SEARCH "THE BULLET" Written by Judy Burns PROPERTY OF: WARNER BROS. TELEVISION FINAL DRAFT 4000 Warner Boulevard August 15, 1972 Burbank, California ACT ONE FADE IN: 1 INT. BRIEFING ROOM - ANGLE ON SCREEN - NIGHT CLOSE SHOT of a pair of wire cutters clipping through strands of a barbwire fence. PULL BACK TO REVEAL the wire runs in rolls along the top of a concrete wall. The MAN WITH THE CUTTERS stands on the roof of an old European car, working as rapidly as he can. The last strand cut, he pushes the wire back far enough for a man to climb through. 2 LOWER ANGLE Looking furtively behind him, he reaches down toward the trunk of the car toward PETER BALZAK. Balzak is a man about forty, blond, with an athletic trimness. He hands a suitcase up to his confederate and is about to climb onto the roof when: MALE VOICE (O.S.) (commanding) Halten Sie an! In b.g. is the SOUND OF DOGS BARKING. Balzak takes the suitcase back and gets back in the car as his companion jumps down from the roof. MALE VOICE (O. S.) (now warning) Halt! CAMERA MAKES A RAPID PAN to a GROUP OF UNIFORMED STATSPOL MEN and two vicious German Shepherds. The dogs are released. CAMERA MOVES WITH DOGS as they race to the man still outside the car. As he tries to get in, they attack. He grapples with them, but he has no chance of escape. 3 ANGLE - STATSPOL They advance. Realizing they have him, the trapped man waves the car out. PULL BACK TO REVEAL THE SCREEN, ITSELF, as the vehicle cuts rubber. CAMERON'S VOICE (O.S.) This attempted escape over the Vladstock wall occurred three days ago. The man captured was a United States government agent. As the Statspol Guards call off the dogs, a Statspol vehicle moves out in screaming pursuit of Balzak's car. The government agent is held at gunpoint as the SCREEN GOES BLACK. 2 . 4 ANGLE ON CONSOLE AREA Manned by the familiar CREW. The most prominent member, of course, is the man in control, CAMERON, himself. No less conspicuous is JOHN LOCKWOOD. CAMERON (continuing) The agent died under interrogation. LOCKWOOD What about the other man? CAMERON He disappeared after the attempt to defect. The Statspol's tripled security to prevent his rescue. LOCKWOOD Who is he? Cameron punches a button on his console. 5 SCREEN: PETER BALZAK, ALEXIA TREPOV A candid photograph of the pair together. CAMERON'S VOICE (O.S.) Dr. Peter Balzak... one of the best scientific minds in the Eastern bloc today. He's been forced to work on military projects and recently came up with one that could tip the balance of power against the U.S. 6 ANGLE ON CAMERON CAMERON The young woman with Dr. Balzak is his laboratory assistant, Alexia Trepov. She may be able to help us locate him. LOCKWOOD She'd be an interesting contact. CAMERON Miss Keach... Cassette two, please? Keach presses the proper buttons. 3. 7 ANGLE SCREEN: CLOSE SHOT - TRIGGER pulled in slow motion. CAMERON'S VOICE (O.S.) As you know, Lockwood, due to our modern medical techniques, most combat wounds are not fatal. So, Dr. Balzak's government had him create a heat-resisting coating... like an enamel... it covers the tip of a bullet and it is made of an extremely deadly poison. 8 CLOSE SHOT - BULLET - STOCK seen in a ballistics box as it emerges from the gun and slowly spins its way to the padding at the other end. CAMERON'S VOICE (O.S.) Their military is stockpiling the bullets as rapidly as they can be manufactured... and undoubtedly will find ways to use the toxin on grenades, anti-personnel bombs... the possibilities are awesome. LOCKWOOD'S VOICE (O.S.) What's the survival rate after being hit? CAMERON'S VOICE (O.S.) Hit, gazed or scratched... survival is zero. The bullet strikes the padding with harsh, silent IMPACT. 9 CLOSE SHOT - LOCKWOOD He reacts. The subject is ugly. CAMERON Balzak also worked out an anti-toxin against the poison and gave our government part of the formula when he arranged to defect... however, he kept the key ingredients secret. LOCKWOOD As insurance against a doublecross. CAMERON Exactly. (CONTINUED) 4. 9 CONTINUED: LOCKWOOD If I'm going to find him, I'll need some kind of lead besides the girl. CAMERON We think a man named Rolf Wentzel might be able to find Balzak... if he wanted to. (beat) Photograph please. Keach hits another button. KEACH Wentzel, Rolf. I.D. photo. Display. 10 SCREEN A still shot of a wiry, crewcut wharf worker flashes on. LOCKWOOD'S VOICE (O.S.) He looks like he'd sell his soul for a dollar. 11 ANGLE ON CAMERON CAMERON The going rate is four marks, three pfennigs. We know he's got his finger in every shady deal in Vladstock. His center of operations is a bar called "The Red Bear" -- owned by an expatriate American, Charles Egan. 12 ANGLE ON LOCKWOOD He gazes steadily at Cameron, obviously puzzled. CAMERON Something wrong? LOCKWOOD No, everything's clear... except why send in a Probe instead of a government agent? CAMERON The Statspol knows our government tried to help Balzak defect -- but they can't prove it. (MORE) (CONTINUED) 5. 12 CONTINUED: CAMERON (CONT'D) They're just waiting for another attempt so that they can blow the whole scene into an international incident. LOCKWOOD In other words, "don't get caught." 13 INTERCUT REACTION SHOTS 13A TRAVEL MONTAGE ending with helicopter views of Lockwood maneuvering his auto through the mountainous countryside on his way to the border. 14 EXT. VLADSTOCK BORDER STATION - ANGLE ON VEHICLE - DAY Lockwood, driving his convertible, waits as a Statspol border guard checks his passport and visa. 15 ANGLE ON GUARD He is taking his own good time about it as Lockwood drums his fingers against the steering wheel. After a moment, the guard turns his eyes from the credentials to Lockwood, himself. His scrutiny suggests he might reject Lockwood. 16 LONG SHOT - GUARD AND LOCKWOOD The guard asks a question or two as he looks the car over. Then he looks up TOWARD CAMERA. 17 GUARD'S POV - DEMETRI NOBOKOV Standing some distance away is a large-boned ruddy man in his late thirties. He wears a dark brown leather coat and polished boots. His regular clothes are probably part of a uniform, but no obviously so. As he smokes a cigarette, it is evident that he is watching the activities at the station. After a moment, he nods to the guard. 18 ANGLE - GUARD Without a word, he lifts the vehicle barricade and nods Lockwood through. Lockwood takes his credentials back, and drives through. 6. 19 CLOSE SHOT - NOBOKOV Tossing his cigarette to the ground, he crosses to a Statspol staff car and enters the back seat. The car takes off after Lockwood. 20 EXT. "DER ROTE BAR" - ESTABLISHING SHOT - DAY A plain brick front with an ornate but worn .sign indicating the name of the establishment. Lockwood's car is parked outside. 21 INT. RED BEAR A haunting folk piece is being played on a zither. CAMERA PULLS BACK TO INCLUDE the PLAYER. He is seated on a stool in a corner of the room. 22 ANGLE ON LOCKWOOD He stands near the entrance, surveying his surroundings. After a moment, he walks to a free table and takes a seat. His surroundings do have an international quality, if not of decor, of customers. The club, itself, has an intimate feel that lends itself to bargains being struck and infor- mation being passed without too much Statspol harrassment. 23 LOCKWOOD'S POV After pausing at each table for a moment, his gaze halts at a table near the musician. Seated so that he can see the entire establishment is ROLF WENTZEL. With him, his back to Lockwood, is a well-dressed man in his mid- forties, CHARLES EGAN. Egan motions a hostess over with familiar authority and orders. The SOUNDS OF MUSIC and GENERAL CONVERSATION obscure his voice, but he is, or once was, an American. 