SEARCH "SUFFER MY CHILD" Written by Norman Hudis PROPERTY OF: WARNER BROS. TELEVISION FINAL DRAFT 4000 Warner Boulevard September 7, 1972 Burbank, California SEARCH "SUFFER MY CHILD" ACT I FADE IN: 1 INT. CONTROL - THE SCREEN The setting is actually: 2 EXT. TRACY'S BUNGALOW - ON SCREEN (CANDID FOOTAGE) and we are in CLOSE-UP, TRACY RICKMAN, on tennis court: twenty-one years of age, with a lively intelligence as well as stunning athletic beauty. She is in tennis shirt and shorts. She wears a gold chain and locket around her neck. She serves. Her opponent is LYNNE WHEATLEY, twenty-five, very attractive. They are well matched. A few seconds' brisk play. Lynne finally smashes a return, but it bounces beyond Tracy's base- line and into bushes and trees. TRACY Out! Way out! She runs into the bushes. 3 ANOTHER ANGLE Bungalow-patio. A gourmet buffet and bar. Around: All the people soon to be identified in FREEZE FRAMES. We don't get time to identify them here anyway because suddenly and almost immediately the SCENE TILTS and SHAKES, and subsequent -- 4 ANGLES -- have the rough, nervous realism of newsreel coverage of an unexpected tragedy. In short: panic-stricken pandemonium, people rushing about, yelling, etc. JOHN RICKMAN II, is in a state of mixed fury and terror. Beside him, as always, is ELLIOT DESMOND. JOHN II Gone? What do you mean, she's gone? She can't have disappeared. (CONTINUED) 2. 4 CONTINUED: He puts his hands to his head in anguish. As he opens his mouth to speak again: CAMERON (V.O.) Freeze it there! SOUND CUTS. FRAME FREEZES on John II. Elliot is nearby. CAMERON (V.O.) (continuing) John Rickman II. Investment genius. Father of the kidnapped girl, Tracy Rickman. Occasion: Her eighteenth birthday party. 5 INT. CONTROL CAMERON and CREW in position. LOCKWOOD beside Cameron. LOCKWOOD I'm with him. How could she disappear --looking for a tennis ball -- in the middle of Daddy's estate? Screen-action UNFREEZES. Pandemonium continues silently, SOUND still outted. CAMERON And with bodyguards. (FREEZE on:) James Lesor: ex-middleweight contender. (movement: FREEZE on:) Ken Castle: ex-All American halfback. (movement: FREEZE on:) Sam Field: chief guard. Ex- Marine hero, Vietnam veteran. Movement continues, on screen -- a mime of angry con- fusion, as SAM FIELD angrily grabs KEN CASTLE and shoves him off in a new direction. His face is controted with rage. Lockwood reacts. LOCKWOOD All muscle, no brains. FRAME FREEZE on Lynne. (CONTINUED) 3. 5 CONTINUED: CAMERON Lynne Wheatley. The girl's private companion. LOCKWOOD A-Okay! Movement continues. Lockwood indicates Elliot on screen. LOCKWOOD (continuing) That guy. Also a bodyguard? FRAME FREEZE on Elliot. CAMERON Elliot Desmond. John II's confidential secretary. Movement continues. LOCKWOOD Some birthday party... not one guest there the same age as the girl. (grimace) Maybe this wasn't a snatch -- but a rescue? Cameron appreciates the point, but goes on: CAMERON Teletape filmed by his chauffeur of an event John II always feared: the kidnap of his only child. Teletape ends. FRAME FREEZE, of Tracy in the act of tennis-serving, is punched-up on screen. CAMERON (continuing) Tracy Rickman. Aged twenty-one. Has lived on the family estate since her mother's death, under constant guard, from the age of fifteen until -- now. OPTICAL TRANSITION: 6 EXT. SKY - DAY A private plane cutting across horizon. 8. 7 INT. CONTROL Cameron reacts, wincing, to plane engine noise. KURODA rapidly works switches, dials, etc., as: KURODA Reducing external audio pickup... SOUND of plane engines DIMINISHES to bearable volume. KURODA (continuing) Voice patterns stabilizing. The VOICES of Lockwood and Lenny come through clearly, with only a FAINT plane engine b.g. NOISE. Lenny's tone is deadpan-teasing. LENNY (V.O.) I feel safer, know what I mean? No one can hear us. What do you want to know? LOCKWOOD (V.O.) A lot. LENNY (V.O.) I don't owe you any more. You only saved my life once. 8 INT. PLANE LENNY is thirty-five, blond, a little too handsome, the weak face of a one-time con man, gambler. He puts the plane in a semi-dive. LOCKWOOD The way you fly, you have nine lifes. I must've saved all of 'em. That adds up to a lot of information. And that doesn't include the time I bailed you out of a General Court Martial. LENNY You always have an answer. Leveling plane off, climbing again. LOCKWOOD You -- the right one. (CONTINUED) 5. 