PROBE ----------- Original Screenplay Written By Leslie Stevens PROPERTY OF: WARNER BOS. TELEVISION FINAL SCRIPT 4000 Warner Boulevard November 16, 1971 Burbank, California PROBE Original Screenplay Written by Leslie Stevens A-1 WORLD SECURITIES BUILDING MAIN TITLE AND CREDITS ESTABLISHING SHOT of a looming, impressive skyscraper0 CAMERA LIFTS UPWARD to take in the sweeping architecture. The MUSICAL SCORE is glamorous and evokes electronic excitement. A-2 EXT. SIGN - DAY Clean, impressive copperplate lettering, WORLD SECURITIES BUILDING A-3 INT. CORRIDOR - DAY V.C.R. CAMERON, a compact, intelligent man in his fifties, hurries along the corridor. It is impressive, with transparent world maps for walls. The light shifts to dark stripes as he nears the security area. He wears a tweed jacket and dark shirt. There is a glint of humor behind his intense expression. He arrives at a sliding door. Two words are emblazoned on it. PROBE DIVISION He presses his palm on a sensing grid. The doors part. Cameron enters a sleek waiting room. A-4 INT. PROBE WAITING ROOM - DAY V.C.R. Cameron is joined by DR. EDWARD LAURENT, World Security Director. He hands Cameron a file case. A-3 FILE CASE (INS.) Cassettes, computer tapes, dossier cards. PROBE UNIT ONE PRIORITY: AA OPTICAL TRANSITION COMPUTER TYPEFACE AA-1 PROBE AA/1 EXT. - ACTION TEASER (BAHIA STREET) - DAY Street of shops in Dahia. The pavement is lettered with the debris of a revolution. A barricade made of ashcans, furniture, sandbags, etc. divides the street. The burning hulk of an overturned car sends swirls of smoke eddying across the scene. After an opening burst of GUNFIRE, an eerie silence falls. AA/2 BAHIA STREET (EMPLACEMENT) Concealed behind sandbags and upturned tables, a machine-gun emplacement is manned by two men wearing fatigues and sunglasses. AA/3 BAHIA STREET - (ROOFS) Three snipers are waiting along the edges of roofs overlooking the street. AA/4 BAHIA STREET (FAR END) Pressed back out of the line of fire, HUGH LOCKWOOD, his shirt torn and dirty, speaks urgently. He carries a coil of rope over his shoulder. The effect is weird because Lockwood seems to be talking to himself. The response, from Probe Control, is a wire-thin voice, filtered like NASA. As the Probe Control Voice (CAMERON) speaks, the CAMERA FOCUSES behind Lockwood's ear. CAMERON (V.0.) Probe Control to Probe One. Report your position. Do you copy? LOCKWOOD Probe One. Copy. I'm half-a-block away from the bookstore. They're holding the hostage prisoner one flight up in the back. The escape car is ready. CAMERON (V.0.) You can't go around. The insurgent patrols are blocking the alleys. LOCKWOOD I'M going in the front. CAMERON (V.0.) You can't. The whole area is pinned down by cross-fire. (CONTINUED) 2. 1 V.C.R. CAMERON & DR. LAURENT exchange brief words as several technicians hurry by to enter a special doorway marked: PROBE CONTROL I.D. AREA: Authorized Personnel Only World Securities Corp. The technicians enter by pressing their palms on a sensing grid. A brief glare of red light is visible as they pass into the Control area beyond. Laurent is an austere business executive as remote as De Gaulle. He wears an I.D. plate over the breast pocket of his charcoal banker's suit. His voice is careful, implying a degree of pressure. He and Cameron remain for a moment in the sleek waiting room. LAURENT I'm m sorry, Cameron. It's a critical assignment -- CAMERON Every case is critical. We just recovered a political kidnap hostage down in Latin America. It's not fair to put this kind of pressure on my unit -- LAURENT We've got to. The recovery is valued at well over twenty million. CAMERON ... twenty million? LAURENT We've got to assign the best Probe We've got. CAMERON Lockwood. LAURENT Lockwood. It's an emergency assignment from the Board of Directors. CAMERON He's out of it. He's off duty on vacation. LAURENT Contact him wherever he is, (CONTINUED) AA-2 AA/4 CONTINUED: LOCKWOOD They won't be expecting anyone to try the street. CAMERON (V.0.) It's too dangerous. LOCKWOOD Look, my job is to find the Vice-Consul. Well, I found him and there's only one way to get him out. We've got about two minutes before they blow the building. CAMERON (V.0.) You're not authorized to go in. LOCKWOOD I can't hear your. CAMERON (V.0.) Lockwood LOCKWOOD Bye bye. AA/5 BAHIA STREET (GLASS FRONTS. SPECIAL FX) Lockwood gathers himself and breaks loose. The run is spectacular. He drives like a quarterback along the block of storefronts. Following him, like the wake of a speedboat is a wave of destruction as BULLETS chew up store window, fruit stands, baskets, pottery, signs, doors, etc. Carried on TELEPHOTO LENSES, the run is an action classic: a man one step ahead of death. AA/6 BAHIA STREET (BOOKSTORE) Lockwood dives into the bookstore entrance just ahead of the splintering GUNFIRE. He is confronted by a narrow flight of stairs. He goes up without breaking stride. AA/7 INT. BOOKSTORE Lockwood arrives at the top of the stairs as a guard comes running out. Lockwood sidesteps him and pulls him forward, using the guard's impetus to hurl him down the stairs. Lockwood smashes into the locked door. AA/8 INT. BOOKSTORE The door smashes open and a second guard comes at Lockwood with a bayonet. (CONTINUED) 3. 1 CONTINUED: CAMERON Look, Lockwood may be out best man but he's also his own man., LAURENT Tell him to report for briefing. Emergency orders. CAMERON I'll contact him... under protest. LAURENT Any way you want it, Cameron. The orders are: Unit One of Probe Control is officially assigned -- with Hugh Lockwood as Probe. They enter the Probe Control door., The intense red light flares as it closes. 2 EXT. SUN DECK - DAY Lockwood is flaked out on a luxurious chaise under a big, shady beach umbrella., Next to him is a pool phone and a pitcher of Sangria with peaches. Lockwood hangs a towel around his neck which adds to his virile, athletic good looks. He is all man: a pipeline suffer's tan; perfect white teeth; good-humored eyes and an air of rugged self- sufficiency. Lockwood would have made a perfect astronaut except for a slight addiction to gorgeous women and his own private brand of high adventure. Lockwood also enjoys his high expense account. He is a seasoned pro. A stunning blonde with an Aztec tan pours herself some Sangria. She is giving him a massage. The PHONE RINGS. Lockwood answers, lazily. LOCKWOOD I'm not here. He hangs up. 3 INT. CONTROL AREA Cameron is SEEN against darkness. He is lit by a glow from instruments not yet revealed. Laurent is close to him. Cameron re-dials. He is chagrined at talking on the tele- phone. INTERCUT as needed. CAMERON Lockwood, this is Cameron. Don't hang up: We have an emergency. (CONTINUED) AA-3 AA/8 CONTINUED: Lockwood hauls him forward also, driving the bayonet into the wall and knocking the man's breath out of his body as he hits the gunbutt. Lockwood rams in and finds the hostage, a distinguished Vice-Consul. He quickly unloads the coil of rope and lashes it to a cross-beam. He then kicks in a window and helps the older man escape. AA/9 SIDE STREET The escape car is a heavy, foreign-built limousine. Two resistance fighters help Lockwood and the Vice-Consul as they come down the rope. The two fighters remain behind, FIRING, as the car drives away with Lockwood and the Vice-Consul safely inside. QUICK DISSOLVE AA/10 DESERTED ROAD The escape car pulls up. Lockwood gets out. He shakes hands with the Vice-Consul and waves as the car goes on its way. Lockwood, is left standing alone by the side of the road. Again, he speaks to no one. LOCKWOOD Probe One to Probe Control. Vice-Consul safe and unharmed, now on his way to neutral territory. Recovery assignment completed. CAMERON (V.O.) We copy you, Lockwood., You're lucky you're not back there face down in the gutter; but you were operating under severe strain so we'll overlook the high-risk factor and call it exceptional service. LOCKWOOD Which means I'M entitled to a few days off.., all expenses... He sees an attractive blonde girl with a deep tan approaching in a sports car. LOCKWOOD ... for two... He flags her down. CAMERON (V.0.) Lockwood... where are you going? Lockwood? Probe One, come in please. Lockwood and the girl drive away., END TEASER 4. 3 CONTINUED: LOCKWOOD So have I. CAMERON Dr., Laurent is here from the Board of Directors -- LOCKWOOD Look. You promised me. A few days off. CAMERON It's embarrassing to have to ask Dr. Laurent to use the phone. Millions of dollars worth of electronic equipment and you're not even tuned in. LOCKWOOD (glances at the blonde) I'm tuned in. LAURENT (takes phone) This is Dr., Laurent, speaking on behalf of the Board of Directors -- LOCKWOOD Hi, Doc, Tell your Board -- LAURENT Lockwood, they've authorized me to offer you a substantial bonus. LOCKWOOD How much? LAURENT Two month's salary.., plus two weeks vacation... All expenses -- LOCKWOOD Make it three. Party of two. LAURENT Deal. LOCKWOOD Tell Cameron to put up the briefing tapes. Crank up the team. By the time they're plugged in, I'll be there. He hands up, drinks Sangria from the pitcher, kisses the blonde and goes. 5. 