"SEARCH" "THE MATTSON PAPERS" Participating writers: Donald Balluck S. S. Schweitzer PROPERTY OF: Warner Bros. Television 4000 Warner Boulevard FINAL DRAFT Burbank, California 91505 1/4/73 "THE MATTSON PAPERS" FADE IN: 1 EXT. HARBOR - ESTABLISHING - DAY Busy port city of Travers: compact, prosperous, on- going metropolis in American Southwest, like Galveston, Corpus Christi. 2 EXT. DOWNTOWN AREA - DAY Traditional turn-of-century architecture co-exists with clean lines of steel, glass skyscrapers. Busy people move purposefully. Enough Western hats indicate region. Smell of money is natural part of atmosphere. 3 EXT. DE MARIGNY'S - WIDE ANGLE - DAY The Tiffany's of wine purveyors, with imposing, dis- creet entrance, elegant brass plate with name DE MARIGNY. Parked outside is delivery truck, with same tone, lettering. TOMMY, black teenager, polishes truck, turns, watches as car pulls up, parks. HAWLEY MATTSON, late thirties, slim, carefully tailored black, carrying attache case, gets out, moves towards De Marigny's carved oak doors. TOMMY Hey, Hawley! Catch this move! Tommy pantomimes head fake, then dump-stuff. Hawley forces grin. HAWLEY Two points. Grin fades as he passes, moves to door. 4 SHOT TO CORNER Small car parked. CRAWFORD, burly, fortyish wheel man. EARL FORBUS, black man, same age as Hawley, gets out. He wears phone company uniform. Looks down towards where Mattson enters liquor store. 5 INT. DE MARIGNY'S - ANGLE ON GLASS - DAY De Marigny's carefully manicured hand swishes wine in baccarat glass. (CONTINUED) 2. 5 CONTINUED: MATRON'S VOICE (O.S.) Now, Mr. De Marigny -- 6 WIDER ANGLE Muted lighting, luxuriously appointed. Several small tables with chairs -- a la high-class jewelry store, only each table has wine bottles, tasting glasses. Few customers, salesmen, including rich, vulgar TEXAS MATRON, seated, facing standing MARCEL DE MARIGNY, aseptic, tall, grey, aristocratic, in near-formal day- time apparel. Mattson enters. De Marigny looks past her to Mattson. DE MARIGNY Georges, see to Mrs. Wallace. He moves to Mattson who tries to hide tension. Matron reacts as SALESMAN moves to her taking glass from De Marigny. 7 TIGHT ON DE MARIGNY, MATTSON Mattson is tense, keyed up: MATTSON Marcel. Last time I was in, you showed me a Margaux -- De Marigny takes beat, his eyes flick. DE MARIGNY The 1927. I thought you'd change your mind -- He steps back for Mattson to precede him towards door in rear. 8 OMITTED 9 INT. WINE CELLAR - ANGLE ON WINE RACKS - DAY Dark, well-stocked cellar with carefully nested, dusty bottles in racks. DE MARIGNY'S VOICE (O.S.) You usually call, Hawley Hand presses button. Rack swings back revealing safe. 3. 10 ANGLE FAVORING MATTSON, DE MARIGNY Standing in front of rack. Mattson looking back to stairs O.S. MATTSON Wasn't time. Mattson moves now to take locked box out of safe. MATTSON Don't you ever wonder about this notebook, Marcel? DE MARIGNY I think perhaps I am safer not to wonder, Hawley. Mattson opens box, takes pages from attache case, puts them into notebook in box. MATTSON I think perhaps you are right on, brother. He puts notebook into large manila envelope. MATTSON Like maybe I shouldn't have rung you in on this. DE MARIGNY It takes me back to my youth. The Resistance. We had code names too -- Mattson puts envelope into safe. Slams it shut. MATTSON If anything happens to me, wait three days. Nobody comes by and gives you the code name -- I want you to mail the book. The envel- ope's addressed, stamped. DE MARIGNY I won't even look at the name. Mattson already moving. MATTSON Be my guest. It's a box number. De Marigny pushes wine rack back in place. (CONTINUED) 4. 10 CONTINUED: DE MARIGNY Just to carry out our little fiction, I better send a case of the Margaux out to the house. 11 ANGLE ON MATTSON He grins in anticipation, then, grimly: MATTSON Let's hope I live to enjoy it. 12 EXT. STREET - ANGLE ON FORBUS Leaning against car, he reacts, straightens, reaches into car for tool box. 13 ANGLE ON DE MARIGNY'S Mattson, carrying attache case, moves towards car. Tommy finishes polishing truck. FORBUS' VOICE (O.S.) Mr. Mattson. Hawley Mattson? Mattson freezes, turns warily. Forbus moves INTO SHOT, with tool box. Mattson adopts "greet the old fan" pose. MATTSON Sorry, friend, I'm in a hurry -- Forbus reaches into tool box. FORBUS Won't take a minute. Just want you to autograph this. PUSH IN -- Mattson looks down at Forbus' gun, hidden by tool box. Forbus speaks low. FORBUS Blue two-toned Chevy, end of the block. Now, move. MATTSON Look, man. Forbus prods with gun. FORBUS I said, Move! 5. 14 DIFFERENT ANGLE Mattson turns, still carrying attache case. Tommy moves towards Forbus, Mattson. TOMMY Hey, Hawley -- show me the hook shot. Forbus tenses. Hawley stops, then flips attache case at Tommy. Hawley swings on Forbus, Forbus goes down, Hawley runs. From sidewalk Forbus FIRES at Hawley. Tommy reacts, turns, runs. Forbus scrambles to feet, SHOOTS again. 15 ANGLE ON CHEVY It starts up. Moves down towards Hawley... 16 ANGLE ON HAWLEY He sees Chevy as he comes abreast of alley, turns, sprints down alley. 17 ANGLE ON FORBUS Running after Hawley. MOVE with him as he reaches alley, turns into it. 18 ANGLE IN ALLEY Forbus runs down alley, stops as stake truck pulls past. Forbus jumps back. Looks up and down other street. 19 ANGLE ON STREET Nothing in street, except stake truck pulling away. Now Chevy pulls around, moving fast. Forbus hears sirens, he runs to Chevy, pulls open door -- jumps in. 20 ANGLE INTO MOVING STAKE TRUCK Hawley lies flat on truck bed, breathing hard. 21 INT. PROBE CONTROL - PROBE SCREEN - BASKETBALL GAME In big arena. CROWD NOISES. 22 ANGLE ON HAWLEY, MATTSON Ball handling. (CONTINUED) 6. 22 CONTINUED: BIANCO'S VOICE (O.S.) Okay. That's Hawley Mattson -- 23 INT. PROBE CONTROL - ANGLE FAVORING BIANCO Staring at screen. CAMERON, SENATOR GORDON, young, intense, slightly mod clothes, watch with him. BIANCO Play-off game with the Knicks. Three years ago when he set a championship scoring record. How many times do we have to run this? CAMERON If you're going to pass yourself off in Travers, Texas, as Hawley Mattson's best friend, you better have a few pertinent details. BIANC0 Now there's a detail worth studying... He looks towards Screen with: 24 ANGLE ON SCREEN - TIGHT HEAD SHOT - SUGAR FRANCIS SUGAR FRANCIS, beautiful, black lady, sings against limbo or recording studio background. MISS JAMES' VOICE (O.S.) (matter of fact) Ten years ago Mattson was engaged to Sugar Francis, nightclub and television singer... 25 ANGLE ON GROUP Cameron, Gordon impatient... MISS JAMES Engagement broken one year later. Bianco leans over, punches button to turn off tape. Miss James stops. Gordon crosses to Bianco. GORDON The past few years, Mattson has been working as comptroller of Southwestern Industries -- (CONTINUED) 7. 25 CONTINUED: Bianco cuts in impatiently, reeling off: BIANCO Headquarters, Travers, Texas. Multi-million dollar industrial complex put together by Paul Kleinschmid, last of the financial boy wonders. Now what has this got to do with the head of a Senate select committee? GORDON Mattson contacted my committee. He said he had vital information that went to the heart of the Syndicate. The top echelon. He was to call me last night. Yesterday morning he disappeared. I want Mattson found. BIANCO Senator Gordon, the government has people who can do that job -- GORDON Sure. I can call in the FBI. But by the time I fought my way through all the red tape -- CAMERON Your plane to Travers leaves in one hour, twenty-two minutes. BIANCO We do give service. Cam, send a wire in my name to Kleinschmid -- tell him I'M coming, want to talk about Hawley Mattson -- GORDON Is that wise? If Mattson's evidence ties the mob to Sabine Industries -- BIANCO Senator -- you're the guy who said we couldn't waste time. I want to make sure Kleinschmid's available to me... Cam... (CONTINUED) 8. 