24 EXT. PARKING AREA - ANGLE ON STATSPOL STAFF CAR - DAY The car pulls up to a spot and stops. Nobokov emerges from the car followed by his aide, a LIEUTENANT. Casting a quick glance at Lockwood's car, Nobokov heads toward the entrance of the club. 25 INT. RED BEAR - ANGLE ON LOCKWOOD He watches Wentzel as he sips a drink. He aims his scan- ner. 25A PROBE CONTROL Egan and Wentzel on the Probe Screen. Cameron, pleased: (CONTINUED) 7. 25A CONTINUED: CAMERON Lockwood, Rolf Wentzel is the one on the left. The man with him is Charles Egan, the bar owner. 26 INT. RED BEAR Lockwood beeps in response to Cameron. Egan rises, leaving Wentzel alone at his table. Lockwood takes advantage of the time to cross over and take Egan's place. Wentzel eyes Lockwood with a mixture of suspicion and curiosity. LOCKWOOD Rolf Wentzel? Wentzel, very guarded, nods. LOCKWOOD Do you speak English? WENTZEL Who are you? Lockwood removes a small picture from his pocket and passes it across the table. LOCKWOOD Someone interested in finding him. Wentzel looks at the picture then shakes his head. He shoves the photo back. WENTZEL I can't help you. LOCKWOOD I was told you could locate just about anything in Vladstock. WENTZEL That depends on who's looking... and for what. 27 MED. SHOT - ENTRANCE Nobokov enters and looks around the room. His gaze pauses only a moment at Lockwood, then he wanders over to the bar and takes a seat next to a woman in her late twenties, ALEXIA TREPOV. She is not emphasized here. 8. 28 ANGLE - LOCKWOOD AND WENTZEL LOCKWOOD How much would it take to cover your costs? Wentzel's eyes emit a glint of interest. He is about to speak when: ALEX'S VOICE (O.S.) (demanding) Ubyerityi ruku! 29 INT. PROBE CONTROL - CLOSE SHOT - GRIFFIN GRIFFIN (without emotion) Don't touch me. 30 ANGLE ON WENTZEL He is suddenly extremely nervous. WENTZEL I can't help you. I'm sorry. Lockwood realizes that something is amiss, but he doesn't press. With a nod, he rises and starts to move back to his table. He looks up as: 31 ANGLE - ALEX AND NOBOKOV 32 The Statspol officer's hand has encircled the girl's arm. NOBOKOV GRIFFIN'S VOICE (O.S. Vam para uznot. Ya dyelavu (following) to shto ya khachu, kagda It's time you learned. I do mnye khochetsa. what I please when I please. He tightens his grip and forcibly pulls her closer. PULL BACK TO REVEAL THE SCENE on the screen, Probe Control. ALEXIA GRIFFIN Nye say mnoy! Not with me. She frees herself, turns and begins to walk toward the tables. 33 INT. RED BEAR - ANGLE ON LOCKWOOD As she turns toward him, he recognizes her. (CONTINUED) 9. 33 CONTINUED: CAMERON'S VOICE (filtered) Lockwood! It's Balzak's assistant, Alexia Trepov. Lockwood sends out an affirmative pulse tone, then moves toward the action. 34 ANGLE - NOBOKOV, ALEXIA Crossing to her, Nobokov grips her shoulder and whirls her. NOBOKOV Nyi atvernitis at menya. (beat) Nikagda! GRIFFIN'S VOICE (O.S.) Don't pull away from me. Never. 35 ANGLE - LOCKWOOD Before she can answer, Lockwood has moved to her side. He touches her shoulder, indicating with a motion that she may join him at a free table if she wishes. Nobokov, eyes flashing, glares at Lockwood. NOBOKOV Kak vy asmvelilis, meshat! GRIFFIN'S VOICE (O.S.) What do you want? The chatter, the movement and the music of the place stop. LOCKWOOD (nodding toward her) Why don't you go back and have another drink. The lady wants to be left alone. NOBOKOV Who the devil do you think you're talking to? Except for a slight accent, Nobokov's English is excellent. LOCKWOOD I have no idea. (CONTINUED) 10. 35 CONTINUED: Egan, the club's proprietor, steps up. Alex removes herself to the bar where she can watch without being involved. EGAN (trying to, placate) He's obviously a foreigner, Colonel. I'm sure he couldn't know that... (pointedly) ... you are the commanding officer of the Statspol here. NOBOKOV Then it's time he found out. (coldly) Your papers. Lockwood hands them over. Nobokov scrutinizes them. NOBOKOV Why are you in Vladstock? LOCKWOOD I'm here to study historical records of World War II. NOBOKOV Somehow, I can't see you as a historian, Mr. "Lockwood"... especially of my country's history. (a beat; crisply) What do you feel were the major reforms of Mihail Speransky? Lockwood sends a number of "BEEPS." 36 INT. PROBE CONTROL - ANGLE ON CREW The BEEPS RESOUND over scene. CAMERON Copy, Lockwood! Biographical data... Speransky, Mikhail -- Major reforms. Search! Keach immediately hits a button on her console. 37 ANGLE ON LOCKWOOD He plays for time. (CONTINUED) 11. 37 CONTINUED: LOCKWOOD That's a good question, Colonel. NOBOKOV The reforms, Mr. Lockwood? LOCKWOOD It's been quite a while since I looked them up. NOBOKOV But you do know them... of Course? FREEZE FRAME. END ACT ONE 12. ACT TWO 38 INT. PROBE CONTROL - ANGLE ON CAMERON He looks anxiously at the screen. 39 ANGLE SCREEN Blank... then suddenly filled with electronic type: MIKHAIL SPERANSKY -- REFORMS... KEACH Emancipation of serfs... Creation of the Zaradzi constitution, 1810. 40 INT. RED BEAR - ANGLE ON LOCKWOOD LOCKWOOD If I remember correctly, Speranskv was responsible for the emancipation of the serfs and the creation of the Zaradzi constitution in 1810. NOBOKOV ... Yes... you have studied our history. He returns Lockwood's credentials with a dour expression. LOCKWOOD (wry) It's exciting stuff... NOBOKOV Try to remember that it is unwise to interfere in matters that don't concern you... particularly in a foreign country. He wheels and walks out, stopping for a moment at the bar. With a penetrating stare, he passes Alex but holds up before Egan. 41 ANGLE ON NOBOKOV NOBOKOV I'd screen your customers with a little more care, Egan. Your operating license comes up for approval again shortly. Egan nods. Nobokov walks on out. 13. 42 ANGLE - LOCKWOOD He returns to his table and drink. In b.g. the Music resumes and the CHATTER picks up. ALEX'S VOICE (O.S.) You saved me; now you have to buy me a drink. LOCKWOOD I was hoping there'd be a catch. She takes a seat across from Lockwood. He pours wine. ALEX Thank you. LOCKWOOD That Colonel likes to order the troops around. ALEX You're lucky he didn't take your head off. Nobokov's vicious when he's crossed. LOCKWOOD I'll maintain a low profile. ALEX (thoughtfully) He was right about one thing. You're not the scholarly type. Lockwood studies her a moment. She is lovely. Her auburn hair is cut long. She has a wide, intelligent forehead and sensitive eyes. Lockwood looks up as Wentzel takes a seat at the table. WENTZEL You handled the Colonel nicely... If you still want to find a certain person, I might be able to help... Lockwood looks at Alex. She makes no move to leave, and Wentzel does not seem to be bothered by her presence. In fact, it would appear that he considers them a pair. LOCKWOOD Could we talk somewhere else... WENTZEL You have my offer. (CONTINUED) 14. 42 CONTINUED: (2) LOCKWOOD All right. How much? Where and when? WENTZEL One thousand dollars. Here and now. He isn't bluffing. Lockwood pauses a moment then pulls his wallet out and removes two five hundred dollar bills. WENTZEL (a thin smile) You're a historian. Go to the library at nine o'clock tomorrow morning... to do research. Take a look in Bonin's War Journal... (to the two of them) You'll find what you are looking for... both of you. Without further comment, he rises, exchanges a familiar nod with Egan and leaves. 43 EXT. APARTMENT BUILDING - ANGLE ON LOCKWOOD'S CAR - DAY It pulls up near the entrance to the building. CLOSE IN as Lockwood steps from the car and goes to the other side. He assists Alex as she gets out. LOCKWOOD (pointedly) I wonder why Wentzel said "both of us?" ALEX Maybe it was a grammatical slip. LOCKWOOD I don't think he makes slips... not when money's involved. He was very precise. They walk up the steps to the apartment entrance. ALEX (hesitating) Yes. He knows that you and I are looking for the same man... Peter Balzak. They enter the building. 