SEARCH "MOMENT OF MADNESS" by Richard Landau PROPERTY OF: Warner Bros. Television FINAL DRAFT 4000 Warner Boulevard January 23, 1973 Burbank, California 91505 "MOMENT OF MADNESS" ACT ONE FADE IN: 1. EXT. WORLD SECURITIES BUILDING NIGHT - - its blackness etched sharply against the blackness of the night. CAMERA begins a slow upward pan... taking in floor after floor - - as also ascending same side of the building, WE SEE A WINDOW CLEANER ON HIS PLATFORM. Totally nondescript. Camera pays no attention to him. Too far to see him clearly. 2. DOWN ANGLE FROM ROOF -- window cleaner obviously about his job of washing build- ing windows, taking a floor at a time. Streets below de- serted. Sparse traffic. A few scattered parked cars. Every indication that this is very late at night.. .more likely after midnight from the sight and sound of silence below... DIRECT CUT TO: INT. PROBE CONTROL CAMERON NIGHT CAMERON - - Whitmore you are ignoring the Mother-Daughter relationship in this case... -- as over above, CAMERA adjusts to see that Cameron is seated at his place, speaking to a FACE on Probe Control Screen. Cameron alone. Probe Control, as such, shut down. Face on the screen is Probe Agent WHITMORE. A FROZEN SHOT. Cameron is referring to one of several DOSSIERS before him - this one open, as he continues dictating a SCREEN MEMO to Whitmore. CAMERON (continuing) I suggest that you investigate this aspect of the situation further. With the mother, of course. The daughter has not yet reached the age of consent. You understand, Whitmore...? -- and clicks a switch very much like changing still slides, as another PROBE AGENT'S FACE APPEARS. (CONTINUED) SEARCH "Moment of Madness" 2. Revised 1/18/73 3- 4 (Cont.) Also, let us note that over each of these, DIGITAL TIME IS RECORDED -- and STOPS WHEN CAMERON. FINISHES - AND BEGINS ANEW WHEN HE ADDRESS THE NEXT AGENT. CAMERON (continuing) Ah, Kincaid. I have been. reviewing your assignment. I realize the extreme pressure you have been under. I know how difficult it must be to seek and search when one is lost out there somewhere along the sun-drenched shores of the Mediterranean...and our client isn't all that sure his wife is alive or dead... -- as next, Cameron puts a bark in his voice: CAMERON (continuing) Get the lead out, Kincaid! We didn't send you out to collect sea nymphs! A full report soonest, Kincaid! He picks up another dossier, clicks and another PROBE AGENT'S FACE SHOWS ON SCREEN, as we - DIRECT CUT TO: 5. EXT. SIDE OF BUILDING NIGHT -- to see window washer rising on platform. Platform is now at top floor. 6. OMITTED * 6A. INT. BUILDING SHOOTING TOWARD ROOF EMERGENCY EXIT NIGHT * -- as window washer appears coming through doors as if from roof. It is our first close look at him. We shall come to know this wan as RALPH BYRON. Face blackened, blending into the black of the monolithic structure. Garbed in a jumper suit reminiscent of IN II paratrooper's uniform. Wears a peaked cap. And gloves. Boots with rubber soles. Only his eyes appear real, framed in the blackened face - Strangelove eyes. Moment" 3. Revised 1/18/73 7.- thru 10. OMITTED * 1OA. INT. DARK CORRIDOR NEAR FREIGHT ELEVATOR NIGHT * Byron shorts an alarm with a screwdriver and jumper wire, moves to elevator. 11. 1ST. ELEVATOR SHAFT PANING UP NIGHT * To see Byron making his descent down elevator guide tracks. * 12. CLOSER ON BYRON As he comes FULL INTO CAMERA filling frame. * 13. INT. PROBE CONTROL CORRIDOR NIGHT As elevator doors open and Byron enters the corridor. Now we can see he isn't really all that young. Hard to tell with the blackened face. Maybe fiftyish. But solid. You wouldn't want to meet: him in a dark alley. The elevator doors close behind him automatically. 14. WITH BYRON as he moves swiftly, silently, along Probe Control Corridor-- and once, surprises us as he suddenly throws himself prone to the floor and bellys his way ever so cautiously for the next foot or so. We see why: 4. 15. LOW ANGLE ON HIDDEN ALARM -- it appears as a fixture in the wall along the corridor. But we see that Byron has bellied his way UNDER IT. Ob- viously knew where it was. 16. BYRON gets to his feet. MOVE SWIFTLY WITH him to door of Probe Control. A second's beat as he takes another small tool from a jumper pocket and applies it to open the door - - as camera is already: 17- INT. PROBE CONTROL P.O.V. NIGHT 18. -- to see Cameron, his back to camera, still a lone figure at his console. In the midst of another "screen memo" to BARNABY, another Probe Agent, whose face we see on SCREEN. CAMERON ...and you're beginning to let your hair grow a little too long, Barnaby. And, another thing -- Monitor Con- trol Unit reports that for some un- known reason your scanner always seems to malfunction between the hours of 2 a.m. in the morning and six o'clock a.m. ...as during this, SUBJECTIVE CAMERA has been moving slowly in on Cameron. CAMERON (a beat; knowingly) I would try to correct this, Bar- naby. Now, - back to your assign- ment. -- as Byron's gloved hand shoots out from behind camera and gives Cameron a swift chopping blow at the back of his neck. We HEAR Cameron s sharp gasp at this, PULL BACK quickly to find Byron, as Cameron loses consciousness. Byron quickly seals a tape across Cameron's mouth -- slips a blindfold over his eyes. This done, Byron clamps Cameron's hands in a locked grip at the wrists with handcuffs. Then slings Cameron's body over a shoulder and starts out - - CAMERA letting him go - - ANGLING ON TO SCREEN to see Barnaby in FROZEN SHOT -- and DIGITAL TIME also frozen. DIRECT CUT TO: 5. Revised 1/18/73 19 thru OMITTED 30. 31. EXT. STREET NIGHT Byron appears carrying Cameron. Moves to window washer's * panel truck parked away from street lights. 32. CLOSER AT THE TRUCK As Byron loads Cameron in front seat we note Cameron is recovering consciousness. 33. THE TRUCK roars away, down deserted street, headlights blinding us. * 34. INT. TRUCK * Byron drives intently. A man with a mission. Not a word to Cameron. Not a look.. CAMERA tightening on Cameron. You can sense that he is mentally alerted to all SOUNDS -- CAMERA ANGLING to feature his ear, as SOUND of engine in- creases in power -- car going up hill. As SOUND FILLS everything - - DIRECT CUT TO: 35. SERIES OF SHOTS -- Truck cutting across city, the beat of natural * SOUNDS underscoring -- as we SEE: a) Truck going down a long hill. b) Truck hanging a turn at the bottom of the hill -- SQUEAL of tires. c) Truck traveling along unlighted, isolated street. d) Truck entering an UNDERGROUND PASS or TUNNEL. ECHOING SOUND here -- hollow. e) Truck clipping along narrow road -- the whoosh of a diesel TRUCK or two passing in opposite * direction f) Truck stopped momentarily at RR TRACKS SOUND of CLANGING BELL OVER...as a couple of freight cars roll past. INTERCUT THESE SHOTS WITH: 6. Revised 1/18/73 36. CAMERON -- all these sounds coming through to him -- and we HEAR. these sounds with him -- as he records them in his mind. On last of these -- CUT TO: 37. EXT. ISOLATED DEAD END STREET NIGHT -- as the truck enters the street. Only one house at the foot of the dead end, no others. Plain, simple house, nothing to attract anybody's attention. Panel truck turns into driveway and noses its way to * garage. 38. LOW ANGLE ALONG DRIVEWAY The tires rolling over loose gravel paving driveway. TO: 39. CAMERON IN CAR to hear CRUNCHING SOUND of tires rolling over gravel. 40. EXT. GARAGE NIGHT Byron flicks hand remote control switch. Garage doors open. Byron drives in. Garage doors close. * 41- OMITTED * 42. 43. INT. BASEMENT NIGHT UP ANGLE on Byron and Cameron coming down the stairs and as they reach the bottom and nova forward, CAMERA RE- TRACTS before them and what greets the eye is a barred, prison-like cell. There is no sense of day or night down here. No windows to let us see change from day to night...or night to day. A sense of timelessness. CAMERA CONTINUES BACK...into the cell itself as Byron leads Cameron into it. Strangely, the floor is white... and so is the mattress on the white stone floor and the cell is small -- barely large enough to house one person. Byron uncuffs Cameron's hands...stands him against the back bars of the cell. An overhead light is burning. "MOMENT" 7-8. 44. REVERSE ON BYRON as he moves out of the cell, CAMERA BACK with him, pausing as he shuts and locks the cell door...turns and continues forward -- CAMERA BACK FULLER before him to disclose another setting here: A table facing the cell; actually, more of a console, or control panel arrangement. A battery of lights behind the table is aimed directly at the cell. The table equipment, while not sophisticated in an ultra electronic sense, does seem to have been put together by knowledgeable hands. 