25 CONTINUED: CAMERON I know -- complete run-down of Sabine Industries -- of Travers -- BIANCO (moving off) And leading citizens thereof. Cameron turns to Harris... CAMERON All right, Harris -- start programming. Harris starts punching buttons, MOVE IN on buttons, then: 26 EXT. AIRFIELD - ANGLE ON JETLINER - DAY Coming in for landing. 27 INT. AIR TERMINAL - ANGLE FAVORING BIANCO - DAY At rent-a-car desk, taking keys from attendant in compact, modern, busy terminal. BIANCO Thank you. Bianco stares just behind clerk. 28 NEW ANGLE Glass partition reflects CRAWFORD, but definitely star- ing at Bianco. PUSH IN on Bianco, he moves, then stops to adjust watch, holding scanner up. BIANCO (low) Give me an indent. 29 INT. PROBE CONTROL - SCANNER SHOT - ANGLE ON CRAWFORD FOLLOWING Bianco... CAMERON'S VOICE Trouble, already? You don't waste time. 30 ANGLE TO INCLUDE HARRIS, MISS JAMES Cameron turns to Miss James. (CONTINUED) 9. 30 CONTINUED: BIANCO'S VOICE Neither does the mob. CAMERON Miss James, check subject against known Syndicate button men. 31 EXT. PARKING LOT - ANGLE FAVORING CRAWFORD Hurrying toward cars, he looks down row, stops, doesn't see Bianco, moves forward. Passes parked car. Bianco comes from behind, grabs him, pulls coat down over arms, slams him up against hood of car. CRAWFORD Hey! What are you doing -- Bianco frisks Crawford, takes snubnosed gun, empties it, flings it away, pulls Crawford around. BIANCO If you got any ideas about us going together -- you're not my type. So march right back in there and get a ticket to Detroit or Chicago -- one way. Crawford glares at Bianco. Bianco grabs him by shoulder, propels him away. He watches Crawford, then turns towards own car. CAMERON'S VOICE Good guess, Bianco. 32 INT. PROBE CONTROL - ANGLE ON SCANNER - CRAWFORD MUG SHOT CAMERON'S VOICE Subject Leonard Crawford -- Age thirty-six -- 33 ANGLE ON CAMERON CAMERON Nine arrests, no convictions. Rumored hit man for Detroit interests. Available on loan to other families. 34 EXT. PARKING LOT - ANGLE ON BIANCO getting into his rental car. (CONTINUED) 10. 34 CONTINUED: BIANCO Like the Travers family. CAMERON'S VOICE There is no Travers family. Travers, Texas, is the cleanest city in America. BIANCO Not any more. He starts up car. 35 EXT. PARKING LOT - ANGLE ON CRAWFORD Fixes coat, moves towards entrance to parking lot, stops by car, Forbus sits at wheel. FORBUS Okay, I'll take him. CRAWFORD Hurry up, Earl. He's getting away. You'll lose him -- Forbus finishes lighting cigarette. FORBUS I know where he's going. 36 INT. MATTSON STUDY - TIGHT ON LENORE MATTSON - DAY Good-looking, but tense, scared, young Black Lady. FORBUS' VOICE (O.S.) And she won't give him anything. LENORE I don't believe you. I know all of Hawley's friends. 37 WIDER ANGLE Bianco wanders through room -- well-furnished, pic- tures, trophies of Hawley, etc. BIANCO Hawley could have had some secrets from you, Mrs. Mattson. She stiffens. Bianco glances at phone. (CONTINUED) 11. 37 CONTINUED: LENORE Get out! 38 CLOSEUP - PHONE Heavy white French phone. Bianco's hand reaches for phone. LENORE'S VOICE (O.S.) Get out of my house! 39 ANGLE ON BIANCO As he lifts phone, looks at small plate on bottom. BIANCO I can understand how upset you are... He bleeps once. Next line overlapped... 40 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON (overlapping) We copy, Bianco. BIANCO'S VOICE (under; overlapped) A guy like me barges in -- a guy you never met -- HARRIS The phone is bugged. Electra- magnetic sensaplate... Can relay transmissions over limited range on ultra-high frequencies. 41 INT. STUDY - ANGLE FAVORING BIANCO He puts phone down, crosses to Lenore. Then, low, urgent: BIANCO Look, I'M on your side. I'M on Hawley's side. I figure somebody got to you - warned you... You’ve got two kids... you’re scared for them. LENORE Go away! Leave us alone! (CONTINUED) 12. 41 CONTINUED: BIANC0 Let me get somebody here to take care of you -- LENORE No! Please! Doorbell RINGS. She rushes off as if reprieved. BIANCO Mrs. Mattson. Wait -- 42 WIDER ANGLE She is out. Bianco takes a step after her, stops. Crosses back to phone. Picks it up, dials number. 43 INT. PROBE CONTROL - ANGLE FAVORING CAMERON CAMERON Good thinking, Bianco. Miss James -- I want the wave-length of that sensaplate. MISS JAMES Yes sir. 44 ANGLE FAVORING MISS JAMES She pushes buttons on her console. Looks up at screen as... 45 PROBE SCREEN Oscilloscopic readings with grids as we HEAR, filtered... BIANCO'S VOICE Travers Arms Hotel? This is Nick Bianco -- do you have a reservation for me... Things happen on screen. CLERK'S VOICE (O.S.) Yes sir. 46 ANGLE ON MISS JAMES Throwing buttons, looking off, then reading... (CONTINUED) 13. 46 CONTINUED: MISS JAMES Transmission isolated in the eleven kw range - Frequency modulation two point oh, three five... 47 INT. STUDY - ANGLE ON BIANCO CAMERON'S VOICE We're patching in now so we can monitor the frequency of the telephone bug. Bianco bleeps. Then: COP'S VOICE (O.S.) Nick Bianco? He turns. PULL BACK reveal tall, bed-pan face YOUNG COP. COPY Would you come along with us please. 48 EXT. STREET - LONG POV SHOT - HOUSE Cop leads Bianco towards car, black and white behind it. Cop, Bianco get in car, drive off. Black and white follows. PULL BACK REVEAL Forbus watching in front seat of car. 49 INT. GARRETT'S OFFICE - ANGLE ON GARRETT - DAY Tough, hard, lean, uncompromising, in uniform with knife edge seams. POLICE CHIEF GARRETT is spit and polish, by the book -- but a book long obsolete. GARRETT I know all about you, Bianco. PULL BACK REVEAL .Bianco in office, taking in citations, pictures, etc. Reverse lettering on glass part of door reads, WALTER F. GARRETT, CHIEF OF POLICE. GARRETT Specialist on Syndicate operations. To me -- you're a trouble maker and I want you out of my jurisdiction BIANCO You work fast, Garrett. You had the Mattson place staked out. (MORE) (CONTINUED) 14. 49 CONTINUED: BIANCO (CONT'D) So you checked my car, called the rental agency and had a make on me. All in less than ten minutes. GARRETT I have one policy -- keep out the mob, and people who go gunning for them. The rats -- the lice -- they don't bring their filth into this city. BlANC0 While you're so busy sealing this place off to bookies and numbers runners -- one of your leading citizens is missing. GARRETT I'M on top of the Hawley Mattson case. BlANC0 (playing role of Hawley's friend) You better be, Garrett. Hawley Mattson happens to be somebody I care about. GARRETT Care about him some place else. He picks up phone... GARRETT Find out the first plane Mr. Bianco can catch. (beat) I don't care where it's going. BIANCO And I take my constitutional rights with me. GARRETT (into phone) What flight? BIANCO Before I go -- one question. What have you got from that bug you put on Lenore Mattson's phone? (CONTINUED) 15. 