15. 44 INT. ALEX'S APARTMENT - ANGLE ON DOOR - DAY It opens and they enter. PULL BACK TO REVEAL a modest but comfortable apartment. LOCKWOOD That's why you were in the Red Bear? ALEX (nods) I was working with Dr. Balzak before he disappeared. I heard about Wentzel and tried to convince him to help me find him... But I didn't have enough money, and one night I made the mistake of letting the Colonel buy me a drink. Wentzel wouldn't talk to me after that. Lockwood says nothing. He waits. Alex's self-assured image is slowly giving away to the need to talk. ALEX I don't know why I'm telling you this. You could be working for the Statspol. That run-in with Nobokov earlier could have been a set-up. LOCKWOOD I'm not working with Nobokov or the Statspol. ALEX Are you here to help Peter defect? LOCKWOOD Did he tell you he was planning to? ALEX He didn't have to... I could feel it. Alex has crossed to the window and looked out as she spoke. She turns abruptly. ALEX Take me with you. Lockwood looks at her a moment then crosses to her. He paces his hands on her shoulders and gazes into her eyes. (CONTINUED) 16. 44 CONTINUED: LOCKWOOD Defecting isn't like walking from one room to the next. ALEX (desperately) Then keep me with you. I've got to see him before he goes, talk to him. She breaks into a quiet, uncontrollable sob. Lockwood hesitates, then draws her close, comforting. 45 EXT. BUILDING FRONT - ANGLE ON OBSCURE FIGURE - DAY A MAN stands in the shadows across the street. He watches the apartment building. OPTICAL TRANSITION: 46 EXT. CITY STREETS - DAY Old impressive pre-war building which somehow survived the holocaust of war, intermixed with impressive new edifices. People walking, busy traffic... 47 EXT. BOOK KIOSK - CLOSE SHOT - DAY PAN WITH A HAND as it traces along book titles (foreign language). The hand stops at a gap between two books. PULL BACK to disclose Lockwood. LOCKWOOD Bonin... War Journal... no sign of it. He turns to Alex as she enters the SHOT. CAMERA HOLDS them in a TIGHT TWO. ALEX It has to be here. She mirrors his concern. Lockwood looks around. He sees something just past CAMERA and reacts. CAMERA ZOOMS BACK to HOLD a YOUNG MAN in f.g., leafing through the pages of a book. We can't see its title, but Lockwood can. The Young Man turns and moves a step or two TOWARD CAMERA. As he does so, RACK FOCUS to the book's binding. It reads: BONIN Vaina Journalyi. A slip of paper can be SEEN protruding slightly from the top of the book. 48 . THRU OMITTED. 51 17. 52 NEW ANGLE - LOCKWOOD CAMERA ZOOMS BACK as he comes downstage to the Young Man who closes the book and startts to exit. Alex watches as Lockwood steps in the Young Man's path. The latter stops. LOCKWOOD Sorry, but... Puzzled, the Young Man says nothing as Lockwood pulls the note from the book. LOCKWOOD ... it's my laundry ticket... Paper in hand, Lockwood steps aside. Still bewildered by Lockwood's action, the Young Man gathers his books tighter and walks away. 53 CLOSE ON NOTE as Lockwood opens it. PULL BACK TO REVEAL screen. The note reads: "Czemetzias St. Martin... Horzie aim deckzo imzieczo." 54 ANGLE - GRIFFIN GRIFFIN St. Martin's Cemetery. Ten o'clock, this morning. 55 EXT. CEMETERY - CLOSE SHOT - GRAVESTONE - DAY An ornate piece, almost too old to make out the name or date. 56 OP. ANGLE - SECLUDED AREA Lockwood and Alex look at the stone then walk on. 57 LOCKWOOD'S POV A deserted horizon of monuments, then a lone figure walking toward them. ALEX Peter! She hurries toward BALZAK. He receives her embrace and kisses her warmly yet perfunctorily. 58 ANGLE - LOCKWOOD He allows them a moment together then walks over. (CONTINUED) 18. 58 CONTINUED: ALEX Peter, this is Mr. Lockwood. Balzak studies Lockwood nervously. His hand is in his coat pocket. He checks out the surrounding area for some sign of betrayal. BALZAK You have been looking for me. Why? LOCKWOOD I've been hired to get you out of Vladstock. Balzak is silent for a moment then he turns toward the girl. BALZAK Alex, I'd like to be alone with him. ALEX Let me talk to you first. BALZAK (shakes head) Later. I promise. Touching her cheek gently, he moves away from her and begins walking with Lockwood. He keeps his hand near his pocket and walks a little behind Lockwood. BALZAK You say you are here to help me defect. Who sent you? LOCKWOOD What does it matter as long as I deliver you safely into the right hands. BALZAK The last person who said that nearly delivered me into the hands of the Statspol... dead. LOCKWOOD This city is crawling with military police looking for you. It's only a matter of time before you're discovered. (CONTINUED) 19. 58 CONTINUED: (2) BALZAK (nods, bitterly) I presume your government has a better escape plan this time. LOCKWOOD Not my government... me. The government isn't risking a second try... Lockwood looks off at Alexia. So does Balzak. 59 POV Alex. She watches from a distance. 60 ANGLE ON BALZAK He turns back to Lockwood. BALZAK She wants to come with me. LOCKWOOD I've got one passport... for you. BALZAK That's all I ask. It's better for her to stay. If anything goes wrong, it could mean her life. 61 CLOSE SHOT - ALEX She watches them, somehow realizes that she is being excluded. 62 LONG SHOT - HER POV Balzak and Lockwood approach an old European car near the edge of the cemetery. 63 CLOSER ANGLE They stop next to the vehicle. BALZAK Very well... As you pointed out, Mr. Lockwood, my chances are diminishing. I have no choice but to trust you. Where do you want me to meet you? (CONTINUED) 20. 63 CONTINUED: LOCKWOOD At the Eastbank train station. Tomorrow morning at six. BALZAK At six. If you're not there, I'll walk right out, and we won't meet again. LOCKWOOD I'll be there. BALZAK (opening the door) Try to explain to Alexia for me. Lockwood frowns but gives a quick nod as Balzak enters the car. Lockwood aims his scanner quickly at the license and man at the wheel as the car U-turns and speeds off. The driver is about sixty, white hair, with a mustache. We will know him as HANS BREMER. LOCKWOOD Probe One to Probe Control... 64 INT. PROBE CONTROL ANGLE ON CAMERON LOCKWOOD'S VOICE (filtered, continuing) Put a tracer on the license and driver of that car. CAMERON Copy, Lockwood. Replay and search. 65 EXT. CEMETERY - ANGLE ON LOCKWOOD - DAY Turning, he finds Alex walking toward him. When she is close, she manages a small, sad smile that reveals her awareness of the outcome concerning her. 66 EXT. RAIL STATION - ANGLE ON STREET - DAY Early morning. Lockwood drives into a parking space and gets out. Pulling his luggage out, he walks toward the entrance of the station. 67 ANGLE STATION One or two people enter as Lockwood waits. 21. 68 ANGLE - STREET The same old European car drives up. Balzak emerges lugging an old suitcase. Spying Lockwood, he waves the driver on. The car drives away. 69 LONG SHOT - LOCKWOOD AND BALZAK - SHOOTING DOWN - DAY SEEN through a window across the street. They are about to enter the station when a rifle is brought up. 70 CLOSE SHOT - SNIPER He aims carefully through his sniper scope. He FIRES. 71 ANGLE - BALZAK He crumbles. Lockwood pushes him down and is about to hit the sidewalk when there is another CRACK. A flash of pain contorts Lockwood's face as we FREEZE FRAME. END OF ACT TWO 22. ACT THREE FADE IN: 72 EXT. RAIL STATION - ANGLE ON BALZAK - DAY He lies, face down, about six feet from Lockwood. Pulling himself up, Lockwood scoots over and drags Balzak behind a parked car. He looks up but can see nothing except a building with rows of windows. 73 POV - SNIPER A clear field. Satisfied, he lowers the rifle. 