S E A R C H "THE CARRIER" Written By Judy Burns PROPERTY OF: Warner Bros. Television FINAL DRAFT 4000 Warner Boulevard Burbank, California 91505 December 11, 1972 SEARCH "The Carrier" ACT ONE FADE IN: 1 EXT. FATHOM RESEARCH FACILITY - ESTABLISHING SHOT - NIGHT A fenced area with a guard house at the entrance. Beyond is the hint of a large modern research center... tall semi-lit buildings. The SOUND of SURF pounding on a not too distant beach can be barely heard. CAMERA PANS to a large sign that reads: "WORLD SECURITIES UNDERWATER RESEARCH - FATHOM II, AUTHORIZED PERSONNEL ONLY". CUT TO: 2 INT. HOSPITAL CORRIDOR - CLOSE SHOT - GUERNEY - NIGHT It is wheeled out of a room marked quarantine. A sheetcovered body is on it. A MEDICAL TECHNICIAN wearing an isolation coat over his loose fitting pastel hospital clothing wheels the guerney now toward an elevator further down the soft-lit hall. He waits until the elevator doors open, then carefully slides the guerney into position. 3 OMITTED thru 5 6 INT. ELEVATOR - NIGHT Hitting a floor button, the Technician stands patiently in front of the guerney as the doors close. 7 ANGLE - CORPSE Stiff and immobile... until one hand slips out from under the sheet and tugs the cloth back from the rest of his body. 8 ANGLE - TECHNICIAN Idly watching the floor indicator until the creak of the guerney makes him whirl. His mouth drops as he confronts: 9 NEW ANGLE A tall, very much alive "corpse", ready to land a felling blow. The Technician grapples with his assailant, but he is no match. The "dead man" throws a heavy chop to the Technician's neck. 2. 10 INT. CORRIDOR - ANGLE ON ELEVATOR DOORS - NIGHT They slide open. The "technician" who we shall discover to be COMMANDER WILLIAM PARKER, steps out, immediately confronts a YOUNG DOCTOR. 11 OMITTED thru 14 15 NEW ANGLE A beat as the Doctor and Commander Parker face each other, then: DOCTOR Commander Parker: What are you doing in that uniform. You're supposed to be in quarantine! 16 CLOSE ON PARKER He slams a fist into the physician's jaw and runs out. SHOCK CUT TO: 17 OMITTED & 18 19 INT. PROBE CONTROL - ANGLE ON ENTRYWAY - NIGHT The door opens and BARNETT, his face a grim mask, enters and crosses quickly toward the control area. 20 CLOSE SHOT - LOCKWOOD He whirls, facing CAMERA. PULL BACK as he shoots a penetrating glance at CAMERON. The latter stands next to an empty control panel. In fact, the whole area is deserted except for Lockwood and himself. LOCKWOOD (with disbelief) Parker's what? CAMERON (pulling no punches) He's escaped and he's paranoid... thinks everyone in the Fathom program is out to kill him. (CONTINUED) 3. 20 CONTINUED: LOCKWOOD Then he's got a reason... and I want to know what it is! A BEEP is HEARD. Both men react to T.V. screen. As it clears, Barnett appears on screen. BARNETT (V.O.) You haven't told him? Cameron reacts negatively. Not hesitating, Barnett plunges on. BARNETT (V.O. ) The three drivers we sent down in the Fathom II came back with a highly contagious virus strain... something we've never seen before. CAMERON Stuart's dead. Garrett's dying. And Parker's out... infecting who knows how many others! His brain tissue's been effected. LOCKWOOD When did this happen?! CAMERON Parker broke out of the base about fifty minutes ago... switched places with Stuart's body to get out of the quarantine area. BARNETT (V.O.) (strained) I don't have to tell you where this puts World Securities. That ocean lab was our project... run by our scientific team. We've got to get Parker back. LOCKWOOD How many know the situation? CAMERON A few government people... since the divers were Navy men... and a few of our key personnel. (CONTINUED) 4. 20 CONTINUED: (2) LOCKWOOD (pointedly) Then that's how it better be kept, Dr. Barnett. HOLD ON Barnett and Cameron. CUT TO: 21 OMITTED 21A EXT. PARKER RESIDENCE - DAY as Lockwood's car SCREECHES to a halt. He gets out, moves swiftly toward residence. 22 INT. PARKER RESIDENCE - CLOSE SHOT - BETH PARKER - DAY BACK TO CAMERA. She turns with a sharp movement and looks straight on, her face a turmoil of anxiety and anger. She fights the quiver in her voice, demanding: BETH Who's looking for him! 23 NEW ANGLE To INCLUDE Lockwood, drained by the ordeal of informing her. LOCKWOOD I am. BETH Alone! LOCKWOOD For the moment. Shaking her head, she walks resolutely to the telephone and dials 0. BETH That's not enough... operator, get me the police. She hasn't finished the last word when Lockwood punches down the receiver button and pulls the phone from her hand... angry. (CONTINUED) 5. 23 CONTINUED: LOCKWOOD Do you want Bill back... or do you want a panic-stricken mob hunting him. BETH I want him found! I want him in a hospital! LOCKWOOD So do I... but not dead because somebody got scared of being contaminated and killed him when he got too close. BETH What do you want me to do... wait for him to drop in an alley somewhere... weep a few tears and say it was for the good of science that he gave his life! LOCKWOOD (quietly) No, I want you to help me get him back, Beth. He returns the receiver to its cradle as she considers his statement... but he remains between her and it. BETH (not giving an inch) How? LOCKWOOD By calling me if he contacts you... and by not trying to convince him on your own to turn himself in. BETH Why shouldn't I try! He's my husband. LOCKWOOD Beth, I spent three years with him in the astronaut program. I know both of you well enough to say you can be swayed by him. I can't! (CONTINUED) 6. 23 CONTINUED: (2) The argument is right, and she knows it. She paces a moment, pondering, but finally nods. Returning her gesture, Lockwood gives her shoulder a reassuring squeeze and starts to walk out. He halts at: BETH (determined) Nothing had better happen to him because of the way you're handling this. Understand? Nothing! 24 OMITTED 25 ANGLE - LOCKWOOD The statement registers. 26 INT. HOSPITAL HALLWAY - CLOSE SHOT - DISPOSAL BAG - DAY A hand tosses a surgical mask into the bag. PULL BACK to INCLUDE the rest of DR. T. R. JAMISON as he pulls off a white isolation coat and throws it angrily into the bag too. A door marked ISOLATION is closed in b.g. JAMISON You've come to the wrong place for answers! I don't have any... I wish I did! 27 NEW ANGLE As he looks up at Lockwood standing nearby. Jamison is about Cameron's age with a lot of the same look about him, but at the moment, the only quality he radiates is exhaustion. Lockwood falls in step beside him as he walks down the corridor. LOCKWOOD You're the head scientific man on this project, Jamison... and the only one who can tell me what shape Parker's in. JAMISON I'm sorry. I didn't mean to snap. I just lost a two-hour battle to save a girl's life. LOCKWOOD The virus? (CONTINUED) 7. 27 CONTINUED: JAMISON One of our nurses caught it from Parker. They stop at an unmarked door and enter, Jamison leading the way. It must be apparent that there is a bond of friendship between Lockwood and Jamison that is easily as strong as the one shared by Lockwood and Cameron. 28 INT. LARGE OFFICE (CONFERENCE ROOM) - FULL SHOT - DAY Lockwood watches as Jamison pours a cup of black coffee from a small urn on the conference table. The scientist holds an empty cup up, but Lockwood shakes his head. Jamison sits wearily and looks up at the Probe. LOCKWOOD How long can Parker last? JAMISON I don't know. He's infected... but something in his system has kept it from taking over... so far. LOCKWOOD Then he could drop at any time. JAMISON Probably. LOCKWOOD When did they come down with it? JAMISON About four days after they came up. (thinking back) They were in decompression for seventy-six hours... to prevent nitrogen narcosis. LOCKWOOD And no sign of the bends. JAMISON (nods) No signs of any problems while they were in the hyperbaric chamber. Then we put them in a ward for observation. (MORE) (CONTINUED) 8. 