49 CONTINUED: (2) Garrett stares at Bianco. Hangs up. BIANCO You going to show me the court order that empowers you to tap her line? Or you going to tell me there wasn't time. GARRETT If you are Hawley Mattson's friend, you'll be thankful I am bugging that phone. BIANC0 My cup runneth over. Now unless you want me to let that cup spill all over the Federal District Attorney's office -- you'll tell me exactly what you have. Garrett turns, moves towards the window. GARRETT Playing dirty, Bianco? BIANCO I'M visiting team. I don't set the ground rules. Where's your police report on Hawley's disappearance? GARRETT On the desk. Bianco moves to desk, picks up folder, scans material rapidly. BIANCO What's this about a delivery truck -- parked with the doors open? Where was the delivery man? GARRETT He'll turn up. He takes folder from Bianco. GARRETT Mattson's alive. He phoned his wife last night, told her not to worry. It wasn't a local call. (CONTINUED) 16. 49 CONTINUED: (3) BIANCO That ought to make you sleep easier. GARRETT That's all you buy, Bianco. You're still leaving town. BIANCO I got an appointment. With Paul Kleinschmid. Southwestern Industries. Garrett, Bianco hold a long look, then: GARRETT You better not keep Mr. Kleinschmid waiting. He's an important man in Travers. BIANC0 That's what I figured. 50 INT. FOUNDERS CLUB - ANGLE ON BACKGAMMON SET - DAY Dice roll onto set, doubles come up. KLETNSCHMID'S VOICE (O.S.) Doubles again. 51 WIDER ANGLE - KLETNSCHMID, CAMPBELL PAUL KLEINSCHMID, mid-forties, powerful, business suit, playing Backgammon with BOB CAMPBELL, early thirties, good looking, slender, in sports clothes, in game room of Travers' Founder's Club -- local rich man's club. TRAVERS MACEADIE, distinguished, elderly, middle-aged, watches. Uniformed Waiter bring Bianco towards table. CAMPBELL Chalk it up to clean living. Kleinschmid gives him skeptical look. Campbell turns doubling cube over. Bianco reaches them. BIANCO Mr. Kleinschmid? Kleinschmid rises, holds out hand. (CONTINUED) 17. 51 CONTINUED: KLEINSCHMID Mr. Bianco? I'M glad you got here when you did. You'll save me a lot of money. (indicates Campbell) Bob Campbell - club wastrel and Backgammon shark. CAMPBELL Everybody has to have some claim to fame. Kleinschmid indicates MacEadie. KLEINSCHMID Travers MacEadie. Mr. Bianco. BIANCO Travers -- like in the city of the same name? MacEadie flashes smile, moves to sit across from Campbell. MACEADIE That was my great, great grandfather. When I'M not battling Bob here, I mind the Travers First National Bank. Kleinschmid moves off. Bianco follows. 52 ANGLE ON KLEINSCHMID, BIANCO Kleinschmid nervously leads Bianco towards window out of earshot of others. He stops by table with electronic stock quotation monitor. Kleinschmid nervously punches monitor buttons. KLEINSCHMID My information is that you're a Probe Agent, Mr. Bianco. Bianco peers at quotation. BIANCO Sabine Industries, forty-three and an eight. Up a point. (then to Kleinschmid playing his cover role) (MORE) (CONTINUED) 18. 52 CONTINUED: BIANCO (CONT'D) I'M not here as a Probe Agent. I'M here as a friend to Hawley Mattson. KLEINSCHMID I don't remember him ever mentioning your name. Kleinschmid turns to face Bianco. BIANCO Look, Mr. Kleinschmid. You're a busy man. You've got a big conglomerate to run. And I'M tired of having to prove myself as a friend of Hawley Mattson's. If you don't want to speak to me -- okay. A club like this -- they're probably very good at getting rid of undesirables. Kleinschmid turns, looks out window. Then: KLEINSCHMID Hawley Mattson wasn't just an ornament to my company. All those years he was playing basketball - he went after his master's, his doctorate. He was a brilliant comptroller. And he was my friend. BIANCO I'M a little leery of your tenses, Mr. Kleinschmid. KLEINSCHMID Hawley's alive He has to be alive BIANCO If he's run away -- I want to know why. As comptroller, he'd know every angle of your operation. He might have stumbled across something... KLEINSCHMID There was nothing! Sabine Industries' record is an open book. (CONTINUED) 19. 52 CONTINUED: (2) BIANCO You can't know every phase of the operation. You've got thousands of people - twenty different companies... KLEINSCHMID (emphatically) I told you! Hawley's disappearance had nothing to do with my company! He starts off, turns back: KLEINSCHMID You can feel free to use the facilities of the club while you're here. He moves off. PUSH IN on Bianco. CAMERON'S VOICE How to win friends and influence people. BIANCO I want to recheck the whole Sabine operation. 53 INT. PROBE CONTROL - ANGLE FAVORING CAMERON Miss James there... MISS JAMES We ran a complete financial analysis... BIANCO'S VOICE Yeah, and we got the distinct aroma of roses. 54 INT. CLUB ROOM - ANGLE ON BIANCO - DAY BIANCO Just like this town. All of a sudden -- I'M developing allergies. Dig in, Miss James -- and dig deep 55 EXT. DE MARIGNY'S - ANGLE ON DE MARIGNY - DAY Early evening. De Marigny, locking up then: (CONTINUED) 20. 55 CONTINUED: BURKE'S VOICE (O.S.) Mr. De Marigny? De Marigny turns. PULL BACK, REVEAL BURKE, young, burly, uniformed, police officer. BURKE We'd appreciate it if you came along with us. (beat; De Marigny hesitates) Some questions. DE MARIGNY Of course. I want to get something from my office. He unlocks door, pushes inside. 56 INT. DE MARIGNY'S - WIDE ANGLE - DAY Room is dark. De Marigny crosses rapidly to rear door, pulls it open. 57 ANGLE ON ANOTHER OFFICER MULLINS stands outside. He enters. 58 DIFFERENT ANGLE De Marigny backs away. Mullins closes door, moves after him. Front door opens behind De Marigny. Burke enters. MULLINS You got one chance to make it easy for yourself, Mr . De Marigny. De Marigny stops as Burke comes up behind him. MULLINS Tell us where Mattson went. DE MARIGNY Mr. Mattson is a customer -- I did not know he had gone... Burke hits him from behind. De Marigny drops. Mullins looks to Burke. BURKE We'll have to do it here. 21. 59 INT. WINE CELLAR - ANGLE ON FLOOR De Marigny suddenly comes hurtling down. He sprawls on floor. He moans. PULL BACK. Mullins moves to pick up De Marigny. Burke follows. MULLINS Don't make me ask again. De Marigny shakes his head. Mullins shoves De Marigny OUT OF FRAME. HOLD, agonizingly on Burke as he prowls cellar, looking at bottles, labels, etc. SOUNDS of Mullins hitting De Marigny, prodding him verbally, De Marigny's growns, moans, then a thud and: BURKE Maybe he doesn't know anything. 60 WIDER ANGLE De Marigny slumped against wine rack. Mullins looks down at him. MULLINS Can't say we didn't try. BURKE Let's report in. They turn to move off. PUSH IN on De Marigny. SOUND of cops going upstairs. Door opens, closes. De Marigny riases his battered face. DE MARIGNY Amateurs. He tries to crawl towards wine rack, slumps down, near unconscious. FADE OUT. END OF ACT ONE 22. ACT TWO FADE IN: 61 INT. HOME GARAGE - ANGLE ON HOT ROD - NIGHT Tommy's legs are under car. BIANCO'S VOICE (O.S.) You're a tough man to find, Tommy. Tommy rolls out from under car, looks... TOMMY I don't know you. 62 WIDER ANGLE - REVEAL BIANCO BIANCO But you might know Hawley Mattson. TOMMY Goodbye, Man. BIANCO Police report says Mattson disappeared from in front of De Marigny's. Delivery truck parked outside. No mention of the delivery man. Tommy rises, crosses to workbench. TOMMY That time at the store, they sent a big black brother. Now they sent their own kind. BIANCO That wasn't on the police report. TOMMY That report mention guns? Five, six bullets? BIANCO They tried to hit Hawley. TOMMY But old Hawley -- he was too quick for them. He did a sharp pivot -- passed off -- (CONTINUED) 23. 