking place with sign MARSHALL TOURS, GATEWAY TO ROMANCE on the side... CAMERON (V.0.) Marshall Tours is the one that fills the bill. They were just boarding that bus when Carla disappeared. ZOOM IN as BUS DRIVER helps school teachers from the bus. 37 ANGLE ON GROVER Moving to bus. GROVER Did you get a make on the guy in the Orly Air Terminal? CAMERON (V.0.) Negative. 38 ANGLE ON BUS C.R. moves to Swiss Bus Driver lecturing tourists. BUS DRIVER We shall be here precisely fourteen minutes. (MORE) (CONTINUED) 14. 38 CONTINUED: BUS DRIVER (CONT'D) There are telescopes which give a panoramic view of the Jura Mountains. You all will have ample opportunity to purchase such souvenirs as Swiss cuckoo clocks, Swiss chocolate, and Swiss watches. Please mention my name to the proprietor and you will receive a seven point five percent courtesy discount. He turns. C.R. comes to him. ENGLISH SCHOOL TEACHER hovers. GROVER You keep a pretty tight schedule. BUS DRIVER We have worked out a meticulous program that affords these ladies sufficient time to derive full estehtic pleasure at every stop on the way. GROVER Nothing slows you up -- like at Castello Lucchese. Swiss Bus Driver covers a reaction. BUS DRIVER We arrive at Castello Lucchese precisely fifteen hours thirty- two minutes. Interval allotted for tour of collection, refreshments, purchase of reproductions, ninety-three minutes -- LADY SCHOOL TEACHER Herr Spelling. When you changed my money for me this morning -- GROVER And you drove away with one more passenger than you came with. BUS DRIVER I start with twenty ladies. I leave with twenty. (CONTINUED) 15. 38 CONTINUED: (2) LADY SCHOOL TEACHER Twenty-one. BUS DRIVER No Madame. You are mistaken. LADY SCHOOL TEACHER Oh, no. You made it a point -- BUS DRIVER You will miss your opportunity to purchase unique wind-up toys that are specialty of this region, Madame. LADY SCHOOL TEACHER I do remember. She kept her face hidden -- C.R. moves Bus Driver away. 39 ANGLE ON GROVER, BUS DRIVER C.R. faces Driver. BUS DRIVER Please. I am a man of honor. C.R. reaches into pocket for wallet, takes out money. BUS DRIVER (continuing) The young lady paid me not to say anything. GROVER You can earn yourself a bonus. He holds out money. Driver shrugs, reaches for bills. BUS DRIVER I'D have preferred a much more stable currency, such as Detaches marks -- GROVER But even Swiss bus drivers have Swiss bank accounts. Where is she? Bus Driver turns, points. 16. 40 P.O.V. - CARLA standing at telescope, pointed downward. Carla's dis- guise is dark glasses, floppy hat to cover face, hair pushed up under it, floppy clothes to hide her figure. ZOOM IN. HOLD. Then: GROVER (O.S.) Mrs. Whitfield? She stiffens, doesn't turn. PULL BACK to include Grover. GROVER Mrs. Whitfield! CARLA (still at telescope) I think you made a mistake. I'M not Mrs. Whitfield. 41 NEW ANGLE She swings telescope. GROVER If you're here to look at the mountains, you got your telescope pointed wrong. Carla ignores him as she tracks with telescope. 42 MATTED P.O.V. - CAR Car pulls into souvenir stand area, parks near tour bus. GROVER (O.S.) Mrs. Whitfield, my name is C.R. Grover. Your husband hired me to find you. 43 BACK TO SCENE Tense, Carla stares OFF at bus, car. GROVER I saw him in Paris. I'M trying to help you. He turns with her to look at: 44 ANGLE ON BUS DRIVER Two hard-looking MEN talk to him. He points toward Carla, C.R. 17. 45 ANGLE ON CARLA, GROVER She turns now. CARLA Do you have a car? C.R. turns... GROVER Right over there -- Carla grabs his arm, starts him toward car. 46 ANGLE ON BUS DRIVER The two Men pay Bus Driver, see Carla, run forward. 47 WIDER ANGLE - FEATURING GROVER'S CAR Inside car, C.R. starts OFF with Carla. One Man runs up, wrenches at door handle, car accelerates, Man goes flying. 48 INT. GROVER'S CAR - ANGLE ON FRONT SEAT - DAY as C.R. drives away. GROVER You never got your souvenir. CARLA Shift into high! She turns around to look back. GROVER Friends of yours? 49 CARLA'S P.O.V. - THROUGH REAR WINDOW The Men race for their car. CARLA (O.S.) They work for my brother, Luigi. 50 INT. CAR GROVER Was it Luigi who shot at you back at the Castle? She throws him a look. He concentrates on driving. GROVER (continuing) Look. You can trust me -- 18. 51 EXT. ROADWAY - ANGLE ON CAR Racing down road. CARLA (O.S.) Naturally. GROVER (O.S.) I'M not from Luigi, I told you -- Julian sent me -- CARLA (O.S.) Gear down, stupido! Car moves into turn. 52 INT. CAR - ANGLE ON FRONT SEAT C.R. fights the wheel. CARLA Accelerate through the turn! GROVER What's the matter? Don't you ever trust Julian? CARLA I don't want him involved! GROVER Mrs. Whitfield.... in case you missed the point.., he is involved. (guessing) You didn't call him after you ran away because you're afraid he'd be killed, too. She looks ahead. CARLA Floor it! 53 EXT. ROAD - ANGLE ON GROVER'S CAR It pulls away. CARLA (O.S.) I should have taken the wheel. GROVER (O.S.) I'VE driven a car before. (CONTINUED) 19. 53 CONTINUED: CARLA (O.S.) Not at Le Mans. HOLD, then pursers' car comes through curve. 54 INT. GROVER'S CAR - ANGLE ON FRONT SEAT Carla looks back. CARLA Kurt Von Hecht and I drove a 917. C.R. nods. CARLA (continuing) Faster. They're still with us! (she turns) Gear down now. Leave your brake alone! 