SEARCH "THE CLAYTON LEWIS DOCUMENT" (Formerly: "Flowers For A Liar") Written by Norman Hudis PROPERTY OF: Warner Bros. Television 4000 Warner Boulevard FINAL DRAFT Burbank, California DECEMBER 18, 1972 SEARCH "THE CLAYTON ELLIS DOCUMENT" (Formerly:"Flowers For A Liar") CAST NON-SPEAKING NICK BIANCO 2ND GUNMAN CAMERON 2ND MAN HARRIS 1ST MAN MISS JAMES MAIDS OPERATIVES GUESTS GUARDS JEANNETTE LEWIS STREET PEOPLE CLAYTON LEWIS 1ST GUNMAN ALFRED BARNWORTH PAM PERRY ARLENE MORRISON ALEX NEVIN MACKESON SENTRY SETS INTERIORS: EXTERIORS: PHOTO SHOP, STUDIO AND ALLEY STOCK ROOM PICKUP POINT LIVING ROOM ELLIS HOUSE NEVIN'S MANSION HALL ELLIS HOUSE OLD TENEMENT BLOCK LIVING ROOM ARLENE'S APARTMENT ROOF TENEMENT BLOCK SMALLER ROOM ARLENE'S LOWER ROOF TENEMENT BLOCK APARTMENT STREETS ELLIS' CAR LONELY ROAD NICK'S CAR LOBBY NEVIN'S MANSION MAIN ROOM NEVIN'S MANSION LIMO CORRIDOR AND LANDING, TENEMENT BLOCK PAM'S APARTMENT SAFE WITH FX SEARCH "THE CLAYTON LEWIS DOCUMENT" ACT ONE FADE IN: 1 EXT. ALLEY - NIGHT But first, SCREEN is FILLED by a crumpled, begrimed Washington newspaper front page, faintly-lit by street- lamp. A taxi halts O.S. Its door opens and closes, as we SEE the headlines: World Speculates DISARMAMENT: HOW FAR WILL U.S. GO? Photo of CLAYTON LEWIS accompanies the story. He is ur- bane, strong, smiling. We ISOLATE the photo and its separate headlines: Presidential Aide Clayton Lewis: THE MAN WHO KNOWS A gust of wind rips the newspaper from our sight, RE- VEALING the seedy, narrow alley in downtown Washington D.C. The blown newspaper clings briefly to the legs of a man as he enters the alley. He kicks it away. We identify the man, as we HEAR the taxi depart O.S. 2 CLOSEUP - LEWIS Recognizable from the newspaper photo. But not smiling. Taut, secretive expression. His breath is visible in the raw night air. He waits until the taxi is out of hearing, checks he's not being observed, walks into the alley. We STAY with him in CLOSEUP. Only his footsteps and the occasional gusting of the wind can be HEARD. He halts by a certain door. Looks around. Pushes the door. It is open. He enters. 3 INT. PHOTO STUDIO - NIGHT Too dark to identify, however. Lewis shuts the door. Walks uncertainly into the gloom. Stumbles into some- thing metallic. Saves it and himself from fall. Moves on. Bumps into something else with his shins. Sits on the object (a bench). Waits. Checks watch. 4 INSERT - WRISTWATCH Illuminated dial: almost 11:55 2. 5 CLOSEUP - LEWIS A beat Waiting. Eyes trying to pierce the surrounding DARKNESS. Suddenly -- a sputtering SOUND. He looks in its direction. 6 LEWIS' POV It seems as if some air has sp (missing text) candescent heat, glowing, sputtering, (missing text) the ground. The eerie effect is soon explai (missing text) LOOKING at the activated carbons in an arc-lamp, begin- ning to create light and blossoming into full illumina- tion BLINDING OUT the SCREEN ENTIRELY. 7 CLOSEUP - LEWIS Dazzled, shocked, averting his eyes. But: 8 LEWIS POV - ANOTHER ANGLE as another arc-lamp flares on. And, in a series of dizzying PANS to: 9 OTHER ANGLES - SOME IN SHARP PERSPECTIVE Several more arc-lamps blaze on. 10 CLOSEUP - LEWIS Brutally, fiercely lit. He partially shields his eyes, narrows them against the hurtful glare, looks all around. 11 LEWIS' POV - PANNING Confirming he is imprisoned within a visually impenetrable wall of light. No one to be seen -- but the voice of ALFRED BARNWORTH is now HEARD. It is disguised, some- what high-pitched, has a bizarre ring to it; to the viewer, of course, as to LEWIS, it is entirely anonymous and mysterious. BARNWORTH'S VOICE (O.S.) Hello, Mr. Lewis. It's real nice of you to take time out from your busy schedule to come here. 12 CLOSEUP - LEWIS Head turning sharply in the appropriate direction. His first natural surprise and unease now controlled, he im- presses as a man who is not easily fully panicked, the type who can listen and wait, even in these circumstances before saying a word or making his move. (CONTINUED) 3. 12 CONTINUED: BARNWORTH'S VOICE (O.S.) (continuing) This won't take long. 13 LEWIS' POV Now he can vaguely discern, through the eye-punishing haze of light, the vague outline of a big old-fashioned portrait-camera. But beyond, it is impossible to see the man who continues talking. BARNWORTH'S VOICE (O.S.) But we both remember a certain occasion -- don't we? -- when time-off, for you, stretched to twenty-three days. 14 CLOSEUP - LEWIS Harsh-lit, taut-controlled, as: BARNWORTH'S VOICE (O.S.) (continuing) Twenty-three days. You were supposed to be on a month's leave. And you were. But -- how you spent twenty -three days of that month -- (chuckles) Well, that's your secret. (beat) And mine. Documented. 15 LEWIS' POV The lens of the old camera blazes in the light, like a merciless all-seeing eye. BARNWORTH'S VOICE (O.S.) (continuing) I don't want to tell the news media the embarrassing story of the twenty-three missing days of your life. But I will -- unless you give me what I do want. 16 CLOSEUP - LEWIS Icy calm, ready for the worst. (CONTINUED) 4. 16 CONTINUED: BARNWORTH'S VOICE (O.S.) (continuing) Reach beneath the bench, Mr. Lewis. Lewis does so. Finds a clean, fresh copy of the news- paper we just saw blowing along the alley. We re- establish: 17 NEWSPAPER FRONT PAGE (IN LEWIS' HANDS) and its headline, asking how far the U.S. will go in disarmament negotiations. BARNWORTH'S VOICE (O.S.) (continuing) The answer to that question, Mr. Lewis. From you -- "the man who knows 18 CLOSEUP - LEWIS looking up from newspaper, still remarkably controlled, but his eyes now narrowed with loathing. BARNWORTH'S VOICE (O.S.) (continuing) I want from you exactly how much this government will give away at the disarmament conference. You're going to tell me -- and I'M going to sell that information -- before you leave for London in forty-eight hours. I'll be in touch again soon. LEWIS I'LL be in touch right now. He suddenly lunges forward, off the bench, toward the old camera. 19 SCENE Lewis bursts through the light-barrier -- and we QO with him, sharing the experience, being drenched in flaring light. We EMERGE with him the other side of the portrait- camera, to FIND -- a cassette tape-recorded, still run- ning. It is wired to a neat timing-device. Lewis reacts. 20 TAPE-RECORDED Stops. CLICK. 5. 21 SCENE Arc-lamps go off. Carbon-ends glow in the dark, all around. 22 CLOSEUP - LEWIS Total frustration, eerily and slightly lit by carbons' glow. 23 INT. LIVING ROOM LEWIS' HOUSE - CLOSEUP ON JEANNETTE - DAY Lewis' WIFE. Deeply worried, maintaining control with an effort. JEANNETTE I'LL pay World Securities anything -- anything. 24 ANGLE TO INCLUDE NICK BIANCO BIANCO What makes you so sure Clay's being blackmailed with phoney evidence? JEANNETTE You can ask that? You of all people, Nick? You know Clay. Sensitive, offended, biting her lip, she brushes past him and goes to drinks-table. 25 INT. CONTROL -DAY General ESTABLISHING view, instantly ZOOMING to MED. SHOT CAMERON. He is checking reports. CAMERON So do we -- on a preliminary check anyway. And he's clean. 26 INT. LIVING ROOM LEWIS' HOUSE - DAY Jeannette is pouring drink for herself by now. JEANNETTE You were on the Crime Commission with Clay. BIANCO And I think he stands a chance of winding up in the history books as Mr. Disarmament. (MORE) (CONTINUED) 6. 26 CONTINUED: BIANCO (CONT'D) But he still might have been a bad boy once -- and someone might be able to prove it. Jeannette stubbornly shakes her head. Drinks. Shakes her head again. JEANNETTE Not Clay. Whatever they're threatening him with, it's fake. (bitterly) But that wouldn't make any difference. Not to the Press. Or the public. They'd destroy him. BIANCO Because, quote, there's no smoke without fire, unquote, huh? Nick, near mantelpiece, glances at several invitation- cards there. 27 BIANCO'S POV ZOOMS IN to the following lines on one card: ARLENE MORRISON ) Printed requests the pleasure of the company of ) Mr. and Mrs. Clayton Lewis )Handwritten JEANNETTE'S VOICE (O.S.) Which is also why Clay couldn't bring in an official investigation agency. And why I called on you -- without Clay's knowledge. 28 SCENE Nick turns away from cards on mantelpiece to deal with this. BIANCO Jeannette -- let me talk to Clay. Jeannette reachest highest point of tension, uptightness. (CONTINUED) 7. 