28 CONTINUED: JAMISON (CONT'D) (frowns) Twelve hours later Stuart started to hemorrhage internally... No apparent cause. He kept on bleeding 'til he died. LOCKWOOD You couldn't stop it! JAMISON We tried drugs, transfusions, clotting extracts. Nothing worked! LOCKWOOD What about Garrett? JAMISON He came down with a raging fever. We've kept him strapped down and cooled to prevent tissue damage that might cause bleeding... but it's just a matter of time. We Just don't know anything about this virus. LOCKWOOD You don't have any hope at all? JAMISON Just one... that you get Parker back in time to prevent an epidemic. On Lockwood's reaction. CUT TO: 29 INT. PARKER HOME - CLOSE SHOT - PHONE It RINGS TWICE before a hand reaches INTO FRAME and picks up the receiver. PULL BACK to INCLUDE Beth as she listens... reacts. BETH Bill! Where are you? (trying to calm her tone) Are you all right? 9. 30 INTERCUT WITH INT. PHONE BOOTH - ANGLE ON PARKER - DAY Back to the street and sidewalk, he turns once or twice as he talks to check behind him. PARKER I'm o.k., but I can't answer questions over the phone. They may have tapped it. BETH I've got to see you. PARKER You remember where we used to talk things out? BETH I remember. When do you want to meet? PARKER Tonight... ten... Come alone! BETH Bill, I want to bring... PARKER (interrupting; fiercely) No one... understand... no one! With a click he hangs up. BETH Wait... Bill! Bill! Gripping the phone tightly, she finally lowers it to its hook with a look of resignation. 30A INT. HOSPITAL RECEPTION - CLOSE SHOT Lockwood about to press elevator button when hand ENTERS FRAME, stops him. 31 OMITTED 32 WIDER ANGLE As Lockwood looks around to see who's interfering. 33 HIS POV - MATTHEW LINDEN A man in his late forties stands before him, staring intently as if sizing up an opponent. (CONTINUED) 10. 33 CONTINUED: In fact, his whole face has the slightly battered look of an ex-middleweight boxer who saw one fight too many. LOCKWOOD You need something? Linden hands over a small credential folder. LINDEN Matthew Linden... Naval investigation. 34 NEW ANGLE As Lockwood takes the folder, opens it so that its contents are in scanner range, and studies it. 35 INT. PROBE CONTROL - ANGLE ON SCREEN - DAY Linden's I.D. 36 ANGLE - CAMERON Studying the screen. CAMERON I.D. positive, Lockwood. We've just been informed that he's heading a government investigation. 37 OMITTED 37A INT. HOSPITAL RECEPTION - ANGLE ON LOCKWOOD - DAY He hands the credentials back with a noncommittal nod. LINDEN Lockwood, isn't it? LOCKWOOD If you know who I am, you probably know I don't have time to talk. LINDEN I'll make this short. The Navy has a big stake in the Fathom project... equipment, past research... and men. LOCKWOOD So they put you in charge of looking for Parker. (CONTINUED) 11. 37A CONTINUED: LINDEN The point is that Parker's a military man. Your organization is civilian. They sent you in without clearing it with me. LOCKWOOD They must have thought you could use all the help you could get. LINDEN (clipped) I want it understood. I'm in charge of this investigation... not World Securities... or you. Lockwood reacts to the unspoken threat in Linden's statement. He chokes back his temper. He hits elevator button. LOCKWOOD (cold) Linden, I'm going to do whatever it takes to find a friend of mine... before he hurts anyone or anyone hurts him. LINDEN You do it without consulting me and you're out! Understand? LOCKWOOD (hard and fast) I understand that if you and I have the same interests, we won't get in each other's way. Without hesitating, Lockwood now enters elevator, leaves. 38 CLOSE ON LINDEN His face an icy mask as he watches Lockwood go. 39 EXT. FREEWAY - LONG SHOT - LIGHTS - NIGHT A soft red blur until CAMERA BRINGS THEM INTO SHARP FOCUS... a fast moving line of tail-lights. 40 INT. LOCKWOOD'S CAR - NIGHT Lockwood watches the freeway closely as he maneuvers his car through traffic. (CONTINUED) 12. 40 CONTINUED: Beside him, Beth sits, her mind moving almost as fast as the traffic. LOCKWOOD Where is he going to be? Ignoring him, Beth looks in the rear-view mirror on her side. Lockwood catches the look... but isn't sure what to make of it.. LOCKWOOD Beth? BETH Take me back home. Lockwood throws her a quick hard look. LOCKWOOD (tautly) Home? Why?! BETH (vehemently) This was supposed to be a meeting between the three of us. It didn't include the car that's been following us since we started! LOCKWOOD (looking in the rear-view mirror) That's a government car. I didn't bring it in. BETH I don't care how it got there. Lose it... or take me home. 41 INT. PROBE CONTROL - ANGLE ON CAMERON - NIGHT Tense. He watches the screen. CAMERON Lockwood, we can ask them to fall back, then relay your position to them... if you like. 42 BACK TO SHOT Lockwood drives on for a moment, mulling the decision. (CONTINUED) 13. 42 CONTINUED: Looking at Beth, he sends back two BEEPS for Cameron. CAMERON (O.S.) Negative? Lockwood, if you ditch them and don't get Parker, there'll be Hell to pay! Tight-lipped, Lockwood decides. 43 EXT. FREEWAY - ANGLE ON LOCKWOOD'S CAR - NIGHT Abruptly it cuts across three lanes of traffic and speeds along the right hand lane to the next turnoff. 44 ANGLE - GOVERNMENT CAR - NIGHT Reacting almost as quickly as Lockwood's movement, it pulls out after him. 45 ANGLE - LOCKWOOD'S CAR It almost skids into the first freeway off ramp it comes to, but it rights itself and streaks off. 46 BACK TO SHOT Attempting to get over fast enough to get off, the government car nearly plows into another vehicle. It's forced to go on by the exit. 47 INT. LOCKWOOD'S CAR - ANGLE ON BETH - NIGHT Turned in the seat, she watches through the back window. LOCKWOOD Now, where are we going? BETH Harbor Island Bridge. With a nod, Lockwood makes a turn at the next corner. 48 INSERT - LOCKWOOD'S WATCH - NIGHT It reads 10:10. 49 EXT. HARBOR ISLAND BRIDGE - ANGLE ON LOCKWOOD - NIGHT Illuminated by the ghostly bridge lights, he stands on the pedestrian walkway, looking at the watch. With a thoughtful frown, he glances up. 14. 50 POV Beth paces a few feet away. Beyond her, almost fifty yards away is the barely visible end of the bridge. A car enters... but drives by. BETH I should have come alone. 51 ANGLE - LOCKWOOD Listening, his eyes suddenly snap past Beth. 52 LONG SHOT - END OF BRIDGE A solitary figure walks toward them. At first in the shadows, the light finally strikes his face... Parker. 53 ANGLE - BETH Reacting to Lockwood's look, she spins and would run toward the approaching man, but Lockwood steps up and grips her arm, restraining her. LOCKWOOD He's infected, Beth. 54 ANGLE - PARKER He freezes at Lockwood's action. 55 ANGLE - LOCK1400D Sensing that Parker is prepared to bolt at the slightest hint of betrayal, Lockwood steps forward carefully. PARKER (an edge to voice) Stay where you are! LOCKWOOD Take it easy, Bill. I'm not going to jump you. I just want to get close enough to talk. BETH Bill, don't run. We're alone. PARKER Is this what you call alone! He's plugged into a whole crew! (at her questioning look) They're watching everything we do and say through that ring of his. (CONTINUED) 15. 