55 EXT. ROAD - ANGLE ON GROVER'S CAR It skids into another turn... CARLA (O.S.) Gun it, don't lose traction! 56 ANGLE ON PURSUING CAR To see two Men, trying to keep up. 57 WIDER ANGLE They go into turn, skid, do a one-eighty, burn rubber. 58 EXT. ROAD ANGLE ON GROVER'S CAR facing further ahead. 59 INT. CAR - ANGLE ON GROVER He looks up at the mirror. GROVER We're pulling away. CARLA Floor it! (CONTINUED) 20. 59 CONTINUED: GROVER Look, I know why they're after you. I know about the trust - She reacts, then: CARLA Shift down! Brakes! 60 EXT. ROAD - ANGLE ON CAR It slows down rapidly... CARLA Hang a left... Now! C.R. turns into side road... 61 INT. GROVER'S CAR He struggles to keep car going straight. GROVER You mind telling me where we are going? CARLA We're almost there. 62 EXT. MAIN ROAD - ANGLE ON PURSERS' CAR It screeches to a stop, raising dust. 63 TIGHT ON FRONT SEAT Man next to Driver uses radiophone. MAN Signor Lucchese? We've lost them. 63A CLOSE UP - LUIGI ON PHONE LUIGI Where are you now? 63B BACK TO CAR Driver hands map to other Man. He reads. (CONTINUED) 21. 63B CONTINUED: MAN On the Zurich-Basel road. Three kilometers north of the Observation post. LUIGI (O.S.) Then we know where they're going. I'LL meet you there. 64 EXT. SIDE ROAD - MOVING SHOT at C.R.'S questioning look: CARLA A little further... (lighting a cigarette tensely) I want to thank you... GROVER If that's your way of leading up to goodbye... Forget it. I'M staying with you. CARLA That won't be necessary. I have someone who'll help me. GROVER Lady... You'll need all the help you can get if you want to keep off the obituary page. Now a parked Ferrari looms INTO VIEW. A Man sits behind wheel. CARLA (calls) Kurt?.. Kurt... Suddenly she freezes, as the car stops. 65 HER P.O.V. - THE FERRARI Kurt's head is slumped to the side. He doesn't move. 66 NEW ANGLE Frightened, she gets out and starts quickly forward. Grover, who's come out of the car, catches her, holds her arm. (CONTINUED) 22. 66 CONTINUED: GROVER (taut) You'd better wait here. (she starts to protest) I said wait! He leaves her, heads swiftly for Ferrari. 67 ANGLE AT FERRARI Grover reaches it, stares inside at slumped Man, opens the door. The slumped Man practically falls into Grover's lap; remains motionless. Grover, who's blocked the fall with one hand, withdraws hand, stares down at blood smear on it. No pause. Suddenly the ROAR of a car engine. He whirls to see: 68 GROVER'S P.O.V. Carla behind the wheel of his car. As she whips it forward... 69 ANOTHER ANGLE Grover rushes to intercept her. 70 SHOOTING FROM WITHIN CAR - OVER CARLA'S SHOULDER to see Grover frantically trying to wave her down. We hurtle toward him. 71 LOW ANGLE - GROVER AND CAR as he dives to the side, rolls away at the last possible second. 72 OMITTED 73 HIS P.O.V. The car roaring off, kicking up dust, disappearing. 73A CLOSE ON GROVER He reacts. FREEZE FRAME END OF ACT ONE 23. ACT II FADE IN: 74 EXT. SIDE ROAD - FERRARI - DAY Grover is leaning over the body, examining it, as: CAMERON (V.0.) Who is he...? GROVER Kurt Von Hecht... Carla's one- time co-driver. 75 INT. PROBE CONTROL - CAMERON staring at O.S. screen. CAMERON Why kill Von Hecht? GROVER (V.0.) To stop him from driving Carla to Luxembourg. Luigi must've guessed she'd turn to Von Hecht and had him watched. End of obituary. SOUND of approaching cars. 76 EXT. SIDE ROAD - WIDE ANGLE C.R. alerted, rises. Mercedes 600 SL drives up, with two Henchmen, car right behind. Luigi gets out of car. Two Henchmen also move with Luigi. As C.R. tenses: HENCHMAN #1 He is the man she met, Signor Lucchese Luigi holds up his hand. C.R. waits cooly, mind racing. LUIGI Where is my sister, Carla? GROVER (evenly - faint smile) You won’t believe it, but I seem to have misplaced her. Luigi nods toward C.R. Men bear down on him. (CONTINUED) 24. 76 CONTINUED: LUIGI I won’t ask you again. Henchmen reach for C.R. He straightens, arm blocks one man. He goes down. C.R. spins to meet rush of other man. C.R. ducks. Man goes over Grover’s head into Luigi. They both sprawl. C.R. sprints OUT OF FRAME. 77 ANGLE ON ROAD C.R. breaks through brush, turns, runs up road. He HEARS another car, turns to duck back into brush as car pulls up. 78 ANGLE ON CAR Inside, rear of chauffeur driven car, PENNY LUCCHESE, opens rear door. PENNY Get in quick! C.R. hesitates. PENNY (continuing) Hurry, before Luigi’s men come after you. C.R. dives in car with the distinctive Lucchese crest. Car U-turns, pulls away. 79 ANGLE ON LUIGI AND HIS HENCHMEN as they rejoin him. HENCHMAN #1 Should we follow? LUIGI (a beat; coldly) No need. He’s as good as dead. SHOCK CUT TO: 80 INT. CARMINE’S BEDROOM - ANGLE TOWARD DOOR - DAY as it bursts open, Julian storming in. Right behind him comes Carmine’s Male Nurse, who instantly grabs him. (CONTINUED) 25. 