28 CONTINUED: JEANNETTE No. This is the way it has to be. Clay mustn't know you're on the case. Please. (passionately) Nick -- my husband is the one man in the world who can make that conference agree instead of adjourn. All that matters is to get him free of this frame-up. BIANCO What am I looking for, Jeannette? Documents, letters, photos, what? JEANNETTE I don't know. Clay didn't tell me. He only said -- it's about another woman -- and that it wasn't true. A beat. She is still so taut, Nick doesn't pursue the matter. BIANCO OK. Take it easy. (indicates card on mantelpiece) Just tell your friend Arlene Morrison to expect me at her party. Jeannette nods but is puzzled. Nick clarifies. BIANCO Anyone in town could be behind this. Jeannette nods. Nick shrugs, spreads his hands. BIANCO (continuing) Everyone who is anyone will be at that party. After all -- Arlene Morrison is Washington's leading hostess. Jeannette nods, smiles slightly, as if relieved already because Nick Bianco is at work. He smiles back, encouragingly, turns and exits into: 8. 29 INT. HALL LEWIS' HOUSE - DAY Nick is shown out by MACKESON, a young, good-looking servant who then goes to small alcove, picks up phone, dials. Then, quietly: MACKESON Mrs. Lewis has hired Probe. Nick Bianco. He's just left the house. I suggest it's time we eliminated our weakest link -- ? He listens briefly, nods, replaces phone. 30 INT. LIVING ROOM - ARLENE'S APARTMENT - NIGHT Party in full swing: GUESTS of all types and nations. ARLENE MORRISON faces them: ARLENE (to a guest) If you stop telling lies about me me, I'LL stop telling the truth about you, darling. Now Arlene leaves them and approaches Nick, just arrived, whisking him away from MAID who is about to announce him. Arlene is a stylish, magnetic person- ality, welcomes him charmingly. ARLENE You must be Nick Bianco. Jeannette called me about you. I'M delighted you could come. Have a drink. Nick nods thanks, takes a drink with left hand from tray carried past by 2nd MAID (there are several around). Nick is content to let Arlene chatter on, seemingly pliant but actually assessing her very coolly. His right hand, with scanner-ring, comes up INTO FRAME caus- ally to TRANSMIT the SCENE as he walks through it with Arlene. 31 INT. CONTROL - NIGHT Cameron and company watching the big monitor-screen, SHOWING the walk-through from Nick's POV, scanner-trans- mitted. Among the most striking of the many beautiful furnishings, etc., that we see, is a bronze head, Epstein- style, of Arlene. It is on a plinth, suffused-lit, beautifully placed in an alcove. (CONTINUED) 9. 31 CONTINUED ARLENE ON SCREEN Who would you like to meet, Mr. Bianco? Dear Jeannette is sometimes just a shade vague: so I know very little about you. It's difficult to tell, looking at someone, what politics mean to him -- hobby or lobby. Picture FREEZES on her, bright-eyed, smiling -- and then GIVES WAY to beginning of computer read-out, on: 32 MONITOR SCREEN Zipping along, unfurling one line at a time: ARLENE MORRISON MARRIAGES: 3 CHILDREN: 0 SOCIAL STATUS: 1+ DISCRETION: ABSOLUTE DOUBTFUL AFFILIATIONS: 0 POLITICAL INFLUENCE: NEGLIGIBLE Everything WIPES, except the line about "Affiliations." This MAGNIFIES and FLASHES ON and OFF SEVERAL TIMES, FAST. 33 MED. SHOT, CAMERON gazing at screen O.S. CAMERON We have a read-out, Bianco. She's an interesting lady -- but not, perhaps, to us? However, some of her friends might be. 34 thru OMITTED 37 38 INT. LIVING ROOM - ARLENE'S APARTMENT - NIGHT Nick halts. Arlene, surprised but still smiling, does the same. BIANCO Excuse me, Miss Morrison. I'd like to speak to you. Is there anywhere we can talk? 39 OMITTED 10. 40 NEW ANGLE ARLENE (to a guest) Hello, darling. (then to Bianco) In here. They move into smaller room. 41 INT. SMALLER ROOM - ARLENE'S APARTMENT - NIGHT Nick opens door, stands aside. Arlene enters. He closes door, shutting out the party. BIANCO Miss Morrison: How much do you know about the Clayton Lewis situation? ARLENE My, but you're subtle. BIANCO I'LL try to be subtler the next time we meet. Now what do you know? ARLENE (a beat) No details. And I don't want them. But -- Clay is in bad trouble. BIANCO Who told you? ARLENE Jeannette. BIANCO You're that close? ARLENE (stung) Some people trust each other, even in Washington. BIANCO Jeannette trusts me, too. So why do I bug you? ARLENE Does it show? Well, it's nothing personal. (CONTINUED) 11. 41 CONTINUED: BIANCO That's a relief. ARLENE If you must know, I felt that Jeannette should never have gone behind Clayton's back and hired you. He's an important man. He's well protected. This could prove embarrassing to him. I know Clay and I know he'd resent it. BIANCO The point is I was hired. And here I am. ARLENE And that, I resent. You checking up on my guests. I like to feel they can relax here: talk off-the-record. Enter you: exit that feeling. Nothing personal -- BIANCO You said that before. ARLENE Why don't you just leave? BIANCO After I've seen Clay. ARLENE He's not coming. Neither is Jeannette. BIANC0 Why not? ARLENE I really don't know. Jeannette phoned to tell me they weren't coming a few minutes before you arrived. Mr. Bianco, Clay has quite a track record as a trouble shooter on the most global scale. He's probably out somewhere right now dealing very effectively with the problem, whatever-it-is, without your help. So why don't you just leave it at that. (CONTINUED) 12. 41 CONTINUED: (2) Nick gives her his shrewdest look. BIANCO You're much brighter than that, Miss Morrison. You know as well as I do -- that a man involved in trying to save the world doesn't necessarily mean he can save himself. ARLENE I really don't know what you're talking about. Now if you'll excuse me, I'll return to my guests. Nick reacts and: 42 EXT. STREET - DAY Runby. Bianco's car. BIANCO'S VOICE (O.S.) I've just checked with Jeannette Lewis. The blackmailer's called Lewis to meet at the Forsythe Electric Plant. I'M on my way. 42A. EXT. PLANT - DAY Lewis' car arrives. Pulls up next to Barnworth's car. Both men get out. A beat, then: LEWIS I should have known it was you. 43 thru OMITTED 52 53 REVERSE ON BARNWORTH It's a lean, Machiavellian face. Barnworth is a quite young, clever, but flawed creature, soured by adversity. He says "MR. Lewis" ironically -- and continually. BARNWORTH But you didn't, Mr. Lewis. LEWIS' VOICE (O.S.) I meant, I should have known it would be someone like you: vicious and cheap. (CONTINUED) 13. 53 CONTINUED: BARNWORTH Oh, I'M vicious -- but I come a lot more expensive nowadays. 54 OMITTED 54A EXT. PLANT - DAY Bianco's car pulls in through main gate. Parks some distance from rendezvous scene. Bianco moves on foot to vantage point overlooking Lewis and Barnworth. 54B CLOSEUP - BIANCO - DAY staring down at meeting below him. 55 INT. CONTROL CAMERON We're getting a lot of interference on audio. Can you get any closer, Bianco? BIANCO If I do Lewis is sure to spot me. 56 thru OMITTED 58 59 BACK TO LEWIS AND BARNWORTH Lewis is cool. The master negotiator and in-fighter is obviously not going to give in without a determined counter-play. LEWIS You're really into the big league now. Top-class espionage. BARNWORTH You better believe it, Mr. Lewis. The people I'M with -- they mean business. LEWIS I'M sure they do. Beat. Barnworth, a little uneasy, quells it quickly. 59A BIANCO - DAY Bianco looking off. 14. 59B BARNWORTH AND LEWIS - DAY BARN WORTH Well let's have it officially. Your agreement to my terms: you tell me exactly what the President is going to let you concede for the sake of a disarmament agreement, and I keep secret the document proving just how you spent those twenty-three days. Lewis considers -- very coolly indeed. A beat -- long enough to permit: 59C INT. CONTROL - DAY Screened: the LONG SHOT of Lewis and Barnworth, during the beat. Heard: Plant sounds and other static. Obviously, not a hope of monitoring the conversation. As Cameron throws up his hands in despair and frustration. 59D BARNWORTH AND LEWIS - DAY LEWIS Tell me something: where is that document? BARNWORTH Not on me. LEWIS (smiling) Naturally. Let me guess. Wherever that document is, it is not under your control any more. A beat. This gets home to Barnworth, but he won't admit it. LEWIS Right? 