SEARCH "IN SEARCH OF MIDAS" written by JOHN CHRISTOPHER STRONG III & MICHAEL R. STEIN A Leslie Stevens Production PROPERTY OF: WARNER BROS. TELEVISION 4000 Warner Boulevard FINAL DRAFT Burbank, California July 19, 1972 SEARCH "In Search of Midas" ACT ONE FADE IN: 1 EXT. JUNGLE - DAY (STOCK) A vast panorama of lush tropical landscape spreads end- lessly in this the "Great Orinoco Delta" of Brazil. The SOUNDS of tropical BIRDS, MONKEYS and the LIKE echo the coming of dawn. Suddenly, a distant EXPLOSION and a blinding FLASH. CAMERA QUICK ZOOMS IN on a billowing fireball deep in the jungle. REPORTER (V.O.) This is Charles Calisher, Network News, reporting from Brazil... 2 EXT. JUNGLE - AERIAL SHOT - DAY (STOCK) The aerial view shows the carnage of metal, burning gasoline and debris. CALISHER (V.O.) It has been almost seventy two hours since World Peace One, private jet of recluse electronical billionaire J. R. Devlin went down in the dense Orinoco jungle. 3 EXT. SEARCH MONTAGE - DAY (STOCK) A rescue team hacks its way through a wall of tangled jungle undergrowth, guided by air-to-ground walkie- talkies. CUT TO VARIOUS ANGLES of rescue planes search- ing overhead. (STOCK) Calisher's V.0. continues during all of the above: CALISHER (V.O.) The going here is next to impossible. Reconnaisance planes report no signs of life. The world holds its breath, as Man struggles to save one of his own against the wiles of nature. A question that will be answered in the next few hours... will J. R. Devlin be found alive.., or dead?! (CONTINUED) 2. 3 CONTINUED: CAMERA PULLS BACK TO REVEAL Calisher at his News Desk in the midst of a broadcast. A CHROMA KEY of the search plays behind him. CALISHER The question, of course, was answered. Devlin had bailed out and was rescued two days later by one of his own helicopters... The CHROMA KEY B.G. changes to various shots of HELICOP- TER FOOTAGE ("SEARCH" STOCK) plus LEAR JET flybys and landing. As Calisher continues, CAMERA ZOOMS PAST him to a sign on a chain link fence. It reads: DEVLIN ELECTRONICS CORP. KEEP OUT! ALL VIOLATORS WILL BE PROSECUTED PAN OFF the sign and ZOOM IN to an unsteady, LONG LENS SHOT of Ambulance Attendants, a well-tailored Man and two Security Guards loading a heavily bandaged form, in a basket stretcher, into a waiting ambulance. One of the Guards spots the O.S. cameraman and rushes toward CAMERA. The scene stops. CALISHER (V.O.) ... Here, we see Devlin's return to civilization, suffering from what his press secretary calls nothing more than a mild case of exhaustion and a few cuts and bruises. This, by the way, is the only public view of Devlin since the accident. He remains, as always, a man of mystery. As the film clip ends and Calisher finishes his common- try, we have PULLED BACK to REVEAL his picture emanating from the "SEARCH" MAIN SCREEN. "End RUN" flashes. KEACH End run! The screen now shows a view of DR. BARNETT 4 INT. PROBE CONTROL AND SCREEN CAMERON and the Probe Team are at their consoles standing by. INTERCUT with Barnett on screen. (CONTINUED) 3. 3 CONTINUED: (2) BARNETT Well, there you have it. Devlin hasn't been seen by anyone for the past eighteen months. CAMERON You think he's dead? BARNETT That's what the Kane Newspaper Syndicate thinks. They've hired Probe for an emergency search. They want to know once and for all: is Devlin still alive, dead, kidnapped? Whatever. We don't have time to brief one of the operational Probes. You'll have to assign your emergency stand-by man. CAMERON C. R. Grover. BARNETT Hm... yes... Grover... CAMERON Grover is our back-up Probe. Always briefed and ready to step in. BARNETT Assignment. Emergency Search: J. R. Devlin! Cameron punches up his communication module. CAMERON Search! 5 BEACH (STOCK) C. R. GROVER's life-style is established by his hobbies; surfing; horse-back on the beach; dune-buggy zooming around. As Probe Control crackles in, C. R. stops short. He exits shot, on run. 6 C. R.'S CAR (STOCK) The yellow Stingray zooms by, flat out. 4. 7 WORLD SECURITIES BUILDING (STOCK) The yellow Stingray arrives. C. R. now in his respect- able clothes, hurries inside. 8 PROBE SCREEN - INT. BUILDING HALLWAY (READOUT-LAS VEGAS) - DAY The corridor reflects an old world, marble elegance. A sign in the F. G. reads: PRELIMINARY HEARINGS - NO ADMITTANCE A uniformed Guard stands by the door ready to enforce it. The hearing room doors swing open. MAJ. GILES MATHEWS and JAMES BARTON hastily depart. They are flanked by a group of Reporters. REPORTER 1 Major Mathews. How come the Court is insisting on Devlin making a personal appearance? BARTON (terse) These hearings are supposed to relate to Earthquake Safety Standards. There is absolutely no reason why Mr. Devlin should be ordered to appear, personally. MATHEWS In my opinion, it's high-handed, bureaucratic nonsense. REPORTER 1 Isn't it really because of Kate Dawes' column? MATHEWS A woman scorned, gentlemen, is hardly anyone to be taken too seriously. Mathews stops and addresses the group. MATHEWS Look fellas! Regardless of what you've read in Miss Dawes' gossip column, J. R. Devlin happens to be alive, well and in full control of his faculties (MORE) (CONTINUED) 5. 8 CONTINUED: MATHEWS (CONT'D) (homespun) He just happens to like privacy, and can afford it...! REPORTER 2 Are you saying that J. R. Devlin might be willing to stop construction on his new World Trade Center just to preserve his privacy? CAMERON (V. 0.) Freeze it. Right there. The film FREEZES. Cut back to C. R. and Cameron. CAMERON All right, Grover take a good look. This one's Major Giles Mathews. Chief Executive officer of Devlin Industries: everything Devlin does goes through him. A small white arrow pops on the screen and points to MATHEWS -- his name wipes on the screen -- then blinks I. D. POSITIVE: -- it then moves to BARTON -- name I.D. POSITIVE. CAMERON The other one's James Barton. He's Devlin's chief bodyguard. GROVER Looks like all chiefs and no Indians. CAMERON These men are Devlin's inner circle. GROVER He'd have to be out of his mind to throw away his dream of building a center for International Trade. CAMERON That happens to be a distinct possibility. Oh, by the way. You'll be working with Miss Dawes on this assignment. (CONTINUED) 6. 8 CONTINUED: (2) GROVER Ladies who write gossip columns can be pretty scary -- CAMERON If you lead a good clean life, I'm sure you'll survive. Outside of Barton and Mathews, she's the only person we know that can identify Devlin on sight. Moreover, her column is syndicated in eighty of Kane's publications. GROVER If we don't get on her good side, she writes us off. CAMERON We've already been in contact with Miss Dawes through the Building Commissioner's office. He's agreed to put you on as a special investigator. GROVER I'll do my best sir. Where do I ship my duff le bag? 9 EXT. SUNNY SKIES - 747 - DAY (STOCK) The huge 747 lifts effortlessly into the warming glow of the sun, which provides a golden halo round the great silver bird. CAMERON (V. 0.) She's staying at the La Sombra Beach Club in Acapulco. GROVER (V.O.) Did you say "beach?" 10 EXT. MARSHMALLOW CLOUDS - 747 - DAY (STOCK) CAMERON (V.O.) She's there to receive some kind of award. For newspaper work. GROVER (V.O.) "La Sombra"... sounds like one of those sleepy little resorts... with riptides, sharks... (CONTINUED) 7. 10 CONTINUED: The jet soars southward in a wide, banking turn. DISSOLVE TO: 11 EXT. ACAPULCO (STOCK) A kaleidoscopic MONTAGE of airport landing and carefree Acapulco life. Zippy LATIN MUSIC to cover as the scene changes from day to night. 12 EXT. LA SOMBRA BEACH CLUB - (INTERCUT AS NEEDED WITH P.C.- NIGHT) Tiki torches blaze in the indigo balm of the tropic night. The place is aglitter with vacationing members of the jet- set's Beautiful People. They dine, dance and revel. As the CAMERA PANS the area, we PULL BACK to REVEAL the Probe Screen. MUSIC, LAUGHTER and the SOUNDS of the SURF are an eerie counterpoint to Probe's super electronics. CAMERON (V.O.) It certainly doesn't look like a sleepy little resort. 