80 CONTINUED: MALE NURSE I told you, nobody is permitted... He never finishes as Julian thrusts him wildly aside, sends him crashing back. 81 REVERSE ANGLE In his wheelchair, Carmine stares at the action in shock. JULIAN (to Carmine) Did you really think you could just ignore me... That I’d go away like a nice little boy...?! CARMINE (harshly) I don’t understand... The Nurse, recovering, starts back to Julian, his face furious. CARMINE (continuing; to Nurse) Enough! (whips to Julian) What are you doing here? JULIAN (moving toward him, angrily) You don’t know... Well perhaps you would, if you’d taken any of my phone calls. CARMINE (to Nurse) Mr. Whitfield attempted to contact me? (as he doesn't answer) Well?! MALE NURSE Your doctor thought it best, Don Luchesse, that you be allowed to rest undisturbed... I executed their orders... (CONTINUED) 26. 81 CONTINUED: CARMINE The only one who gives orders in this house is me.... (to Julian) Fools. As though I could rest knowing Carla’s gone... that there are people who’d have her dead. JULIAN Not people... Your son! CARMINE You don’t realize what you're saying, Luigi would never defy my will... Not as long as I live... (at Julian's look) Believe me, Julian, as I love you... Luigi is not behind all this. JULIAN (bitterly) Then you're a fool Don Lucchese. He'll kill Carla if he has to... Just as he had someone try to murder the man I hired to find her. A beat as Carmine exchanges glances with Male Nurse, then: CARMINE You're deeply upset, Julian... Appreciate then that I may possibly be just as upset as you... JULIAN All I want to know is what you're going to do about it! CARMINE What we're going to do... At Julian's bewildered look, Carmine turns to Male Nurse: CARMINE (continuing) Two brandies... As the Nurse wheels, moves swiftly off: (CONTINUED) 27. 81 CONTINUED: (2) CARMINE (continuing; to Julian) I'm glad you insisted on this meeting. It may benefit all of us... immeasurably. On Julian’s still bewildered look: 82 EXT. MAIN ROAD - ANGLE ON SIGN - DAY Sign reads: "BUNDESREPUBLIC K DEUTSCHLAND - 3 KM" PULL BACK to REVEAL Swiss Police roadblock. Police cars, three POLICEMEN. They move to stop approaching Mercedes. 83 ANGLE ON MERCEDES Car comes to stop as Policeman approaches, moves to rear. POLICEMAN (to Penny) I am sorry. I must inconvenience you, Contessa Lucchese. We are looking for a young American. PENNY (mildly surprised) You know who I am. 84 INSERT: CLOSE UP - CREST on door. POLICEMAN (O.S.) Everybody in Europe knows the crest of Lucchese Industriale. 85 WIDER ANGLE PENNY This young American must be very dangerous. POLICEMAN He is wanted as material witness in a very brutal murder; and for assault on two men in the employ of Herr Luigi Lucchese. (CONTINUED) 28. 85 CONTINUED: PENNY You're not serious... POLICEMAN (staring at her) Forgive me Contessa, but it seems... well strange that twenty minutes after we are alerted to what happened to Herr Lucchese... you appear... PENNY (coldly) Exactly what are you implying...? POLICEMAN I'M not sure. I was merely hoping you could shed some light on this remarkable coincidence... PENNY (sarcastic) It's perfectly clear. I hired this American to kill my stepson and am now spiriting him across the border... Would you care to search the car...? POLICEMAN (backing off) Contessa. PENNY No? (without waiting for answer to Chauffeur imperiously) I believe we’ve been held up long enough, Mario. The Chauffeur instantly guns the motor. As the car pulls out. POLICEMAN (jumping back) Danke schoen, Contessa. Car drives off. OPTICAL TRANSITION: 29. 86 EXT. ROAD - MOVING ANGLE as from car, we pass sign that reads: "MUNCHEN 30 KM." Pointing back. 87 ANGLE ON MERCEDES Chauffeur driving off road. He parks, Penny gets out. Chauffeur moves after her to rear of car, opens trunk. 88 ANGLE ON TRUNK We SEE C.R. PENNY I do hope you weren’t too cramped back here. C.R. gets out painfully, rubs his joints. GROVER It beats getting shot... But not by much. (beat) We in Germany? PENNY You're safe now. (at his stare) Something wrong? GROVER (shrugs) Not really. I’m just trying to figure why you rescued me. Penny smiles. PENNY I know it’s out of character for a step-mother, but I do care about Carla. GROVER Yeah? PENNY I thought there was something a bit odd when Luigi decided to fly to Zurich yesterday. So I followed him. (CONTINUED) 30. 88 CONTINUED: GROVER (cooly) You did a great job. I know a few professionals who could take lessons from you. PENNY You do have a suspicious nature, young man. GROVER That might help me get to be an old man. PENNY I heard Luigi talking to his men. He told them he would meet them at the turnaround. So I just decided to tag along.., at a discreet distance. Luigi is cold, grasping. He’d do anything to make sure no one else could inherit poor Carmine’s money. GROVER And you don’t care about the Lucchese billions. She trills a laugh. PENNY My husband has done quite well by me. I want for nothing, I want nothing more. As he stares: PENNY (continuing) Now if you’re feeling better, I suggest we hurry. GROVER Hurry... Hurry where? PENNY You must have arranged to meet Carla somewhere. GROVER Didn't get around to it. (CONTINUED) 31. 