"PROBE" "THE MURROW DISAPPEARANCE" written by Leslie Stevens A Leslie Stevens Production PROPERTY OF: WARNER BROS. TELEVISION FINAL DRAFT 4000 Warner Boulevard Burbank, California May 19, 1972 PROBE THREE "THE MURROW DISAPPEARANCE" PLEASE NOTE: The character name "DR. LAURENTS" is to be changed thruout the Final teleplay to "DR. WINTERS." PROBE "The Murrow Disappearance" 1 HOTEL FIRE (LSP STOCK) Spectacular footage of a major fire shows an inferno of flame engulfing a hotel. A SOUND LIKE THUNDER RUMBLES as the firestorm swirls. 2 EMERGENCY EQUIPMENT (PRODUCTION AND STOCK) Flash cuts of fire-fighting equipment. Police, ambulance and emergency vehicles respond to the greater alarm. SIRENS SCREAM AND WALLOW. PULL BACK from the fire-sequence to REVEAL PROBE CONTROL MAIN SCREEN. OPTICAL FX: 3 PROBE CONTROL LOCKWOOD and CAMERON are intent upon the screen. The Probe Team is at the computer consoles as they put up the various briefing tapes. Electronic switch-tones and pulses. 4 PROBE SCREEN Hand-held news-coverage lurches through sweating lines of police and firemen. Their uniforms are drenched. The faces are strained as they work. Smoke roils and billows as a rescue team emerges from a hurricane of debris carrying a strap-pack stretcher. The CAMERA GOES CLOSE to the face of the victim. Her hair is drenched and her pale cheek is streaked with grease. FREEZE FRAME: CAMERON Freeze it. Cassette two. Run, please. NARRATOR (V.O.) Adele Murrow wife of State Department Consultant, Elliot Murrow. Booked on suspicion of arson: charges dismissed due to infringement of legal rights. LOCKWOOD Did she do it? (CONTINUED) 2. 4 CONTINUED: CAMERON They taped her statement at the hospital. Keach, retrieval and display of Mrs. Murrow's confession. (to Lockwood) It wasn't admissable because she was partially under sedation and counsel was not present. KEACH Package up. CAMERON Run, please. 5 PROBE SCREEN Extreme CLOSE UP of ADELE MURROW against hospital pillow. A plastic tube is taped into her nostril. Her hair is pulled back. She speaks in a hoarse whisper; anguished. A doctor, BERENS, draws her out. BERENS You registered at the hotel. Do you remember the room number? ADELE 701. BERENS Will you repeat what you told me? What you did in room 701? ADELE I poured lighter fluid on the carpet, the bedspread, curtains... BERENS Then what did you do? ADELE I set it on fire. BERENS You deliberately set fire to the room? ADELE Yes. BERENS Why? (CONTINUED) 3. 5 CONTINUED: ADELE I wanted to die. BERENS You knew the fire would spread. ADELE Yes. BERENS You wanted to destroy the hotel? ADELE I found a key in my husband's coat pocket. I asked him about it, and he told me. He stayed there. BERENS With another woman? ADELE Yes. BERENS Mrs. Murrow, where is your husband at this time? ADELE I don't know. He left me. That's all I know. He's gone. Pulse tones and flasher: END RUN 6 PROBE CONTROL LOCKWOOD turns to Cameron. His voice is terse. LOCKWOOD Any deaths in the fire? CAMERON No. The alarm saved them. LOCKWOOD Then I don't get it, Cam. Fire damage to the hotel may have been heavy, but it's an insurance case. What do they want with Probe? (CONTINUED) 4. 6 CONTINUED: CAMERON They don't want Probe. The hotel is not the client. LOCKWOOD Don't tell me we're being hired by Mrs. Murrow to track down her husband? CAMERON Not exactly. LOCKWOOD Then who's the contractor? CAMERON I don't blame you for wondering, Lockwood. So far this case has all the ingredients of a juicy soap-opera, but we're only half-way into the briefing tapes, so fasten your shock cord. (to Probe team) This next readout is a live transmission and is classified as a Code 10. LOCKWOOD Goodbye, gang. Enjoy your coffee break. The Probe team exits. However, GLORIA HARDING remains at her console. CAMERON Miss Harding, I said “Code 10." GLORIA Yes, sir. Code 10. Absolute secrecy. CAMERON It applies to all personnel, excepting Directors of Probe Control Units and working Probes. GLORIA I understand, sir. She remains. (CONTINUED) 5. 6 CONTINUED: (2) CAMERON We will not be needing medical telemetry at this time, thank you. GLORIA Perhaps I ought to bring you up to date. Certain members of the Probe team have been selected for special on-the-job training, in preparation for departmental promotions. CAMERON Promotions? LOCKWOOD She's quite a promoter... GLORIA (smiles) One of the members of the Board of Directors of World Securities invited me to dinner to discuss job opportunities and, as a result of our conference... (punches button) Well, let's let the Executive Order speak for itself. This is Gloria. E.O. One-niner. Run, please. CAMERON No one told me about any Executive Ord -- 7 PROBE SCREEN DR. LAURENT pops on. He is his usual authoritative self with a tiny hint of guilt. CAMERON Doctor Laurent? LOCKWOOD (smiles reproachfully at Gloria, who looks primly defiant) Look who came to dinner. LAURENT (crisp and shifty) Attention Probe Unit One. This is a Special Directive from the Board of Directors. (MORE) (CONTINUED) 6. 7 CONTINUED: LAURENT (CONT'D) Subject: Equal opportunity for corporate employees regardless of race, creed or... ahum... sex. Gloria glances at the ceiling. LAURENT The following personnel will commence on-the-job training as of this date. (reads) "Harding, G." Security will issue Code 10 clearance; payroll will issue salary increase of twenty-seven percent. That is all. The flashers read END RUN. LOCKWOOD When you're hot, you're hot. CAMERON Well, Miss Harding, since it's official, you're welcome to stick around, provided, of course, you have Computer Clearance cardform J -l07 dash 3, series B, revised. Gloria takes a plastic I.D. grid card out of her lab smock. CAMERON Of course, you always have been the soul of efficiently. Well, let's get on with it. (he punches a button) Patch in Stateline. U.S. Government security channel. Code name: "Saratoga." 8 PROBE SCREEN (INCLUDES INSERT A) Electronic pulse tones. Flasher and narrator. PRINTOUT of following: NARRATOR "Probe Unit One. Prepare Code 10 clearance cards. Stand by for pulse tone. Three. Two. One." (CONTINUED) 7. 8 CONTINUED: Flashers count down 3... 2... 1. A resonant tone comes in as the signal for Lockwood, Cameron and Gloria to place their I.D. cards in the grid-slots. (NOTE: Add to consoles flash bulb flare effect.) IDLING PATTERN FADE OUT TO BLACK. FADE IN FROM BLACK. 9 PROBE SCREEN (WALL TO DESK) The screen becomes a strange, dark silhouette of a man seated at a desk in front of a bare wall. A governmental wall seal is the sole decoration. The effect is awesome. An educated, carefully modulated voice speaks with precision. It is disguised by voice filters. FIGURE Probe Control this is code name Saratoga. (flicker: I.D. Positive) I'm sorry I can't show my face or let you hear my voice, but suffice it to say, I am what is known as a "High Government Official." We have received a confidential report from the State Department informing us that Foreign Affairs Consultant Elliot T. Murrow has not reported to the Bureau for over 48 hours. His absence is irregular and unauthorized. We are also informed by personnel security that Mr. Murrow is involved in a severe marital crisis which resulted in the attempted suicide of his wife, Mrs. Adele Murrow. LOCKWOOD Excuse me, sir but isn't it regulation drill when government employees get lost or stolen, you phone the F.B.I.? FIGURE We're holding of f as long as we can. CAMERON May we ask why? (CONTINUED) 8. 