8 CONTINUED: LENNY Okay. I'm flattered. So again, what do you want to know? LOCKWOOD What have you heard about a kidnap? LENNY Nothing. LOCKWOOD There's been a big one. LENNY Not by pros. I would have heard. Take it from me: they must be amateurs. LOCKWOOD (nods, then) I haven't flown one of these in a while, mind if I take it down? LENNY Sure.. me? I respect pros. 9 EXT. SKY - THE PLANE Lockwood, with a faint grin, takes the controls. A half beat, then he suddenly starts putting it through a series of dangerous maneuvers. 10 INT. PLANE Lenny, a little uptight. Lockwood, enjoying himself, activates vision-communicator to Control. 11 INT. CONTROL Screen suddenly shows hair-raising maneuvers from plane's POV. The room seems to rock. Cameron and Crew are dizzied. CAMERON Why would Lockwood's one contact have to own a plane? 12 EXT. PARKING AREA - NEAR HANGAR PULL BACK from hangar to Lockwood's parked car. A pair of gloved hands appears, holding a package. (CONTINUED) 6. 12 CONTINUED: It is round, about the size of an LP, and an inch or two deep. A small switch is revealed. The fingers press the switch. The package starts to tick. 13 CLOSE - LOCKWOOD'S CAR Near the base of the body.. The hands move down, as their owner crouches, to bring the prepared, ticking package into position so that it can be slid under and affixed, by upward pressure against exposed suction- pads, to the gas tank. This done, the hands leave. OPTICAL TRANSITION: 14 EXT. ROAD Lockwood's car traveling. 15 INT. CAR Lockwood gunning it on. 16 INSERT Beneath Lockwood's car we see the affixed package. 17 EXT. RICKMANSVILLE ENTRANCE GATE - DAY GATE GUARD (not one of Tracy's Guards) checks Lockwood's ID, allows him to drive in, closing gate behind him. 18 EXT. MANSION The entrance gate is not visible from here: that's how vast this estate is. Lockwood parks. From the big front doors, Sam Field watches, openly hostile, then walks to meet him and refusing to take his proffered hand escorts him along the drive to the house. Sam needles Lockwood from the start. SAM So you're Lockwood. Well that's nice. You look like you're gonna figure out every little thing in no time. LOCKWOOD (cool) It's possible, Sam. (CONTINUED) 7. 18 CONTINUED: Sam looks dangerous. Lockwood could care less, contin- ues walking. SAM I wanna ask you one question, smart guy. There's fifty of us patrolling this spread plus he could have called in the police department. LOCKWOOD Why hire me instead? SAM For two pins, I'd ask Mr. Rickman. LOCKWOOD Save your hard-earned pins. I'm going to do just that. SAM Weird. If I were you, I'd just take the job and the money. LOCKWOOD (forcefully) I'm not you, Sam -- I never take anything or anyone for granted. He enters the mansion, leaving Sam with egg on his face. 19 EXT. BENEATH LOCKWOOD'S CAR Device ticks. 20 INT. MAIN SALON CLOSEUP a tickertape machine (complete with keyboard for sending). PULL BACK to SEE a small two-handled trunk on a table. It is half-filled with batches of small-denomination cash. Seated nearby is John II, watching Elliot count more money into it. John II looks up as we REVEAL that Lockwood and Sam have arrived. Taut with the strain of the situation, John turns urgently to Lockwood. JOHN II I thought it sensible, Lockwood, to have a ransom ready in advance. LOCKWOOD That will save time. (CONTINUED) 8. 20 CONTINUED: JOHN II (bitingly) I'm glad you approve of my action. John II keeps his eyes on Lockwood. Elliot stops counting. JOHN II (continuing) I wish I could say the same for you. (harshly, deeply upset) What are you doing here? Why aren't you out looking for my daughter? LOCKWOOD This is the way I'm running it. JOHN II You're not running very hard. You were due here half an hour ago! LOCKWOOD I'm sorry, but it couldn't be helped. Now if you don't like the way I'm handling things, call in the F.B.I... and by the way, why didn't you? JOHN II Because I don't have nearly as much time for Government as Government seems to have for me. ELLIOT They're always investigating him -- poking into every transaction. He'd rather die than - He breaks off, realizing - LOCKWOOD It's not the chance of Mr. Rickman dying that bothers me. John II is somewhat chastened. Sam looks covertly sur- prised that anyone has succeeded in putting his boss down. In the slight, awkward pause -- enter Lynne. She is as anxious and taut as her employer. Ignoring Sam, she crosses at once to Lockwood. (CONTINUED) 9. 