61 CONTINUED: He stops... BIANCO Nobody interrupted you. Tommy moves away. BIANC0 You're holding something back. Come on It just might do Hawley a good turn. TOMMY And it might just kill him BIANCO Take the chance! I work for an outfit called World Securities. He shows crednetials. Beat. Then Tommy moves to car, reaches for attache case. BIANCO We were hired to help Hawley Mattson. TOMMY I been keeping it for Hawley. Bianco takes it. 63 CLOSEUP - ATTACHE CASE Bianco snaps it open... TOMMY'S VOICE I didn't touch a thing Attache case is empty except for folded copy of Variety. 64 BACK TO SCENE BIANCO Thanks, Tommy. I'll try to see that Hawley gets this. He turns to exit. CAMERON'S VOICE Bianco Stand by for new readout on Sabine Industries... 24. 65 INT. PROBE CONTROL - ANGLE FAVORING CAMERON CAMERON Sabine tried to hide it, but five years ago, Kleinschmid was badly extended. A case of too rapid growth. Then all of a sudden -- he managed to come up with twenty million dollars. 66 INT. CAR - ANGLE ON BIANCO as he listens... CAMERON'S VOICE Lebanese banking interests. BIANCO That covers a multitude of sinners. Bianco starts car. 67 EXT. CAR - DRIVING THROUGH STREET BIANCO'S VOICE Maybe Kleinschmid can fill me in. 68 EXT. STREET - ANGLE ON SMALL CAR - NIGHT It drives through night with teenagers inside. 69 POV SHOT - FROM CAR Headlights pick up mailbox, figure slumped on ground. Car goes past. Stops. 70 ANGLE ON CAR YOUNG KID, driver, jumps out, runs to mailbox. MOVE WITH him to... 71 ANGLE ON DE MARIGNY on ground, against mailbox. Kid bends over, shakes him. De Marigny, face bloody, rolls over, groans. 72 EXT. SABINE INDUSTRIES - WIDE ANGLE - NIGHT To ESTABLISH vast scope of Sabine Industries. 73 OMITTED. 25. 73A INT. TEST FACILITY - WIDE ANGLE - NIGHT Large barn-like building, with lighted glassed-in raised observation post at far end. White coated technicians test large piece of equipment in test area. Much NOISE, whirling parts, etc. 74 INT. OBSERVATION POST - ANGLE ON KLEINSCHMID He peers through glass windows at activity below. Two- way speaker set-up at elbow, bank of test dials in front of him. He watches, presses button. Into speaker: KLEINSCHMID All right, I want to see it at full bore. He stares off. Forbus approaches from shadows. FORBUS You wanted me, Mr. Kleinschmid? KLEINSCHMID I don't like telling my people things more than once, Forbus -- FORBUS I'm not your people -- KLEINSCMID You were sent here to do a job for me. That means you take my orders! FORBUS I know the job the Organization gave me. KLEINSCHMID Mattson's notebook! Nothing more. Forbus stares at him. KLEINSCHMID Just so you understand completely, I don't want Hawley Mattson hurt in any way. 75 ANGLE ON TEST EQUIPMENT Test continues. 76 ANGLE ON KLEINSCMID Watching, he depresses speaker button. (CONTINUED) 26. 76 CONTINUED: KLEINSCHMID What's the matter with you people? I said full bore! Now run it again! (turns back to Forbus) What are you waiting for? You won't find Mattson here. 77 ANGLE ON TEST EQUIPMENT Test continues. 78 ANGLE ON BIANCO'S CAR - NIGHT moving through streets. CAMERON'S VOICE Bianco! 79 INT. BIANCO'S CAR as he drives... CAMERON'S VOICE We've been monitoring the Travers police frequencies... 80 INT. PROBE CONTROL - ANGLE ON CAMERON He reads from flimsy... CAMERON They just sent an ambulance to pick up a mugging victim... 81 INT. HOSPITAL CORRIDOR - ANGLE ON MARCEL DE MARIGNY - NIGHT lying on gurney pushed down hall. CAMERON'S VOICE Marcel De Marigny, owner of the store where Hawley was last seen. PULL BACK as De Marigny goes OUT OF FRAME. REVEAL Garrett waiting. Bianco hurries in. GARRETT You get around, don't you boy? BIANCO I was told M. De Marigny was on this floor. (CONTINUED) 27. 81 CONTINUED: GARRETT What's left of him. Someone gave him a good working over. BIANCO Here in Soap Sud City? In this germ-proof climate? GARRETT You're really bucking for it. BlANCO Just for what he told you. GARRETT Nothing He's in a deep coma. We'll be lucky if he ever comes out of it. BIANCO Convenient. From what I can gather -- he was the last person to speak to Mattson before he disappeared. GARRETT You saying I have some connection with the mob? You getting at something, Bianco? BIANCO I can only try, Garrett. P.A.VOICE (with urgency) Paging Chief Garrett. Paging Chief Garrett. Garrett reacts, turns, sights on and moves to phone... CAMERON'S VOICE Stand by, Bianco That's probably police headquarters alerting him. A call's coming in to Mrs. Mattson. 82 INT. MATTSON'S STUDY - ANGLE ON PHONE - NIGHT It rings. Lenore's hand snatches phone. LENORE Hello? 28. 83 INT. POLICE VAN - ANGLE ON POLICE TECHNICIAN Monitoring MUSIC in b.g. under all Mattson's speeches. MATTSON'S VOICE (O.S.) Lenore, that you? 84 INT. HOSPITAL CORRIDOR - TIGHT ON GARRETT holding phone. GARRETT Turn it up so I can hear! LENORE'S VOICE (O.S.) Honey -- you all right... 85 ANGLE ON BIANCO He listens on his earjack. MATTSON'S VOICE Cool. I can't tell you where I am, but you know the plan. Monday morning -- day after tomorrow -- you and the kids leave the house. Like you were going shopping... 86 INT. MATTSON'S STUDY - ANGLE ON LENORE gripping phone. MATTSON'S VOICE (O.S.) Make all the stops. Supermarket, cleaners -- liquor store. Don't forget the liquor store... 87 INT. CORRIDOR - ANGLE ON GARRETT Garrett listens. MATTSON'S VOICE (O.S.) Then drive South. You know where I'LL meet you. GARRETT You getting a trace on this? LENORE'S VOICE (O.S.) But where are you? I have to know... (CONTINUED) 29. 87 CONTINUED: MATTSON'S VOICE (O.S.) I'LL meet you Monday. Like we planned. 88 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON There's no way we can trace that call, Bianco. 89 INT. CORRIDOR - ANGLE ON BIANCO He moves to punch button of elevator. BIANCO I have a hunch, Cam. Re-record the tape -- try to wash out Mattson's voice... 90 INT. PROBE CONTROL - ANGLE ON HARRIS He nods, pushes buttons. BIANCO'S VOICE Then play back the music for me, full again. HARRIS I copy, Nick. He turns to sound panel, starts turning dials. 91 INT. CORRIDOR - ANGLE ON GARRETT gripping phone... GARRETT Come on! Come on Where did he call from? 92 INT. POLICE RADIO ROOM - ANGLE ON DISPATCHER He has earphones over one ear, holds phone over other ear. Mullins moves to him with container of coffee. Burke loiters in room. DISPATCHER All we know is it was a Los Angeles Exchange. Mullins hands container to Dispatcher. He covers mouth- piece, looks up at Mullins. (CONTINUED) 30. 92 CONTINUED: DISPATCHER Thanks, Mullins. Mullins winks at him, turns, nods to Burke. Burke turns to exit. 93 EXT. PARKING LOT - ANGLE ON BIANCO'S CAR - NIGHT He reaches into car, takes out attache case, opens it, takes out copy of Variety, starts leafing through pages, then: CAMERON'S VOICE Stand by, Bianco. We have that music track from Mattson's call. Bianco beeps. 94 INT. PROBE CONTROL - ANGLE ON CAMERON He nods to Harris who punches up button... We HEAR music with female vocalist fading in and out. 95 EXT. PARKING LOT - ANGLE FAVORING BIANCO He folds paper over, listens, checks an item, then tosses Variety back into car. BIANCO Okay, cut it off. Cam, I'M leaving for Los Angeles. Make sure I'M not followed... He gets into car. 96 INT. PROBE CONTROL - ANGLE FAVORING CAMERON CAMERON We'll arrange for a helicopter to be ready at the airport. 