74 BACK TO SHOT Kneeling, Lockwood has turned Balzak over. Balzak looks up at Lockwood and for a moment does not recognize him. LOCKWOOD (urgently) Balzak... Balzak! BALZAK (a glint of memory) Bullets. Shot with... toxic bullets. LOCKWOOD No more shots: They just wanted to graze you. To force you to save your own life by giving them the anti-toxin. BALZAK No, no... I'm hit... bad... anti-toxin won't help. But now you'll need it. LOCKWOOD Where is it? Balzak closes his eyes and coughs. BALZAK The suitcase... the border. LOCKWOOD Which border... where? But Balzak expels his last breath. Lockwood sits, dazed, until a DISTANT SIREN causes him to look up. 23. 75 POV A small group of people, morbidly curious, are jostling to get a look at the dead man. Lockwood's eyes dart through their feet, searching for Balzak's suitcase. 76 CLOSE SHOT - LOCKWOOD He rises, orienting himself. The group drops back, sensing Lockwood is prepared to flatten anyone who gets in his way. Reaching the bag, he grips it and bolts. 77 ANGLE ON STREET A Statspol vehicle, light flashing, pulls up beside the crowd and 'two uniformed men disembark. 78 ANGLE - LOCKWOOD Every step is pain. Finally he stops to shift the bag to his good hand. Folding himself into a corner of a building, he looks back. 79 POV In the distance, a second Statspol vehicle drives up. Two men exit, and the features of one are unmistakable -NOBOKOV! Someone points in Lockwood's direction. Two men set out. 80 ANGLE - LOCKWOOD His eyes sweep the area for a way off the street. Spotting an alley a few yards ahead, he makes for it. He enters it and finds it a dead end. Down the street can be heard: LIEUTENANT'S VOICE (O.S.) Shau dorthin! GRIFFIN'S VOICE (O.S) Down this way! Trapped: Lockwood tries a door. It is locked. He looks off toward the alley mouth. We can HEAR the sound of RUNNING FEET. 81 ANGLE - ALLEY ENTRANCE The Lieutenant looks into the alley. 82 BACK TO SHOT An empty alley. 24. 82A ALLEY ENTRANCE - DAY The Lieutenant starts to go on, when we suddenly HEAR a noise: He stops, draws his pistol and enters the alley. 82B NEW ANGLE - ALLEY - DAY He approaches some large refuse containers near the rear of the alley. The score is ominous. We can HEAR the noise again from behind the containers. Pistol ready, he pulls one of the containers aside. A beat, then with an ear-curdling YOWL, a cat Sumps out and hightails it away. 82C ALLEY - ANGLE TOWARD STREET - DAY The Lieutenant looks around as another Statspol Man runs into the alley entrance. He waves the man on and runs on out after him. HOLD ON the empty alley for a beat and then TIP DOWN to disclose Lockwood concealed below ground level on some steps which lead to a basement entrance. A slight film of perspiration gives an unhealthy sheen to his skin. We can HEAR the SOUND of SIRENS receding in the distance. He removes the scanner from his pendant and directs it toward himself. Keeping his voice level down, he calls: LOCKWOOD Probe One to Probe Control... medical readout. 83 THRU OMITTED. 85 36 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON We copy, Lockwood. Try to keep still... (to crew) Telemetry... Check him over. Quickly! 87 INSERT VITAL SIGNS CONSOLE The usual medical tracings. 88 ANGLE ON MURDOCK MURDOCK Pulse rate up -- 120. Respiration -- 37 and fluctuating. Temperature subnormal -- 97.1 (MORE) (CONTINUED) 25. 88 CONTINUED: MURDOCK (CONT'D) (beat) Vasomotor shock readings, blood loss and tissue damage. Cameron nods and looks toward the big screen. CAMERON Infra-red scan, please. Search. 89 ANGLE - SCREEN A solarized image of Lockwood's shoulder fills the monitor. A solid line fluoresces. CARLOS Trajectory... deep graze. .. Fluorescence indicates toxic substance. MURDOCK Confirm. Toxin path. CAMERON I'm sorry, Lockwood. Our readings indicate the poison is beginning to work. LOCKWOOD How much time do I have? 90 INTERCUT - REACTIONS OF CREW as if an execution warrant had been signed. 91 CLOSE SHOT - LOCKWOOD His face... a ghostly emotionless mask. CAMERON'S VOICE (O.S.) We don't know. There may still be time to get out of the city. (at Lockwood's silence) Our labs are working on the anti-toxin. We've got 80 percent of it figured. LOCKWOOD I need a hundred percent! (CONTINUED) 26. 91 CONTINUED: CAMERON'S VOICE (O.S.) You've got to get over the wall with that suitcase. LOCKWOOD And if the anti-toxin isn't in the bag? This time it is Cameron who is silent. LOCKWOOD The Statspol isn't going to invite me back for another look. I'll stay. (beat) What have you found on the car that was hauling Balzak around? CAMERON'S VOICE (O.S.) Nothing yet. 92 CLOSE ON CAMERON'S FACE worried. 93 EXT. ALEX'S APARTMENT BUILDING - ANGLE ON ENTRANCE - DAY Lockwood, hauling the suitcase, casts an uneasy glance behind him as he enters. 94 INT. ALEX'S APARTMENT - ANGLE ON DOOR - DAY being opened. Lockwood stands outside, pale and haggard. PULL BACK TO INCLUDE ALEX as she immediately ushers him in. 95 ANGLE - LOCKWOOD He sets the suitcase down and rubs his shoulder. She stares, first at him, then at the suitcase, which she obviously recognizes, then back at him again. ALEX I saw the reports on television. The whole city is looking for you. LOCKWOOD Did they have my picture? ALEX (nods) They must have been following you... What happened? (CONTINUED) 27. 95 CONTINUED: LOCKWOOD (sits) They were waiting for us. ALEX Where is Peter? LOCKWOOD He's dead. Alex, expecting the statement before it was made, shows no reaction. ALEX What a waste! LOCKWOOD What do you know about his projects? ALEX I know quite a bit about some of them... LOCKWOOD What about the last one? ALEX You were here to get Peter out so you knew what he was working on. Why do you want to talk about the toxic bullets? LOCKWOOD Because that's what the sniper was firing... ALEX (reacts) Lockwood!... even a surface wound is fatal. LOCKWOOD What do you know about an anti-toxin? ALEX (emphatically) Nothing. He wouldn't even talk to me about it! (CONTINUED) 28. 95 CONTINUED: (2) LOCKWOOD (rising) Then if this doesn't have the answer, there won't be anything left to talk about Lockwood carries the suitcase to a table and stands it up. Turning it, he gives Probe Control a close scan. 96 INT. PROBE CONTROL - ANGLE ON CAMERON He adjusts a dial on his console then checks the screen. 97 SCREEN CLOSE ON SUITCASE as it is turned. It seems to be a normal, very old, metal case with stickers plastered everywhere except the edges and corners. Most of them are yellowed with age. All have ornate borders and pictures of landmarks. CAMERON Infra-red scan. Search. The view takes on the interior shadows of the case. As Kuroda sharpens the image, one little shadow takes on a sinister aspect. A wire runs from the edge of the case to a detonating device within. 98 ANGLE - LOCKWOOD Setting the bag down flat, he pushes the latch in and starts to lift the lid. CAMERON'S VOICE (O.S.) Hold it! Lockwood! Don't open it! It's wired. Lockwood pauses,then bends down and looks into the tiny gap created by lifting the lid a fraction. 99 CLOSE ON SUITCASE A thin wire, just inside the edge, runs between the top half and bottom half. 100 ANGLE ON LOCKWOOD peering at the wire. ALEX What's wrong? (CONTINUED) 29. 