88 CONTINUED: (2) He starts towards car. GROVER (continuing) If you can drop me up the line -- PENNY (stopping him with a hand) Surely, you know where she's going. GROVER Not really. He shrugs off her hand. Starts forward. Then it happens. At a nod from Penny, the Chauffeur suddenly whips out a gun. As Grover freezes: PENNY I suppose it would be pointless to ask you again... GROVER (wearily) More than pointless. PENNY I'M afraid then, that you'll have to talk to Luigi. I'll call him, tell him to expect us. She starts toward car phone. PENNY (continuing) If you have any doubts about Mario’s proficiency with firearms 89 INT. PROBE CONTROL - INTERCUT CAMERON AND SCREEN PENNY (V.0.) Please do drive them from your mind. 90 BACK TO SCENE As she continues toward car. GROVER (shrugs) Frankly I was hoping I could appeal to your better nature. (CONTINUED) 32. 90 CONTINUED: PENNY You'd be hopelessly outnumbered. GROVER By Carmine Lucchese’s money. At car she reaches into window, pulls out radio phone. PENNY Naturally. I would have been wiser if you’d told me where Carla has gone. 91 ANGLE ON GROVER PENNY (O.S.) I'M afraid Luigi will be far less gentle with you. Amused at Penny’s crack, the Chauffeur shoots her an amused glance. Suddenly the lethargic-appearing C.R. springs into action. He whips around, jolts the Chauf- feur's gun hand with a karate chop across the wrist. The gun falls to the ground. 92 NEW ANGLE The Chauffeur strikes back with a vicious punch to C.R.'s gut. Doubled over, C.R. comes back with a sharp uppercut to the Chauffeur’s jaw. Follows after the stunned man. The Chauffeur is no pushover. He slashes at C.R., karate style. C.R. ducks under the slashing hand. Takes a follow-up blow, then crashes his own hay—maker to the Chauffeur's temple. He drops, unconscious. 93 ANOTHER ANGLE Penny stands frozen, phone in hand. C.R. turns, crosses to her slowly. A beat, then he takes it from her hand, drops it back in the car. GROVER I wonder how gentle Luigi is going to be with you. PENNY You filthy, rotten... GROVER (moving her out of the way) I'LL send this back to you. (CONTINUED) 33. 93 CONTINUED: He gets in the car. Starts it up. Drives off. As he does, Penny, in white fury, bursts toward the Chauffeur's fallen gun, picks it up. 94 PAST PENNY - OVER HER SHOULDER as she fires whildly after the speeding limo. 95 INT. LIMO - GROVER Ducks as a bullet whines past. 96 ANGLE ON PENNY She reacts as the gun clicks empty. REVERSE ZOOM to limo. 97 GROVER Foot on the floor, he sends it careening into a curve. 98 HIGH ANGLE - LIMO roaring down highway. 99 THRU OMITTED 103 FREEZE FRAME. END OF ACT TWO 34. ACT III FADE IN: 104 EXT. ROAD - ANGLE ON BLACK MERCEDES - DAY pushing North, with C.R. at wheel. CAMERON (V.0.) You realize, of course, that it won't be too difficult for the Contessa to flag a passing motorist and reach a phone. 105 INT. PROBE CONTROL - ANGLE ON CAMERON talking into mike. CAMERON Then it will be just a matter of minutes before the German police join in the hunt for you. 106 INT. MERCEDES - ANGLE ON GROVER GROVER (dryly) Well.., at least this car will be hard to spot. CAMERON (V.0.) I really must congratulate you, Grover. C.R. winces in anticipation. 107 INT. PROBE CONTROL - ANGLE FAVORING CAMERON not bothering to control his fury. Others in the room wince sympathetically. CAMERON In less than six hours you have managed to inscribe your name on the wanted lists of the police in two countries! GROVER (V.0.) Yessir. 108 INT. MERCEDES - ANGLE ON GROVER He concentrates on driving car. (CONTINUED) 35. 108 CONTINUED: GROVER I can't say I exactly stopped to think about that CAMERON (V.0.) That would scarcely be in character. GROVER But I figured if I had to try to make sense to the authorities... 109 INT. PROBE CONTROL - ANGLE FAVORING CAMERON GROVER (V.0.) I'd use up too much time. CAMERON Very commendable, Grover. GROVER (V.0.) Thank you, sir. CAMERON Of course you'd want to find Carla Lucchese Whitfield. GROVER (V.0.) Thought you'd understand, sir. Cameron grips console, roars: CAMERON Except you haven't the slightest idea where she is! 110 INT. MERCEDES - ANGLE ON GROVER He winces, pinky-clears his ear, then: GROVER Not yet, sir. But I figure that won't take long. 111 INT. PROBE CONTROL - ANGLE FAVORING CAMERON He glares at screen. CAMERON You do. (CONTINUED) 36. 111 CONTINUED: GROVER (V.0.) Yes sir. I mean, she took my car, right? And I had my attache case in the car, right? And I did have a spare scanner in it -- Cameron is already turning to Carlos. CAMERON I copy. 112 MERCEDES driving fast... very fast. CAMERON (V.0.) Miss Wilson, activate the spare scanner in the attache case. We'll home in on it. MISS WILSON (V.0.) Yes sir. 113 INT. PROBE CONTROL - WIDE ANGLE Cameron turns to Kuroda. CAMERON Map overlay for this area. KURODA Yes sir. On screen. Cameron turns to screen. 114 ANGLE ON SCREEN Map grid flashes on screen. 115 ANGLE ON CARLOS Tight, as he punches button. CARLOS Scanner activated. On screen. 116 ANGLE ON SCREEN (MAP OVERLAY) We SEE two pinpoints of light on screen widely separated, but moving toward each other. (CONTINUED) 37. 116 CONTINUED: CAMERON (O.S.) Good. At least we can give you relative position, Grover. (beat) Carlos. Dotted light line flashes across screen connecting two dots. 117 INT. MERCEDES - ANGLE ON GROVER driving, listening. CARLOS (V.0.) Ninety-six miles, bearing 326. GROVER That's a big help. Listen, I'll give you my exact position.... 118 OMITTED 119 INT. MERCEDES - ANGLE ON GROVER He takes scanner, holds it in left hand out window. CAMERON (V.0.) I copy. 120 SCANNER ANGLE - SIDE OF ROAD Landmarks flash by, then sign reading HELFENSCHLOSS 7KM. CAMERON (V.0.) Replay and freeze. Image runs backwards and FREEZES ON SCREEN. 