97 EXT. AIRPORT - ANGLE ON HELICOPTER - DAY as it lifts off. CAMERON'S VOICE (O.S.) It'll take you to Houston. We'll have a connecting flight to Los Angeles confirmed for you from Houston. 31. 98 INT. TERMINAL AREA - TIGHT ON BOARDING AISLE - DAY FLIGHT ANNOUNCER'S VOICE (O.S.) Flight three-seven-eight to Tucson and Los Angeles is now ready for boarding. Airline sign labels this: FLIGHT 378, TUCSON, LOS ANGELES, 8:30 A.M. Passengers move past metal detector. Forbus moves in, stops, opens coat in front of metal detector, winks at attendant, moves through. Crawford, hurries after Forbus. 99 INT. RECORDING STUDIO - ANGLE THROUGH GLASS AT SUGAR - DAY Sugar singing to tape playback in sound-proof studio with earphones. PULL BACK to include Recording Engineer. Door opens - Bianco enters. Bianco enjoys it. She comes to end of song. Engineer turns dials. Stops tape. Through speaker: SUGAR'S VOICE (O.S.) Okay for you? Bianco starts towards door to studio room. Engineer gives three ring sign. 100 ANGLE ON SUGAR She takes earphones off. SUGAR Let's take a break. She turns to move to large shoulder bag on piano. Bianco enters. BIANCO Miss Francis? Sugar turns. Bianco reaches her. SUGAR Who let you in? Bianco holds out Variety. BIANCO According to this copy of Variety you'll be recording here all this week. (CONTINUED) 32. 100 CONTINUED: SUGAR So? What do you want me to do -- autograph it for posterity? BIANCO It already has historical value. I found it in Hawley Mattson's attache case. She stiffens. SUGAR That's ancient history. BIANCO Let's not jive each other, Miss Francis. I think I can help Hawley Mattson -- and right now he needs all the help he can get. SUGAR I could tell you I haven't seen Hawley for years. Not since we were engaged. BIANCO He called his wife last night. You were singing in the background. It was a song that isn't on any of your records. My bet he called from here. She turns away, bitterly. SUGAR On top of everything else, you've got to be a fan. Mr.... ? He grins at her. BIANCO As long as I'M a fan, my name is Legion. She starts to edge away. SUGAR Well, look. Lege -- Maybe I can get word to Hawley... (CONTINUED) 33. 100 CONTINUED: (2) He holds her arm. BIANCO No good, Sugar. My name is Bianco. I was sent by Senator Gordon. He wants Hawley safe the way you do -- way I do. SUGAR (low, urgent) You're asking me to trust you with Hawley's life! BIANCO (warm, sincere) How much life does he have left if you don't trust somebody? SOUND of door opening into Control Room. Sugar looks up, grabs her bag -- calls to Engineer. SUGAR Let's pack it in, Dave. I'M going home. She crosses out. Bianco trails her. 101 ANGLE ON ENGINEER Nonplussed, he stares after Bianco and Sugar. 102 EXT. CAR WASH - ANGLE ON WHITE ROLLS - DAY Black uniformed Chauffeur gets out of Sugar's white Rolls Royce, moves to Cashier's window. 103 MOVING SHOT - BIANCO, SUGAR They move towards Cashier's window. Chauffeur is moving towards walkway by car wash as Bianco, Sugar reach him. SUGAR (low-voiced) Hawley! Chauffeur stiffens, turns, reacts as he sees Bianco. Chauffeur is Hawley Mattson. SUGAR This dude's Nick Bianco. He's from World Securities. (CONTINUED) 34. 103 CONTINUED: BIANCO Sent by Senator Gordon. MATTSON I told you, Sugar... SUGAR Listen to him, baby. At least he knows what key they're playing. She moves out of SHOT towards waiting room. Mattson, Bianco move to walkway that parallels car wash. 104 EXT. WALKWAY - MOVING SHOT - BIANCO, MATTSON following Rolls Royce through wash. BIANCO Your wife and children are safe. Give me the word and We'll fly them here. Between the Senator and World Securities we can guarantee protection for them -- and you. MATTSON You're changing my game plan. Bianco spins him around. BIANCO Right now, Hawley, you don't look like a winner Hawley stiffens, then a harsh laugh: HAWLEY Like it is, huh? BIANCO The Senator said you had evidence -- a journal... HAWLEY It spells it out: Sabine Industries is Syndicate owned. I have everything but one more piece -- the guy who gives Kleinschmid his orders. BIANCO I'LL want to get that journal to Senator Gordon. (CONTINUED) 104 CONTINUED: 35. HAWLEY It's stashed. Bianco looks off. 105 ANGLE ON CRAWFORD In blue smock, like other car wash workers, with chamois, moves to CLOSE with Bianco, Mattson. BIANCO (O.S.) Tell me where you... 106 ANGLE ON BIANCO, HAWLEY Bianco frowns. Hawley notices, starts to turn. Bianco suddenly shoves Mattson. BIANCO Hawley! Down! 107 ANGLE ON CRAWFORD He drops chamois, produces gun, FIRES at Hawley. 108 ANGLE ON HAWLEY, BIANCO Crouched behind low wall between walkway, wash area. Shots go into cinder blocks behind them. Bianco vaults over low wall. SCREAMS from others... 109 ANGLE ON CRAWFORD trying to aim as car moves between him and Bianco. 110 WIDE ANGLE Bianco ducks around car to rush Crawford. Crawford wheels trying to find Bianco. Bianco appears swinging mop, hitting Crawford. 111 ANGLE ON HAWLEY Bent low, he moves rapidly down aisle towards: 112 ANGLE ON CARS parked, waiting to be driven off. 113 ANGLE ON BIANCO He leaps on top of Crawford who struggles to get gun up. Bianco hits him. Crawford gets to feet, runs, trips over car wash chain drive. Bianco moves to grab him. Other attendants rush up. BIANCO Watch him! (CONTINUED) 36. 113 CONTINUED: Attendants ring Crawford. Bianco turns, looks, sees: 114 ANGLE ON CAR parked at end of car wash. Hawley puts car in gear, pulls away. 115 ANGLE ON BIANCO running after Hawley. BIANCO Hawley! Wait! Sugar rushes from inside car wash to join Bianco as they stare after: 116 ANGLE ON PARKED CAR moving away. PULL BACK to SEE that it has been Forbus' POV from car parked on street. He slips car into gear, follows. FADE OUT. END OF ACT TWO 37. ACT THREE FADE IN: 117 EXT. HILLSIDE ROAD - ANGLE ON CAR - DAY zooming up the road. BIANCO'S VOICE (O.S.) Why the hell did he run? 118 INT. CAR - ANGLE ON FRONT SEAT Sugar with Bianco, who drives. SUGAR Put yourself in his place. They tried to waste him once -- all he had on you was what you told him -- and then -- Pow! Here come bullets again! BIANCO Okay. 119 EXT. ROAD - ANGLE ON CAR taking tight turns. BIANCO'S VOICE (O.S.) You figure he'll go to your house? 119A INT. CAR - ANGLE ON FRONT SEAT SUGAR (with bitterness) He's got a choice? Bianco looks off, reacts. Sugar looks up at: 119B MOVING POV - CAR Angled off side of road. It is car Hawley grabbed at car wash, with shoulder side door open. 119C ANGLE ON BIANCO'S CAR Car brakes to sudden stop behind other car. Bianco moving quickly from car. Sugar starts to follow. BIANCO Stay here! She shakes head, moves after Bianco. 38. 120 THRU OMITTED. 122 123 ANGLE ON HAWLEY pitched out of front seat onto pavement by side of road. Puddle of water near outflung hand. Sugar SCREAMS. 124 ANGLE FAVORING BIANCO, SUGAR He turns, grabs her. She sobs. BIANCO Easy, lady. Easy. SUGAR They found him. My God, they found him. Bianco eases her back to other car, crosses back to Hawley. 