20 CONTINUED: (2) LYNNE Lynne Wheatley. LOCKWOOD (nods) Hugh Lockwood. 21 INT. CONTROL AMY LOVE Female subject's pulse increased. Psychic overtone: intense curiosity. Vision-communicator on her, Lynne appears on screen. 22 INT. MAIN SALON LYNNE I'm glad to meet you, Mr. Lockwood. It's a relief to have a professional on the case. As Sam burns: JOHN II All right, Lockwood , you know why I hired you. What do you need to know to start working? LOCKWOOD A list of your toughest business rivals. Characters who hate you -- really want to see you hurt bad. John II laughs bitterly. JOHN II Easy. The list you want is the membership of all Stock Exchanges worldwide. You don't get to be John Rickman II by being well- liked -- much less loved. ELLIOT The fate of all truly great men. Quick reactions from Sam and Lynne indicate their dis- gust with Elliot's servility. But we barely have time to register them, because there is an immediate RAUCOUS RINGING SOUND from O.S. Lockwood gestures to everyone to stay where they are, and hurries out, but Sam follows him. 10. 23 EXT. MANSION Several Guards are running toward the source of the noise --Lockwood's car -- as Lockwood appears from the mansion, closely followed by Sam. As Lockwood runs to the car, he gestures to Guards. LOCKWOOD Stay back! He runs on, suddenly halts, turns, grabs Sam, halting him. NOISE CONTINUES. LOCKWOOD (continuing) That includes you. Lockwood shoves Sam back, runs on. Sam almost stumbles, recovers, looking after Lockwood with redoubled hostil- ity but stays where he is. Guards also halt, all around, heeding Lockwood's warning, watching tensely as: 24 EXT. LOCKWOOD'S CAR Lockwood approaches, locates the LOUDER-YET NOISE more precisely in the area of the gas tank. Crouches. Looks. 25 LOCKWOOD'S POV The package, vibrating with the force of the RINGING. 26 LOCKWOOD Some of the Guards and Sam are perhaps VISIBLE from time to time, tensely poised in b.g., but they are far enough away from Lockwood (he has his back to them too) for him to be able to talk to Control unheard by them. He points visioncommunicator at the device under his car, then: LOCKWOOD Cam?! Holds his ring scanner on the package. 27 INT. CONTROL CAMERON All units -- search. EMERGENCY CHECK flashes on in red lights, goes on and off throughout, urgently. (CONTINUED) 11. 27 CONTINUED: Carlos, Kuroda, et al, go into quick action, giving it the analytical works. Screens are filled, in front of each of them, with information, diagnosis, breakdown, etc., of incomprehensible technicality, spelled out rapidly, computer-style. 28 EXT. LOCKWOOD'S CAR Lockwood sweats, keeps transmitting the picture to Control. The nerve-jangling RINGING continues. 29 INT. CONTROL Cameron, Lace intermittently red-lit by the Emergency sign, awaits final determination. 30 EXT. LOCKWOOD'S CAR Sweating and RINGING continue. 31 INT. CONTROL Cameron's finger presses a button marked COLLATE. He receives the essential information on his screen, reads it. CAMERON It's a magnetic substance, recently manufactured, unlikely to explode. 32 EXT. CAR Lockwood grimaces. LOCKWOOD "Unlikely". Thanks a lot. He braces himself, reaches under the car to remove the ringing package. The suction-pads resist. He sweats a lot, is forced to pull strongly. It comes away -- with a jolt. The RINGING STOPS. Lockwood tenses, stock-still, breathing carefully, looking at the package in his hands. He gets up. Lockwood breathes deep, carefully tears paper to REVEAL package's contents. 33 CLOSE SHOT - PACKAGE as Lockwood's hands complete exposing the object: a teletape, cartridge-type, with a simple alarm-clock mechanism scotch-taped to one side. (CONTINUED) 12. 