100 CONTINUED: LOCKWOOD See that wire? It's probably attached to an explosive. (looks up) I want you to go into another room and stay there until I tell you to come out. Reading his face, she doesn't argue. After she is gone, he opens his belt buckle and removes a lock picking tool with a hook end. LOCKWOOD I'm going to try to slip the wire. CAMERON'S VOICE (O.S.) No, Lockwood! You'll blow yourself up! LOCKWOOD What other chance have I got? At least this way, I'll go out with a bang. Now, come on friend... keep cool. I've got great faith in the home team. 101 INT. PROBE CONTROL - ANGLE ON CAMERON Cameron realizes the inescapability of what has to be done. CAMERON All right, Lockwood. We'll stay with infra-red and try to guide you. 101A ANGLE ON LOCKWOOD Sweating, he slips the hook end of the pick into the suitcase near the wire, while he keeps his scanner aimed. CAMERON'S VOICE (O.S.) It appears to be a simple pull-pin fuse, like a grenade. The wire from the trigger is hooked around a screw just inside the lid. Easy... you pull that wire three centimeters and it's all over! 30. 102- SCREEN 103 Infra-red. It shows the pick next to the wire. Lockwood follows Cameron's directions so that the hook of the pick slips under the wire and lifts it just enough to pull it off the screw. INTERCUT CAMERON'S DIALOGUE WITH LOCKWOOD'S ACTIONS. CAMERON To the left. Stop. Now turn the hook end toward the screw. Lockwood edges the tip of the pick closer to the screw. The hook is now under the loop in the wire. CAMERON'S VOICE (O.S. Rotate the hook up... slow-ly. That's it! Watch it! Don't pull up. Tense, Lockwood holds steady. CAMERON'S VOICE (O.S.) All right. Drop the lid... gent... ly... The wire disengages from the screw. 104 CLOSE ON LOCKWOOD Just a fraction of an inch from a blow-up. CAMERON'S VOICE (O.S.) Now pull it toward you. (Lockwood does) You've got it! Breathing deeply, he slowly lets the wire down and lifts the lid. 105 ANGLE ON SUITCASE Clothes. He sifts through -- nothing! Finally he comes to the bottom. On the side, welded to the case, is a metal box. It won't be coming out. CAMERON'S VOICE (O.S.) Face it. There's nothing in that suitcase... except the explosive. 106 ANGLE - LOCKWOOD Alex enters, looks at the explosive. She knows what it is. (CONTINUED) 31. 106 CONTINUED: LOCKWOOD (for Cameron too) If he went to that much trouble, something's got to be here. He lifts a crumpled sweater .and shakes it again. He winces with pain. ALEX Take off the jacket. Lockwood doesn't argue. He slips off the jacket with a grimace, then takes the pendant/scanner off and lays it on the table. 107 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON Lockwood, keep the scanner close. We don't want to lose medical telemetry. OPTICAL TRANSITION: 108 INT. ALEX'S APARTMENT - ANGLE ON LCOKWOOD now wearing one of Balzak's turtle-neck sweaters. He removes a jacket from the suitcase. Alex watches. ALEX I want to go with you. LOCKWOOD No. If you aren't involved, they can't prosecute you as a traitor. ALEX It's going to get very rough for you. LOCKWOOD I said no. ALEX You don't even know the symptoms. First nausea... then dizziness. You'll see double, when you can stand the light. (hard) If that's not enough, there's more... at the end. (MORE) (CONTINUED) 32. 108 CONTINUED: ALEX (CONT'D) Spasm, irregular breathing and unbearable pain. Twelve more hours... if your body can stand it. LOCKWOOD You don't pull your punches, do you? ALEX Not when it makes the difference between yur living or not living. (beat) Do you have a car? LOCKWOOD (shakes head) No. ALEX Then you need transportation. You need help. (admitting) And so do I. Lockwood studies her a moment. She is determined. LOCKWOOD All right, Alex... We meed each other. 109 CLOSE SHOT - TAPE RECORDER slowly winding from one reel to the next. LOCKWOOD'S VOICE (ON TAPE) We have two ways to go... Wentzel and the man who brought Balzak to the cemetery. ALEX'S VOICE (ON TAPE) Do you know who the driver was? LOCKWOOD'S VOICE (ON TAPE) I think I can find him. Let's go. Door SLAMS O.S. Abruptly a hand hits the stop button. PULL BACK TO REVEAL: 110 INT. NOBOKOV'S OFFICE - ANGLE ON NOBOKOV Seated at a Spartan desk in a military type of an office. (CONTINUED) 33. 110 CONTINUED: He looks up. NOBOKOV There is something to be said for allowing a dying man to find his own cure. LIEUTENANT If he lives long enough. A sardonic smile crosses Nobokov's face as we FREEZE FRAME. END OF ACT THREE 34 ACT FOUR FADE IN: 111 INT. PROBE CONTROL - ANGLE ON SCREEN split into three sections. The top third shows a closeup of the car that Balzak entered in the cemetery. The lower two-thirds is halved into left and right rectangles. One side shows the driver of the car. The other has an extreme closeup of the car's license plate. KEACH License 637429. Vehicle belonging to one, Hans Bremer, During the fifties, Bremer actively participated in a coup against the government. (beat) The insurrection failed; Bremer's record indicates fifteen years in prison. Subject now resides at 317 Brunnplatz. 112 ANGLE - CAMERON CAMERON Lockwood, do you want directions? (two beeps) Negative? You're on your own. 113 EXT. HANS BREMER'S HOME - CLOSE SHOT - LICENSE - DAY G37429. PULL BACK TO INCLUDE the rest of the familiar car. Bright sunlight reflects from the chrome. 114 CLOSE SHOT - LOCKWOOD He winces with the light. His face is pale and gaunt. Alex follows as he walks toward the front of Bremer's house. In. b.g. is Alex's car... a Volkswagen. 115 ANGLE ON DOOR Lockwood rings the bell of a modest, well-kept home. After a moment, Bremer opens up. One look at Lockwood and he attempts to shut it again, but Lockwood places his foot in the gap. LOCKWOOD You're going to answer a few questions. Right now. Bremer looks furtively behind them but sees nothing. He quickly ushers them into the house. 35. 116 INT. HOUSE - ANGLE ON LOCKWOOD - DAY Bremer leads them into a study which is surrounded by World War II trophies. They sit. BREMER The man you wanted to take out of the country is dead. Balzak is dead! What do you want? LOCKWOOD I was hit with a toxic bullet. BREMER I am sorry for you. (frowns) What can I tell you? LOCKWOOD Did Dr. Balzak stay here? BREMER (nods) I tried to use some of my old revolutionary friends to get him out, but they couldn't help. LOCKWOOD (shows suitcase) What about this? He mentioned it before he died. BREMER (shakes head) I never saw him put anything in it or take anything out. (thinking) But he never let it out of his sight. ALEX Did he ever mention the border? Somewhere he might have left something? Bremer, sensing her desperation, really tries to recall. BREMER He just didn't talk. LOCKWOOD Where's his room? (CONTINUED) 36. 116 CONTINUED: (2) Rising, Bremer motions them to follow. As Lockwood rises, he winces in pain and holds his hand to his left ear. SOUNDS OF HIGH FREQUENCY WHINE. He waves Alex away. It passes. ALEX What was it? LOCKWOOD A symptom you left out. They follow Bremer. 117 INT. BEDROOM - FULL SHOT A small room with a twin bed and a little desk. The desk has a few pieces of paper in one niche and a dictionary on the top. Lockwood sets the suitcase down. BREMER I can tell you that you won't find anything in this room. __ ALEX We have to try. LOCKWOOD Watch the street. Bremer nods, leaves, closing the door behind him. Alex systematically begins with the bed. As Lockwood works, he grimaces. 118 POV His vision blurs then clears. 119 INT. PROBE CONTROL -- ANGLE ON CARLOS He watches the changes on his monitoring equipment. CARLOS EEG shows abnormal brainwave pattern, concurrent with abdominal spasms. CAMERON Keach, get the lab. Keach punches a button. KEACH (after a moment) Dr. Harrison. On screen. 37. 