S E A R C H "THE ADONIS FILE" (The Consortium) written by Jack Turley A Leslie Stevens Production PROPERTY OF: WARNER BROS. TELEVISION REVISED FINAL DRAFT 4000 Warner Boulevard Burbank, California SEARCH ACT ONE FADE IN: 1 INT. LOBBY BROADCASTING STUDIOS - NIGHT A SIGN IDENTIFIES THE STATION CALL LETTERS - ON CAROL LESCO Blonde, 25, pretty. We catch her as she steps out of one of a bank of elevators. PULLING UP AND BACK into a WIDE, HIGH ANGLE we now reveal the lobby. Gloomy, cavernous, in spite of the modern ceiling lights, a GUARD presides at the functional, ultra-modern reception desk. Smiling, he turns as CAROL approaches. GUARD Working late again, huh, Miss Lesco? CAROL (smiles -- joking) I need the overtime... As she passes his desk, she glances up at: 1A SHOT Wall security camera focusing on scene -- Big Brother. 2 BACK TO SCENE - LONG SHOT She's moving toward outside doors when suddenly from around a corner, TWO MEN wearing ski masks, the eyes cut out of them, burst onto the scene. The first grabs Carol; in reflexive action she pulls away in utter fear, starts to run. Simultaneously the Guard whirling, rising, hand going for his gun, takes a step toward the scene. The second of the masked men deftly sidesteps him, karate chops him, slams him back over the desk, unconscious. Carol slips, is retaken by the first assailant. As he starts to drag her back toward the elevators, the second man rushing to press the button, opening the door: CAMERON'S VOICE (O.S.) Zoom in and freeze frame, please. CAMERA ZOOMS IN, the FREEZE catches Carol in the midst of her scream. 2. 3 INT. PROBE CONTROL SHOOTING TOWARD LARGE MONITOR - DAY LOCKWOOD, CAMERON, LINDA HARTE, the OTHERS look toward screen as: CAMERON (clipped, matter of fact) Carol Lesco, twenty-five, executive secretary to Mark Elliott, M.C. of TV'S number one late night talk show. This tape was recorded one hour after last night's broadcast. At six this morning Mr. Elliott was awakened by a phone call demanding five million dollars in ransom. 4 NEW ANGLE - THE SCENE LOCKWOOD That makes her the most expensive secretary who ever lived.., she's pretty, but what makes her worth ten million? CAMERON I have no idea... Personally for that kind of money I'd have gone after his wife. She's rich, social... LOCKWOOD (cuts in) Who does have an idea, Cam? CAMERON Mark Elliott tapes his show every night at eight. World Securities has been hired by Stephen Ackerman of the Thomas Paine Foundation. He'll meet you there and give you a complete briefing... (at Lockwood's look) I assure you Lockwood, in this instance you know all I do. LOCKWOOD (starting out) Work up a complete profile on Elliott... and I want it yesterday. HARTE (as he passes her: dryly) That's novel.. .I'd have thought your interest would be in Miss Lesco. . .or even Mrs. Elliott... (CONTINUED) 3. 4 CONTINUED: LOCKWOOD (dryly) It is.. .After all one of them is worth $5,000,000. ...The wrong one... OPTICAL TRANSITION 5 INT. T.V. STUDIO CLOSE ON MARK ELLIOTT There's a dynamic quality to MARK, a clean-cut maturity in his handsome chiseled features. He has charisma, a kind of hypnotic eye-to-eye sincerity which couples smoothly with his quiet, soft-spoken manner. MARK That's our show for tonight. I'd like to thank my special guests... 6 WIDER ANGLE To SEE we are apparently in the last moments of a television talk show. Mark is flanked by several Hollywood-type guests in a typical setting. MARK (continuing) ...For sharing some of the high-lights of their personal lives inside and down under this crazy glamorous world we call show business... (applause) but, before I say goodnight... 7 FULL SHOT - THE SETTING The applause dies down. Just beyond the cameras, a large group of ADMIRERS are gathered in silent conclave, watching their idol perform. MARK (gesturing for the musicians to kill the theme music) Bill, would you mind holding the music, please. Thank you -- An unexpected happening. The studio hushes as Mark turns his gaze full INTO CAMERA, the CAMERA MOVING IN CLOSER on him once again. MARK Ladies and gentlemen, we all know by now I'm not very good at keeping secrets... 4. 8 INTERCUT - REACTION SHOTS ACKERMAN - the loyal employee watching the performance with satisfaction, noting the reactions of others. ANNE DELAWARE - strikingly attractive in a gaunt, cover-girl way. She's an employee of the Paine Foundation.., brilliant, efficient, detached. She watches Mark impassively. SAUNDRA ELLIOTT - Mark's wife. Well-groomed, the expected demure image, pretty... and bored. As Mark continues talking. MARK I have an announcement to make, for me a very important announcement. (beat) Tonight... is my last broadcast. Don't worry. You won't get rid of me that easy. (over the audience reaction) I'm leaving the tinsel world of TV to take up a very different kind of profession, one I hope you can support with equal enthusiasm. Over the last decade, I have watched with you, my friends, the slow, silent erosion of our national heritage. I choose not to just sit and watch any longer. As of this moment I am declaring myself an official candidate for the United States Senate... (applause from crew, staff, admirers) On Mark's acknowledging the APPLAUSE: 9-10 OMITTED 1OA NEW ANGLE Shooting across admirers, crew, etc. rushing to shake Mark's hand, congratulate him, we see that a table loaded with champagne, liquor, hors d'oeuvres has been set up. Several waiters are in attendance. Anne Delaware has already moved to give them instructions. In the far b.g. Lockwood, a silent spectator, watches the scene, watches as a huge banner is unfurled on a wall reading "MARK ELLIOTT FOR U.S. SENATOR". A STUDIO GUARD approaches him; a short whispered conversation, then the guard catches Ackerman's attention. Ackerman, seeing Lockwood, hastily grinds out his cigar, moves to him. 5. 11 CLOSER ANGLE STUDIO GUARD Mr. Ackerman... This gentleman says... ACKERMAN (uptight -- cuts in) It's all right, Charles... As the Guard goes off: ACKERMAN (abrupt) You're Lockwood... (at Lockwood's nod) It's a poor place for us to talk, Mr. Lockwood... but as Mark's leading supporter I simply had to be here... He's terribly distraught about Miss Lesco. And coming on top of this announcement... LOCKWOOD (cuts in) You can forget the apologies, Mr. Ackerman, if you want me to find Mr. Elliott's secretary. ACKERMAN (cuts Lockwood) There seems to be a misunderstanding. All we want from you is to serve as intermediary with Miss Lesco's kidnappers. We don't want the press to know about this. So, in short, we've decided to pay the ransom... LOCKWOOD (waving off waiter with hors d'oeuvres) We? ACKERMAN The Thomas Paine Foundation... (sensing Lockwood's stare) Yes... It is a tremendous amount of money, but if anything happens to Carol Lesco, it would destroy Mark... she's more than just a secretary to him... (a breath, then) ...are you shocked? (CONTINUED) 6. 11 CONTINUED: LOCKWOOD No... but the public would be... and you wouldn't have a candidate... In the b.g. the party has now gone into full swing. Drinks are being served, Mark exchanging toasts with various admirers. His smile barely covers the worry in his eyes, the tension in his movements. 