60 CLOSEUP - BARNWORTH Judging by Barnworth's continued, sternly repressed reactions, every one of Lewis' assumptions is on the nose. LEWIS' VOICE (O.S.) You don't have it all, any more -- do you? Your new friends persuaded you to hand it to them -- didn't they? For "safe keeping" -- wasn't that what they said? (CONTINUED) 15. 60 CONTINUED: BARNWORTH (low tone; beginning to sweat) Mind your own business. 61 SCENE LEWIS You fool. Don't you realize that as soon as you let go of that paper, you became instantly and irreversibly -- 62 BARNWORTH waiting for and dreading the word -- and hating Lewis even more than hitherto, for saying it. 63 LEWIS LEWIS (continuing) -- expendable? BARNWORTH Shut up. LEWIS They need the document, not you. They'll kill you. BARNWORTH That's enough. LEWIS Being killed usually is. BARNWORTH I can take care of myself. LEWIS I don't think you can, judging by the way you've handled -- BARNWORTH I want your answer. LEWIS (calmest) I want yours. Here's my proposition. You're so much out of your depth in this, I'M almost sorry for you. (MORE) (CONTINUED) 16. 63 CONTINUED: LEWIS (CONT'D) I won't take any action against you -- if you name your associates, and give me a chance to retrieve the document. Deal? BARNWORTH (bluster) You're so desperate, Mr. Lewis. I'M almost sorry for you. But not quite. I don't need your deal. I know what I'M doing. If my partners try to double cross or dump me -- I've got insurance. Don't worry about me. LEWIS But I do. You're a dead man. BARNWORTH I survived what you did to me, Mr. Lewis So this is easy. As far as I'M concerned we have a deal. My deal. I'LL phone you, how to get the disarmament- conference information to me. Now get out of here and wait for my call. LEWIS (shrug: headshake of "regret") Good luck with your "insurance" -- whatever it is. Barnworth gives him a glare of sheer hatred as Lewis goes toward his car. 64 CLOSEUP - BARNWORTH Bitter, furious, feeling worsted by his 'victim'. Still glaring after him. We hear Lewis car start and drive off O.S. 65 SCENE LEWIS' car leaving frame. 66 & OMITTED 67 17. 68 BIANCO - DAY Bianco observes closely. Suddenly, we HEAR, with him, o.s., the SOUND of another car, very high-powered. 68A EXT. PLANT - CLOSEUP BARNWORTH - DAY So does Barnworth. We MOVE IN FAST AND EVEN CLOSER ON HIM as he reacts to: 68B BARNWORTH'S POV - KILLER CAR RACING TOWARD HIM 69 SCENE - ANOTHER ANGLE No escape for Barnworth as the Killer Car swerves. 1st MAN drives. 2nd MAN fires several times at Barnworth from the speeding car as it curves past him. Barnworth is almost literally blown off his feet by the impact, falls spectacularly -- and the Killer Car is away. It is as quick and shattering as that. 70 BIANCO - DAY Bianco reacts, rushes toward murder scene. 71 OMITTED 72 EXT. PLANT - DAY Angle on Barnworth, moving feebly, on the ground. Bianco now runs into frame. As he bends in: 73 BIANCO AND BARNWORTH BARNWORTH (whispers) Nevin. Alex Nevin... Why... Why would he have me killed? Barnworth dies. BIANCO (recognizes name) Nevin... Alex Nevin. A beat, then Bianco hurridly searches him. 74 INSERT - BIG CLOSEUP - PEN in Nick's hand. A giveaway ballpoint pen, advertising PAM'S PHOTO PARLOR (with address). 18. 75 BIANCO AND BARNWORTH Nick keeps pen, continues search. Wallet. Flips it open. BIANCO Alfred Barnworth. 76 INT. CONTROL - CLOSEUP CAMERON - DAY BIANCO'S VOICE Washington driver's license. CAMERON Alfred Barnworth. Get me an I.D. Activity erupts. 77 EXT. PLANT - DAY Bianco unfolds small piece of paper he has found in wallet. 78 INSERT - PAPER Torn off from scratch-pad. It holds the following, pencilled. 7S 61 52 43 32 21 1S 79 CLOSEUP - BIANCO puzzled. Police SIRENS SOUND o.s. He pockets paper, rises and leaves frame. FADE OUT. END OF ACT ONE 19. ACT TWO FADE IN: 80 INT. CONTROL - CLOSEUP - SMALL SCREEN - DAY At dizzying speed, all the letters and numbers round by Nick on the sheet or paper, assemble, re-assemble, multiply, divide, square-root, fractionalize and other- wise permutate. We WATCH this mathematical square dance for a moment, then PULL BACK to see that Cameron is monitoring this activity on one of many small screens on console. CAMERON Nothing yet on the numbers. We're still waiting for a break through. As to the man himself -- He swings around in his chair, and we are with him to look at the big dominant screen, where the read-out on Barnworth is shown. CAMERON Alfred Barnworth: minor Civil Servant. Until about a year ago, he worked on contracts in the Department headed by Clayton Lewis, before Lewis got his Presidential job. 81 EXT. STREET - DAY Run-by, Bianco's car. CAMERON'S VOICE Barnworth was on the take. Lewis fired him: with loss of pension rights -- the works. Lucky not to go to jail. 82 INT. BIANCO'S CAR - DAY BIANCO Okay. So Barnworth had plenty of motive. But the way things are going this may be more than ordinary blackmail, Cam. CAMERON' S VOICE What about this Alex Nevin? BIANCO (tense) I'm on my way to check him out. 20. 83 EXT. NEVIN'S MANSION - DAY Bianco's car parked. Nick walks up steps. Front door opens before he can knock or ring. Soulless face of SENTRY looks out. Nick adapts, in speech and attitude, to the kind of people he's now dealing with. BIANCO Alex Nevin. Tell him Nick Bianco. SENTRY You got no appointment. Get lost. Sentry begins to close door. A brief, but deadly burst of action from Nick, and he's inside. 84 INT. LOBBY - NEVIN'S MANSION - DAY Sentry is knelt, breathless, clutching self amidships. Nick relieves him of gun, gun of cartridge-clip, looks up. ALEX NEVIN stands at open door to main room, looking at Nick. ZOOM TO Nevin. A formidable young "Godfather" type. NEVIN All right Bianco. You got an appointment. 85 ANGLE ON BIANCO as two gunmen appear, flanking Bianco, from a- distance. (They are not the same men who killed Barnworth.) Nevin gestures to them. They halt. Bianco reaches Nevin, whose cold eyes survey him. A beat. Nevin stands aside. Bianco enters: 86 INT. MAIN ROOM - NEVIN'S MANSION - DAY Large, ornate. Antiques, including suit of armor and a solid, heavy case of swords. Bianco takes it all in. Door shuts. Nevin follows him in. They are alone. NEVIN It's been a long time since the Crime Commission, Bianco. You don't stir up any happy memories. What do you want? BIANCO What's your connection with Alfred Barnworth? A beat. Nevin becomes a « degree warmer. (CONTINUED) 21. 86 CONTINUED: NEVIN Sit down. BIANCO Why so friendly, all of a sudden? NEVIN You just stirred up a kind of interesting memory. Go on. Park. Bianco sits. Nevin, moving to sit opposite him, picks up a letter-opener from an antique desk as he passes. The opener is a beautifully decorated and honed Florentine dagger. He toys with it as he talks. NEVIN Barnworth. Useta be a Government clerk, right? (Bianco nods) Yeh, well -- he came to me, a while ago. With some cockamamie story about having the goods on Clayton Lewis - you know? Mr. Incorruptible himself. BIANCO Don't tell me you turned him down. NEVIN All right, Bianco -- I won't. Because I didn't. Sure I was interested. And Barnworth knew I would be -- to get back at Lewis 86A BIANCO flicking a glance to: 87 NEVIN'S HANDS toying lovingly with the gleaming dagger. NEVIN'S VOICE (O.S.) I've been dreaming about that since he gave me a hard time in front of the Commission. So, naturally, I asked Barnworth for details. 22. 88 SCENE NEVIN A look at the material -- photos -- whatever, right? But he never came back, didn't deliver. BIANCO He never will. He was shot to death, about a half hour ago. NEVIN And you think I had something to do with it. BIANCO He said you did. NEVIN Barnworth's in worse shape than I thought. He's not only dead, he's crazy. He puts the dagger down, the better to spread his hands in a gesture of reasonableness and logic. NEVIN Hey, Nick -- why would I kill someone I never even took seriously? And that dismisses the matter so far as he's concerned. He picks up the dagger again and points it at Bianco as he continues: 89 BIANCO'S POV to Nevin, dagger pointing. NEVIN You, I take seriously. You being here, means there may be something on Clayton Lewis 90 BIANCO reacting stonily to: NEVIN'S VOICE (O.S.) Find it, Bianco -- and bring it to me. You got an open invitation -- any time -- to be a multi-millionaire. BIANCO How? Lewis isn't a rich man. 23. 