9. 45. CLOSE ON BYRON as he sits at the table. Takes a cloth and wipes his face clean and we see him clearly now. The eyes seem even more Strangelove. Cold, foreboding. The face once handsome, still with vestiges of handsomeness, reflecting however a man haunted. Byron turns a dial that dims out the over- head cell light. Flicks a switch that explodes one of the battery of lights behind him to life, the light cast- ing its blinding glare into the cell. 46. ANGLE PAST BYRON to see Cameron framed in the light. And now for the first time, Byron speaks. It's like Patton brought back to life, it's that sharp a command. BYRON Tape off your mouth! An icy voice, Byron has, a chilled, controlled, deadly voice. A bloodless voice. And its total lack of emotion makes the voice all the deadlier. Cameron unpeels the tape. 47. INT. CELL CLOSE ON CAMERON -- as Cameron tosses the tape aside, wets dry lips-with his tongue. CAMERON Thanks for that, at least. BACK TO: 48. BYRON ANGLED to see Cameron framed in that searing light. BYRON Blindfold! (CONTINUED) 10. 48 (Cont.) Cameron undoes the blindfold. SHOCK SHOT: 49- INT. CELL CAMERON 50. -- Cameron - and CAMERA - staring into the blinding light. And nothing can be seen beyond the light. Byron is a faceless voice. Cameron tries to shield his eyes against the light. INTERCUT: -- from Cameron to Byron's P.O.V. of Cameron, and Cameron trying to peer beyond the light barrier - which remains blinding. CAMERON (but quite cool) What are we celebrating, if you don't mind my asking? Then slowly - - and with a seemingly long waited for smile from Byron: BYRON You'll find out, Captain Cameron. Oh, yes, you'll find out -- -- as we ZOOM IN on Cameron. . as being addressed as "Captain" seems to jolt him back somewhere into the past. A beat - squinting against the light. CAMERON Who are you! -- and starts to the cell door.. CAMERA with him -- SHARP CUT TO: 51. BYRON -- presses a button. BACK TO: 11. 52. SCENE IN CELL - - as suddenly - - and shockingly - - FOUR WHITE WALLS DROP DOWN - - TRANSFORMING THE CELL INTO A WHITE ROOM! 53. INT. WHITE ROOM - - as Cameron reacts to this - - the transformation turning the entire atmosphere into a bizarre IPCRESS FILE/MANCHURIAN CANDIDATE setting. And with this sudden, drastic change, we become aware of a void...all white...an emptiness...no sense of reality...a total lack of depth perception - - the smallness of space -- the four stark white walls seeming to crowd in on Cameron from all corners...as Cameron pirouettes from one wall to another and all walls are alike and they have been dropped down from the INSIDE, blotting the bars of the cell and there seems no possible escape from this place...and Cameron stares around at the whiteness...then at where the cell door - WAS...and goes to it - and it's a white wall now... CAMERON (as if to himself) ..."Captain" Cameron... Cameron's wonderment over this.. .now becoming aware of the room growing brighter...and stares up. 54. UP ANGLE THE OVERHEAD LIGHT as it burns down on Cameron with increasing brightness - - whiter.. .and hotter...like a dazzling sun.. .and the white- ness of the room is like the whiteness of blinding snow... with Cameron lost in the wilderness of that snow. 55. CAMERON shields his eyes from the light, but he cannot escape from the fiery heat of it...as CAMERA SLOWLY PANS back up to the light, as it - DISTORTS SCENE: 56. INT. GROVER'S PLACE NIGHT -- as scene clears, CAMERA PULLING BACK from flame of a single candle. Much of its wax hath runneth over down the (CONTINUED) 12. 56 (Cont.) sides of the candle, melding with a wall of previously melted wax, Candle is on a low coffee table...and as CAMERA SLOWLY INCHES BACK, WE SEE an unfinished bottle of wine. Now - a lovely FEMALE HAND ENTERS SHOT to place an empty wine glass on the table - - CAMERA BACK just enough to establish the table is alongside a couch. And that is the direction from which the female hand comes. We shall refer to the FEMALE as ADDlE. Next, GROVER'S HAND ENTERS SHOT to place his empty glass down, then withdraws his hand. A beat, SOUND of a SIGH from Addie, then: GROVER'S VOICE (O.S.) What did you say your name was again? ADDIE'S VOICE (O.S.) (languid) Addie... GROVER'S VOICE (O.S.) Addie. I like that. 57. CLOSEUP GROVER -- is staring past Camera at ADDIE O.S. GROVER A little more vino para tu? (grins) A day without Grover's vino is like a day without Grover' s sun- shine. 58. CLOSEUP ADDlE Only one way to describe her face: Mmmmmwha! In these CUTS to CLOSEUPS we can t really tell whether Addie is wear- ing a full length mink, a full body stocking or a full nothing. It's the same with Grover. He could be in tails. ADDIE I'll take a little of both, Grover, baby. 59. LOW ANGLE ON COFFEE TABLE as GROVER's HAND ENTERS SHOT. Refills both glasses. Hands one O.S., takes the other for himself. 13. 60. CLOSEUP GROVER has glass at his lips. GROVER Salud, you all. 61. CLOSEUP ADDIE Her lips already wrapped around rim of the glass. ADDIE You better believe it. And sips slowly. DIRECT CUT TO: 62. INT. PROBE CONTROL NIGHT tension, confusion, SECURITY GUARDS about. DR. BARNETT sweeping into the room, an overcoat over nightclothes -- MISS JAMES and HARRIS already at their respective places. ZOOM IN on MISS JAMES. MISS JAMES Grover! Grover! Do you read me? INTERCUT WITH: 63. GROVER He hears her voice, dammit! GROVER I read you, I write you, I'm putting you in an envelope with an airmail stamp and I'd like to fly you far away. 64. CLOSEUP ADDIE ADDIE Fly me? I'd like that, Grover, baby! And tilts her glass at him in mock toast and sips slowly again. 14. 65. INT. - PROBE CONTROL NIGHT HARRIS (taking over) C.R., we have an emergency! Something has happened to Mr. Cameron. He's missing! 66. CLOSEUP ADDlE finishing last sip of wine. Class empty. Smiles O.S. at Grover. ADDIE Mas vino for para little old me, Grover, baby, fill my night with sunshine. 67. CLOSEUP GROVER GROVER What happened? 68. CLOSEUP ADDlE ADDlE ...glass is empty, that's what happened -- TO: 69. INT. PROBE CONTROL HARRIS HARRIS Urgent urgent, C.R.! 70. CLOSEUP GROVER GROVER Addie -- Grover baby has to go. Business. Something I just remembered. Something important. You'll forgive me? TO: 15. 71. INT. PROBE CONTROL HARRIS HARRIS Haul it here on the hurry, C.R.! Dr. Barnett has moved in and is - waiting! 72. CLOSEUP ADDIE ADDIE ...should I wait? 73. CLOSEUP GROVER GROVER (ruefully) My kind of work - - very un- predictable. I don't get paid by the hour. And no time off for good behavior... A sad sigh from Addie, O.S. 74. LOW ANGLE -- as Addie's limbs flex INTO SHOT, CAMERA adjusting to take in a pair of boots on the floor.. .as she slips into one, zips up the side, then the other. And they do go up high. Over this: ADDIE'S VOICE (O.S.) In that case, I'll keep my plane reservation for Majorca tomorrow. - - CAMERA BACK further now as Addie stands up and WE TAKE IN her long, shapely limbs -- then into a FULL SHOT, and you guessed it, she's wearing an eye empty body Mini, and gives a wriggle to let it shape into every nook and cranny of what it fills. Now smiles in Grover's direction. ADDIE I'll write. TO SEE: 75. GROVER standing there rather forlornly, holding her Mini coat which matches her Mini dress... . as she goes to him and wriggles into the coat. (CONTINUED) 16. 75 (Cont.) ADDIE Thanks for the din din and vino, Grover baby. Sorry we didn't get to your sunshine. -- and plants a pair of kissed fingers on his lips. ADDIE Bye bye. And she's gone, as CAMERA GOES IN on Grover who'd like to cut his throat, as over: BARNETT'S VOICE -- every resource of Probe is yours for the asking, Grover... DIRECT CUT TO: 76. INT. PROBE CONTROL BARNETT NIGHT BARNETT (a nod O.S. to indicate) I've assigned Mark Callas to work with you. Get anybody else you think you'll need. as CAMERA PULLS into FULLER SHOT, finding Barnett sitting in Cameron's place. WE FIND Grover thoughtful, intense, mobile, passing PROBE AGENT MARK CALLAS, giving Callas an accepting pat on the shoulder as he moves past him. GROVER No...I'll stick with Mark. as CAMERA RETRACTS further while Grover keeps up his meditative prowl: Miss James and Harris are still at their respective places. Also on tap, is CORNING, of SECURITY. GROVER What about Security, Corning? CORNING All guards reported in at their usual times...no one recalls having seen Mr. Cameron...same from each security check-point in the building... His car is still parked in his stall down in the garage. 