11A OMITTED 12-13 INT. PROBE CONTROL - INTERCUT WITH PARTY AS DESIRED CAMERON Lockwood...? I'm afraid the profile you wanted on Elliott is going to be sketchier than you'd like. We have reams of publicity and press handouts, but nothing I'd call significant or illuminating. ACKERMAN (to Lockwood) I'll bring over Mark and his wife. Introduce you. He goes off. CAMERON Do you copy? LOCKWOOD Do better, Cam. CAMERON We've tried. We patched into the Thomas Paine Foundation's computer bank. The readout we received back, states that administrative policy forbids any disclosures relating to Elliott's past or present beyond what has already appeared in print. Ackerman is pulling Elliott and his wife toward Lockwood. CAMERON Hear that, Lockwood? The Foundation doesn't seem anxious to play ball with our team. Would you like to know why? (CONTINUED) 7. 12-13 CONTINUED: With Ackerman and the Elliotts almost on hand, Lockwood beeps an affirmative. CAMERON So would we. Ackerman offers the introductions: ACKERMAN Mark, this is Mister Lockwood... "technical consultant" from World Securities. Mark gets a subtle message, turns on a warm smile. MARK A pleasure, Mister Lockwood. I hope we'll have a chance to talk later... CAMERON I hope so. LOCKWOOD I'm looking forward to it. MARK May I present my wife, Saundra. LOCKWOOD A pleasure, Mrs. Elliott. SAUNDRA How do you do? Mark reaches to take Saundra's arm. MARK If you'll excuse us, my wife and I still have to work on the voting public. We SEE an almost imperceptible reaction in Saundra, a stiffening as Mark takes her arm. She smiles at him icily. SAUNDRA Make it look good... LINDA HARTE Respiration and body temp indicate deep freeze. (CONTINUED) 8. 12-13 CONTINUED: (2) CAMERON Not exactly domestic bliss. Mark and Saundra walk away. Lockwood glances around, surveying the party. 14 HIS POV - THREE MEN standing off by themselves, at the edge of the party. This is the "Consortium" -- three dignified older gentlemen, distinguished, obviously wealthy. They are keeping a discreet but solicitous eye on Mark Elliott. 15 BACK TO LOCKWOOD AND CAMERON Lockwood narrows a curious gaze on the three men. He speaks to Ackerman. LOCKWOOD Those three gentlemen over there? Who are they? HARTE Sharp adrenalin surge. For some reason that question got an alarm reaction. RAMOS Confirm. Brainwave agitation. ACKERMAN Friends of mine... from the Foundation. I persuaded them to contribute some financial support to Mark's campaign. Actually, they prefer to remain anonymous or I'd introduce you... Lockwood turns his scanner toward the three men. 16 PROBE CONTROL Cameron reacts instantly. We watch the scanner picture of the three men on a monitor as: CAMERON Zoom in and freeze. I.D. on all three. Search! (CONTINUED) 9. 16 CONTINUED: The picture zooms in, freezes close on the three men, then segments itself into three frames with a rapid, computer clicking as: KEACH Patch in for I.D. search. KURODA I.D. search. Passports, licenses. Local first. Run. 17 BACK TO LOCKWOOD His gaze shifts toward the refreshment table. Anne Delaware is efficiently organizing everything -- food and drink service, keeping the WAITERS in motion. One Waiter, SPENCER, a burly, thick-shouldered man who is obviously unskilled at his profession, fumbles a tray. Anne reacts with some sharp words, sends him scurrying off in high gear. Lockwood is impressed. LOCKWOOD Who's the tall, cool ramrod in charge of mess personnel? ACKERMAN Anne Delaware. I borrowed her from the Foundation. She can handle any situation. LOCKWOOD I'll bet she can. HARTE I'll bet he bets she can! Lockwood decides to disconnect from Ackerman and go it on his own. LOCKWOOD Excuse me. Think I'll mosey around, meet the folks. Linda watches Lockwood's scanner picture closing rapidly on Anne. HARTE Guess which lil' ol' folks he's gonna mosey around first... CAMERON Miss Harte, you're here to monitor pulse jumps... not cause them. (CONTINUED) 10. 17 CONTINUED: HARTE According to my scope, they're made for each other. Lockwood closes on Anne. She looks up, gives him a cozy smile. ANNE Good evening, Mister Lockwood. LOCKWOOD Have we met? HARTE Smooth as tapioca. ANNE Not officially. But I handled some of the paperwork involving the Thomas Paine Foundation's contract with your organization. I know you by name -- HARTE Not to mention reputation... LOCKWOOD Nice party. HARTE He talks them into a stupor. CAMERON That will do, Miss Harte. ANNE ( admiring gaze toward Mark) It's only the beginning for Mark. LOCKWOOD And from there it's a short easy jump to the White House. ANNE He wouldn't be the first person in show business to make it in politics. Anne glances off, through the crowd, making sure things are functioning smoothly. She reacts to something. 11. 18 HER POV Just a glimpse of Spencer, the Waiter, furtively dropping something into a drink -- a pill or some powder. 19 BACK TO ANNE AND LOCKWOOD Anne apparently dismisses what she has just seen. ANNE Tell me, Mister Lockwood, have you made any progress yet? On the Carol Lesco case? LOCKWOOD We're working on it. ANNE (smiles) I believe that's called no comment. 20 NEW ANGLE A Waiter (Spencer), his back to Anne, moves up to Lockwood, extends a tray with a drink on it. Lockwood takes the drink, hardly gives Spencer a glance as he moves off quickly. LOCKWOOD Thank you. He starts to take a sip. Suddenly, Anne realizes something, her hand flashing out to knock the drink from his hand, crashing it to the floor. A stunned silence as party guests turn to stare. Anne covers quickly. ANNE I'm sorry. How careless of me. LOCKWOOD Not careless... on purpose. Why? ANNE It's ridiculous but I thought I saw the Waiter put something in your drink -- 21 CLOSE - LOCKWOOD He bends to the floor, as though to pick up the broken glass. As he does, he removes his scanner, holds it close to some of the spilled liquid. He beeps for Cameron's benefit. (CONTINUED) 12. 21 CONTINUED: CAMERON Copy, Lockwood. Activate Spectroscopic analysis. Search and identify. 22 INSERT - MONITOR SCREEN the picture from Lockwood's scanner, some of the spilled liquid. An electronic haze fuses over, polarizes, freeze-frames as chemical symbols spew across the screen. RAMOS Analysis indicates trace of methabolin neurotoxin of extreme potency... (Screen super to match) A poison! With no antidote. CAMERON It's lethal, Lockwood! Somebody didn't want you to come to the party. 23 BACK TO LOCKWOOD He rises, turns to Anne. LOCKWOOD Where's the Waiter? ANNE (points) Over there -- 24 POV SHOT - SPENCER Aware he's been pointed out, he shrinks to a doorway, ducks out. 25 LOCKWOOD Knifing his way rapidly through the crowd. 26 BACKSTAGE - TV STUDIO Props, lights, a maze of equipment. Spencer runs blindly toward escape, finds himself blocked, reverses direction. 13. 27 INCLUDING LOCKWOOD rushing in. Spencer whirls, gives Lockwood a karate chop across the face. Lockwood staggers back, momentarily stunned Spencer spins away. Lockwood lunges, makes a shoestring tackle. The men roll and tumble across the floor, crashing lights and props to the floor. 28 INTERCUT - PROBE CONTROL Cameron sweats it on the scanner monitor. CAMERON Try to get a picture of his face, Lockwood. His face.. The picture on the monitor is a blur of motion -- no clear shot of Spencer. Lockwood slams a fist into Spencer's face. Spencer staggers back, grabs a pipe (or whatever), swings it hard against the side of Lockwood's head. Lockwood goes limp, sagging to the floor. Spencer whirls, races OFF. In Probe Control, lights turn red, emergency computer reactions. HARTE Shock readings? RAMOS Confirm. Brainwave trauma. CAMERON Concussion? RAMOS Probable. CAMERON Lockwood, can you copy?? Change frequency! Try to reach him through ultrasonic induction?! KURODA Ultrasonic in full? CAMERON Lockwood???? HARTE Response negative. Conscious motor response blocked. (Quietly, to herself) Please... wake up! 14. 