55 CONTINUED: Beth flashes a look of suspicion at Lockwood as he starts to remove the scanner. LOCKWOOD All right, I'll put it away. PARKER Don't bother! I'm not staying! He starts to turn. BETH Wait! If you're sick, you're going to need help! If you won't go back to the base, at least let me take care of you! PARKER (scowls at Lockwood) What have you been telling her! LOCKWOOD The facts. PARKER How can you! You don't know them. LOCKWOOD I know there's one diver in the morgue and another dying back at the base. PARKER Well, I'm not dead... or dying. LOCKWOOD Then come back. Let them run the tests again. PARKER (furious) NO! I won't be back. The bug's loose there. I would get it! ... and if I didn't, I might conveniently die some other way. BETH Bill, you're not making sense. (CONTINUED) 16. 55 CONTINUED: (2) PARKER A quick needle in the arm to keep me from blasting this mess out in the open... that doesn't make sense? LOCKWOOD (desperate) No one's going to kill anybody. You have my word. PARKER Not good enough this time, friend. I'm getting away from here... with or without my dear wife's help! He begins backing away from them, apprehensively watching every move Lockwood makes. LOCKWOOD I have to take you back, Bill. 56 ANGLE - PARKER He shakes his head and continues backing away. PARKER Stay away, Lockwood. Pushing Beth behind him, Lockwood walks steadily toward Parker. The pace quickens until it seems Parker must turn and run. Panicked, he jams his hand into his jacket pocket and pulls out a revolver. BETH (stunned) Bill, don't! Backing into the rail, Parker bites his lower lip with indecision. PARKER Stay back. I'm warning you, friend. Don't force me. Lockwood is set to dodge and spring forward as Parker squeezes the trigger, but it isn't the revolver that CRACKS. The shot comes from the end of the bridge. 57 CLOSE ON PARKER He jerks as a slug slams into his back. Reeling, he falls unbalanced across the top of the bridge rail and tumbles into the water below. 17. 58 CLOSE ON BETH Immobilized by shock. Suddenly she pulls herself together and runs to the rail. 59 WIDER ANGLE As Lockwood sprints over and follows her look. 60 POV Black water... no sound... no sign of life. 61 NEW ANGLE LOCKWOOD Get police, emergency. Lockwood moves swiftly off. 62 ANGLE - LOCKWOOD Running toward the direction of the shot, he finally catches the SOUND of RUNNING ahead of him. 63 LOCKWOOD'S POV The dark figure of a man, zigzagging through even darker waterfront buildings... until he disappears into an alley. 64 ANGLE - LOCKWOOD Pushing himself, he follows... but runs into a dead end. 65 INT. PROBE CONTROL - ANGLE - JAMES MISS JAMES (checking panel) We're picking up some kind of electrical impulse... and a heart beat. CAMERON Did you copy that, Lockwood, he's there... close. 66 BACK TO SHOT Lockwood looks around and finally begins slowly working back toward the street. Suddenly the butt of a rifle swings out. It crashes into his neck, sending him to the pavement... stunned. 18. 67 ANGLE - SNIPER Face away from CAMERA, he steps out of a doorway. 68 ANGLE - STREET The light of a passing patrol car as it drives by. 69 BACK TO SHOT - SNIPER Panicked, he drops the rifle from a gloved hand and runs... never looking back, as we: FREEZE FRAME. END OF ACT ONE 19. ACT TWO FADE IN: 70 OMITTED 71 INT. LINDEN'S OFFICE - CLOSE SHOT - PHOTOGRAPHS - DAY A clear picture of the weapon... a WWII Arisaka. PULL BACK to INCLUDE Lockwood, standing near Linden's desk. He looks at two or three other color prints of the gun, disassembled, then flips to a page of registration numbers. LOCKWOOD No prints? 72 NEW ANGLE To INCLUDE Linden... sitting at what must be a temporary desk for him. The rest of the room is just as simple and devoid of personal touches. LINDEN (angrily) No! And no record of registration. LOCKWOOD It's probably a souvenir that's been on the wall since the war hard to trace. LINDEN (sarcastically) Brilliant. LOCKWOOD Don't ride me, Linden. I'm in no mood. Linden rises and squares off. LINDEN You're in no mood! I've just spent thirteen hours in a boat looking for Parker's body... because you ditched my men. LOCKWOOD With them around, he wouldn't have shown. (CONTINUED) 20. 72 CONTINUED: LINDEN With them around, he might still be alive... but he's not... so the case is closed for you. LOCKWOOD Not until I know why Parker was shot... and who shot him! LINDEN I'm telling you, you're off! LOCKWOOD And I'm telling you something smells about this whole deal. Lockwood takes another look at the photographs and registration list. He seems to catch something. Linden, talking, misses the look. LINDEN (livid) You're implying some kind of coverup! LOCKWOOD I'm saying Parker was killed because he knew something he wasn't supposed to know... something I'm going to find out ... even if it's on my own... and the last thing I do. LINDEN Maybe we'll be lucky! 73 CLOSE ON LOCKWOOD Barely holding his temper, he starts to walk out with the prints. Linden, lightning quick, scoops them away and deposits them in a file drawer with a combination lock. LOCKWOOD You have copies of those. LINDEN Those are evidence... and they're not leaving this office. LOCKWOOD They'll do you a lot of good in that safe. Lockwood leaves. 21. 74 INT. OFFICE (CONFERENCE ROOM) - CLOSE SHOT - HAND - DAY It comes down with authority on the conference table. PULL BACK as: WORKMAN The press wants to know about the divers. If I don't give them a statement, they're going to start printing what they want to print... at our expense. WORKMAN, a man in his late thirties, is an administrative type... and is the local director of the Fathom program. With him are Barnett and Jamison. The latter, half-sitting on the edge of the table, shakes his head. BARNETT (trying to convince) Workman's right. It's not only the press. I've got a board of directors that's hounding me for some answers. JAMISON Go ahead. Tell them what's happened. There'll be a panic that'll do as much harm as... LOCKWOOD (O.S.) As what? The three men look up sharply. 75 POV Lockwood stands just inside the door, listening. CAMERA FOLLOWS him as he crosses to the table and faces them. 76 BACK TO SHOT BARNETT Lockwood, what are you doing here! LOCKWOOD I came to have a little talk. BARNETT Not about this project. You've been reassigned. LOCKWOOD You want answers. So do I. I'm not leaving until I get a few. (CONTINUED) 22. 76 CONTINUED: JAMISON (shifts uneasily) I told you everything we know. LOCKWOOD ... Except what happened down there. WORKMAN That's classified information. LOCKWOOD Well, unclassify it! Parker was a friend of mine, remember! BARNETT Sorry, Lockwood. It's under government wraps... not ours. LOCKWOOD That virus didn't materialize out of thin air eight hundred feet down. Something caused it. What! Barnett has had enough. His face hardens again. BARNETT You're off this case. If you don't stop now, I'm going to throw you off the payroll... permanently. LOCKWOOD You may ,just have to do that. Lockwood looks long and hard at Barnett. Giving a quick nod to Jamison and Workman, he walks out. 77 INT. PROBE CONTROL - ANGLE ON SCREEN - NIGHT CAMERA PANS a small office with a desk. Several oceanographic charts cover the walls. 78 ANGLE - CAMERON He looks at the monitor with impatience and concern. CAMERON Probe one, Barnett's ordered you back. Do you copy? (at silence) Lockwood, return for reassignment. 23. 79 INTERCUT WITH INT. OFFICE - A14GLE ON LOCKWOOD - NIGHT He leans against the door leading out of the office. LOCKWOOD Give it to someone else. CAMERON You're my best man, and I'm going to lose you if you keep this up. LOCKWOOD You'll have to take that chance. CAMERON You haven't even got a lead to who killed Parker. LOCKWOOD I've got the start of one sitting in a file drawer across the way. Lockwood turns around, opens the door a crack and peers out. 80 POV A hallway similar to the one in the medical facility. Across the way, a door. 81 BACK TO SHOT CAMERON Lockwood, you can't steal those photographs. LOCKWOOD You want to bet? CAMERON That's government property. They'll hang you,., and World Securities... I can't let you do it. 82 ANGLE - CORRIDOR - NIGHT The door across from Lockwood opens and Linden comes out into the hall. He checks the lock and walks off. LOCKWOOD Forget the book, Cam. I know what I'm doing. 