13 ANGLE - GROVER He is seated resplendent in slacks and open sport shirt, as he takes in the view. The scanner glistens as Grover's golden medallion. CAMERON (V.O.) Grover. See if you can contact Miss Dawes. GROVER I can't. She's picking up her 'Gabby!' CAMERON (V.O.) Her what? C. R. hesitates a moment as two Tourists go by. GROVER Gabby, the gossip columnists equivalent of the Oscar. I left a message for her to meet me on the patio for champagne and lobster Teriyaki. (CONTINUED) 8. 13 CONTINUED: CAMERON (V.O.) The way to a woman's heart. 14 NEW ANGLE A tall, feline, singularly attractive KATE DAWES enters to Grover's table. She sits down next to Grover. She is a woman of all occasions. He smiles his number one smile at her. Teeth glitter. KATE If you're not C. R. Grover, this may get embarrassing. C. R. You're safe, Miss Dawes. I'm C. R. Grover. KATE What does the C. R. stand for? C. R. Christopher... KATE ... and...? C. R. I never use it. KATE Don't tell me the R stands for "Robin." C. R. Now you know why I never use it. KATE I think it's winsome. I wish I had a cuddly name. "Kate Dawes" sounds like a tugboat. C. R. Sounds cuddly to me. Would you care for some goodies? C. R. offers some hors d' oeuvres. KATE Not yet. But I will let you help me work up an appetite on the dance floor. (CONTINUED) 9. 14 CONTINUED: GROVER Latin music can really make you ravenous. C. R. and Kate head for the dance floor, CAMERA SLOW ZOOMS through the candle topped tables to a CLOSE SHOT of a tall, hard RICHARD STRIKER, who watches C. R. and Kate with intense eyes. He sits at the bar. 15 DANCE FLOOR C. R. and Kate as they move through the other couples and seemingly melt into the Bossa Nova. KATE Tell me Christopher Robin -- C. R. You keep calling me by my right name, you'll force me to prove my manhood. KATE All right, Christopher Robin... 16 PROBE CONTROL MURDOCK Do you want me to report medical systems?... telemetry...? like male-female heavy breathing. CAMERON Never mind. Grover. This is not a dance-a-thon. You're on the clock, so kindly get it in gear! 17 BEACH CLUB PATIO C. R. Did the commissioner fill you in? KATE He knows I'll kill to get an exclusive. Especially when it could mean a Pulitzer Prize. C. R. Then you're willing to work with me? (CONTINUED) 10. 17 CONTINUED: KATE (AGAIN) I'll kill to get an exclusive. C. R. You know you have a shadow? KATE I didn't think it showed. 18 PROBE CONTROL CAMERON We read you Grover. Line him up on your scanner. GROVER (V.O.) The man at the bar. Tall. Third from the end. 19 PROBE SCREEN C. R. has aligned the scanner on the bar. CAMERON (V.O.) Kuroda. Zoom in. Keach, run an I. D. check. We ZOOM to a CLOSE SHOT STRIKER CAMERON Freeze and store it. 20 PATIO C. R. turns Kate to an inconspicious vantage point. C. R. (to Kate) Well? KATE Never saw him before. You sure he's my shadow? C. R. He hasn't missed a move. KATE Maybe he's just got good taste. (CONTINUED) 11. 20 CONTINUED: C. R. We'll know if he follows you to Vegas. KATE Vegas? My information says Devlin's in Latin America. C. R. Devlin may be stubborn, but he's not stupid. If he's still alive, he'll want his Trade Center completed. And, that means Vegas. KATE You talk as though you're just going to breeze in and have a friendly little chat with the man. C. R. Why not? We've got the weekend before the Commissioner continues the hearings. KATE At least no one can say you're not confident! C. R. It's not confidence; it's fear of failure. And when you've got it... flaunt it. The strains of the Bossa Nova fade to nothing, as the MARIACHES finish their set. C. R. and Kate join in the applause, then head for their table. On the way, C. R. detours to pass the man who has been watching Kate. C. R. stops. C. R. I beg your pardon? STRIKER just looks at him. C. R. smiles, winsomely. C. R. We're going to Las Vegas tomorrow... on the four o'clock plane. If you want, I can reserve a seat for you... mister... uh... mister...? I didn't catch your name? (CONTINUED) 12. 20 CONTINUED: (2) The man glares at him. Kate tugs at C. R. KATE Your goodies are getting warm. C'mon. C. R. Actually, it makes Miss Dawes very nervous to have you watching her all the time. I do wish you'd stop. I'd take it as a personal favor. STRIKER Buzz off. C. R. I beg your pardon? Did you say... 'buzz off'? STRIKER That's right, sonny. Buzz off. C. R. leans in to the man and get on eye level with him. C. R. I resent that. STRIKER You do? C. R. Yes. Striker suddenly sloshes the contents of his glass into C.R.'s face. C. R. does a slow burn. C. R. I wish you hadn't done that. He reaches across and hauls Striker off his chair, at the same time cocking his fist. Striker tries to break loose. 20A CLOSE - C. R. C. R. Buzz off, huh? I'll teach you how to buzz off! (CONTINUED) 13. 20A CONTINUED: A hand comes in and taps him on the shoulder. C. R. Not now, Kate. I'm riled for sure. The hand comes in and taps again. C. R. Kate, the goodies'll just have to wait. As he finishes the line, he turns to look at her. A large fist ENTERS FRAME traveling speedily. It connects with his chin and creams him. 20B FULL SHOT The impetus of the blow drives C. R. part way across the room. His assailant, a large BOUNCER type pursues him. He reaches down to grab C. R. C. R. does something mag- ical and the big Bouncer goes flying. As they beat on each other, Striker slips out of the room. In the mean- time, Kate is yelling and pointing at the disappearing Striker. The Bouncer straightens up. She clings to his back, one arm locked around his throat and the other one biffing him on top of his head. Aghast, he stares down at C. R. BOUNCER A thousand pardons, Senorita. She stops biffing him on the head and slides off. BOUNCER A thousand pardons, Senor. The big man is truly contrite. The people in the room come out from cover. C. R. looks up at the Bouncer and shrugs. Apologies accepted. He looks at Kate. She's worried. KATE Are you alright? C. R. I think so. But, I'm not so sure about my goodies... (CONTINUED) 14. 20B CONTINUED: He brings up a handful of mashed hors d'oeuvres. C. R. I might need some new ones. He gets to his feet and grins at her. Relieved, she smiles back at him. He's really very likeable... and attractive. MURDOCK Telemetry indicates, intense reaction to Grover's goodies! KATE I've got a better idea. Let's have a nightcap. CAMERON (V.O.) And I've got an even better idea. Grover, pack your duffle bag and grap the next flight back! 21 EXT. LAS VEGAS AIRPORT - NIGHT (STOCK) The big plane touches down amid the glitter of McClaren's runways. CAMERON (V.O.) Absolutely not! Grover! You are authorized to proceed with this course of action. Do you copy? C. R's reply: TWO BEEPS! CAMERON Negative? 22 EXT. LAST VEGAS STREET - NIGHT (SECOND UNIT) A long black limousine streaks through the rainbow sparkle of Las Vegas neon. CAMERON (V.O.) (defeated) All right Grover, you're the Probe in Command. Just keep in mind that Devlin's bodyguards mean business. (MORE) (CONTINUED) 15. 22 CONTINUED: CAMERON (V.O.) (CONT'D) Do you copy? (one beep) Yes, I should hope so. 23 INT. LIMOUSINE - NIGHT (PROCESS) The car is the essence of motoring splendor: Leather, Chenile, even a bar. C. R. prepares an aperitif for Kate. C. R. I'm sorry to keep feeding you Champagne. These limos don't come equipped with a beer locker. KATE C. R. Confidence is one thing, but crashing the Desert Spa, as J. R. Devlin, is insanity! CAMERON The lady has a point, Grover. You've already got a believable cover I. D. GROVER Look, Devlin dresses in casual clothes... he likes night life. (settling back with the drinks) What could be more natural, than for him and his ex-press secretary, to take a tour of the action. Kind of a... reconciliation. C. R. hands Kate her drink. KATE Grover. I told you. J. R. Devlin, never goes out on the town. C. R. But you've got to admit, the one thing you can predict about him is that he's unpredictable! Besides, it'll give me a chance to get my foot in the door. (CONTINUED) 16. 