125 ANGLE FAVORING HAWLEY Bianco bends over Hawley. CAMERON'S VOICE Don't blame yourself, Bianco. You didn't make him run. BIANCO Like the lady said -- they found him. CAMERON'S VOICE You guessed where to find Hawley -- why couldn't they? Bianco shakes his head, still unwilling to buy it. He leans forward, holds scanner close to: 126 ANGLE FAVORING HAWLEY'S HAND Finger is wet. Drying just beyond are faint letters. Bianco speaks low, for Probe only: BIANCO'S VOICE Lettering of some kind. 127 INT. PROBE CONTROL - ANGLE FAVORING CAMERON ET AL - DAY They peer at screen. (CONTINUED) 39. 127 CONTINUED: MISS JAMES I'm sorry, Mr. Cameron... CAMERON Freeze frame! Miss James punches button. 128 ANGLE ON SCREEN - HAWLEY'S HAND In still shot. CAMERON'S VOICE Increase contrast! Whites whiter, blacks darker. Lettering starts taking shape. CAMERON'S VOICE (reading) M-A-N-T-I-N. 129 ANGLE ON CAMERON He stops, shakes his head. BIANCO'S VOICE (low, urgent) Mantin -- that's all? CAMERON That's all he had time for. We'll run it through the memory bank -- you better decide what you're going to do next. 130 OMITTED. 130A EXT. ROAD - WIDE ANGLE Sugar leans against her car, sobbing. Bianco crosses, puts arm around her. She leans against him. SUGAR Why? Why? BIANCO Sugar... I want to get the people who did this.., the guys who gave the orders. (MORE) (CONTINUED) 40. 130A CONTINUED: BIANCO (CONT'D) I stay here -- wait for the cops -- I'll lose a lot of time... Sugar nods, numbly, hollow-voiced. SUGAR Go ahead... I'LL stay with him. BIANCO No, you're going to have to come with me. SUGAR I don't want to leave him! Bianco holds her, feels for her, but: BIANCO Honey, I know how you feel. But I leave you here -- you'll have too much explaining to do. (beat) You'll have to go with me to the airport. I'LL have someone there from my office.., he'll bring you home from there. That'll keep you clean. She looks at him. SUGAR I don't know if I can stay together that long. BIANCO Figure -- we're doing it for Hawley. Beat, then with passion: SUGAR I go with you... do what you say... you'll get the guy who did this? Bianco nods. SUGAR I want to hear you say it! want to hear you swear! (CONTINUED) 41. 130A CONTINUED: (2) BIANCO I swear, Sugar. She shakes his hands off, crosses to car door. SUGAR Come on, Man. You got a plane to catch! 131 EXT. TRAVERS AIRPORT - ANGLE ON PLANE - DAY coming in for landing. CAMERON'S VOICE I've checked with Senator Grodon. He can't move without that notebook. 132 EXT. TRAVERS TERMINAL - ANGLE ON BUILDING - DAY Establishing SHOT. CAMERON'S VOICE That's first priority, Bianco. 133 INT. TERMINAL - ANGLE FAVORING BIANCO moving through building towards phone booth. Bank of coin lockers in scene. BIANCO I know what's important. Back there in L.A. I gave my word to a lady. Garrett moves towards him. GARRETT Bianco! L.A. told me about Hawley. I figured you'd be back. BIANCO So you checked the airlines. I need some answers, Garrett. How did the guy who hit Hawley Mattson know he was in Los Angeles? GARRETT Don't ask me, Bianco. (CONTINUED) 42. 133 CONTINUED: BIANCO You had a tap on Mrs. Mattson's phone. You could trace that call. You had that information before I did. GARRETT I'd be the last one to turn that over to anybody. BIANCO Sure. You're the guy who runs a clean town. A company town. Where everybody turns to the East and bows to Sabine Industries. Garrett moves forward, grabs Bianco. GARRETT Savine doesn't own me. Bianco slams Garrett's hands away. BIANCO Why are you so up tight? Garrett doesn't answer. BIANCO I'LL ask Paul Kleinschmid. He turns his back on Garrett, moves to phone booth. Drops in dime, dials information. BIANCO Give me the number of Sabine Industries. 134 INT. GAME ROOM - WIDE ANGLE - DAY Campbell lounges at bar. Bottle of wine by elbow, looks up, watches Bianco enter. CAMPBELL Mr. Bianco! Bianco turns, moves to Campbell, looking around. He sees MacEadie playing bridge at a table across the room. BIANCO I was supposed to meet Mr. Kleinschmid here. (CONTINUED) 43. 134 CONTINUED: CAMPBELL Have a glass of wine while you wait. It's a good vintage. BIANCO I knew another man who was a wine connoisseur. CAMPBELL You mean Hawley Mattson. Man had a marvelous palate. We'll miss him. Campbell pours a glass, hands it out to Bianco. BIANCO What do you do, Mr. Campbell? CAMPBELL As little as I can. I like to fly. Keep a plane at the airport. And I have some investments. Drinks. BIANCO Sabine Industries? Campbell shrugs. CAMPBELL A few shares. Property in the Caribbean -- South African mines. My late, lamented father was the doer. I try to be the spender. Unfortunately, he set it up so I couldn't even do that as well as I wanted. BIANCO Tough. CAMPBELL But I try, Mr. Bianco, Lord knows I try. 135 ANGLE TO INCLUDE ENTRANCE Kleinschmid hurries in, sees Bianco. BIANCO There's my party now. (CONTINUED) 44. 135 CONTINUED: Kleinschmid moves towards window. Bianco moves to him. DIRECTOR'S NOTE: Without emphasis: Campbell and especially MacEadie occasionally glance towards Bianco and Kleinschmid. 136 ANGLE FAVORING KLEINSCHMID He turns to face Bianco. KLEINSCHMID What's this all about, Bianco? should be with Lenore Mattson and her children... BIANCO You lousy hypocrite! Kleinschmid reacts. BIANCO You set up Hawley Mattson! KLEINSCHMID That's a lie! BIANCO I managed to talk to him before your man killed him. He gave me a pretty good idea of what was in that journal -- the ties between Sabine Industries and the Syndicate. KLEINSCHMID What journal? Show me I'M a businessman, Bianco I deal in hard facts. If you had anything concrete that linked me to underworld activity -- we wouldn't be sparring in this room. BIANCO You're going to tough it out. KLEINSCHMID What do you think I am, some kid who bought a piece of blue sky? I fought to build my company in a jungle you know nothing about. I had to give -- and I had to take. (CONTINUED) 45. 136 CONTINUED: BIANCO And five years ago you sold out. For a twenty million dollar mess of porridge... You have your headquarters set up right here -- on a port near the border. In a clean town. So clean it doesn't ring true. My guess, you import a lot that customs never checks. Like heroin.., cocaine... KLEINSCHMID Prove it. BIANCO Hawley Mattson could have proved it -- he's dead. Kleinschmid turns away, then: KLEINSCHMID I give you my word of honor on everything I hold sacred. I'D give the whole operation to see Hawley walk in that door. Bianco stares at him. BIANCO You mean that? KLEINSCHMID (emphatically) Yes, I mean that! BIANCO Then make it up to him! Don't let the people who killed him walk away free! KLEINSCHMID I had nothing to do with his death. BIANCO I'LL believe you -- when you give me what Hawley Mattson had in his journal. I get that -- and I'LL fight to save your hide! Kleinschmid just looks at him. (CONTINUED) 46. 136 CONTINUED: (2) BIANCO Think it over, Kleinschmid. But I'M not going to wait for an answer. He turns to go out. HOLD on Kleinschmid. 137 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY CAMERON The usual Bianco method? Shake them up and hope something comes out. BIANCO'S VOICE Sometimes it works. 138 INT. BIANCO'S CAR - ANGLE ON BIANCO - DAY driving through city. BIANCO Fill me in, Cameron. What about that name Hawley was trying to write. CAMERON'S VOICE M-A-N-T-I-N? We've run it through our file of Syndicate names... 139 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON ...and pseudonyms. We've checked it against all residents of Travers... Travers County. BIANCO'S VOICE Okay, okay... CAMERON Then we tried the Oxford Dictionary and Plant and Cohen's Encyclopedia of Historical References... 