33 CONTINUED: LOCKWOOD (V.O.) A tape cartridge. My turn to show you guys a home movie. OPTICAL TRANSITION: 34 INT. MAIN SALON BIG CLOSEUP of Tracy Rickman, looking straight into our eyes. We can just SEE her neckline and that she is still in her tennis-clothes: the gold chain is around her neck, her fingers playing nervously with the locket as she speaks. B. g. is dark, gives no indication of where she is. Before she talks, we HEAR a few FAINT, MUFFLED NOISES, as-on a slightly imperfect recording. Lockwood reacts to the strange sounds. TRACY (on TV) Daddy -- I'm all right -- so far. 35 ANOTHER ANGLE CUT BACK to SHOW her image is on the TV set in the room. Watching her, tantalized, tormented, is John II. The others -- Lockwood., Sam, Elliot, Lynne -- react appro- priately. The teletape cartridge (alarm clock bell re- moved) is affixed appropriately to the TV set for play- back. Lockwood aims scanner at the screen. TRACY (on TV) But I'm scared. It's no use pretending I'm not. I don't feel brave. I just want to get back home safely to you. And maybe I will -- if you do exactly what they want. 36 INT. CONTROL All watch the big screen. Tracy is on it too, and there is a footage-counter to one side indicating that the teletape is being recorded here. The strange SOUNDS on the tape CONTINUE throughout the playback. Cameron re- acts: CAMERON What's that funny noise on the tape? Kuroda shrugs, puzzled. (CONTINUED) 13. 36 CONTINUED: TRACY (on TV) And don't bring in the police. They want $500,000 ransom. In small bills. You must take the money to our airstrip tonight. Leave it outside Hangar Number One at 11:30. 37 INT. MAIN SALON As before: all watching -- TRACY (on TV) Then you must go away -- right away -- and come back at midnight exactly. That's it. That's what they want. Please don't do anything else. Not a dollar less -- not a minute more. Especially -- no police. Just you and your driver -- tonight -- and the money, Daddy -- please. She continues looking, moist-eyed, straight out of the screen at John II (and us). He squirms with frustration and anguish. Tracy's image slowly fades on the TV set screen. OPTICAL TRANSITION: 38 EXT. RAOD - LIMO - NIGHT Runby. 39 INT. JOHN II'S LIMO - NIGHT Dash-clock: 11:15. Lockwood drives: John II, passenger. We PICK UP in mid-conversation. LOCKWOOD There's no other way it can be, Mr. Rickman: this has to be an inside job. The teletape was planted under my car by someone who knew I was on the case. And only someone on your staff could know that. (CONTINUED) 14. 39 CONTINUED: JOHN II I spend my life manipulating men and money. I thought I could believe anything. But I can't believe this. LOCKWOOD Who was with you when you called Probe? JOHN II Elliot Desmond -- Lynne Wheatley -- He shakes his head, incredulously. 40 INT. CONTROL - NIGHT Cameron monitoring. JOHN II (V.O.) -- Sam Field. And -- yes -- one of Tracy's guards. Named -- Lesor. James Lesor. He was there, too. 41 INT. JOHN II'S LIMO - NIGHT John II shakes his head again. JOHN II You must be wrong. It can't be any of my people. Everyone who works for me is checked, double- checked. CAMERON (V.O.) They're all clean. Spotless records, exemplary characters. If they all walked into that house together, the band would have to play "When The Saints Go Marching In." Lockwood stubbornly looks doubtful. 42 INT. CONTROL - NIGHT Cameron continues reporting to Lockwood. CAMERON But we've uncovered some unsaintly characters within the last hour. (MORE) (CONTINUED) 15. 42 CONTINUED: CAMERON (CONT'D) Four business-victims of John II. Any, of all of them are likely to engage in a stunt like this for revenge as well as profit. Odds-on favorite: Martin Honer. 43 SCREEN I.D. photo and information on MARTIN HONER appear. CAMERON (V.O.) A John II market maneuver wiped him out, only last month. Three- and-a-half million dollars loss. And Mr. Honer has a notoriously nasty disposition. 