23 CONTINUED: CAMERON (V.O.) Just make sure it doesn't get stuck there. C. R. and Kate clink glasses as we: FADE OUT. END OF ACT ONE 17. ACT II FADE IN: 24 LAS VEGAS - NIGHT (MONTAGE) A glittery pastiche of gaudy-bright signs, whirling roulette wheels, tumbling dice, slots, Vegas revues with leggy showgirls and kinetic chorines kicking high. Inter- sperse with happy angles on C. R. and Kate as they have fun and play games. (FILM THEM against black and SUPER THEIR FOOTAGE, all the while buoyed along by the rocking, socking SOUND of MUSIC, Vegas style.) 25 INT. MAJOR MATHEWS' OFFICE - NIGHT CAMERA RACKING FOCUS through a large stack of $1,000 Casino chips, a Chemin de Per Dealing Shoe. C. R.'s hands in handcuffs. Tip up to C. R., glum. Then, CAMERA TILTS UP to a CLOSE SHOT of Major Giles Mathews. MATHEWS (V.O.) (over chips) Impersonating J. R. Devlin... winning eighty thousand dollars at one of his gaming tables. Yes, Mr. Grover... your calling card does command attention. We have PULLED BACK to REVEAL the spacious ebony and chrome confines of Mathews' office. Wherein, C. R. sits, handcuffed, but comfortable, in the presence of Mathews, JAMES BARTON, and GRADY, a Security Guard. MATHEWS With your credentials, I think it would've been more convenient for all concerned.., if you'd've simply called for an appointment. C. R. (wry) Of course. An appointment with J. R. Devlin... anybody can do that. MATHEWS You do have a point, Mr. Grover. C. R. (holding up his wrists) Anybody got a hacksaw? (CONTINUED) 18. 25 CONTINUED: MATHEWS Forgive me, Mr. Grover. It was merely a formality... He signals Barton to remove them. Barton gets the key from Grady and removes the cuffs from C. R.'S wrists. MATHEWS Well, Mr. Grover, after all this inconvenience, I'm sure it will seem quite pleasant when we get down to business. 26 MATHEWS' OFFICE Mathews settles back behind his desk. MATHEWS What can we do for you, Mr. Grover? C. R. To start with, you can arrange for me to meet J. B. Devlin. MATHEWS Oh, really! Just like that! C. R. Unless of course, Mr. Devlin's no longer interested in completing his building project. MATHEWS Tell me, Mr. Grover. Why are you so intent on making an example of Mr. Devlin. Is it his privacy that intrigues you? GROVER We're not interested in his privacy. Just his ability to meet the codes and standards set up in the public interest. MATHEWS Public interest, Mr. Grover. Certainly you're aware of his background, aren't you? (MORE) (CONTINUED) 19. 26 CONTINUED: MATHEWS (CONT'D) His efforts in the areas of world peace through communications. No, Mr. Grover. I think the public interest could be best served, by a more careful scrutiny of Kenyon Wade, Northwest Building Contractors. C. R. J. B. Devlin would never let people like that take over his building. MATHEWS Take over? C. R. If Devlin refuses to appear for the hearing, he forfeits license to build. That means, he'll meet with me or the Commissioner by Friday. And since privacy is so important, I'm first choice. MATHEWS There's no arguing with logic, Mr. Grover. But, then again, I'm not the one who needs convincing. C. R. You can relay the message. MATHEWS But, I can't guarantee how successful I'll be. J. R. Devlin has a mind of his own. And, as they say... I'm only number two. C. R. Then, you'll just have to try harder. Mathews starts around the desk to bid C. R. farewell. MATHEWS Oh, one more thing, Mr. Grover. How does one go about winning thirteen straight hands of Chemin de Fer? C. R. I carry a good luck charm. (CONTINUED) 20. 26 CONTINUED: (2) MATHEWS I'll have an answer for you as soon as possible. Grady. Show Mr. Grover to the elevator. C. R. and Grady exit. 27 POV AT ELEVATOR C. R. and Grady go to the elevator. Grady takes a key from his keyring and opens the elevator signal box. He presses the elevator call button - all under the gaze of C. R. .The doors open and they enter. The doors close. 28 INT. MATHEWS' OFFICE Mathews returns to his desk. BARTON Well, what do you think? MATHEWS I think you'd better run a thorough check on Mr. Grover through the Commissioner's office. Mathews takes a key from his key chain, and unlocks a desk drawer. He takes from it, a small 'Beep Tone' Oscillator. BARTON What about the lady? Mathews goes around his desk to the steel doors. MATHEWS Knowing Miss Dawes, I'm sure it would be a good idea to keep an eye on both of them. Mathews waits for Barton to leave the room, then places the oscillator near the seam between the doors. 29 INSERT - THE DOORS The oscillator sends a modulating tone signal to a circle of small holes at the door's seam. 30 BACK TO ANGLE The, steel doors slide open, and Mathews disappears therein. OPTICAL TRANSITION: 21. 31 INT. KENYON WADE'S BILLIARD ROOM - NIGHT The room is the epitome of venerable Victorian elegance: Palms, wing chairs, pegged floors and mirrored walls. An ornate pool table can be SEEN in the b.g. A glass case along a wall contains a number of beautiful orchids. Other orchids bedeck the room. A BUTLER prepares a later dinner, while Kenyon Wade sits comfortably in one of the wing chairs reviewing some documents. The TELEPHONE RINGS, and the Butler answers it. BUTLER Mr. Wade's residence. May I ask who's calling, please? Just a moment, I'll see if he's available. The Butler puts the phone on hold. WADE Who is it, Jimmy? BUTLER He won't give his name, sir. Says to tell you he's one of Mr. Devlin's associates. WADE Oh, yes. Thank you, Jimmy. Wade comes to the telephone, and the Butler starts back to finish preparations for the meal. WADE Oh, Jimmy. Why don't we hold up on that for a few minutes. Butler goes. WADE Hello, yes. No, no, I'm sure it's important. Go ahead. C.R. Grover? No, I don't think I have. Look, don't worry about it. As a matter of fact, things couldn't be working out better. Just... just relax! I'll talk to you later. Wade hangs up, and goes to the bar for a drink. WADE (talking to someone we do not see) Well, Richard. It seems our questions have been answered for us. (MORE) (CONTINUED) 22. 31 CONTINUED: WADE (CONT'D) The gentleman's name is Mr. Grover. He's been sent here by the Building Commissioner to personally verify J. R. Devlin's health, and state of mind. Quite frankly, I think we should meet with Mr. Grover as soon as possible. Don't you? CAMERA ZOOMS PAST Wade to the reflection of a familiar face in the mirror behind the bar. It is that of Richard Striker -- last seen at the La Sombra Bar, in Alcapulco. 32 EXT. LAS VEGAS STREET - NIGHT (SECOND UNIT) A series of fabled marquee light the background and the limousine speeds by. 33 INT. LIMOUSINE - NIGHT (PROCESS) C. R. and Kate relax in the luxury of the moment. The car stereo sets a romantic mood. The heavily tinted windows allow only a minimum of street glare. KATE So you walk into the Lion's den, and instead of being mauled, you come out with the Presidential suite at a cut rate, and the Major wrapped around your little finger. C. R. The first rule of thumb, for a good investigator, is to go after the whales, not the minnows. KATE There's always the possibility that our fish is already on ice. CAMERON (V.O.) Grover, forget about fishing. We've got a make on your friend from Acapulco. His name's Striker, Richard T. He used to be a 'Bag-Man for the syndicate. He's now vice-president for one of Kenyon Wade's companies. 23. 34 EXT. STREET - ANGLE ON THE LIMOUSINE - NIGHT - (SECOND UNIT) The limousine suddenly veers off the Strip, and onto a narrow residential road at speed. 35 INT. LIMOUSINE - NIGHT (PROCESS) C. R. and Kate have been jostled into one anothers arms, and are made aware of why there are no limousine races. KATE I've heard of courtesy corners, but this is ridiculous. Where did this guy learn to drive -- the tank corps? C. R. I wonder if he can handle a dunebuggy? 