24. 83 BACK TO SHOT - CLOSE ON CAMERON The weight of decision causes him to hesitate... then: CAMERON I hope you do... Go ahead. 84 CLOSE ON LOCKWOOD As he opens his belt buckle and pulls out a lock pick. CAMERA FOLLOWS him as he opens the door, looks out, then moves to the door across the hall. 85 INT. CORRIDOR - ANGLE ON LOCKWOOD - NIGHT He deftly Kicks the lock, opens the door and enters. 86 INT. LINDEN"S OFFICE - ANGLE ON LOCK1400D - NIGHT Lockwood switches on a small desk lamp and goes to the file cabinet. The lamp sheds dust enough light to illuminate the combination dial... and the key hole in the center of it. Lockwood takes out a smaller pick and goes to work on it. 87 CLOSE ON LOCKWOOD Sweating it out. The moment it looks like he has it, the tool slips and he is forced to do it again. 88 CLOSE ON LOCK A gentle CLICK as the keyhole is rotated 360 degrees. 89 ANGLE - LOCKWOOD Wiping the sweat from his forehead with his sleeve, he gives the combination lock a couple of turns. LOCKWOOD The tumblers are freed. Take me through them. 89A INT. HALL Security guard comes through, begins to check doors. 90 INT. PROBE CONTROL - ANGLE ON CAMERON - NIGHT Watching the screen. CAMERON We have them on infra red. 25. 91 & 92 ANGLE ON SCREEN (STOCK) A solarized display of the combination lock, showing three layers. INTERCUT the movement of the tumblers with Cameron's directions and Lockwood's actions. CAMERON Turn the dial to the right approximately 90 degrees. That's it. Back the other way around... hold it. The last one's about ten degrees to the right. Slowly ... stop! All the tumblers line up. 93 INT. OFFICE - ANGLE - LOCKWOOD - 14IGHT He pulls the drawer. For a moment, inertia.., then it slides quietly out. Retrieving the pictures, he closes the drawer and resets the locks. 94 NEW ANGLE As he wipes off everything he has touched. With a quick look around the room, he turns off the light and walks to the door. Gripping the door knob with the handkerchief, he opens the door an inch. 95 POV The hall appears clear, and he is about to step out when a Security Officer walks around the corner. 96 ANGLE - LOCKWOOD He shuts the door... trying to be absolutely still, but the lock CLICKS. 97 INT. HALLWAY - ANGLE ON GUARD - NIGHT He has heard it. He walks back to the office, opens the door. Stepping into the room, he looks around. 98 HIS POV The room is black and quiet.., no sign of Lockwood. 99 CLOSE ON LOCKWOOD Pulled back tightly to the wall behind the door... tensely poised... ready to strike and run. 26. 100 ANGLE - GUARD He shrugs, and, closing the door, continues on his way. 101 BACK TO SHOT Lockwood moves out. 102 OMITTED 103 & 104 INT. AVERY GUN SHOP - ANGLE ON AVERY A man in his sixties with the look of a skilled craftsman about him. He studies the photographs long and hard. AVERY You're right. I am the only one who did work on Arisakas after the war... mostly plugging them so kids wouldn't accidentally shoot themselves. LOCKWOOD This one wasn't plugged. AVERY I see. Well, I don't know. The bluing job looks like mine... LOCKWOOD All the parts had the same original serial number... except for the bolt. Avery wrinkles his brow, searching his memory. He checks the list of registration numbers on the pictures. AVERY Probably taken from another gun and remachined to fit this one. (beat) I used to keep a record of this kind of work. I dust don't know if I can find it. LOCKWOOD It's important. Sensing his desperation, Avery takes the registration lists into the back of his shop. (CONTINUED) 27. 104 CONTINUED: There are SOUNDS of BOXES BEING MOVED in a back room. Finally he returns and hands over a yellowed card. AVERY It belonged to a Charles Hall. (dubious) But I repaired that gun twenty- five years ago. LOCKWOOD Know where I could find this Charles Hall? AVERY Was a good customer. Died though four, five years ago. LOCKWOOD (handing back the card, disappointed) Thanks. AVERY Glad I could help. He watches Lockwood leave the shop. 105 EXT. PARKER HOME - ANGLE ON DOORBELL A hand punches it... once... twice. 106 ANGLE - DOOR Beth Parker opens it and looks out. The nearly blank expression on her face changes to one of near distaste. She hesitates a moment. BETH I don't have anything to say to you. LOCKWOOD Beth, I didn't want to come, but I didn't have much choice. BETH They've found his body? LOCKWOOD No... I've found the owner of the rifle that was used. Unfortunately the report is he's been dead for years. A beat, then opening the door, she ushers him in. 28. 107 INT. LIVING ROOM - ANGLE - BETH BETH What was his name? LOCKWOOD Hall. Charles Hall. BETH (reacting) He's not dead. LOCKWOOD (Jumping at any reaction) What?! BETH Bill went to school with him. They've been friends ever since. The report you got must've been about his father. Charles Hall Senior. LOCKWOOD (very taut) Where can I find Junior? BETH At the high school. He's a coach. LOCKWOOD Thanks. He turns quickly to leave, then hesitates a moment, searching for something appropriate to say. At a loss, he gives up and walks out. 108 INT. GYMNASIUM - CLOSE SHOT - TUMBLERS - DAY Two highschool STUDENTS in gear are tumbling. 109 OP. ANGLE - CHARLES HALL A man in his late thirties stands on the sidelines checking a clipboard with some notes. He watches the Tumblers intently for a moment, then looks up. HALL O.K. You know Bill Parker. So do I. What do you want to know? (CONTINUED) 29. 109 CONTINUED: CAMERA PULLS BACK to INCLUDE Lockwood standing near Hall. His attention switches between the Tumblers and the Coach as he talks. LOCKWOOD When you saw Parker last. HALL About two months ago. Why? LOCKWOOD I thought you might have seen him two nights ago... out on Harbor Island Bridge. HALL How could I? He's still in that research base according to the papers. LOCKWOOD Where were you night before last around ten? HALL (suspiciously) Home. Hall checks his watch. LOCKWOOD Anyone else there? HALL (getting defensive) What are these... questions or an inquisition? You sound like some kind of cop. LOCKWOOD Your father brought back a Japanese rifle after the war. Two nights ago Bill Parker was killed with that rifle. HALL (incredulous) He was what! LOCKWOOD He's dead. (CONTINUED) 30. 109 CONTINUED: (2) HALL (realizing) You think I killed him? LOCKWOOD The rifle was yours. HALL Listen, mister, unless you have a badge, you'd better get out! When Lockwood doesn't budge, Hall walks away. 110 INT. PROBE -CONTROL - CLOSE ON MEDICAL PANEL - DAY It displays the sharp peaks of a heartbeat... and another set of sharp electrical peaks in phase with them. A second set of patterns is superimposed... phased in ... and matched. 111 ANGLE - CAMERON He leans over Miss James' shoulder and studies the telemetry. Puzzled, he suddenly realizes what he has. CAMERON Lockwood, we've been monitoring Hall's heartbeat. It matches the heartbeat of the sniper you chased. 112 INT. GYM - ANGLE ON HALL - DAY He walks toward the Tumblers. CAMERON (V.O.) That electronic impulse we heard is a pacemaker. He's your man. 113 CLOSE ON LOCKWOOD That's all he's got to hear. Following Hall, he grips the Coach's shoulder and whirls him. LOCKWOOD I don't need a badge to know you sapped me in that alley, Hall. I want to know why! For the first time, Hall's face clouds. He pulls himself loose, straightens up as if he were going to speak, then throws a hard swing at Lockwood's head. Lockwood ducks as Hall cuts out in an uneven run across the gym. Recovering, Lockwood sprints after him and tackles. 