9 CONTINUED: FIGURE We have reason to believe that foreign nationals are involved and it's a bad time to risk retaliations from certain governments. We don't want them calling in their own secret police, espionage agents... the Cold War all over again. LOCKWOOD Was Murrow that important? FIGURE On the face of it, the Murrow Disappearance appears to be a minor domestic scandal... but these things always have a way of escalating. They've been known to topple governments. LOCKWOOD Why do you think foreign nationals are involved? FIGURE As you know, Washington, D.C. is where foreign governments from all over the world maintain embassies, consulates, ministries, some form of diplomatic mission. As he speaks, INSERTS B, C, D. Luxurious Country Clubs, swimming pools, golf links, tennis courts, etc. FIGURE On the outskirts of the District there are many exclusive, private clubs such as the Congressional Country Club, the Burning Tree Golf Club, the Army and Navy and others. One in particular is the playground of international V.I.P.'S INSERT E - Diplomatic Legations Country Club. FIGURE It's name is the "Diplomatic Legations Country Club" owned and operated by a group of foreign investors. GLORIA Was Elliot Murrow a member? (CONTINUED) 9. 9 CONTINUED: (2) FIGURE No, but being a foreign affairs consultant, he was a frequent guest... (leans forward) Here is the real link: Murrow's wife, Adele, named an employee of the club as the "other woman" involved with her husband. INSERT F. Still photo of a stunning brunette. LOCKWOOD That's some "other woman." Gloria glances at him. GLORIA (primly) We'll need her name, address, phone number and measurements. Our Probes are helpless without vital statistics. FIGURE Her name is Silvana Tristano. LOCKWOOD "Silvana Tristano." Grazia. FIGURE Native of Palermo, Italy. GLORIA Molto Grazia. Proceed. CAMERON I'll conduct the proceedings, if you please, Miss Harding... (to figure) Saratoga realizes, of course, that Probe is a division of World Securities which is a private corporation. We don't like to handle criminal cases. FIGURE We don't expect you to perform a police function. Murrow is missing. It's only a matter of hours before the FBI, CIA, DFI -- all of them come into the case. (MORE) (CONTINUED) 10. 9 CONTINUED: (3) FIGURE (CONT'D) You have a narrow headstart in a race against the best bloodhounds in the business. Time is important because the minute a government agency zeros in, someone leaks the news to a pet politician and from there it's handed to the news media. So before it blows up, we've got to be ready with a solid, defensive position based upon facts: did Murrow run off with the other woman? Is there more than one woman? Does it involve other government personnel? Does it involve foreign officials? Is Murrow hiding? If so, who or what is he hiding from? LOCKWOOD You're buying time to work out options in case of a chain reaction. FIGURE Precisely. Probe is our only chance to gather the facts before the FBI, CIA, DFI -- before anyone finds Murrow you've got to find his motive! This is "Saratoga." Out. 10 PROBE SCREEN The silhouette fades to black as optical effects make a dazzling transition. 10-A thru D. Optical Transition Sequence: (Unit 1, 2 plus stock) - DAY 10-A WORLD SECURITIES BUILDING The CAMERA TAKES IN the immense building as the PULSING SCORE COMES IN. Lockwood is SEEN to emerge and to hurry across the stonework esplanade. RACK-FOCUS through fountains and people to follow Lockwood's path. 10-B WORLD SECURITIES ESPLANADE - DAY Lockwood is observed by two men. They are: McEGAN and COMPTON. Later we will find out that they are DFI Agents. They are staked out so that first one and then the second SWINGS ON TO Lockwood's tail. 11. 10-C WORLD SECURITIES BUILDING Lockwood hurries to his sports car. He gets in. As he does so, McEgan and Compton get into their car. Lockwood pulls out. The second car follows. l0-D STREETS - RUN BYS Lockwood's car speeds by the scenery of Washington, D.C. The second car follows. POV sequence: PLANE INSERT 1 - Washington Monument 2 - Federal Building 3 - Lincoln Memorial 4 - Cherry Blossoms at Tidal Basin The sequence makes the Transition from late day to a brilliant sunset. The SCORE is pure glamor with an UNDER-PULSE of dramatic jeopardy. This takes scenes to night sequence. 11 EXT. DIPLOMATIC LEGATIONS COUNTRY CLUB - NIGHT The exterior of the Diplomatic Legations Country Club is floodlit. The approach is lined by backlit foreign flags. A breeze stirs the blaze of color into dazzling life. (Ritter, 8-blade) Two sleek limousines drop off handsome couples. The Doorman wears a long, dark coat and a lime colored turban. The MUSIC IS LUXURIOUS. 12 EXT. DIPLOMATIC LEGATIONS COUNTRY CLUB DRIVEWAY - NIGHT Lockwood arrives in a sports car. He wears a dark blazer. He talks to himself. (Actually the scanner) Establish by move. LOCKWOOD Give me a line-check. Do you copy? CAMERON Copy loud and clear... faint dance music off presence. LOCKWOOD It's coming from the Diplomatic Legations Country Club. I'm parked in the driveway. My earjack is clear on this end. How's your picture? CAMERON Kuroda, are we linked up? (CONTINUED) 12. 12 CONTINUED: KURODA Linked up and locked in. CAMERON (mutters) Something's out of whack for this time of night, we're reading a whole rainbow of color. LOCKWOOD You're okay. I've got the scanner pointed at some floodlit flags. Zoom back and you'll get a clear picture. ZOOM BACK from C.U. PAN SHOT of flags as scanner POV FUZZY FOCUS CLEARS UP. CAMERON Ah, yes, now it makes sense. LOCKWOOD Better test-check medical telemetry. You see, Gloria, I'm thinking about you. GLORIA (wry) Thanks a lot. Pulse rate, flat. Respiration, slow. Temperature down. You really know how to give a girl hives. LOCKWOOD Hang in there. I'll try to concentrate. How about the beach? Remember?... in the moonlight. GLORIA (embarassed) Please, people are listening. CARLOS Lockwood, your brainwaves are giving off peaks and spindles. (CONTINUED) 13. 12 CONTINUED: (2) LOCKWOOD What does that mean? CARLOS It could lead to a seizure. LOCKWOOD The doorman looks Hindustani. How do you say in Sanskrit, 'What's shakin', baby?' GRIFFIN 'Yei gubal ratampindi, gapal.' LOCKWOOD Far out. CAMERON Line check completed. All systems bright greens. Your cover identity is confirmed. You work for the United Nations Secretariat. LOCKWOOD Credentials in order. I'm on my way. CAMERON End verbal. Do you copy? Lockwood clenches his jaw. Pulse beep. CAMERON One beep, affirmative. Good luck. Lockwood heads for the main entrance. 13 EXT. DIPLOMATIC LEGATIONS CLUB - MAIN ENTRANCE Lockwood goes by the Hindustani Doorman. LOCKWOOD Yei gubal ratampindi, gapal. He gives a little Sahib salute. He enters. 14. 14 INT. DIPLOMATIC LEGATIONS CLUB Lockwood enters and approaches a membership admissions desk. The club is furnished with sleek sofas and fine antiques. National emblems and flag displays add flashes of exotic color. At the desk a distinguished man in a crested blazer inspects membership cards as guests sign in. His name is MILES LLEWELLYN. MILES (reads card) United Nations, Mr... ah, "Lockwood." I don't believe we've met? LOCKWOOD This is my first visit to Washington. MILES My name is Miles Llewellyn, membership and Admissions. GLORIA Slight increase in Mr. Llewellyn's pulse-rate. CARLOS Agitation, minor. CAMERON What's he upset about? LOCKWOOD Is my membership still good? MILES Oh, yes. The U.N. courtesy card has no expiration date. LOCKWOOD Then it's okay to sign at the bar? MILES You have all membership privileges. However, that does not include credit in the card room. Hands Lockwood a folder. LOCKWOOD (reads) Swimming, golf, tennis. It's a little early for a Sauna Bath... (CONTINUED) 15. 