36 EXT. STREET - NIGHT (SECOND UNIT) The limousine streaks by at speed -- the area becoming more rural. 37 PROBE CONTROL MURDOCK We're picking up an alert on vital signs. The chauffeur is red-lining in more ways than one. 38 INT. LIMOUSINE - NIGHT (PROCESS) A suspicious C. R. tries to lower the window partition between them and the chauffeur. It won't work. C. R. (into phone to chauffeur) You're a great driver but we don't have a roll bar. C. R. tries the windows. They're inoperative. CAMERON (V.O.) Grover! What in blazes is going on? Then the door handles. C. R. tries them. They don't work. (CONTINUED) 24. 38 CONTINUED: C. R. They sure don't build 'em like they used to. KATE What do we do? CAMERON Grover? Are you all right? C. R. Since We're being taken for a ride, the best thing is to sit back and enjoy it. FREEZE FRAME: OPTICAL EFX. FADE OUT. END OF ACT II 25. ACT III FADE IN: 39 EXT. KENYON WADE MANSION - NIGHT (SECOND UNIT) The limousine winds its way through a stately private driveway, and comes to rest in front of Kenyon Wade's Georgian mansion. 40 ANGLE - BILLIARD ROOM - NIGHT The Butler shows C. R. and Kate into the room. WADE greets his guests. C. R. looks about... orchids every- where. WADE Ah, Mr. Grover. Miss Dawes. I'm delighted you could accept my invitation on such short notice. KATE Kenyon. There was no invitation. Just a wild ride over bumpy roads. WADE I'd reprimand the chauffeur, Kate. But, efficient help is hard to come by. C. R. Looks like you two are old friends. KATE Acquaintances. Kenyon, and I, just don't seem to agree... on anything WADE My loss, and your gain, Mr. Grover. Shall we have a drink? I under- stand, you gave quite a performance this evening, Mr. Grover. C. R. Yes, I do impersonations. WADE I would've loved to have seen the Major's face after your adventure with his croupier. (CONTINUED) 26. 40 CONTINUED: Striker enters the room. C.R. pans him in. CAMERON (V.O.) (sees Striker) Look who we have here, with a nice Acapulco tan. WADE May I present Richard Striker, one of my vice-presidents in charge of acquisitions. C .R. (easy) We've already had the pleasure. STRIKER Mr. Grover. Miss Dawes. Wade goes behind the bar to fix drinks. WADE He's one of the reasons why you're here. C.R. One of? WADE A sort of celebration for both of us. Wade pours champagne into long stem cut-crystal goblets. WADE A newsworthy one, Kate. KATE Is this an exclusive, Kenyon? WADE Aside from Richard, you're the first to know. Our company is undergoing a policy shift. In the next few months we'll be divesting ourselves of our leisure time and heavy construction projects. Hence, the celebration. Through you we would like to officially withdraw our complaint and our bid from the Commissioner's consideration. (CONTINUED) 27. 40 CONTINUED: (2) Wade poises for a toast. WADE To the completion of J.R... Devlin's new World Trade Center. 41 EXT. STREET - ANGLE THE LIMOUSINE - NIGHT (SECOND UNIT) As it glides effortlessly through the Las Vegas night. KATE (V.O.) Well, what do you think of Kenyon Wade? 42 INT. LIMOUSINE - NIGHT (PROCESS) C.R. and Kate are headed back to the Desert Spa. C.R. drives. The same dreamy station lilts in STEREO. C.R. No hearings; no Devlin. That is... if Wade's really leveling with us. The CAR TELEPHONE RINGS, catching Kate and C.R. KATE Who do you think it could be? C.R. If we catch a real break... J.R. himself. C.R. answers phone. 43 INT. MATHEWS OFFICE - NIGHT Mathews and Barton are at the desk. MATHEWS Mister Grover. Major Mathews. I've got some good news for you. Mr. Devlin has decided to grant your interview. The invitation also includes Miss Dawes. 28. 44 INT. LIMOUSINE - NIGHT (PROCESS) C.R. is no longer on the telephone. C.R. (to Kate) ... With the proviso, that you don't publish one single word. KATE You've got yourself the original, one and only, super silent, gossip columnist. MURDOCK (V.O.) Her pulse and respiration indicate probable big, fat lie. 45 INT. ALCOVE - WADE'S MANSION - CLOSE SHOT - TAPE RECORDER CAMERA PULLS BACK TO REVEAL KENYON WADE listening to a two-way radio that is attached to the tape recorder, and other sophisticated equipment. C.R. (V.O.) Just remember, you're on your honor. Wade switches over to another channel, and picks up a microphone. WADE Where are they now? 46 INT. CAR - NIGHT (PROCESS) Danzig drives, and Striker rides shotgun. STRIKER (filter) Just turning back onto the strip near the old El Rancho. WADE (filter) Keep your distance, but don't let them out of your sight. 47 EXT. DESERT SPA HOTEL - NIGHT (STOCK) CAMERA ZOOMS to the circular penthouse. CAMERON (V.O.) Grover... don't you have the sinking sensation that it's all fallen into place too easily? 29. 48 INT. ELEVATOR - NIGHT C.R., Kate and GRADY the Security Guard, are in the Private, non-stop elevator to Mathew's office. CAMERON (V.O.) It's got to be some kind of trick. When you meet Devlin, keep him scanned long enough for us to run a complete set of identification tests. 49 INT. DEVLIN'S OFFICE - CLOSE SHOT - ELEVATOR DOORS SHOOTING from inside Devlin's office to elevator doors in Mathew's office. The doors slide open to REVEAL C.R., Kate, and Grady as they enter Mathew's office. As they cross Mathew's office and enter Devlin's, CAMERA ZOOMS BACK to include Barton and Mathews, who are waiting. Mathews greets them. MATHEWS Mr. Grover. Miss Dawes. C.R. Nice little office. The VIEWS of the office are of sophisticated elegance. At the far end of the office -- J.R. Devlin's desk and a bank of electronic controls beside it. Various areas of the hotel are monitored, as are stock quotations, etc. But no J.R. Devlin. C.R. You did say, we were meeting with Mister Devlin. MATHEWS Quite right. (to Barton and Grady) James, Grady... I'm sorry, but you'll have to wait outside... Mr. Devlin's "request." Grady leaves immediately. Barton exudes a look of dis- pleasure at the belittling request, but accedes. The steel doors automatically close as they pass through. MATHEWS Mr. Grover... If you'll sit here... And, Miss Dawes... (CONTINUED) 30. 49 CONTINUED: Mathews ushers them to a small semi-circle of seats near the center of the room. They sit as directed, and Mathews joins them. All three seemingly stare at a blank wall. C .R. Alright, I give up. What time does the feature start. A small flasher light on a panel between the seats acti- vates, and Mathews punches a button thereon. MATHEWS The curtain's just going up. 50 ANGLE - THE WALL IN FRONT OF C.R., KATE AND MATHEWS A panel rises to REVEAL a medium sized television monitor almost a miniature of Probe Control. A scrambled picture stabilizes, to REVEAL J.R. Devlin. He sits behind a modern desk, against a typical office b.g. MATHEWS Mister Grover. May I present J.R. Devlin. DEVLIN (futzed voice with sync lag) Mister Grover... Kate. 51 PROBE CONTROL CAMERON He's on T.V. Our scanner needs a physical presence to pick up vital signs. It can't read pulse, respiration, temperature, from a second generation T.V. image. 52 BACK TO SCENE DEVLIN It's good to see you, Kate. KATE You too, J.R.... 31. 53 PROBE CONTROL CAMERON We'll try for a voice print match-up, but his voice is probably too filtered for a positive I.D. DEVLIN (V.O.) What can I do for you? 54 BACK TO SCENE C.R. As of now, not much. DEVLIN I don't understand. C.R. Well, as of about twenty minutes ago, your competition formally withdrew their competition for the construction site. DEVLIN Kenyon Wade. C.R. He wished you luck. DEVLIN I appreciate their... stepping aside... As The Commissioner's representative, how do you wish to proceed? C .R. I'll need your signature. And, two witnesses to attest to its validity. CAMERON He's got to deliver, in person. DEVLIN Since We've gone this far, Mr. Grover. If you happen to have the necessary documents with you, we could do it now. (CONTINUED) 32. 