31. 114 ANGLE - TUMBLERS Alarmed by the action, they get up and run for the locker room door. 115 ANGLE - LOCKWOOD AND HALL Struggling. LOCKWOOD You were on that bridge! Hall suddenly winces in rain under Lockwood's grip and loosens his hold on the Probe. LOCKWOOD Admit it! You shot Parker. HALL (grimacing) No. LOCKWOOD (tightening grip) I said you killed him. Why! HALL I didn't... I fired the gun... but over his head the way he told me to... He's alive! Lockwood reacts. Still gripping him, he pulls back enough to give Hall breathing room. Hall continues to grit his teeth in pain. LOCKWOOD (demanding) Why the set-up? HALL To get away from you and the others who'd try to stop him. LOCKWOOD Stop him from doing what! HALL Getting the ones responsible for the virus. LOCKWOOD How's he going to do that? (a beat; demanding) How! (CONTINUED) 32. 115 CONTINUED: Hall turns his head away, refusing to answer the question. Lockwood reacts as he realizes: LOCKWOOD He's going to kill someone... and you helped him! HALL (gasps) I'd do it again. Anyone who'd cause a plague deserves to die. LOCKWOOD Who's he going to kill! Hall shakes his head and grips his midsection in real pain. LOCKWOOD (desperate) It's Parker who's sick. He's spreading it. HALL That's a lie. Parker's the finest man I know. He couldn't lie. He... LOCKWOOD (cuts in) Where is he? Come on. Where is he! 116 CLOSE ON HALL He doesn't answer. In fact, it doesn't appear that he has even heard Lockwood. 117 ANGLE - LOCKWOOD For the first time he realizes that something more than the struggle is causing Hall's pain. LOCKWOOD What's wrong with him? (suddenly remembering) Is it his heart? 118 INT. PROBE CONTROL - ANGLE ON MISS JAMES - DAY She looks up from her console and shakes her head. Cameron moves over and looks at the telemetry. (CONTINUED) 33. 118 CONTINUED: CAMERON Negative, Lockwood. It is not pacemaker failure. He's hemorrhaging internally. (beat) You'd better get him somewhere quick or you won't get anything out of him. 119 BACK TO SHOT - CLOSE ON LOCKWOOD As he reacts. FREEZE FRAME. END OF ACT TWO 34. ACT THREE FADE IN: 120 INT. GYM - ANGLE ON AMBULANCE GUERNEY - DAY Hall, strapped into the guerney, is being wheeled out of the gym by two ATTENDANTS. He appears unconscious. Several Students and Adults fall back just outside the door. 121 ANGLE ON LINDEN He watches the exit grimly. After a moment, he walks over to Lockwood. LINDEN You don't leave much when you're finished. LOCKWOOD I didn't put him in that condition. Parker did. LINDEN Parker's not alive. He couldn't have survived that fall... even if he wasn't shot. LOCKWOOD He survived it... and he's out there. As far as I'm concerned, the case is open again. Linden gives the Probe man a long, hard look. LINDEN If I were you, I'd be more concerned about the penalty for stealing government evidence. LOCKWOOD I'm panicked. LINDEN (rigid) You'd have been prosecuted if you hadn't found Hall. LOCKWOOD But I did find Hall, and I want a chance to go through his place. (CONTINUED) 35. 121 CONTINUED: LINDEN You never come off the offensive, do you? Lockwood shakes his head. Linden takes a deep breath. LINDEN All right, but we'll do it legally... with a search warrant. On Lockwood's look of begrudging respect. CUT TO: 122 EXT. MOTEL - ESTABLISHING SHOT - DAY A small, cheap stopover. 123 INT. MOTEL ROOM - OUT OF FOCUS SHOT - DAY CAMERA SLOWLY FOCUSES to REVEAL a complex mechanism that resembles... in fact is... a bomb. A hand wires in a clock to the explosives. PAN UP to show the builder... Parker. 124 INT. HALL'S APARTMENT - FULL SHOT - DAY A modest bachelor place with lots of books, a small television, a decent stereo... and not much to indicate Parker was ever there. One of Linden's men finishes dusting for prints. LINDEN Anything? The Agent shakes his head. Linden turns to Lockwood who is searching the room. LINDEN Parker hasn't been here... I still don't think he's alive. LOCKWOOD Hall said it was a set-up, and I believe him. LINDEN Hall could have been trying to get out of a murder rap. (CONTINUED) 36. 124 CONTINUED: Lockwood moves quickly to Hall's desk and continues looking. LOCKWOOD You're going to stake the life of the man Parker might kill on that theory? As he talks, he picks up a pad sitting next to the phone. Next to it is a snapshot of Parker and Hall in fishing gear. Frowning, Lockwood holds pad closer. Linden catches the action and walks over. LINDEN What have you got? LOCKWOOD Parker never wrote anything that he didn't scribble over. LINDEN A lot of people do that. LOCKWOOD He always did it the same way. He was here! That's his handwriting! 125 INT. PROBE CONTROL - ANGLE ON CAMERON - DAY CAMERON Freeze it there. 126 ANGLE - SCREEN The pad. A methodical cross hatching covers some kind of information, but it's impossible to tell what. CAMERON (urgent) Ink density analysis. Harris punches a few buttons in response to the command. 127 INT. HALL'S APARTMENT - ANGLE - LINDEN - DAY LINDEN I can't go on that... a bunch of crass-crossed lines that could cover the grocery list for all I know. (CONTINUED) 37. 127 CONTINUED: LOCKWOOD (angry) What do I have to do? Get Parker to write you a personal memo? I'm alive. I'm going to kill someone... soon! LINDEN (fist clenched; not sold) All right... just exactly who is he going to kill? Lockwood tosses the pad down, LOCKWOOD I don't know. But the answer's there! I know it is. LINDEN If you're right, there are only three or four men he could hold responsible for his sickness! LOCKWOOD (thinks) Barnett's down here at the sea lab. He's the force behind the project. LINDEN What about the local director... Workman? LOCKWOOD (nods) I'd say Barnett, Workman, and Jamison. Linden picks up the phone and begins dialing. LINDEN I'll get men out to guard them, As Lockwood heads for the door: LINDEN Where are you going? LOCKWOOD To see if I can get anything more out of Hall. Linden nods and goes back to dialing as Lockwood leaves. 38. 128 OMITTED thru 131 132 INT. PROBE CONTROL - ANGLE ON SCREEN - DAY The cross hatching on the pad is being sorted by the density of the ink from the layer of writing beneath. The vague outline of numbers shows through... 64633. 133 ANGLE - CAMERON He studies the screen intensely as: LOCKWOOD (V.O.) All that's there are numbers? CAMERON That's what it looks like. We've got 6 4 6 3 3... and three to figure out... if we can do it. 134 INT. HOSPITAL CORRIDOR - ANGLE ON LOCKWOOD - DAY He talks as he walks down the corridor. LOCKWOOD Try going over telephone numbers, I.D., car registrations... anything that might lead back to Barnett or the other two. CAMERON (V.O. ) Check. 135 INT. JAMISON'S OFFICE As Lockwood quickly enters, ANGLE to INCLUDE Jamison. Jamison is hurriedly getting papers into attache case. His expression is grim. Nearby, a young INTERN. JAMISON (to Intern) I want Pathology's report on Hall sent to me as soon as you have it. As Doctor exits past Lockwood: LOCKWOOD (to Jamison) Hall's dead?! JAMISON There was nothing I could do! (CONTINUED) 39. 