29 CLOSE - LOCKWOOD Lying on the floor, very still, very unconscious. MUSIC GRABS. FADE OUT. END ACT ONE. 15. ACT TWO FADE IN: 30 CLOSE - PROBE CONTROL MONITOR SCREEN as Anne's hand offers a glass of water into FULL SCREEN. ANNE Here, drink this. CAMERON Hold it until we analyze! A flash of computer signals over the picture of the glass, chemical symbols cross-indexing, then a freeze-frame super: "H20" RAMOS Hydrated hydronium hydroxide. Plain water! CAMERON Then by all means drain the cup. 31 BACKSTAGE - TV STUDIO Lockwood is on his feet now, still a bit shaky. Anne stands smiling at him, proffering the glass of water. Lockwood takes it, gulps a drink. LOCKWOOD Thanks. ANNE What happened? LOCKWOOD I wanted to talk but the Waiter didn't. ANNE He wasn't part of the regular crew. I just checked the catering service. LOCKWOOD Figures. He put on a uniform, slipped in with the others. ANNE But why? (CONTINUED) 16. 31 CONTINUED: LOCKWOOD (Rubs bumps on head) For one thing, to check out my survival instincts. Do me a favor, Anne. Tell Mister Ackerman I had to leave the party... a sudden headache. ANNE Will I see you again? LOCKWOOD (Strictly male) Plan on it. HARTE And then they went shopping for the furniture. I think I like him better unconscious. CUT TO: 32-33 INT. - CAROL LESCO'S APARTMENT - BEDROOM NIGHT Dark, ANGLED toward the window. The SOUND of someone working the lock mechanism, it releases, the window opens. A silhouette figure quietly slips into the room, moves IN CLOSE and we recognize Lockwood. He pauses to survey the apartment as: CAMERON I will remind you that breaking and entering Miss Lesco's apartment could cause us embarrassment with the Police Department -- LOCKWOOD I won't tell if you won't. Lockwood glances around the room. 34-35 INT. - BEDROOM A small suitcase, part of a set, has been left open on the bed, several articles of clothing stacked beside it. Lockwood crosses for a closer look. LOCKWOOD I'd say this was part of a matched set of luggage. Apparently Carol Lesco was planning to go on a trip, decided she didn't need both suitcases. (CONTINUED) 17. 34-35 CONTINUED: CAMERON A conjecture, at best. LOCKWOOD Still an interesting one. A kidnap victim who did her packing early... Lockwood turns to a dresser, opens a drawer, rummages, finds a snap-shot hidden under some other articles. He picks it up, holds it in position for his tietack scanner to see: LOCKWOOD Take a look at this. Carol Lesco with Mark Elliott. CAMERON Hmmm, a lover's tryst. Hold it steady. (To Keach) Zoom in and record! INTERCUT - MONITOR SCREEN as we ZOOM IN and FREEZE- FRAME on snapshot. It's a candid photo, Carol and Mark standing on a boat dock, displaying a string of fish. There are mountains in b.g., trees, distinctive geographic elements. KEACH Store it. LOCKWOOD Let's have geophysical search the background elements... see if we can find out where this picture was made. CAMERON You heard him. Detail photo for terrain. Search, please. INTERCUT LARGE MONITOR SCREEN as pictures of the three older gentlemen -- "The Consortium" -- flash up. Carlos activates a hold button, freezing them as: CARLOS Search and retrieval is on standby with requested I.D. information on the three men at the party. (CONTINUED) 18. 34-35 CONTINUED: (2) Lockwood turns to search the room, the closets, drawers, etc. -- as he listens. 36-37 SCREEN On the three members of the Consortium. GRIFFIN Subjects... Hartley, Able Franklin. Thomas Everest, and Raymond Kinser. Each has a net worth of over one hundred million dollars. All are on the Board of Directors of the Thomas Paine Foundation. All stringently avoid publicity. There are no dossiers available on their personal lives. LOCKWOOD Birds of a feather hide together. CAMERON A common denominator, Lockwood. The three millionaires value their anonymity. LOCKWOOD Find out why. Also find out why a charitable organization is spending a fortune to finance a political candidate. CAMERON (To Keach) Continue data compilation on our three shrinking violets. KEACH Search continuing. 38-39 INTERCUT - MONITOR SCREEN Lockwood's scanner gives Cameron and Probe Control a FULL VIEW as he opens the closet doors. We NOTICE gaps amid the hanging clothes, empty hangers left behind -- indication that some clothes have been removed. Cameron watches Lockwood explore the closet a moment, frowns impatiently. CAMERON Miss Lesco has a lovely wardrobe. (CONTINUED) 19. 38-39 CONTINUED: LOCKWOOD Lovely and incomplete. Several items are missing... Linda? HARTE I don't see any jackets or woolens. CAMERON Cold weather stuff. In the summer? LOCKWOOD She'd still need warm clothes in the mountains. That picture of her and Mark Elliott... Could be mountain country. LOCKWOOD Thanks for the female know-how Miss Harte... HARTE There's more where that came from Mister Lockwood... LOCKWOOD Yeah, I remember... I'll see you. 39A CLOSE - CAMERON CAMERON (dryly) If you're both through with the chit-chat, I suggest, Mr. Lockwood, that you leave now before I have to post bail. 40 EXT. STREET - NIGHT Establishing Lockwood's car moving with traffic. CAMERA WHIPS to SEE a long black limousine swing out from a side street to follow Lockwood. 41 CLOSE - LOCKWOOD CAR He checks the rear-view mirror, spots the limousine. LOCKWOOD I seem to have picked up a traveling companion. 20. 42 INT. PROBE CONTROL Cameron, others watching screen. 43 FULL SHOT - STREET - NIGHT Lockwood swings his car hard onto a side street, picking up speed. The limousine swerves to follow. INTERCUT C.U.'s OF LOCKWOOD through action. 44 ACTION CUT - LOCKWOOD'S CAR Boring down the street. It whips into a narrow alley. 45 ACTION CUT - LIMOUSINE following Lockwood into the alley. 46 MOVING SHOT - THROUGH LIMOUSINE WINDSHIELD sweeping down the alley to wheel around a corner into a dead-end. Lockwood's car stands empty, door open, lights left on. 47-48 ANGLE - IN ALLEY The DRIVER of the limousine, a uniformed chauffeur, jumps out to look around. Suddenly, Lockwood streaks from the shadows to catch the chauffeur from behind, snaring him in a fierce hammer lock around the throat. LOCKWOOD Easy -- or you'll break your neck'. HARTE Warning! Second occupant in car! Adrenalin surge. Lockwood reaches into the chauffeur's coat to snatch a gun, arching it to cover as Mark Elliott, wearing sunglasses, bolts out of the limousine, gestures truce. MARK No -- please -- I only want to talk! Lockwood relaxes, turns loose of the terrified Chauffeur, empties the gun, tosses it back to him as: LOCKWOOD You always do your talking in alleys Mister Elliott? (CONTINUED) 21. 47-48 CONTINUED: MARK I'm sorry. It's just that... well, this is a very awkward situation. Please try to understand -- HARTE Anxiety readings. RAMOS Confirm. Acute stress pattern. LOCKWOOD I'll try anything once. Mark is obviously upset. He takes a moment to choose the words carefully. MARK I'm deeply worried about Carol Lesco. Worried that they'll kill her if you continue on the case. LOCKWOOD They could also kill her if I don't -- MARK But you've seen what they can do. That waiter, at the party... I heard what happened. LOCKWOOD Intimidation. They want you to cave in; pay the ransom. MARK Then pay it! LOCKWOOD Not unless we have to. Mark is on the edge, ready to crumble. His mouth tightens with a controlled anger. MARK You might as well accept this. Ackerman hired you without my knowledge or my approval. I want you off the case! It's too dangerous for Carol. I've got to handle the situation some other way -- (CONTINUED) 22. 