SEARCH "FLIGHT TO NOWHERE" written by Brad Radnitz PROPERTY OF: FINAL DRAFT September 19, 1972 WARNER BROS. TELEVISION 4000 Warner Boulevard Burbank, California SEARCH "Flight to Nowhere" ACT ONE FADE IN: 1 THRU OMITTED 4 5 OVERHEAD SCREEN A NEWSCASTER addresses his television audience. NEWSCASTER Three days ago, Neil Corbett, co-owner and operator of Corbett Air Freight, vanished on a routine cargo flight from Stockton to Minneapolis. 6 INSERT STILL of NEIL CORBETT posing underneath the props of a plane. NEWSCASTER (V.O.) Corbett was piloting his company's only plane and major asset, a converted passenger aircraft. CAMERA ZOOMS IN CLOSE on Neil. NEWSCASTER (V.O.) At ten P. M. Corbett radioed his last position over the desert north of Reno. He has not been seen or heard of since. 7 SHOTS OF AIRCRAFT SEARCH - TO INTERCUT Planes flying over desert. Rangers in Jeeps, etc. NEWSCASTER (V.0) Today, after seventy-two hours, the search for Neil Corbett; a search which covered five hundred miles of open desert has been officially abandoned. (MORE) (CONTINUED) 2. 7 CONTINUED: NEWSCASTER (V.O.) (CONT'D) The plane has vanished and the mystery of this bizarre disappearance remains unanswered: During the above we've PULLED BACK to reveal we are in Probe Control. LOCKWOOD, CAMERON et al observe scene. Cameron hits a switch and the monitors flicker out. CAMERON It's a very interesting case. LOCKWOOD (anticipating with growing anger) But not very profitable for World Securities. CAMERON Lockwood... I'm an employee of a large organization -- LOCKWOOD Large, cold, and materialistic... Neil's a friend of mine, Cam. A friend We grew up together! His father darn near raised me. I owe Harry Corbett! CAMERON (flares back) It's just not that simple, Lockwood. I don't like to see any man's life abandoned. But, we're dealing with precious time and machinery. LOCKWOOD Cam You're beginning to sound more like a machine every day. Look at yourself, take a reading on your humanity level I say the dip stick comes out dry! He starts swiftly for door. CAMERON Where are you going? LOCKWOOD To catch a plane for Stockton. (CONTINUED) 3. 7 CONTINUED (2) CAMERON And who's going to pay for all this? LOCKWOOD Take it out of my salary 8 EXT. COMMERCIAL JETLINER LANDING - DAY sweeping in at Stockton Airport. LOCKWOOD (V.O.) Harry... are you positive no one else was on Neil's plane when he took off? CORBETT (V. 0.) I went over it from one end to the other. There were no stowaways. Nothing but Neil and the cargo. 9 EXT. BLACKTOP AIRFIELD - DAY Lockwood and Harry Corbett in baggage cart moving across toward hangar and office area. Corbett drives. LOCK WOOD Can you remember anything unusual? Anything that would indicate the plane was tampered with? CORBETT Nothing! LOCKWOOD I have to ask these questions, Harry. CORBETT Neil and I put up every nickel we had. It was his dream... He took care of all the technical stuff. Him and Laura. LOCKWOOD (surprised) She's still working for him? CORBETT Yeah. (beat; worried) Hugh... (CONTINUED) 4. 9 CONTINUED: LOCKWOOD (knowing what he's going to say) Don't worry, Harry... I'll find him. I promise. 10 INT. OLD TERMINAL AND OFFICE COMPLEX AT AIRPORT - DAY The electric baggage cart pulls in, comes to a stop. Lockwood and Corbett get off with their suitcases. Corbett leads Lockwood to an inelegant office door, marked "Corbett AIR FREIGHT" and they enter. 11 INT. OFFICE - DAY Small, cluttered, it has the unmistakable look of peanuts and red ink. LAURA DAY, her back to CAMERA, sits at a desk, talking on the telephone. LAURA I think we'll be back in operation in time. So don't you dare contact anybody else for another few days. Promise? Okay, Mr. Craig. Thank you, sir, we really appreciate it. She swings around in her chair and gets up to greet Harry Corbett with a concerned kiss. She's very pretty, very bright. LAURA Hello, Harry. LOCKWOOD (at Laura's look) Laura . LAURA I'm glad you're here... anything you need... anything I can do to help -- LOCKWOOD Thanks... CORBETT I told Hugh you knew more about this operation than Neil and me put together. He'd like to ask you some questions. (CONTINUED) 5. 11 CONTINUED: LAURA (to Corbett) You look like you could use some sleep, Harry. CORBETT I can't sleep. Not now. LOCKWOOD Go home, Harry. I'LL call you if I need you. Corbett considers for a moment... then: CORBETT All right! I'LL check out, for a little while anyway. Laura has my number... Corbett picks up his bag and crosses to the door wearily. LAURA Harry, try not to worry. He nods and exits. A beat, then: LAURA It's been a long time. LOCKWOOD (sincerely) Too long. (beat) Let's get started, huh? First get me the manifest and flight plans for Neil's last charter. Service records of the plane, a complete financial picture of the company. LAURA I'm afraid the files aren't that organized. It'll take me a couple of hours. LOCKWOOD (already moving to door) Start organizing... I'LL check into a hotel, be back as soon as I can. (CONTINUED) 6. 11 CONTINUED: (2) As she nods, starts pulling out files: OPTICAL TRANSITION: 12 EXT. OLD TERMINAL AND OFFICE COMPLEX - ON LOCKWOOD - NIGHT 13 INT. PROBE CONTROL - TO INTERCUT Monitoring as Lockwood moves across the washy-lit hard top from the parking lot, across the field toward the Corbett office. A few private planes lurk immobile in the semi-fog shrouded night. Suddenly we HEAR the ROAR of a MOTOR GUNNED to life. 14 CLOSE - HEADLIGHTS snapping suddenly on, blinding us. ROAR of MOTOR over. Lockwood, off guard, still not suspicious, turns to look off: 15 LOCKWOOD'S POV Headlights cut through the fog on high beam, the vehicle still shrouded; a spectre rapidly hurtling toward him. 16 LOCKWOOD reacts. Warned by a sixth sense he bolts, runs for the cover of a still distant private plane, parked on runway. 17 HIGH ANGLE - TRUCK AND LOCKWOOD The vehicle swings to cut him off, tires screeching. 18 LOCKWOOD Sees he can't make cover, abruptly reverses field, heads for a building. 19 THE VEHICLE Alters course in wide swinging arc. 20 LOCKWOOD Slips on oil covered hard top, goes down. 21 NEW ANGLE The vehicle roars directly at him. 7. 22 LOCKWOOD Headlights sweeping him he desperately rolls over. 23 ANOTHER ANGLE - LOW - SHOOTING UP OVER LOCKWOOD It whips by in a blur, roars on unable to slow its momentum. 24 RAKING ANGLE DOWN - THE SCENE Lockwood is on his feet, rushes to parked plane. 25 THE VEHICLE Attempting to brake too abruptly, it skids, takes a piece of cyclone fence with it, stalls. 26 LOCKWOOD Halts his flight; seeing the vehicle in trouble, rever- ses his field, starts to rush toward it. 27 THE VEHICLE The unseen shadowy driver desperately tries to start it again. The motor coughs, quits, refuses to catch. 