54 CONTINUED: C.R. (fishing papers from his pocket) Boy scout motto, Mr. Devlin... CAMERON You've got him Grover. Congratulations. DEVLIN I never doubted your preparations, Mister Grover. Please place your initials, wherever my signature is required, and give the documents to the Major. MAJOR Mister Devlin will sign them, and you and Miss Dawes will act as witnesses. C.R. initials the documents, and gives them to the Major, who in turn, feeds them into the slot of an advanced copier. MAJOR We'll transmit them to Mr. Devlin via our Comsat Telecopier. He'll sign. And, in a matter of minutes you'll have an original copy of the original. CAMERON (V.O.) I might have known it. Devlin was one of the original designers of the Comsat relay system. DEVLIN (puts on glasses) Let's hope this resolves the problem once and for all. (signs) 55 INT. CASINO - CONFINED ANGLE - NIGHT C.R., armed with a cupful of quarters, operates a slot machine. INTERCUT SCANNER POV of cherries, etc. on Probe Screen. (CONTINUED) 33. 55 CONTINUED: CAMERON (V.O.) Grover... We've got to have another sample of his signature, to run a comparison. For all we know, that could have been anyone made up to look like Devlin. C.R. Another sample? Yes, sir. Line 'em up and you hit the jackpot. The Slot Machine windows do not echo the same sentiment... Lemon! Plum! Joker! C.R. exits. 55A CLOSE - SLOT MACHINE A hand COMES IN, puts a quarter in the slot, and cranks the handle. The machine pays off. As the player col- lects his quarters, PULL BACK to DISCLOSE Striker. He looks off and exits. 56 INT. CAVE INTERNATIONAL RESTAURANT - NIGHT Dishes, flambe, strolling violinists, waiters, and a MAITRE D', set the cut-crystal and candlelight b.g. as C.R. and Kate enter, and are seated by the Maitre d'. CAMERON (V.O.) Grover... Are you aware that you're still being chaperoned by your friend Striker? C.R. BEEPS once in reply. The Maitre d' hands C.R. and Kate menus. CAMERON (V.O.) Unless I miss my guess, the minute you try and leave, He'll be right behind you. The Maitre d' leaves. C .R. I hate to be a drag Kate. Would you mind if I left you alone for a minute? KATE With all these lecherous men around? (CONTINUED) 34. 56 CONTINUED: C .R. Tell them you've already got one. (confides) Look, Kate... I'm on to something. You can help me buy some time. C.R. shows Kate the key to Devlin's elevator. KATE Aren't I supposed to give you the key to my -- C.R. It's the key to Devlin's elevator. After the meeting I "borrowed" it from one of the Security Guards. KATE Mm... hm. Quick hands. C .R. Would you mind spilling the guacamole dip? KATE Spilling? C.R. I need an excuse to leave the table. KATE You could consider running out on the check. She does a deft job of guacamoleing him. KATE (CONT'D) Oh, I'm awfully sorry, here, let me make it worse. C.R. Thanks... no, it's alright. A cold shower ought to do the trick. Be right back. KATE In time for dessert? (CONTINUED) 35. 56 CONTINUED: (2) C.R. I wouldn't miss it. (he goes) C.R. leaves the table. As he goes, he spots Striker. 57 C.R. - TRUCKING SHOT C.R. removes the scanner from his watch fob and attaches it to his ring. He aims it behind him. 57A NEW ANGLE We SEE Striker moving after C.R. His air is casual, yet somewhat tense. 58 PROBE CONTROL - INTERCUT WITH PROBE SCREEN We SEE the scanner POV from C.R.'s scanner as he rounds a corner. Striker is framed on the screen. C .R. He should be right behind me. KURODA And closing fast. CAMERON See if you can lose him. 59 ANGLE - C.R. He BEEPS once in response to Cameron as he comes down the hallway. In the b.g., we SEE Striker following. He closes in. C.R. comes to a doorway. He stops, removes the scanner from his watch fob and puts it in his pocket. CAMERON (V.O.) Grover... what are you up to? Grover? C.R. enters the doorway. Striker follows him. 59A PROBE CONTROL KURODA Picture transmission out... CAMERON (annoyed, worried) I know that! He's put it in his pocket. (CONTINUED) 36. 59A CONTINUED: MURDOCK Both sets of vital signs... rapid adrenalin surge... 60 ANGLE - THE DOOR An off-stage GROAN and THUD are HEARD in rapid succession. CAMERON (V.O.) Grover! What happened? Grover -- what is going on? C.R.'S quick emergence tells us what transpired. He takes the scanner from his pocket and winks into it. 60A PROBE CONTROL INTERCUT Cameron with the Probe Screen on which we SEE a large closeup of C.R.'S eye. It winks. 61 INT. MATHEW'S OFFICE - NIGHT The elevator doors open, and C.R. slips into the darkened executive labyrinth. As he goes to the large metal doors which lead to Devlin's office, CAMERA ZOOMS PAST HIM to a well embedded electric eye. C.R. has unknowingly broken the circuit. 62 INT. BARTON'S OFFICE - CLOSE ON FLASHING INDICATOR CAMERA PULLS BACK to REVEAL the flasher, one of many on the hotel's Security Console (Dbl. from Devlin's office.) A Security Guard, Grady, and Wade's slender helper, Danzig, are at the console. Danzig is on the Intercom Phone. COLLINS, another Guard, stands nearby. DANZIG He just got off the elevator... Yes, sir. (turns to Grady) Fill in the log: "A prowler- on-premises report"... at 9:20 in the Major's office. Close it out at 9:32 with Building Commissioner's Investigator Grover... accidentally slain by Security Guards. Grady nods. The two Guards draw and check their guns. They depart. FREEZE FRAME OPTICAL EFX 37. ACT IV FADE IN: 63 INT. MATHEW'S OFFICE - NIGHT It's quite dark. The only illumination comes from the neon glow of the Vegas Strip outside. C.R. kneels in front of the stainless steel door which leads to Devlin's office, scanner in hand. C.R. No hardware this side. Looks like stainless. CAMERON You can forget about using your oyster knife on this one. C.R. (running his fingertips across the door) Hm... looky... there are some teeny holes about half way up near the jamb. (holds scanner up to see) 64 PROBE CONTROL Cameron's look to the screen intensifies, as the Probe Team swings into action. The faint image of C.R.'s reflection is SEEN in the brushed stainless. INTERCUT PROBE SCREEN as needed. CAMERON Kuroda. Switch to infra-red heat penetration maximum intensity. KURODA (punching up his power module) Maximum power. 65 PROBE SCREEN The door slowly changes colors, as the power booster peaks. The bright red image of an intricate mechanism APPEARS and vacillates in and out of focus. CAMERON Deep focus... and magnify. (CONTINUED) 38. 65 CONTINUED: The mechanism comes sharp and ZOOMS UP to REVEAL a small radio sound receiver and myriad electrical circuits. C.R. (V.O.) Is it a time lock? Combination? You want me to try a can-opener? CAMERON Griffin's working on it. We're getting an image. GRIFFIN (amazed) Custom job. Very neat. Frequency oscillator, connected to a circuit phaser, hooked up to a multi-bar locking device. C.R. Come on, Griff, I don't need a course in circuit diagrams. need a key. GRIFFIN That is correct. You need a pitch-tone key. Probably G-minor with triads -- 'A' sharp 7th, a 'C' 13th, and a 'G' minor ninth against a diminished 'D'. C.R. I didn't bring my guitar. GRIFFIN It would help if you had a frequency oscillator with a rheostat control. C.R. With a chaser of nitro-glycerine. Look... if it takes tone combinations to bust it open, try feedback. Modulate it through the pulse tones... CAMERON Kuroda? Can you patch it in? KURODA I'll wire it if Griffin can play it. (CONTINUED) 39. 65 CONTINUED: (2) GRIFFIN Why not? C.R. holds the scanner close. Probe Control THROBS with PULSATING MUSICAL TONES. The locking mechanism slowly turns. CAMERON Hold it closer. We've almost got it. The locking mechanism finally comes to a halt. 66 MATHEW'S OFFICE The stainless doors silently slide apart, and C.R. slowly enters the room beyond. 67 INT. J.R. DEVLIN'S OFFICE Even in the semi-dark, the office is impressively elegant. The room's light source comes from the far end behind Devlin's giant walnut desk. The back of an executive chair faces C.R. from behind the desk. CAMERON (V.O.) Murdock reports one hot set of vital signs... dead ahead. C.R. hesitates for a moment, then goes to the desk to see if anyone's in the chair. 