120 INTERCUT CAMERON WITH SCREEN A lab-coated scientist, HARRISON, faces them. He is haggard. HARRISON'S VOICE Lab Three, Harrison. CAMERON Have you come up with anything? HARRISON'S VOICE (nods) We've worked out an amino acid sequence. I'll put it on. The screen fills with a colorful biochemical chain in the form of a pitchfork with four branches. One chemical link is missing from each branch. HARRISON'S VOICE There are only twenty amino acid links that can be used to build a chain like this. Placed in a different order they make different substances. (beat) One way they make Nylon. Another they make antitoxins. There are more combinations than atoms in the Universe. CAMERON Where does that put us with the one combination we want? HARRISON The chain Balzak found contained 147 links. He sent us all but fourteen. From the information he gave us, we've finally come up with the right order for the part we have. CAMERON Those links that are missing are the portions Balzak kept? HARRISON (nods) We have twenty choices to use each gap... countless variations. (CONTINUED) 38. 120 CONTINUED: (2) CAMERON Can you sort them out? HARRISON Eventually. Our computers can give us the most logical fillers so that we come up with the right serum, but... (shurgs) It takes time and testing. CAMERON We haven't got time, and there's only one test. HARRISON (interrupting) I realize the pressures as well as you, Cam. We're doing the best we can under the circumstances. Cameron, pacing, calms at this. CAMERON Keep us posted. Harrison nods. The screen goes blank. 121 ANGLE - CREW Their attention is focused on Cameron. 122 ANGLE - CAMERON At the silence, he comes out of his reverie. CAMERON What are you waiting for? (embarrased; orders) We've got a mission to monitor. 123 INT. BALZAK'S BEDROOM - CLOSE SHOT - WASTEBASKET - DAY A hand reaches into the basket and pulls out two sheets of foolscap. PULL BACK TO REVEAL Lockwood as he stares the sheets a moment then turns toward Alex. LOCKWOOD Does this mean anything to you? She comes closer to look at them while he surreptitiously turns his scanner on them. 39. 124 INT. PROBE - SCREEN They are diagrams of biochemical structures similar, after a fashion, to those seen on the screen moments ago. 125 ANGLE ON CREW CAMERON Tip down. Zoom in. Search. Crew begins to punch buttons. 126 INT. BALZAK'S BEDROOM - FULL SHOT - DAY Alex hands the papers back with a frown. ALEX They don't mean anything. They're dead ends. LOCKEWOOD Why are you so sure? ALEX He used to throw sheets like those away by the hundreds. It was his way of thinking. CAMERON'S VOICE (filtered) She's probably right, Lockwood, but we're running a check Lockwood folds them and puts them in his pocket. ALEX (discouraged) There's nothing here. LOCKWOOD Then we'll have to try my last hope... Wentzel. He crosses to her and is about to walk out when he doubles over in pain. As he bends, he intentionally knocks Alex's purse to the floor. 127 CLOSE SHOT - PURSE It hits the floor, spilling contents. 40. 128 ANGLE LOCKWOOD He looks at the purse. A high-frequency feedback whine SOUNDS. ALEX I'll get them. Lockwood kneels as Alex tries to gather up everything. He scoops up an old ornate pocket watch before she can reach it. ALEX It belonged to my grandfather. Lockwood can barely hear her talking. He holds the watch to his head, near the receiver. The FREQUENCY is over-- powering. After a quick glance at Alex, he pries the back open. 129 ZOOM IN ON WATCH There are the workings of a tiny transmitter. 130 ANGLE - LOCKWOOD reacting. He dashes the watch to the floor and grinds it with his shoe! 131 INT. NOBOKOV'S OFFICE - CLOSE SHOT - HAND It slams down on a desk top'. PULL BACK TO REVEAL NOBOKOV at his desk... suddenly cut off from his monitoring device. He is angry. NOBOKOV He found the transmitter. He rises. His movements are quick. NOBOKOV Lieutenant! The Lieutenant opens the door and is in the room immediately. LIEUTENANT Sir? NOBOKOV Get my car! 41. 132 INT. BALZAK'S ROOM - DAY Lockwood grabs Alexia's arm to prevent her from leaving. LOCKWOOD You needed me? (a laugh) I guess you did. You were more than Balzak's assistant. You were assigned to him. Transmitter and all. ALEX I felt what I said I felt ... about both of you. Bremer appears. ALEX Let me help you find the formula. I'll see that you're treated. LOCKWOOD Sure you will. BREMER What's going on? LOCKWOOD She's had a transmitter. ALEX The Statspol is on its way. The minute you crushed it. (to Bremer) Give yourself up. It will go easier on you. BREMER Easier: (to Lockwood) What do you want to do? LOCKWOOD Lock her up and get out of here! BREMER There's no way out. By now they closed the checkpoints, the harbors, rail and air stations. ALEX He's right. (CONTINUED) 42. 132 CONTINUED: LOCKWOOD There's got to be a way out somewhere. bremer You find it. LOCKWOOD What about you? BREMER I'll survive. He takes the girl from Lockwood. Lockwood removes the suitcase keys from Alex's hand. BREMER Good luck, Mr. Lockwood. Lockwood exchanges glances with Alex, then turns and walks out the door. 133 INT. NOBOKOV'S STAFF CAR - ANGLE ON NOBOKOV - DAY He sits grimly beside the driver, staring ahead and cursing under his breath. 134 EXT. CAR - DAY It flies by. 134A EXT. RED BEAR - DAY Lockwood parks Alex's car. He gets out with the suitcase and looks off. The glare of the sun, the heat, and the suitcase combine to increase his agony. He heads for the door. 134B POV - HAND-HELD - DAY The front door of the Red Bear, as seen through blurred double vision. 135 INT. RED BEAR - ANGLE ON LOCKWOOD - DAY Breathing with difficulty, he steps into the club. The atmosphere of the last time here is gone. The musician and the customers are gone. Tending an empty bar is Egan. Lockwood looks in the corner for Wentzel, but he isn't there either. Egan hangs up the phone, and crosses to LockWood. (CONTINUED) 43. 135 CONTINUED: EGAN Mr. Lockwood? Lockwood nods. He puts the suitcase down next to the bar. LOCKWOOD I have to find Rolf Wentzel. EGAN That might be difficult. He doesn't have what you might call a steady home. Lockwood grabs Egan... shakes him, desperately. LOCKWOOD Wentzel! Where is he?! EGAN Okay, okay... take it easy. He's in my back room, sleeping off a drunk. LOCKWOOD Thanks. EGAN Don't mention it... especially if you run into Nobokov. Lockwood nods, picks up the suitcase and starts upstage. Suddenly, Egan pivots and chops the unsuspecting Lockwood across the shoulder. 136 THRU OMITTED. 139 140 ANGLE - LOCKWOOD He reels and goes down, unconscious. Egan goes through his pockets, taking wallet and car keys. 141 ANGLE - EGAN Stepping over the body, he walks to a phone, picks up the receiver and dials "0." EGAN Statspol. 44. 142 INT. PROBE CONTROL - ANGLE ON CREW CARLOS Red light. Brainwave... crisis patterns. Possible concussion. CAMERON Probe Control to Prove One. Lockwood! MURDOCK Respiration crisis. Pulse dropping. Confirm EEG. Indicates a blow near Medulla. CAMERON Come in, Lockwood. Probe One, do you copy? 143 ANGLE ON EGAN standing near the phone. EGAN I would like to speak with Colonel Nobokov. 144 ANGLE - LOCKWOOD He slowly regains consciousness. EGAN Find him! Tell him I have the American he has been looking for... and the item he has been carrying around. (looks at suitcase) I'll turn them both over for two hundred thousand dollars... and a safe exit out of the country. (pause) No. I will call you back. He hangs the phone up and takes the suitcase over to the bar. Lifting it up, he scrutinizes the outside. 145 ANGLE ON LOCKWOOD Fully conscious, he summons his strength and flings him- self at Egan. Egan angles a blow that doubles Lockwood and grabs the suitcase. (CONTINUED) 45. 145 CONTINUED: Lockwood recovers but not fast enough to prevent Egan from getting outside. He follows. 146 EXT. RED BAR - ANGLE ON EGAN He runs out, sees only one car nearby... Alex's. Pulling the keys from his pocket, he heads for it. Getting in, he starts the engine. 