28 OVER DRIVER'S SHOULDER - HIS POV Lockwood closing on the vehicle. A half beat, then the shadowy figure abandons his attempt to restart the engine, bolts out the passenger door, away from Lockwood. 29 LOCKWOOD coming on, suddenly slows... 30 LOCKWOOD'S POV The driver disappearing through fence hole created by the sideswipe. In a second he's lost in the night. 31 INT. PROBE CONTROL Reactions to Lockwood's narrow escape. 32 BACK TO LOCKWOOD Stands grimly, frustrated, catching his breath. Then: (CONTINUED) 8. 32 CONTINUED: CAMERON (V.O.) You wanted the case , Lockwood... Congratulations... it looks like you've picked a nasty one. 33 INT. PROBE CONTROL LOCKWOOD (V.O.) Meaning? CAMERON If you still want our help, you've got it. LOCKWOOD (V.O.) (crisp) Thanks. HOLD ON Cameron. 34 INT. CORBETT OFFICE - NIGHT A solitary desk lamp illuminates the room. Lockwood sits at the desk, surrounded by open files and ledgers. He sighs wearily and flips them closed, one at a time: grinds out a cigarette. LOCKWOOD Flight plans, maintenance reports. Everything in order.., except Airport Petroleum made a mistake on last month's fuel bill -- in your favor. LAURA What were you expecting? LOCKWOOD I don't know... some indication of sabotage... anything! Anything to justify Neil's disappearance, to justify somebody trying to kill me. He gets up, stares out window. LOCKWOOD Did Neil have any large personal debts? (CONTINUED) 9. 34 CONTINUED: LAURA Not that I know of. LOCKWOOD (turns from window) Laura. I haven't seen Neil in three years. If you're holding something back about him -- LAURA Neil and I didn't talk all that much -- we kept it all very casual. LOCKWOOD Neil isn't a very casual guy. LAURA Okay. He thought he was in love with me but -- LOCKWOOD (suddenly) Thought? (at her look) Past tense? LAURA It was a slip of the tongue... (at Lockwood's look -- suddenly) All right... I'm afraid Neil may be dead! I may not be in love with him... but I do care about him! As she fights for control: LOCKWOOD I'm sorry... LAURA The heck you are... Until you find the truth... I'LL bet I'm a suspect. Even Harry. (a half beat) Maybe I'd feel the same way if somebody'd tried to kill me. But I don't think so! LOCKWOOD (tightly) I said I'm sorry. (CONTINUED) 10. 34 CONTINUED: (2) LAURA (just as tightly) And I said I'D help. And I still will, if you'll let me. She storms out. 35 INT. PROBE CONTROL - TO INTERCUT and 36 CAMERON Excellent Lockwood... you managed to antagonize the one person who knows more about Neil and the plane than anyone else. Ignoring Cameron's dig, Lockwood grabs a map off the desk, flops on the couch to study it. CAMERON Do you copy Lockwood? LOCKWOOD What about that info I asked you to get? CAMERON Just as Miss Day reported, the cargo was forty thousand pounds of chemical fertilizer. Norwood Farms of Minnesota ordered it, and Larabee Bros., a wholesaler, was the shipper. Both companies are strictly legitimate. LOCKWOOD Great. Twenty tons. That's a lot of fertilizer. What about the plane? CAMERON It was purchased at public auction from Tri-West Airlines. They went bankrupt and had to liquidate all their assets. LOCKWOOD Is that it? CAMERON So far. 11. 37 INT. OFFICE - NIGHT LOCKWOOD (getting up) Keep digging. See what your computers can come up with on those fuel consumption averages. He jams the map in his pocket, starts off. CAMERON (V.O.) Where are you going? LOCKWOOD To Reno... with Laura Day... 38 EXT. JET - DAY In flight. LAURA'S VOICE Why Reno? LOCKWOOD'S VOICE Neil's last known position was just north of there. I think it's possible he continued on course and landed in the desert -- somewhere to the east. LAURA'S VOICE He could have turned back, into the mountains. 39 EXT. RENO AIRPORT - DAY on jet landing. LOCKWOOD'S VOICE Not if he was in trouble, or somebody wanted that plane. 40 EXT. RENO MAIN STREET - DAY on Taxi moving through traffic. LAURA'S VOICE It's all crazy. LOCKWOOD'S VOICE Not crazy. Planned! And whoever planned it, could have worked out of Reno. 12. 41 INT. PLUSH HOTEL LOBBY - DAY Lockwood and Laura move toward reservation desk, a Bellboy following, carrying their bags. LAURA You're very logical. LOCKWOOD Not always. I wasn't sure you'd come with me. LAURA I'D do anything for Neil. 42 AT DESK LOCKWOOD We have reservations. Miss Laura Day and Hugh Lockwood. DESK CLERK One moment please. The Desk Clerk checks his books. There's a CROWD MURMUR and a sudden excitement stirs the lobby. 43 ANOTHER ANGLE ANTONIA BRAVO steps out of the elevator, flanked by her AIDE and several BODYGUARDS. They are all dark, Latin types -- Antonia a classic beauty. DESK CLERK (with local pride) Know who that is? Senora Antonia Bravo. LAURA Wasn't her husband that military dictator who got assassinated about a year ago? LOCKWOOD Apparently she's given up the gambling set of Monte Carlo for the gambling set of Reno. Antonia and her entourage march by, surrounded by a small, flittering circle of newspapermen and curious guests. (CONTINUED) 13. 43 CONTINUED: DESK CLERK We have your reservation, Mr. Lockwood. Miss Day is in Four O Six. And you're in Four O Seven across the hall. 44 CLOSE SHOT - ANDERSON A rugged-looking man, dressed in conservative western style, stands at the reservation desk, his back to Lockwood, looking over some tourist brochures. 45 WIDER ANGLE DESK CLERK Enjoy your stay, Sir. The Bellboy takes the two keys offered to him by the Desk Clerk and leads Laura and Lockwood to the elevator. 46 ANDERSON Turns away from the desk and crosses to the house phones. He picks up and watches Lockwood enter the elevator in b.g. 47 INT. HALLWAY - DAY The indicator light above the elevator door settles on 4, the door opens and Laura and Lockwood step out, followed by the Bellboy. 48 ANOTHER ANGLE The Bellboy overtakes them and leads the way down the hall to room "406." He opens the door and they enter. 49 INT. HOTEL ROOM - DAY The Bellboy sets down the bags, holds out his hand. Lockwood slips him a generous tip. BELLBOY Thank you, Sir. The Bellboy glances at Laura and winks at Lockwood as he hands him the key. Bellboy exits as Laura reacts. (CONTINUED) 14. 49 CONTINUED: LOCKWOOD I don't want you to think I'm a slave driver, so unpack and rest up before you change. I'LL be back in ten minutes. LAURA Don't run into the bellboy. (at Lockwood's quizzical look) It'll kill my image. They grin at each other. Lockwood picks up his bag, exits. 