68 PROBE SCREEN CAMERON (V.O.) Go easy, Grover. It might be a trap. We see the chair looming closer. MUSIC SCORE BUILDS. 69 INT. ELEVATOR - GRADY & COLLINS They ride Devlin's private shuttle to a deadly rendez- vous. 70 DEVLIN'S OFFICE CR. rounds the corner, and stops. CAMERA PANS to his POV of J.R. Devlin. (CONTINUED) 40. 70 CONTINUED: C.R. Mister Devlin, I presume. Devlin regards C.R. without surprise. DEVLIN My compliments, Mr. Grover, on your novel approach to difficult ... "problem solving". Devlin sheaves some documents, and comes to greet C.R. DEVLIN (taking off glasses) Tell me, Mr. Grover, why have you gone to such swashbuckling lengths? Wasn't my word and my signature good enough? C.R. Mister Devlin, for all I know your picture could have been advanced computer animation. It's a case of not believing everything I see on television. DEVLIN What you see is what I am. But I congratulate you on being so knowledgeable. Our computer does have that capability. 71 PROBE CONTROL Murdock frowns, tenses. Punches buttons. MURDOCK I'm getting another reading... high adrenalin surge... CAMERON (warning) Grover... 72 DEVLIN'S OFFICE Too late. Suddenly, Grady is there with his pistol. He points it at C.R. as he enters. Collins follows him in. (CONTINUED) 41. 72 CONTINUED GRADY Alright... hold it right where you are. DEVLIN It's alright, Mr. Grover is my guest. You can report back to your station. Without warning, Grady swings the gun to cover both of them. DEVLIN I said, it's alright. You can go now! GRADY Just stay right where you are! Collins, frisk 'em. Collins moves forward. DEVLIN Excuse me, Mr. Grover. I seem to have fallen prey to my own anonymity. Please, bear with me? He reaches for the intercom phone and distracts Grady momentarily. Grover, seeing his chance, tries a karate kick at the pistol. It is a glancing blow and only knocks Grady off-balance. The GUN FIRES. C.R. jumps Grady and they both go down in a furious tussle. Collins menaces Devlin and then turns his attention to the two combatants, attempting to draw a bead on C.R. Grady is a tough opponent and fights viciously. 73 PROBE CONTROL Cameron reacts to the wildly swaying POV on the Probe Screen being transmitted from C.R.'S scanner. 74 DEVLIN'S OFFICE C.R. throws Grady halfway across the room, using some arcane kind of flying mare. He turns to face Collins. Collins, using a two hand hold, is aiming his pistol right at C.R.'S breadbasket. Devlin punches a button on his console. The lights go out. The flash of the gun muzzle and the RINGING SOUND of the shot fill the blackness. Silence. 42. 75 PROBE CONTROL Cameron leans forward, tensely. SOUND of a body falling. CAMERON Grover! COLLINS (V.O.) Grady? You alright? VOICE (breathing hard) Yeah... COLLINS (V.O.) I think I got him. Wait a second. I'll get the lights. SOUND of footsteps. Cameron sags. 76 DEVLIN'S OFFICE The lights come on. Collins straightens up from the console. As he turns to look, PULL BACK to DISCLOSE C.R. standing before him, grinning. Collins starts to raise his pistol, but C.R. drives a fist into the man's midsection like a pile driver. Collins jackknifes. C.R. brings one up from the floor and straightens him out again. Collins lands next to Grady. C.R. nods, satis- fied and looks around. Devlin is nowhere in sight. The stainless doors are open. C.R. Devlin's gone... must've split when the lights went out. He spies something on Devlin's desk and checks it out. He adjusts his scanner and points it down. C.R. Take a look at this... all blank checks. All signed. We're set for life. 77 INSERT - CHECKBOOK We SEE that every check in the book bears Devlin's signature. And PULL BACK to REVEAL we are the PROBE SCREEN. 43. 78 PROBE CONTROL CAMERON Tear out two, partner. Kuroda. Run a comparative analysis. KURODA Roger. 79 DEVLIN'S OFFICE C.R. Well, looky here... CAMERON (V.O.) What? What? C.R. has spotted something on the console. 80 INSERT - CONSOLE (TIEDOWN) A row of rectangular readout repeaters. Each one is labeled: "MATHEWS' OFFICE", "BARTON'S OFFICE", "CASHIER", "SECURITY ONE", "SECURITY TWO", "SECURITY THREE", "COMSAT RELAY", "AUX. GEN.", "BOARD ROOM", "RECEPTION", "N.Y.", "PARIS", "LONDON", "GENEVA", "MILAN", "PRIV. ELEV." All the little repeaters show idling patterns... except for one. "PRIV. ELEV." flashes computer style numbers in a descending pattern: "5 - 4 - 3 - 2 - 1." Then, "PARK LEVEL 1" prints out on the repeater and flashes on and off. 81 BACK TO C.R. He takes off. CAMERON (V.O.) What now? 82 PROBE CONTROL C.R. (V.O.) I'm going to find Devlin! 83 INT. BASEMENT GARAGE - NIGHT ANGLE on elevator doors. They open and C.R. barrels out. C .R. Devlin? Devlin, are you alright? It's me, Grover. Where are you? Devlin? (CONTINUED) 44. 83 CONTINUED: C.R.'S voice echoes throughout the parking complex. There are only a few cars parked, but no Devlin. Then, O.S., a CAR ENGINE STARTS UP. C.R. reacts and heads for the sound. He rounds a structural pillar. Headlights shine on him suddenly and we HEAR the SCREECH of peeling tires. C.R. looks off. 84 POV Headlights flare as a sedan heads for CAMERA. 85 BACK TO C.R. He makes a mad dash back the way he came. The speeding car bears down upon him. He dodges it at the last split- second. The car ZOOMS past him, tires SCREECHING as it stops, backs and turns to head at him again. C.R. heads for the elevator. 86 ANGLE ON ELEVATOR C.R. fumbles with the key to the elevator. The car is heading straight at him again. He gets the key to the lock, but has to take off again, before he can turn it. The car HOWLS past as it tries to nail him. He trips and falls. The car bears down on him. He rolls out of the way, just in time, and looks off after it. 87 POV CAR It's not Devlin driving. It's slender old Danzig who's turning it around and heading back for a final try. 88 BACK TO C.R. He gets up and runs like his life depended upon it. Which it does. He reaches the elevator, turns the key and waits for the door to open. The car closes in. The doors open and he springs inside. The car flashes past. He's safe now. He pokes his head out. The car disappears up the ramp and out. He sighs, presses a button and the elevator doors close. 89 INT. CAVE INTERNATIONAL RESTAURANT A slightly disheveled C.R. returns to the table to rejoin Kate. She is conspicuously missing, except for her hand- bag, on which rests a delicate cymbidium orchid. C.R. picks it up, and concerned, eye-searches the room for her. The Maitre d' is concerned. (CONTINUED) 45. 89 CONTINUED: MAITRE D' Something wrong, sir? C.R. The lady I was with... Miss Dawes... MAITRE D' Oh yes. She and some gentlemen friends left for the Casino... for some light gambling. C.R. Gambling? (checks the purse, frowning) The Maitre d' leaves. Grover picks up the orchid. 90 INT. CASINO - ANGLE - C.R. SLOT MACHINE C.R. feeds quarters, and pulls the lever. INTERCUT C.R. POV of slot machine read out on Probe Screen. He places the orchid on the machine. CAMERON I think our horticulturist friend, Mr. Wade, is intent on drawing the bee to the honey. C.R. Yea, but why? CAMERON Our Wall Street Computers indicate that Wade's company is very shaky. The stock has dropped over seventeen points in the past three days. They can't meet their creditors. C.R. Maybe Kate has something on them. A cocktail WAITRESS watches C.R. talk to the slot machine as he continually feeds the quarters. She interrupts his one-sided conversation. WAITRESS If it answers back, it's time to quit. (CONTINUED) 46. 90 CONTINUED: C .R. It's okay... We're engaged. (indicates orchid) She gives him a look and goes. C .R. I'm worried about Kate. She left this orchid on her purse. It's the kind Kenyon Wade grows. CAMERON "Cymbidium." C.R. Sounds like a winner. C.R. slips one last quarter into the machine. Again, the Probe Team is left with... Lemon, Plum and Joker. 