47-48 CONTINUED: LOCKWOOD Sorry, Mister Elliott. Our contract is with Mister Ackerman, not you. MARK Then cancel the contract! Leave us alone!! LOCKWOOD (patiently) Is that all, Mister Elliott? A moment... Mark's anger subsides. He's embarrassed, contrite. MARK I'm sorry... I just feel responsible for what happened to her. If she hand't been involved with me... LOCKWOOD (cuts in) They'd have snatched your wife or someone else close... (at Mark's look) We'll find Carol... 49 CLOSE - MARK A fervent hope in his face, a trace of a grateful smile. MARK Thank you... thank you... CUT TO: 50 INT. COMPUTER ROOM - THOMAS PAINE FOUNDATION A grim meeting is in progress. The Consortium -- Thomas Kinser and Hartley -- listen in dour silence as Ackerman stands before them, reading a letter. Anne, now in a white lab coat and looking efficiently businesslike, hovers silently, attentively behind the Consortium. (CONTINUED) 22. 50 CONTINUED: ACKERMAN 'The money must be supplied in unmarked bills, put in a suitcase, and given to Mark Elliott. He will be contacted, told where to deliver it. If you do not comply with these instructions, both Elliott and Miss Lesco will be killed.' (looks up, gestures paper) It was left on the seat of my car... THOMAS Dreadful! Shocking! HARTLEY We must give this note to Lockwood immediately. Let him handle it -- KINSER Yes, Mark's life must be guarded at all costs! ACKERMAN Gentlemen, if I may suggest an alternative... KINSER Alternative? ACKERMAN If we take this note to Lockwood, we know what his reaction will be... don't pay the ransom. But if it isn't paid, Mark Elliott will be killed. Can we afford to take that chance? A heavy moment of silence as the three older gentlemen give each other grim, fearful glances. Kinser's gaze flicks to Anne. KINSER Miss Delaware... what is your opinion? ANNE Five million dollars seems a small price to pay... I mean considering the total investment so far, gentlemen... (MORE) (CONTINUED) 23. 50 CONTINUED: (2) ANNE (CONT'D) After all we're talking about the future of this whole country and who controls it. HOLD on her steady gaze as we -- CUT TO: 51 EXT. CONSTRUCTION SITE - MEDIUM LONG SHOT - DAY Mark is moving through hard hats busy at their work shaking hands, pausing for a few brief words which from our vantage point we can't hear over the SOUND of jack- hammers, bulldozers, etc. Two Cameramen with hand-helds stalk him on this obvious political excursion. Anne and Ackerman trail behind him - Ackerman holding a suitcase. (Throughout following Mark and company continue their rounds of the workers.) 52- ON LOCKWOOD 53 He stands a little off from the scene, leaning against his car watching. INTERCUT ABOVE WITH PROBE CONTROL AS DESIRED. LOCKWOOD (watching Mark) When did they give him the ransom money? CAMERON We don't know for sure. Our Financial Section picked it up on a tip. The Thomas Paine Foundation withdrew the money from one of their blind bank accounts. Elliott signed for it. LOCKWOOD Then he's the delivery boy. CAMERON Ackerman has ignored your recommendations about not paying the ransom. We have grounds to cancel the contract. (CONTINUED) 25. 52- CONTINUED: 53 LOCKWOOD Not yet. Maybe we can work it to our advantage if we stay on Elliott. Sooner or later, he's got to lead us to the kidnappers... and from there, straight to Carol Lesco. (beat) Do we have Elliott's itinerary? GRIFFIN At four-thirty-five, a ten-minute appearance at the new fire station in Westland Hills. From there, a private helicopter will transport the Elliott party direct to the Glacier Hotel in Granite Springs. HARTE Guest of honor at the ribbon- cutting ceremonies of the new Granite Springs water project. LOCKWOOD Can you keep him under surveillance all the way? CAMERON If we have to. LOCKWOOD We have to. Lockwood continues to work through the crowd, getting closer to Elliott. He idly glances up, toward the top of the building. 54 HIS POV A huge timber (or some kind of construction debris) is precariously suspended on the edge of the roof, ready to fall. FLASH TILT DOWN to the target right below it -- Mark Elliott. Lockwood quickly cuts his way toward Elliott. 55 UP ANGLE - ROOF The timber teeters a moment, moved by an unseen hand. 26. 56 ACTION CUT - DAIS Lockwood looks up to see Spencer, the waiter, push the timber over the edge. Lockwood dives at Elliott. The Crowd gasps in horror as both men tumble out of the way a piece of a second before the timber comes CRASHING down with deadly impact. 57 CLOSE - THE TWO MEN on the ground, both of them shaken by the close call. MARK What happened -- LOCKWOOD Somebody doesn't like your politics. On Mark's reaction MUSIC STINGS, FREEZE FRAME: END OF ACT II 27. ACT THREE FADE IN: 57 A ESTABLISHING SHOT - WORLD SECURITIES BUILDING - DAY 57B INT. PROBE CONTROL - ON MAIN MONITOR A huge grainy blow-up of a photo of Spencer. HARTE'S VOICE (O.S.) Subject... Spencer, David John. 58 PULL BACK Lockwood, Cameron, the staff studying monitor. HARTE Male, forty-two, caucasian. Bonded for position of security guard, 1968. Employed, Eckland Industries, two years, resigned. Employed, Ganson Aircraft, four years, resigned. Employed Thomas Paine Foundation, one year, discharged. Insubordination and assault on immediate superior. No police action initiated by the Foundation. CAMERON That's enough. Store it. As the word "STORED" supers over the Spencer picture, the SCREEN THEN GOING BLANK: LOCKWOOD It stinks. A waiter who turned out to be an assassin who worked for the Foundation. A kidnap Victim who has time to pack a bag... CAMERON (joining in) And a client remarkably willing to pay ransom demands.., a client who under the guise of a 'charitable foundation' secretly finances a political neophyte like Mark Elliott... (CONTINUED) 28. 58 CONTINUED: LOCKWOOD (cuts in) And breaks the Federal Disclosure Law. (half beat, then) Exactly what do we have on this Foundation? CAMERON It's an intellectual "think tank" created ten years ago to "help resolve the lofty problems of the republic." LOCKWOOD Sounds like a press release. CAMERON It is. Our sources of information about the Foundation, are sharply and strangely limited. ABRUPT CUT TO: 59 CLOSE UP - LOCKWOOD standing rigidly silent, wary. Over this, his voice: LOCKWOOD'S VOICE The Foundation is starting to make interesting waves. Think I'll pay them a social call... ANGLE WIDENS now to reveal Lockwood in an office building corridor. He moves swiftly, catlike, along the corridor, stops, checks, then moves on a few more feet. CAMERON This is the second time you've made us party to breaking and entering! If the front office finds out, you're strictly on your own. Do you copy, Lockwood? (a BEEP from Lockwood) I should hope so. 60- NEW ANGLE 61 HARTE Vital signs... picking up faint signals off-presence! (CONTINUED) 29. 60- CONTINUED: 61 CAMERON Careful, Lockwood! There's probably a caretaker on duty. (as Lockwood reaches a doorway) There, that's the computer room! And a sign so identifies it: RECORDS - NO ADMITTANCE. RAMOS Signals approaching, off-presence. Lockwood melts into the darkness of the doorway, disappearing. CAMERA WHIPS down the corridor to see a SECURITY GUARD approaching. The Guard is checking each doorway as he goes. It's a building moment of tension. 62 PROBE CONTROL A race against time. Lockwood opens his belt, removes lock pick, goes swiftly to work. RAMOS Off-presence signals approaching rapidly! HARTE (sweating it) Get it together, Lockwood! CAMERON Ten seconds.., no more! 63 CHILL CUT - THE GUARD Getting closer to the doorway where Lockwood is hiding. 64 PROBE CONTROL We watch Lockwood working desperately. 65 ANOTHER CHILL CUT - THE GUARD Only steps away. RAMOS Off-presence signals converging! 