50 INT. HALLWAY - DAY Lockwood comes out of Laura's room with his bag, closes the door, crosses to room “407,” opens the door and closes it behind him. 51 INT. HOTEL ROOM Lockwood starts to remove jacket, notices a door partially open. 52 ANOTHER ANGLE It looks like it connects to the next room. He crosses to it and opens it up, revealing the back of a very BIG MAN. LOCKWOOD Oh, I'm sorry. The Man turns suddenly and buries his fist in Lockwood's stomach. Two other MEN, straw-haired assassin types, rush in the open door, grab the winded Lockwood's arms and drag him to the center of the room. (NOTE: All three men wear gloves.) The Big Man follows quickly to work him over. Lockwood gets in a good kick to the mid-section, but it only serves to stimulate the Big Man more and he knocks Lockwood senseless. Simultaneously one of the straw-haired men tries to open the window. It won't budge more than six inches. He wheels to Big Man. STRAW-HAIRED 1 It's no go. (CONTINUED) 15. 52 CONTINUED: BIG MAN (a beat, then) Get him up to the roof. I want him to take a long fall. As the others grab Lockwood, the Big Man checks the hallway and gives his companions the "all-clear" signal. 53 INT. HALLWAY The straw-hairs drag Lockwood toward an exit door at the end of the hall; the Big Man moving with them. All is swift, efficient. 54 INT. STAIRWELL - LEADING TO ROOF As Lockwood is hauled up the stairs, his legs dragging, toward a trap door. 55 EXT. HOTEL ROOF The trap door is opened. One of the straw-hairs reaches back, helps pull Lockwood out on the roof. 56 NEW ANGLE Suddenly, Lockwood, comes out of feigned unconsciousness. Clips one straw-hair, shoves him back into the second man as he starts to appear through door. Outnumbered, unarmed, Lockwood now bolts for the edge of the roof seeking escape. STAY WITH HIM as he sprints across the roof. Then suddenly he freezes: 57 LOCKWOOD'S POV - OVER HIS SHOULDER No apparent way down. The street --a long drop. He whirls instinctively to see: 58 THE THREE HEAVIES All now on the roof, recovered, guns out. Slowly, con- fident, they have him trapped. They start to close in. 59 LOCKWOOD Starts to slide along roof edge. Then, seeing something out of the corner of his eye, he sprints along the edge toward: 16. 60 A RING BOLT AT ROOF'S EDGE as he grabs it. 61 THE HEAVIES One of the straw-hairs brings up his gun to fire. The Big Man grabs his wrist, stops him with: BIG MAN No, it's got to look like an accident. 61A BACK TO LOCKWOOD Using the ring bolt, he swings from the roof. Hurtles through the window of the penthouse just below, kicking the glass, shattering it with his heels. 62 INT. SENORA BRAVO'S PENTHOUSE - DAY As Lockwood comes bursting through the window, Senora Bravo and her aide abruptly come to their feet rising from their lunch. In the b.g. one of her Latin Body- guards also wheels from a small bar in shock. A half beat, then the aide, recovering, whips out a gun. LOCKWOOD (holds up hands) Peace, friend. (wryly) Believe me... I can explain everything. FREEZE FRAME. FADE OUT. END OF ACT ONE 17. ACT TWO FADE IN: 63 INT. PENTHOUSE - DAY as Bodyguard One frisks Lockwood. AIDE You said you could explain. I am waiting. LOCKWOOD Three guys decided to throw a party -- off the roof. I turned out to be the party. As the frisk finishes and the aide puts gun away. ANTONIA Mother of God. It's marvelous that you can make jokes. AIDE (to Lockwood) If you're serious, it may be wise to summon the police. LOCKWOOD Forget it. I'll handle it. ANTONIA (coolly; admiring) I have a feeling you can, Mr... LOCKWOOD Lockwood -- Hugh Lockwood. ANTONIA Nevertheless perhaps you should follow my Aide's advice. Don Alfrede is -- LOCKWOOD (cuts in) A great believer in law and order. (at their look) He was head of your husband's secret police. (drily in response to Alfrede's reaction) You're very famous. (CONTINUED) 18. 63 CONTINUED: Alfrede bows his head in sardonic acknowledgment. ANTONIA (to Lockwood) And you're very knowledgeable... AIDE (coldly) If you'll excuse us now, Senor... we were having lunch. LOCKWOOD (drily) My apologies... He starts to the door. ANTONIA (calls) Mr. Lockwood... (as he turns) I enjoyed meeting you. Life sometimes becomes very dull. He smiles, exists. HOLD on Antonia. 64 OMITTED OPTICAL TRANSITION 65 INT. HOTEL ROOM - DAY Lockwood, his hair still wet from the shower, a large bath towel wrapped around his waist, aims the TV scanner. 66 INT. PROBE HEADQUARTERS - DAY & 67 INTERCUT AS DESIRED. Cameron and full staff sit at their consoles. LOCKWOOD (V.O.) Whoever's given the order to kill me is a little bit more desperate than I like. CAMERON You're obviously on the right track. (CONTINUED) 19. 66 CONTINUED: & 67 LOCKWOOD (drily) Yeah -- riding a funeral train. My own. CAMERON For your information, Lockwood, Senora Bravo took up temporary residence in Reno six weeks ago. Since then she's run up bills everywhere. The widow lives very high. LOCKWOOD (V.O.) You can't get any higher than the penthouse. CAMERON But there's the surprise, Lockwood. She has no visible assets. Nothing but a long list of creditors that stretches around the world. LOCKWOOD She can't be broke. The reports were her husband stashed away a lot of loot before they shot him. CAMERON I know what the reports were. That's how she's been getting away with living on credit since she went into exile. LOCKWOOD Doesn't add up. She jumps to Switzerland three days before the coup and doesn't take a dime out with her. She knew what was coming, Cam, yet she fled empty-handed. CAMERON There's something even more bizarre. Bravo was assassinated while enroute to the airport. His personal pilot managed to escape and land the plane in the States. (CONTINUED) 20. 66 CONTINUED: (2) & 67 LOCKWOOD So? CAMERON So Bravo owed our government millions of dollars from loans he defaulted on. We tried to recover some of it by selling the plane to Tri-West Airlines. Six months later they went bankrupt and the plane was picked up at public auction... LOCKWOOD By Neil and Harry Corbett! CAMERON Right! Lockwood grabs for some clothes, ducks behind the closet door and throws his towel over the TV scanner. LOCKWOOD Sorry, girls. The show is over. The girls in Probe Control react. OPTICAL TRANSITION: 68 OMITTED thru 70 71 EXT. HOTEL DRIVEWAY - DAY Lockwood is sitting in the driver's seat of an open dune buggy, waiting. He's putting suntan lotion on his nose, as Laura comes out of the hotel entrance, beaming at car. LAURA It's beautiful! Laura jumps in the car. LAURA Where are we going? LOCKWOOD The desert! (handing her the suntan lotion) Hold this for me, huh. (CONTINUED) 21. 