14 CONTINUED: MILES May I recommend the Mediterranean Cocktail Lounge? Or the Aegean Terrace, for dining and dancing? LOCKWOOD I hate dancing alone. GLORIA Hint. Hint. CAMERON Miss Harding, sh. MILES (confides) We have a Social Secretary. I'll ask her to introduce you to someone interesting. LOCKWOOD What's good for the United Nations is good for humanity. GLORIA Keep it up. You'll find out what's good for you. CAMERON Disregard. Lockwood, you have my apologies for the personal remarks. Do you copy? One beep. Yes. LOCKWOOD (to Miles) Does your Social Secretary have an office? MILES Why don't you wait for her in the Mediterranean Lounge? To your left, through the archway. Lockwood starts to go. MILES Her name is Miss Tristano. Silvana Tristano. (CONTINUED) 16. 14 CONTINUED: (2) LOCKWOOD "Silvana Tristano." Thanks. He goes. CAMERON Right on the money Two minutes down range and we have contact. GLORIA (grumbly) When you're hot, you're hot. 15 ADMISSION DESK As Lockwood departs, Miles Llewllyn watches him go. He picks up the phone and speaks in a guarded voice. MILES U.N. courtesy membership card 37. "Lockwood." He's all yours. He hangs up as he greets the next guests with a cordial smile. 16 MEDITERRANEAN LOUNGE - INTERCUT WITH PROBE The decor is subdued with amber and candle-light along the lines of a sophisticated bar. An attractive European chanteuse is lit by a glamorous pin-spot. Lockwood is shown to a table. He listens appreciatively to the singer. Cameron participates vicariously. SCANNER POV ZOOM IN ON SINGER. CAMERON Lockwood, while we're waiting let's take a look at the chanteuse. She's very good. GLORIA Must we zoom right down her throat? Her respiration reads like a whale falling in love. CARLOS Brainwave excitation. CAMERON Hers? CARLOS Lockwood's. (CONTINUED) 17. 16 CONTINUED: GLORIA Confirm. Pulse jump. CAMERON Lockwood? What's the stimulus? LOCKWOOD (guarded) I saw something. CAMERON It's not safe to use verbal. Let me interrogate for yes-no response. One beep, yes. CAMERON You saw something there in the lounge? One beep, yes. CAMERON Something about the singer? Two beeps, no. CAMERON Somebody else? Someone at another table? One beep, yes. CAMERON Can you pan across so we can see? 17 PROBE SCREEN Scanner POV, PAN AWAY from Singer across tables. STOP on a booth (or table) with backlit wall. A man seated at the table, rises to greet another. The lighting makes it difficult to see faces. The second man joins him. CAMERON Is it someone you know? Two beeps, no. (CONTINUED) 18. 17 CONTINUED: CAMERON Let's take a closer look. Zoom in, please. Amplify the light to maximum brightness. The faces of the two men become more visible. ZOOM IN THEN PRODUCTION LIGHT-DIMMER INCREASE. They are talking intently. CAMERON They look like typical diplomatic corps... LOCKWOOD (guarded) I'm safe on verbal. There's nobody near me. He covers his hand over his mouth as he speaks. CAMERON It's your mission. LOCKWOOD (guarded) The man on the left is wearing a ring. Get in close and store it. CAMERON You want us to freeze his ring? LOCKWOOD Then go for their faces. CAMERON Why do you want the ring? LOCKWOOD It looks like a graduation ring. If it's foreign, it'll tell you which country. If it's American, it'll tell you which University. CAMERON It might save some time at that. Tip down on the ring. Zoom. Freeze and store it. Now, tip up to their faces. First man. Freeze it. Second man. Freeze, please. Keach and Kuroda, computer search program; I.D. and dossiers on both men. On your marks: Go! (CONTINUED) 19. 17 CONTINUED: (2) Keach and Kuroda punch buttons and feed switches. PULSE TONES. CAMERON (proud of teamwork, casually) Anything else we can do for you, Lockwood? Two beeps, negative. GLORIA (grim) Heavy pulse. He's got company. 18 LOUNGE Lockwood rises as he is joined by the stunning brunette SILVANA TRISTANO. The singer goes as ROMANTIC MUSIC takes over. SILVANA Mr. Lockwood? LOCKWOOD Miss Tristano. SILVANA Have we met? LOCKWOOD Your colleague, Mr. Llewellyn, led me to expect a Social Secretary. SILVANA But, that's what I am. LOCKWOOD Oh, no. Where I come from Social Secretaries are fat with tennis shoes and thick glasses. SILVANA (smiles) I don't have any glasses, but the rest is easy. LOCKWOOD I'm a little disappointed in Mr. Llewellyn. SILVANA Oh? (CONTINUED) 20. 18 CONTINUED: LOCKWOOD He said you might introduce me to "someone interesting." SILVANA It does sound insinuating. GLORIA (bursts) Yes, it does, doesn't it. CAMERON Hsst! LOCKWOOD It sounds like a waste of time. SILVANA (glances at him) Oh? LOCKWOOD I've already met someone fascinating. GLORIA Her adrenalin is fizzing. CAMERON Let's try to be a little more professional, Miss Harding. GLORIA I'm only reporting what's crawling across the scope. Her vital signs are positively undulating. LOCKWOOD (to Silvana) I'm planning a trip to the Aegean terrace. GLORIA What you're planning is no trip. LOCKWOOD I'm sorry, Silvana, it's hard to concentrate. CAMERON I'm with you Lockwood. One more remark and she ships out. (MORE) (CONTINUED) 21. 18 CONTINUED: (2) CAMERON (CONT'D) (mutters) I'm not afraid of Dr. Laurent. SILVANA Don't you like music? LOCKWOOD Sure. In the background, soft and sweet, with dinner. SILVANA I would enjoy very much to join you, Mr. Lockwood, but I'm afraid I have a dinner date. In fact, he's sitting right over there, glancing at his watch. LOCKWOOD I'll save you dessert. There's nothing quite like Peach Melba at midnight. SILVANA (smiles) You're really tempting me. LOCKWOOD Try it. SILVANA Some other evening. (she rises) When I've got more will power. LOCKWOOD Let's see, tomorrow I'm featuring chocolate mousse. SILVANA (smiles) Sounds dangerous. Let me take a look at my engagement calendar, like a good Social Secretary. I'll leave a message for you at the membership desk. She goes to the far table to join the two men. As she does so, they rise. The older man is a distinguished career diplomat, ROGER W. WHITE, the younger, wearing a tweed jacket, is LEE CARDIFF, a Foreign Service Analyst. 22. 19 PROBE CONTROL Keach and Kuroda are gleeful as they retrieve the information they seek. KEACH Dossier, on line KURODA One needle in one haystack, coming up CAMERON Lockwood, you were right about the graduation ring. It's Georgetown University, Foreign Service, Diplomatic Corps. Computer check of personnel photos came up with positive I.D. Keach, you're on. KEACH Dossier up. Run, please. 20 PROBE SCREEN & 21 The FREEZE-FRAME of Roger W. White, taken earlier, snaps on. PRINT READ-OUT and NARRATOR, V.O. NARRATOR White, Roger W. Civil Rating CM-5 Personnel. In charge of State Department Bureau of Consultants. Born, February 22, 1919, Lincoln, Nebraska. CAMERON Don't run the whole bio. Put up the second subject. KURODA Dossier, line five. Roll on. FREEZE FRAME of Lee Cardiff pops on. PRINT and Narrator. NARRATOR Cardiff, Lee, no middle initial. Foreign Affairs Analyst, Expert on Indo-China. Special Consultant to Joint Chiefs of Staff Advisory Council. CAMERON That means he tells the big brass what they think they're thinking. (CONTINUED) 23. 20 CONTINUED: & NARRATOR 21 Born, June 6, 1931, Sioux Falls, South Dakota... CAMERON You don't want the whole case history, do you, Lockwood? Two beeps, no. CAMERON File it, as needed. KEACH Bust it. Store for access. CAMERON (to Lockwood) Now that you know who they are, what about it? LOCKWOOD (guarded) I'm not sure, but Miss Tristano's got a lock on the one with no middle initial. CAMERON "Lee Cardiff" LOCKWOOD Read me his marital status. CAMERON You think she's an habitual homewrecker? KEACH Married: Elaine Chesnell, no children. LOCKWOOD And both men are on active Diplomatic Service. Looks like a pattern. GLORIA Some pattern. She goes for experts in Foreign Affairs. Lockwood rises to go. (CONTINUED) 24. 