17. 77- FAVOR GROVER 78. -- as he turns to Probe Screen - and WE SEE FROZEN SHOT of Barnaby and Digital time of cut-off still fixed. He stares for a moment. MISS JAMES You want a run back for another replay, Mr. Grover? Grover seemingly ignores her question, he is that intense, turns to Callas. GROVER Mark - note the time of cut-off. CALLAS -- check. 79. FULLER BARNETT (perceiving Grover's intensity) All right, Grover, I know that look of yours -- what's bugging you? -- as Grover takes in Probe Control screen with a gesture. GROVER -- Barnaby, maybe...or Kincaid... or Whitmore -- a gut feeling that one of our agents got twisted up and turned sour -- and that Mister Cameron might have had my same gut feeling, you heard his memos... -- as Grover ignores the screen and swings around to the table where we last saw the FILES...and Grover picks some off the top. GROVER (clipped - staccato) Or these. Could be a client was out to get him, don't t ask me why, or -- somebody grabbed him -- is holding him for ransom... Grover going to Barnett, files in hand. (CONTINUED) 18. 79 (Cont.) GROVER (continuing) Or somebody in one of these, Dr. Barnett -- somebody we're after has Mister Cameron, is out to blackmail Probe off the case. -- as Grover wheels round to face Miss James and Harris, drops the files before them, takes in the other files on the table. GROVER (continuing) Hit every file! I want a pro- file on every one in every case. HARRIS -- will hit, Mr. Grover! -- as Grover turns to Callas. GROVER Mark -- run a tape on all calls in to Probe and out of Probe -- and I want a voice print on any- one asking for Mr. Cameron! DIRECT CUT TO: 80. INT. WHITE ROOM -- the overhead light circulating STROBE LIGHT from above... as CAMERA PULLS BACK down and back and SEES the weird reflection of this light bouncing off all four white walls... on his back...staring up...and around...the flashing lights striking at him from all sides.. .holding him fixed as though they had hypnotic powers... FADE OUT. ...as we END ACT ONE 19. ACT TWO FADE IN: INT. WHITE ROOM -- all lights out, As much total darkness as possible. We can make Cameron out asleep on the mattress on the floor. The stillness seems interminable and we let it remain so for as long as possible as suddenly a wild and eerie undulating SOUND coming from a speaker up in the ceiling where the LIGHT FIXTURE is set, blasts the silence, as simultaneously with the sound the room bursts into blinding light from overhead...as Cameron explodes from the mattress, trying to collect his senses...wheeling from one wall to another as if seeking an exit, but there isn't any. We keep the sound up for as long as possible -- letting it bore into Cameron's ears, his brain, his soul and almost as suddenly as it burst upon Cameron, the SOUND CEASES...and for the next second or two the silence is almost as penetrating as the sound was, as Cameron stands a man alone in the center of this tiny island of emptiness. Then: BYRON'S VOICE (through speaker) Good morning, Captain Cameron. I hope you slept well. Now it is time for us to begin... -- as Cameron retains full control of himself in spite of the shocking awaking. Hears the voice coming through the speaker from above. CAMERON -- begin what? BYRON'S VOICE (a smile in the voice) Us, Captain... -- as with STARTLING EFFECT the FOUR WALLS FLY up -- expos- ing Cameron within the BARRED PRISON CELL -- as OVERHEAD LIGHT GOES OUT and THE BATTERY OF LIGHTS BEHIND BYRON BLAZE on and frame Cameron, and while Cameron cannot see beyond them, he acts and speaks as if the lights were no hindrance. CAMERON Something personal between you And me, is that it? 20. SCENE BETWEEN BYRON AND CAMERON -- Byron behind the lights...Cameron peering into the lights -- into Byron's facelessness. BYRON You might call it that, Captain. CAMERON (fishing) -- this "Captain"... where does it come from? BYRON ... don't you know? CAMERON Korea. I was there. BYRON So was I.... -- and Byron's repetitive use of "Captain is deliberate, needling, chipping away at the word as if to destroy it. CAMERON Then you know me. BYRON I know you well. CAMERON How well? BYRON You trained me...Captain. CAMERON I trained a lot of men. BYRON I was special. CAMERON So were they. BYRON I was special special... CAMERON I was a special trainer. (CONTINUED) 21. (Cont.) BYRON -- believe it! CAMERON You got me here - - where ever I am - - and you did it quite in- geniously, I must admit. And obviously you must have a reason... BYRON -- you are beautiful, I must admit! Reason, How about that? CAMERON -- your voice. I don't like talking to voices... Voices are always hiding behind other voices... Let me see your face... BYRON I didn't see their face, the Ones who woke me up in the morn- ing...and put me to bed at night... no faces...only voices and heat... and cold...and flashing lights...and darkness...oh, God, you'll never know how hot and cold it was...and the blindness from the lights. ..and the blind- ness from darkness... as Cameron begins to psych a profile on his captor... CAMERON So now you've got me your Pris- oner of War... BYRON - - not just a prisoner of war, I told you -- you made me special ... Captain! -- the walls, as one, drop swiftly down around Cameron and he is trapped within the White Room again -- the over- head light taking over. ON BYRON as he flicks a switch. 22. 84. INT. WHITE ROOM - - the HUM OF AN AIR CONDITIONER OVER -- as the blast of cold air hits Cameron and Cameron reacts to the shock of it...his hair blowing from the streaming blast and he wraps his arms around himself against the cold. BACK TO: 85. BYRON -- the battery of lights behind him out, only one light from behind framing his face in the semi-darkness. BYRON (into mike on table) You're going to hurt the way I hurt -- you' re going to know what I felt -- 86. CAMERON BYRON'S VOICE (O.S.) It s been the only thing that' s kept me alive...waiting for you -- -- as Cameron keeps trying to identify the voice in his mind, and his expression clearly tells us he knows he is dealing with someone twisted, yet shrewd - but who?...who?...CAMERA CLOSING IN on Cameron, beginning to shiver, arms huddled around himself...hair still ruffled by the blasting air... as the light snaps out and Cameron is plunged into total darkness...and Byron's voice floats out of that darkness: BYRON'S VOICE (O.S.) Go to sleep again, Captain. Pleasant dreams... as now it begins. Slowly, not too loud. But the begin- ning: waves of SOUND, one overlapping the other, unreal sounds, unalive sounds. They cease for a second, then continue. 87. FULL SCREEN CAMERON'S EYES and his eyes tell us he knows what he must endure. DIRECT CUT TO: 23. "MOMENT" Revised 1/18/73 88. INT. PROBE CONTROL DAY BURNING CIGARETTE DROPPING INTO CUP OF COFFEE CALLAS' VOICE (O.S.) -- no calls, no threats, no Cameron hijacker asking for ransom CAMERA back to find Callas, having dropped cigarette, facing Grover, who is bone weary from an all-night vigil, himself sipping cold, stale coffee. CALLAS -- no anything, C.R. How about you? DIRECT CUT TO: 89. INT. BEDROOM GROVER DAY * He's shaving hurriedly. Urgency high-lighted. GROVER Zero up and down the line. Not a single lead from any of those cases he had out of the * files! 90. FULLER to see CALLAS with him * GROVER (continuing) And double zero on our people working those cases. As clean as the fuzz on a baby's head... Grover slips quickly into fresh shirt, tucks shirt inside his trousers, begins tying tie. We see Callas' reflection in the mirror. GROVER (continuing) Not a link back to Cameron CALLAS -- so somebody out of the past. 91. OMITTED * 24. 92. FULLER -- as Grover turns round from the mirror to face Callas...tie now tied. GROVER (chiding) Mark, you get six points added on your next Christmas bonus for coming up with that astute remark - - ...as Grover now slips into a jacket. GROVER (continuing) But would you . know that OUR Mister Cameron is like an invis- ible man in our Computer lnformation Bank -- that we have no vital statistics on him...? -- again turning to Callas, but Callas is - CAMERA. DIRECT CUT TO: 93. EXT. STREET GROVER DRIVING THROUGH CITY DAY GROVER'S VOICE OVER Only thing I could find was, In case of accident or death, notify Virginia Carr.... DIRECT CUT TO: 94. EXT. THIEVES' MARKET DAY ...as Grover pulls into the adjacent parking area and stops. (Think of the Beverly Hills Thieve's Market on Santa Monica Blvd., a couple blocks west of La Cienega, with its quaint stalls and boutiques and eating places, and. you've got it.) CALLAS' VOICE OVER Who's Virginia Carr? GROVER'S VOICE OVER I don't know. But I'm sure going to find out. DIRECT CUT TO: 25. 