91 INT. CONTROL - DAY CAMERON Item: in-depth research reveals that Alex Nevin has invested millions of mob-money in certain subsidiary defense industries. 92 INT. MAIN ROOM - NEVIN'S MANSION - DAY Nevin now adopts a steady, needling smile. NEVIN Don't worry, Bianco. I can think of a few favors Mr. Lewis could do for me. And you'd have a good hefty share of the cake. BIANCO Forget it. 93 NEVIN Totally corrupt. Smiling. Confident. NEVIN Can't be tempted, huh? Well, maybe this time you're wrong. This could be the biggest piece of cake you ever saw. He turns the dagger over and over in his hands. 94 FAVORING BIANCO A beat. Bianco rises. BIANCO I'll be seeing you. NEVIN (smiling away, feeling he has won) Sure you will. BIANCO Where you belong. Bianco exits. 95 SCENE Nevin watches him go. The smile gradually drops. He looks at the dagger. His expression is grim. 24. 96 thru OMITTED 102 103 INT. BIANCO'S CAR - DAY Bianco drives, takes out the pen he found on Barnworth, looks at it. 104 & OMITTED 105 106 ANGLE On pen, reminding us of "PAM'S PHOTO PARLOR" and its address. O.S., SOUND of Bianco gunning car. 107 INT. PAM'S PHOTO STUDIO - DAY Enter Bianco, from alley. We recognize our surroundings, of course. Bianco walks through the maze of cables on the floor, and the arc-lights, etc ., all around. A door is open at the other end. As he goes toward it: HARRIS' VOICE Stand by. We've cracked the code -- on the paper you found in Barnworth's wallet. 108 INT. CONTROL - DAY Screen, in b.g., holds blow-up of the paper with its list or letters and numbers, as seen before. Harris, in f.g. NOTE: CAMERON IS NO LONGER PRESENT. HARRIS Each of the seven groups refers to a sequential day of the week, Sunday through Saturday -- S to S in the configuration. The first two groups are deleted -- used up. ZOOM to BIG CLOSEUP the first three groups: 7S 61 52 HARRIS' VOICE That makes the third group, Five- Two, the figure representing today, the third day of the week. (CONTINUED) 25. 108 CONTINUED: NICK'S VOICE (mildly) Now why would anyone want to break up the week like that? 109 INT. PHOTO STUDIO - DAY Bianco almost at the open door as: HARRIS' VOICE (guarded) I don't know. Maybe it's a password. BIANCO Oh, that's very funny, Harris. Bianco enters. 110 INT. PHOTO SHOP - DAY PAM PERRY is behind counter, sorting and shelving films, bulbs, etc. She is not conventionally pretty. Nick approaches her. She looks up, indicates street door. PAM That's the regular way in. What do you want? BIANCO To ask you about Alfred Barnworth. A beat. She stays cool. PAM You're in the wrong place. I don't know any Alfred Barnworth. BIANCO Then it won't matter one way or the other to you that he's dead. She reacts, sharply, quickly. Has it almost under control however by the time he adds: BIANCO Shot dead. (he turns to go) Keep in touch. Someone may want pictures of the funeral. I'LL mention your name. (CONTINUED) 26. 110 CONTINUED: PAM Wait. BIANCO For what? PAM Who are you? Nick is deliberately harsh, to force and clinch her cooperation. BIANCO What's it matter? I made a mistake. He continues out. PAM All right. I do know him. He returns to her. Looks her up and down, almost X-ray-eyed. BIANCO How well? A flash of resentment at his bluntness -- but it is quickly controlled. PAM He told me never to talk about him to anyone unless -- (delayed shock) Shot -- dead -- BIANCO Unless what? PAM (supreme effort at control) Unless they know the day's password. BIANCO (deliberately off- hand, at once) Five Two. A slight beat. 27. 111 INT. CONTROL - DAY Screen in b.g., Pam on it in BIG CLOSEUP. Harris and Miss James watching tensely. NOTE: CAMERON IS NOT PRESENT. Up there on the screen, Pam nods quickly, accepting. Harris and Miss James exchange a quick glance of satisfaction as: PAM ON SCREEN Okay. Why didn't you say so, straight off? 112 INT. PHOTO SHOP - DAY BIANCO I have a rule: I never give the password until I'M asked for it. Pam nods, impressed, but characteristically not showing it much. She leads him through curtains behind counter, to: 113 INT. STOCK ROOM - PHOTO SHOP - DAY BIANCO Okay. Now we can back-track. How well did you know him? Again that fiercely defiant, swiftly-queeled flash of resentment from her. PAM He needed somewhere to live. I gave it to him. (almost breaking) I can't believe he's dead -- though Freddie -- he always warned me -- it could happen to him any time. I mean - being in the CIA -- his life was always on the line. 114 BIANCO Smothering reaction. BIANCO Always -- yeh. 115 SCENE PAM I guess I can only answer questions, not ask them? (CONTINUED) 28. 115 CONTINUED: BIANCO Right. PAM Not even ask your name? BIANCO You want a phony name, I got a dozen of them. PAM Sure. A beat. Full control. PAM I'M -- okay now. BIANCO Good. Now, if you know what Barnworth was working on, it could be dangerous for you. You may need protection. PAM He never told me. Bianco gives her a long, thorough look. She takes it, unperturbed. BIANCO Did you ever photograph documents for him? PAM No. BIANCO How about trick-work? Fakes? PAM Never. BIANCO Sure? PAM Absolutely. 29. 116 BIANCO The penetrating look again. And we HEAR, with him: MISS JAMES' VOICE Pamela Perry, read-out. No record, no doubtful associates. BIANCO Any photography at all for him -- anything? 117 PAM withstanding his scrutiny well. PAM No. 118 SCENE BIANCO Where are his things? PAM Mostly at my apartment. He only left an old briefcase here. Without having to be asked, she gets it, from not-too- conveniently-near. Bianco tries it. Locked. She shakes her head in response to his unspoken inquiry for the key. He picks up something from nearby, forces lock. Takes out well-used file-cover. Opens it. There are four letters within. He glances at each briefly, but intently. 119 ANGLE ON BIANCO Positioned so that his scanner-hand unobtrusively trans- mits the contents of each letter to Control. We do not see the letters. 120 PAM Looking at him, unaware of transmission—procedure of course, and asking no questions. 121 SCENE Bianco replaces papers in file, closes it, retains it. Takes out ballpoint pen, writes on scrap of paper. (CONTINUED) 30. 121 CONTINUED: BIANCO You remember anything -- need anything - call me. She takes the paper, nods. He goes, with the file. She looks after him, then down at the phone number on the paper. 122 INT. PHOTO SHOP — BIG CLOSEUP — BIANCO — DAY as he walks through to photo—studio door. Pam is still in stock room. HARRIS' VOICE Nick: the material you just transmitted. It's nothing but copies of letters from Barnworth about an unemployment—benefit claim. BIANCO That's it? Straight? No coded meaning? HARRIS' VOICE Doesn't look like it. BIANCO OK. Try this. I only got a fast look at the letters, but: out of all the old jobs Barnworth did since he was bounced from the Civil Service, he only worked once in a hospital. 123 INT. CONTROL - BIG SCREEN - DAY (CAMERON NOT PRESENT) ZOOM to HUGE CLOSEUP of the following words, handwritten, as from a Barnworth letter: Hanboro Nursing Home MISS JAMES' VOICE Hanboro Nursing Home. BIANCO'S VOICE Right. Why? ZOOM IN EVEN CLOSER to the one word: Hanboro. 31. 124 INT. PHOTO SHOP - DAY BIANCO Why did he break the pattern? HARRIS' VOICE We'll work on it. Thanks. Bianco continues to photo studio. 125 OMITTED 126 EXT. ALLEY - DAY Bianco steps out from photo studio -- into immediate attack from 1st Gunman. It is not totally unexpected by him. He is disadvantaged by having to hold on to the file of papers. He therefore has to win fast and definitely -- or not at all. We are treated to a lightning-pace, one-hand karate display which leaves the Gunman gasping and groaning on the ground, too winded even to draw his gun. Bianco makes it to his car, gets in, with the papers intact. 126A INT. BIANCO'S CAR - DAY Bianco, about to drive off, when Gunman 2 rises up from behind him, chops him unconscious with a blow across neck. The file and letters spill all over the floor. 126B INTENSE CLOSEUP - BIANCO - DAY Slumped across steering wheel. 127 OMITTED 127A thru OMITTED 131 FADE OUT. END ACT TWO 32. ACT THREE FADE IN: 132 INT. CONTROL - DAY (NOTE: CAMERON IS NOT PRESENT). We START on redlit panel flashing on and off, demandingly. Lettering reads: EMERGENCY -- LOSS-OF-CONTACT. We hear a steady buzzing SOUND: also controlled urgency in: MISS JAMES' VOICE Come in, Bianco. Come in. PAN to scene. All activities suspended, all Operatives tensely awaiting the result of the call to Nick. 133 TWO SHOT - HARRIS AND MISS JAMES Harris, pressing a Morse-key-like instrument, is sending the steady-buzz SOUND, while, on microphone: MISS JAMES Come in. Bianco, come in. Acknowledge. Acknowledge. 