4 INT. PROBE WAITING ROOM Lockwood, now dressed in a casual sports jacket hurries through the waiting room. He slides to a stop as his hand hits the sensing grid. The doors slide open, marked, PROBE CONTROL 5 INT. ENTRY-LOCK DOORS - PROBE CONTROL Lockwood waits for the inner door to slide open., The light rises quickly, like blood-red water. The effect is star- tling. After a second, the inner door opens. Lockwood strides forward into jet black limbo. 6 INT. PROBE CONTROL Lockwood enters from the red-glare. It is pinched off by the doors closing. The control center is like the cockpit of a giant airship, dirk and glowing with telemetry in- struments. In the b.g., two other Probe Units are working on other cases. Banks of computers flicker like fireflies. In the f.g., Unit One is Cameron's elite team of computer telemetry specialists gathered at consoles before the large, raised, T.V. screen. Dr., Laurent is beside Cameron's console. The scene is like a darkened segment of NASA; intent, glow-lit faces intent upon consoles and telemetry panels. Cameron now wears a lab jacket as do the members of the Probe team., Lockwood approaches Cameron. CAMERON Lockwood, you know Dr. Laurent. They shake. LOCKWOOD Hi, Doc. LAURENT I'm a little nervous, Lockwood, you Probes have all the excitement while we executives are trapped upstairs on the Board of Directors of World Securities -- LOCKWOOD At half-a-mil a year plus stock options. LAURENT I've contracted a dozen cases, but this is my first opportunity to actually come down and visit Probe Control. (MORE) (CONTINUED) 6. 6 CONTINUED: LAURENT (CONT'D) (looks around) I must say, it reminds me of NASA'S Mission Control Center at Houston. CAMERON Oh, yes, quite a few of us worked on the space program. Lockwood was selected in the first group of astronauts. He was Command Pilot on the first Apollo flight., ten days. LOCKWOOD And I'd still be up there without ground control. CAMERON You might introduce Dr. Laurent to our telemetry specialists. LOCKWOOD We've got a great backup team. May I present Miss Keach. KEACH How do you. Doctor? I'm in charge of computer programming plus control of linkage to worldwide computer banks. LOCKWOOD Also repairs blown fuses. Next case. Shu Shu Kuroda. KURODA My responsibility is all channels control, antenna tracking and communications interlock. LOCKWOOD American born., No import tax. GRIFFIN Dr. Griffin, here. Linguistics. LOCKWOOD Former chief translator at the U.N. And this is Carlos Lobos. CARLOS I monitor microwaves, brainwaves, electrocardiograms, infrared, ultrasonics... (CONTINUED) 7. 6 CONTINUED: (2) HARDING And makes great enchiladas., I'm Gloria Harding, in charge of medical telemetry, pulse, respiration, adrenalin-insulin balance. LOCKWOOD Miss Harding's our lie detector., Harding smiles at Lockwood possessively. LAURENT How does it all fit together? CAMERON As soon as we run the briefing tapes we'll show you how the Probe is hooked up and goes into action. LAURENT You're like an electronic bloodhound. LOCKWOOD That's us. CAMERON (stern) Except for the fact that some Probes break loose.., or we lose contact. No matter how sophisticated our computers get, the gadgetry goes just so far. The man is out there on his own. (to Laurent) You're right in comparing it to NASA because in the final crunch, things happen that we can't predict. So we try to pick out Probes by the same standards as the astronauts: physical fitness2 intelligence, courage... (eyes Lockwood) ... and responsibility. LOCKWOOD You left out high moral character., CAMERON Quiet for briefing, please? Miss Keach, put up the software package. (CONTINUED) 8. 6 CONTINUED: (3) KEACH Briefing tapes up. KURODA Clear channels. CAMERON Run, please. 7 COMPUTER BRIEFING (OPTICAL FX) The big screen comes to life. It cycles and stabilizes. Lockwood, Cameron, Laurent and members of Unit One observe from their consoles. (Text in computer graphics plus sound FX and optical.) A Computer Text (hammered cut staccato) JOHANNES CONSOLIDATED EXCHANGE OF SOUTH AFTICA. #1 NARRATOR (V.O.) Johannes Consolidate, world's largest diamond combine., Contracted Probe Division to recover a missing set of nine major diamonds known as the "Entourage Collection". B INSERT. Museum of Fine Arts -- An imposing facade. #2 NARRATOR (V.0.) The Entourage Collection was looted from the Musee des Fines Arts in Paris Curing the Nazi occupation of France on direct orders from Reichsmarshal Hermann Goering. C SHOTS OF HERMANN GOERING (STOCK) #1 NARRATOR (V.O.) Reichsmarshal Goering ordered many art treasures removed from the Louvre and other museums. These were returned after the Nuremberg trials.., all except the Entourage Collection... which disappeared. #2 NARRATOR (V.O.) Recovery rights were sold by the Museum to Johannes Consolidated. Johannes now owns title to the missing diamonds. (CONTINUED) 9. 7 CONTINUED: D STILL PHOTOS OF DIAMOND COLLECTION #3 NARRATOR (V.0.) The Entourage Collection consists of nine flawless stones. LOCKWOOD How much are they worth? CAMERON Value estimate. He punches keys. E NUMBERS ROLL UP (COMPUTER GRAPHICS) FEMALE (V.O.) (muted) Collection was originally insured by Loeb-Chicago at 22 million, U.S. currency. Each stone valued at fair market price of two million minimum. Historical value: priceless. No replacement possible. The numbers roll and recede... optical FX. LOCKWOOD Historical background? CAMERON Cassette two. KEACH On line. Run two. F,G,H INSERT SHOTS of glowing, CLOSEUP diamonds. Deep tones of beauty touched with mystery. #1 NARRATOR (V.O.) (as gems glint and gleam) Orloff III, reduction cutting from original pendant gift to Catherine the Great. Austrian yellow, honey colored Hapsburg Crown fragment. Jonker X, redcution cutting from 726 karat South African third cut, owned by King Farouk of Egypt. LAURENT Fragments, splinters -- gifts to noblemen, stolen by cutters... (MORE) (CONTINUED) 10. 7 CONTINUED: F, G, H LAURENT (CONT'D) ... the prize piece is number nine, a chunk from the Royal Blue heart owned by Louis XIV. The other part of it is the Hope diamond in the Smithsonian. CAMERON Display, please? I INSERT A deep blue diamond, almost sinister in its silent beauty. LOCKWOOD I'LL need photographs. CAMERON You'll be supplied with a photo replica of the entire collection with descriptions and karat weights. J INSERT Photo of Entourage Collection in velvet case. LOCKWOOD Why did they come to World Securities? It sounds like a criminal case. CAMERON (to unit) Skip the footnotes. Get down to the giblets. KEACH Cassette five. Rung. She punches keys. INSERT The individual diamonds are SHOWN, glittering. A sign stamps in "No RECOVERY, CASE ABANDONED." LAURENT The case was kept open for over twenty years. But police and private detective agencies have failed completely. (CONTINUED) 11. 7 CONTINUED: K CAMERON (searches) The briefing tapes mention a possible lead.. a woman.. involved with Goering at the time... LOCKWOOD What's her name? CAMERON (punches keys) Don't tell me that's it KEACH End of run. CAMERON Wait We do have one more tape. He punches tapes. L Computer typeface punches out letters. JOHANNES CONSOL. EXCH. A face appears. A pale business executive, AARON JOHANNES. JOHANNES (pulse tone) This is Aaron Johannes, executive director of Johannes Consolidated Diamond Exchange. We have made arrangements to supply the services of our Chief Appraiser, Mr. Harold Streeter. M TAPE OF STREETER The Chief Appraiser is an endearing character who resembles Emile Zola. He wears a pince-nez, Academic Roseatte and an old-fashioned business suit. He tips his hat to the CAMERA He is self-conscious on camera. STREETER My name is Harold Streeter, Chief Appraiser, Johannes Consolidated. The company has arranged for me to accompany your search party to supply technical information. Thank you so much. He bows stiffly. Pulse tone. Optical FX. LAURENT He'll join you on your trip to Austria. (CONTINUED) 12. 7 CONTINUED: M LOCKWOOD Austria. CAMERON To see the woman. LOCKWOOD What woman? CAMERON ... the one that knew Goering. (shuts him up) We'll give you the name and address when we check out your equipment during the overseas tracking test... as soon as you're airborne. LOCKWOOD It won't he necessary to take Mr. Streeter. LAURENT Johannes made the arrangements, personally. LOCKWOOD Probe operations are confidential... CAMERON We'll run a regulation security check on him. (to Keach, all crisp orders and sharp business) Link up with the airlines computers. Book two tickets to Innsbruck, Austria. Have a car waiting at the airport. (to team) All systems prepare for equipment checkout. Test patterns: run, please! He punches keys with the skill of a Paderewski. 8 PROBE CONTROL In CLOSEUP, the equipment is displayed. The Micro- circuitry resembles op-art paintings. CAMERON Dr. Laurent you wanted to know how it all works. (MORE) (CONTINUED) 13. 8 CONTINUED: CAMERON (CONT'D) You've heard of miniaturized circuitry? This is the ultimate in electronic sophistication. (shows the miniature scanner. It is smaller than a postage- stamp. 