95. INT. BOUTIQUE SHOP SIDE ANGLE SHOT DAY MOD-GARBED FEMALE Grover is facing her. GROVER You Virginia Carr? GINNY'S VOICE (O.S.) I like to be called Ginny. -- as CAMERA comes back, and we find that the Mod-garbed lady is a mannikin and that Virginia Carr is facing Grover from another angle. She's also as mod-garbed, the no-bra type, a delicious bundle aged 23. But no kook. Grover smiles back at her. GROVER Okay, goodbye Virginia, hello, Ginny. 96. FULLER as the scene takes in the boutique shop - strictly for the youth market, Ginny moving about, arranging garments, rearranging, putting a wild necklace around the neck of a mannikin, switching rings on the finger of another mannikin, Grover right along with her... GROVER My name is Grover? C. R. Grover?? It's Grover's reading of the line that gives it the inflec- tion. GINNY Am I supposed to know you? GROVER No, I don't figure you should. But I was wondering what you know about a V. C. Cameron? GINNY Uncle Cam? GROVER Mister Cameron he's your uncle? (CONTINUED) 26. 96 (Cont.) GINNY Well, if my mother was Uncle Cam's sister, I guess you'd say that made him my uncle. GROVER You mind my asking when you saw or heard from him last? GINNY You mind telling me who you are and what gives you the right to walk into my shop asking me personal family questions? Grover sighs, shaking his head at her challenging tone. Just like Cameron. GROVER Yeah, he's your uncle, all right. (then to her question) You might say he's like my boss. I work for World Securities. (a beat) It says in case of accident or death notify Virginia Carr. A beat as this sinks in and Ginny tries to comprehend. GINNY You mean Uncle Cam has been hurt ...he's dead? GROVER We don't know that answer, Ginny. We only know he's missing. We don't know why... .how, . . or where he is...or what's happened to him. (intensely) Is there anything, Ginny...any- body you can think of in Mister Cameron's past...any name he might have mentioned...any joke he might have told...any real life experience he talked about? Grover's feelings and anxiousness spilling over. Ginny's really never thought all that much about Cameron, that's obvious; also obvious that she wants to help Grover... (CONTINUED) 27. 96 (Cont.) GINNY I don't know - I never really knew Uncle Cam all that well -- it's been over a year since I saw him - - GROVER (riding - urgency) ...must be something -- family pictures...letters... GINNY (cutting over) ...some junk! Some junk I cleaned out after my mother and father died. A lot of stuff in a barrel. I never looked, really. Too much like looking into the past of people's lives ...left in a barrel. GROVER ...mind if you let me take a peak? GINNY It's with all the other junk stored in a warehouse. Might take three or four days to get it delivered. GROVER (With urgency) Can we go there and dig it out? GINNY May take a bit of finding, but we can try. DIRECT CUT TO: 97. INT. WHITE ROOM CAMERON He is huddled on the mattress...wild, kaleidoscopic lights flashing at him, along with the continuous waves of SOUND. It is such sophisticated torture...not a hand laid on him... not the old traditional Chinese style of a single drop of water dripping continuously on the forehead until the drop of water gains the force of a sledgehammer beating against the skull. Moving in closer on Cameron we see that he is reacting to sight and sound. 28. 98. CLOSE EFFECT SHOT CAMERON as sight and sound get to him...and the flashing lights begin to fade away and the sound drifts off...as the blessings of unconsciousness possess Cameron...and the entire scene blurs out -- -- SCENE CLEARS...as we pull back to CLOSEUP OF BYRON at the table and he presses a button. 99. SHOT past Byron to see the WALLS FLY UP revealing the cell -- as simultaneously, the BATTERY OF LIGHTS BEHIND BYRON FLASH ON TO FRAME CAMERON...and now we are conscious of all SOUND OFF - - ALL FLASHING LIGHTS GONE - - just Cameron behind the bars of the cell...on the mattress, the shock of the sur- roundings, the lights -- jolting Cameron bolt upright. BYRON (the icicle voice) On your feet! 100. CLOSER CAMERON as he rolls to his feet...stands...blinking against the blinding light, trying to reorient himself, all sense of time lost. 101- SCENE BETWEEN THE TWO 102. BYRON Up straight! Shirt in! Feet together! Arms at sides! -- as Cameron stiffens to comply. And Byron's Voice becomes the INQUISITOR'S VOICE from behind the light - and Cameron, in a REVERSE ROLE, is the POW...blinded by the light -- never seeing beyond it -- yet trying to steel him- self for what is to come -- to keep from spacing out... BYRON -- where will they land? CAMERON Where will who land? BYRON Answer the question! (CONTINUED) 29. 101- 102. (Cont.) CAMERON What question? BYRON How many? CAMERON -- many what? BYRON How will they land? CAMERON -- who? BYRON Will they come by land? Sea? Air? How will they come? CAMERON -- who? What? -- as next, Cameron is hit by the wild sounds and the FLASH- ing lights -- and he fights to resist it on a conscious level. And Byron begins all over again, hammering at Cameron. BYRON -- where will they land? CAMERON ...where will who land? BYRON answer the question! CAMERON ...what question? BYRON You once burned it into my mind, Captain! You told me -- Answer! ...Answer! ...as oh my god it hits Cameron. (CONTINUED) 30. 101- 102 (Cont.) CAMERON (as if to himself, a whisper) ...Byron -- SMASH SUBLIMINAL CUT TO: 103. INT. HQ KOREA GENERAL HACK DAY HACK at desk, scanning papers and reports, as Cameron's Voice comes over - from behind CAMERA. CAMERON'S VOICE (O.S.) -- General, Lieutenant Byron should not be in on the drop! HACK (looking up into camera) Why do you say that, Cameron? CAMERON'S VOICE (O.S.) He's a good man, he's dedicated, he's well-trained... HACK (riding) -- then he's perfect for the mission. CAMERON'S VOICE (O.S.) ...but he isn't! HACK (bulleting back) Why not? CAMERON'S VOICE (O.S.) He won't stand up against enemy interrogation if he's captured! He'll crack! He'll talk! Not betrayal, but he won't be able to help himself! BACK TO: 104. CAMERON - - in CLOSEUP. Hack's voice heard through Cameron' s brain -- (CONTINUED) 31. 104 (Cont.) HACK' S VOICE (O.S.) - - then program him with false information! CAMERON (almost inaudible) ...no! SHARP SUBLIMINAL BACK TO: 105. HACK CAMERON'S VOICE (O.S.) That would be immoral, sir! -- as Hack stares straight and hard into CAMERA. HACK What immorality? He's one man, Cameron! One man out of thousands of lives that can be saved - - BACK TO: 106. CAMERON -- the horror seen in Cameron's eyes. HACK'S VOICE (O.S.) ...One man lost to help shorten a war! -- -- as Cameron whirls and goes to the bars and grips them, his face bathed bright in the hot light. CAMERON Byron! Ralph Byron! 107. ON BYRON ...as he cuts off all lights except one that beams down on him, revealing himself to Cameron now for the first time. BYRON (softly, slowly) Well...Captain Cameron...so you do remember... 32. 108. REVERSE -- as Cameron sees Byron. And sees the Strangelove look in Byron. And now knows the why of it all. No lights on Cameron. Only the spillover of light from Byron. CAMERON (softly) Ralph...it wasn't how you think. I can tell you what happened... how...and why. 109- ANGLED TO INCLUDE THE TWO 110. BYRON (low, bitter laugh) A little late for that, Captain. -- as over this, WE INTERCUT FLASH SUBLIMINALS SHOWING BYRON'S ENEMY INTERROGATOR FROM BYRON'S POV SNAPPING QUESTIONS AT HIM. ENEMY INTERROGATOR - - how many? CAMERON -- I tried...You have to believe me, Ralph... ENEMY INTERROGATOR ...where will they land? BYRON (the pain in his voice) I was there...they had me...you put me there! CAMERON Ralph - - I know what you went through... I know what you suffered... ENEMY INTERROGATOR -- answer the question! How many -- where will they land? -- how will they come? -- answer the question! CAMERON (repeating) ...I know what you suffered -- "Moment of Madness" SEARCH 33. Revised 1/24/73 109- 110 (Cont.) BYRON I'm going to bend your mind and twist it, Captain...I'm going to squeeze your brain dry until all the juices run out! 111. ON CAMERON as the lights hit him again. BYRON'S VOICE (O.S.) (begins all over again) how many?...where will they land? ...as the lights now have STROBE EFFECT. BYRON'S VOICE Answer the question! ZOOM IN and OUT on Cameron. And next, the SOUND begins again. BYRON'S VOICE (continuing) will they come by land? Air? Sea? Answer the question! -- as we HOLD on Cameron gripping the cell bars, staring past the blinding light at Byron's voice, Cameron clamming up, resorting to the traditional role of any captured POW trying to shut out Byron. CAMERON My name is V.C. Cameron. My rank is Captain. My Serial Number is 19205566. * as CAMERA keeps closing in on Cameron... CAMERON (repeating) -- my name is V.C. Cameron. My rank is Captain. My Serial number is 19205566. * BYRON -- don't play games with me! -- but no charade this; it is a very serious deadly game...a fight for survival, and as CAMERA is about to engulf Cameron... (CONTINUED) 34. 