134 INT. BIANCO'S CAR - CLOSEUP BIANCO - DAY Unconscious, as before, but beginning to stir in response to the BUZZ and the voice, continuing to be HEARD. In a second or two he comes round, though remaining dazed awhile. He reacts to: 135 POV - CAR FLOOR The file and the letters have gone. BIANCO'S VOICE OK. I acknowledge. 136 SCENE - TO INTERCUT & 137 MISS JAMES Are you all right? BIANCO I've lost the letters and I have a slight headache. (CONTINUED) 33. 136- & CONTINUED: 137 MISS JAMES This won't improve it: the make on the Hanboro Nursing Home. Harris. Bianco listens attentively to: HARRIS Barnworth asked for a job there even though they weren't advertising for help. He was so down, they invented work for him. Two weeks later, he quit. Told them he had a phobia about hospital atmosphere. Couldn't overcome it. Had to leave. BIANCO So we got another "why"? Why does a guy who hates hospitals practically kneel and beg for a job in one? And cut out after two weeks? (beat) Any ideas? (beat) Hey. You guys hear me? I asked a question. HARRIS We're not interested in the answer any more. Neither are you. We just got the word. BIANCO What word? 138 INT. LIVING ROOM - LEWIS HOUSE - CLOSEUP - CAMERON - NIGHT At his most steely and authoritative. CAMERON You're off the case, Bianco. So cease and desist. 34. 139 SCENE Lewis and Jeannette present, too. Bianco is obviously furious at this treatment, but for the moment confines himself to an explosive: BIANCO Why? Jeannette goes to him. JEANNETTE Nick -- Clay was badly shaken by Barnworth's murder. I had to tell him you were on the case. LEWIS (helping her) No reflection on your ability, Nick -- you know that -- but I insisted you be taken off. Let's leave it at that. BIANCO Let's not. Clay -- we've known each other a long -- CAMERON Bianco: I'VE traveled a long way at no little inconvenience to give you this order personally. That's how much I want it to stick. BIANCO It just came unstuck, Cam. I'm going right ahead. CAMERON Against the wishes of your friends? BIANCO (to Lewis and Jeannette) Don't give me wishes: I want reasons. Ellis and Jeannette look at each other. A beat. LEWIS (quietly) You weren't told everything about this matter, Nick. And when I realized that, I couldn't let you continue being involved under what amounted to false pretenses. (CONTINUED) 35. 139 CONTINUED: A beat, Jeannette gestures, a little helplessly, then, frankly: JEANNETTE I -- lied to you, Nick. The blackmail isn't about another woman. It has nothing to do with Clay's private life. BIANCO (unsurprised) But everything to do with Alfred Barnworth and the Hanboro Nursing Home. Jeannette goes to him. JEANNETTE ("he knows" tone) Oh, Lord -- It has an equal, if unstated bombshell-effect on Ellis and Cameron. Nick turns to Lewis BIANCO Well, Clay? Beat. BIANCO Look. I can almost guess. So why not make it easy on all of us and tell me. Another beat, then: 140 LEWIS LEWIS It was years ago. The Cold War. There'd been months of Berlin negotiation. I was mentally exhausted. I took a month's leave -- and spent twenty-three days of it at Hanboro. 141 BIANCO LEWIS' VOICE (O.S.) I was cured. And taught how to pace myself better. I'VE had no trouble since. 36. 142 JEANNETTE LEWIS' VOICE (O.S.) But if it was all dragged up and headlined now, how would it look to Press and public? 143 CAMERON LEWIS' VOICE (O.S.) A nut -- irresponsible and erratic -- representing the United States at the most significant disarmament conference in history - that’s how. JEANNETTE Even worse, Nick, an hour after the newspapers hit the stands the conference would fall apart. Maybe the world's last chance for peace would be over. 144 SCENE LEWIS How Barnworth found out -- I'll never understand. Bianco shrugs slightly: it's no mystery to him. BIANCO He wanted something to hit you with -- and dug deep to find it. LEWIS But how did he get a hold of my medical record? BIANCO He worked at Hanboro. Long enough to find and steal it. (beat) Now I'm looking for it. Still. CAMERON (angrily) You're incapable of obeying a straight order, aren't you, Bianco? 145 ANOTHER ANGLE CAMERON You insist on a full-scale debate. (MORE) (CONTINUED) 37. 145 CONTINUED: CAMERON (CONT'D) All right. Now listen. Helping a friend to fight a real or tricked- up morals charge is one thing. But this is a matter of national security. On the codest, most impersonal level, what we have here -- He looks briefly at Lewis who urges him to continue without restraint. CAMERON -- is a White House aide who admits to a history of mental breakdown. He himself -- LEWIS Mr. Cameron's right, Nick. Maybe I should bow out of public life -- starting with these negotiations. 146 BIANCO BIANCO And let the conference collapse? Is that what you really want, Clay? Is that what you've worked twenty years for?! A long beat, then: LEWIS No... that isn't what I want. (impassioned) I want that conference to succeed. 147 SCENE BIANCO Then -- tell me everything you know that I don't. LEWIS There's just one thing. Barnworth told me he had "insurance" against his partners. BIANCO And I'M sure it's still around. 38. 148 INT. BIANCO'S CAR - DAY As Bianco gets in (outside Lewis' house), phone RINGS. He answers. BIANCO Hello. PAM'S VOICE OVER Pam Perry. BIANCO I was just coming over to see you. PAM'S VOICE OVER Make it fast. There've been two men in a truck, opposite my store. They've been there too long. The call CUTS OFF. Bianco reacts. Starts car engine. ZOOM PAST him, through car-window to: 149 EXT. LEWIS' HOUSE - BIG CLOSEUP - MACKESON - NIGHT looking out through window, watching Bianco's car go o.s. 150 INT. PHOTO STUDIO - BIANCO'S POV - NIGHT On the move toward door to shop. The studio is gloomy, silent. We halt, fling open door and are immediately confronted with: 151 INT. PHOTO SHOP - CLOSEUP BATHING-BEAUTY GIRL - NIGHT incongruously happy and smiling, but eerily lit by street- lamp-light seeping through window. We realize, almost at once, that this is a lifesize photo cut-out, advertising something photographic. 152 BIANCO also realizing. Not amused. He looks around. 153 BIANCO'S POV - PANNING SHOT around the store. REST on curtains to stock room. They sway very slightly. This SHOT, coming CLOSER and CLOSER, is INTERCUT with: 154 BIANCO approaching the curtains, grabbing them, shoving them aside. 39. 155 INT. STOCK ROOM - PHOTO SHOP - BIANCO'S POV - NIGHT An electric fan, on shelf, switched on at lowest strength, is innocuously responsible for curtains' movement. 156 INT. PHOTO SHOP - NIGHT Bianco turns away. Peers into gloom again. Reacts to: 157 MAIL SLOT IN FRONT DOOR - BIANCO'S POV ZOOM to it. A long white envelope in it. Address-side uppermost. Scrawled on it: Bianco. 158 BIANCO Not trusting, yet naturally intrigued. He goes to door. Checks behind himself. 159 BIANCO'S POV around store. Apparently clear. No-one's gonna jump him as he stoops for envelope. 160 SCENE So he stoops. And the glass in the door suddenly shatters inward. In the same movement, with the same blunt instrument which broke the glass, 1st Gunman clobbers him. Bianco ducks, receives glancing blow on shoulder, rises to fight, gets in a couple of punches, but 2nd Gunman now steps through the glass-free front-door also. Bianco is held by one and, in: 161 BIANCO'S POV -- belted on the jaw by the other. STRAIGHT CUT TO: 162 INT. MAIN ROOM - NEVIN'S MANSION - BIANCO'S POV - DAWN up to Nevin, looming above him, striking Bianco across the face with the file of papers. 163 SCENE 1st Gunman stands behind Bianco who is seated in armchair. 2nd Gunman guards the thoroughly scared Pam, seated nearby. Nevin, in sour and mean mood, brandishes file at Bianco. NEVIN What kind of joke is this, Bianco? (CONTINUED) 40. 