1/3 of an inch thick with an iridescent surface of blue optical coating. It glints like a piece of fine jewelry) It's a television scanner. LAURENT A camera? CAMERON With all-frequencies microwave capability. It picks up picture, sound, short-wave, infra-red heat, ultrasonic, chemical radiations -- the full spectrum. LAURENT How is it carried? CAMERON It's magnetized to lock on... and is worn like a piece of jewelry. He hands it to Lockwood. LOCKWOOD Watch closely. (like a magician) It can be hand—held.., or, it can click into place on these handsome cufflinks, custom—designed by Cameron accessories. Some Probes prefer to wear it as a wristwatch.., a tie—tack, others, like myself, prefer to wear it right on the button. (clips it on) There! "I'm a camera". LAURENT Can we see the picture? CAMERON We'll run a full test-check on his trip to Europe. (CONTINUED) 14. 8 CONTINUED: (2) LAURENT Can he see you? CAMERON No. But he can hear us. He has a tiny receiving set tuned in to our sound channel... just in back of his ear. Lockwood shows the spot. LAURENT I don't see anything. LOCKWOOD It's inside. LAURENT An implant? CAMERON A permanent. built—in ear—jack. LAURENT Doesn't it hurt? LOCKWOOD Only when they turn up the volume. CAMERON (stern) Probes are required to keep it switched on at all times. LOCKWOOD Except on vacations. LAURENT Can anyone else hear it? Someone standing next to him? CAMERON No. It's a neuro-implant. (to Lockwood) You're hooked up. tuned in, briefed and ready to go. Mr. Streeter will meet you on the plane. He shakes hands. LOCKWOOD (to team) No point in saying goodbye. You're all coming with me. See you on the box. (CONTINUED) 15. 8 CONTINUED: (3) CAMERON (to team) Kuroda! Light the fire! KURODA Green lights KEACH Greens! All systems! CAMERON Prepare for air-check, telemetry tests and overseas tracking. Good luck, Lockwood. you're on the air! The effect is exhilarating as SOUNDS sweep in of electronic pulses, oscillations, live-static and glamorous SCORE. The microwave SYMPHONY BECOMES the LOW NOTES of a JET ENGINE. 9 AIRPORT (TAKE-OFF) - (STOCK) A LONG LENS flattens the image of the transatlantic jet into a heat-shimmering mirage as it prepares for take-off. 10 INT. CABIN FLIGHT I - DAY Lockwood settles in his seat. As he does so. Mr. Streeter finds his way in and introduces himself. STREETER Mr. Lockwood? LOCKWOOD Mr. Streeter, I presume. STREETER Of Johannes Consolidated. (hands card) I'm quite looking forward to our association. Mr. Lockwood. It's not every day I get to flash over to Europe, first class. (confides) I hear they have a gourmet chef on these jumbo jets. LOCKWOOD (notes stewardess) ... and a gourmet crew. STREETER I can't wait to have a go at the wine list. (CONTINUED) 16. 13 CONTINUED: The ENGINES RISE. STREETER (pales) I say, we're- moving. LOCKWOOD It's all part of the- service, Mr. Streeter. STREETER (shy) I gather you're not too happy to have me tagging along. Don't worry, I shan't get in your way... but if you need a bit of know—how on gem goods, I'M your man, Mr. Lockwood. ENGINES RISE MORE. LOCKWOOD (grins) Welcome aboard, Mr. Streeter. He shakes hands. 11 AIPRORT (STOCK) The majestic jet takes off. The shimmering image- lifts over the SCREAM of the ENGINES. It becomes a diamond— like sun—flare. The- score is pure glamour. 12 THE PLANE (STOCK) settles into flight. Clouds, sunsets, etc. 13 PROBE CONTROL Laurent has gone. V.C.R. Cameron is now Wizard-in-Command. The various telemetry console-s are manned by the Probe team. The raised monitor screen conveys odd angle-shots of the plane cabin, stewardesses, and Streeter. Lockwood clips the scanner on his watch and takes in the surroundings. INTERCUT as needed. CAMERON Probe Control to Probe O ne we have contact with you via telecommunications transatlantic net. You are now being tracked by the- Comsat satellite antenna, at Goose Bay, Labrador. He grins in relish at his own power. 17. N INSERT Dish antenna revolving slowly at remote tracking station. (Stock) 14 INT. FLIGHT 1, PLANE CABIN - DAY Lockwood appears, to doze as his head is filled. with Cameron's line-chatter. He reacts with winces to piercing beeps and pulses. Streeter dines sumptuously, sampling wines, oblivious to the electronic marvels at his elbow. 13 PROBE CONTROL Cameron conducts the line-check. is efficient as NASA monitoring an Apollo flight, Cameron is dry, wry, droll and give-n to sudden flashes of pixie- humor. He is vastly entertaining as he conducts his electronic "orchestra". CAMERON All right, Lockwood, we ' re going to calibrate our telemetry systems. We'll need your utmost cooperation. (to team) Starting test. Sync. pop. (ELECTRONIC POP) I realize you're in the presence- of people so we do not expect verbal replies... We are now testing the microphone on your T.V. scanner. Volumn control, please? 15 BIG SCREEN The STEWARDESS looms in odd-angle closeup. Her voice comes in soft-loud-soft. JET SOUND up and down. STEWARDESS Would you CARE for white wine or red? STREETER That's very CONSIDERATE OF YOU, my dear. I'll have one of each. 17 INT. FLIGHT I, PLANE CABIN - DAY Lockwood reacts to the chatter in his head. Then he speaks, it is addressed to Streeter but is for Cameron's benefit. The test is crisp and efficient. INTERCUT or V.O. as needed. LOCKWOOD How is it? 18. 17 CONTINUED: CAMERON Loud and clear. STREETER The tournedos could use some Bearnaise. CAMERON Better not use verbal.., we don't want to attract any attention. We'll need a test of your non- verbal signal system. Please activate your dental contact switch. (A green light glows) Send signal for "affirmative". (Lockwood's jaw tightens. A pulse tone BEEPS once) Copy you loud and clear, one beep far "yes". Now, please, send signal for "Negative". (Lockwood's jaw clamps twice. The pulse SOUNDS TWICE) Copy. Two beeps for "no". Now signal requesting "More information". (Lockwood's jaw muscles twitch. The pulse SOUNDS a SERIES OF BEEPS) Copy. Series of beeps for "more information". Now the Emergency tone please? (Lockwood clamps down. The tone SOUNDS) Copy. Prolonged tone for Emergency. Non-verbal signal-system A-OK. Proceed with check-list. Medical telemetry next. Harding is subtle in adding personal innuendoes in her transmissions. It is apparent that she and Lockwood have been on intimate terms. Her voice purrs. HARDING Lockwood, this is Gloria. I think we've seen enough of the stewardesses. Please direct your scanner at Mr. Streeter for a test of pulse. respiration and temperature read-outs. Lockwood directs the scanner at Streeter. O INSERT Vital Signs console. (CONTINUED) 19. 17 CONTINUED: O A graph records phosphor-oscilloscope tracings of heartbeat, breathing, temperature, etc. INTERCUT as needed. HARDING Subject has just eaten. Pulse rate up: 91. Respiration 31. Body temp: 98.31607... Normal. CAMERON Carlos, let's have some fine tunings. CARLOS EEG brainwave system mild excitation. EKF faint cardiac gurgle in systole, normal at his age. Ultrasonic intestinal squeaks, normal. INTESTINAL GROWL FX. CAMERON Lockwood, tip up at his head, Carlos, scan him with infra-red heat sensor. Streeter's head appears. It solarizes into a re—green— yellow heat image. CARLOS Sinus trouble. minor. Six gold fillings, nine silver. Heat image. Fades. CAMERON Never mind. Anything new on his security I.D. check? KEACH Harold L. Streeter, born July 9, 1919, Capetown, South Africa, educated Zurich and London -- CAMERON We don't need the whole dossier. anything questionable. KEACH Negative. No want; no record. Bonded by Diamond Merchants Association (CONTINUED) 20. 17 CONTINUED: (2) O CAMERON Eccentric old duck.. but he know his wines... as well as diamonds. (casually concealing his own interest) By the way, Lockwood, that Cabernet Sauvignon.., is it as full-bodied as it looks? (pulse tone; twice. TWO BEEPS) That's a shame... ahum. (to team) Kuroda, are you calibrated? KURODA Clear signal, no distortion. CAMERON Don't lose him. KURODA We'll keep visual pictures as long as he stays in areas with good reception. HARDING And be sure to take your vitamin C. CAMERON And five cc's of anti-bio-histidine every three hours. LOCKWOOD Yeuch STREETER (unknowing, savors filet) Mine's rather tasty. CAMERON We don't want your head jammed up by a cold... cut off your sound channel... Copy? (pulse tone, ONE BEEP) Yes, indeedy. Better test-check. his audio receiver. Hang on, Lockwood, Kuroda's going to turn up the volume. Lockwood winces as Kuroda shoots him a collection of feedback whine-s. A blast of MUZAK intrudes. (CONTINUED) 21. 17 CONTINUED (3) KURODA Disregard.. we're picking up B.B.C. shortwave. (twists dials. A military voice drones) NAVAL OP. (V.O.) Aircraft Carrier Forrestal: Niner- One-Zero: Squadron proceed to North-East fleet station Niner-Bravo- Charlie. CAMERON You must be flying ever NATO fleet maneuvers. (A SHRILL TONE gives Lockwood a headache) Do you copy? (A feeble- PULSE TONE signals "affirmative") All systems bright greens. One-- check completed. (the "more information" series of DITS SOUNDS) More information? LOCKWOOD (to Streeter for Cameron's benefit) Did they give you the name and address of the woman we're supposed to visit? STREETER (startled) Not me. I haven't a clue-. CAMERON I haven't forgotten. I was going to give it to you later. "Mrs. Ullman" -- In German that's Frau UlIman. U double L-M-A-N, the Winter Chateau, Innsbruck, Austria. LOCKWOOD (to Streeter) I think it's Frau Ullman, U double- L-M-A-N, the- Winter Chateau, Innsbruck, Austria. STREETER Um, yes, well... let's hope she's home. Lockwood leans back and shuts his eyes. (CONTINUED) 22. 