44 INT. JOHN II'S LIMO - NIGHT Lockwood listens while driving. CAMERON (V.O.) He's frequently involved in brawls. And he was once arrested for carrying a gun. Right now, he's suffering from insomnia which, I grant you, is not a Federal offense: on the other hand, it is an ailment not noted for improving the temper. Lockwood halts car. CAMERON (V.O.) (continuing) We're watching him. He's presently living out of an office at a shutdown aerospace complex. It's the last thing on earth he still owns. 45 EXT. HANGAR AREA SHOOTING along ground to a hangar in b.g. in illumination from limo's headlights. A beat. Lockwood and John II, holding a handle apiece, bring the trunk INTO FRAME, put it on the ground. Lockwood straightens up into: 46 CLOSEUP - LOCKWOOD He looks around into the empty darkness. (CONTINUED) 16. 46 CONTINUED: CAMERON (V.O.) (on intercom) Since you won't risk leaving your scanner... (beat) we've got the airstrip covered with groundlevel radar. 47 INT. CONTROL - NIGHT CAMERON So far we've picked up -- (grimace) -- your car. 48 EXT. HANGAR AREA - NIGHT Lockwood checks his watch, snaps: LOCKWOOD 11:29. Let's go! JOHN II You could stay. Maybe get a look at them. Maybe more. LOCKWOOD I can't risk it. These people are probably amateurs -- nervous and trigger happy. Let's go! They leave for the limo. We STAY on the money-trunk. The CAR ENGINE STARTS O.S. The headlights move away. The ENGINE SOUND FADES as the car leaves the area. The trunk waits in the dimness. 49 INT. CONTROL - NIGHT Kuroda's console. He presses a button. 50 SCREEN A radarscope, magnified, is punched-up. Above it, there spells out: RICKMAN KIDNAP AIRSTRIP RADARWATCH -- 23:41 51 EXT. LIMO - NIGHT Halting. Lockwood and John II settle down to wait. 52 INT. CONTROL INCLUDING Cameron. A small blip appears on the 'scope. Cameron looks questioningly at Kuroda -- who shakes his head. 17. 53 INT. JOHN II'S LIMO - NIGHT The waiting wears on. Dash-clock: 11:45. 54 INT. CONTROL - NIGHT Radarwatch time-figure changes to 23:46. A strong blip appears on screen. Cameron leans forward. CAMERON We have a radar blip on scan. Car approaching the hangar. Acknowledge. 54A INT. JOHN II'S LIMO - NIGHT Lockwood beeps once. John II is drained by tension. Lockwood gives him a brief, sympathetic look. 55 PROBE CONTROL Cameron watches the screen, presses a button. Radar- watch disappears, is replaced at once by: RICKMAN KIDNAP SUSPECTS PHONEWATCH -- 23:47 Four names spell out across the screen: ALBERT LEWIS. KLAUS FORBES, TONY WATERS, concluding with MARTIN HONER. Then, beneath each name, the same word: INACTIVE. The time-figure changes to 23:48. 56 OMITTED 57 INT. JOHN II'S LIMO - NIGHT CAMERON (V.O.) Phone watch on suspects: nothing to report. Lockwood continues to weat it out. 58 INT. PROBE CONTROL Cameron presses button again. Phonewatch is replaced by Radar Scan. CAMERON Radar contact blip now leaving vicinity of the hangar. 59 INT. JOHN II'S LIMO - NIGHT Dash-clock: 11:55. Lockwood reacts, starts engine, and drives away. CAMERON (V.O.) We're tracking. 18. 60 EXT. ROAD - NIGHT Runby, John II's limo. 61 INT. JOHN II'S LIMO - NIGHT Lockwood and John II. Dash-clock: 11:56. CAMERON (V.O. ) That blips gone from the screen. 62 INT. CONTROL - NIGHT CAMERON (glummest) It's merged with a thousand others in freeway traffic -- 63 INT. JOHN II 'S LIMO - NIGHT Lockwood reacts to Cameron as he stops the car. John II looks ahead through windshield. JOHN II God. No. 64 JOHN II Staring ahead through windshield, sickened. 65 LOCKWOOD Looking ahead, more controlled, but very grave. 66 EXT. HANGAR AREA - NIGHT THROUGH WINDSHIELD. In the headlights of the limo, where the money-trunk was, there is no coffin-shaped box. JOHN II (O.S.) No. No. 67 EXT. HANGAR AREA - NIGHT Lockwood gets out of the limo. So does John II, but he is too weak to move further for a few moments. He leans against the limo. 68 LOCKWOOD advancing on the box. His wild shadow is flung before him be the limo's headlights. He brings up his ring-hand to take in the grim picture ahead. 69 LOCKWOOD'S POV The box as he walks toward it. 19. 70 INT. CONTROL - NIGHT Lockwood's POV is repeated here, on the big screen. All watch, fascinated, repelled. 