147 ANGLE ON LOCKWOOD He runs toward the car and makes a dive for the running board on Egan's side. Lock-wood fights for the wheel. The car starts to move. 148 INT. CAR - ANGLE ON EGAN, LOCKWOOD Egan pulls up on the door handle and pushes. The door opens throwing Lockwood back. Lockwood grips Egan's face with his fingers. Egan pushes again and Lockwood hits the pavement. Egan grimaces in pain as he puts his hand to his eyes and steps on the gas. 149 EXT. CAR It turns out into the path of a car approaching from the other way. Egan cramps the wheel and the car skids. Egan frantically fights the swerve. 150 ANGLE - LOCKWOOD He picks himself up and looks off. 151 LOCKWOOD'S POV The car heads right for a wall. 152 INT. CAR - ANGLE ON SUITCASE As Egan hits the brakes, it jostles and slides off the seat. 153 ANGLE ON CAR The brakes lock. It slams into a wall and blows. 154 CLOSE SHOT - LOCKWOOD He looks at the wreckage as debris rains down. His last clue gone... CUT TO BLACK. END OF ACT FOUR 46. ACT FIVE FADE IN: 155 EXT. RED BAR - CLOSE SHOT - LOCKWOOD'S POV - DEBRIS - DAY A ragged piece of suitcase lays on the pavement. It goes IN AND OUT OF FOCUS. 156 ANGLE ON LOCKWOOD He kneels and picks up the fragment. Thin metal, it is not hot. Pulling the folded papers from his pocket, he holds the top one next to the sticker. 157 POV The border of the sticker has been hand-drawn. The similarity, to the sketches on the folded paper is too great for coincidence. LOCKWOOD The border... the edge of the label! 158 INT. PROBE CONTROL - ANGLE - CAMERON Worried, he looks at the screen. CAMERON What did you say, Lockwood? 159 INTERCUT WITH LOCKWOOD LOCKWOOD The border of the travel sticker. (shaking head) It looks like a formula... but it's in shreds. CAMERON (hope lost) Then it's gone. LOCKWOOD What about the pictures you got of the suitcase in Alex's apartment? CAMERON (doubtful) We didn't catch anything. 160 CLOSE ON LOCKWOOD He doesn't want arguments. (CONTINUED) 47. 160 CONTINUED LOCKWOOD Rack them up and scan them again, Cam. 161 ANGLE - STREET Two or three people running. One, is a burly OFFICER. 162 ANGLE - LOCKWOOD He doesn't wait around. 163 ANGLE.- OFFICER He heads out in pursuit. The others watch. 164 ANGLE - LOCKWOOD Sweating and breathing hard, he ducks in one area and out the next. Finally he gets out of sight long enough to step between two close buildings and wait. 165 ANGLE - OFFICER Following by the sound of Lockwood's footsteps, he stops, confused by the sudden silence. He looks around but can see nothing. He walks a few steps more in the direction he was heading. 166 ANGLE - LOCKWOOD Interlocking his hands, he gathers his strength for one blow and comes down on the neck of his pursuer. The Officer crumbles. Lockwood steps out and looks for the best direction to go. OPTICAL TRANSITION. 167 THRU OMITTED. 168 169 INT. PROBE CONTROL - ANGLE ON SCREEN The suitcase fills it. One side of the bag is square to camera when: CAMERON Freeze it there! 48. 170 INTERCUT SCREEN AND CREW Kuroda punches a button, and the action does FREEZE. CAMERON Zoom in on the top left corner. Magnify. CAMERA CLOSES until one sticker fills the FRAME. Then it PANS slowly from one to the next. About to pass an obscure faded one! CAMERON Go back. REVERSE PAN. CAMERON Double it. Kuroda turns a dial, and the image clicks into double size. The tension is electric. CAMERON Take it up one more. KURODA Doubling. He gives the dial another turn. The image on the screen doubles again. Connecting lines and spheres are now discernable as separate distinct structures: There is no doubt. The label along the chain forms atomic indole hexagons. CAMERON That's it! Notify the labs. 171 EXT. STREET - CLOSE SHOT - DOGS - DAY They wander back and forth across the area where Lockwood chopped the Officer who was following him. 172 WIDER ANGLE Suddenly they spark with the scent and yelp to move out. The Statspol officers give them their head. 173 CLOSE SHOT - LOCKWOOD - DAY He lies on his stomach beneath a structure and looks out through a crosshatch of wood. His eyes are at grass level. 49. 174 LOCKWOOD'S POV A Statspol car, stopped at the edge of the street a few yards away. One of the Officers steps out and looks around. 175 ANGLE - LOCKWOOD He blinks in pain and turns his head. 176 OFFICER'S POV A Gazebo in the middle of the park. No sign of anyone. 177 ANGLE - GUARD He gets back into the car. It drives off. 178 CLOSE ON LOCKWOOD Struggling, he pushes one of the panels around the base of the Gazebo out. Crawling into the open, he rises and looks around. CAMERON'S VOICE (filtered) You're about three miles from a condemned section of the city. About four miles from the border. LOCKWOOD (voice thick) Four or forty. It's all the same. 179 INTERCUT WITH INT. PROBE CONTROL - ANGLE - CAMERON CAMERON You may be able to get over the wall there. It will be dark soon. LOCKWOOD (straightening) Which way? CAMERON Due west. A Probe will be waiting. Just get over the wall! Lockwood bites back the pain and takes a step... then another. 50. 180 EXT. STREET NEAR RED BEAR - ANGLE ON STRETCHER - DAY A blanket covers what's left of Egan. CAMERA FOLLOWS it as it passes Nobokov. He turns as Alex walks up carrying the piece of debris that Lockwood dropped. NOBOKOV Any word on Lockwood? She shakes her head and then looks back at the fragment. NOBOKOV Bremer? ALEX No. Someone's probably taken him in. NOBOKOV I want both of them. Alex continues to look at the piece of metal and paper. ALEX If I told you that Lockwood didn't have the formula, would you call off the search? NOBOKOV What makes you think he doesn't have it? ALEX (handing fragment over) This. Look at the border. Nobokov studies it. He finally sees what she is pointing out. NOBOKOV That explains the explosive in the suitcase. Your scientist guarded his secret. ALEX You'll call off the search? Nobokov begins walking toward his car. She accompanies. NOBOKOV No. (CONTINUED) 51. 180 CONTINUED: ALEX You actually want to watch him die? NOBOKOV Death is a matter of course in our profession. (beat) You're lucky he didn't kill you. ALEX He's not a killer. NOBOKOV Then you're two of a kind... non-violent spies. In disgust, Alex turns to walk away. Stepping forward, he reaches out and puts a hand on her arm. He touches her hair with his free hand. She tries to pull back, but he clutches her tightly. NOBOKOV You find traitors and foreigners exciting... but not me. ALEX The difference is more subtle than politics, Demetri. NOBOKOV I've already eliminated one man to get you. The other will be dead soon. It isn't necessary to elaborate further. He releases the girl. She looks at him with suspicion. 181 EXT. PARK -CLOSE SHOT - DOGS - DAY They scratch at the open area under the Gazebo, sniff around, then get their bearings. 182 ANGLE - STATSPOL GUARDS One of them nods in the direction Lockwood took. The other pulls out a walkie-talkie and extends the antenna. As he lifts it to transmit, go to: 183 EXT. RED BEAR - ANGLE ON LIEUTENANT - DAY He walks toward Nobokov and Alex... not far from where they were standing. (CONTINUED) 52. 183 CONTINUED: LIEUTENANT The dogs are closing, Colonel. It looks like he's heading for the condemned sector near the wall. NOBOKOV Alert the patrols. I want every street covered. The Lieutenant nods and heads for the car. Nobokov and Alex follow. OPTICAL TRANSITION. 184 EXT. STREET - LONG SHOT - STATSPOL GUARD - NIGHT On the other side of a well-lit street. He patrols on foot with an automatic rifle on his back. Behind him is a dark, forbidding skyline of condemned buildings. He walks up a half block or so, then comes back. 185 CLOSE SHOT - LOCKWOOD watching. PULL BACK SLIGHTLY to show him lying on stairs that go from street level down to a basement in the building behind him. 186 POV A patrolling car stops near the walking Guard. They confer then separate. When the street Guard is at his greatest distance: 187 ANGLE - LOCKWOOD He pulls himself up and heads out in a running crouch. Across the street, he rolls into an alley. 