135 CONTINUED: LOCKWOOD Did he say anything that could lead me to Parker? Jamison, obviously in a hurry, too, keeps packing as he talks. JAMISON He never came to. LOCKWOOD (trying to comprehend) Why did he die so fast? JAMISON That's the way the virus works. When he fell, he ruptured every blood vessel he had in there. He jabs a finger at Lockwood's middle. JAMISON It doesn't take long. LOCKWOOD It's not going to take long for Parker to put a hole through one of you either. JAMISON We've got men to protect us. LOCKWOOD The only protection any of you have is knowing who Parker's going to hit. Then we might... and I stress might... be able to get him first. JAMISON I'm only a scientist. I'll leave the detective work to you. He grabs attache case and heads for the door. LOCKWOOD Jamison... Jamison pauses. (CONTINUED) 40 . 135 CONTINUED: (2) LOCKWOOD Tell me what Parker knows. It'll tell me who he's after. JAMISON (hesitates, then shakes head) I've got to go. I'm late. LOCKWOOD For what? JAMISON A meeting at Berkeley with the best virologists in the country. LOCKWOOD It's spread that far? JAMISON We've had eleven cases since Parker got out. If each of them passed it on to only one other person, we've got the start of a world-wide epidemic. That's how far it's gone. With a significant look, he opens the door and leaves. 136 OMITTED & 137 138 INT. MOTEL ROOM - CLOSE SHOT - AIRLINE BAG - DAY It sits on a bed, open. PULL BACK as Parker carefully places his bomb in the bag and zips it closed. Rising, he tosses a set of room keys on the bed, looks around, then picks up the airline bag and walks out. 139 EXT. PARKER RESIDENCE - ANGLE ON LOCKWOOD - DAY as Lockwood rings the bell. No answer. He tries again. Frowning, he knocks. LOCKWOOD Beth! Beth! He tries the knob, finds the door locked. 140 OMITTED 41. 140A ANGLE ON LOCKWOOD - DAY He circles house, looks in window. LOCKWOOD Beth, are you in there? No answer. No sign of her. LOCKWOOD Eight to five, Bill's called and she's gone to meet him. CAMERON (V.O.) Sounds like he's making his move. LOCKWOOD I'd bet on it! With one last look around, he moves out. 141 ANGLE ON LOCKWOOD - DAY Heading for his car. LOCKWOOD I'd banked on Beth recognizing the numbers on that pad. 142 INT. PROBE CONTROL - ANGLE ON CAMERON He looks up at the monitor and wrinkles his brow. CAMERON We have all of them... but no key to meaning. LOCKWOOD (V.O.) What about the cross check on phones, I.D.,... the rest? CAMERON Nothing. INTERCUT WITH: 143 INT. LOCKWOOD'S CAR - ANGLE - LOCKWOOD - DAY LOCKWOOD Give me the whole series. CAMERON 6, 4, 6, 3, 3, 1, 2, B... That's B as in boy. (CONTINUED) 42. 143 CONTINUED: LOCKWOOD (thinking hard) You've been working as if it was one set. Maybe it's two... like 6, 4, 6, 3 and 3, 12, B or 6, 4, 6, and 33, 12, B. Even as he speaks, something stirs in Lockwood's memory. He bolts upright, looks at his watch... starts the car. 144 EXT. STREET - ANGLE ON CAR - DAY as it SQUEALS away from the curb and streaks down the street. 145 BACK TO SHOT & 146 CAMERON What have you got, Lockwood? LOCKWOOD Thirty three, twelve B. I've been on it. It's a flight to Berkeley. That's where Jamison's going. CAMERON What about the six forty six? LOCKWOOD About fifteen minutes from now! (a beat) Get on the phone. Try to get Linden or the flight desk. Jamison's got guards with him. They've got to be notified. 147 ANGLE - HARRIS as he expedites the directive. 148 INT. AIRPORT TERMINAL - LONG SHOT - JAMISON - DAY He hurriedly enters the flight lobby and crosses to a ticket window. Close beside him are two PLAINCLOTHESMEN. They purchase tickets. 149 OP. ANGLE - CLOSE SHOT - PARKER Sitting on the other side of the room, watching. He casually flips through magazine pages and looks at the clock. 43. 150 POV It reads six forty four. FEMALE VOICE (over P.A. system) Last call for Flight 3312B to Berkeley. Please take your tickets to gate three. 151 INT. LOCKWOOD'S CAR - ANGLE ON LOCKWOOD - DAY He grimaces as he spins the wheel, dodging in and out of traffic. 152 OMITTED 153 INT. AIRPORT LOBBY - ANGLE ON PARKER - DAY FEMALE VOICE (over P.A.) Dr. Jamison to the flight desk. He snaps to attention... worry written over his face. 154 ANGLE - JAMISON About to miss his flight, he isn't much happier. He hesitates a moment, then crosses over as: FEMALE VOICE (over P.A., urgent) Dr. Jamison, please report to the flight desk. It is urgent. 155 EXT. AIRPORT TERMINAL - ANGLE ON LOCKWOOD'S CAR - DAY He pulls to a SCREAMING stop a couple of car lengths beyond the entrance. Throwing the car door open, he runs back and into the building. 156 INT. AIR TERMINAL - ANGLE ON LOCKWOOD - DAY Dodging around people, he takes stairs two or more at a time. 157 INT. TICKET LOBBY - PARKER'S POV - JAMISON - DAY At the flight desk phone, listening. His face grows grimmer by the second, and his eyes sweep the room. 158 INT. PROBE CONTROL - ANGLE ON CAMERON - DAY CAMERON (on phone; desperate) Jamison, get back to the base... No questions! Parker's there! At the airport! 44. 159 INT. TICKET LOBBY - ANGLE ON LOCKWOOD - DAY Coming to the entryway from the stairs, he turns the corner and heads at a dead run into the lobby. Suddenly, half the wall of lockers he is passing explodes out. He goes flying! 160 ANGLE - JAMISON AND HIS GUARDS The Guards come running toward the rubble, leaving Jamison still on the phone. Shocked, the scientist drops the receiver on the desk and turns to join the rest of the crowd running over. CAMERON (V.O. ) (over phone) Jamison? Jamison! 161 CLOSE ON LOCKWOOD He lies in the midst of plaster and metal rubble... unconscious. One of Jamison's guards approaches him as the rest of the people look on with mortified curiosity. 162 INT. PROBE CONTROL - ANGLE ON CREW - DAY MISS JAMES Red light! All systems at crisis level. CAMERON (hitting button on console) Probe control to Probe One. Lockwood! HARRIS EEG indicates unconscious state. CAMERON Jamison, what the devil's going on there?! 163 INT. AIRPORT LOBBY - ANGLE ON JAMISON - DAY Only a few feet from the flight desk. He turns and looks beside him. 164 POV A revolver barrel, barely visible under a ,jacket held by Parker. 45. 165 TWO SHOT - PARKER AND JAMISON Parker, edging even closer, nudges the gun into Jamison's ribs and nods in the direction of the elevator. 166 NEW ANGLE as Parker and Jamison step in and the doors close behind them. FREEZE FRAME. END OF ACT THREE 46. ACT FOUR FADE IN: 167 INT. AIRPORT LOBBY - CLOSE SHOT - LOCKWOOD - DAY His head moves slightly... painfully. He tries to rise, falls, then tries again. PULL BACK TO INCLUDE Jamison's guards as they carefully pull him from the rubble. 163 LOCKWOOD'S POV - LOBBY SLIGHTLY OUT OF FOCUS, CAMERA PANS to the flight desk, stops, FOCUSES. No Jamison in sight. 169 BACK TO SHOT LOCKWOOD (demanding) Where's Jamison! GUARD At the flight desk... His voice trails off as he sees the empty flight desk. LOCKWOOD That bomb was to fake us out! Parker's got him. Get airport security. Search every floor! The guards take off at a run. Lockwood, still shaky, pulls himself together and heads back the way he came in. Running down the stairway, he stumbles, regains his balance, and continues on. 170 EXT. AIRPORT - ANGLE ON LOCKWOOD - DAY He looks one way... then the other. 171 POV Nothing but normal early evening traffic. 172 BACK TO SHOT At a loss for his next move, Lockwood suddenly spies a SKYCAP leaning on his stand. He goes over. LOCKWOOD How long have you been here? (CONTINUED) 47. 172 CONTINUED: SKYCAP From the time you went tearing in to the time you came tearing out... if that's what you mean. LOCKWOOD I'm looking for two men... one tall, dark blond hair... about forty, the other about fifty... a little shorter... SKYCAP (observing Lockwood's clothes) What'd they do? Rough you up? LOCKWOOD (desperate) Have you seen them! SKYCAP (sensing urgency) They got in a cab and drove off... that way. LOCKWOOD Thanks. (running for car) Get me the destination of every cab that pulled out of here in the last ten minutes. 