71 CONTINUED: She puts it in purse as he puts the car in gear and pulls away. PAN BACK to N.D. sedan PULLING OUT to follow. OPTICAL TRANSITION: 72 EXT. DUNE BUGGY, DESERT ROAD - DAY LAURA Hugh... you think there's really a chance Neil's still alive? LOCKWOOD (flat, hard) If he isn't somebody's going to pay. I promise you. 73 INSERT A road sign indicates they are moving "North" on "Highway 395" 74 EXT. DUNE BUGGY - DAY & 75 Lockwood studies his rearview mirror as they drive. Sud- denly at his reaction: LAURA What is it? Lockwood seemingly adjusts rearview mirror, actually giving Cameron a scanner POV. INTERCUT with Probe Control as desired. LOCKWOOD We're being followed...by the Goldilocks twins and the big bad bear. Lockwood picks up speed. Laura turns to look. 76 TRAILING SEDAN Inside, the three men who tried to kill Lockwood earlier. 77 EXT. DESERT COUNTRY - DAY LAURA Who are they? (CONTINUED) 22. 77 CONTINUED: LOCKWOOD Hired killers... looking for me. He steps hard on the gas and veers sharply off the high- way onto a dirt road. LOCKWOOD Hang on! 78 LONG SHOT The dune buggy raises a trailing cloud of dust and bounces along the hole-pocked road like a spirited quarter-horse. The sedan is out of its element, sliding and veering dangerously. But the driver refuses to give ground. 79 DUNE BUGGY & 80 Lockwood swerves off the dirt road to a narrow trail. The terrain is uneven as a washboard and the buggy chatters like a machine gun. In Probe Control, Cameron and the others can see an ANGLED POV of the countryside bouncing wildly beyond the dune buggy. 81 THE SEDAN follows, the three men inside taking a terrible beating but staying on Lockwood's tail. 82 LONG SHOT The dune buggy makes a series of turns, each succeeding trail more treacherous than the last. But the sedan hangs tough, bowling over cactus, skidding around rocks, hurdling ditches and gaining ground. 83 EXT. DUNE BUGGY - SAND DUNES IN B.G. - DAY LAURA (looking back) You're not losing them. LOCKWOOD I will now. He plunges the buggy into a sea of rolling sand dunes. 84 THE SEDAN follows. 23. 85 LONG SHOT The sedan sinks into the soft sand and comes to a halt. The three men curse loudly as the dune buggy skitters over the horizon and disappears. 86 INT. PROBE CONTROL LOCKWOOD'S VOICE (for Cameron's benefit) All clear now. 87 INT. NARROW CULVERT - DAY Lockwood swings the dune buggy into the dark culvert, comes to a stop and turns off the motor. LOCKWOOD Scared? LAURA (meaning it) Terrified. A beat, then holding shaking girl: LOCKWOOD If you want out, Laura... I'LL take you back now. Put you on a plane to Stockton. A long beat, then: LAURA No... (another beat, then) and not just because of Neil. A beat. They stare at each other. 88 OMITTED thru 90 91 NEW ANGLE LAURA Where do we go from here? (CONTINUED) 24. 91 CONTINUED: LOCKWOOD South. LAURA But you figured Neil went down Northeast of Reno. LOCKWOOD So did everybody else. That's why there was no ground search in this direction. He puts car in gear, drives out. OPTICAL TRANSITION: 92 EXT. SALT FLATS - LONG SHOT - DAY They drive along the salt flats in the dune buggy. LOCKWOOD'S VOICE This is it. Alkalai Springs Salt Flat. 93 THEIR POV - SALT FLAT An EERIE WIND blows a constant note. The Flat stretches away to the horizon, like a gigantic concrete playground. LAURA'S VOICE It looks like a dead sea. 94 INT. DUNE BUGGY - DAY LOCKWOOD (driving) It probably was, at one time. But it's very solid now. LAURA It's a perfect runway. LOCKWOOD You could land a heavy jet there without any fear of damaging it. 95 EXT. SALT FLAT - DAY Lockwood studies the ground as they drive along at snail's pace. (CONTINUED) 25. 95 CONTINUED: LAURA I'm still confused. If Neil did land the plane here, what happened to it? LOCKWOOD All I'M interested in now is a sign the plane was here. LAURA What about tire tracks? LOCKWOOD Very possible. The plane was heavily loaded. Another thing. The night Neil took off there was no moon. It would have been impossible to pinpoint the Flat and land unless somebody knew he was coming and lit flares. LAURA Maybe they left some evidence behind. They drive out of SHOT. 96 INT. PROBE CONTROL Cameron watching MOVING POV from dune buggy. CAMERON If there is, it will be the first break you got on this case. 97 EXT. DRY TERRAIN NEAR ROCKS - DAY The dune buggy is parked in the b.g. Laura watches as Lockwood, kneeling, runs his fingers over the desert floor. LOCKWOOD No burn marks! Nothing! LAURA Let's make another run. (CONTINUED) 26. 97 CONTINUED: LOCKWOOD It's useless. Either I out-guessed myself or these people did the clean-up job of all time. 98 LOCKWOOD stands up, just as a reflection of the sun flashes from some nearby rocks. 99 THE REFLECTION flashes again. 100 BACK TO SCENE LOCKWOOD Don't make any sudden moves. There's somebody in those rocks. 101 OMITTED & 102 103 SHOOTING PAST FIGURE OF A MAN as he lowers binoculars and raises a rifle. 104 EXT. DESERT - DAY LOCKWOOD Start walking away from me, toward the buggy. LAURA I'd feel a lot safer with you. LOCKWOOD Do what I say! A sudden puff of dust EXPLODES at Lockwood's feet, followed by the report of the RIFLE SHOT, booming across the flat. 105 LOCKWOOD throws Laura to the ground and runs toward the rocks. A hail of BULLETS EXPLODE around him as he darts and dodges, hell-bent for the rocks. 106 SHOOTING OVER GUNMAN'S SHOULDER Lockwood appears, then disappears behind more rocks. 27. 107 LAURA watches from cover of buggy. 108 GUNMAN reloading, searching. LAURA Hugh... are you all right? Her voice ECHOES, booms. 109 INT. PROBE CONTROL Cameron reacts. 110 BACK TO LOCKWOOD getting to his feet again, on move. 111 GUNMAN searching, gun at ready. 112 LOCKWOOD makes it to rock shelf, darts around it charging Gunman from his blind side. 113 GUNMAN now revealed as Anderson, he whirls and spots Lockwood too late to get off another shot. Lockwood fells him with a flying tackle, knocking his rifle loose. 114 THE TWO MEN roll over and come up in karate positions, Anderson's con- siderably more classic than Lockwood's. They trade pun- ishing kicks, blows and falls, the two men evenly matched until Lockwood knocks Anderson senseless. Breathing heavily Lockwood aims scanner. LOCKWOOD Subject. One snake in the rocks. He focuses his TV scanner on Anderson's face. 28. 114A INT. PROBE CONTROL CAMERON Got him... freeze it. Anderson's face freezes on screen. 114B BACK TO SCENE Lockwood frisks Anderson, pulls a wallet out of his pocket and flips it open, focusing the TV scanner on each folder of identification. LOCKWOOD (reading) Carl Anderson. Check out the I.D. He drops the wallet on Anderson's chest and picks up the rifle, barrel first, to examine the stock. LOCKWOOD There's a good thumb print on the stock. I'LL sprinkle a little dust on it to sharpen it up. He pours some dust over the print and then holds it in front of the scanner. Anderson groans and opens his eyes. CAMERON (V.O.) Okay, Lockwood. Lockwood turns the rifle on Anderson. LOCKWOOD Who are you? Who are you working for? No answer. LOCKWOOD Why did you try to kill me? ANDERSON If I wanted to kill you, I would have. Tell the people you're working for to butt out before somebody really gets hurt. LOCKWOOD Tell the people you're working for to butt out before somebody really gets hurt. (CONTINUED) 29. 