20 CONTINUED: (2) & 21 CAMERON Where are you going? LOCKWOOD To keep tabs on Roger W. White. CAMERON Why zero in on him? LOCKWOOD He's a personnel officer attached to State. If anyone knows Elliot Murrow's habits, hangouts, and hobbies, he does. CAMERON But you haven't interrogated Miss Tristano. LOCKWOOD Later. That comes with the Peach Melba. He goes. 22 CARD ROOM AREA - DOORS Roger W. White stands at the door to the card room. Miles Llewellyn is with him. They observe the Monte Carlo atmosphere through the doors. 23 CARD ROOM The room glows with muted elegance. Crystal fixtures gleam in the dark. A central table features a game with six players and six onlookers. A distinguished croupier deals. 24 CARD ROOM AREA - DOORS Roger W. White and Miles speak in low tones. MILES We've checked the membership files. The U.N. courtesy card is a forgery. ROGER Are you going to challenge him? MILES He might be with the CIA. (CONTINUED) 25. 24 CONTINUED: ROGER I doubt it. MILES Let's hope not, for his sake. (sees Lockwood approaching O.S.) He's coming this way. ROGER You handle him. Roger eases away. Miles greets Lockwood. MILES Mr. Lockwood, I hope you've found something to amuse you. LOCKWOOD Yes, but she's having dinner with Mr. Cardiff. MILES Are you a card player? Why don't you drown your sorrows in a game of Chemin de Fer? LOCKWOOD My game is stud. MILES We feature American Poker from ten o'clock on. LOCKWOOD (sees croupier rake in money) That looks like heavy gambling. MILES (smooth) We're outside of the District of Columbia, and, of course, we're a private club. (confides) Miss Tristano usually sits on the far side, why don't you sit in? (CONTINUED) 26. 24 CONTINUED: (2) LOCKWOOD That's an excellent game plan, Mr. Llewellyn. But from the looks of those bets, I'll need a stack of traveller's checks. (as he goes) Tell them not to give it all away. I'll be back. He goes. As Lockwood leaves, Miles picks up a house phone. He rattles it, hurriedly. 25 INT. MAIN ENTRANCE Roger W. White is at the admissions desk. He receives his hat and top coat from a discreet ATTENDANT. He goes out of the door. As soon as he leaves, Lockwood appears. LOCKWOOD Did Mr. White come through this way? ATTENDANT Mr. White just left. Lockwood hurries out. 26 MAIN ENTRANCE Lockwood emerges. The Hindustani doorman is closing the doors of a sleek limousine. The chauffeur nods as he drives away. Roger W. White is inside. Lockwood hesitates a second, then hurries down the steps to his sports car. 27 DRIVEWAY Lockwood gets into his sports car and starts up. He pulls out, following White's limousine. 28 PROBE CONTROL - INTERCUT AS NEEDED Cameron observes the Main Screen. The team is intent on the consoles. 29 MAIN SCREEN - 2ND UNIT Scanner POV of wheel and night lights as Lockwood cuts through traffic. The quality of the locale is Maryland and/or Virginia outside of Washington, D.C. (CONTINUED) 27. 29 CONTINUED: A certain amount of suburban housing, stands of maple, elm, sycamore. Selections of roadlights for color-dazzle. CAMERON Lockwood, please report your position. LOCKWOOD (V.O.) We're near the Belt Parkway. On the Maryland side. The roadsign said "Chevy Chase, East." 30 LIMOUSINE - (NIGHT PROCESS/POOR MAN'S OR SHOOT WITH RIG) Roger W. White sits back. He is distinguished even under stress. He speaks quietly to the chauffeur. ROGER I'm going to have to ask you to exceed the speed limit. The CHAUFFEUR glances at the rear-view mirror. Headlights flare. CHAUFFEUR The sports car? ROGER He won't be easy to scrape off. CHAUFFEUR We'll lose him. He presses down. The SILENT ENGINE SURGES INTO A LOW ROAR. 31 RUN BY - NIGHT - 2ND UNIT White's limousine headlights flare as it looms by. 32 RUN BY Lockwood's sports car headlights whip by. 33 SPORTS CAR - (NIGHT PROCESS/POOR MAN'S OR SHOOT WITH RIG) Lockwood sees his quarry speed up. He reports in as he bears down. LOCKWOOD I get the feeling he doesn't want company. 28. 34 PROBE CONTROL Cameron and the team monitor the chase. CAMERON He's certainly behaving peculiarly. Either he thinks you're out to rob him or write a column about him. GLORIA Lockwood's adrenalin red-lining. Normal for hot-rod race. CAMERON You're the command pilot, Lockwood, but there's no need to terminate the mission in a flaming wreck. 35 CHASE SEQUENCE - (2ND UNIT) - NIGHT In a thrilling sequence of flashing, flaring, roaring run bys, White's limousine slows around corners (real swap-end spinners) followed by Lockwood's sports car. This action sequence should be hyped by ramming a roadside vegetable stand stacked with breakaway crates. 36 SPORTS CAR Lockwood becomes aware of a new set of headlights as another car fastens on his tail. LOCKWOOD There's a set of headlights on my tail-pipe. CAMERON How about a red-flasher and a siren? LOCKWOOD Nope. It's a civilian. CAMERON Can you catch the license plate with the scanner? LOCKWOOD My speedometer says "no." Ninety-five at night on a slippery road is all I can handle right at the moment. CAMERON Do you want us to plug in to the police? I'm sure they'd be happy to slow down this whole Grand Prix. 29. 37 SPORTS CAR - (REAR WINDOW/SFX SHATTER) Lockwood's rear window suddenly shatters in a radiating spiderweb pattern. 38 SPORTS CAR Lockwood crouches as he reports in. LOCKWOOD Something just hit my rear window... like a forty-five steeljacket. CAMERON Repeat. Do you want the police? LOCKWOOD Hold off till I tell you. CAMERON Keach, patch in for a police emergency, but hold it till Lockwood gives the order. LOCKWOOD I'm going to give them a run and then let them catch me. As soon as you see their faces run a computronics I.D. check. 39 RUN BYS - (2ND UNIT) - NIGHT The third car, following Lockwood is an N.D. dark-colored sedan. It belongs to McEgan and Compton. It bears down TIRES SCREAMING on the turns. The limousine slams by. The sports car rips like a buzz-saw. 40 CHASE SEQUENCE (THREE CAR - 2ND UNIT) - NIGHT The chase develops into a three car thriller. Some judicious wreckage of the joyous-excitement variety adds to the flash and roar. Possible sideswipe of grapefruit truck with a freeway full of rolling, yellow globes picked up by headlights. Speeding tires smashing grapefruit into breakfast juice. Nice touches by 2nd Unit with as few sigalerts as possible. 41 CHASE - SECOND UNIT Lockwood's car slows as it is struck by another bullet. It veers onto a shoulder. As it does so, it spins dust. Backlights turn the dust into a spectacular swirl against the darkness. The limousine continues on its way, escaping into the night. The third car plunges into the dust. 30. 42 CHASE (ENDING) PRODUCTION UNIT (SPRINKLERS) Lockwood's car grinds to a stop. In a field, as background a set of sprinklers and rain-birds are backlit. The effect is a back-curtain of diamond sparkle. A yellow traffic blinker light adds color. The third car pulls up, blocking Lockwood in an official fashion. The two men in typical secret-service street suits emerge. One is wiry, McEGAN; the other, taller, is COMPTON. 43 ROADSIDE (SPRINKLERS BOG.) NOTE: CONFINED AGAINST BLACK, COULD WORK ON-STAGE Lit by headlights and the yellow traffic blinkers with the sprinkler backlit in the background, Lockwood finds himself man-handled by McEgan and Compton. They haul him out of the car, spin him and shove his hands against the roof for search. Compton slaps his sides. 44 PROBE CONTROL Cameron tries to make sense out of the scanner POV which is an odd shot of distant sprinkler patterns and yellow traffic blinker reflections. CAMERON Probe Control to Probe One. Are you all right? GLORIA I've got three sets of vital signs. All high, ready to fight. CAMERON Lockwood, it's your option, but in the interests of the mission, please try to avoid beating anyone to a pulp or vice-versa. 