111 (Cont.) CAMERON (continuing) My name is V.C. Cameron. My rank is - - - ...the FOUR WHITE WALLS DROP, blocking Cameron from view, his voice cut off -- FADE OUT: ...as we end act two "Moment" ACT THREE 35. Revised 1/24/73 FADE IN: 112. EXT. HIGH RISE BUILDING DAY -- something along Sunset Blvd.: Playboy Building, or 9000... DIRECT CUT TO: 113. INT. TIMOTHY O'TOOLE'S OFFICE HIGH ANGLE COMPREHENSIVE VIEW OF THE CITY AS SEEN THROUGH OFFICE WINDOW DAY O'TOOLE'S VOICE (O.S.) -- now don't misunderstand me, I am a very discreet individual. It's one of the reasons I don't employ a secretary. I wouldn't even tolerate that much invasion of my clients' privacy... -- as over this, CAMERA is PULLING AWAY from window, taking in the office. Pretty posh, although just a single office, no reception or secretary's office outside. Even a Chagall on the wall. Now to TIMOTHY O'TOOLE. At his teak desk. Speaking into mike attachment to telephone that allows him freedom of hands and movement. A Carroll & Company garbed fellow. Has all the charm of a cobra...the smile of a barracuda. CAMERA SETTLES on O'Toole, as he pours a Scotch for himself from a crystal decanter into a Waterford glass. The man has a taste for money, if nothing else. O'TOOLE (continuing) Now in spite of the up front fee I quoted to deliver every- thing you wanted on Cameron, things have changed. a beat as he takes a sip of the drink. O'TOOLE One or two unforeseen problems have arisen, is what I mean... a beat. No reply. O'TOOLE You are listening, Area Code 311 * 555-3305. CUT TO: "Moment" 36. Revised 1/24/73 114. INT. BASEMENT BYRON AT OTHER END OF TELEPHONE -- and he is listening. And his face is a slowly growing storm cloud - deadly. BACK TO: 115. O'TOOLE -- as he comes out from behind the desk, cruising around it, continuing to speak to the mike-phone attachment. O'TOOLE To be explicit: my friend who works at Probe...the one who delivered the inside information ...well...she got scared got zinged uptight...laid the panic on me...She quit her job...ill health, she told them, had to go away, her doctor said...a restful, sunny climate...takes lots of money. And, Area Code 311 555-3305, I had to give it to her... * -- as CAMERA stays with O'Toole as he wanders about the office staring out the window at the city below for a second, then moving again always directing his voice at the mike as we INTERCUT the scene with Byron listening... O'TOOLE (returning to desk) You how much it takes first class, all expenses paid where she went? And to keep her there...for one year? He shudders at the thought of the cost. O'TOOLE The mere thought of it frightens me, Area Code 311-555-3305. * A beat, takes another sip of his drink. O'TOOLE But I am a pragmatic individual even though I did not go to Harvard Business School, so I tell you this: I couldn't care less why you hired me to find (More) (CONTINUED) "Moment" 37. Revised 1/24/73 115 (Cont.) O'TOOLE (Cont.) Cameron, or for what reasons you wanted a blueprint of the layout, the less I know about a client's motives, truly the better. But to compensate for my having to deal with the young lady in question, there will be an extra charge. Call it an extra service charge. 116. BYRON LISTENING ...the Strangelove expression setting his face into an even more taut mask. A beat. No reply from Byron. O'TOOLE'S VOICE (O.S.) Say...another twenty-five thousand? Then the charm of the cobra leaves O'TOOLE, and the smile of the barracuda takes his voice over but from the icy depths. O'TOOLE'S VOICE (O.S.) In my hands before the close of business today, Area Code 311-555- * 3305! Sound of the click-off. Byron hangs up slowly. Enigmatic. BACK TO: 117. O'TOOLE Stares thoughtfully for a second, pours another drink. Drinks, his mind clicking. Now decision. He picks up the phone, punches the buttons, waits. Then the ring through speaker part of phone control at his desk. Next, a voice through speaker: VOICE World Securities. O'TOOLE Mr. Cameron. VOICE Just a moment, please. CALLAS' VOICE (O.S.) Hello. (CONTINUED) 38. 117 (Cont.) O'TOOLE Mr. Cameron? CALLAS' VOICE (O.S.) He isn't here right now. Would you care to leave a message? DIRECT CUT TO: 118- 119. INT. PROBE CONTROL OFFICE CALLAS DAY -- O'Toole's voice is being recorded, and a voice print taken. O'Toole is not the least bit bashful about leaving a message. INTERCUT BETWEEN THE TWO: O'TOOLE Tell him Timothy O'Toole. Tell him somebody has been awfully interested in having him tracked down. CALLAS (alert) Who would that be? O'TOOLE (laughs amusedly) That's part of the message. All I have on the party is a telephone number. Unlisted. I'd call it a collector's item. Like a rare vintage wine. If Mr. Cameron is a collector of such things, I would be willing to come to some terms - - CALLAS And what is your business? O'TOOLE Private investments...? DIRECT CUT TO: "Moment" 39. Revised 1/18/73 120 INT. VAN AND STORAGE DAY * -- where Grover is going through photographs, letters, memorabilia. Some of the photos are spread out; others in an old family album. Boxes, crates, stored furniture in evidence. GROVER (finishing reading a letter) Your Uncle Cam sure didn't say too much in his letters, did he? GINNY Mother told me Uncle Cam lived alone most of his life. I sup- pose when you have no one to talk to, there isn't very much to say. -- as Grover has a photo in hand, just glimpses at it, nothing much registering as he lifts his eyes to Ginny at what she just said. GROVER You are a perceptive young lady. DIRECT CUT TO: 121. INT. PROBE CONTROL DAY Harris is contacting Grover. Callas prominent. HARRIS Mr. Grover, I have Mr. Callas standing by. Important infor- mation. INTERCUT WITH: 122. GROVER CALLAS C.R. A call just came in for Mr. Cameron. A Timothy O'Toole. Private Investments, he said. Room 808 Sunset Building. Has a telephone number he wants to sell us. Someone who wanted the works on Mr. Cameron. He could be wanting to collect on both ends. (CONTINUED) 40. 122 (Cont.) Grover lets Probe Control in on scene through scanner. 123. SEEN ON PROBE SCREEN GROVER Ginny, I just got a flash on something that may give us a lead to your Uncle Cam. I'll check back with you later. (of pictures, etc.) Leave everything be. The suddenness of his statement causes her to wonder. GINNY You mean you got a flash, just like that? Snaps her fingers. He snaps his back at her, smiles. GROVER Just like that. SMASH CUT TO: 124. INT. O'TOOLE'S OFFICE O'TOOLE DAY O'Toole is seated at his desk, the Waterford glass of Scotch in hand. GROVER'S VOICE (O.S.) -- Mister O'Toole? 125. REVERSE PAST O'TOOLE to find Grover framed in the open door. GROVER I am C.R. Grover, Mister O'Toole, and I come in the behalf of Mister Cameron? And I bring... (riffling money) ...a care package, you might say. -- as Grover starts forward...looming into CAMERA, standing over O'Toole. 41. 126. GROVER'S P.O.V. -- staring down at O'Toole, and O'Toole is about as dead as he can be. 127- FULL 128. Grovers reaction. Now uses SCANNER, and contacts Probe Control. INTERCUT BETWEEN Grover and Probe Control. Callas there along with Miss Harris and James. GROVER -- the man here is dead. HARRIS Can you fill us in? GROVER (manipulating scanner) I can let you look. -- encircles O'Toole, SCANNER giving CLOSEUPS ON PROBE SCREEN. CALLAS What do you make of it, C.R.? GROVER ...don't know for sure..,from the position of his body and the angle of his head, seems he took a chopping blow at the base of the neck...no bruises. Whoever did it knew his job. I haven't seen this kind of an execution since I left Special Armed Forces... MISS JAMES -- time of death fixed at 4:32 point 18 seconds p.m... CALLAS You missed it by ten minutes. GROVER (grimly) Lucky me. HARRIS We've already started a check. We've got nothing on a Timothy O'Toole. Can you get us in close for a print? (CONTINUED) 42. 