114B CONTINUED: No answer. 115 LOCKWOOD studies Anderson for a moment more and then walks a few paces uphill, the rifle held loosely, still pointed toward the ground. Anderson's car is visible on the far side of the hill in the b.g. Lockwood suddenly jams the rifle to his shoulder, SHOOTS out two tires, and flings the rifle away. It CRASHES on the rocks below. LOCKWOOD It's a long walk back to town. You'll have a lot of time to think about what you should have said. Lockwood heads down toward the flat and the waiting Laura. FREEZE FRAME: FADE OUT. END OF ACT TWO 30. ACT THREE FADE IN: 116 EXT. HOTEL ENTRANCE - DAY Lockwood and Laura pull up in the dune buggy and get out, unaware they are being watched. 117 ANOTHER ANGLE by one of the straw-haired, scowling men they eluded in the desert. 118 INT. HALLWAY - DAY & 119 INTERCUT with Probe Control when desired. Laura and Lockwood step out of the elevator and walk to their rooms. LOCKWOOD How do you feel? LAURA I'm still a little shaky. They stop at Laura's door. She opens it and turns to him. LAURA I'm almost afraid to ask what's next. LOCKWOOD (reassuringly) Get some rest. I'll pick you up for dinner around eight. A beat then Laura reaches up to kiss him. He hesitates, then responds. Laura exits. Lockwood crosses to his room and opens the door, with caution this time. 120 INT. HOTEL ROOM - DAY Lockwood looks around till he is satisfied no one is there, enters briskly. LOCKWOOD Cameron, I want to know the quickest and easiest way Corbett's plane could be dismantled and transported by ground. (CONTINUED) 31. 120 CONTINUED: CAMERON (V.O.) Dismantled? LOCKWOOD That's right. Taken apart. CAMERON (V.O.) Anything else? LOCKWOOD Yes, how long would it take, and what equipment would be required. A KNOCK on the door suddenly alerts him. He moves to it quietly, takes up a position behind the door and lets it swing open slowly. 121 ANTONIA BRAVO AND HER AIDE stand in the doorway looking in, puzzled. 122 ANTONIA enters. 123 FULL SHOT LOCKWOOD Senora... I'm very flattered. ANTONIA Since you didn't call, I decided to invite you to a small private dinner this evening in my suite. Are you free? Lockwood looks toward door. 124 LOCKWOOD'S POV - HALLWAY Antonia's Aide looks back at him, with no attempt to conceal his contempt. 125 BACK TO SCENE LOCKWOOD Does private include your Aide? ANTONIA If it makes you more comfortable, I'LL give him the night off. (CONTINUED) 32. 125 CONTINUED: Antonia and Lockwood study one another, appreciatively. LOCKWOOD But there will be friends? ANTONIA You are the only one I have invited... so far. LOCKWOOD Good. Don't bother with any more. Other people would only be distracting. She smiles. ANTONIA Please call at eight. LOCKWOOD I look forward to it, Senora. She nods, smiling and exits. 126 INT. HALLWAY Antonia and Aide start down the hall. Laura appears in doorway to her room, coming out. She stares after Antonia thoughtfully. MOVE IN on Laura and HOLD. OPTICAL TRANSITION TO: 127 INT. LOCKWOOD'S HOTEL ROOM & 128 He's finishing dressing, adjusting tie when: CAMERON (V.O.) Lockwood. INTERCUT with Probe Control as desired. LOCKWOOD Copy. CAMERON Here's that information you asked for. Griffin is punching up a series of buttons as: (CONTINUED) 33. 127 CONTINUED: & 128 GRIFFIN (briskly) Using standard acetylene equipment... both wings could be cut away in three hours and the fuselage severed in half that time. KURODA Two fifty-six foot flatbed trucks would be required to haul it away. RAMOS Total work time, providing three cutting teams are in operation simultaneously -- four hours. CAMERON That's it, Lockwood... Four hours! Minimum! 129 INT. HOTEL ROOM - DAY LOCKWOOD Corbett was only minutes from the Salt Flat when he radioed that night. That means the plane could have landed, been torn down, hauled away and all traces covered up before sunup the next day. CAMERON (V.O.) That would explain the plane's total disappearance. LOCKWOOD I need more information, but I'LL have to get it myself. A KNOCK. He starts for the door, opens it to reveal Laura. LAURA I came over to ask you how I should dress for dinner. Sloppy cowgirl or fancy? LOCKWOOD Laura, I'm afraid I'm gonna have to cancel out. Something's come up. (CONTINUED) 34. 129 CONTINUED: LAURA (hurt) What? Something like Antonia Bravo? LOCKWOOD Something I have to take care of myself. LAURA (sarcastic) I was looking forward to a dinner show, just for a break. But of course, finding Neil is much more important. LOCKWOOD Laura, whatever I do... I do for Neil. LAURA I'm sorry, Hugh. I know your life's complicated enough already. LOCKWOOD (half beat, then) Forget it. Do me a favor, though, huh? LAURA Name it. LOCKWOOD Check out all the heavy equipment rental outfits in Reno for a large order -- placed a day or so before Neil disappeared. Acetylene equipment, flatbed trucks... I'LL write it down. He crosses to the writing table. LOCKWOOD You're going to find out being an investigator can be very dull work. 130 INT. ANTONIA'S LUXURIOUS LIVING ROOM - NIGHT CLOSE ON Antonia, laughing. (CONTINUED) 35. 130 CONTINUED: ANTONIA You're very amusing, Mr. Lockwood. PULL BACK. LOCKWOOD I'm really not that amusing when you get to know me. (at her look -- hits her with it) For instance.., liars turn me off. ANTONIA (smoothly) And I've turned you off... A pity, because I do like you. LOCKWOOD And you are a liar. ANTONIA (fencing) Most women are. It's part of our charm... Still it doesn't prevent me from enjoying your company. LOCKWOOD (sardonic) I know... You've told me. I'm irresistible. ANTONIA (laughs lightly) Why then would I invite you to dinner? LOCKWOOD (hard) Because you're nervous. Because you already know all about me and what I'm doing in Reno! ANTONIA (rising) Now you've lost me. LOCKWOOD I know what's in that plane, Antonia! (CONTINUED) 36. 