188 ANGLE - GUARD He turns and heads back, unaware of Lockwood's crossing. 189 INT. ALLEY - CLOSE ON LOCKWOOD Gasping for breath, he flattens himself to a building. 190 INSERT - EEG TRACING The waves are fast and desynchronized with bursts of high amplitude. 53. 191 INT. PROBE CONTROL - ANGLE ON CREW CARLOS Brainwaves rapid and out of phase due to increased C02 tension. MURDOCK His repiratory system is failing. He can't get oxygen. CAMERON How long can he live? MURDOCK The way he's going... maybe two hours. 192 EXT. ALLEY ENTRANCE - LOCKWOOD'S POV - NIGHT A blur. The Statspol man passes. 193 ANGLE - LOCKWOOD Hand over mouth to silence his breathing. In the distance can be HEARD the BARKING OF DOGS. CAMERON'S VOICE (O.S.) Lockwood... keep moving! Do you copy? Keep moving! 194 EXT. STREET - ANGLE ON DOGS - NIGHT hot on the scent. Moving toward the condemned area. 195 INT. NOBOKOV'S CAR - TWO SHOT - ALEX AND NOBOKOV - NIGHT in the back seat, arguing. ALEX You gave the orders. Was Balzak's death an accident? NOBOKOV He's dead. That's what matters. ALEX Your assignment was to make him reveal the formula by grazing him. (pointedly) Why did you have him killed? Nobokov does not answer, but his look reveals the truth. (CONTINUED) 54. 195 CONTINUED: NOBOKOV My orders were to see that the formula did not get out of the city. I did that. They would have executed him anyway. Alex turns her head and looks out the window... repelled. 196 EXT. ALLEY - ANGLE ON LOCKWOOD - NIGHT Balance gone, he painfully moves forward. Suddently he stops. CAMERON'S VOICE (O.S.) Lockwood... the wall is just on the other side of that fence. 197 POV A six-foot wooden fence that blocks the end of the alley. 198 BACK TO SHOT Nothing to step on. If he's going on, he must get over by his own power. The dogs are closer. Lockwood steps back and tries to jump. 199 CLOSE ON HIS FACE Pure pain. He falls back. 200 EXT. STREET - ANGLE ON DOGS - NIGHT In the stairway across from the alley. The Statspol Guard sees them and runs over. 201 EXT. ALLEY - CLOSE ON LOCKWOOD - NIGHT At the point of no return. He puts his hands on the top of the fence and pulls himself up. Straddling the top precariously, he falls to the other side and lies there. 202 INT. PROBE CONTROL - CLOSE ON CAMERON looking up from his console with dismay. CAMERON Lockwood! Lockwood! Get up. 55. 203 INTERCUT WITH LOCKWOOD He stirs slightly, his head moving. LOCKWOOD (with difficulty) Too late. CAMERON Lockwood, you're almost there. Get up. There's help on the other side. Lockwood listens and slowly, painfully, crawls forward, trying to rise. Finally he grips a drain pipe and pulls himself up. 204 ANGLE - DOGS - NIGHT They cross from the stairway to the alley. Pulling their handlers, they arrive at the fence and bark with frustra- tion. 205 ANGLE - STREET - NIGHT Two Statspol cars pull up simultaneously. Nobokov, Alex and the Lieutenant emerge from one. Two regular Officers from the other car. Nobokov motions them to the right and left. He enters the alley. 206 INT. BUILDING - CLOSE SHOT - FEET - NIGHT Heavily, they climb a narrow stairway. PULL BACK TO REVEAL Lockwood as he stumbles up the steps. He falls frequently but picks himself up and goes on. 207 EXT. ALLEY - ANGLE ON LIEUTENANT - NIGHT He hauls himself over the wooden fence and looks in the direction of the wall. 208 ANGLE - NOBOKOV NOBOKOV Stay there. We'll go around. He indicates that two men and one of the dogs should guard the alley. He and the other dog handler head toward the street where they pick up the other patrolmen. 209 ANGLE - ALEX standing by the staff car. (CONTINUED) 56. 209 CONTINUED: NOBOKOV Don't you want to see him once more? With an icy glare, she follows as he runs along the streetfront. 210 EXT. BUILDING FIRE ESCAPE LANDING - ANGLE - LOCKWOOD NIGHT Lockwood comes out a door marked FIRE EXIT in German. The escape platform sways under his weight and he nearly slips under the guard rail. He pulls himself back and looks down. 211 POV The fire escape steps are long gone. The ground swirls two stories down as vertigo siezes him. Below... the wall. Ten feet high including the barbwire along the top. Directly on the other side of the wall is a light pole (wooden) with climbing spikes set out from the side. 212 ANGLE - LOCKWOOD He takes off his belt. Converts it into a rope lariat. Flings it toward pole, misses. 213 EXT. BUILDING ENTRANCE - ANGLE ON DOG BARKING It strains to move inside. PULL BACK TO INCLUDE Nobokov, Alex, the dog handler and some other Patrolmen. Nobokov and Alex enter the building. 214 BACK TO LOCKWOOD Desperately he tries again, misses again. Now a final attempt. The loop of the rope catches a pole spike twelve feet from the ground. 215 NEW ANGLE - LOCKWOOD He pulls the rope taunt then ties the other end around the guard rail. Carefully, he sits down and inches toward the edge of the platform. 216 ANGLE - STAIRS - NIGHT Nobokov unholsters his pistol as he climbs rapidly. Alex follows. 57. 217 ANGLE - LOCKWOOD Taking his jacket off, he slips it over the rope and brings the arms together. 218 ANGLE - LANDING The door opens. Nobokov and Alex come out on the land- ing. 219 ANGLE - LOCKWOOD He turns and looks at Nobokov then looks down. 220 POV Below, the Lieutenant steps from the shadows, a hand gun aimed at Lockwood. The dog handler and dog are there. The dog barks viciously. 221 CLOSE SHOT - NOBOKOV He raises his pistol. 222 ANOTHER ANGLE Lockwood notes the girl, he can't help but smile. It's cut short by pain. LOCKWOOD In for the kill... 223 ANGLE - ALEX Somehow tied to Lockwood, she hurts for his hurt. ALEX Demetri, he's a dead man. Let him die in his own territory. NOBOKOV (aims pistol) No. He can either die now or... I can let him live out his last hours in a cell... with you, if you like... (to Lockwood) Which way do you want it, Lockwood? Alex looks at Nobokov with total disbelief. She reaches into her pocket. 58. 224 ANGLE - NOBOKOV Prepared to shoot. ALEX Stop it, Demetri! Nobokov turns and looks at the gun in her hand. She holds it unsteadily. NOBOKOV I don't think you can do that... so... He begins to pull the trigger. She FIRES. Nobokov drops his pistol and clutches his arm. LOCKWOOD Alex! Over here! Hurry! She climbs over. He pulls her to him. Nobokov raging, SCREAMS! NOBOKOV Shoot! Shoot them! BULLETS hit around them. Lockwood holds Alex as he cuts loose. 225 ANGLE - LOCKWOOD The Soldiers are FIRING THEIR WEAPONS. The Lieutenant FIRES but misses in the confusion. Lockwood and Alex hurtle across. Releasing his hold before he slams into the pole, Lockwood drops to the ground. He and Alex lie close to the wall. 226 MED. SHOT - CAR - NIGHT It pulls up fast, and a Probe, MARTIN, is at Lockwood's side within seconds. The Driver keeps the engine running. MARTIN My name is Martin. Probe Division, Scandinavia. (Martin uses needlepak injector) This is the anti-toxin. It stops the onset. The complete cure is in Stockholm... You'll be there in less than an hour. Lockwood nods and smiles wanely. Martin and Alex help Lockwood into the car. Martin looks back at the wall, in wonder. 59. 227 ANGLE - ROPE AND BUILDING Beyond the wall, the BARKING dogs and much GARBLED EX- CHANGE in a foreign language. 228 INT. CAR - TWO SHOT - MARTIN AND LOCKWOOD Martin gets in the car with them. MARTIN Cameron assigned two of you? Lockwood shakes his head. LOCKWOOD No... she assigned herself... to an extended cure in Stockholm... unlimited expenses... as my private nurse. 229 EXT. CAR - NIGHT It drives off. CAMERON'S VOICE (O.S.) Lockwood... you are entitled to a rest, but unlimited expenses are not authorized... Miss Trepov is not qualified as a private nurse... FADE OUT. THE END