45 ROADSIDE (SPRINKLER AREA) Lockwood, fed up with being shoved around, suddenly wrenches Compton around and locks his arm. As McEgan reaches into his coat for a shoulder-holster, Lockwood shoves Compton into him. LOCKWOOD Take it easy! You don't have to fracture my ribs. COMPTON It's okay. He's clean. (CONTINUED) 31. 45 CONTINUED: LOCKWOOD (opens coat to show he's unarmed) All you had to do was ask. McEGAN Okay, I'm asking. Who are you? LOCKWOOD Let's see your badge. McEGAN Okay. (opens wallet with badge) We're Security Officers for the Diplomatic Legations Club. And don't show us your U.N. courtesy card. The membership files don't know you. LOCKWOOD Since when do security officers pot-shot guests off of the road? Why all the muscle? McEGAN That card is forged. You were following a club member. COMPTON You could be armed. LOCKWOOD And you could be sued for illegal search and seizure. McEGAN Let's call it "precautionary measures to forestall possible robbery attempt." LOCKWOOD Let's call it a couple of trigger-happy agents getting jumpy because the heat's on to find Elliot Murrow. McEGAN We don't know what you're talking about. LOCKWOOD You know you better grab someone who knows something or the Bureau Chief gets himself a new pair of gumshoes. (CONTINUED) 32. 45 CONTINUED: (2) CAMERON You called it Lockwood. We checked computronics data bank. Their I.D. photos are on file. Their names are McEgan and Compton, Special Agents for the D.F.I. COMPTON We work for the club. LOCKWOOD Sure you do. The oldest established club in the bloodhound business. The D.F.I. McEGAN Where did you get that? LOCKWOOD It's written all over you. Like name tags. "Special Agent McEgan and Compton." McEGAN Okay, who do you work for? LOCKWOOD Let's say we all have the same employer. COMPTON You're not with the F.B.I. LOCKWOOD If I were, man, you'd be dead. COMPTON C.I.A.? LOCKWOOD Let's say I carry special authorization to lie. McEGAN What do you know about Elliot Murrow? LOCKWOOD The same you do: nothing. COMPTON You contacted Silvana Tristano. (CONTINUED) 33. 45 CONTINUED: (3) LOCKWOOD She knows as much as we do. McEgan unscrews a flask and pours a little brandy into small silver cups. McEGAN Brandy. You can catch cold travelling at high speeds. COMPTON (to Lockwood) Silvana Tristano is Murrow's mistress. LOCKWOOD Murrow's wife may think so. But Silvana thinks it's part of her gig as Social Secretary. Like playing cards with Lee Cardiff. COMPTON "Social Secretary" -- she's a shill. LOCKWOOD "Shill?" At that posh Country Club? Please. McEGAN We're telling you. The club pays her to get guys to go in and gamble. LOCKWOOD Maybe in Vegas. Maybe in a professional casino. But not in Washington's most exclusive club with a million dollar membership. COMPTON She's hired on a personal basis by the club director, Miles Llewellyn... Glances at McEgan McEGAN Go ahead, tell him. We covered their action and it looks like they're skimming. (CONTINUED) 34. 45 CONTINUED: (4) LOCKWOOD That's why they use cash. Now Treasury can send in some IRS agents and We'll have the whole alphabet. CAMERON Probe Control to Probe One. We have an emergency readout. Can you break off to receive vital information? One beep, yes. LOCKWOOD (to McEgan and Compton) Look, I'll make you a deal. Quit running me off the road and I'll cut you in on any leads I pick up on Murrow. McEGAN Where are you going? LOCKWOOD For a midnight snack back at the club. COMPTON Midnight snack? LOCKWOOD (gets in car) I've got a late date with some Peach Melba. Starts car and burns off. McEgan and Compton stare after him. McEgan sips straight from the flask. 46 SPORTSCAR - INTERCUT Lockwood drives with an intent expression as he speaks to Probe Control. LOCKWOOD Probe One to Probe Control. All clear. What's the emergency. CAMERON We've been patched into the District Police net in case you needed help. Kuroda intercepted an emergency report. Playback. (CONTINUED) 35. 46 CONTINUED: POLICE OP. (filter) Car niner see the superintendent, Columbia Lumber Yard, 271 Potomac River access road. CAMERON Address again; replay. POLICE OP. 271 Potomac River access road. LOCKWOOD Copy. What's the emergency? CAMERON They found Murrow! 47 DOCKSIDE (COLUMBIA LUMBER YARD) - 2ND UNIT - NIGHT A heavy-duty crane lifts a car up out of the murky waters. Floodlights glare. Several police in harbor-patrol uniforms assist. The car sluices water as it looms up against the dark sky. The floods glisten. Workers ease the car over onto the dock side. Light mist drift. 48 WET CAR - DOCKSIDE - 2ND UNIT - NIGHT The cables from the crane are loosened enough to permit opening a door. Out of the slippery interior a body in a business suit slides out like a dead mackeral. The pallid face is visible for a moment. It is ELLIOT MURROW. PULL BACK out of Probe Main Screen. 49 PROBE CONTROL Cameron and the Probe team are intent on the dockside scene. CAMERON I.D. KEACH Positive. Elliot Murrow. KURODA Confirm. GLORIA Confirm. No vital signs. Pulmonary resonance does not indicate death by drowning. (CONTINUED) 36. 49 CONTINUED: CAMERON Say again? GLORIA "Does not." CAMERON Lockwood, do you copy? 50 DOCK-SHED (FLOODLIT TO MATCH) Lockwood stands before a large stencil POTOMAC STORAGE 4 He watches the police work on the car. His face registers real concern at seeing the death of Murrow. Crane- engine tie-in. List mist tie-in. LOCKWOOD There's a police ambulance parked by the shed. He moves forward. 51 DOCK-SHED AREA A police ambulance is drawn up by the edge of the warehouses. Floodlight glare and light mist to match. A police radio cuts on-and-off with a rasping series of calls. An ATTENDANT in a pea-jacket with shoulder- flash writes on a clip-board. Lockwood snags a uniform cap from the back and turns up his collar. He appears at the Attendant's shoulder. LOCKWOOD This paperwork is a pain in the pancreas. I got "Murrow, Elliot, address and occupation"... but that dimwit supervisor forgot to fill in "cause of death." ATTENDANT (shows clip-board) Three bullets. 45 calibre. LOCKWOOD (frowns) Did he have a chance? ATTENDANT They hit him in the back, cranial, spinal and renal. (CONTINUED) 37. 51 CONTINUED: LOCKWOOD Tough way to go. He goes. 52 PROBE CONTROL - INTERCUT Cameron reacts to the information. CAMERON Lockwood, stand by. We're receiving a Code 10 from Stateline. LOCKWOOD It's probably Saratoga. The Probe Team files out. CAMERON Ah, fine. What do we tell him? Any instructions? LOCKWOOD If We're still on the case, tell Saratoga We're prepared to deliver a full set with newsmedia coverage of Murrow's death. CAMERON A full set of answers? Before morning? LOCKWOOD Murrow's moves plus a positive I.D. on the murderer -- including motive. CAMERON You mind letting me In on it? LOCKWOOD When I get it pinned down, you'll be the first to know. CAMERON Where are you going? LOCKWOOD Back to the club. GLORIA Code 10, cutting in. 38. 53 PROBE SCREEN The Code 10 cuts in and takes over the screen. The black fades In to the silhouette figure of the High Government official, code name, "Saratoga." FIGURE Probe One, this is Saratoga. We have just received word... CAMERON ... That Murrow's body was just pulled out of the Potomac. FIGURE We're down to the wire. The press is going to pick up the story. There's no way of keeping it quiet. CAMERON Do you still want Probe on the case? FIGURE Can you give us a progress report. CAMERON (waffles) Well... er... yes, we can give you an educated guesstimate. Our Probe out in the field expects to deliver a full set of answers in time to cope with the newsmedia coverage in the morning. FIGURE Taking into account this latest development? CAMERON (weak) Affirmative... we are fully abreast of... (like the commercial, but subtly) the whole thing. FIGURE We're counting on you. We'll give you as much time as we can afford... before we call for the complete report. CAMERON We'll be on it right down to ground zero. (CONTINUED) 39. 