130 CONTINUED: (2) ANTONIA (harshly) What plane, Mr. Lockwood?! LOCKWOOD The one your husband used to own! Your men have tried to kill me to keep me from finding it! Antonia looks at him for a long moment, struggling re- gally with her anger. ANTONIA Mr. Lockwood! I am not a murderess! Nor do I know what you are talking about! And I resent your accusations! She gets up and storms away. Lockwood goes after her and grabs her arm. LOCKWOOD I also don't kill easy, Senora. And I mean to keep looking for that plane till I find it. Lockwood lets go of Antonia and she continues to the liquor cabinet. She pours herself a glass of brandy. ANTONIA My husband did have a plane, but it was lost, with everything else. Many things have happened around me lately that I do not understand... Don Alfrede insisted I come to Reno. But he wouldn't tell my why. Only that my life is in danger. Antonia sips on her brandy, then as though in reali- zation. ANTONIA Somebody really was trying to kill you. LOCKWOOD Yes. (CONTINUED) 37. 130 CONTINUED: (3) ANTONIA (with fervor) You must believe me. I had nothing to do with it. I will swear on my Mother's grave I never ordered my men to kill you... I want to show you something. Antonia leads Lockwood out of living room to the: 131 INT. BEDROOM - NIGHT The room is dark. Antonia leads Lockwood to the edge of the window and draws the drapes back carefully. ANTONIA Stand here and look out the window, to the other wing of the hotel. Third window to the right. He looks. LOCKWOOD All I see is a shadow. ANTONIA The man it belongs to watches me. Day and night he watches and follows me, wherever I go. Lockwood surreptitiously aims his scanner. 132 INT. PROBE HEADQUARTERS - NIGHT CAMERON Kuroda, switch over to infra- red. Zoom in. 133 OVERHEAD SCREEN & 134 The CAMERA ZOOMS IN on a darkened hotel room window and finds... CAMERON (V.O.) Lockwood: there is a man! And he's got binoculars! The man puts the glasses down. (CONTINUED) 38. 133 CONTINUED: & 134 CAMERON Anderson! 135 INT. BEDROOM - NIGHT ANTONIA You must believe me. LOCKWOOD This time I do, Senora. ANTONIA Who is this man? What does he want? LOCKWOOD I'm not sure. But it might be safer if you drew the drapes. Antonia draws the drapes. She turns to Lockwood, and slips her arm through his. ANTONIA You are very strong. I need that. She reaches up to kiss him. He turns it aside with: LOCKWOOD Another time, Senora. On her reaction: OPTICAL TRANSITION: 136 INT. HALLWAY - NIGHT Lockwood steps out of the elevator and walks toward his room. He remembers Laura, crosses to her door and is about to knock. He looks at his watch. It's very late. He crosses to his room and enters. 137 INT. HOTEL ROOM - NIGHT Lockwood goes to the dresser and sets up the TV scanner. LOCKWOOD Did you get anything on Anderson's I.D.? (CONTINUED) 39. 137 CONTINUED: CAMERON (V.O.) Six different bureaus in Washington know the name but none knows what he does or where he came from...or so they claim. Lockwood digs a pair of binoculars out of his suitcase. Then removes a small case containing various lenses, filters. As he attaches an infra-red filter to the binoculars: LOCKWOOD What about his picture, his fingerprints? 138 INT. PROBE HEADQUARTERS - NIGHT CAMERON His face is unknown, and his fingerprints have never been catalogued. He's a non-person. 139 LOCKWOOD ON CONSOLE LOCKWOOD He must be a government agent. His karate style was text-book, he has no fingerprint record and his identification is perfect. 140 BACK TO SCENE CAMERON I agree. But what government is he working for? Ours? Senora Bravo's? And why can't I get a fix on his picture? 141 INT. HOTEL ROOM - NIGHT LOCKWOOD Don't ask me. That's your job. He crosses to the window. CAMERON (V.O.) We're working on it. LOCKWOOD Then work faster. Lockwood focuses the binoculars. 40. 142 ANDERSON - THROUGH LOCKWOOD'S BINOCULARS He still maintains his vigilance at the window. From this ANGLE, a high-powered rifle is also visible, at his side. 143 BACK TO SCENE Lockwood moves away from the window, removes the infra- red lens from the binoculars, starts to replace it in special case, accidentally knocks over the case which falls to the floor, scattering lenses. Stooping, he picks one up, examines to see if broken, suddenly freezes. LOCKWOOD That's funny. He peers down through the lens at his desert shoes on the floor, near a chair. LOCKWOOD My shoes look blue through this ultra-violet lens, but when I look at them with the naked eye they're dusty brown. He looks through the lens again. 144 DESERT SHOES - THROUGH LENS The shoes have a bluish glow. 145 BACK TO SCENE The room telephone RINGS. Lockwood shoves the lens in his pocket and goes to answer it. LOCKWOOD Hello... Laura! (a beat, then very tensely) Where are you? I'LL be right down! He hangs up, fastens on the TV scanner and heads for the door. Exits swiftly. 146 EXT. POOL AREA - NIGHT It is deserted and dark, except for the murky underwater light coming up from the pool. Lockwood looks around cautiously and lets himself in the closed fence circling the area. 41. 147 ANGLE ON POOLSIDE BAR Lockwood approaches the house phone. Laura steps out of the shadows to meet him. She looks terrified. LAURA (whispering) I'VE been trying to reach you all night. LOCKWOOD You're sure you were being followed? LAURA Positive. I spotted one of them on the way back to the hotel. When I arrived the others were waiting in the lobby, so I ducked out here. LOCKWOOD (taut) You find out anything? LAURA I located the rental company where the order was placed. The trucks and the crane have been returned but the renter still has the acetylene equipment. LOCKWOOD Name used? LAURA Jones. A real phony. But the man gave me a description. Latin, slight build, gray hair... LOCKWOOD Antonia's aide, Don Alfrede... AIDE (O.S.) My congratulations, Mr. Lockwood. 148 WIDER ANGLE Don Alfrede steps out of the shadows. He is holding a champagne bottle and two glasses. AIDE I think a toast is in order, to celebrate your discovery. (CONTINUED) 42. 148 CONTINUED: He hands each of them a glass. LOCKWOOD You gotta be kidding. AIDE I insist. The Very Large Man steps out of the shadows behind Don Alfrede. He holds a gun. LOCKWOOD (shrugs) Whatever you say. AIDE Good. When they find you floating in the pool, a little alcohol in your systems will help convince the police it was an accident. He POPS the cork and pours. LAURA (on the verge of tears) I'm sorry, Hugh. I thought I had lost them. LOCKWOOD Never cry when you drink champagne, Laura. In one lightning motion, Lockwood swings his champagne into the eyes of the Large Man, clips him karate style, then knocks him sprawling. Kicking the gun into the pool, he turns to Don Alfrede who is frozen with fear and surprise, rips the champagne bottle out of his hand. LOCKWOOD To your health, Senor. He jams the bottle into Don Alfrede's stomach, forcing him back into a chair. Immediately Lockwood removes the filter from his pocket. As he raises it to his eye: LAURA What are you doing? A half beat more, then Lockwood, using the filter, looks at Don Alfrede's shoes. 