17 CONTINUED: (4) CAMERON Care for some music? (TWO pulse TONES signal "No") Time for a nap. (to Unit one team) Save it! 18 JET LANDING (STOCK) The jet flares as it settles in for a perfect touch- down. The SCORE sweeps IN as the transition is made from the glamour theme to the Wagnerian orchestral grandeur of the Black Forest. 19 GERMAN CAR (GERMAN SIGNS) PARKING AREA Lockwood and Streeter approach the foreign car. 20 PROBE CONTROL Cameron observes the foreign car. INTERCUT as needed. CAMERON Better transfer the scanner... We'll get dizzy if you drive with it on your wrist. Lockwood unobtrusively slips the miniaturized transceiver out of his watchcase and clips it to his tie-clasp. When- ever Lockwood moves the scanner0 he makes certain that it is palmed, hidden and not observed. He and Streeter enter the car. SCORE IN as they drive out. 21 EXT. WOODLAND ROADS (CAR) - DAY The foreign car sweeps along vistas of pine forest and mountain ramparts. 22 EXT. CAR ON PINE ROADS - DAY (PROCESS) Lockwood and Streeter are comfortable in the foreign car. Streeter chats amiably. STREETER Naturally, most people are impressed by the Royal Blue fragment but your true diamond expert considers the Queen of the Entourage Collection to be the Peruzzi IV. (CONTINUED) 23. 22 CONTINUED: LOCKWOOD Peruzzi? STREETER He was a Ventitan cutter fascinated by refracted light. He was the first person to figure out the correct number of angles... 53 facets... the original "brilliant cut". He loaned it to the Marguise de Pompadour. LOCKWOOD Why loan it? STREETER Foolish people wear diamonds, wise people use them as stepping stones to power. LOCKWOOD This photo was waiting at the airport. P INSERT Foldout photo of the velvet case and the Entourage Collec- tion. Hands it to Streeter. STREETER Ahm yes... The Entourage Collection. There she is, the Yellow Florentine... the Grand Sancy V... (fondly) The Chantilly Pink... I'd forgotten her,.. pale pink fragment of the Grand Conde... 8.51 carats... incredible charm... He wipes his eyes. LOCKWOOD You really know your rocks. 23 EXT. WAYSIDE STOP RESTAURANT - DAY The car arrives at a lodge-like restaurant. Ornate wood- work backs an open air deck with dining tables. Crimson flowers tumble from windowboxes. They stretch as they get out. LOCKWOOD The map that came with the car doesn't show the smaller roads, Maybe they've got a map inside. (CONTINUED) 24. 23 CONTINUED: STREETER I hear they have delicate little Draunschweiger sausages in the mountains. They say you can taste wild flowers in the wines... LOCKWOOD We've got to keep moving. I'LL get the map. CAMERON A half bottle... on the way back... just to compare it with the Rhine wines. Lockwood leaves Streeter and goes to the side of the Wayside Restaurant, 24 SIDE OF RESTAURANT Lockwood speaks to his tie—clip. LOCKWOOD Cam, you're worse than he is with the wine tour. In case you haven't noticed, I'M lost, pal. Which means you are, too. (Lockwood becomes aware of a rosy-cheeked waitress in dirndl watching him talk to himself. He smiles foolishly) Fraulein... hi... She goes. CAMERON Caught you talking to your navel, eh, Lockwood? Let that be a warning. No more verbal from your end. Copy? (Lockwood clamps his jaw to BEEP "yes") Never mind about the road map. Hop back in the car and We'll plug into the Naval Observatory in Washington. Their computer banks carry reconnaissance maps from over-flight photos. Lockwood heads back for the car where Streeter waits. 25. 25 PROBE CONTROL Cameron directs the link-up as the big screen shows Lockwood's scanner's POV as the car pulls away into the pine roads. CAMERON Keach, are we linked up? KEACH Naval Observatory computers on line. CAMERON Feed in the approximate sector. KEACH (punches keys) Display please. INSERT Aerial recon. photos with map grid overlays. Scale sizes punch incloser. Computer FX. 26 EXT. WOODLAND DRIVE - CAR - DAY Streeter admires the view as Lockwood endures the line- chatter in his head. They arrive at a fork in the road, STREETER Which way? LOCKWOOD (muses) They didn't have a map. Let's see now...left or right? CAMERON Left... six kilometers, then hang a right. LOCKWOOD The sun's over there.,, turn left about six kilometers0 then hang a right. STREETER A superb sense of direction. LOCKWOOD (modestly) you might call it a built—in compass. They drive on. 26. 27 EXT. ALPINE SCENERY - CAR The foreign car drives by. SCORE IN. 28 EXT. PINE AREA - CAR - DAY Lockwood becomes aware of a car following him. Streeter has dozed off. Lockwood clamps down with his jaws. The prolonged PULSE-TONE signaling emergency snaps Cameron to attention. CAMERON Lockwood? We're copying the emergency signal. Are you sending it on purpose or are you just grinding your teeth? (pulse tone BEEPS once) Yes. Yes which? Affirmative short circuit? (pulse BEEPS TWICE) Negative. LOCKWOOD (speaks to the dozing Streeter for Probe Control's benefit) Streeter, are you awake? There's a car following us. CAMERON Are you sure? LOCKWOOD When I slow, it slows. STREETER Well, I don't like that,., CAMERON ... Neither do we ... 29 EXT. WINTER CHATEAU - DAY The car rounds a corner and arrives at a drive. The Winter Chateau is an imposing mansion nestled in the mountain greenery. The SCORE becomes a nostalgic Viennese theme. 30 EXT. WINTER CHATEAU - DAY The car pulls up in the flagstone courtyard. The house- is made of grey stone alivened by windowboxes of summery flowers. Lockwood and Streeter go to the front door. It is beautifully carved. Lockwood uses the ornate knocker and also the bell. (CONTINUED) 27. 30 CONTINUED: Probe Control monitors the scene via the T.V. scanner on Lockwood's tie—clip. INTERCUT as needed. After a moment, the door opens to reveal a stunning girl. At Probe Control, Miss Harding reacts. HARDING Oh, no... just what we need. ULLIE (in rapid German) Bitte, klopfen Sie, nicht an die Tur ind Gimmeln sur der keingel henim cinoist gemig ja? GRIFFIN (rapid translation like a U.N. headset) Please don't knock on the door and bang on the bell, one is sufficient; yes? LOCKWOOD Sorry. ULLIE Sind Sie Englander? GRIFFIN Are you English? LOCKWOOD American, ULLIE (in English) Perhaps that explains it. Whom did you wish to see? LOCKWOOD Frau Ullman. ULLIE I am her daughter. LOCKWOOD I have a card here somewhere... HARDING Her pulse-rate, jumped. CAMERON Is she afraid? (CONTINUED) 28. 30 CONTINUED: (2) HARDING More like sexual attraction. CAMERON What about Lockwood? HARDING Same thing. Pittypat... heavy breathing... the works. LOCKWOOD (trying to ignore the line-chatter) This is my research assistant, Mr. Streeter. I'M Mr. Lockwood. (finds card) Associate Editor, U.S. News Future Magazine. We're writing a feature article on famous jewel collections and your mother's name was referred to us in connection with the Entourage diamonds. He unfolds the photo replica. HARDING She's having an adrenalin reaction. CAMERON What's the stimulus? HARDING Hard to tel.. Hormones... greed... Half Lockwood, half rocks. CAMERON How are his vital signs? HARDING Right in there palpitating. CAMERON (to Lockwood) Let's not get overstimulated, Lockwood, Invite her mother to tea, LOCKWOOD Would you care- to join me for tea? CAMERON Her mother! (CONTINUED) 29. 30 CONTINUED: (3) LOCKWOOD Bring your mother. ULLIE She's having her tea now. In the conservatory. Perhaps she will invite you to join her. May t take your card? She goes. HARDING Long, lingering view of Miss Ullman's legs as Probe's eyeballs fall out. CAMERON (stern) Miss Harding, we're keeping a tape record. LOCKWOOD (to Streeter, mischievously for Harding's ears) What do you think of her, Mr. Streeter? STREETER Charming. LOCKWOOD Athletic legs... STREETER Quite. Harding smolders with jealously. 31 INT. CONSERVATORY - DAY The doors to the conservatory open to reveal a magnificent woman in a classic setting. Against a background of pas- tel flowers, dapple by backlit sun streaks, FRAU ULLMAN evokes memories of Vienna at its height. She is a Dresden beauty: delicate, carved nostrils, fine bowline with temples like an eland, enshadowed cheeks and worldly eyes. The SCORE becomes Viennese; poignant sepia-toned violins. She looks up as Ullie ushers Lockwood and Streeter in. She glances at the card. FRAU ULLMAN Mr. Lockwood? She turns to Streeter. (CONTINUED) 30. 31 CONTINUED: STREETER ... and Mr. Streeter, m'um. Harold L. at your service. FRAU ULLMAN Please, sit down. ULLIE These gentlemen are doing some research on the Entourage Collection. HARDING Sharp adrenalin reaction0 CARLOS EKG tremors... possible heart condition. FRAU ULLMAN I'm afraid I don't know much about the Entourage jewels... HARDING Lie. CARLOS EEG excitation. CAMERON Confirms probable lie. ULLIE Mr. Lockwood, would you care for some Viennese pastry? I baked it myself0 HARDING (mutters) Lie. CAMERON (mild reproof) Miss Harding... LOCKWOOD Home-made strudel... (inhales the aroma) ... my favorite treat. HARDING (murmurs) Lie. (CONTINUED) 31. 31 CONTINUED: (2) CAMERON (to Harding) Please? LOCKWOOD (to Ullie) Thank you. (to Frau Ullman) We were hoping you could give us some background about the collection. How they came here?... what happened to them?... anything that might be of interest to our readers. HARDING (soberly) She's badly frightened. CARLOS Slow waves.., she's fighting to keep from fainting. FRAU ULLMAN (halting) It was such a long time ago. At the end of the war.., when Berlin was in ruins. LOCKWOOD You knew Hermann Goering? FRAU ULLMAN We came from the same district in Bavaria. I knew him before he met Hitler. LOCKWOOD You kept the diamonds for him? FRAU ULLMAN Yes. He brought them here from Paris. But later... at the end, he sent for them. LOCKWOOD By messenger? FRAU ULLMAN (nods) An S.S. Colonel. His name was Schroeder, The German mark was of no use and the diamonds were needed to finance the escape... (CONTINUED) 32. 