53 CONTINUED: The figure fades. Cameron jabs a switch. CAMERON Lockwood...the Probe Division is now out on the very tip of the shakiest limb on record. I only pray to heaven you know what you're doing. CUT TO: 54 CARD ROOM Lockwood is sitting at the card table inspecting his poker hand. He finishes a snifter of fine brandy. Next to him is Silvana Tristano. Next to her is Lee Cardiff. Lee is tense because he is losing heavily. The CROUPIER- DEALER handles the cards with expert precision. There are now eight players and a dozen onlookers, including discreet WAITERS in dark jackets. WAITER (with decanter, to Lockwood) More brandy, sir? LOCKWOOD Fill it up. (to Croupier- Dealer) And while We're at it, I'd appreciate it if you'd fill this inside straight? CROUPIER Mr. Cardiff's bet. CARDIFF Five hundred. LOCKWOOD You don't seem to realize Mr. Cardiff, the U.N. is already working at a deficit. SILVANA (folds) I fold my hand and softly steal away. She rises. Cardiff is intent on his cards. LOCKWOOD You can't leave now, Mr. Cardiff is about to break the bank. (CONTINUED) 40. 54 CONTINUED: SILVANA I can't handle the smoke... (glances at Cardiff) or the flames. She goes. CROUPIER Mr. Lockwood? LOCKWOOD Do you accept traveller's checks? CROUPIER With Mr. Llewellyn's approval. He signals a waiter to get Llewellyn. 55 PROBE CONTROL - INTERCUT Cameron is beside himself at the sight of what appears to be a leisurely card game. He goes through carefully controlled burns. 56 CARD GAME Across from Cardiff, a pale, handsome man wears dark- rimmed glasses. In large C.U., the shaft at his ear is seen to be wired with a tiny, copper filament for transistor reception. 56-A CARD GAME Lockwood plays comfortably. He is obviously a seasoned gambler. He glances at the man with the dark-rimmed glasses. He then glances up at the ceiling. 56-B CEILING FIXTURE From Lockwood's POV, the ceiling fixture is a prismatic arrangement of crystal decoration. 56-C CARD GAME Lockwood folds his hand. The other players continue with the game. Lockwood grins. LOCKWOOD Thanks for nothing. (he rises) Hold my place. I'll be back for the next hand. He goes. 41. 56-D SIDE AREA - WINDOW Lockwood goes away from the card game, out of earshot of anyone. He glances around to see that he's safe and speaks guardedly. LOCKWOOD Probe One to Probe Control. Are you with me? CAMERON We appreciate your folding, Lockwood. LOCKWOOD I'm not through. CAMERON You're in command. But with the clock running against us, time-out for poker does seem... "counter productive." LOCKWOOD The man across from me, with dark hair and glasses... CAMERON Pale complexion? LOCKWOOD That's him. The rims of his glasses are too thick. CAMERON You think he's wired for sound? LOCKWOOD Got to be. I'll direct the scanner so Kuroda can make a careful sweep of frequencies across the amateur bands. Look for a walky-talky channel and when we cut into it, maintain absolute radio silence. CAMERON Who do you think it is? LOCKWOOD No idea. But I don't want them to know We're listening. (CONTINUED) 42. 56-D CONTINUED: CAMERON Sweep coming up. (to Probe Team) Kuroda, you heard him. Search the radio frequencies starting at twelve Megahertz. Maintain absolute silence. Lockwood returns to the card room. 56-E CARD ROOM Lockwood rejoins the game. He sorts out his cards. 57 CARD GAME Lockwood sits back with a lazy, amused expression as he waits. His eyes, half-asleep, don't miss a thing. He tips his scanner, slowly panning around the room. LOCKWOOD Well, you deserve to win this one, Mr. Cardiff. You've held the cards and you've played the percentages. CARDIFF But I'm going to lose. Is that what you're trying to tell me? LOCKWOOD I've never seen a man with the odds so much in his favor get caught in such a downdraft. CARDIFF Maybe this is the updraft I've been waiting to fly on. 58 C.U. LOCKWOOD - CARD GAME Lockwood reacts faintly as his earjack sputters. A few shortwave sounds advance and fade. An amateur voice rasps. Faint music. Then, very clearly, a small, filtered voice speaks carefully. VOICE Full house... Kings and tens, position three, pair of jacks, position four, pulling to a Queen-high straight. 43. 59 PROBE CONTROL The scanner moves through heterodyne feedback. Cameron also hears the filtered voice and reacts. He cautions silence to the Probe Team. 60 CARD GAME The pale, handsome man nods imperceptibly. The receptor in the shaft of his glasses is emphasized as the voice speaks. VOICE ... Position four pulled a losing card... go for the kill... 61 CARD GAME Lockwood takes in the filtered voice and idly tips the scanner up in the air at the multi-faceted, crystal fixture. 62 PROBE SCREEN Scanner POV of TIP-UP at crystal fixture. 63 PROBE CONTROL Cameron cautions for silence to the Probe Team as he watches the tip-up at the fixture. He then taps Kuroda on the shoulder and gestures a zoom-in as he mouths the words soundless by "zoom-in." 64 PROBE SCREEN (OPTICAL FX) Scanner POV. ZOOM UP to full screen of multi-facet fixture. It glitters in the gloom like the lens system that it is. 65 CARD ROOM Lockwood quietly palms the scanner. He places the device in his pocket. Click. 66 PROBE SCREEN As the scanner switches off, the screen shifts to the idling pattern. 67 PROBE CONTROL Cameron reacts to the scanner switch-off. He takes off his microphone-and-ear jack. He gestures to Kuroda to power-down. Kuroda turns a dial. SOUND FX of oscillator moving down in pitch. Cameron speaks in a near whisper. (CONTINUED) 44. 67 CONTINUED: CAMERON Power down? (Kuroda signals affirmative) He's right. We're intercepting cross-talk from some kind of walky-talky. Kuroda, bring it up and filter our transmissions so they can't hear us... but do not, repeat, do not lose contact with Lockwood. 68 CARD GAME Llewellyn comes to the Croupier. He examines Lockwood's traveller's checks. He hesitates, then, with a frown, okays it. The Croupier returns the checks to Lockwood. CROUPIER Mr. Llewellyn's compliments, Mr. Lockwood. You are free to place your bet. LOCKWOOD Thanks for the vote of confidence, Mr. Llewellyn, but the wait cooled me off. (grins) I leave the field to the man with the natural odds (he rises) Mr. Cardiff, I wish you luck. He bows charmingly and goes. 45. 46. 70 CONTINUED: LOCKWOOD So it's that serious? SILVANA I'm afraid so. LOCKWOOD Do you know how you look in this light? SILVANA Sad? LOCKWOOD A little. The way Bossa Novas sound. SILVANA It's time for the musicians to go home. LOCKWOOD I had a little talk with the Maitre d'. The terrace is closed to everyone except romantic couples who order fancy desserts. SILVANA You really know when to strike. LOCKWOOD (escorts her to a table) I had them save us a secluded table and keep the coffee-grinder on duty in case you want some Cappucino. SILVANA It's very late. LOCKWOOD Don't worry. The whole works is on Overtime -- moonlight, magnolias, expert dancing partner. SILVANA I ought to get back. LOCKWOOD (serious) Silvana. There's something you've got to know about Lee Cardiff. (CONTINUED) 47. 