66 CLOSE UP - LOCK - ON THE SCREEN CLICK! The lock opens. 30. 67 THE GUARD One.., two.., three seconds and he's there, at Lockwood's doorway. But Lockwood isn't there. The Guard reaches to check the doorknob. 68 INT. COMPUTER ROOM - CLOSE - ON DOORKNOB watching it turn as the Guard checks it from the other side. It's securely locked. We HEAR the Guard's foot- steps recede down the corridor as ANGLE WIDENS to see Lockwood flattened against the door, taut. A moment... all safe... he relaxes. 69 HIS POV A small, but efficiently organized computer system. The computer bank, tapes, a few lights flashing -- a remotely operated system which is presently running itself, storing data, transferring information, etc. Impressively sophis- ticated. There is also a tape playback viewing screen. 70 LOCKWOOD He crosses to study the computer, watching it silently perform its work. He picks up a computer tape from a table, looks at the label: POLITICAL THEORIES - 1775 to 1875. Lockwood puts down the tape, moves on to examine other items stored around the room . Now, something special catches his eye -- a specially-constructed glassed- in-storage compartment which is securely bolted to the wall. 71 CLOSE UP - STORAGE COMPARTMENT The glass, obviously thick and unbreakable, reveals to us a tantalizing view of a large computer tape bearing the cryptic identification of "Adonis." CAMERON Do I read "Adonis" on that tape? 72- BACK TO LOCKWOOD 73 examining the compartment, looking for a way into it. LOCKWOOD Affirmative. Sounds like a code name. We NOTICE a smooth metal plate on the front of the com- partment which serves as some kind of lock. It's baffling and Lockwood's fingers play over it, trying to figure it. (CONTINUED) 31. 72- CONTINUED: 73 CAMERON If I recall my mythology, Adonis was a beautiful youth beloved by Aphrodite... Open it, Lockwood... Let's have a look. RAMOS (overlaps) Off-presence signal -- critical! Lockwood whirls -- but he's too late. The room lights snap on as: ANNE'S VOICE Good evening, Mister Lockwood. 74 NEW ANGLE to include Anne standing in the doorway, wearing her white lab coat, glasses... and looking super-efficient. Lockwood, looking like a kid with his hand caught in the cookie jar, tries a little smiling charm: LOCKWOOD I'll bet you're wondering what I'm doing... ANNE It did cross my mind... LOCKWOOD Do I make a statement here or down at the station? ANNE Don't be silly. I expected somebody from Probe to snoop around. Lockwood is a bit startled by Anne's seeming unconcern. LOCKWOOD You always this sweet to people who break into your building? ANNE Only the handsome ones... HARTE Better yet, let's all go down to the station... (CONTINUED) 32. 74 CONTINUED: CAMERON Miss Harte! This is a delicate situation... HARTE Not for the old master. LOCKWOOD We're not getting the cooperation we need from the Foundation Computer Information. ANNE You don't have to explain. I know the system here, how straight-laced our board is about releasing information... I've tried to get around the red tape myself, but I'm just the librarian... LOCKWOOD (wry) Some librarian. Phi Beta Kappa... summa cum laude... Ph.D... The Sorbonne... ANNE (smiles) You did your homework. (pointedly) Any questions before we turn out the lights? The message is clear: a polite but firm dismissal. LOCKWOOD Just one. (gestures) That tape over there. Intriguing name... "Adonis". Anne is visibly jolted by Lockwood's curiosity, but she tries to cover it casually: ANNE My own method of indexing... HARTE Heavy adrenalin. Probable lie. (CONTINUED) 33. 74 CONTINUED: (2) ANNE Just a simple code description -- instead of one of those long-winded technical titles. HARTE Ditto. Lie patterns. ANNE Useless data really, means nothing. HARTE Double ditto! LOCKWOOD You usually store your 'useless data' in a locked security cabinet? Anne's expression hardens slightly, patience thinning. ANNE Lockwood, I have no authority to discuss the Foundation's operational procedures. If I did, I could lose my job... (the smile returning; coaxing him) Now, you wouldn't want a poor working girl thrown out on the streets, would you? HARTE Now that you ask -- LOCKWOOD Not unless she'd consent to have supper with me... ANNE Sorry, but I have some work to do, research for Mark Elliott's speech... (reaches to open door behind her, a hint) Will you ask me again? HARTE Count on it... LOCKWOOD Count on it. (CONTINUED) 34. 74 CONTINUED: (3) Lockwood has no choice but to make his exit. He crosses to the door, both of them coming very close to each other. She leans in, gives him a cuddly little purr. ANNE Oh... and if you decide to drop by again, give me a call first. I'll leave the front door open... CUT TO: 75 EXT. GLACIER HOTEL - DAY ESTABLISHING. 76- LOBBY 77 A banner is strung overhead: GRANITE SPRINGS WELCOMES MARK ELLIOTT. Lockwood moves up to the front desk. LOCKWOOD Reservation for Lockwood? CLERK Yes, sir -- if you'll register please. LOCKWOOD (as he writes) Has Mark Elliott arrived? CLERK Yes, he and his party are in one of our private cottages. (gestures O.S.) Oh, by the way, that young lady has been waiting for you, Mister Lockwood -- Lockwood turns, a bit surprised to see Linda Harte stand- ing across the lobby. He gives it a moment of appreciative speculation, then back to the Clerk: LOCKWOOD Did that young lady happen to get a room near mine? CLERK No sir, but if I can be of any help... (CONTINUED) 35. 76- CONTINUED: 77 CAMERON (breaking in) She's on three, you're on seven. Took care of the reservations myself... LOCKWOOD Thanks. You're all heart. CLERK (puzzled) My pleasure... 78- NEW ANGLE 79 Lockwood turns, crosses to Linda as: CAMERON Somebody had to keep an eye on Mark Elliott. Miss Harte is a most capable agent. LOCKWOOD Capable isn't the word. He reaches Linda, cozies his arms around her as though it were a long lost reunion, nuzzling her. She submits, playing the game for a moment. LOCKWOOD How nice. HARTE Nice isn't the word either. LOCKWOOD Just the two of us... HARTE Here in this mountain hide- away... LOCKWOOD All by ourselves. HARTE (firmly detaching, voice still dripping honey) And all strictly business... (CONTINUED) 36. 78- CONTINUED: 79 LOCKWOOD If I forget, will you remind me? Cameron is a silent witness to the exchange, secretly enjoying it. He anticipates Linda's answer: CAMERON Count on it. HARTE Count on it... LOCKWOOD Anyone tried to contact Elliott yet? HARTE No... and he still has the ten million ransom. Two guards have been assigned to watch him. LOCKWOOD Guards cleared? CAMERON Down to their fingernails. The Clerk gestures from across the lobby. CLERK Mister Lockwood -- a call for you. (to nearby phone) You can take it right there. Lockwood and Linda move to the phone, he picks it up. LOCKWOOD Lockwood. INTERCUT PHONE CONVERSATION WITH: 80- CLOSEUP - CAROL LASCO 81 the kidnap victim. She's in a tastefully furnished mountain cabin. There's a taut, uneasy expression on her face as a MAN'S HAND thrusts a phone at her. She hesi- tantly takes it... a beat... then: CAROL Mister Lockwood, this is Carol Lesco... (CONTINUED) 37. 80- CONTINUED: 81 LOCKWOOD Carol Lesco? Lockwood reacts, hands his scanner to Linda. She instantly communicates the message to Cameron: She whispers into the scanner. HARTE Control, trace the call! (holds scanner to number) CAMERON Kuroda! Granite Springs KL3-2101. grace to relay station. KURODA Probe Control to Special Operator. Emergency trace -- LOCKWOOD Yes, Miss Lesco. Where are you? CAROL Please, do what they ask. Give them the money or they'll kill me. CAMERON Keep her on the line as long as possible, Lockwood! LOCKWOOD Did they tell you I'd be here at the hotel? CAROL I... can't say anything. LOCKWOOD If I talk, can you listen? CAROL I have to go -- LOCKWOOD Are you somewhere in the city? Just answer yes or no -- Frantic cross talk in Probe Control, tracing the call. (CONTINUED) 38. 