127- 128 (Cont,) -- as Grover aims SCANNER as close to O'Toole's hand as possible to pick up a finger for a print-out. GROVER How's that? WE SEE HUGE CLOSEUP OF FINGERPRINT on Probe Control Screen. HARRIS Beautiful. MISS JAMES Lock it and freeze for a rundown. CALLAS Hang on for a minute, C.R. ...as Grover continues investigation, careful not to disturb anything. HARRIS (cutting over) Okay. Here it is. Thomas Tolan. Aka's all over the country. Prison terms for Embezzlement and Fraud. Private Investigator without portfolio. Clients most- ly underground variety who wanted anonymity and paid for it. GROVER Logic: A - whoever hired O'Toole didn't want anybody with too many scruples. B - whoever hired O'Toole obviously didn't know where to find Mr. C, himself. C - could be some- body out of Mr. C's past, somebody who lost all touch with him - - CALLAS So give us a D. GROVER (grimly, eyeing O'Toole) You're looking at it. Whoever hired O'Toole made sure his scruples wouldn't show. CALLAS That really dead ends us on Mr. Cameron... (CONTINUED) "Moment" 43. Revised 1/18/73 127- 128 (Cont.) - - as Grover seems to suddenly remember something. GROVER - - maybe not... ...as CAMERA ZOOMS in ON Grover, as a gloved hand from behind Grover gives him a chopping blow at the back of the neck. 129. FULLER - - Byron having emerged from the still open bathroom door in the office, as Grover sinks to the floor un- conscious...Byron, implacable, staring down at Grover - - SMASH CUT TO: 130. EXT. STREET DAY - - a BLACK & WHITE comes roaring, siren up. * DIRECT CUT TO: 131. INT. PROBE CONTROL DAY Harris and Miss James trying frantically to get through to Grover. Callas standing by anxiously. MISS JAMES - - stimulation of depressor nerve at base of the neck due to external pressure! HARRIS - - all other function normal! Should come out of it in a few minutes - - CALLAS Reach him, he's got to get out of there now! MISS JAMES I'll apply ESB. - - as she works console controls. DIRECT CUT TO: "Moment" 44. Revised 1/18/73 132- 133. INT. O'TOOLE'S OFFICE GROVER DAY His body stiffens as though stimulated by an electric shock wave. He rolls over, coming to, shakes his head, gathering his senses - - realizing what happened to him. Gets to his feet. INTERCUT WITH PROBE CONTROL. CALLAS Move it, C.R.! Whoever hit you could have called the cops! Set you up for a frame to buy himself time! What we don't need now is delay or questions! - - as Grover pulls himself together, takes a last look around, heads out the door. 134. OMITTED * 135. INT. PROBE CONTROL CLOSEUP PHOTOGRAPH DAY Photo shows half dozen army officers taken from some dis- * tance away. A circle is drawn around one of these faces, obliterating a good look at the face - - an arrow drawn to the face. "ME" is ballooned at end of the arrow. GROVER'S VOICE (O.s.) - - that's Cameron posed with the rest of the staff under General Hack's command in Korea... - - CAMERA back over this to find Grover with Callas. GROVER I remembered I had just taken a quick look at the picture when you gave me the flash on O'Toole at the warehouse. CALLAS (of photo) So Mister C. was a Big Brain Wash Man... (CONTINUED) 45. 135 (Cont.) GROVER (grimly) Mark, I want a total work-up on every man in Hack's unit that Cameron trained and programmed - - their war record, date of dis- charge, and where they are today... -- as CAMERA ZOOMS in on photo again, featuring Cameron's circled face. BYRON'S VOICE (O.S.) -- they're out looking for you, Captain... DIRECT CUT TO: 136. INT. PRISON CELL CAMERON BATHED IN STROBE LIGHT -- lights blinking across his face. 137. ANGLE PAST BYRON TO INCLUDE CAMERON Byron's face profiled by the lights behind him. We see the crease of a pleased smile cracking this half of his face. BYRON (continuing) Oh my are they trying to find you... CAMERON ...those lights. - - as Byron punches a button and that SOUND is heard again and Cameron clamps both hands against his ears to try to shut out the sound. 138. CLOSE ON CAMERON as he wheels away from the light, his back to Byron...and we catch a glimpse of Cameron digging his hand into the sharp point of his belt buckle. 139. INSERT to show this. CUT TO: 46. 140. CLOSEUP CAMERON - - to show his face registering the self inflicted pain -- but the pain keeps him going. BYRON'S VOICE (O.S.) - - turn around. 141. ANGLE ON BYRON AND CAMERON - - as Cameron turns around to face Byron's voice -- the LIGHTS and the SOUNDS hitting him from all sides. While Cameron doesn't snivel or beg, Cameron is STILL HUMAN not INDESTRUCTIBLE. CAMERON -- sound...Please turn off.. sound. BYRON What sound, Captain...? CAMERON ...you...know. SUBLIMINAL TO: 142. BYRON'S P.O.V. ENEMY INTERROGATOR ENEMY INTERROGATOR -- where will they land? How many? We know: Don't lie! 143. BYRON BYRON I told you - no games, Captain I know your name, rank, and serial number - - now I want to know the truth: where will they land? How many? Don't lie! - - -- as Byron turns a knob and the SOUND rises. Turns another knob - - 144- 145. CAMERON -- as the lights increase their flashing intensity... Cameron grasping the prison bars. (CONTINUED) 47. 144- 145 (Cont.) CAMERON ...land? INTERCUT WITH FLASH SHOTS OF BYRON AND CAMERON for intensifying effect - - BYRON -- I asked that How many? CAMERON (catching up to first question) ...Inchon...by sea -- BYRON (stunned) -- Inchon? -- by sea? That wasn't your briefing: You programmed me with an air drop CAMERON ...Inchon -- Marines...by sea -- BYRON ...you betrayed me! You lied... CAMERON -- tried to save you... BYRON - - save me? You dropped me behind their lines with lies! CAMERON ...didn't want you dropped, Ralph.. ... tried to save you... BYRON (taut, deadly) -- they'll get you back, I promise they will - - but you won't have a mind left. They'll get back a vegetable! -- - - as CAMERA ZOOMS past Cameron -- holding on Byron, halo'd by lights... SOUND pitched high... frightening -- FADE OUT: ...as we end act three 48. "Moment" Revised 1/18/73 FADE IN: 146. INT. COMPUTER SECTION PROBE CONTROL DAY - - to see the computer sorting and spitting cards out into various slots. Grover and Callas in scene with * Harris. HARRIS (over above) ...we fed all names into the machine for sorting and elimina- tion - - - - CAMERA tracking him, Grover and Callas down line of slots. HARRIS (continuing; indicating as they go) These men are deceased...These are presently serving prison terms in various penal institu- tions...this group is living out of the country...the ones here checked out clean... GROVER Mr. C. trained himself quite a little army... HARRIS ...these men are still serving with the Armed Forces - - CALLAS So what does that leave us? - - as the machine ends its run and CAMERA moves in on a small stack of cards in the last slot. HARRIS (over above) All these men are potentials; in one way or another, harbored a real or fancied grudge against Cameron - - - - as CAMERA brings cards into CLOSEUP... DIRECT CUT TO: 49. 147- 148. INT. PROBE CONTROL DAY Feature screen which shows projection of IBM card from Computer. Grover and Callas are giving Barnett a run- through. One or two cards show photograph of potential suspect. This one has a burly face... GROVER - - Baker, A.L. Cameron busted him. He's presently coaching football here at North School... Army report quoted him swearing he'd get back at Cameron one day... ...as another card flashes on the screen. GROVER Walsh, Barry. Court-martialed and dishonorably discharged. Cameron was a key witness at the trial. It was his testimony that dropped the bomb on Walsh. He races stock cars. Drove the 500 at Ocean Speedway the day before Cameron disappeared. Hasn't been heard from or seen since. --now another card flashes on screen. Photo shows Byron -- but is instantly indistinguishable as CAMERA ZOOMS in... GROVER (over this) Byron, Ralph - - SMASH CUT TO: 149. 747 TAKING OFF (STOCK) DAY -- as over, Grover's Voice continues: GROVER'S VOICE (O.S.) (continuing) - - dropped behind enemy lines in August, 1950. 