91 OMITTED 92 INT. WADE MANSION - BILLIARD ROOM We are in a CLOSE SHOT of an orchid, quite similar to the one attached to Kate's purse. CAMERA RACKS FOCUS to the door where C.R. appears with the protesting BUTLER at his heels. CAMERA PULLS BACK to REVEAL Striker and Danzig engrossed in a dart game and Wade racking up a game of pool. It is obvious that C.R. is expected. Iced beverages and heated chafing dishes com- prise a sumptuous buffet. Wade sees C.R. and goes to greet him. WADE Ah, Mr. Grover. C.R. Tell your security guard I'm expected. WADE It's alright, Jimmy, Mr. Grover is expected. C.R. walks in past Wade. WADE Would you care for some sherry? (CONTINUED) 47. 92 CONTINUED: C.R. You got anything on draft? WADE Caviar? Hors d'oeuvres? Petits Fours? C.R. I'm not sure I can handle hard stuff. C.R. is greeted by a chilling stare from Striker and Danzig. Striker has a "mouse" over one eye. WADE I believe you know Mr. Striker and, this is Mr. Danzig... another of our senior vice- presidents. C.R. Of course, Frank and Jesse. (to Danzig) I owe you one. WADE Now, now, Mr. Grover. You've already had quite a strenuous evening. Let's relax and be friends. C.R. Kate Dawes, Wade. Where is she? WADE Oh, yes, Kate. Believe me Mr. Grover, she's quite comfortable. And will remain so until you and I arrive at... Let's see, how shall I put it? C .R. A price. WADE Please, you make it sound like ransom. What I have in mind, is more of an exchange. Wade starts through the buffet, gingerly filling his pla (CONTINUED) 48. 92 CONTINUED: (2) C.R. Exchange? What for what? WADE In exchange for Miss Dawes... alive -- You help me acquire J.R. Devlin... alive. C.R. Swap Kate, for J.R. Devlin? For openers, I don't know where he is. WADE Don't you, Mr. Grover? According to our information. You've had a series of meetings with the elusive Mr. Devlin. C.R. picks up a cue, and breaks the rack. (Through balance of scene, C.R. will not relinquish a turn, and will clean the table. At end of conversation, he will make an incredible three cushion back shot removing all balls, including the cue from the table.) C.R. How come you want J.R. Devlin? WADE As I told you earlier Mr. Grover, We're no longer interested in the building site. Because, with your help... We're going to take over all of Devlin Enterprises... Completely. C.R. It might be easier trying to take over the government... completely! WADE Perhaps. If it weren't for you. But, you saved his life this evening. That makes him indebted to you... and, therefore ... accessible. C.R. pauses in his shooting for a moment's thought. Then starts again. (CONTINUED) 49. 92 CONTINUED: (3) C.R. Let's say we work out some kind of deal. What makes you think I won't try and make a better deal at the other end? WADE Two things. Miss Dawe's safety ... and yours. Now before that makes you angry, I'd like to show you our "incentive plan". Wade waves for Striker. WADE Richard. Will you bring me Mr. Grover's retirement portfolio? Striker brings a small black leather stock portfolio to Wade. Wade puts on his glasses and exposes its contents -- stock certificates. WADE You'll find there are two million dollars in securities here, Grover... in your name. C.R. Now, what if I'm not interested in retirement? WADE You will also find in amongst the certificates the latest actuarial tables on Accidental Household Deaths. C.R. That's the part about my safety. WADE And Miss Dawes... As they say... it's a deal you can't afford to refuse. Striker and Danzig interrupt their menacing dart game to observe C.R.'S answer. WADE Kate Dawes. Two million. And a long, happy life. Or... (CONTINUED) 50. 92 CONTINUED: (4) MURDOCK (V.O.) I'm getting an overload alert on Probe's vital signs... plus adrenalin build-ups from the others. CARLOS Confirm that. Peaks breaking up! CAMERON Careful, Grover. They mean business. WADE Well, Mr. Grover? C.R. What happens to Devlin? WADE I can assure you, J.R. Devlin will function as he always has. The only difference will be, it'll be under our supervision. Believe me, Mr. Grover, J.R. Devlin will never want for anything for as long as he lives. C.R. sinks the last balls on the table and racks his cue. C.R. I guess every man has his price. (checks certificates) This gets you a 99 year lease. (he pockets them - exits) 93 OMITTED FREEZE FRAME OPTICAL FX 51. ACT V FADES IN: 94 EXT. STREET - LIMOUSINE - NIGHT (SECOND UNIT) C.R.'s limousine streaks into the night. C.R. (V.O.) Stand-by Probe to Probe Control... I've contacted Devlin. He's willing to meet me half way. He's using one of his hangars as a test area. 95 INT. LIMOUSINE - NIGHT (PROCESS) A solitary C.R. is at the wheel. CAMERON We've got some bad news for you, Grover. We've got an exact match-up on Devlin's signature. C.R. Why bad news? At least we know We've got the genuine article and he's alive. CAMERON Negative. We don't know anything of the kind. There was no natural variance in the signatures. They were too perfect so they had to be mechanically reproduced. C.R. I see what you mean. We're right back where we started. Only this time Kate's life's on the line. CAMERON All you've got to do is convince Devlin, or whoever that is to act as bait to help save her. Then we spring the trap. C .R. (wry) I don't feel too convincing. Maybe I'd better just keep these certificates and retire. (CONTINUED) 52. 95 CONTINUED: CAMERON Wade thought of that. It takes two signatures to cash those... yours and his. 96 EXT. STREET - LIMOUSINE - NIGHT (SECOND UNIT) As Limousine speeds by and disappears into the night. We go OUT-OF-FOCUS and to BLACK. 97 INT. HANGAR STAGE - LOW WIDE ANGLE - THE STAGE DOOR The SOUNDS of Apollo 14 THUNDERING off the launch pad at Cape Kennedy, echo through the faintly flickering interior of the stage. The forty-foot high stage doors slowly open. For a moment, stands solitary in a slanting shaft of early morning sunlight that knifes onto the stage. The blast off is spectacular (STOCK). The Screen in Probe Control is filled by the entire spectacular. CAMERON Devlin's newest toy. His company is planning to launch a communications satellite. ANGLE C.R. He strains to accustom his eyes to the changing light as he searches the darkness beyond. The picture and SOUND TRACK suddenly stop. A voice errupts from the inner recesses of the hangar. DEVLIN There you are, Mr. Grover. Good morning. Over here, to your right. A small bank of house lights goes on. J.R. Devlin, sits within the custom leather luxury of a grouping of arm chairs near the back of the stage. C.R. goes to greet Devlin. 98 PROBE CONTROL Cameron and the Probe Team swing into action, at the sight of Devlin on the Probe Screen. CAMERON Carlos, Miss Murdock. Give him the full telemetry treatment -- head-to-foot, for medical cross comparison check. Keach, patch in to Batheseda Naval Hospital. 53. 99 BACK TO SCENE C.R. greets Devlin. C .R. Mr. Devlin. DEVLIN Launching tests. It takes a lot of power to put a relay station in orbit. C.R. (nods) Heavy... 100 PROBE CONTROL Murdock is perplexed. MURDOCK I think I'm picking up Reverb Interference on vital signs. CAMERON Grover. We've got an overlap on vital signs. Try a directional shift. 101 BACK TO SCENE Devlin throws a switch and the screen goes dark. DEVLIN Is everything co-ordinated? C .R. Mathews and Wade are set, and all systems are go. DEVLIN Just like an Apollo blast off. 102 PROBE CONTROL MURDOCK It's stabilized... and it's not interference. It's five new sets of vital signs. CAMERON Grover, I think your company's already arrived. 54. 