163 CONTINUED: BIANCO Kind of cute. Barnworth, mouthing off about making millions -- while he's begging for a few bucks unemployment. NEVIN I don't think it's funny. Pam registers bewildered disillusion with Barnworth. Nevin throws the file on table, ignores it now. NEVIN What are you really looking for? What is Clayton Lewis scared of? Pam registers being fascinated -- but completely in the dark. BIANCO If I knew, would I have wasted my time on this unemployment junk? NEVIN Maybe you didn't know then. But I guess you know now. BIANCO You're wrong, Nevin. NEVIN Then it's gonna be a very painful mistake. For her. (a beat) You know me. The threat to Pam needs no further articulation. NEVIN Now tell me, Bianco. And I mean now. 2nd Gunman moves around to face Pam, with obvious violent intent. A beat. BIANCO OK. 2nd Gunman halts. (CONTINUED) 41. 163 CONTINUED: BIANCO But only you. Clear the room. NEVIN No way. You don't want anybody to hear. Write it. There's the desk. Bianco rises. 1st Gunman, drawing gun, goes with him to desk. 2nd Gunman also draws gun, covering Pam carefully. 164 NEW ANGLE as Bianco reaches desk. He makes to sit, but before completing the leisurely movement, speeds into sudden action: he grabs the dagger-letter-opener off desk, whirls around, hurls it at 2nd Gunman. Simultaneously, with other hand, he topples suit of armor on to 1st Gunman, grabbing gun from his hand before he's struck and dazed. 165 SCENE 2nd Gunman, gun dropped, clutches hand where dagger nipped him. Nevin dives for 2nd Gunman's gun. Bianco overturns sword-case. Nevin has to duck back, off- balance, to avoid being struck. Sword-case falls over and conceals 2nd Gunman's gun. Nevin straightens up -- to face Bianco holding gun on him. Pam is beside Bianco. Situation totally transformed within seconds: the two Gunmen are out of action, and Nevin is at gunpoint. BIANCO You're taking us out of here. And nobody's gonna follow. Other Guards enter, drawn by noise. But their boss is between them and Nick/Pam: and he is sullen and fearful. NEVIN Back off. They do. 166 EXT. DRIVEWAY - NEVIN'S MANSION - DAWN Cold, raw atmosphere. A sleek limousine drives toward the as-yet-unseen exit. 167 INT. LIMO - DAWN Nevin drives, seething with humiliation. Nick beside him, with gun. Pam in back. 42. 168 EXT. DRIVEWAY - NEVIN'S MANSION - DAWN Now see the ornate gates -- open. Guard faces one of them, his back to limo, his hands up high, evidently obeying Bianco's instructions. The limo drives past him, out of the mansion's grounds. 169 EXT. LONELY ROAD - DAY Limo purrs into view. Halts. Driver-door opens. Nevin gets out (into rain would be fine). Door shuts. Limo drives on. 170 NEVIN Venom personified, watching limo disappear o.s. He turns around, coat-collar turned up against the early-morning chill (and rain?) and begins the long bleak walk back. 171 INT. LIMO CLOSEUP - PAM - DAY reacting hurt, but spiritedly angry. PAM What do you mean -- set - up? Nick's attitude toward her has changed completely: he is mercilessly logical, flatly unsympathetic. He shrugs. He drives. BIANCO You could be in with Nevin. She brims with protest. He forestalls her, with some- what weary cynicism. BIANCO Hold it. Don't say: 'How can you believe that?' -- and -- 'What do you think I am?' Because I can easily believe it. I still don't know what you are. PAM (fuming; almost incoherent) Are you suggesting -- that was all play-acting -- back there? BIANCO Could have been. (CONTINUED) 43. 171 CONTINUED: PAM If I'm in with that - Nevin -- why don't I grab the gun from the glove compartment and blow your head off? BIANCO Because I might still lead you to Barnworth's insurance policy. PAM I don't know what you're talking about. And I don't want to know any of it. (emotionally) Especially not the truth about -- Barnworth. All I want is to forget I was ever so gullible as -- 172 BIANCO cutting in, disbelievingly. BIANCO Turn it off, baby. You may have let Barnworth think you swallowed all that snake-oil: that you believed he was Agent Double- 03 «, licensed to con lonely ladies. But you never did. Your type couldn't. 173 SCENE PAM (simmering) What type am I? BIANCO (hardest) Maybe not the type to get involved with Alex Nevin: because you know you couldn't control him. But Barnworth? You could have used him like a dishcloth. 44. 174 BIANCO BIANCO And if you did -- and you know more than you ye said so far -- then take my advice. And tell me who you're working with. You might save yourself. 175 PAM Injured in the extreme. A deeply resentful beat. PAM I told you: I don't know what you're talking about. BIANCO I told you. Insurance. PAM I believe in it. BIANCO So did Barnworth. PAM Fire, life or endowment? BIANCO Anti-doublecross. PAM And naturally you figure he kept it at my apartment. 177 EXT. TENEMENT BLOCK - DAY Old, drab. BIANCO'S VOICE (O.S.) Did he? 178 INT. CORRIDOR AND LANDING - TENEMENT - CLOSEUP PAM - DAY replying acidly: PAM I didn't know the first thing about Afred Barnworth: how could I know the last? (CONTINUED) 45. 178 CONTINUED: PULL BACK to show we are at the front door of her apart- ment. She has just unlocked it. Opens it now. Stands aside. PAM But you do. So find it. Whatever it is you're looking for. This -- insurance. Nick enters the apartment. She follows, but, before closing the door, looks along corridor and nods very swiftly, once. As she goes in, closing door, WHIP TO: 179 MACKESON the Lewis' servant, concealed suitably. At the same time we ESTABLISH the setting: it is a long corridor with a big undraped window at one end, past the top of the stairs. The sun's rays are beginning to shine strongly through this window. 180 INT. PAM'S APARTMENT - DAY Not sordid, but certainly modest. Pam gestures around. Nick, preoccupied, doesn't pay her much mind. PAM Go on. Help yourself. Search. BIANCO Figure he'd be crazy to leave it anywhere. He had to carry it on him. So it had to be small enough -- He breaks off. Takes out the ballpoint pen. Despite herself, despite her resentment at still being suspect, Pam looks fascinated. Nick unscrews the pen. Out of one half comes a roll of tiny negative. Pam turns to a roll- top desk, ups its cover, takes out a small magnifying- glass. Silently, she hands it to him. Her expression is that of "new respect" for him. He looks at the negs, through the magnifying glass. 181 EFFECT THROUGH MAGNIFYING GLASS Fuzzy at first. Then focused, on frame of negative. Lettering appears: back-to-front. Nick's fingers turn the neg over. Now the lettering is right-way. The following printed words are seen: (CONTINUED) 46. 181 CONTINUED: HANBORO NURSING HOME Hanboro Md. PATIENT'S MEDICAL RECORD PATIENT'S NAME:__________________ and beside this, on the line, is typed: Lewis, Clayton. 182 BIG CLOSEUP - BIANCO Nick nods, slightly, confirming his hunch was correct, as he continues scrutinizing negatives through glass. 183 INT. CORRIDOR AND LANDING - TENEMENT BLOCK - ANGLE ON APARTMENT DOOR - DAY Mackeson's long shadow, thrown by the noticeably increased sunlight, from the window: he draws a gun, advancing slowly, closer and closer to the door. 184 INT. PAM'S APARTMENT - BIG CLOSEUP PAM - DAY Her expression gives no hint of what she's about to say -- after a beat, in the most matter-of-fact tone. PAM Photo-negatives of Clayton Lewis' medical history, huh? 185 BIANCO looks up slowly, pocketing the negs. He moves slightly, is just behind an old-fashioned, heavy chair. 186 PAM All pretenses down. All dissembling done with. PAM (laughs derisively) It wasn't much insurance he had, was it? After all -- we have the originals. She shakes her head, smiling, tolerantly. PAM Barnworth -- what an amateur. Nothing but illusions. (CONTINUED) 47. 186 CONTINUED: BIANCO How do you rate me? PAM (shrug) Realistic enough to know you're dead. Door suddenly opens. Bianco whips up chair in both hands, the seat a shield. GUNSHOT o.s. 187 CHAIR SEAT Bullet-splintered. SECOND GUNSHOT o.s. 188 BIANCO'S POV revealed as he lowers chair: Pam is falling on the floor. Mackeson, on LONG SHOT, in doorway, is swinging gun to aim again at Bianco. ZOOM to Mackeson's face. 189 BIANCO Swift reaction on recognition. Then: 190 ANGLE Bianco hurls chair at Mackeson as the gun FIRES. Chair hits Mackeson, or strikes the door and knocks that against him. Either way, the bullet is deflected, and Mackeson staggers out into: 191 INT. CORRIDOR & LANDING - TENEMENT BLOCK - DAY The full stark glare of sunrise now hits the window and floods the entire setting. Dazed, bruised, Mackeson recovers balance and runs toward the head of the stairs, cleaving through the almost solid light, making the kind of wild patterns created when someone walks through a movie-projector beam. He turns and FIRES again. 