70 CONTINUED: (2) SILVANA What? LOCKWOOD He's not interested in girls. SILVANA You think not? LOCKWOOD I know not. His passion is gambling. SILVANA (sadly) I feel responsible... LOCKWOOD Because Llewellyn told you to get him into the card games? SILVANA I didn't want to lose my job. LOCKWOOD It's not your fault. That kind of compulsive gambling is an addiction... SILVANA But two of them... both with the same problem... LOCKWOOD Elliot Murrow? SILVANA Night after night... he kept doubling his bets... until finally, a couple of days ago, he stopped coming to the club. I know it's because he owed so much money. LOCKWOOD I thought Llewellyn didn't allow credit in the card room? SILVANA He doesn't. He only accepts American currency... or traveller's checks. LOCKWOOD Then where did Murrow get the cash? (CONTINUED) 48. 70 CONTINUED: (3) SILVANA He borrowed it... LOCKWOOD Do you know who from? SILVANA From friends... LOCKWOOD What about Lee Cardiff? Where does he get his money? SILVANA It's the same... Exactly the same. LOCKWOOD (carefully) How much do you get, Silvana? SILVANA Do you mean my salary? LOCKWOOD Salary... percentage... cut... SILVANA It's not really your business, is it? LOCKWOOD Don't get mad. I just want to know if you're in on the take. SILVANA (narrow-eyed) I ought to get mad at you, Lockwood. Not because you're accusing me of being a thief... but because I've been very stupid. Stupid enough not to know until tonight that there is something crooked going on in those card games. LOCKWOOD What makes you think that? SILVANA The way Miles Llewellyn makes sure certain people sit in certain chairs facing a certain way. (CONTINUED) 49. 70 CONTINUED: (4) LOCKWOOD I believe you, Silvana. But you're the one who's been leading sheep to the slaughter. The only way you can prove you're not in on the deal is to help me find out how it works and expose the people in back of it. SILVANA (hesitates) I'm not a citizen of this country... LOCKWOOD I know what you're thinking. A card-cheating scandal in Washington's most exclusive country club... involving high-level government employees... SILVANA ... and a foreign Social Secretary... LOCKWOOD ... with a figure like yours. You'd make the cover of 'Life,' 'Paris- Match,' 'Europa,' 'The London Illustrated News'... SILVANA (smiles) It sounds great. How can I help you? LOCKWOOD I was hoping you'd listen to reason. (rises) Come on. Take me. SILVANA Take you? LOCKWOOD Upstairs. SILVANA Not to my room. LOCKWOOD I didn't know you had a room. SILVANA I don't. (CONTINUED) 50. 70 CONTINUED: (5) LOCKWOOD Then I'll settle for the one up over the card-room. And, oh, yes. One more thing. Try very hard not to let anyone see us. SILVANA And if they do? LOCKWOOD ... we're dead... They go. 71 CARD ROOM The table is tense. Everyone has folded except Lee Cardiff and the pale, handsome man with the dark-rimmed glasses. Llewellyn is there. CROUPIER Mr. Cardiff... It's your bet. The last raise was two thousand. Do you raise or do you call? Cardiff pushes his last stack of bills into the center where other stacks are arrayed. CARDIFF I call. The pale man places cards on the table one-by-one. They are: three aces and two queens. CROUPIER Full house: aces and queens. Cardiff slaps his cards down furiously. They are: three kings and two tens. CROUPIER Full house: kings and tens. Llewellyn Time please, gentlemen. (to Cardiff) You'll make it up tomorrow night, Mr. Cardiff. We can all use a nightcap. (to Waiters) Brandy, Benedictine, whatever. My tab. (CONTINUED) 51. 71 CONTINUED: The game breaks up as a few people remain at the table for a nightcap. Most of them depart. The pale handsome man folds his glasses away. Cardiff remains in his chair, dejected. A Waiter pours brandy. Roger W. White appears. He joins Cardiff. ROGER How'd you make out? CARDIFF I didn't. ROGER Win a few, lose a few. You've got to take the rough with the smooth... and all that drivel. (Cardiff rises) You're not going to throw yourself off of the Washington monument? CARDIFF I've got a breakfast briefing with three Generals and two Admirals. ROGER You picked Foreign Affairs. You could have been a pit-boss at Monte Carlo. CARDIFF Would you take Silvana home for me? ROGER Where is she? CARDIFF Trysting with that emissary from the U.N. ROGER We can't permit bilateral trysting. Cardiff goes. Rogers sips brandy for a moment. 72 PROBE CONTROL Cameron presses a switch. CAMERON Probe One to Probe Control. (MORE) (CONTINUED) 52. 72 CONTINUED: CAMERON (CONT'D) Kuroda tells us it's safe to break radio-silence. The walkie-talkie channel has shut down. Do you copy? (one beep. -- yes) Please activate your scanner. 73 CORRIDOR (POSS. STAIRWAY) Lockwood and Silvana move cautiously as they steal toward the upstairs room. They take advantage of doorways and alcoves. The score is pure suspense. They narrowly miss being caught by a Waiter with a tray. Two burly Men pass within inches of them. Lockwood takes the scanner out of his pocket. He clicks it on and affixes it to his neck medallion. GLORIA Just because you've been off visual doesn't mean you've been off of telemetry. LOCKWOOD (whispers to Silvana for Gloria's benefit) There you are... always by my side. SILVANA Not 'always.' LOCKWOOD I don't know what I'd do without you. GLORIA I know and don't you dare. CAMERON Miss Harding, I'm going to start charging for personal calls. 74 UPSTAIRS AREA Lockwood and Silvana make their way to a room directly above the card room. They enter the door. (Possible use of belt-kit.) 75 OBSERVATION ROOM (STUDIO SET) Lockwood and Silvana enter. Lockwood finds a light. The room is a maze of cabinets and crates. One bench holds a tape-recorder and walkie-talkie gear. On a clear floor area in the center is a device which resembles an optical bomb-sight. Lockwood goes to it. (NOTE: crates, boxes, chairs, breakaways.) 53. 76 CORRIDOR Roger's Chauffeur comes along the same route that Lockwood and Silvana used to get to the Observation Room. 77 OBSERVATION ROOM Lockwood goes to the "bomb-sight" viewer and kneels. He looks through the eyepiece. 78 FIXTURE LENS (OPTICAL FX) Lockwood's POV through the viewer. The card-table below is distorted into six-prism kaleidoscope. Lockwood adjusts a knob and the images zoom in tight. The people still at the card table are sharp and clear multiplied by six. The zoom brings Roger's brandy glass into huge close-up. Another knob pans the prisms to observe various places at the table. Some cards, left on in a strew, loom large. It is obvious that the gadget could easily read player's hands during games. 79 OBSERVATION ROOM Lockwood narrates for Silvana and Probe Control. LOCKWOOD It's an optical system... the lenses are part of the ceiling fixtures in the card room. It can see any hand at any position at the table... SILVANA That's why Llewellyn wanted me to sit on this side. LOCKWOOD There's a six-hundred zoom capable of reading the pupil on a one-eyed jack. A walkie-talkie channel to the man with the horn-rimmed glasses. You lose your pants and don't even feel the breeze. Lockwood holds the scanner so Cameron can see the rig and the optical images of the room below. 80 CORRIDOR (POSS. STAIRS) The Chauffeur follows the route to the Observation Room. SUSPENSE SCORE. 81 OBSERVATION ROOM Lockwood turns to Silvana. His voice is urgent. (CONTINUED) 54. 