121 INT. PROBE CONTROL - ANGLE FAVORING CAMERON, CARLOS CARLOS Perfect. CAMERON Punch up the map again. 122 ANGLE ON SCREEN - MAP Two dots appear, in relative position. CAMERON (O.S.) Line it up, Carlos. (CONTINUED) 38. 122 CONTINUED: Map overlay moves around until... CARLO S Mark! CAMERON (O.S.) Magnify the signal from the spare scanner. ZOOM IN on top dot. Network of roads, place names magnify. CAMERON (O.S.) (continuing) Carla is outside Baden-Baden, on the German side of the Rhine. She seems to have stopped. OPTICAL TRANSITION: 123 EXT. INTERSECTION - ANGLE ON GROVER'S CAR - DAY Hood up. Repair truck parked nearby. German MECHANIC is working... CARLA (O.S.) You promised you'd be finished one hour ago! 124 WIDER ANGLE MECHANIC You blow a head gasket... you think I can fix it in a minute? Carla turns, moves angrily away. HOLD on Mechanic. He mutters, leans back into engine. 125 ANGLE ON CARLA Move with her. She stalks away toward a roadside tele- phone. C.R.'s hand reaches out, pulls her, she turns, ready to yell. They struggle. 126 ANGLE TO INCLUDE GROVER Pulls her into some bushes. She tries to fight him off. CARLA Go ahead! Call Luigi! Tell him you've found me! (CONTINUED) 39. 126 CONTINUED: Mild exasperation on C.R.'s part: GROVER We going to have to go through all that again? What does it take to make friends with you? She turns, sees... 127 P.O.V. - BLACK MERCEDES parked nearby. CARLA (O.S.) You expect me to trust you when you arrive in a Lucchese car! 128 BACK TO SCENE GROVER I came by it dishonestly. I stole it from your stepmother. At Carla's continued suspicion. O.S. we HEAR a motorcycle. GROVER (continuing) Okay. You still don't trust me. But what choice do you have? You don't want to involve Julian, Von Hecht is dead He stops, stares OFF at: 129 P.O.V. - MERCEDES German MOTORCYCLE COP parks his bike and comes to the Mercedes. He checks the license number, then heads for the bike and uses the radio. 130 BACK TO SCENE GROVER I another two minutes you'll have all the proof you need. That Storm Trooper is going to call in, report that license number. They'll tell him the car was stolen and you can watch him march me off to jail. (MORE) (CONTINUED) 40. 130 CONTINUED: GROVER (CONT'D.) You'll be up for grabs, and it won't take Luigi and Penny ten minutes to zero in on you. You've got less than two days to make it to Luxembourg. What's it going to be? She thinks. Beat, then, decision made: CARLA We have to cross the Rhine into France. He takes her arm, moves OFF. GROVER First we'll have to "borrow" some other clothes. 131 EXT. RIVER BANK - ANGLE ON SHORE - NIGHT NIGHT SOUNDS, then SOUND of outboard engine. Engine cuts off. Beat. Nose of boat nudges INTO FRAME, with Carla in bow, C.R. in stern. Both dressed in shorts, sweaters. C.R. jumps out, Carla hands him back-packs. They move up river bank. 132 MED. ANGLE C.R. puts back-packs down, flops on ground. Carla joins him. CARLA They may miss that boat. GROVER Not until morning. CAMERON (V.0.) Don't wager on it, Grover. 133 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON Griffin's been monitoring police frequencies. You've become quite a minor sensation in Germany, as well as Switzerland. They've already discussed asking the French authorities for assistance. I'D say you don't have too much of a head start. 41. 134 EXT. RIVERBANK - ANGLE FAVORING GROVER, CARLA C.R. nods. GROVER Yeah. She turns to C.R. CARLA Did you say something? GROVER I was just talking back to my conscience. Carla stares at him. GROVER (continuing) We better get moving. He gets up. Looks at Carla. CARLA (as though she hasn't heard him) Sometimes -- sometimes I wish I could just let Luigi and Penny take the whole thing. The foundaries, the factories, shipyards GROVER I don't know how long we can stay here, in the open. This is important to her. CARLA I've always hated what my father's money stood for! Long before I met Julian. (turns away, thinks) That was why I did all those crazy things -- a dozen stupid romances, the gambling... drinking... GROVER (pressing) Carla... (CONTINUED) 42. 134 CONTINUED: CARLA (ignoring) Then one day, I woke up after a party... Some Shah I'd met in Paris had invited me to his palace. At first I thought it was a nightmare. Guns were going off. In the street outside women and children were falling... Army tanks were strafing, shooting right into them... (turns to him) Those tanks were provided by Lucchese Industries. So were the bullets... GROVER (quietly) Carla... You don't have to sell me. CARLA When I take over from my father, Lucchese Industries will no longer help create wars. No longer provide the tools to keep them going. Lucchese Industries will either turn to manufacturing things that can help people... or I'LL destroy it. GROVER (very quietly) We don't get moving, and you won't get a chance to do anything. A long beat. Then nodding, she rises. They move forward. She stops. He turns, patiently as if to ask what's the matter. CARLA Poor Julian. He must be worried sick. GROVER We can't take the chance on contacting him, Carla. (pausing significantly) But maybe he'll figure out where we're going, maybe he'll even turn up when we get there. 