140 EXT. STREET - ANGLE ON CAR moving. BIANCO'S VOICE I know you're thorough... (CONTINUED) 47. 140 CONTINUED: CAMERON'S VOICE Not a very extensive list. 141 INT. BIANCO'S CAR - ANGLE ON BIANCO grimacing impatiently. CAMERON'S VOICE There's Mantinite -- a little known rare earth principally mined in the Urals... Bianco nods. 142 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON Giulietta Mantina -- for three weeks in 1517 the mistress of Cosimo Medici... BIANCO'S VOICE Poor kid. CAMERON I thought you'd empathize... 143 INT. BIANCO'S CAR - ANGLE ON BIANCO CAMERON'S VOICE Mantinique -- a vineyard in the Loire Valley -- bombed out of existence in 1944... Bianco reacts. BIANCO A vineyard? They had a label? CAMERON'S VOICE It's practically non-existent today. No known bottles have turned up in twenty years... BIANCO But something else might turn up. 144 INT. HOSPITAL ROOM - ANGLE ON DE MARIGNY His face bandaged, arm in traction. He is weak. (CONTINUED) 48. 144 CONTINUED: BIANCO'S VOICE (O.S.) Hawley Mattson's Journals! DE MARIGNY You say you come from Hawley, Mr. Bianco? I don't know your name... PULL BACK. REVEAL Bianco standing by hospital bed. BIANCO How about Mantinique. De Marigny reacts. Bianco moves closer. BIANCO Mantinique was something in code between you and Hawley. De Marigny nods. DE MARIGNY I had a safe in my wine cellar. Hawley kept his journals there. I was to give them to the man who came to me and said -- Mantinique. BIANCO If you give me the combination, I can... DE MARIGNY You would find nothing. Saturday when they came and beat me -- those men -- I took the notebook -- I crawled to the mailbox... BIANCO You mailed it? To whom? DE MARIGNY (shakes his head) A box number -- I do not remember -- I swear I do not remember! If I could tell you I would! Bianco puts his hand comfortingly on De Marigny, eases him down. BIANCO I know you would, Mr. De Marigny. You were a good friend to Hawley. PUSH IN on De Marigny. HOLD, then: 49. 145 INT. PROBE CONTROL - SCANNER SHOT - HOSPITAL CORRIDOR MOVING SHOT as Bianco goes to elevator. BIANCO'S VOICE Now all we have to do is check out all the P.O. box numbers in Travers. 146 ANGLE ON CAMERON CAMERON Before we could persuade the Federal Government to give up that information... Buzzer SOUNDS. He turns... CAMERON Stand by, Bianco He moves to Miss James. She listens... 147 ANGLE ON BIANCO waiting for elevator in hospital corridor. CAMERON'S VOICE We gave your hotel an accomoda- tion number so they could relay messages. Paul Kleinschmid is trying to reach you. 148 INT. PROBE CONTROL - ANGLE FAVORING CAMERON CAMERON Hold on! We'll patch you in! He nods to Miss James. She throws buttons. CAMERON Go ahead Bianco. 149 INT. CAR - ANGLE ON BIANCO BIANCO Bianco here. He hears over earjack: KLEINSCHMID Bianco! I think we'd better meet. Just so we understand each other -- it's not to save my own skin. It's what I owe Hawley Mattson! 50. 150 OMITTED. 150A INT. TEST FACILITY - WIDE ANGLE - DAY Kleinschmid paces in quiet, deserted building. Car on test rack, in b.g. 151 ANGLE ON KLEINSCHMID pacing. He hears SOUND of test rack lowering. He turns... 152 ANGLE ON CAR Test rack reaches floor. Car starts rolling off. 153 ANGLE ON KLEINSCHMID He frowns, moves towards car, stops. 154 TIGHT ON DRIVER Forbus at wheel, quickly gears into high. 155 ANGLE ON KLEINSCHMID reacts to danger, turns to run to exit doors. 156 WIDE ANGLE Forbus guns car towards Kleinschmid. 157 ANGLE ON KLEINSCHMID He tries to dodge. 157A ANGLE ON CAR making quick turns to herd Kleinschmid away from exit to safety. 157B ANGLE ON KLEINSCHMID trapped, running towards closed double doors. 158 ANGLE ON FORBUS gunning car. 159 OMITTED. 159A ANGLE ON KLEINSCHMID He reaches doors, tries to open them, turns, eyes wide with horror. 51. 159B TIGHT ON FORBUS His face expressionless, he guns forward. He reacts to impact of crashing through doors. 159C ANGLE ON CAR from inside building as doors shatter, car SCREAMS away. PAN to find Kleinschmid's body. PUSH IN on Kleinschmid, lying dead inside test facility. 160 OMITTED. FADE OUT. END OF ACT THREE 52. ACT FOUR FADE IN: 161 OMITTED 161A INT. TEST FACILITY - WIDE ANGLE - DAY Policemen, Technicians with equipment, go over scene. MACEADIE What's happening here, Mr. Bianco? Why Hawley -- Why Paul... Garrett's car drives up. 162 ANGLE FAVORING BIANCO He stands near Kleinschmid's observation post. Travers MacEadie stands with him. He turns to MacEadie, standing with him. BIANCO I'm just a stranger in town, Mr. MacEadie. You knew these people better than I did. You're on Sabine Industries' Board of Directors. MACEADIE This couldn't have anything to do with Sabine BIANCO My information -- your bank helped Kleinschmid when he refinanced five years ago. MACEADIE What are you getting at, Bianco? BIANCO You tell me. You tell me where that money came from. Who's down here keeping an eye on that investment? MacEadie, uneasy under Bianco's stare, turns to cross to Garrett. CAMERON'S VOICE Another shot in the dark, Bianco? BIANCO That's what I'M down to... 53. 163 INT. PROBE CONTROL - SCANNER SHOT MacEadie moving to Garrett. BIANCO'S VOICE Unless I can turn up Hawley Mattson's journal. Have you checked out MacEadie -- Bob Campbell? 164 ANGLE ON CAMERON Miss James hands him printout. CAMERON Campbell's what he said he is. He lives off very comfortable investments. BIANCO'S VOICE MacEadie? CAMERON His bank has grown along with Sabine Industries. 165 ANGLE ON BIANCO looking off. BIANCO Keep digging. And don't neglect Chief Garrett. 166 ANGLE ON GARRETT Nervous, he reaches investigating officers. GARRETT Sorry. I was at the airport, seeing my family off when the call came over. Let me see what you've got. 167 INT. MATTSON STUDY - ANGLE ON LENORE - DAY Tired, drawn, grief-drained, she faces Bianco. BIANCO I'M sorry I couldn't tell you any of this before. I only met Hawley at the very end -- but I could see the kind of a man he was. (CONTINUED) 54. 167 CONTINUED: LENORE I wish he'd met you earlier. Mr. Bianco, he wouldn't have had to try to do this all by himself. Bianco moves to her. BIANCO Did he tell you anything about a post office box? She shakes her head. BIANCO Do you know if he rented one recently? She shakes her head again. LEONORE All his mail came here -- or to his office. BIANCO Any of his friends -- anybody he was in touch with... She shakes her head, then crosses to desk. LENORE I can go through his things, just to be sure. She opens drawer. Stops: Wave of emotion. BIANCO I know it's tough, Mrs. Mattson... She shakes her head, starts taking out letters. LENORE He was a very neat man. Everything had to be in its place. I used to kid him about... She stops... Holds a letter out to Bianco. LENORE I forgot about this. But I don't think it's what you want... 55. 168 INSERT CLOSEUP - LETTER addressed to MR. HAWLEY MATTSON, CHAIRMAN, MERIT AWARDS COMMITTEE, BOX 1109, TRAVERS, TEXAS. LEONORE'S VOICE (O.S.) It was a committee that passed on scholarships... 169 BACK TO SCENE Bianco holds letter. LENORE Hawley was Chairman. Chief Garrett was Secretary. Bianco reacts. BIANCO Hawley and Garrett were close? LENORE Very. They saw a lot of each other. 