80- CONTINUED: (2) 81 CAMERON A few more seconds. Hold her! KURODA Expedite, operator -- critical! CAROL Pay them the money, please?? LOCKWOOD Stay on, keep talking! CAROL I... I... can't. The MAN'S HAND flashes out to take the phone from Carol, hangs it up. A moment -- watching Carol, the tension and anxiety in her face. Then, in a startling chamaeleon- like switch, she relaxes, smiles at her unseen companion. CAROL I think he bought it... 82- LOCKWOOD 83 holding a dead phone, grim. LOCKWOOD Did we get the trace? CAMERON Negative, not enough time. KURODA We have a record of line noise characteristics. Probable local call, made somewhere in the Granite Springs area near you, Lockwood. LOCKWOOD Local? But she was kidnapped in the city. HARTE And apparently brought up somewhere in the mountains for safekeeping... A look between them, puzzling it. CUT TO: 39. 84 INT. COMPUTER ROOM - PAINE FOUNDATION The Consortium -- Kinser, Thomas and Hartley -- stand in brooding conclave as Anne stands before them, making her report. Ackerman is in b.g., respectfully silent. ANNE He breached our security system, got in here before I could stop him. KINSER The Adonis tape?? ANNE Lockwood saw it. Fortunately, he didn't have a chance to run it. THOMAS Then we have nothing to be concerned about. ANNE I'm afraid we do, gentlemen. The Mark Elliott confidential file is missing. HARTLEY (stunned) The pictures?? The signed confession?? ANNE Yes. The file was removed from the vault. (nods) Lockwood. The Consortium give each other one of those funeral, poll- taking glances... Kinser sums it up, with urbane regret. KINSER Distressing, most distressing. Our course of action keeps narrowing down. Nothing must stand in the way of our taking control of this government. ANNE I quite agree. KINSER You and Ackerman will handle the necessary arrangements, of course. (CONTINUED) 40. 84 CONTINUED: ANNE Of course. KINSER Miss Delaware, I must caution you. The Foundation prides itself on ethical conduct. Please use the utmost discretion and good taste in your method of eliminating Mister Lockwood. ANNE Naturally, sir. MUSIC HITS and we -- FREEZE FRAME: END OF ACT THREE 41. ACT FOUR FADE IN: 85- INT. HOTEL LOBBY 86 As Lockwood and Linda turn to see Mark Elliott, carrying the suitcase, briskly walking across the lobby whistling to himself, lie reaches them, smiles: MARK Good morning. Beautiful day. HARTE Where are your guards, Mister Elliott? MARK Sorry, but I had to play a little trick on them. LOCKWOOD In case you forgot, they're for your benefit. MARK It's not necessary anymore. The crisis is over. You can tell Probe to send the bill. We won't be needing your services any longer -- LOCKWOOD Care to explain why? MARK (opens the suitcase REVEALS it to be empty) This case contained ten million dollars when I left. I've just delivered the money to the kidnappers. They've promised to release Carol within twenty-four hours... LOCKWOOD You believed them? (CONTINUED) 42. 85- CONTINUED: 86 MARK Why shouldn't I? They have what they want... the money. Why should they harm Carol? LOCKWOOD Because she can identify them. MARK It was a decision I had to make. I take full responsibility for it. Now you must excuse me. I have to work on my speech for this afternoon... Mark briskly turns, moves off. Lockwood and Linda stand there in a state of semi-shock. She glances over to a nearby display poster. INTERCUT HER POV to SEE a blowup of Mark Elliott's smiling countenance -- handsome, square- Jawed, clean-cut. The lettering proclaims: MARK ELLIOTT - FOR U.S. SENATOR. HARTE You know, sometimes I get the impression that Mark Elliott isn't exactly the Greek god they try to make us believe he is... Something clicks with Lockwood. LOCKWOOD Greek god? (it hits) Adonis!... Linda, how good are you at operating a computer? CAMERON The very best, of course -- or she wouldn't be on Probe Control. HARTE (blinks) What's that got to do with anything? LOCKWOOD Everything! We're going back to the city -- come on! He grabs her hand, yanks her with him as we -- CUT TO: 43. 87- INT. PAINE FOUNDATION COMPUTER ROOM - CLOSE ANGLE 88 on the locking plate of the glass security compartment where the Adonis tape is stored. Lockwood is holding his scanner close to the plate as Probe Control works to unlock it. CAMERON Steady... steady. You're right. It's magnetic. A blue filter hazes over the monitor picture to REVEAL a pattern of magnetic dots X-rayed through the locking plate. LOCKWOOD Register on magnetic polarity, match it. KEACH Begin sequential alignment. INTERCUT MONITOR SCREEN as Probe Control works on the locking plate. We SEE a second set of dots overlap, begin moving around one at a time to line up with the existing dots. Magnetic polarity lines ripple out as each dot is aligned. KURODA Field developing. You've got it! With a surging HUM, the blue haze changes to brilliant orange -- and we HEAR a mechanical CLICK! The compart- ment door releases. 89- FULL SHOT - TO INCLUDE LOCKWOOD AND HARTE 90 Linda is at the computer, punching buttons, patching lines, working rapidly and expertly. HARTE Computer activated! Are you linked up? CAMERON We are on line and receiving! Lockwood reaches into the compartment, takes out the Adonis tape cartridge hands it to Linda. As she plugs it in: HARTE On line. Ready to run. (CONTINUED) 44. 89- CONTINUED: 90 LOCKWOOD Okay, let's have a look at Adonis. Lockwood and Linda look toward tape replay screen. 91- INTERCUT - PROBE CONTROL MONITORS 92 as the computer tape starts feeding out information. A NEWSREEL PICTURE of a college football game flashes up, showing a quarterback making a spectacular run. A circle SUPERS over the quarterback, then a print-out of the name: Mark Elliott -- 1962 -- Laurel Bowl. As Elliott makes the touchdown, a column of figures is SUPERED DOWN the side of the picture, adding line by line to a total -- $100,000. LOCKWOOD I remember that. Elliott won the Foreman Cup that year as outstanding player. CAMERON Those figures to the side -- some sort of accounting record. Why. Again a NEWSREEL SEQUENCE, a picture of a yacht sailing past the finish line. Again print-out reads: Mark Elliott, Winner. Column of figures now totals $750,000. Now yet another quick NEWSREEL SHOT of a downhill slalom ski race. Again circle SUPERS on a skier as he whips past finish. And of course, the inevitable print-out: Mark Elliot, Winner. Column of figures has mounted to $1,250,000. Another NEWSREEL PICTURE -- SHOTS of a wedding as Elliott and wife are shown leaving the church, waving to crowd. The inevitable column of figures CLICKS to $2,000,000. LOCKWOOD The perfect wife. HARTE The perfect couple. CAMERON A marriage made in heaven with a slight assist from a bottomless bankroll. (CONTINUED) 45. 91- CONTINUED: 92 Another NEWSREEL PICTURE. This time of an Indianapolis Race. Fast cars, action sequences. The SUPERED circle around the winning car. Print-out: Mark Elliott, Winner. The column of figures now totals in excess of $2,500,000. HARTE Surprise... Elliott wins again. LOCKWOOD I'm beginning to understand why. Those figures are costs. HARTE Costs? LOCKWOOD Every triumph was bought and paid for. CAMERON An image bought with cold hard cash! LOCKWOOD Mark Elliott is an invention. He's been manufactured. The Foundation programmed him like a machine -- Destination: The White House itself... KEACH Electronic interference! A security system has been activated -- CAMERON You're pressing our luck, Lockwood. Get out of there! LOCKWOOD Let's go. Lockwood and Linda dart to door, open it, step out into corridor, freeze in shock. 