81 CONTINUED: LOCKWOOD We may need some help. Go down and try to find the club security guards. SILVANA But they all work for Llewellyn. LOCKWOOD Two of them don't. McEgan and Compton. They're DFI agents. SILVANA DFI? LOCKWOOD And the rest are probably FBI, CIA, you name it. SILVANA McEgan and Compton. LOCKWOOD Hurry. Silvana goes. 82 UPSTAIRS AREA Silvana emerges into the hall. As she hurries along, she encounters the Chauffeur. She gives him a quick smile. SILVANA You're working late. CHAUFFEUR It's one of those nights. Silvana goes. The Chauffeur looks after her. He frowns and heads for the Observation Room. 83 OBSERVATION ROOM The Chauffeur enters. He sees Lockwood. He comes forward like a tiger. Lockwood crouches and flips him over his back in a spectacular judo move. The Chauf- feur crashes into an array of breakaway crates, boxes, wooden chairs, etc. 84 CARD ROOM The jolting crash from above galvanizes Llewellyn and Roger into action. (CONTINUED) 55. 84 CONTINUED: The waiters and guests react as though to an earthquake. A series of spectacular crashes indicates a severe struggle in good taste, O.S. Roger gives order to Llewellyn and the pale, handsome man with the glasses. ROGER Take care of it. Right now! Llewellyn and the pale man hurry out. 84A CORRIDOR Llewellyn and the pale man head for the Observation Room. 85 OBSERVATION ROOM Lockwood ducks as the Chauffeur hurls a chair. It hits the wall, smashing a window. Glass shatters like a big, brittle bomb. Lockwood finds a wire on the floor and yanks on it. The Chauffeur trips and smashes more breakaways. Nobody gets hit or injured beyond a football-field shake-up. The door smashes open as Llewellyn and the pale man burst in. Lockwood sees them and snaps the wire. The light goes out. In the darkness, Lockwood calls Probe. LOCKWOOD Cam, quick, turn on the infra-red and guide me to the door! 86 PROBE CONTROL Cameron reacts instantly. He snaps order. CAMERON Carlos, you heard him! CARLOS Heat image up. 87 PROBE SCREEN The scanner picks up the door in red-orange-purple. CARLOS To your left, straight on! Look out for cabinet -- CRASH. CAMERON So much for the cabinet. (CONTINUED) 56. 87 CONTINUED: CARLOS The knob's on your left. LOCKWOOD Got it. (he slips out) 88 UPSTAIRS AREA Lockwood listens to the crashes inside as the Chauffeur battles Llewellyn and the pale man. LOCKWOOD Have fun. He hurries along the corridor and down the steps. He makes his way past the two burly Men who are hurrying back up. 89 CARD ROOM Roger is now alone. He listens to the SOUNDS from above. It quiets. He downs his brandy, face grim. He rises to go. As he does so, Lockwood appears. LOCKWOOD Mr. White... Roger... Don't go. As Roger keeps going, Lockwood halts him by an abrupt, super-tough sweep of glasses and cards off of the table. His voice is harsh. LOCKWOOD You hear me? Don't go! ROGER (faces him with dignity) I hear you. And I sympathize with your losing so much money... but that has nothing to do with me... so please don't raise your voice and start smashing things. LOCKWOOD I don't want you to slip outside and drive away in your hot limo. You shook me off earlier this evening... but, this time I'd have to tail you all the way to your office. And I don't feel like that long a drive. (CONTINUED) 57. 89 CONTINUED: ROGER My office? Why would I go to my office? LOCKWOOD For the same reason you went there the last time I was chasing you. ROGER You're guessing, Mr. Lockwood. LOCKWOOD You call it guessing. In my business we call it 'Pattern recognition.' ROGER Suppose you tell me what patterns you think you recognize? LOCKWOOD You're entitled to a readout, Mr. White. One: you're a personnel officer, CM-5, assigned to the State Department Bureau of Consultants. Your job doesn't clear you to handle secret papers but you are responsible for screening future employees that do. And, in recent months, you've managed to employ a couple of consultants who suffer from what's officially called 'character flaws.' ROGER Personality defects. LOCKWOOD Thank you. Hang-ups which should have disqualified them from holding sensitive jobs in the government. ROGER I take it that you're accusing me of cultivating a small, select clique of addicts... for pleasure or profit? LOCKWOOD A little of each -- plus a lot of power. ROGER (smiles) Of course, I'd have to be power-mad. (CONTINUED) 58. 89 CONTINUED: (2) LOCKWOOD You were careful to hide behind the time-honored, respectable business of hooking addicts and blackmailing them. ROGER One has to start somewhere. LOCKWOOD You knew you'd be spotted by routine security if you collected ordinary, everyday addicts like drinkers or dopers or kinky folks... so you narrowed risks by letting slip by a couple of compulsive gamblers. Then you used Llewellyn's crooked card-game to bleed them. ROGER Wrong, Mr. Lockwood. A really thorough investigation will show that I have assisted my colleagues with a series of loans. If anyone's the loser, I am. LOCKWOOD I wouldn't say that, Mr. White. Not when you're financed by certain foreign governments -- hostile governments who pay you for classified information... documents, microfilm -- like the Top Secret position papers you blackmailed out of Elliot Murrow... before he got frightened and threatened to go to the DFI... ROGER (drops his amused attitude) You're good at your job, Lockwood. I was hoping you'd work your way into the cheating at cards. Llewellyn's a greedy man and I was looking forward to his arrest. But it's too bad you had to keep digging on down to bigger and better things. LOCKWOOD But isn't that why you hired Probe? (MORE) (CONTINUED) 59. 89 CONTINUED: (3) LOCKWOOD (CONT'D) To test your cover? If we stopped digging at Llewellyn's card-cheating level, you'd know you were safe and could keep on operating. And you had to know just how deep we'd get before the FBI or the CIA found Murrow's body. ROGER How did you know I hired you? LOCKWOOD When I first saw you in the club lounge talking to Cardiff, you were sitting in indirect lighting against the wall... it reminded me of the closed-circuit briefing from your office, code name: 'Saratoga.' 90 PROBE CONTROL (INTERCUT) Cameron has observed intently. He cuts in. CAMERON We're running it down on the tape record, Lockwood. (to Keach) Replay the silhouettes: split screen. 91 PROBE SCREEN (INTERCUT) Images scramble and stabilize. The "High Government Official" Code name Saratoga compares with the silhouette of Roger W. White in the lounge. CAMERON You've nailed him, Lockwood! 92 CARD ROOM Roger has reached into his coat pocket. Lockwood con- fronts him. Lockwood's voice is steady. LOCKWOOD Is that gun in your pocket the one you used to kill Murrow? ROGER Does it matter? (CONTINUED) 60. 92 CONTINUED: LOCKWOOD For the record. I wouldn't use it if I were you. We've been recording you at Probe Control. ROGER Recording me? LOCKWOOD On videotape. (shows medallion-- scanner) This is a miniaturized television scanner and over a dozen people are watching you right now: bonded witnesses. ROGER I don't believe you... but even if a hundred people witness what happens to you, there are still ways for me to get out of the country... He starts to shoot through his coat pocket. The gun is shot out of his hand. Glass shatters. The shot is followed by the terse voice of McEgan. Silvana is at his shoulder. McEGAN You're not going anywhere, Mr. White. LOCKWOOD What kept you so long? McEGAN We've been upstairs holding Llewellyn and the others. Don't worry. Compton's been watching over me. (to Silvana) I wonder if the guitar player is still waiting to play our Bossa Nova? SILVANA We'd better hurry... before the Peach Melba melts... 93 PROBE CONTROL Cameron and the Probe Team react. (CONTINUED) 61. 93 CONTINUED: CAMERON Lockwood, forget the Peach Melba... We've had enough Bossa Novas... Lockwood... this is Probe Control. 94 TERRACE Lockwood and Silvana dance in dreamy intimacy to the seductive MUSIC of the LONE GUITAR. RACK FOCUS to REVEAL a juicy Peach Melba dessert with two spoons large in f.g. FADE OUT. THE END