31 CONTINUED: (3) FRAU ULLMAN (CONT'D) ... to Latin America... of certain high-ranking officers, I gave him the velvet case with the nine diamonds held in by sewing with needle and thread. You remember, Ullie, you were a little girl but you helped me sew in each jewel... ULLIE I remember. FRAU ULLMAN Colonel Schroeder took them with him and that was the last I ever saw of the Entourage Collection0 CAMERON Find out if the photo replica is accurate. LOCKWOOD Could you identify the diamonds from a photograph? He takes out the photo replica. FRAU ULLMAN No... please. I don't want to see them. They bring back very bad memories. CAMERON Don't force it, She's close to the edge. LOCKWOOD (quiet) I understand, Frau Ullman. (folds the replica away) You've been extremely kind and helpful. Time to change the subject and concentrate on this superb strudel. He glows at Ullie. HARDING Intense reaction to superb strudel. 32 EXT. SECLUDED AREA (WOODED ROADSIDE) - DAY A touring car is parked on a rise by the road. (CONTINUED) 33. 32 CONTINUED: It has a whip antenna. Leaning over it with field- glasses trained on the Winter Chateau is a wiry, hard- faced man, He wears a hunting jacket of corduroy with leather gun-patches. His name is CHEYNE. He becomes alert as he sees Lockwood and Streeter emerge. 33 EXT. WINTER CHATEAU (COURTYARD) - DAY Lockwood and Streeter emerge and go to the car. They pull out0 Suspense SCORE IN. 34 EXT. WOODLAND ROAD - DAY Lockwood's car sweeps along the scenic vista. A second car pulls out to follow. It is a dark sports car, not Cheyne. Suspense SCORE. 35 EXT. CAR - DAY Lockwood becomes aware of the sports car on his tail. He speaks to Streeter for Probe Control's benefit, LOCKWOOD We've picked up our escort. STREETER (looks) Are you sure he's following us? LOCKWOOD He's been on us since we left the airport. CAMERON Let's take a look at him. 36 EXT. WOODLAND ROAD - DAY Lockwood's car comes looming around a curve. It swerves as Lockwood deliberately skids it broadside to block the road. After a moment, the sports car comes around the corner and screeches to a near miss stop. At the wheel of the sports car is a thickset, bullet-headed man. He backs up smiling affable and motions Lockwood to pull back and clear the road. 37 EXT. WOODLAND ROAD - CAR - DAY Lockwood takes the miniaturized T.V. scanner from his button and levels it at the man in the sports car. As always, Streeter does not see him do this. 34. 33 PROBE CONTROL Cameron is intent on the big screen which serves and steadies as Lockwood aims the scanner at the man in the car. CAMERON Hold it steady. We'll try to zoom in on him. He moves a control. R INSERT Big screen image zooms in on the face of the man in the sports car, Cameron snaps orders. CAMERON (V.O.) Freeze frame. It freezes. CAMERON (V.O.) Store it. 39 EXT. WOODLAND ROAD - DAY Lockwood clicks the scanner back on his tie-clip and steers the car around and out of the road. Streeter waves the sports car on. As it passes, Streeter observes the fat man. STREETER Chunky beggas. Must weigh twenty stone. They pull out and drive on. 40 EXT. WAYSIDE RESTAURANT - DAY Lockwood's car arrives back at the open-air Alpine restaurant. He and Streeter climb out. LOCKWOOD Order some wine.., the one with the wild flowers. CAMERON Rhinekasteller ‘64. STREETER (arrives at the same choice) Rhinekasteller ‘64. LOCKWOOD Sounds like a winner. Grab the table on the side. 35. 41,42 EXT. SIDE OF RESTAURANT - DAY Lockwood encounters the rosy-cheeked waitress. He beams at her and waits till she's well out of earshot. LOCKWOOD Did you run an I.D. check on the chunky beggar? CAMERON We may have trouble getting a positive I.D. without fingerprints or voiceprint to back it up. LOCKWOOD Any leads on the S.S. officer? Colonel Schroeder? CAMERON Keach is programming a search through Berlin archives. LOCKWOOD Pin him down and we can begin to zero in on the diamonds. The waitress appears. LOCKWOOD (he beams at her) Fraulein... hi... He heads back for the table. 43 EXT. WAYSIDE RESTAURANT TABLE - DAY The open-air tables are charming. Streeter sips a chilled glass of white wine as he smells the centerpiece bouquet of fresh flowers0 Lockwood is startled to see someone with him, STREETER There you are, Lockwood. We have an unexpected guest. Fraulein Ullman followed us from the Chateau. HARDING It figures. CAMERON Shhh! LOCKWOOD Miss Ullman, (CONTINUED) 36. 43 CONTINUED: ULLIE Please, my name is Bernadette but I am called "Ullie". LOCKWOOD "Ullie". HARDING "Owly"... couldn't you heave? CAMERON Any more remarks and we get a replacement on medical telemetry. LOCKWOOD Right on: ULLIE Hmm? LOCKWOOD Your nickname, "Ullie". It turns me on. STREETER I think you'll appreciate this vintage. He purs. LOCKWOOD (to Ullie) Did you happen to notice a dark green sports car back by the crossroad? ULLIE With a heavyset man at the wheel? Yes. I thought at first he was following you. STREETER (confides) Been hot on our necks since we arrived in Austria. 44 EXT. SECOND TABLE - DAY Unobtrusively, the wiry man in the corduroy hunting jacket, Cheyne, enters and sits at a table. He examines the menu. only by a glance does he reveal his interest in Lockwood's table. 37. 45 EXT. SIDE TABLE - DAY Lockwood, Streeter and Ullie have no reason to react to Cheyne who could be merely another motorist. Ullie leans forward to confide in Lockwood. ULLIE I hope you don't mind my following you... LOCKWOOD You're very welcome. ULLIE (hesitates) I'M afraid I have an ulterior motive. My mother has been living on a small insurance pension... hut trying to keep the Winter Chateau with prices so high... it's not possible. I was hoping that your publication might be willing to offer some sort of reward for more accurate information regarding the Entourage Collection. LOCKWOOD What kind of information? ULLIE (hesitates) My mother lied to you. CAMERON Now we're getting somewhere. LOCKWOOD I'M sure they'll pay for what they get. ULLIE You see, my mother has been interrogated many times by the authorities.., first the Russians after the war.., then the French, British... and the Americans. She has always told all of them the same lie. LOCKWOOD About Colonel Schroeder? ULLIE There was no Colonel Schroeder. LOCKWOOD No? (CONTINUED) 38. 45 CONTINUED: ULLIE No. I was very young. but I remember. No S.S. officer came for the jewels. LOCKWOOD What happened to them? ULLIE My mother was planning to remarry after my father died in the war... a diplomat a Scandinavian named Andre de la Russe. Lockwood's jaw muscle flexes, series of PULSE TONES BEEP the signal for "more information". CAMERON More information on Andre de la Russe. Search program. ULLIE I remember very clearly my mother giving him the velvet case with nine diamonds. extremely brilliant of various cuts and sizes. I helped her sew them in place just as she told you. LOCKWOOD Do you know where Andre de la Russe took them? ULLIE They had made a plan for him to use his diplomatic passport to smuggle the collection into the United States. Then he was supposed to send for my mother... and me... but we never heard from him again. STREETER It 's not hard to see why Frau Ullman bends the truth a bit. ULLIE She's afraid she'll be held responsible... the diamonds... and, I suppose... even after all these years.. somewhere down in her heart she still hopes to hear from de In Russe. (CONTINUED) 39. 45 CONTINUED: (2) LOCKWOOD How would you feel if we went back to your mother.. to ask her if anyone else could have be-en involved? She might remember the name of someone who knew de la Russe. ULLIE She's got to face up to it sooner or later and I would rather you than the police. Streeter hurriedly tries to gulp down his wine as they go. From his table, Cheyne observes with cold, ice-blue eyes. 46 EXT. WOODLAND ROAD - DAY The car speeds toward the Winter Chateau. 47 EXT. WOODLAND ROADS - CAR - DAY Lockwood drives with Ullie at his side. Streeter is in the back seat. He still has his wine glass. He sips furtively. Lockwood's head is filled with filtered line-chatter, as the Unit One team works intently. Rapid-fire cross-talk. KEACH Retrieval and display. Andre- de la Russe. Negative. CAMERON Try Swedish Diplomatic Corps. KURODA Patch Niner. Immediate access. KEACH Probe Control. Priority: Double A. Andre de la Russe. S INSERT Computer typeface as it spits cut A-N-D-R-E/D-E/L-A/ R-U-S-S-E. Staccato computer SOUND FX. PULSE TONES AND DEEPS. Rip of reverse-tape screeching garble. KEACH Positive! KURODA Got the little devil: CAMERON Read-out! 40. 