93- OMITTED 94 95 CORRIDOR Facing them, having just stepped out of the elevator, Anne and Ackerman. Ackerman has a gun leveled. (CONTINUED) 46. 95 CONTINUED: Anne pressing elevator button, the doors WOOSHING open: ANNE May we offer you a ride, Mr. Lockwood? A chilling moment. Anne and Ackerman step back, Ackerman gestures with his gun. Lockwood and Linda are forced to step into the elevator. Ackerman, Anne carefully follow. As the doors close behind the group. 96 ELEVATOR INDICATOR showing elevator going up. CUT TO: 97 INT. MOUNTAIN CABIN EXTREMELY CLOSE on a file folder displayed on a table top. The folder is lettered: M.E. - CONFIDENTIAL. Several photographs have been removed from the file. They show a younger Mark Elliott's shoulder, Mark in the process of killing a derelict in an alley. The murder, almost looking staged, is accomplished with a gun at close range. There is also a brief, typewritten CONFESSION of the killing, Mark's signature at the bottom. CAMERA PANS IT: MARK'S VOICE (brittle, controlled) You shouldn't've opened that file... 98 WIDER to reveal Carol and Mark. Carol is in shock, staring at him with a building terror. CAROL I thought the Foundation was hurting you. I only wanted to find out why -- MARK (smiles) Hurting me? They're behind me... all the way. CAROL That man in the pictures, your confession... (CONTINUED) 47. 98 CONTINUED: MARK It was a bargain, a profitable bargain. They offered me everything... all the money I wanted... power... success... everything. CAROL For killing a helpless old man? MARK A necessary stipulation. I had to give them 'insurance', a guarantee that I would honor my obligations. So they merely supplied a victim and I killed him while they took pictures. Then I signed the confession. You see, they intended to use this file once I reached the White House, to make sure I followed their orders. CAROL (numbed) I loved you, I only wanted to help. That's why I let you arrange for my "kidnap". MARK But you did help, by taking that file from their vault. Now they've lost their control over me and I have exactly what I want. A perfect political image... ten million dollars and no one to stop me. (a long beat) No one but you, Carol... CUT TO: 99- EXT. ROOF - THOMAS PAINE FOUNDATION BUILDING - DAY 100 as we join a tense moment. Ackerman and Anne herd Lock- wood and Linda, at gunpoint, across the roof to a waiting helicopter. Near the craft, a small electronic control box, antenna attached. Lockwood surveys the helicopter. (CONTINUED) 48. 99- CONTINUED: 100 LOCKWOOD We taking a trip? ANNE You and Miss Harte. CAMERON Lockwood, we've notified the police... try to stall. LOCKWOOD Truth is, I never did learn how to fly a helicopter. How about you, Linda? HARTE It was the next thing on my student card right after needlepoint lessons. ANNE Don't worry, we've made other arrangements. A drone mechanism has been installed on the aircraft. (gestures control unit) It's operated by radio. The helicopter will fly itself under our control... HARTE Do we get a choice of itinerary? ANNE Sorry, that's also been arranged. A short five minute trip... then an unfortunate engine failure. LOCKWOOD Seems a little expensive, doesn't it -- using a helicopter for a casket? ANNE A small investment when you consider the dividend. CAMERON Interlock with Lawson Aircraft Industries. I want the complete control system specs on that chopper! (CONTINUED) 49. 99- CONTINUED: (2) 100 KURODA Patch niner. ANNE Oh, by the way, you can save yourself any useless struggling with the controls. They've been neutralized. The drone system cannot be countermanded -- LOCKWOOD Then we can just sit back and enjoy the scenery... ANNE (to Ackerman) Start it up! Ackerman moves to the control unit, touches a button. The helicopter engine turns over, blades building to speed. Anne gestures her gun at the prisoners: ANNE Let's go. LOCKWOOD I think we ought to talk about it some more... ANNE (cocking hammer, ominous) The helicopter can carry you dead or alive. Which would you prefer? Lockwood gives in, gestures Linda to get in the chopper. He follows her in and Ackerman reaches to close the door. 101- INT. HELICOPTER 102 Lockwood checks the controls. They move, but nothing reacts. LOCKWOOD Nothing responds. CAMERON We're on it -- stand by! We SEE Anne through the bubble, move to the control unit, activate a button. Then she smiles, waves, as the chopper lifts off with its prisoners. (CONTINUED) 50. 101- CONTINUED: 102 UP ANGLE - HELICOPTER Sweeping up and away. 103- INT. HELICOPTER 104 Lockwood surveys the instrument panel quickly, reaches in his pocket, takes out several coins, hands one to Linda. LOCKWOOD Here's a dime -- HARTE (a look) Did you want me to call somebody? LOCKWOOD (gestures, as he works) Use it to unscrew the control panel. If we can get to the wiring, maybe we can deactivate the drone. CAMERON Careful, you two. Disconnect the wrong circuit and you'll drop from the sky like a rock. RAMOS Two minutes until drone-activated crash. INTERCUT Probe Control, frenzied activity. KEACH Readout from Lawson Aircraft! The Monitor screen fills with a rapid feed-out of heli- copter blue-prints, then dividing into electrical schematics, blending one over the other in a visual maze. CAMERON Expedite! KEACH Electrical schematics, all systems, Lawson helicopter, model seven TL. RAMOS One minute! (CONTINUED) 51. 103- CONTINUED: 104 The schematics begin to slow, flipping one at a time. KURODA Lighting... ignition... control circuitry... CAMERON Freeze! An intricate wiring circuit fills the screen. A color filter snaps over it, a moving white dot searching for the exact wire. KURODA Random search for auxiliary control circuit. RAMOS Thirty seconds. CAMERON (watching screen, a prayer) Find it, computer... find it! A BLEEP -- the dot locks on a single wire. KEACH Touchdown! Color code is black, overlay red, overlay green -- LOCKWOOD Copy! KURODA Break circuit, resume manual control. Lockwood reaches into the maze of wires behind the control panel, intently searching for the right one. Linda watches, repeating it for him. RAMOS Zero time! Drone activated for crash! HARTE Black, overlay red, overlay green. LOCKWOOD Got it! (CONTINUED) 52. 103- CONTINUED: (2) 104 He reaches in, snaps the wire. The helicopter abruptly dips as the control reverts to manual. Lockwood grabs the stick, settles the craft quickly, gives Linda a taut smile of relief. HARTE You do nice work, Lockwood... 105 EXT. ROOF - THOMAS PAINE FOUNDATION BUILDING Anne and Ackerman are gathered around the control unit. Anne frowns, works the controls. No response. ANNE The drone system won't respond! The impact of this registers on their faces. ACKERMAN They'll get away!! A sudden panic. They turn, start toward the door -- then stop dead in their tracks, startled. 106 POV SHOT Two POLICEMEN stand at the door, guns drawn, waiting. CUT TO: 107 EXT. MOUNTAIN CABIN Mark Elliott and Carol walk out the door. Mark is now holding a gun. Spencer, the waiter, stands obediently at the door. He nods toward Carol. SPENCER What're we going to do with her? Mark gives him a thin smile, angling the gun to cover them both. MARK Solve my only two remaining problems... Spencer stares at the gun, a terrible realization beginning to register. (CONTINUED) 53. 