150. ANOTHER SHOT 747 lN FLIGHT (STOCK) DAY GROVER'S VOICE (O.S.) Was reported missing in action. DIRECT CUT TO: 50. "Moment" Revised 1/18/73 151. EXT. VA HOSPITAL DAY ZOOMING IN on something like Letterman's Veterans Hospital in San Francisco. GROVER'S VOICE (O.S.) Intelligence reports later came in to list him as captured and held in a North Korean prison camp... DIRECT CUT TO: 152. INT. VA HOSPTIAL CORRIDOR GROVER AND DR. WELD DAY - - CAMERA MOVING with Weld and Grover, as Weld pauses to check a patient, touch a patient, nod at a patient being wheeled by an intern - - as over it all, Weld is talking to Grover... WELD - - he was shipped back to the States after the exchange of sick and wounded prisoners in 1953 at Panmunjon. But I suppose you have all that information. GROVER (nods) It's from the time you got him here, we're interested in, doctor. WELD Mentally, he was a very sick man. He had been broken by the enemy - - deranged - - shattered spiritually and physically. The first few years we kept him in a top security psychiatric ward under twenty-four hour supervision. We threw the whole psychiatric book at him: shock treatment, sodium pentothal, intensive analysis, later group therapy sessions. - - a beat, as they near exit. Weld stares strangely at Grover. WELD Byron was a very unusual man. He seemed to hang on to life by just the sheer strength of his emotional (More) (CONTINUED) 51. (Cont.) WELD (Cant.) fingernails, so to speak. About three years ago, a sudden dramatic change came over him -- GROVER What kind of change, doctor? WELD He began to cope with reality. He began to function, throw off the past. He pushed it out of his mind. We released him six months ago. Scene interrupted by VOICE Paging Weld over PA system. PA VOICE Dr. Weld, please.. .Dr. Weld. WELD Excuse me. --and turns to wall phone. WELD Dr. Weld. (listens) Put him under sedation. I'll be these in five minutes. (hangs up; to Grover) Slight emergency. GROVER (nods) I understand. Just one last question. What were Byron's feelings towards Captain Cameron? WELD Who? GROVER V. C. Cameron... WELD He never once mentioned anyone by that name... SMASH CUT TO: 52. "Moment" Revised 1/18/73 153- 154. OMITTED * 154A. EXT. CAR (MOVING) * GROVER'S VOICE OVER Paradox: Byron's hatred for Cameron must have kept Byron alive. But he kept Cameron his secret... 155 INT. CAR (MOVING) * Grover and Callas. Callas is driving. GROVER * Theory: If Byron is our boy, his revenge against Cameron must be his version of the Biblical throwback of an eye for an eye - - CALLAS (meaningly) ...or a mind for a mind? Grover doesn't like to think that, but he must nod in grim agreement. GROVER It's strictly a hound dog job from here on, Mark. We have to figure that after Byron's release, he began a search for Cameron... 156. EXT. SOMEWHERE IN THE CITY DAY The CAR driving through. GROVER'S VOICE OVER ...finally picked up the trail here and hired O'Toole. How he snatched Cameron doesn't matter at this moment. 53. 157. INT. CAR GROVER AND CALLAS DAY - - shooting past them, taking in city traffic through windshield. CALLAS He had to have planned the abduc- tion way in advance - - have a place to take Mister Cameron - - a house - - somewhere in the city - - or out of it... GROVER - - but remote, We flood every real estate agent's office with Byron's picture and description... check out every house for rent or sale advertised in the news- papers for the last three to four months! 158. EXT. CITY DAY CAR driving GROVER'S VOICE OVER (his voice re- flecting the almost impossible) Find Ralph Byron...we find Cameron! CALLAS' VOICE OVER (wearily) Yeah...maybe. 159. INT. CAR CALLAS AND GROVER DAY -- a brief exchange of looks between them.. .as a flash of sunlight hits the windshield arid casts enough distortion to: BLUR SHOT: 160. INT. PRISON CELL BLURRED SHOT Shot clears to find ourselves staring, with Cameron, up at the wild, overhead light in the cell. The SOUND has taken on a different pitch now, but nonetheless very freaky. (CONTINUED) 54. 160 (Cont.) CAMERA adjusts and finds Cameron clinging to reality by again digging his hand into the point of his belt buckle. CAMERA further reveals Byron's absence. We remain with Cameron staring up at the light with its hypnotic influence- -- continuing to offset the mind-bending effect of light and sound with his self inflicting action. And as important, we can tell that Cameron's mind is working. Something a- bout that light. Some idea seems to be growing in Cameron's mind. His expression tells the story of a drowning man trying to reach for a life belt. And even more, really, his instinct - his training - his will to survive. 161. FULLER as Cameron sits bolt upright. Sudden hope In his eyes. A new sense of being, life-grabbing energy. He lets his eyes follow the wiring from the light fixture. 162. PANNING P.O.V. -- to follow the wiring down the outer cell wall -- to where It runs past an open plug at the base of the wall. FREEZE SHOT at sight of plug and ZOOM IN. 163. CAMERON staring. Idea keeps growing. Eyes begin to glisten with excitement. The flashing lights adding a weirdness to his expression. Now his eyes flick off. 164. ODD ANGLE P.O.V. -- a spool of wiring Byron obviously used to hook up his battery of lights. 5poo1 sits on a ledge outside cell bars. 165. CAMERON explodes to the bars. Extends a hand through. Spool too far to reach. 166. REVERSE ON THIS The strain, the striving seen on Cameron's face. The spool looming large in F.G. of shot. So near - so far. 55. 167. CAMERON -- no panic. Mind racing. Eyes flash around cell -- seeking, searching - for what? What can reach that spool? Cameron moves across the tiny space, stepping on the mattress, Freezes as though shot. Falls to his knees. 168. LOW ON CAMERON -- pulls at his belt. Uses sharp point to slash side of mattress hugging floor at rear of cell. Now digs both hands into slashed opening of mattress. And tugs. Next tearing loose a section of coiled mattress spring. For the first time the hint of a smile on Cameron's face. 169. FULLER as Cameron exerts all strength to straighten the spring coiling. Finally does, in a crooked way, then turns back to the bars and cokes the coil through the bars, reaching the spool and knocking it off its perch. 170. SHOT A as the spool falls.. .rolls away from cell bars. Hits wall, rolls back, Cameron stops It with uncoiled spring, works spool back-to him. Now can reach It. 171. NEW ANGLE Cell bars too narrow to get spool through. Cameron's hands must unwind wire through bars. 172. CLOSE ON CAMERON unspooling the wire to length he needs. Is working swiftly flow, fighting time. He severs wire from spoo1 with Jagged end of spring. 173. FULLER With a well aimed shot, Cameron sends spool rolling into cluttered corner of basement. Now Cameron goes to work on improvising wire, splitting one end into a pair of prongs. INTERCUT: 56. 174. INSERT HANDS PERFORMING THIS ACTION BACK TO: 175. SCENE This done, Cameron runs other end of wire across cell floor, stringing it to section of coiled spring inside mattress, then out and hooking end out of sight to bottom of cell door. 176, WITH CAMERON as next, the delicate, nerve-wracking procedure of snaking pronged end through cell bars and inserting it into open wall plug at base of wall. And it seems to take forever. And at one point, the wire drops from plug. Cameron starts over. Does get it back in. It stays. And Cameron sheds a thousand years off his life. But adds a thousand years of anxiety now.. .as he moves back to the mattress. 177. CAMERON flops on mattress...waiting tensely. The flashing lights still working~ the SOUND still eating away all silence. Cameron turns his- eyes to the wiring. 178. PANNING P.O.V. -- the wiring...effect of shot is like following a lighted fuse to a powder keg - - and as we reach the end of the wire inserted in wall plug - - ALL LIGHTS AND SOUND CUT OFF - - the silence and darkness almost as explosive as if there were an explosion, as -- DIRECT CUT TO: 179. CAMERON -- blasted by the battery of lights behind Byron once again. But this time, Cameron seems ready...but no matter how ready, it is still like walking on egg shells. And the sound of Byron's voice has the ring of death in it. BYRON'S VOICE (O.S.) - - traitor... 57. 