47 CONTINUED: T INSERT Big screen flashes. Computer graphics FX. D-E-C-E-A-S-E-D. CAMERON (V.O.) Dossier card. Run please POLICE (V.0.) Subject found murdered, 2945, in front seat of touring car at Cesalpine Pass border. Three bullets0 .32 caliber in back of head, neck and right shoulder. No luggage. No wallet. Positive I.D. Vice-Consul Strass-Bergen. Presumed victim of looters operating in Refugee Zone. During the above recital, a SERIES of police STILL PHOTOS FLASH ON showing various official ANGLES of the murdered diplomat slumped in the front seat of his car. The computer tape spits out "E-N-D/D-O-S-S-I-R/O-U-T. CAMERON (V.O.) Lockwood? You copy? Lockwood clamps his jaw. Pulse tone, "Affirmative". 40 EXT. WINTER CHATEAU - SUNSET (MAGENTA PRINT) The Chateau looms ominously in the dying light. It is now somber and dramatic. The SCORE becomes foreboding. Lockwood's car swerves up the drive into the courtyard. Lockwood, Streeter and Ullie emerge. They hurry in. 49 EXT. WOODED AREA - SUNSET Cheyne's car pulls up. He emerges. He gets the field glasses to observe the Winter Chateau from his hidden vantage point. The red sun flares. 50 INT. CONSERVATORY - SUNSET Ullie opens the doors as she did before. The conservatory has changed. The ruddy glare of the sunset streaks the room with ominous shadows. Even the flowers are somehow sinister. The SCORE RESOUNDS as the setting of Frau Ullman's receiving chair is revealed in this new, strange light. Frau UlIman is not there: Lockwood and Streeter help Ullie search. (CONTINUED) 41. 50 CONTINUED: ULLIE Mama? Wo bist du? Dist du oben in Deinem Zinner? She's not here. She's gone from the house. I can feel it. LOCKWOOD Maybe she's out in the garden? ULLIE No. STREETER Perhaps she's upstairs... having a nice nap? LOCKWOOD Maybe she left a note? ULLIE I know she didn't have any plans to leave -- (calls out) Mama? LOCKWOOD You look down here -- library, kitchens. I'll try upstairs. They search. SHOCK CUT TO: 51 EXT. GARDEN AREA (WINTER CHATEAU) - SUNSET Moving like a beast of prey in the blood-red light2 the thickset man whose name is BRUGGE, comes looming out of a shadowy foliage. He stops and squints up at the looming wall of the Winter Chateau. He moves forward and starts to climb the rungs of an iron ladder embedded in the grey stone. His ponderous bulk is revealed to be powerful. His unexpected agility conveys a sinister effect. 52 INT. WINTER CHATEAU - SUNSET Lockwood hurries down the staircase to meet Streeter and Ullie. STREETER No sign of her down here. LOCKWOOD Nothing upstairs. (CONTINUED) 42. 52 CONTINUED: ULLIE Her luggage is still in the storage room. LOCKWOOD Ullie, she visits people, doesn't she? She goes out? ULLIE She doesn't like to be alone. STREETER There's your answer. She saw you go flashing off to follow us and decided to drop in on the neighbors. ULLIE The- nearest house is two kilometers. STREETER You've got a phone. ULLIE She wouldn't go there... Her friends are in the village. STREETER She probably went to visit them... and went shopping. ULLIE She never goes out alone. STREETER (regards her) You feel it when she's not here... Do you feel any harm's come to her? ULLIE (listens to her senses) No... I don't feel anything. Good or bad. LOCKWOOD Why don't you wait here in case she comes back and We'll drive down to the village. ULLIE I'M sorry to I:ut you to so much trouble. But it just isn't like her to... disappear. (CONTINUED) 43. 52 CONTINUED: (2) LOCKWOOD We'll call you from the village. They start to go. 53 EXT. SECLUDED AREA - SUNSET Cheyne is observing with his fieldglasses. He tenses as he sees something. Red sun streaks and black shadows. 54 EXT . WINTER CHATEAU - SUNSET Lockwood and Streeter open the massive, carved door and move out onto the flagstone court. A straight-down ANGLE of the tops of their heads, as seen from the roof0 sud- denly shows a series of bullet holes shattering the flagstones. GUNSHOTS EXPLODE. Shock waves ECHO and REVERB. Lockwood dives for the doorway0 dragging the terrified Streeter with him. 55 INT. WINTER CHATEAU (DOORWAY) - SUNSET Ullie reacts in horror as the GUNSHOTS slam down from above. As Lockwood drags Streeter inside, she does her best to help. Streeter's coat is bloodstained from his neck down his collar and coat-sleeve. The older man barely makes it to a sofa before collapsing. 56 EXT. SECLUDED AREA - SUNSET Cheyne quickly puts his fieldglasses away and climbs in his car. He drives away hurriedly. 57 INT. WINTER CHATEAU - SUNSET The room is streaked with the dying sunset. Lockwood helps Streeter onto the sofa. Ullie is trembling as she assists. LOCKWOOD Give him some brandy -- and get some water ULLIE Where are you going? LOCKWOOD Up on the roof. He hurries up the staircase. Ullie gets the brandy decanter and kneels beside Streeter. (CONTINUED) 44. 57 CONTINUED: ULLIE Mr. Streeter... I brought you some brandy... He is able to sip a little. STREETER (with a wan smile) Mmm. Lovely... 58 EXT. WINTER CHATEAU ROOF - SUNSET Lockwood emerges from an attic door onto the roof. The last glare of the sunset fades. He searches cautiously. As he does so, Probe Control comes on. CAMERON What the devil was that all about? LOCKWOOD Somebody un loaded a full clip on our heads. CAMERON Our picturer's still fluttering. You must have landed on your scanner. HARDING Your vital signs jumped clear off of the scope. CARLOS I'm saving your brainwave pattern. It looks like an earthquake. CAMERON You're still pumping a lot of adrenalin. We've lost our picture... Where are you? LOCKWOOD I'M up on the roof, looking for the man with the gun. He hit Streeter. CAMERON I'd get down from there if I were you. LOCKWOOD He tried once, he'll try again. (CONTINUED) 45. 58 CONTINUED: CAMERON Let him go. The best thing we can do now is to have Medical Systems examine Streeter. Determine the extent of his injury, LOCKWOOD How's your picture? CAMERON It scrambles now and then but the computers are stabilizing it. LOCKWOOD See you downstairs. CAMERON End verbal, Lockwood goes. 59 EXT. WOODED AREA -- DARK AREA (DAY FOR NIGHT) The thickset Brugge squeezes into the sports car, He releases the brake and rolls for a moment. The engine golts to life. He drives off, 60 INT. WINTER CHATEAU (SOFA) - NIGHT LIGHTS. Lockwood arrives at Streeter's side. The older man smiles up at him with a show of bravery. Ullie uses a damp cloth and porcelain basin of water. LOCKWOOD You look horrible, How do you feel? STREETER I intend to submit an expense voucher for this suit, LOCKWOOD Can you bend your head forward? STREETER Forward's fine.,, but there's no bending hack, LOCKWOOD Hold still... Let Dr. Lockwood diagnose the situation, (CONTINUED) 46. 60 CONTINUED: CAMERON Medical systems on-line. HARDING Scalp wound, superficial... LOCKWOOD Hm... locks like you were grazed... HARDING Not a bullet wound, LOCKWOOD But not.., by a bullet,.. HARDING Probably a stone splinter, LOCKWOOD More like a flying splinter from the flagstones. STREETER It felt like a flying brick. LOCKWOOD Mm hm,.. Let's see now... CARLOS No concussion. Peaks and spindles have leveled out. HARDING Vital signs within age and exertion parameters. LOCKWOOD You'll live, But you're not to go out of doors without wearing a steel helmet, ULLIE You need rest. I'll get you some blankets. She goes, LOCKWOOD (confides to Streeter) Looks like we're in business. (CONTINUED) 47. 60 CONTINUED: (2) STREETER I'M afraid I'M in a bit of a fog. LOCKWOOD No, it's a good sign. It shows we're on the right track. STREETER I see, When we get warm, we get shot at. LOCKWOOD Frau Ullman's the key, Find her and we find the diamonds. STREETER Provided we're not dead, LOCKWOOD And provided she's not dead... STREETER Are you sure it's worth it? LOCKWOOD Not really. At least not in your case. STREETER I thought I did rather well. LOCKWOOD (for Cameron's ears) If I were the coach I'd send you to the showers. CAMERON I hear you. But he happens to know a diamond from a paste zircon. LOCKWOOD (partially to Streeter) Let's face it, Getting whacked in the head is no life for a connoisseur and a gentleman. STREETER I hope I haven't held you back... CAMERON (muses) We could bring him back here to Probe Control. (CONTINUED) 48. 60 CONTINUED: (3) LOCKWOOD Right on! The best thing is to ship you out on the next plane! STREETER You don't have to get huffy about it. Ullie returns with a blanket and a piece of notepaper. ULLIE This is for you. (covers Streeter) And this is for you. Gives Lockwood a note. LOCKWOOD (reads) "Flug nommer 701 -- Ankommt 11:55." GRIFFIN "Flight 701 -- Arriving 11:55." ULLIE I found it next to the telephone in my mother’ room. LOCKWOOD (to Ullie) Check the airlines. CAMERON (cuts in) We’l1 do it. Patch into airlines ticket computers. Keach punches keys. LOCKWOOD Better yet, let's drive to the airport. ULLIE What about Mr. Streeter? LOCKWOOD Mr. Streeter's decided he'll be more useful back in the home office. STREETER Not at all -- (CONTINUED) 49. 60 CONTINUED: (4) LOCKWOOD Sh! Save your strength. We've got to keep moving. It's only a matter of time till the folks in back of that sniper fire begin to panic and try to unload the goodies. ULLIE Sell the diamonds? LOCKWOOD It's not easy to peddle a matched set, so they'll cut them down to bite-size chunks. STREETER But cutting them to pieces would destroy their value. LOCKWOOD It may wipe out the historical value but they're still worth millions in hard, cold carats. KEACH Read -out, Airlines Computer Banks. Lufthansa Flight 701 arrives daily Kennedy Airport 11:55 a.m. CAMERON Is Frau Ullman on the passenger manifest? KEACH Negative. but she may have used another name. LOCKWOOD (to Ullie) Do you know when the next overseas flight leaves Innsbruck for New York? ULLIE No, but I can telephone. CAMERON Put up the schedule. LOCKWOOD No, wait... I seem to recall... KEACH Flight 11 departing Innsbruck 8:45 a.m. (CONTINUED) 50. 