192 BIANCO now out here in pursuit, hurls himself flat and along floor, evading the bullet, connecting with Mackeson' s feet, bringing him down. 193 FIGHT Brief and visually stunning, in the all-pervading, dust- hung sunshine. A struggle for the gun, culminating in Bianco hauling Mackeson to his feet and whacking the weapon out of his hand: (CONTINUED) 48. 193 CONTINUED: (it clatters away out of reach, possibly down the stairs.) Bianco slams Mackeson repeatedly against the wall. Asks obsessively: BIANCO Who you working for? Who you working for? Mackeson breaks free, runs for head of stairs again. Bianco follows. Mackeson suddenly stops, spins around, grabs Nick as he comes upon him, uses Nick's own momentum to hurl him to stairs-top. Macinson's hope, that Bianco will tumble down the flight, is frustrated: Bianco recovers, but is delayed. Meanwhile, Mackeson runs for his chosen exit -- the corridor-end window. 194 ANGLE on Bianco and Mackeson, pursuer and pursued, running through the glare-white sunshine. 195 WINDOW Mackeson hurls himself through it -- and it is as if he is jumping into white-hot incandescence, because of the furious sun-glare. He lands out on: 196 EXT. FLAT ROOF - TENEMENT BLOCK - DAY Mackeson stumbles slightly, recovers, runs on. He is breathing heavily, gaunt and desperate, very afraid -- without a gun. 197 ANGLE ON BIANCO scrambling, fast, through the broken-window space. 198 SCENE Bianco pursues. Still running, harsh-breathing, Mackeson turns to check on the distance between them. He suddenly upends and, with a quick, rough intake of breath, disappears downward o.s. 199 BIANCO running into CLOSEUP. Halting. Looking down. Reacting to: 49. 200 EXT. LOWER ROOF - TENEMENT BLOCK - NICK'S POV - DAY Some twenty feet below, sprawled, very still, dead: Mackeson. 201 CLOSEUP - BIANCO continuing brief frustrated reaction. As he turns sharply away. FADE OUT. END OF ACT THREE 50. ACT FOUR FADE IN: 202 INT. PAM'S APARTMENT - CLOSEUP ON BIANCO - DAY looking down at Pam's body O.S., on her back on the floor. We INDICATE, via PAN to her, that he is transmitting with the scanner. We GO SWIFTLY past her face to CLOSEUP her hand. It clutches, by the presently unseen pendant, the necklet which she must have torn from her neck as she died. Nick bends INTO FRAME. 203 INT. CONTROL, SCREEN CLOSEUP - PAM'S HAND - DAY as transmitted. CAMERON'S VOICE It is a curious final gesture, Bianco -- 204 CAMERON CAMERON (continuing) -- to clutch that small jewel. (rubs chin) Unless, as you say, the betrayed lady wanted to draw your attention to it. 205 INT. PAM'S APARTMENT - DAY Bianco masks Pam's face as he bends in further and un- clasps her hand from the pendant. While doing so: BIANCO Call the PD and report the killing. CAMERON'S VOICE With you still there? BIANCO I won't be here long. Bianco has by now freed -- 206 INSERT - PENDANT -- from Pam's hand. It is dark green, a simulated emerald. We MOVE IN VERY CLOSE on it in his fingers. (CONTINUED) 51. 206 CONTINUED: We SEE the jewel has a thin line all around it. He inserts a fingernail, levers. It snaps open on a small hinge. Within: a small, gleaming key. 207 SCENE Bianco rising, key in hand, transmitting it to Control with scanner. BIANCO OK, Cam. Now I need long-range magnetic trace, to find the lock. 208 INT. CONTROL - DAY Cameron, now returned, calls on appropriate Technician, presses appropriate buttons. A steady but muffled HUM is HEARD: A rectangle-frame is projected on big screen. Two vertical lines of light quiver within it, one. at each side. CAMERON You got it. 209 INT. PAM'S APARTMENT (A) - DAY Using scanner like a Geiger-counter, Bianco covers the room. When we are close enough to him, we SHARE his audio of the HUMMING at Control -- which gets SHARPER and LOUDER as he gets closer and closer to the area of the lock. 210 EXT. STREET (B) - DAY Police-car traveling fast. 211 INT. CONTROL (C) - DAY FAVORING Cameron watching screen: the lines of light get nearer and nearer to each other as the HUM develops as stated. Scenes (A) through (C) are INTERCUT, with the light-hum effect improving continually until: the light- lines are almost united, in the center of the rectangle, and the hum is very LOUD and CLEAR. 212 INT. PAM'S APARTMENT - DAY Bianco and scanner are now very close to a section of cheap-carved wood-panel on the wall. Bianco feels the various bumps and scrolls, etc., on it. Passes what proves to be the one. Goes back to it. Re-tests. It's loose. He pulls it away, REVEALING: 52. 213 CLOSEUP - LOCK Barely established when Bianco's fingers insert and turn the key. A narrow "door", a few inches high, opens out on a hinge. Within, an envelope. 2l4 BIANCO Takes out envelope, opens it, extracts two 8x10 stills. Holds one in each hand, looks at them. 215 INSERT - STILLS Almost identical unpeopled views of the living room at Arlene Morrison's apartment. (SEE: Scenes 226-227) CAMERON'S VOICE Well? Bianco transmits the stills. 216 INT. CONTROL - DAY The stills on the SCREEN: Cameron gazing at them, puzzled. CAMERON Arlene Morrison's apartment -- What's special about these photos? BIANCO'S VOICE I don't know. But I'm going to find out. CAMERON (intensely) Where are you going? 217 INT. PAM'S APARTMENT - DAY BIANCO The police should be here any second: and I have a date -- 'way across town -- 218 OMITTED 219 INT. LIVING ROOM ARLENE'S APARTMENT - CLOSEUP - BRONZE HEAD - DAY of Arlene, big in f.g. Nick is admiring it. He turns as Arlene enters. The following additional SHOTS COVER the SCENE and are INTERCUT. 53. 220 ANGLE ON BIANCO 221 ANGLE ON ARLENE 222 INT. CONTROL SCREEN - DAY and CAMERON, monitoring, with fascination. Sequence begins with: 223 INT. LIVING ROOM ARLENE'S APARTMENT - ANGLE INCLUDING ARLENE AND BIANCO - DAY as Arlene enters and crosses to him. Once again Bianco switches style to suit his adversary's sophistication and cynicism, though some of his phrasing continues more colloquial than hers. BIANCO It's good of you to see me. ARLENE You said you'd uncovered an ultra-special item of Washington gossip. How could I resist being the first to hear it? BIANCO You don't need to hear it. You know already. ARLENE I do? BIANCO In more detail than me. But I'll settle for you confirming it. ARLENE (on tenterhooks, but tolerant and amused) I'll be infinitely relieved if you'll kindly tell me what you're talking about, Mr. Bianco! Her smile is at its broadest, friendliest and most confident. BIANCO The spy-organization you head up. Her smile doesn't slacken, but she shakes her head slightly, forgivingly, and, without hesitation: (CONTINUED) 54. 223 CONTINUED: ARLENE I knew when we first met, you're shrewd, Mr. Bianco. Too shrewd to be laughed at. I'M taking you quite seriously -- for the moment. So: please tell me exactly what you claim to have discovered -- and we'll take it from there. BIANCO First: I have to say I like your style. By top-level espionage you finance chic parties and an elegant reputation as a Washington hostess. That's got something. And it ain't ordinary. ARLENE Thank you, Mr. Bianco. In a world where grace is devalued along with the currencies, any compliment is welcome. Even that one. Even from you. BIANCO Here's another. You picked your partner good. ARLENE Thanks again. BIANCO Pam Perry. What a specialist -- at finding guys who've taken a bad fall and bruised their egos. If she came through with one Alfred Barnworth a year, it paid off. He goes straight on -- and the following exchange is the most factual and calm of the whole scene: spoken like they're engaged in slightly scurrilous, trivial gossip, whereas, of course, her lines now tacitly and deliber- ately acknowledge the total accuracy of his charges. BIANCO You had her killed because I linked her with Barnworth -- right? That blew her cover - and her usefulness. (CONTINUED) 55. 