43. 135 INT. PROBE CONTROL - ON CAMERON CAMERON We copy, Grover. He turns to Kuroda. CAMERON (continuing) Get on the horn to Julian Whitfield in Milan! KURODA Yessir. 136 INT. HOTEL ROOM - VERY TIGHT ON JULIAN - DAY He's on the phone. JULIAN I'll take the next flight out. I should be in Luxembourg... (glances at watch) in three hours. As he hangs up swiftly: 136A EXT. FRENCH COUNTRYSIDE - WIDE ANGLE - DAY C.R. and Carla, with back-packs, etc., on stolen bicycles moving along road. 137 INT. PROBE CONTROL - ANGLE CAMERON CAMERON Congratulations, Grover... 138 EXT. FRENCH ROAD - ANGLE ON GROVER on bicycle with Carla wheeling next to him. CAMERON (V.0.) You've become a minor celebrity. The French police have found the motorboat. It won't be too long before they get a report two bicycles have mysteriously vanished. Luigi Lucchese is being kept informed of all developments. GROVER I guess we better get off the road. (CONTINUED) 44. 138 CONTINUED: At Carla's questioning look: GROVER (continuing) We've got a lot of ground to cover by nine o'clock tomorrow morning. And we're pretty naked out in the open like this. CARLA I know a few of the back roads. I'VE been here before. My father's lawyer, Signor Upson has a chateau in this area. C.R. looks OFF at: 139 SCANNER SHOT - EXT. REST AREA - WIDE ANGLE Picnic table set back from road, with French CAMION DRIVER and HELPER sitting down to lunch. Camion, with wine barrels, parked on road. GROVER (O.S.) We may be in luck. 140 INT. PROBE CONTROL - ANGLE FAVORING CAMERON He stares resignedly at screen. CAMERON Go ahead. What's a truck when you consider you've already stolen a car, a boat and two bicycles? 141 EXT. REST AREA - ANGLE ON DRIVER Stretched out, napping. Helper lifts wine bottle. SOUND of truck starting. Helper turns and looks at: 142 ANGLE ON CAMION C.R., Carla in front seat, Camion pulls away. 143 ANGLE ON HELPER Realization. He jumps up, runs after Camion shouting. HELPER Sal bete! Cochon! 45. 144 INT. PROBE CONTROL - ANGLE FAVORING GRIFFIN GRIFFIN (translating) Dirty beast. Pig. Species of -- CAMERON I don't think Grover really wants to know, Griffin. He turns to screen. OPTICAL TRANSITION: 145 EXT. ROAD - WIDE ANGLE Camion bounces merrily along with C.R., Carla on open seat. 146 ANGLE ON FRONT SEAT GROVER May not be as fast as a Porsche 917 -- But it's the best I could do under the circumstances. Carla looks ahead... CARLA There is a side road a little way ahead... C.R. nods. 147 OMITTED 148 EXT. CAMION - ANGLE ON FRONT SEAT C.R. looks up. 149 P.O.V. - ROAD BEHIND Suddenly a helicopter hovers over road. GROVER (O.S.) How many helicopters does Lucchese Internationale own? 150 BACK TO SCENE Carla swivels to look back at helicopter. She reacts. CARLA I don't know... but that's one of them! 46. 151 ANGLE ON HELICOPTER It moves forward, then swoops down. 152 WIDE ANGLE Helicopter makes close pass at Camion. 153 TIGHT ON GROVER, CARLA He swings wheel, pumps on gas. Carla looks up. GROVER He's making sure he's got the right people. 154 WIDE ANGLE Helicopter comes down for another pass, hovers close to Camion. 155 TIGHT ON GROVER, CARLA He tries to duck away. 156 WIDE ANGLE Copter rises, hovers, gets in position behind Camion. 157 TIGHT ON GROVER, CARLA He looks back. GROVER He's sure. 158 WIDE ANGLE Copter makes run at Camion, swooping low. 159 ANGLE ON CARLA, GROVER They duck. C.R. loses concentration, Camion veers towards side of road, C.R. gets Camion back on road. 160 HELICOPTER Drops two canisters onto road ahead. ZOOMS UP. Can- nisters explode. Thick smoky gas escapes. 161 WIDE ANGLE Camion driving through gas. 47. 162 TIGHT ON GROVER, CARLA He sniffs, then: GROVER That's tear gas! Try to hold your breath! 163 WIDE ANGLE Helicopter makes another run dropping thicker pattern. 164 ANGLE ON CANTON It enters thick, dense gas. 165 TIGHT ON CARLA, GROVER Coughing, weeping. He cannot see. He brakes truck, grabs her hand, stumbles from truck. They grope towards edge of smoke. 166 ANGLE INTO SMOKE SOUND of copter on the ground. Coughing, sneezing, Carla, C.R. emerge into fresh air, drop. SOUND of people approaching. 167 TIGHT ON GROVER, CARLA lying on the ground. C.R. sees boots in front of him, looks up at... 168 P.O.V. - LUIGI looking down at Carla, C.R.... Luigi smiles coldly. PULL BACK to REVEAL armed Men flanking him as Carla, C.R. react: FREEZE FRAME. END OF ACT THREE 48. ACT IV FADE IN: 169 EXT. CHATEAU - WIDE ANGLE - ESTABLISHING - DAY 170 INT. TROPHY ROOM - ANGLE FAVORING PENNY, LUIGI - DAY Luigi has finished making drink for Penny. They turn: LUIGI Dear, little sister Carla. Welcome to Stuart's chateau. 171 WIDER ANGLE Upson has led C.R., Carla into hunting, trophy-filled room. One of his Men closes door behind Upson. CARLA You're all in this together. UPSON Let us say that we have a common interest. Something to drink Carla? CARLA (in Italian) You know what you can do with your drink -- 172 INT. PROBE CONTROL - ANGLE FAVORING GRIFFIN GRIFFIN You know what you can do with your drink -- Cameron in B.G. is on phone. CAMERON Miss Wilson, get me the Prefect Police in Metz. She punches up a button on her console. 