173 INT. PROBE CONTROL - ANGLE ON CREW - DAY Miss James hits the keys of her console as Harris works desperately to clear up: 174 ANGLE - SCREEN A haze of interference. CAMERON What's causing thatl HARRIS Scanner damage due to the explosion. 175 INTERCUT WITH LOCKWOOD LOCKWOOD (impatient) The locations... come on! A series of cab numbers and their destinations begin to print out on screen. (CONTINUED) 48. 175 CONTINUED: CAMERON Hold on. They're coming in. (beat; reading) Main Street bus station. A residence ... 619 View... LOCKWOOD (interrupting) Don't waste time with addresses... unless one belongs to Jamison or Parker. CAMERON Check... The Paradise Bay Motel Paradise Bay Drive... The Black Dolphin ... on... LOCKWOOD (reacting) I know where it is. I've been there with Parker. 176 EXT. AIRPORT - ANGLE ON LOCKWOOD'S CAR - DAY He wheels out into traffic, barely missing several cars. 177 EXT. BLACK DOLPHIN - CLOSE SHOT - SIGN - NIGHT A "black dolphin" illuminated by colored lights. The sun has set. 178 ANGLE - RESTAURANT ENTRANCE A taxi drives up. Jamison opens the back door and steps out. His eyes never leave Parker as the latter slides out and closes the door. The coat is still hung loosely over his arm, covering the firearm. He nods for Jamison to pay the driver. 179 CLOSE ON PARKER scanning around the parking lot. He sees what he is looking for and pushes Jamison in that direction. As they walk, they pass a PARKING LOT ATTENDANT. 180 INT. BETH'S CAR - NIGHT She sits at the wheel, staring straight ahead, deep in thought. Abruptly there is a TAP at her window. 181 POV Parker stands just outside her door. He points to the back door, indicating she should-unlock it. 49. 182 BACK TO SHOT She reaches around and pulls up on the lock button. Parker opens the door and waits for Jamison. JAMISON You don't want to get in there. You could infect your wife. Parker punches the gun into Jamison's back. Jamison climbs in. As Parker follows, the jacket slides off the gun. Beth blanches. BETH Bill, are you out of your mind! PARKER Start the car! JAMISON Parker, try to understand. We didn't know the virus would undergo a change down there. PARKER (at Beth's hesitation) I said start the car! Beth turns around and starts the car. 183 EXT. PARKING LOT - ANGLE ON BETH'S CAR - NIGHT as it pulls out of its space. The Attendant watches it drive out the exit. 184 EXT. LOCKWOOD'S CAR - NIGHT flying, it seems. He cuts in and out of traffic. 185 INT. CAR - ANGLE ON LOCWOOD - NIGHT His face is chiseled into deep anxious lines. CAMERON (V.O.) Lockwood, we've reached Linden. He'll meet you at the restaurant. 186 BACK TO SHOT as Lockwood pulls the car off the highway and into the parking lot of the Black Dolphin. It comes to a grinding halt before the entrance. 187 EXT. BLACK DOLPHIN - ANGLE ON ATTENDANT - NIGHT He steps quickly from the curb and comes around to Lockwood's car, expecting to be handed keys. (CONTINUED) 50. 187 CONTINUED: LOCKWOOD Has a cab pulled in here within the last ten... fifteen minutes? ATTENDANT Yeah... a couple of them. LOCKWOOD (urgently) This one had two men... one tall... 188 INT. PROBE CONTROL - ANGLE ON SCREEN - NIGHT A fuzz of color clearing enough to SHOW the Attendant. Suddenly it goes black, cutting picture and sound. HARRIS His scanner's gone out. Frustrated, Cameron strikes his palm on the edge of his console and waits as Harris works at his panel. 189 BACK TO SHOT ATTENDANT This lady came in about a half an hour ago... never got out of her car. They went over, got in that car, and drove out toward the beach. He shakes his head at the strange behavior. LOCKWOOD (wheeling out) Thanks. (beat) Cam, he's heading toward the base. Contact Linden. 190 INT. PROBE CONTROL - ANGLE ON CREW - NIGHT Harris works desperately to re-establish contact. After a moment he turns to Cameron and shakes his head. HARRIS It's gone. There's just no signal to pick up. Cameron, tight lipped, touches his earjack. CAMERON Lockwood, we are not receiving from your scanner. 51. 191 INT. LOCKWOOD'S CAR - NIGHT The lights of the oncoming traffic bounce off Lockwood's face. CAMERON (V.O.) I repeat. You're off the air. Lockwood presses the accelerator to the floor. 192 EXT. LOCKWOOD'S CAR - NIGHT A streak down the road. 193 EXT. FATHOM BASE - CLOSE SHOT - SIGN - NIGHT (Sign seen earlier.) PAN to guard house where two SECURITY OFFICERS sit inside. Beth Parker's car pulls up. 194 NEW ANGLE The Guard comes out, looks into the car and immediately recognizes her. She seems to be alone. GUARD Mrs. Parker! What are you doing here? BETH (strained) I've come to get some of my husband's things. Do you mind? The Guard is suddenly embarrassed, remembering that Parker was "killed." GUARD Oh... we just heard about Commander Parker... the shooting... I'm sorry. (signalling other Officer out) Someone has to go in with you... night regulations. She hesitates then nods. The second Guard enters the car. 195 INT. CAR - CLOSE SHOT - PARKER, JAMISON - NIGHT huddles close to the floor in the back seat. Parker sticks the gun in Jamison's face, warning him that he will pull the trigger at the slightest provocation. 196 INT. LOCKWOOD'S CAR - CLOSE SHOT - LOCK1400D - NIGHT still moving out. He touches his shoulder in pain. The explosion is beginning to take its toll. 52. 197 INT. BETH'S CAR - ANGLE ON GUARD - NIGHT FROM THE BACK. Suddenly Parker rises up and slams the gun barrel into the Guard's neck. 198 ANGLE - BETH Caught by surprise, she gasps and takes her eyes from the road. The car goes off to one side. PARKER Watch the road! (spying a building) That's the one we want. He points to a multi-storied modern building. She drives over to it. 199 EXT. CAR - ANGLE ON PARKER - NIGHT He steps from the back seat and holds the gun on Jamison who follows. Beth gets out and comes around. PARKER Open the trunk, Beth. BETH What are you going to do? PARKER Put the guard where he can't get in the way. 200 EXT. GUARD HOUSE - ANGLE - LOCKWOOD'S CAR - NIGHT As it drives up, the Guard steps out. GUARD Yes? LOCKWOOD Has Commander Parker's wife come through here? GUARD (nods) A few minutes ago. Lockwood revs up to drive in, but the Guard puts out a hand. GUARD You can't go in there. (CONTINUED) 53. 200 CONTINUED: LOCKWOOD (flashing credentials) Lockwood, Probe division, World Securities. GUARD You have to have a pass from the scientific division. LOCKWOOD Then get me one! He puts the car in gear and zooms through! 201 ANGLE ON OFFICER He runs back into the guard house and picks up the phone. 202 INT. HYPERBARIC CHAMBER ROOM - ANGLE - DOOR - NIGHT It opens, and Jamison enters, followed by Beth and Parker. Parker hits the light switch. Overheads light to REVEAL a number of computerized consoles. The room is separated from a small chamber next to it by a sealed door and a large plate glass window... several inches thick. BETH What is this? Parker pushes Jamison toward the chamber door. BETH (harsher) Bill!? PARKER The doctor's going to take a quick trip in our little pressure chamber ... about a thousand feet down... then up fast. BETH (realizing) You'll kill him! He'll get the bends. JAMISON For God's sake, Parker. Stop this insanity. You can help us! PARKER Can I help Stuart? (CONTINUED) 54. 