103 BACK TO SCENE C.R. tenses slightly. DEVLIN Do you think our friend Wade will be prompt? C.R. From past performance, I'm sure he'll be early. From the shadows O.S. WADE'S VOICE (O.S.) Thank you, gentlemen... Wade, Striker, and Danzig step out of the shadows into the light. Striker and Danzig have their jackets open, REVEALING holstered hand guns. WADE I wouldn't want to be late for my first meeting with J.R. Devlin. So few people are accorded the privilege. Shall we go gentlemen! C.R. Wait a minute Wade! We made a deal. I've kept my part of the bargain. Now, where's Kate? As C.R. takes a step towards Wade, Striker and Danzig draw their guns. WADE (coolly) Steady, Grover. Mr. Striker has been asking for a chance to even the score. C.R. What about it Wade? WADE About what? C.R. Alright... if you want to play games, we'll just call off our deal. (CONTINUED) 55. 103 CONTINUED: WADE Over someone's dead body. C.R. I guess the next move is up to me. Major! MAJOR (O.S.) I wouldn't move if I were you! Wade smiles. C.R. smiles. WIDE ANGLE - THE GROUP. Mathews enters the FRAME and walks slowly towards the group, pistol in hand. 104 ANOTHER ANGLE TO INCLUDE C.R., WADE, MATHEWS, ET. AL. Mathews holds his pistol on the group covering all present. WADE I believe you know Major Mathews... My partner. Mathews turns the gun on C.R. and Devlin. WADE ... and Mr. Devlin's brother. (philosophically) Life is but a delicate balance of give and take, Mr. Lockwood. MATHEWS That's life J.R.! And, from now on, I'm taking... everything! DEVLIN But why? I've seen to it you've had everything. Wealth. Power. Even a name to be proud of. MATHEWS Can't you see! You've given Me! You've always given me, everything! Everything, except the credit for being as gifted and talented as you are. Mathews relieves the pent-up hatred and resentments of a lifetime of second-bests. (CONTINUED) 56. 104 CONTINUED: MATHEWS From now on, I'm the one who'll do the giving. No more orders. No more handouts. Wade places a consoling hand on Mathews' arm. WADE Major. Please, that's the past. What concerns us now is the future. Mathews breathes deep and composes himself. C.R. Yea, but who's? WADE I can see the headlines now. Billionaire recluse and two companions perish in desert. Bodies discovered by search party. Well now. Shall we? Wade alludes to the hangar door. CAMERON (V.O.) Grover... you've got to buy some time. We've called the police. They're on their way. C.R. Come on, Major. How long do you think they're going to let you stay alive? A witness to three murders? MATHEWS I'm touched by your concern, Mr. Grover, but Devlin Enterprises is much too complicated to run without me. C .R. Right now. But what about six months from now? These guys take over corporations like you change neckties. (CONTINUED) 57. 104 CONTINUED: (2) MATHEWS Let's just say, the stakes are high enough to be worth the risk. WADE Let's go, Grover. (to Striker) Richard, move him out. STRIKER (motioning with gun) You heard him. Let's move it. DEVLIN We won't be going anywhere unless I open the stage doors. They're electrically operated. For privacy. Devlin looks to Wade for permission. DEVLIN (to Wade) ... I don't think he could miss me at ten feet. Wade nods approvingly to Striker, who covers Devlin, as he goes to the control panel in between the rows of tufted leather chairs. Devlin reaches down and flicks a switch. The room is suddenly in darkness. Devlin has turned off the house lights. FLASHES of GUNFIRE pierce the darkness, aimed toward Devlin. WADE Don't shoot him! Stop! Richard. The lights. 105 ANGLE - THE CONTROL PANEL C.R. and Striker arrive at the same time. They struggle and fall against the control panel. The process projec- tor comes to life with a replay of Apollo 14 THUNDERING skyward in SLOW MOTION (STOCK). Striker and C.R. strug- gle in silhouette against the process throw. Wade, Mathews, and Danzig are unable to shoot for fear of hitting the wrong man. A roundhouse sails. One of the combatants falls. It is Striker. (CONTINUED) 58. 105 CONTINUED: WADE (straining to see) Richard? Richard... C.R. dives for cover behind the chairs, as BULLETS RIP into the tufted chair backs. 106 VARIOUS ANGLES - C.R. (ACTION SEQUENCE) The hunted becomes the hunter and foils his adversaries. Fleeting shadows flash in front of the screen. GUNS FLASH. The ROAR of the blast-off is deafening. Danzig looks for C.R. C.R. slides one of the chairs into Dan- zig, toppling him into a cluster of century stands and lights. C.R. fells Mathews. He swings a mike boom into his chest. As Wade SHOOTS at a shadow on the screen, C.R. aims a giant 10,000 kilowatt stage lamp at the muzzle flash. The lamp flashes on! Wade is blinded by the brilliant light. He FIRES wildly at the light, shielding his eyes, till his gun is empty. C.R. calmly appears at his side and takes the pistol from his hand. C.R. Ah-ah... OPTICAL TRANSITION: 107 INT. SOUND STAGE Wade, Striker, Danzig and Mathews are spread-eagled against the fender of Barton's security car. Barton covers them with his pistol. The police SIRENS WAIL ever closer in the distance. The hangar doors are open and sunlight streams in. C.R. (to Barton) You handle it with the police. I'll take care of Devlin. HOLD ON Barton and the others as C.R. exits shot. 108 INT. SOUND STAGE C.R. walks slowly into the vast expanse. In the distance, Devlin furtively talks into one of the telephones. C.R. sees Devlin's glasses on the floor and picks them up. He goes to Devlin. (CONTINUED) 59. 108 CONTINUED: C .R. (holding up glasses) I think these are yours... DEVLIN (covering mouthpiece) Yes... dropped them in the excitement. Excuse me. I'd forgotten all about the projectionist. MURDOCK Adrenal surge! CAMERON Grover... He's reacting strongly... something about the projectionist. DEVLIN (cont. into phone) Why don't you take the rest of the day off. Fine. Devlin hangs up and goes for his glasses. C.R. has wiped them off with his handkerchief, and hands them to Devlin. DEVLIN Thank you. (adjusting glasses) Well, Mr. Grover... It seems I have a great deal to thank you for. 109 ANOTHER ANGLE Surprisingly, C.R. turns toward the other end of the sound stage, and addresses the overhanging projection control booth at the far end. C .R. So does J.R. Devlin. (louder) Don't you Mr. Devlin. All is silent. Then, the SOUND of a single pair of hands applauding from the distant darkness through the heavily echoed stage speaker system. (CONTINUED) 60. 109 CONTINUED: A solitary light goes on inside the control booth, REVEALING the shadowed outline of a man therein. CAMERA SLOW ZOOMS to a distorted-by-the-booth's-plexi- glass-window CLOSE SHOT of the real J.R. Devlin, who talks into a hand microphone. DEVLIN Yes, Mr. Grover... you're right. I do owe a great deal of thanks. And, my apologies for having put you and Kate through so much difficulty. C .R. Do you mind telling me why? DEVLIN I do owe you an explanation. For some time now, I've suspected there would be an attempt made on my life. I hired Probe to see if my own security was impenetrable. Thanks to you I found out it wasn't. C.R. But, why Probe? DEVLIN Second best, wouldn't do, Mr. Grover. Not when my life depended on it. Tell, me! How did you know, my... ah "stand-in" wasn't me? C.R. Your glasses. These have no corrected lenses at all. They're just plain glass. DEVLIN It just goes to show you, Mr. Grover... money goes just so far. C.R. Far enough. You hired Probe. 61. 110 EXT. LIMO - NIGHT (SECOND UNIT) C.R.'S limo wheels through Vegas. C.R. (V.O.) I swear I thought you were being tortured. KATE (V.O.) It was the worst kind of torture. 111 INT. LIMO - NIGHT (PROCESS) We are in an E.C.U. of Kate's handcuffed wrists. CAMERA PULLS BACK to REVEAL: C.R. close to Kate... An AM/FM STEREO RADIO PIPES a romantic background melody. KATE Handcuffed, while the story of the decade's being written without me. C.R. I hope you've got a bobby-pin. As C.R. kisses Kate, he slips his scanner into his pocket. CAMERON (V.O.) Grover? What are you doing! You are only authorized to report back for operational debriefing. Do you copy? TWO BEEPS. 112 EXT. LIMO - NIGHT (SECOND UNIT) The limo disappears in the distance as the sparkling lights of the Las Vegas Strip glitter and coalesce into a blaze of color. THE END