60 CONTINUED (5) LOCKWOOD There's nothing until tomorrow morning. (beams) Well... it looks like we'll just have to bed down for the night. HARDING (primly official) Medical telemetry reporting unstable condition in Probe's physical systems. ULLIE You're welcome to stay here. CAMERON No, Lockwood. You were right, in the first place. You've got to keep moving. Suggest you take Streeter and drive to a hotel near the airport. LOCKWOOD (smoothly to Ullie) Do you know of a hotel near the airport? ULLIE The Innsbruck Hotel is a couple of minutes away from the terminal. LOCKWOOD It may not be safe to stick around here. CAMERON Lockwood. .. ULLIE But what if my mother comes back? LOCKWOOD She's probably on her way to the U.S. ULLIE Why do you say that? (CONTINUED) 51. 60 CONTINUED (6) LOCKWOOD The flight number... 701 usually means overseas... and we know she's got a personal interest in the diamonds. If we find them, we'll probably find her. ULLIE But she would have told me if she was going to leave the country. I don't want to stay here alone... Would it be a terrible inconvenience if I were to come with you? HARDING Hup! Warning light. LOCKWOOD All the way to America? ULLIE (soft) All the way. To America. HARDING Adrenal surge. Palpitations. CAMERON Which one? HARDING Both. The whole console's pulsating. CAMERON (to Lockwood affably) There's really no need to take Miss Ullman along... Try to let her down gently. LOCKWOOD (to Ullie, locking her in) There's really no compelling reason why you have to join us in our search for your lost mother. CAMERON Lockwood, you're not searching for her mother. You're trying to track down some diamonds. Remember? ULLIE I'LL buy my own ticket. (CONTINUED) 52. 60 CONTINUED: (7) LOCKWOOD Just for record, I tried to talk you out of accompanying us but you insisted. STREETER I'M your witness... ULLIE Don't worry, I can pay my own way. LOCKWOOD Oh, I'M sure we can find, some way to hide you in the expense account. I have a very understanding publisher. Viennese SCORE: COMPUTER RX DISSOLVE 61 EXT. INNSBRUCK HOTEL - NIGHT (RITTER WIND M/C) Lockwood's car pulls up outside of the charming old hotel. The overhanging marquee is a cascade of crimson flowers. Large Austrian flags billow in the floodlights. Lockwood and Ullie climb out of the car. The Prussian doorman assists them with Mr. Streeter. As they enter the flower-filled foyer, they are observed by the cold- eyed Cheyne. 62 INT. INNSBRUCK HOTEL LOBBY (PALM COURT) - NIGHT Lockwood, Streeter and Ullie cross to the register and check in. As they pass the palm court, the thickset figure of Brugge presses back. His lynx-eyes glitter as he watches them from the fronds of the palm court. COMPUTER TX DISSOLVE 63 INT. INNSBRUCK HOTEL (STREETER'S ROOM) - NIGHT Streeter is comfortably installed in a luxurious bed propped up on pillows, he feasts on a tray of goodies. silver bucket of Alsation wine gleams by his side. diamond flare sparkles as he examines the delicate body of the wine with a connoisseur's pleasure. wine steward bows and withdraws. The SCORE is charming. COMPUTER FX DISSOLVE 53. 64 INT. INNSBRUCK HOTEL - NIGHT The diamond-flare motif carries over to the wine carafe and cut-crystal glasses at a romantic table where Lockwood and Ullie enjoy the lilting Viennese ORCHESTRA: violin, viola, cello, accordion, and piano. The amethyst evening is brushed by a soft fall of tiny yellow blossoms sifting on faint stirrings of air. Ullie has changed into a stunning dress of soft, summery material. Lockwood is completely charming. LOCKWOOD (breathes his wine) You Austrians really know how to hurt... Viennese waltzes, yellow blossoms drifting on the evening breeze... and you have to wear a dress that floats... ULLIE Does it please you? LOCKWOOD It brings tears to my eyes. ULLIE Are you quite sure it's the dress? LOCKWOOD I'D have to see it hanging in the closet. ULLIE And where am I while you are making this test? HARDING (prim) Do we have to sit through this? LOCKWOOD (squints through his glass at Ullie) Don't move. ULLIE There is a spider? HARDING Sitting beside you my dear. CAMERON Sh! Can't you see the man's working? (CONTINUED) 54. 64 CONTINUED: HARDING Hah! Lockwood winces. LOCKWOOD I can see your image caught in the wine.., like one of the Entourage diamonds. ULLIE The Austrian Yellow.., from the Hapsburg Crown... (softly) It's the color of wild honey... LOCKWOOD ..."wild honey"... HARDING Do you believe this schmalz? CAMERON Miss Harding: I'M warning you! HARDING Don't warn me, warn him! LOCKWOOD Which stone is your favorite? ULLIE Of the Entourage? The Chantilly Pink. LOCKWOOD Let's see... that's a reduction fragment of the Grand. Conde diamond. ULLIE It's a pale rose... like the nose of white kitten.., so feminine... LOCKWOOD (softly) I can dig it. HARDING (in her NASA voice) Blood pressure up: (CONTINUED) 55. 64 CONTINUED: (2) LOCKWOOD (chokes on his wine) Excuse me! Too much input... overloads my head... ULLIE Are you all right? HARDING Needles throbbing: LOCKWOOD I'M sorry but it's impossible to concentrate. CAMERON Objection noted. (to Harding) Miss Harding. Shut up. LOCKWOOD (to Ullie) I have a trick sinus.., whenever I get overstimulated. it gives me a zetz. WAITER appears. He is a worldly viennese. WAITER Virten zie einser das vien, bitte? GRIFFIN He's asking you about the wine. ULLIE Would you care for more wine? LOCKWOOD One more bottle... for the road. ULLIE (to Waiter) Mitte sunde, hitte. Ist heren siche? GRIFFIN (sits up) Flash red! She ordered the wine and then asked "is he here yet?" WAITER Wir haben reslichten. (CONTINUED) 56. 64 CONTINUED: (3) GRIFFIN "We have his reservation." CAMERON Make any sense to you, Lockwood? PULSE TONE TWICE, "no". CAMERON Negative here, too. 65 INT. INNSBRUCK RESTAURANT - NIGHT At a distant table, Cheyne sits at a table. He watches unobtrusively. 66 INT. INNSBRUCK LOBBY - NIGHT A gaunt, distinguished man arrives at the registration desk. He wears a severe gray suit and steel-rimmed glasses. His name is VAN NIESTAT. VAN NIESTAT "Streeter... Harold, L."? (shows a card) Er ist heir, bitte? DESK CLERK ... Drie Seiben Ems, Verschwen das telehausen, bitte? He points to house phone. VAN NIESTAT Danke. He goes to the house telephone. 67 INT. INNSBRUCK (STREETER'S ROOM) - NIGHT Streeter is into a choice cigar and a snifter of brandy. He picks up the phone. STREETER Streeter here. He listens attentively. 68 INT. INNSBRUCK RESTAURANT - NIGHT The Waiter arrives with the second bottle of wine. He displays it to Lockwood. CAMERON (murmurs) You lucky dog. That happens to be superb vintage... The waiter pours more. 57. 68 CONTINUED: CAMERON Delicate bouquet, eh, Lockwood? (pulse tone, ONE BEEP I should say so... how's the color? (Lockwood holds it up to the light) It ought to be a pale gray-green... (Lockwood BEEPS a "yes") Affirmative. Now the body... slosh it around. How I envy you... Those delicate whites don't travel. Is it light? Dry? Fruity? (Lockwood BEEPS "yes" "yes" "yes") Salut! While Lockwood checks the wine, Ullie glances around. the room. She catches sight of Cheyne off at his table. He nods. She conceals her sharp reaction. HARDING Abrupt surge on Brunhilde. CARLOS Anxiety shift... intense. CAMERON It looked to me like she spotted somebody there in the restaurant. Unclip the scanner and give us a slow pan of the tables. Lockwood seems to enjoy the Viennese MUSIC as he un- obtrusively removes the scanner from his tie-clip. He leans on his hand as he slowly pans the tables. Cheyne's picture slides by. ULLIE (as the Waiter fills her glass) Here's to your success. LOCKWOOD (murmurs) I'll drink to that. CAMERON No results on the scan. LOCKWOOD Ullie... I'M worried about Mr. Streeter. I think I ought to phone his room to see if he's resting comfortably. (CONTINUED) 58. 68 CONTINUED: (2) ULLIE Hurry back. CAMERON What's he up to? Lockwood disconnects the scanner and leaves it carefully lined up on Ullie, half concealed by his napkin. He goes. CAMERON Lockwood? What are you doing? KEACH I've got a warning light: KURODA He's leaving the scanner! HARDING Probe's vital signs fading. Either he's walking away from the vicinity of the scanner or he just died. CAMERON Do we have audio contact? KURODA He can hear us with his ear-jack but he's too far from the scanner mike for us to hear him. CAMERON Lockwood? Use your dental contact. Do you copy? A pulse tone answers ONE BEEP "yes". CAMERON He's on the line. Did you leave the scanner on purpose? (pulse tone. BEEP. Yes) That white blur on your screen... Did you leave the scanner concealed in your napkin? (pulse tone. BEEP. Yes) ... So we con keep Miss Ullman under surveillance while you go to the phone? (pulse tone. BEEP. Yes) Very clever.., but also very irregular. Miniaturized transceivers don't come in crackerjack boxes. If anything happens, it's out of your paycheck. (MORE) (CONTINUED) 59. 