202 CONTINUED: JAMISON No, but you might save Garrett! Parker roughly shakes his head and shoves a struggling Jamison into the chamber. As he locks the door, Beth runs to his side and tries to wrest the gun from him. He shoves her back. PARKER Beth, stay out of this. It's more important than even you! She backs off, in a near state of hysteria, as he heads for the control panel and hits a couple of switches. JAMISON (V.O.) (over intercom) Parker, listen to me. There are others now... people you were in contact with, that you put in the hospital. They're dying! PARKER (slamming fist on control panel) I didn't put them there. You did. You sent a cage of those lab rats down with us... stuffed with one of your 'bugs!' 203 INT. LOCKWOOD'S CAR - ANGLE - LOCKWOOD - NIGHT looking for Beth's car. About to speed past, he spies it. 204 EXT. LOCKWOOD'S CAR - NIGHT as he pulls next to her car and runs toward the building. 205 POV About seven rooms are lit. He notes positions, runs in. 206 INT. BUILDING - ANGLE - LOCKWOOD - NIGHT Heading down a hall to a door, he tries it and finds: 207 POV (STOCK) An empty lab. 208 BACK TO SHOT Closing the door, he runs to a stairway and climbs. 55. 209 INSERT - PRESSURE GAUGE SHOWING a negative five hundred feet and falling. 210 INT. PRESSURE CHAMBER ROOM - ANGLE - PARKER - NIGHT He stands before the glass window looking into the chamber. The gauge is on the wall inside. Jamison paces rapidly. PARKER Five hundred more feet and I pull the plug, Doctor. Your blood's going to boil with all those nitrogen bubbles. (hard) You get a taste of what we face every time we go down... JAMISON I know what you face. We thought the virus we sent down would keep the blood free of nitrogen in the rats... it was a high priority test to see if we could eventually prevent the bends in humans. PARKER Sure! And that's what you were looking for all those years you worked in biological weapons for the government. that virus you sent down was banned... right! 211 ANGLE - BETH Head shaking with disbelief and horror, she edges toward the exit... and help. 212 INT. CORRIDOR - ANGLE ON LOCKWOOD - NIGHT He stops at a door, tries it, breaks it down! 213 INT. ROOM - POV Lit... empty... much like Linden's office. 214 BACK TO SHOT Lockwood runs out and down the hall. Suddenly he stops. 215 POV A sign "Do not enter when light is flashing" and a flashing light over a door marker: "HYPERBARIC CHAMBER." 56. 216 ANGLE - LOCKWOOD as he prepares to bust in and... 217 INT. ROOM - ANGLE - BETH - NIGHT Set to slip out, she's right in Lockwood's path. The collision causes... 218 ANGLE - PARKER He whirls and levels the gun at Lockwood. Flashing a cold, angry look at Beth, he returns to the Probe man. PARKER I should have known you'd find us. You never quit. 219 ANGLE - LOCKWOOD He spies the depth gauge -- minus eight hundred feet. LOCKWOOD Start bringing him up, Bill. You're going to need him to live. PARKER No! LOCKWOOD WHY! PARKER (looking at Jamison) Because he sent down a biological time bomb in the Fathom II. One he found in his war research!! LOCKWOOD (reacting) No wonder it was under wraps. The press would have had a field day. JAMISON I'm telling you, the virus I sent down was harmless to lab animals. It isn't what we have now. Something else came back! The virus must've mutated at that depth. BETH (accusing) How could you send anything like that down... knowing something could happen! 57. 220 ANGLE - JAMISON He is obviously distressed for her as much as for himself. JAMISON I'm sorry, Mrs. Parker. I took every precaution. The test rats were in a compartment sealed off from the men. (disturbed) I still don't know how they got to them. 221 ANGLE - PARKER His face becomes almost a mask... hiding some innermost thought. 222 ANGLE - LOCKWOOD LOCKWOOD (reading the look) Unless someone opened it... Parker looks at him sharply. Tight lipped, he crosses to the console. BETH You didn't open it, Bill? PARKER (defensively) I've heard all I want to hear from all of you! He turns a dial on the chamber control panel and the pressure shoots to sea level! 223 ANGLE - JAMISON Nothing happens immediately, but the look of panic in his face suggests he knows the consequences. 224 ANGLE - LOCKWOOD He takes a step toward Parker as Beth runs to the chamber window and watches the scientist. Parker raises the gun to Lockwood's chest level. PARKER I let you live on the bridge because you made a good witness to my 'death.' LOCKWOOD Thanks. (CONTINUED) 58. 224 CONTINUED: PARKER If I did that now, you'd keep after me. I can't have that. He starts to squeeze the trigger. Lockwood, anticipating the shot, hurls himself at Parker's mid-section. The bullet streaks past his head as he brings Parker down. 225 ANGLE - BETH, JAMISON Helpless, they watch. Suddenly Jamison grips a wrist as a stabbing.pain hits. Beth runs to the console and frantically tries to figure out what to switch, but noting is labeled. It's impossible. 226 ANGLE - PARKER & LOCKWOOD Parker's strength seems to be superhuman... as if his paranoia generated it. It's all Lockwood can do to keep the struggle even. Suddenly there is an opening, and he gets in two good blows. Parker crumbles. Lockwood pulls himself up and runs to the console. 227 ANGLE - JAMISON He has made it to a chair in the chamber and now sits, slumped over a table, coughing and choking... in paralyzing pain. 228 ANGLE - LOCKWOOD as he takes a place at the panel, scans it, and makes the necessary adjustments. He moves to the plate glass and looks in. 229 POV The pressure gauge begins to drop rapidly and Jamison begins to breathe again without gasping. BETH (O.S.) (with urgency) Bill! What's wrong? Bill! 230 ANGLE - LOCKWOOD Turning, he runs to Parker's side. 231 CLOSE SHOT - PARKER Flushed and sweating a cold sweat, he grips his midsection and grits his teeth... as Hall did. (CONTINUED) 59. 231 CONTINUED: He looks up at Lockwood as if not really believing what is happening. Now as realization hits: PARKER (grimacing) Oh Lord, I really did have it... I am sick. BETH What's happening to him? LOCKWOOD He's bleeding... inside. (to Parker) Take it easy. We'll get you over to the medical center. PARKER (a wan smile) You know how much good that'll do. He turns his head toward Beth, shakes it. PARKER Beth, I'm sorry. I didn't think. I did open the rat farm down there. BETH Why... why? PARKER Too much oxygen one trip outside the module. I got drunk on it... Accidentally... broke the seal to the case holding the rats... didn't report it. (almost crying) I killed Stu... and the others... and now it's too late to help. He looks over at the glass window into the chamber. 232 POV Jamison has recovered enough to look out, but there is nothing he can do. PARKER Whatever kept me going seems to have run out. (CONTINUED) 60. 232 CONTINUED: JAMISON If there's anything at all left, any antibodies left in your system, we'll find out why they worked and recreate it. It's not too late. PARKER It is for me. Beth breaks into uncontrollable sobs as he passes out. HOLD on SCENE for a long beat before going to: 233 INT. PROBE CONTROL - ANGLE - CAMERON & LOCKWOOD - DAY The room is empty except for them. The mood is low. CAMERON Garrett made it? LOCKWOOD (nods) Jamison was right. There was something in Parker's system and they got enough to figure out a cure for the future but it couldn't prevent a total hemorrhage in him. (a beat) If only I could have stopped Parker without hitting him. CAMERON I'm sorry, Lockwood. He was a good man until... LOCKWOOD Yeah... he was a good man. (starts out) I think I'll stop by and see Beth. CAMERON You're due for a long break. Why don't you go away. It would do you good. LOCKWOOD (shakes head) I'd start thinking. That wouldn't do me any good. Cameron looks at him for a moment, then gives him a soft slap on the shoulder. (CONTINUED) 61. 233 CONTINUED: CAMERON Then you get the toughest case I can find. LOCKWOOD (at doorway) I'd like that. FREEZE FRAME. FADE OUT. END OF TELEPLAY