43. 149 LOCKWOOD'S POV The shoes radiate a blue glow. LOCKWOOD Blue... 150 BACK TO SCENE LOCKWOOD (to Aide) You were out on the Salt Flats today. AIDE (coldly, having recovered his 'cool') Meaning. LOCKWOOD (hauls him out of his chair) Meaning, buenos noches, Senor. With that he tosses Don Alfrede into the pool. A beat more then as Lockwood and Laura turn to leave. FREEZE FRAME. END OF ACT THREE 44. ACT FOUR FADE IN: 151 EXT. OPEN DESERT, DESERT BUGGY - DAY Lockwood behind wheel drives. Laura next to him. They're on an unimproved dirt road. Laura, exhausted, slumps over on Lockwood's shoulder, asleep -- in spite of the constant bouncing. LOCKWOOD I'm headed for the Salt Flat again. I want a quick chemistry analysis before I get there. 152 INT. PROBE HEADQUARTERS LOCKWOOD (V.O.) What happens when you mix the fertilizer Neil's plane was carrying and the alkali on the Salt Flat? CAMERON Kuroda, re-run the Salt Flat tape for a chemical radiation reading. Kuroda activates several keys and reads: KURODA Primary analysis, fertilizer 92% organic lichens, seven plant varieties, 62% algae, 38% fungi. RAMOS Salt Falt alkali, 86% suplhates of sodium, magnesium and potassium. Cameron scans the analysis tape on the overhead screen. KURODA Mixture... insufficient to improve plant growth... LOCKWOOD (V.O.) What will it look like? RAMOS Lichen dye, on exposure to alkali will turn blue.., visible only with ultra-violet equipment. 45. 153 EXT. OPEN DESERT - DUNE BUGGY - DAY Lockwood smiles and pats the binoculars slung around his neck. He squints up at blazing sun, checks his pocket, hesitates, reaches into Laura's bag. Laura remains asleep. OPTICAL TRANSITION: 154 EXT. SALT FLAT - DUNE BUGGY - DAY Laura opens her eyes, stretches and realizes she's alone. LAURA Hugh? 155 LOCKWOOD A lone figure on the morning-cold flat, pans his binoc- ulars. LOCKWOOD Cam, there's a break, and then it trails off due east on a straight line. 156 THE BLUE LINE - THROUGH THE BINOCULARS 157 BACK TO SCENE as Lockwood continues to stare off. LAURA (O.S.) (distant) Hugh! Lockwood turns and breaks into a run for the... 158 DUNE BUGGY LAURA What's happening? Lockwood jumps in and starts up the motor. LOCKWOOD We are about to embark on a voyage of discovery, courtesy of the "blue line". LAURA Translation, please?! He puts the car in gear and they take off. 46. 159 EXT. SALT FLAT, DUNE BUGGY - DAY LOCKWOOD (tautly) Part of Neil's cargo must have broken open when the plane was being cut up and loaded on the flat-beds. LAURA The fertilizer. LOCKWOOD When the trucks moved out, they covered up every visible sign that was here. But the fertilizer drifted out behind them, leaving a bluish trail. LAURA Where? I can't see it. LOCKWOOD Neither could they. OPTICAL TRANSITION: 160 EXT. OPEN DESERT, DUNE BUGGY - DAY Laura is driving now, while Lockwood searches intently with the binoculars. The mid-day heat has wilted them considerably. LOCKWOOD Every time I make a brilliant discovery in this case it turns into a mirage. But not this time. LAURA Maybe we ought to go back to Reno and get some help. If you're right, there'll be guards and they'll be armed. LOCKWOOD We're too close to turn back now. Stop here. She brakes to a stop. 161 LOCKWOOD jumps out of the buggy and looks through his binoculars. LOCKWOOD I think I see something beyond those hills. 47. 162 FULL SHOT Lockwood scrambles up to some high ground and has another look. LOCKWOOD It looks like an abandoned quarry. There's a big storage shed just beyond it. CAMERON (V.O.) How big?! LOCKWOOD Big enough to hide a dismantled plane. And the location is ideal. It must be a hundred miles to the nearest telephone or paved road. CAMERON (V.O.) We've got your location pin- pointed. Hold there. We'll send help. LOCKWOOD Forget it! I tipped my hand last night. If Neil's still alive his time's running out fast. CAMERON (V.O.) (grudgingly) Well at least you're not quite on your own. We just received a rundown on Anderson. LOCKWOOD And? CAMERON (V.O.) It took some heavy pressure, but the C.I.A. finally confirmed Anderson belongs to them. We'll try to make contact. LOCKWOOD (dryly) Tell him not to get lost. 163 EXT. DESERT HIGH GROUND - DAY Lockwood and Laura lay flat behind a cluster of rocks, above and less than fifty yards away from the large storage shed in the background. Two ARMED GUARDS pa- trol the weathered building. Lockwood pans his binoculars. 48. 164 SHED INTERIOR - THROUGH WINDOWS - BINOCULAR VIEW A half-dozen Workers, using acetylene equipment, are systematically cutting the plane into small pieces. There are stacks of dismantled parts everywhere, with only a handful of larger, recognizable sections re- maining. A man enters with an Armed Guard and joins a cluster of workers. LOCKWOOD (O.S.) I see Neil! He looks okay! 165 BACK TO SCENE LAURA Thank God! Lockwood rises to a half-crouch. LOCKWOOD Stay here. She gets up too. LAURA I've been with you all the way from Stockton. You can't go down there now without me! LOCKWOOD (a half beat; then enigmatically) You've already done more than enough... Now for your sake... Wait here! LAURA (a half beat; then softly) Good luck. He holds her look for a second, then turns, moves quickly down the hill, darting behind rocks to maintain cover. 166 EXT. SHED - DAY An Armed Guard carrying a sub-machine gun paces some distance from the shed unaware of Lockwood in the back- ground, approaching him from his blind side. The Guard stops and looks in that direction. Lockwood drops be- hind the rocks. The Guard senses a suspicious movement, but after studying the rocks for a few seconds, he re- laxes again, pauses, lights a cigarette. 49. 167 LOCKWOOD advances quickly and quietly. 168 THE GUARD turns just as Lockwood reaches him. A sharp karate chop from Lockwood to the throat sends the Guard reeling and down; dropping his gun. Lockwood finishes the job with a numbing kick to the temple, and picks up the man's weapon. Pulling the Guard behind some rocks, Lockwood starts approach to shed once more. 169 EXT. DESERT HIGH GROUND Laura stares off, makes sudden decision. Reaches into her purse, removes a small pistol. A deep breath, then discarding purse, starts off after Lockwood. 170 EXT. SHED WALL - DAY Lockwood, staying flat against the wall, suddenly freezes at the SOUND of VOICES coming through partially opened, but chain-locked side entrance. AIDE (O.S.) (harshly) Well, Corbett? 171 LOCKWOOD'S POV - THROUGH NARROW SIDE DOOR OPENING Neil is standing among several workers in process room as they continue work with acetylene torches, etc. Alfrede and an Armed Guard with him. No pause as: NEIL I don't think you could put seventeen million bucks in that aileron, unless you wrote out a check. 