223 CONTINED (2) ARLENE (nod) Unfortunate -- but necessary. You were supposed to be "terminated with extreme prejudice" too. (parenthetically) Don’t you just love that phrase? BIANCO No. ARLENE (back to the main topic) What happened? BIANCO Your man ran out of gun -- and guttering. He simulates, with his hand, fall off roof. ARLENE What a pity. Reliable help is so difficult to come by. (and that's the end of that) Now make your pitch, Mr. Bianco. BIANCO (wry) Uh-uh. ARLENE Why not? BIANCO You're obviously not in the mood or market for any deal to return the document. You might have been. I had to find out. I have. ARLENE (slightly mocking) Wow-ie. The taming of the shrewd. BIANCO The only three people who could testify against you, are dead. I have no proof -- no case. (CONTINUED) 56. 223 CONTINUED (3) ARLENE So you represent absolutely no threat to me. She smiles pleasantly, and is no less in control of her- self than she was at the scene's beginning. For his part, Nick's attitude appears to be that of a good loser at chess. ARLENE You're not even worth the trouble of killing. BIANCO Now there's a phrase I love. ARLENE Goodbye, Mr. Bianco. It's been -- stimulating BIANCO Always a pleasure to spend time with a woman who's got a good head on her shoulders. (beat) And off. He pats the bronze head affectionately, and turns to go. CAMERON'S VOICE Well done, Bianco. 224 INT. CONTROL - CLOSEUP - CAMERON - DAY CAMERON Just where did it get you? 225 INT. BIANCO'S CAR - DAY CAMERON'S VOICE And where do you go from here? BIANCO Right back there. 226 INT. CONTROL - SCREEN - DAY & 227 BIG VIDEOTAPE copies of the two stills. INTERCUT with CAMERON, and BIANCO in his car. (CONTINUED) 57. 227 CONTINUED: BIANCO'S VOICE To Arlene's apartment. Because Pam Perry's insurance was to tell us where Arlene hid the Clayton Lewis Papers. Pam photographed that room, with a micro-camera, before and after they were hidden. So we know the hiding place -- because one object is not in the same position in each photo. We SEE a felt-pen circle BEING DRAWN on each photo - around the bronze head of Arlene. CUT from one to the other, in HUGE CLOSEUPS of the bronze head, circled in each case, vividly to confirm: BIANCO'S VOICE The difference is slight. Maybe only a quarter-inch. But it's definite. That carving is the hiding-place. 228 INT. LIVING ROOM ARLENE'S APARTMENT - NIGHT Quiet and dark. Bronze head BIG in f.g. We are SHOOTING PAST the sculpture to a window beyond. Slight SOUND as WINDOW OPENS. Bianco enters via window and approaches carving. Scans it. 229 INT. CONTROL - NIGHT Screen is alive with read-outs on the bronze. All dialogue is fast: Bianco's, additionally is quiet. CAMERON The carving itself is not booby-trapped. You can move it. BIANCO'S VOICE Nice to know it's not gonna move me. 230 INT. LIVING ROOM - ARLENE'S APARTMENT - NIGHT Bianco lifts carving off plinth. Beneath, set in the stone, parallel to the floor, is the door, handle and combination-dial of a compact safe. Bianco puts carv- ing on floor. Rises. Scans safe area. 58. 231 INT. CONTROL - NIGHT Read-out on screen: little more than a list of the metals involved in the structure of the safe. CAMERON Nothing ominous, Bianco. By which I mean nothing obvious. 232 INT. LIVING ROOM ARLENE'S APARTMENT - NIGHT BIANCO Let's go. (hand on combo-dial) But preferably not through the roof. (starts working) CAMERON'S VOICE Take care. BIANCO How? 233 INT. CONTROL - NIGHT Cameron grimaces appropriately, for the question is, of course, unanswerable. 234 INT. LIVING ROOM ARLENE'S APARTMENT - CLOSEUP - BIANCO - NIGHT Concentration. PAN to his hand on the dial. In prelimi- nary movement, the pointer is at zero. 235 INSERT - WITHIN SAFE - ATTACHED TO DOOR A slight silent glow burns in on one end of a thin wire. And begins slowly to travel along the wire, silently. A slight PULL BACK is all that's needed completely to show the booby-trap: a simple device: when the glow reaches the end of the wire, it will ignite a small transparent plastic tube full of viscuous liquid, with obvious explo- sive results. With this established, a slight PAN DOWN shows us a metal cylinder on the floor of the small safe, clip-sealed at both ends. It is big enough to hold the rolled document. PAN UP again to BIG CLOSEUP of the slowly traveling glow -- and we GO on UP THROUGH the safe-door to: 236 SCENE ANGLE FAVORING Bianco's hand, with scanner, on dial. 59. 237 INT. CONTROL - NIGHT ON SCREEN: ZOOM past the other read-outs to temperature. Whatever it reads, it goes up maybe 3 decimal points as we WATCH. WHIP to: CAMERON Heat-increase. And traveling. BIANCO'S VOICE Like along a fuse-wire? CAMERON Like exactly along a fuse-wire. The safe itself is booby-trapped -- right under the door and lock. 238 INT. LIVING ROOM ARLENE'S APARTMENT - NIGHT Bianco continues, fast, work on combination-dial during: BIANCO When? CAMERON'S VOICE Any second. BIANCO What? 239 INT. CONTROL - SCREEN - NIGHT Beneath the words: EXPLOSIVE ELEMENT INVOLVED, there APPEARS, after a beat, the chemical formula for (CUT TO): CAMERON Nitro-glycerin. 240 INT. LIVING ROOM ARLENE'S APARTMENT - INSERT - WITHIN SAFE - NIGHT Plastic tube BIG in f.g., the glow traveling slightly faster toward it from beyond. BIANCO'S VOICE (O.S.) We have one chance. 241 SCENE Bianco working. CAMERON'S VOICE What? (CONTINUED) 60. 241 CONTINUED: BIANCO Nothing. CAMERON'S VOICE Huh? BIANCO The only pressure-response I get is on nothing -- Zero. I move on -- and it flattens out. CAMERON'S VOICE Then don't move on. Stay there. Maybe it's a one-slot combination, timed-out. 242 SCENE - CLOSE ON DIAL Bianco places pointer to Zero -- and leaves it there, keeping his hand on it. His face comes in VERY CLOSE, listening. Five agonizing seconds elapse, ticked off via this shot (1), and the following: 243 INT. CONTROL - CLOSEUP - CAMERON - NIGHT (2) Tense. 244 INT. LIVING ROOM ARLENE'S APARTMENT - CLOSEUP - BRONZE HEAD - NIGHT (3) as if coolly, sardonically sure of a victorious outcome. 245 INSERT - WITHIN SAFE (4) glow traveling to nitro in plastic tube. 246 BIANCO (5) listening, with the tell-tale CLICK heard. 247 ANGLE ON SAFE DOOR as Bianco opens it, upward, like the lid of a box. This exposes the explosive mechanism completely -- and also the cylinder down in the safe itself. 248 BIANCO Swiftest possible reaction to: 249 MECHANISM - ZOOMED TO Glow almost at the tube. 61. 250 ANGLE Bianco grabs out the metal cylinder, turns and runs. 251 VERY CLOSE SHOT - PLASTIC TUBE The glow reaches it. The tube begins to smolder at once. 252 LONG SHOT - ENTIRE ROOM Bianco hurls himself flat. The plinth, in b.g. EXPLODES violently. 253 ANGLE The bronze head of Arlene hurtles through the air and smashes into a cabinet full of china and glass. ZOOM IN to the sculpture, amidst the wreckage. 254 CLOSEUP ON ARLENE arriving at door, in robe, nightgown, and shock. 255 BIANCO Getting up off floor. The cylinder, in his hands, is opened at one end. He discards it -- but retains what was inside: documents. He indicates the explosion site. Speaks as politely and diffidently as at their last meeting in this room. BIANCO I think I've blown your entire set-up -- CLOSE IN on him as he pockets the documents. CUT TO: 256 INT. LIVING ROOM LEWIS' HOUSE - CLOSEUP - NEWSPAPER - DAY Big headlines, lead-story, front page: THE PARTY'S OVER ARLENE MORRISON EXPOSED AS SPY-CHIEF 30 ARRESTS -- MORE TO COME A news-photo shows Arlene, brazenly facing camera, es- corted to police car by PLAINCLOTHES OFFICERS. PAN DOWN newspaper until we REACH heading on top sheet of Lewis' Hanboro Nursing Home Medical Record (original document). (CONTINUED) 62. 256 CONTINUED: These papers are picked up, REVEALING another (separate and ruled-off) headline, with photo of Lewis, further down the frontpage. LEWIS SEES PRESIDENT TODAY, DELAYS DEPARTURE FOR “DISARM” CONFERENCE 257 SCENE Lewis placing the documents in his briefcase. Snaps it shut. Looks up at Nick and Jeannette. He checks his watch. He is too tense to speak. Jeannette crosses to him, kisses him briefly, warmly. He shakes hands with Nick, who smiles slightly, encouragingly. And Lewis leaves. A beat. Jeannette turns to Nick. JEANNETTE Clay's future. It's the President's decision now. 258 CLOSEUP - BIANCO BIANCO I'm glad I don't have to make it. Or any of the hundreds like it. (a beat, then smiling) But I think I know what his decision will be. JEANNETTE (tentatively) You really believe he'll keep Clay? BIANCO Yes... Jeannette, I do. Clay's too important to this country for the President to scratch him. Now or ever. A long look between them. Then as she smiles, convinced, PULL UP to HIGH ANGLE. FREEZE FRAME FADE OUT 259 thru OMITTED 263 THE END