173 BACK TO SCENE UPSON We share a concern for the welfare of thousands of employees of Lucchese Internationale. (CONTINUED) 49. 173 CONTINUED: GROVER Including Stuart Upson, Luigi Lucchese -- LUIGI They are to be protected from your willful actions. PENNY As you must be protected, dear, little Carla from your own illness. Carla glares. GROVER Real neat. You aren't kidnaping Carla, you'll say she's here under treatment. CARLA If my father knew you were doing this, he'd destroy you! All of you! LUIGI Poppa is very sick. But he would want us to protect what he spent his life building up. UPSON You really must take care of yourself, Carla. You should try to rest -- GROVER At least until after nine o'clock tomorrow morning. PENNY At the very least. She moves towards door, others follow. GROVER So Carla is kept here. The trust lapses, and when Carmine Lucchese passes on to his just reward -- you three divvy up the spoils. At door, Upson turns, GUARD on duty, behind him. (CONTINUED) 50. 173 CONTINUED: (2) UPSON You know -- that never entered my mind. You've been very busy the last few days, Mr. Grover. In the interests of your own well-being, I'd rest, relax and forget. He closes door. C.R., Carla alone. C.R. inspects room. She paces angrily. CARLA They'll keep selling guns... arranging their terrible little wars. 174 ANGLE ON GROVER GROVER Carla, I'm afraid we have to turn this over to a higher power -- 175 INT. PROBE CONTROL - ANGLE FAVORING CAMERON CAMERON Sorry, Grover. Upson has out- maneuvered us. He has a court order certifying Carla Lucchese Whitfield as mentally ill. After an observation period of three days... 176 ANGLE ON GROVER GROVER If there was only another Probe Agent nearby... CARLA Nothing would change. We can't contact him. CAMERON (V.0.) The closest agent is too far away. By the time he reached you... GROVER Okay. Okay. (CONTINUED) 51. 176 CONTINUED: CAMERON (V.0.) We are appealing to the authorities, but I don't think we'll do much good. GROVER Julian Whitfield! He's in Luxembourg. So close.., yet, so far. 177 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON I'll try to reach Julian. Let's hope he can get to you in time. 178 INT. TROPHY ROOM - ANGLE ON GROVER He beeps, acknowledging. He turns, moves to Carla. CARLA I'M so sorry. Because of me you're in danger -- GROVER Get some rest, kid. You want to look your best tomorrow when you sign those papers in Luxembourg. He smiles at her. OPTICAL TRANSITION: 179 EXT. CHATEAU - WIDE ANGLE - NIGHT Establishing. 180 EXT. HEDGE - ANGLE ON CAR - NIGHT It drives up, with lights off. Julian gets out, looks at watch, turns toward castle. 181 INT. PROBE CONTROL - ANGLE FAVORING SCREEN - NIGHT Layout of Chateau. Light dot on one room. Cameron at microphone. CAMERON All right, Grover. Julian Whitfield should be on station. (CONTINUED) 52. 181 CONTINUED: PUSH IN on Light dot, it starts to move. CAMERON (V.0.) (continuing) We think you're in the Trophy Room, so turn right in the hall, fifty yards, door on right to garden. Then head for trees slightly Northwest of your position. You'll have two hundred yards of open ground. Just beyond the trees is a small road. Let's hope you find Whitfield there. 182 INT. TROPHY ROOM - ANGLE ON GROVER - NIGHT Carla is curled up in a deep chair. GROVER Yeah. Getting there is half the fun. He moves to Carla, shakes her gently. She wakes. Finger over lips keeps her from talking. He moves to door. Bends. PUSH IN. He raises scanner. 183 INT. PROBE CONTROL - SCREEN ON LOCK - NIGHT TIGHT ANGLE of door lock. CAMERON (O.S.) Magnify. Lock gets even bigger. 184 ANGLE FAVORING KURODA He peers forward... KURODA Antique plate, with modern three tumbler double-pawl lock. Suggest twelve-centimeter curved detent -- 185 INT. TROPHY ROOM - TIGHT ON GROVER C.R. flips open belt buckle, takes small pick, inserts it in lock. C.R. puts pick in door. (CONTINUED) 53. 185 CONTINUED: KURODA (V.0.) Get your scanner closer. C.R. holds scanner as close as possible. 185A SHOT - GUARD OUTSIDE DOOR He's on station. 186 ANGLE TO INCLUDE CARLA watching, tensely. 187 INT. PROBE - ANGLE ON SCREEN - NIGHT It shows inside of lock. KURODA (O.S.) Now move your detent just a little to the right -- 188 INT. TROPHY ROOM - TIGHT ON GROVER Holds scanner with one hand, detent with other. CAMERON (V.0.) Hurry, Grover! C.R. nods, uses body English then: 189 WIDER ANGLE Door pushes open. C.R. goes down. Guard enters, trips over C.R. Scanner bounces away, goes under piece of furniture. C.R. and Guard grapple. C.R. gets on top, karate chops Guard. C.R. rises. 190 INT. PROBE CONTROL - ANGLE ON BLURRED SCREEN CAMERON (V.0.) What happened? PULL BACK to REVEAL Cameron. GROVER (V.0.) (faint) I lost my scanner. 191 INT. TROPHY ROOM - WIDE ANGLE Guard lying on floor. C.R. hangs back, Carla at door. (CONTINUED) 54. 192 CONTINUED: CAMERON (V.0.) Never mind! Get out of there! C.R. turns, runs OFF with Carla. HOLD on unconscious Guard. 192 INT. PROBE CONTROL Everyone tense, no longer in contact with Grover. 