107 CONTINUED: SPENCER (boasts) Wait a minute! I did everything you told me to, Mister Elliott. Helped you with the kidnap, the phoney attempt on your life... (Mark stares at him coldly) Spencer shrinks, panic in his eyes. SPENCER I earned the money you paid me, Mr. Elliott... (still no answer - desperation complete) You know I won't talk!! MARK (coldly) That's right I do. (gestures cabin door) Inside! Spencer backs through the cabin door, staring in terror. SPENCER Don't Mister Elliott -- MARK (devising it as he talks) The kidnappers had an argument over the ransom. You were killed, your confederate escaped with the money... SPENCER NO!! Spencer whirls, bolts inside the cabin in a desperate attempt to escape. Mark calmly steps to the doorway, FIRES one shot... OFF CAMERA. A beat as Mark gazes at his 0.5. victim, then he turns back to Carol, his face a granite mask. MARK I have to do it, Carol. It will be an accident, while you were trying to get away from the kidnappers... (CONTINUED) 54. 107 CONTINUED: (2) She stares at him in stunned horror, the words caught in her throat. CUT TO: 108 EXT. HELICOPTER - SKY SHOT (SECOND UNIT) 109- INT. HELICOPTER 110 Lockwood at the controls, Linda beside him. CAMERON All right, Lockwood, we know you can fly a chopper. Now come home! LOCKWOOD Negative. Heading for the Glacier Hotel. Mark Elliott is still there. CAMERON Lockwood... Let's leave the hero stuff to the authorities -- LOCKWOOD This is one time bomb I'm going to defuse myself. That's how much Elliott scares me! KURODA We have readout coming in from I.D. search. Composite analysis of all physical elements in snap- shot taken from Carol Lesco's apartment indicate probable location at Granite Lake. LOCKWOOD Which is only a few miles from the hotel. Give me a heading! CAMERON North on compass reading 337 degrees. 111 EXT. HELICOPTER - SKY SHOT veering off on a new heading. CUT TO: 55. 112 ANGLE - MOUNTAIN TERRAIN Mark is forcing Carol to walk toward a chill looking lake. She stumbles, struggling to keep her feet. Mark is all ice, deliberate. 113 OMITTED 114 EXT. HELICOPTER - SKY SHOT on a wide-open run to the rescue. 115 INT. HELICOPTER Lockwood and Linda trade grim glances, intent on their mission. Cross talk from Probe Control over. 116 MOUNTAINOUS TERRAIN The approaching SOUNDS of the chopper. Mark stops, looks up. 117 HIS POV - THE HELICOPTER Swooping in fast. 118 MARK Startled, he reaches to grab Carol's arm, drags her with him toward the lake. PAN to watch the chopper settle to a small nearby landing spot. 119 CLOSER - AT HELICOPTER Lockwood and Linda pile out the door, look off. 120 POV SHOT A glimpse of Mark pulling Carol with him, half running, stumbling. Mark whirls, FIRES at Lockwood and Linda. 121 WITH LOCKWOOD AND LINDA They drop low, skitter toward cover, dodging and ducking their way from tree to rock. 122 ACTION CUT - MARK AND CAROL He pulls Carol into hiding behind a tree at lake's edge, both of them gulping for air. Mark is all animal now, operating on killer's instinct. He edges out, FIRES again... and again. 56. 123 WITH LOCKWOOD AND LINDA Ducking down. LOCKWOOD Three rounds expended... three to go. Let's decoy him! He gestures Linda to split wide, keep moving in. It's a harrowing, yard by yard approach. 124 WITH MARK He rises from cover, FIRES a frantic shot at Lockwood. We SEE Lockwood drop from view. 125 ON LOCKWOOD Pinned to the ground. CAMERON'S VOICE (O.S.) Two more rounds left, Lockwood... Lockwood glances to Linda warningly. LOCKWOOD (to Mark, bluffing) I'm armed, Elliott... You haven't a chance. No answer. Lockwood signals Linda to move out. They both burst from hiding. 126 MARK wheels with gun in hand, still gripping Carol. 126A MARK'S POV Lockwood and Linda flash to safety behind cover. They're no more than fifteen feet away now. 127 LOCKWOOD AND LINDA gulp air in relief, sweat. 128 ANGLE AT LAKE Mark and Carol reach the edge, no place left to run. Mark looks around in panic, not sure what to do. He grabs Carol, turns her around to face the enemy, holding her fiercely. (CONTINUED) 57. 128 CONTINUED: MARK (sweating) I've still got two bullets, Lockwood... and you've still got a chance to leave. Now. 129- LOCKWOOD AND LINDA 130 LOCKWOOD It's all over, Elliott. 130A INTERCUTTING MARK, CAROL, LOCKWOOD, LINDA MARK (suddenly putting gun up at her head) Not as long as I've got Carol! HARTE She can't help you. Let her go. MARK I'll take her with me. RAMOS Extreme excitation -- behavior pattern unpredictable! CAMERON Easy, Lockwood... He's close to the edge. There's a strange, demented glaze in Mark's eyes -- the look of self-deified martyr. He holds Carol very tightly, gun ready to whip from her to his antagonists. LOCKWOOD Give yourself a chance. This isn't the way to solve it. MARK You don't understand. None of you understand. There is greatness in some men. They're born to it... (lost in his delusion) Ten years... it took that long to create Mark Elliott. I've done only what I had to do... I'm the only man who can keep this country the leading power on earth. (CONTINUED) 58. 130A CONTINUED: CAMERON Kuroda. Estimate how fast Lockwood could reach target! Mathematical equations flash on the monitor screen, freeze on a SUPER of 0.6. KURODA Six tenths of a second. CAMERON Estimate Elliott's reaction time -- More mathematical equations, freezing on a SUPER of 0.4. KURODA Four tenths of a second. CAMERON Lockwood, don't rush him! He'll kill you or the girl or both! Girding himself, ignoring Cameron's speech... LOCKWOOD (tautly, to Mark) It's not up to us to decide what happens to you, Elliott. Let somebody else do that. Give them a chance to help you -- MARK (savagely) I'm helping myself. I alone control my destiny. Three seconds, Lockwood! You have three seconds to leave! One long beat of silence, then suddenly acting on her own: 131 ACTION CUTS Linda makes a sudden diverting move, turning Mark's attention for a fraction of a second. He FIRES once instinctively, wildly, the bullet kicking up sand inches from Linda. This is all Lockwood needs. Simultaneously, he hurtles forward as Mark wheels to face this threat, Lockwood slams into him, Carol. Carol is knocked to one side, Lockwood and Mark crash back knee to waist deep into the lake. 59. 132 CLOSER Lockwood and Mark struggle for the gun. A wild savage battle. Mark's paranoia gives him a fierce strength. For a second as he shoves Lockwood under the water it seems he will win. Then surfacing, breaking Mark's hold, Lockwood slashes him in the stomach. Mark doubles over. Lockwood clips him once more, driving him far down in the mud, only his head out of the water. As Mark lies there unconscious: 133- OMITTED 134 135- NEW ANGLE 136 Lockwood stares down at Mark's inert form for a second, then turns to see Carol who has burst into hysterical sobbing. Linda moves to her, takes the collapsing woman in her arms. As Lockwood reaches the scene: LOCKWOOD (quietly, to Linda) You're quite a girl. HARTE Sure... I nearly got you killed. LOCKWOOD Do I detect a personal concern, Miss Harte? HARTE (quietly) You do. CAMERON Lockwood, you'll be glad to know all members of the Consortium have been placed under arrest. LOCKWOOD (to Linda) Linda, help Miss Lesco aboard the chopper, okay. Linda understanding, nods, helps Carol toward helicopter. CAMERON Lockwood, do you copy? Ackerman and the others are in the hands of the police. (CONTINUED) 60. 135- CONTINUED: 136 LOCKWOOD Better send some out here, Cam... Somebody is going to have to pick up what's left of our first and last would-be dictator... HOLD FOR A BEAT, then: FADE OUT. THE END