170 INT. GARRETT'S OFFICE - ANGLE FAVORING GARRETT - DAY Nervous, distraught, he paces. Door opens. He turns. Bianco enters. BIANCO You look like a man who needs a friend, Garrett. GARRETT (without usual force) You're just the guy for the job. BIANCO Maybe. Two Probe Agents met your family's plane in New Orleans. They're maintaining round the clock protection. Garrett's shocked reaction. Bianco crosses to him. BIANCO Where's Mattson's notebook? Garrett turns, stares at him. GARRETT I never heard of any notebook. (CONTINUED) 56. 170 CONTINUED: Bianco ignores the bluff. BIANCO You're a sworn peace officer. The notebook's evidence. You know the drill. Garrett turns away. BIANCO Unless you figure you can make a deal on it -- somewhere else. Garrett wheels. GARRETT I'M not a crook, Bianco! I don't take Syndicate money! Bianco moves to him. BIANCO This is different. This isn't a fifty or a hundred to let a horse room stay open. This is millions. Garrett shakes his head. BIANCO Or you can turn it over to Senator Gordon and his select committee. Garrett turns. GARRETT You think it's that simple, Bianco? Bianco's laugh means he knows it isn't. GARRETT You're right about me. I've had it easy. I lean on the small-timers and sleep nights because I think I'M doing my job. I never looked past this office. I never tried to figure why they'd left Travers alone. (MORE) (CONTINUED) 57. 170 CONTINUED: (2) GARRETT (CONT'D) When I read Hawley's Journal, I had to take a good hard look. BIANCO Hawley Mattson was your friend. When he found out what was going, he didn't have to think about it. Garrett turns angrily on Bianco. GARRETT I do. I turn that over to your Senator -- I'll be giving myself the kiss of death! BIANCO And what do you have if you don't? What guarantees? What kind of days? What kind of nights? Beat, then we see struggle go out of Garrett. BIANCO Hawley trusted you, Garrett. That's why he made sure you'd get the notebook. Tell me where it is. Garrett moves to desk, opens drawer. GARRETT The airport. I checked it there this morning. He hands gun across desk to Bianco. BIANCO I usually don't carry them. GARRETT It'll make me feel better. Bianco shrugs, shoves gun into waistband, moves toward door. PUSH IN on desk. REVEAL small electronic bug. 170 THRU OMITTED. 174 175 EXTREME CLOSEUP - BUG Under top of desk. 58. 175A INT. AIRPORT - TIGHT ON COIN LOCKER - DAY Door open, Garrett's hand reaches in for attache case. PULL BACK, REVEAL Garrett, Bianco behind him. Garrett turns, hands attache case to Bianco. BIANCO Let's get this into something a lot safer. He turns to move. Garrett with him. GARRETT Don't you want to read it? 175B EXT. TRAVERS AIRPORT - WIDE ANGLE - DAY BIANCO'S VOICE (O.S.) I'LL let you fill me in. Sabine is a major conduit for the Syndicate. Right? 176- 177 OMITTED. 177A EXT. PARKING LOT - ANGLE ON GARRETT, BIANCO moving towards Garrett's car. Garrett nods. GARRETT Big scale. Millions of dollars of contraband war materials going out -- narcotics coming in -- BIANCO Who did Kleinschmid report to? What did Hawley say about that? GARRETT It was kind of technical, interlocking directorates -- dummy corporations. BIANCO A name, Garrett! GARRETT Caribbean Distributors. I never heard of them... Bianco stops, stiffens, suddenly wary. 178 OMITTED. 59. 179 BIANCO'S POV - POLICE CAR parked blocking lane between rows of cars. GARRETT'S VOICE (O.S.) Just a black and white. 180 ANGLE ON BIANCO still wary. BIANCO And it was two cops who beat up De Marigny. 181 ANGLE ON BLACK AND WHITE Mullins and Burke in front seat. Burke reaches behind for riot gun. They both start out of car. 182 thru OMITTED. 191 191A ANGLE ON BIANCO, GARRETT Bianco reacts, pushes Garrett behind parked car, dives after him. 191B WIDER ANGLE Mullins FIRES, Burke brings riot gun up, lets off a BLAST as Garrett, Bianco reach cover. Blast takes out wind- shield of car Bianco crouches behind. 191C ANGLE ON GARRETT His gun out, he raises himself, gets off a SHOT, ducks back down. 191D ANGLE ON BLACK AND WHITE Mullins, Burke behind police car, FIRE at Bianco, Garrett. 192 ANGLE ON PARKED CAR Bullets THUD into car body. Bianco and Garrett duck. BIANCO Get ready, Garrett. Garrett turns as Bianco dashes from cover, gun out. 60. 193 WIDE ANGLE Bianco running low, dives for far side of lane. Burke turns, holding riot gun, exposed to Garrett's line of fire. 194 ANGLE ON GARRETT He squeezes off SHOT. 195 ANGLE ON BLACK AND WHITE Burke topples over, wounded. Mullins moves towards him, reaches for riot gun. BIANCO'S VOICE (O.S.) Freeze. 196 WIDER ANGLE Bianco holds gun on Mullins, he swings to fire. Garrett's SHOT gets him in shoulder. Bianco turns to Garrett who comes INTO SHOT. CAMERON'S VOICE I'M glad you didn't have to kill them, Nick. 197 INT. PROBE CONTROL - ANGLE FAVORING CAMERON BIANCO'S VOICE Let the FBI squeeze them for what they know. What about Caribbean Distributors? HARRIS Pay dirt, Bianco. 198 EXT. PARKING LOT - ANGLE ON BIANCO He leans against black and white, Garrett inside calling for help. HARRIS' VOICE The company was set up forty-five years ago by Gaetano Campanella also known as the Banker... Responsible for financial organization of Syndicate at its inception. Garrett gets out of car. (CONTINUED) 61. 198 CONTINUED: GARRETT We won't have to wait long. BIANCO I have to see a man about a private plane. Bianco starts for terminal. GARRETT Don't forget the notebook! BIANCO It's safe with you. PUSH IN on Garrett. HOLD, then: 199 EXT. AIRFIELD - ANGLE ON PLANE - DAY Good-sized, private two-engine plane parked outside hangar. Bianco checks it, turns as he HEARS gas truck pull up. He watches gas truck. It stops, Forbus leans out window of driver's side, gun leveled on Bianco. FORBUS You do get around. BIANCO Up to now it was a living. Forbus gets out, gun on Bianco, indicates hangar, as he frisks him, takes away gun. FORBUS In there. 200 INT. HANGAR - ANGLE ON CAMPBELL He faces doors as Forbus follows Bianco inside. CAMPBELL Finish gassing the plane. Forbus nods. Exit. BIANCO And as the sun sinks in the Golden West, we'll bid a fond farewell to Travers, Texas. (CONTINUED) 62. 200 CONTINUED: CAMPBELL You're not going anywhere, Bianco. You'd have done yourself a favor if you'd come about five minutes later. BIANCO (dead pan) Once I made the tie up between Carribbean Distributors, Gaetano Campanella and Bob Campbell -- nothing could hold me back. CAMPBELL You don't object that I Anglicized my name. BIANCO I'M not chauvinistic. Gaetano was your father, right? CAMPBELL I told you -- he did provide for me. And when he passed on -- I guess I just stepped into his shoes. BIANCO You're finished here, Campbell. No matter what you do to me -- you can write off Southwestern Industries. CAMPBELL It paid its way. Forbus enters. FORBUS The plane's topped off. Campbell nods. CAMPBELL Okay, Earl. He crosses towards door. CAMPBELL He's all yours... On Campbell's cross, Bianco dives at him. (CONTINUED) 63. 200 CONTINUED: (2) Forbus FIRES at Bianco in leg. Campbell goes down. Bianco rolls over, comes up with Campbell's gun. He SHOOTS Forbus. Forbus goes down. Campbell lunges at Bianco. Bianco loses gun. They roll on floor. Intense fight. Bianco lunges for Campbell, gets him down, knocks him cold. Breathing hard, he crawls away from Campbell, sits on hangar floor, staring at Campbell. CAMERON'S VOICE Stay right there, Bianco. We've got an ambulance on its way. I'LL get word to Senator Gordon. BIANCO Let him wait his turn. Tell Lenore Mattson. Sugar Francis. They might just get the idea Hawley didn't die for nothing. He stares at them as we: FADE OUT. THE END