172 NEW ANGLE AIDE (taut) Manuel Bravo hid that amount on this plane... and if we make a mistake, burn all that money because of your lack of cooperation... (CONTINUED) 50. 172 CONTINUED: NEIL (coolly) I'VE told you. I just fly 'em. I don't build them. AIDE (burning; to Guard) Take him upstairs! As Guard jams gun in Neil's stomach! AIDE (to Guard) In exactly five minutes shoot him. (to Neil, with shrug) If you suddenly have an inspiration, Mr. Corbett, that order can, of course, be rescinded. 173 BACK TO LOCKWOOD Once again starts off, looking for a way to penetrate into the shed. Over shot: AIDE (O.S.) Five minutes, Mr. Corbett. 174 EXT. ROCKS Laura reaches the place where Lockwood took the Guard. She stealthily moves past the unconscious man. 175 EXT. SHED - ON LOCKWOOD halts at a corner, peers around it. 176 FRONT OF SHED - LOCKWOOD'S POV Another Armed Guard sits in front doorway, his sub- machine gun across his lap, playing with the pebbles at his feet. He's about ten yards away and there's nothing but open ground between him and Lockwood. 177 LOCKWOOD suddenly laughs softly. 51. 178 AROUND THE CORNER The Guard reacts to the soft laughter, wafting across the open yard. He smiles and gets up to see what he is missing, shuffling to the end of the building. As he reaches the corner, Lockwood's hands dart out and pull him around. 179 THE GUARD riding the end of the whip, completes his turn and smashes into the wall, his mouth agape, his gun arm locked in the hands of Lockwood. Lockwood follows with an elbow smash deep into the man's stomach, and as he slides down the wall, a good old-fashioned punch to the jaw, for an eye-closer. Lockwood already armed, slides the Guard's gun into a pile of rubbish, hiding it. Then he edges around one corner toward the front doorway. 180 INT. SHED - DAY The building is open, airy, and its corrugated walls stained with rust. Lockwood enters cautiously and gets his bearings. The work is being done in a large high- ceilinged process room just off the front entrance. Lockwood has a look. 181 LOCKWOOD'S POV - PROCESS ROOM Don Alfrede continues to watch anxiously as a half dozen workers carefully cut and probe through the airplane's vitals. A cat walk extends around the perimeter of the room. The stairway starts up from a position close to the door. 182 BACK TO SCENE Lockwood edges into... 183 INT. PROCESS ROOM - DAY Hugging the wall, he inches his way to the stairway landing and up the steps. 184 LOCKWOOD in a crouch, sub-machine gun at the ready, tip-toes along the catwalk, to an attic-like room. 185 INT. ATTIC ROOM Neil sits on the edge of a cot. His Guard leans back against the door, gun aimed at Neil. He checks his watch. 52. 186 LOCKWOOD bursts into the room, sends the Guard flying. As the Guard wheels, recovering, Lockwood slams his weapon out of his hand with the butt of his own, then chops Guard down and out almost in the same motion. 187 BACK TO SCENE Neil is startled to see Lockwood and realizes what is happening. He rises swiftly. NEIL Hugh... how'd you get here?! LOCKWOOD (low) Quiet! Neil freezes. Apparently nobody heard the Guard fall, over the NOISE of the acetylene torches down below. Lockwood flips Neil the unconscious Guard's gun. LOCKWOOD There's no time to explain, Neil. Let's go. Neil grabs the gun and follows Lockwood out the door. 188 EXT. SHED Laura carefully approaching. 189 THE CATWALK - PROCESS ROOM IN B.G. BELOW As Lockwood and Neil move to the edge, they see: 190 ZOOM IN ON ANTONIA BRAVO She is flanked by the Very Big Man and his two straw- haired colleagues. All are armed. (CONTINUED) 53. 190 CONTINUED: Lockwood signals to Neil that they will drop down and take them by surprise. Lockwood jumps down onto a crate and shoots off a clip at the group. LOCKWOOD Don't move! Please. Take your guns out easy. Toss them on the ground. Easy! (To the men working on the plane) Cut off your torches. You guys in the back move up! (They start to move slowly) Move it! All of you put your hands behind your head. Come on! ANTONIA I should have known better then to underestimate you Mr. Lockwood. However, you don't strike me as a killer. Antonia nods to the Very Big Man who moves for his weapon. Lockwood shoots a round at their feet. LOCKWOOD I'd appreciate it very much if you don't test me again. 191 LAURA AT SIDE ENTRANCE She is aiming a gun at Lockwood and Neil. LAURA Drop your guns! NEIL (unbelieving) Laura? LOCKWOOD Forget it, Laura. It's not loaded. I took it out of your purse and unloaded it when you were sleeping. Go on, try it. (CONTINUED) 54. 191 CONTINUED: Laura pulls the trigger, but there's only a CLICK and another and another. She flings the pistol away. LOCKWOOD Now, now. Neil's the one who should be mad. (at Neil's look) That's right. It was Laura who set you up for an emergency landing, altered your instruments so you thought you were north of Reno instead of south, shorted you on fuel... NEIL (disbelieving) Laura...? LOCKWOOD (to Laura) That's what gave you away from the beginning. Neil's fuel gauge read full when he took off. But your monthly fuel consumption charges indicate he only had enough gas to get him this far. LAURA They made me do it, Hugh. LOCKWOOD You were bought. The same day Antonia finally realized where her husband's money was hidden! LAURA It's not true. LOCKWOOD And then there's me, Laura. How many times did you set me up for the kill, two, three times? NEIL Why?... Why?! LOCKWOOD Money. They all did it for the money! Luckily for you, they never found it. OPTICAL TRANSITION: 55. 192 CLOSE ON TURBO PROP A man's hand is dumping out packets of precious stones. PULL BACK to REVEAL the man is a Uniformed Officer. Anderson stands below him packing the jewels into cartons. Lockwood and Neil are nearby, watching. NEIL (in awe) Seventeen million bucks worth of precious stones and they looked in all the wrong places... LOCKWOOD Because they were looking for the wrong thing -- cash. The last of the jewels is stowed in carton. Anderson moves to Lockwood and Neil. ANDERSON (to Neil) Sorry you've been through such a difficult time, Mr. Corbett. As soon as we get the red tape cleared away you and your father will be reimbursed for the plane. Call it a Finder's Fee. He moves off. CAMERON (V.O.) (dryly) Well, Lockwood... I'm glad somebody's going to be paid. It renews my faith in free enterprise. Ignoring the crack: LOCKWOOD (to Neil) C'mon... We've got a long drive back to Reno. You'll want to call your father. As Neil nods gratefully and the two move off: FADE OUT. END OF EPISODE