193 EXT. HEDGE - MED. ANGLE - NIGHT Tall hedge at edge of lawn. Beat, then Carla, C.R. huff INTO SHOT, making for hedge. Suddenly, French GAMEKEEPER, with rifle, steps out of shadows. GAMEKEEPER Arretez! C.R., Carla freeze. C.R. tenses, wondering whether to make his jump. Gamekeeper holds gun on C.R., reaches for hunting whistle. Before he can use it, Whitfield emerges from hedge, chops Gamekeeper. Gamekeeper goes down. C.R. impressed. Whitfield moves to Carla. A quick embrace. GROVER Later... later! Come on. She and Whitfield move through hedge. C.R. follows and they hurry off. HOLD on Gamekeeper. 194 ANGLE ON CAR They reach the car. C.R. heads for front seat of car. She stops him. CARLA This time, I drive. GROVER (shrugs) It's your five billion dollars. They get into car as it screams out. OPTICAL TRANSITION: 195 EXT. LUXEMBOURG - WIDE ANGLE - DAY Panorama SHOT to set Luxembourg. (CONTINUED) 55. 195 CONTINUED: GROVER (O.S.) You know where the courthouse is? 196 EXT. LUXEMBOURG STREET - HIGH ANGLE - DAY Busy street. JULIAN (O.S.) I made arrangements with the Judge to meet him at his house. Just in case Luigi has the place staked out. 197 EXT. HOUSE - WIDE ANGLE - DAY House fronting on street. Julian's car pulls up. The three get out. Julian takes Carla's hand. She smiles, kisses him quickly. He leads them to front door. 198 INT. LIVING ROOM - WIDE ANGLE Julian leads C.R. and Carla inside. JULIAN He's still at breakfast. I'LL get him. Carla walks slowly across room. C.R. watches her. GROVER In a couple of minutes you'll have five billion dollars to give away. She turns. CARLA I won't see you again. GROVER I got a lot of explaining to do when I get back to World Securities. CARLA I'LL miss you. You've been -- very gallant. SOUND of door opening. They turn, react as... 56. 199 ANGLE ON DOOR Julian rolls CARMINE LUCCHESE, leonine, ashen, with shawl over his knees in wheelchair. Behind him Sinister Figure from airport enters. CARLA Father! C.R. stares at Sinister Figure. GROVER Well, well... My friend from the airport. You owe me a raincoat. CARMINE Send me the bill. Guido was only carrying out my instructions. CARLA (cooly) I'm glad to see you're recovered, Father. CARMINE I'M still sick, Carla. But not so sick that I'D hide in my bedroom in Milano and let you throw away my whole life's work! Carla looks to Julian. She shakes her head.... JULIAN I'LL make it short and bitter. I sold you out, Carla. GROVER To the highest bidder. How cheap did you come, Whitfield? JULIAN Ten million dollars. (to Carla) It may be small consolation, but it wasn't easy for me. CARLA You said you shared my dreams... You wanted the same things I wanted... Peace in the world... C.R. edges close to Carmine. (CONTINUED) 57. 199 CONTINUED: JULIAN Even dreams get marked down. CARMINE I don't want to hurt you, Carla. You are my flesh, my blood. But you will stay in this room the next twenty minutes. After that -- C.R. seems to stumble. He jolts wheelchair out of the way. Guido moves forward. C.R. swings at Guido. Guido goes down. Julian leaps at C.R. He knocks C.R. down. C.R. kicks out, knocks Julian down. Carla moves to help. GROVER Stay out of it! Head for the window. She turns and heads for window and climbs out. C.R. and Julian in far end of room. He flattens Julian. Guido, recovering, draws knife, moves in on C.R., who side-steps him. Now they circle each other. Each time Guido lunges, C.R. parries, using seat cushions, etc. Finally, C.R. takes advantage of a wild lunge, flips Guido to the deck, dives out window, shattering glass. 200 EXT. STREET - ANGLE FAVORING GROVER, CARLA C.R. tumbles onto pavement. Two POLICEMEN ticketing cars, turn. C.R. looks back as Guido, wielding knife, moves to follow from window. C.R. moves to Policeman, swings on him. FREEZE FRAME on contact of fist. OPTICAL TRANSITION: 201 EXT. WORLD SECURITIES BUILDING - WIDE ANGLE - DAY CAMERON (O.S.) Really, Miss Lucchese. You've been much too generous. 202 INT. PROBE CONTROL - ANGLE FAVORING CARLA ET AL - DAY Carla holding onto C.R., faces Camera who waves a check. Two MARSHALS in B.G. CARLA I can never thank you and C.R. enough. (CONTINUED) 58. 202 CONTINUED: She squeezes his arm, looks up at him. CARLA (continuing) Especially C.R. C.R. basks in it, winks at Cameron, who smiles. GROVER I'd like to thank the little people who made it all possible -- He gestures. Cameron glares at him. GROVER (continuing) If you'll excuse us, Mr. Cameron. Carla and I are going out for dinner, then a show and a night on the town. Cameron turns toward Two Marshals, nods to them. They move forward. CAMERON A few odds and ends, Grover. These men are Federal Marshals. MARSHAL #1 C.R. Grover? We've had an inquiry -- MARSHAL #2 Several inquiries -- Marshals move to flank C. R., curing exchange, take him, march him to door. MARSHAL #1 From the police of four countries -- GROVER Mr. Cameron -- MARSHAL #2 Switzerland -- Germany - GROVER It can all be explained -- MARSHAL #2 No doubt. And you'll have every opportunity to make your explanations. (CONTINUED) 59. 202 CONTINUED: (2) GROVER Mr. Cameron! Door closes on them. 203 ANGLE ON CARLA, CAMERON Carla turns; nonplused to Cameron. CAMERON I'M afraid young Grover will be tied up for a while. If you'd still like dinner, a show and a night on the town -- bail for Mr. Grover won't be set until the wee, small hours of the morning. He extends his arm. CARLA I am suddenly available. She turns, moves OFF with him. PULL UP and BACK. FADE OUT. THE END