68 CONTINUED: (3) CAMERON (CONT'D) Copy? You work for freebees the rest of your life. Do you copy? (pulse tone. TWO BEEPS, negative) What do you mean "no"? You heard me. 69 INT. PHONE BOOTH - NIGHT Lockwood calls Streeter. INTERCUT as needed. Streeter is one-third stoned. LOCKWOOD Streeter? How's your head? STREETER A bit twingey but I'm numbing the pain with a very nice brandy, courtesy of the publisher. LOCKWOOD You sound like you're re on your third snifter. STREETER Just rounding off the bottle. Oh, by the way, I just got a call from an old colleague, a diamond cutter who used to work for the Kimberly Mines. Top-flight professional. Knows his rocks. Says he has something important to show you. LOCKWOOD What's his name? STREETER Dutch name. Van... Niestat. N-I- E-S-T-A-T. I told him to wait for you in the lobby... by the palm court. LOCKWOOD How will I know him? STREETER About my age. Tall, skinny chap. bit stoop-shouldered... Give him hearing. He's reliable.., and he's got something hot. (CONTINUED) 60. 69 CONTINUED: LOCKWOOD 'Hot' hot? STREETER White hot! Streeter hangs up, puffing his cigar and sipping brandy, pleased with himself. 70 INT. INNSBRUCK RESTAURANT - NIGHT The scanner is concealed by the napkin but covers Ullie from an ODD ANGLE. The white cloth blanks out part of the picture. Probe Control sees it on the big screen. Lockwood can only hear and reply with pulse tones. CAMERON Lockwood, your sound-channel open? (pulse tone. BEEP. Yes) We're picking up something on Miss Ullman. A man just got up from a table and moved in close to her shoulder. We'll turn up the audio and feed it back to you. CHEYNE Ou est-il? ULLIE Au telephone. CAMERON Rats, they're speaking French. Translation please? Rapid fire like the U.N. CHEYNE Un diamant apercu ici a Innsbruck. GRIFFIN A diamond appeared here in Innsbruck. CHEYNE ... de L'Entourage. GRIFFIN From the Entourage. ULLIE Qu'elle et-il? GRIFFIN Which one? (CONTINUED) 61. 70 CONTINUED: CHEYNE L'Austrienne... jaunde. GRIFFIN The Austrian... yellow. ULLIE Et les autres? GRIFFIN And the others? CHEYNE Je ne sais pas. GRIFFIN I don't know. ULLIE Et ma mere? GRIFFIN And my mother? CHEYNE Je ne sais GRIFFIN I don't know. CHEYNE C'est tres important vous restez avec M'sieur Lockwood. GRIFFIN It's very important you stay with Mister Lockwood ULLIE Je pense qu'il vient. GRIFFIN I think he's coming. Cheyne eases away. As he does so, the Waiter appears. He starts clearing the table. CAMERON The waiter! He's clearing the table! Lockwood, get back to the table! Hurry! before he sweeps up the scanner -- (CONTINUED) 62. 70 CONTINUED (2) The big screen scrambles and goes fuzzy white. CAMERON He grabbed the napkin. Lockwood! He's got the scanner: Can you see him? Pulse tone. BEEP Yes. 71 INT. INNSBRUCK RESTAURANT - KITCHEN ENTRY - NIGHT Lockwood watches intently as the Waiter dumps the bundle of linen in a laundry bin. Lockwood eases over to the bin. Under the eyes of a quizzical bus-boy, he rummages through the soiled linen. He mutters as he searches. LOCKWOOD Can you read me? HARDING Medical systems very faint. CARLOS Faint wave patterns. LOCKWOOD This side? CAMERON Can't hear you but We're picking up traces of telemetry systems. HARDING We're losing him. LOCKWOOD How about this side? CAMERON Verbal transmission coming through! The busboy stares at the man mumbling into the linen bin. LOCKWOOD Any closer? HARDING Strong signal! CARLOS Clear patterns! (CONTINUED) 63. 71 CONTINUED: CAMERON Now we copy... loud. and clear: Lockwood rummages. KURODA Green Light! KEACH He's made contact:! LOCKWOOD Got it! CAMERON Kuroda... hand me that glass of water. LOCKWOOD (to scanner) Are you okay? CAMERON (controlled) A-okay... all systems green... Adds a little something from a pocket flask and drinks. His forehead. glistens. Lockwood affixes the scanner to his tie-clip. The busboy looks at him sideways. Lockwood grins. LOCKWOOD Smile, you're on television. Bus-boy gives a sickly smile. Lockwood returns to the table. Cheyne watches from the side area. ULLIE I ordered you some strawberries. LOCKWOOD Let's put them in a doggy bag and go have a picnic out in the moonlight? CAMERON Ahum... ah, Lockwood... no picnics... no moonlight. LOCKWOOD We can wade in the fountain. CAMERON No. Hold it. No wading. (CONTINUED) 64. 71 CONTINUED: (2) HARDING (crisp) It's my duty to remind you that a head cold can inflame your eustachians and jam your ear-jack. CAMERON That is correct. Do not risk loss of audio by getting your feet wet. ULLIE It's late. CAMERON Miss Ullman's right. Listen to her. ULLIE It's time to go to bed. CAMERON (lowers head) Beep that out please, Kuroda. Hold the remarks, please? Lockwood, you've got a long flight ahead of you tomorrow. It's time to escort the lady to the elevator. LOCKWOOD (offers an arm to Ullie) May I? ULLIE Mais out. GRIFFIN If she's speaking French, the lady says "yes". Ullie nestles in close to him as they stroll out of the restaurant area. The SCORE is romantic. 72 INT. INNSBRUCK LOBBY - NIGHT The lobby is half-lit; enshadowed by the late hour. janitor polishes brass. From the palm court area, Brugge observes from concealment. He- sees the tall, gaunt Van Niestat rise from an armchair where he has been waiting patiently. As Lockwood and Ullie enter the lobby area, Van Niestat approaches them. (CONTINUED) 65. 72 CONTINUED: NIESTAT Mister Lockwood, Fraulein Ullman... (offers card) Kurt Van Niestat. LOCKWOOD Yes... Mr. Streeter told me about you... in some detail. CAMERON Told you what? When? Who is he? LOCKWOOD You were a diamond cutter for the Kimberly Mines. NIESTAT That was a long time ago. Now I am retired. LOCKWOOD Mr. Streeter mentioned some "information"... NIESTAT Perhaps you will join me in the palm court for a nightcap? The bar service is closed but I took the liberty of ordering cognac. ULLIE You have business to discuss. I can find my way to the elevator. LOCKWOOD I'M sure Mr. Van Niestat expects you to join us. NIESTAT Of course. I happen to be an old acquaintance of Fraulein Ullman's mother... ULLIE (sharply) Do you know where- she is? NIESTAT I'm sorry, I don't know. 66. 73 INT. INNSBRUCK LOBBY (PALM COURT) - NIGHT Lockwood. Ullie and Van Niestat arrive at a small, round, marble-top table. A decanter and three cognac glasses are waiting. Van Niestat attends to Ullie with gracious, old-world charm. The chairs are wicker fan-back Edwardian thrones. Brugge is concealed well back in the shadows of an alcove. NIESTAT (toasts) To the Entourage Collection. LOCKWOOD It's nice- to know that our mission is such a well-kept secret. NIESTAT (confides) The Entourage is very precious... all of my life I have admired great diamonds and it is my belief that they belong in museums for the world to appreciate... the way you Americans display the Hope Diamond in the Smithsonian... I could have offered my services to Johannes Consolidated but I prefer to come to you... personally... LOCKWOOD You're helping us out of the goodness of your heart... NIESTAT You are not serious, of course, but you are not far from the- truth. I have lived too many years with the memory of great evil in my heart... and according to the specialists I don't have too much time- left. (glances around furtively) Let me show you my "credentials". He places a Nazi insignia on the table. It is an S.S. Death's Head. U INSERT Nazi insignia -- On marble-top table. Cognac glasses. CAMERON It's a Nazi insignia. FREEZE FRAME. (CONTINUED) 67. 73 CONTINUED: U LOCKWOOD (to Van Niestat) S.S.? NIESTAT (nods) The Elite Guard. LOCKWOOD They sell these in war-surplus stores. NIESTAT Replicas.., not the originals. I want to help you find the diamonds to try to correct a small part of... what happened when I was a part of... (he holds the- insignia) this. He looks at each of them. ULLIE We believe you. NIESTAT You believe me... But Mr. Lockwood is still skeptical. LOCKWOOD Where are the diamonds? NIESTAT (confides) The Entourage Collection is now in the United States... locked in a vault in a secret "bank"... LOCKWOOD What kind of bank? NIESTAT Like numbered accounts in Switzerland... except that this bank holds art treasures, diamonds, paintings... seized by fugitive S.S. officers who escaped at the end of World War II. LOCKWOOD Where is this bank? (CONTINUED) 68. 73 CONTINUED: (2) U NIESTAT In the south part of the United States in a corner of one of your tropical areas.., near the gulf port there is a fabulous old resort. It's name is the Regency Crown Hotel and down in the wine cellars there are vaults protected by combination locks... It's a clearing house where fugitives... members of the Nazi party, still in hiding keep treasures stolen during the war. LOCKWOOD How does it work? NIESTAT By code numbers. You go to the manager. His name is Felix Ernst. Give him this card. Lockwood takes it and reads. It is a swastika torn in half in such a way that it matches another half of the same swastika. LOCKWOOD "SS-9-607-H.G." NIESTAT That is the number assigned. to Reichsrnarshal Goering. LOCKWOOD And this clears your conscience? NIESTAT It's a small beginning. LOCKWOOD You expect me to believe you'd give away a fortune? NIESTAT Not entirely. I still cling to a part of the past... If you don't yet believe me, I am sure you will believe my final credential. He takes out a small case and removes a tissue. With practiced fingers he slides out a breathtaking jewel. It glints majestically on the dark velvet. (CONTINUED)