180. REVERSE FOR US TO SEE BYRON - - his features almost a death mask in the overspill of light. BYRON (continuing) Up - On your feet. 181. ANGLE TO INCLUDE THE TWO Cameron staggers to his feet, a seemingly dazed look in his eyes...stands, trying to wipe out the blinding light With his hands...as Byron triggers an eerie, intermittent blast of SOUND to underscore every other word. BYRON Inchon - - the Marines - - the sea. Why? -- and sends the SOUND piercing through Cameron's very soul. BYRON - - why? Why me? CAMERON ...can't...think. BYRON - - why me, Cameron! And it is the first time he has not addressed Cameron -as "Captain Cameron". Turns SOUND higher...lights brighter. BYRON (repeating; as if by rote now) Inchon...Marines...by sea -- 182- ON CAMERON 183. -- hand held CAMERA effect as Cameron comes rushing to the bars -- not touching them -- hands clapping his ears... and he is but inches from the cell door. Rocks his head back and forth as though that would shut out the sound. And it is now or never for Cameron; he must bait Byron to come and get him! And still fight not to succumb himself! (CONTINUED) 58. 182- 183. (Cont.) CAMERON - - knew you would...crack... knew you would talk. ..used you... fed you false information... knew you had no.. .guts.. .knew they would pull it out of you... pigeon - - clay pigeon - - let you spit it out - - clay pigeon -- used you...no guts... SUGGEST WE INTERCUT THIS WITH FLASHES BETWEEN BYRON AND CAMERON - - and SUBLIMINALS BETWEEN BYRON AND HIS ENEMY INTERROGATOR... 184. BYRON as he lets out a low, almost guttural cry, and plunges forward toward the cell. BYRON - - kill you! -- 185. REVERSE PAST CAMERON - - to see Byron coming forward - - cell key in hand... BYRON (repeating) ...kill you! And as he makes contact With the cell door, he lets out a scream...and his body goes taut, freezing there as the electricity pours into him and his head slumps. 186. CAMERON pulls the wire loose from wall plug, goes to cell door, extracts key from Byron's fingers and unlocks cell, 187. FULLER Byron's body slumps to the floor. Cameron, while having played out his charade to the fullest, is spent, all but stumbles over Byron's body...and heads for basement stairs, CAMERA PANNING as he works his way up the stairs -- SMASH CUT TO: "Moment" 59. Revised 1/18/73 188. EXT. CITY STREET BRIGHT LIGHTS NIGHT DISTORTING THE SHOT and for a moment we could be back in the White Room, until CAMERA ANGLES sharply to find Cameron framed by the lights - - headlights of a Black and White, Cameron staggering along the street, not knowing where he is...and as the police car pulls up along side Cameron and the TWO OFFICERS get out - - CAMERON'S VOICE OVER - - I was blindfolded and taped across the mouth... DIRECT CUT TO: 189. INT. FIRST AID ROOM PROVE CONTROL NIGHT * - - a newly reunited Ginny and Uncle Cam; Grover, * and Callas in the room. Physically, Cameron isn't all that beat, but is mentally exhausted, has concern for Byron. CAMERON (continuing) We came down the side of the building. Must have been on one of those window cleaner platforms. He strapped me in- to a car, drove off...and that was it. GROVER And you still don't know where you were...even after you left the place? CAMERON My mind wasn't all that clear... those lights had half blinded me. All I wanted to do was get out...breathe fresh air...get away - - GINNY You're safe. It's all that counts now, Uncle Cam. (CONTINUED) "Moment" 60. Revised 1/18/73 189 (Cont.) CALLAS Well, it's out of our hands. It's up to the police. Let them finish it. The man is a maniac...paranoic - - CAMERON No! If the police move in, Byron has to get himself shot and killed! He wouldn't sur- render any other way. If anyone brings him in, I will! CALLAS But how, sir? You saw nothing from the time you left Probe Control - - CAMERON Sounds, Mr. Callas, sounds. I remember sounds. And they're still in my head. I'll find the place. GROVER (grimly) If Byron is still alive, he'll be waiting to kill you. CAMERON I'll take that chance, Mr. Grover. But I don't want him killed. I tried to save him once in the past. I couldn't. Tonight, I tricked him a second time. Now I do owe him his life... GROVER But not alone this time, Mr. Cameron. I'm going With you - - - - as before Cameron can protest, if he were to: SMASH CUT TO: 190. EXT. STREET NIGHT Grover's car pulling away from World Securities Building - - precisely as Byron did. PAN CAR as it rounds corner. 61. 191. INT. GROVER'S CAR NIGHT Grover driving; Cameron alongside him - blindfolded. CAMERON You should be going up a hill. GROVER We are.. DIRECT CUT TO: 192. REPRISE SERIES OF SHOTS -- this time Grover's car cutting across city, as we play back on all the same sounds Cameron heard. a) Grover's car going down a long hill. b) Grover's car hanging a turn at the bottom of the hill - squeal of tires. 193. INT. GROVER'S CAR NIGHT CAMERON No, no, Mr. Grover! Not that way! To your left! 194. SHOT GROVER'S CAR as he slams on brakes, whips car around the other way. 192. RESUME SHOTS c) Grover's car traveling along unlighted, isolated street. 195. INT. GROVER'S CAR NIGHT CAMERON We should be entering an under- ground pass or a tunnel any second now. GROVER Right up ahead... (CONTINUED) 62. 195 (Cont.) A faint smile on Cameron's face. 192. RESUME SHOTS d) Grover's car entering tunnel. e) Grover's car clipping along narrow road - - the whoosh of a TRUCK passing in opposite direction. 196. INT. GROVER'S CAR NIGHT Cameron turning his head With whooshing sound. CAMERON Was that a truck, Mr. Grover? GROVER An oil tanker, sir, CAMERON Keep going, Mr. Grover. Keep- an eye for some old train tracks. Cross them and bear to the right fork in the road. TIME CUT: 197. EXT. RR TRACKS NIGHT Grover's car crossing tracks. Takes right fork in road. 198. SHOT GROVER'S CAR drives on, picking up speed. CUT TO: 199. EXT. ISOLATED DEAD END STREET NIGHT ...as Grover's car enters the street slowly. Drives to Byron's house at end of street. Enters driveway. Stops. 200. INT. GROVER'S CAR NIGHT GROVER This the place? (CONTINUED) 63. 200 (Cont.) CAMERON You heard the crunch of gravel when you drove into the drive- way, did you not, Mr. Grover? GROVER (keeping his cool, though alert and tense) Yes, sir, I did! -- as Cameron removes blindfold. Stares through windshield. 201. P.O.V. Dark, deserted. BACK TO: 202. SCENE GROVER (doesn't like the deserted look) I'll take a look. Please stay inside the car, Mr. Cameron. CAMERON (about to protest) - - I'm very capable of.... GROVER (riding) - - getting yourself killed! (no nonsense With Grover) We're not at Probe Control, and I am still the agent on this case! -- as Grover opens door and gets out. 203. EXT. HOUSE NIGHT Grover shuts car door, moving through darkness to explore the scene, CAMERA TRACKING With him. At garage - a sudden whoosh- ing SOUND from overhead. Grover freezes. Looks up. SHOCK SHOT 64. 204. A NET DROPPING DOWN UPON US (CAMERA) 205. FULLER the net engulfing Grover. Angle up to: 206. GARAGE ROOF Byron looming on top of roof, tightening net With rope he holds. Garbed exactly as he was the night he abducted Cameron. 207. INT. CAR CAMERON NIGHT sees this. Torn. Helpless. It would be suicide to rush out at this moment. Grabs radio phone. CAMERON Probe Control!...Probe Control! BACK TO: 208. SCENE Grover struggling within net. 209. SHOT Byron leaping down from roof. 210. FULLER Byron sees Cameron in car. Ignores Grover. Makes way to car, camera With him, a set, deadly expression on his face. 211. INT. CAR CAMERON NIGHT sees Byron through windows, Now a terrifying moment as Byron tries to open door to get at Cameron. Cameron punches door lock...and it becomes a deadly game as Byron tries the other doors and Cameron struggles to lock them before Byron can pull one of them open. 212. CLOSER ON BYRON THROUGH WINDOW Byron out of touch With reality - kill in those Stranglove eyes. 65. 213. BYRON picks up rock and begins to smash at car windows, 214. GROVER still in net, but managing to crawl to car. 215. FULLER as Grover manages to roll himself at Byron and entangle him in the netting and pull him down. Cameron breaks out of the car, and With Grover manages to subdue Byron...as Grover frees himself. 216. CLOSER A totally "gone" expression in Byron's eyes. Grover starts to clamp cuffs on him, but Cameron shakes his head, speaks to Byron as though Byron were now a small child. CAMERON (softly, gently) ...It will be all right now, Ralph, it will be all right... -- starting to walk Byron to car, CAMERA With them. CAMERON (continuing) ...peace...you will have peace... -- as Cameron helps Byron into the back seat...and Grover slides under the wheel, CAMERON (continuing) ...it's all over, Ralph - - SOUND of car starting up. CAMERON - - you won't be hurt any more... Cameron in car. Shuts door. Car backs out of driveway and as it drives off...CAMERA PULLS BACK up high to let the car drive out of the dead end street. CAMERON'S VOICE OVER ...the war is over. FADE OUT: THE END