71 EXT. HANGAR AREA - NIGHT The box. Lockwood arrives. It's a plain box, easily- removable lid. Lockwood slides the lid off; within: big strips of thick cardboard, used for packing appli- ances. He reaches down to lift the top one out. Wan, fearful, John II appears beside him. Lockwood takes out the cardboard. Reaches down into the darkness of the box's interior. And brings out -- a small, manually- operated adding machine. 72 LOCKWOOD AND JOHN II Reaction. Brief -- because an AERO-ENGINE suddenly ROARS O.S. 73 ANOTHER ANGLE Lockwood and John II turn in the appropriate direction -- toward Hangar # one 74 GENERAL SCENE The active aero-engine is on a test-bench just inside the hangar. Its propeller is blowing, all over the place, like an evil storm of green, driven snow, the entire $500,000 ransom. 75 LOCKWOOD AND JOHN II Showered with dancing, swirling money. The headlights enhance the utter weirdness of the action. 76 INT. CONTROL - NIGHT The scene, from Lockwood's ring-finger POV on the big screen. 77 CAMERON Reacts. 78 EXT. HANGAR AREA - NIGHT The money madness continues. FREEZE FRAME. END OF ACT I 20. ACT II FADE IN 79 INT. HANGAR 31 - AIRSTRIP - NIGHT Lockwood is showing a small device to John II. We FAVOR the device: It is basically a strong spring (now uncoil- ed) attached by wiring to battery-operated digital clock which has stopped at 12. Lockwood and John II are standing near the aero-engine, now stilled. The little adding machine is on the test-bench beside it. There are two phones nearby: one, without dial, connects immedi- ately with Rickmansville. LOCKWOOD This is it, Mr. Rickman: the device was rigged to start at exactly twelve o'clock. JOHN II I'm not interested in how it was done -- only why. LOCKWOOD They chose a fancy way to tell you, but I guess this is the kidnappers' message: half-a- million is peanuts to them -- (indicates adding machine) -- and you'll need that when it's time to count out the real ransom. JOHN II (coldly angry) My message to you isn't fancy. I'm finished with jumping through the hoop for these jokers. Find 'em -- and rescue Tracy. Lockwood basically approves, but warns: LOCKWOOD It's a risk. JOHN II Calculated. LOCKWOOD As long as you know. (CONTINUED) 21. 79 CONTINUED: JOHN II I calculate risks every trading day. LOCKWOOD Sure. But Tracy isn't a stock certificate. JOHN II (stung) You don't have to tell me. LOCKWOOD (calm) I do. I like everything to be clear. JOHN II I hope it is -- to you. LOCKWOOD Not yet. Not everything. Lockwood looks straight at John II, as if sensing he holds the ultimate key to this affair. John II turns away quickly, defensively, snatches up the dial-less phone, speaks at once. JOHN II Rickman. Sam Field. (briefest pause) Field? Starting now, I want you to investigate the kidnap also. You may be luckier finding out what happened then you were preventing it. He replaces phone, looks at Lockwood, challenging him to object. But: LOCKWOOD (still calm) Every little bit helps. Maybe even that little... I think I'll pay a call on your friend Martin Honer. Unless, of course, you'd prefer Sam Field to do it. On John II's nonplussed reaction, Lockwood exits. OPTICAL TRANSITION: 22. 79A EXT. VAST INDUSTRIAL COMPLEX - NIGHT MOVING SHOT through Lockwood's car window... the place fog-shrouded, massive, silhouetted against the moon- splashed night. 80 INT. FACTORY - MAIN ROOM - NIGHT Gloomy. Cavernous. Filled with heavy machinery. Sud- denly PULL BACK FROM MOVING CLOSE SHOT of Martin Honer to disclose him walking from glassed-in office to the scene, spectres in the night. Honer wears a robe over slacks. Honer is an insomniac and looks it. We HEAR BANGING on door. Honer reaches it, stares through crack of still chain-bolted door. HONER Who are you? What do you want? LOCKWOOD My name's Lockwood. I'm looking for Tracy Rickman. HONER (starting to close door) You're in the wrong place -- LOCKWOOD Am I, Mr. Honer? Honer hesitates a half beat, then unlocks chain. HONER -- but I'm interested -- in anything to do with Mr. John Rickman II. LOCKWOOD (entering) Especially his money. HONER Sure --considering three-and-a- half million of it was mine last month. LOCKWOOD Three-and-a-half million. Is that going to be the payoff? A long beat. The Honer smiles slightly. (CONTINUED) 23. 80 CONTINUED: HONER Someone's grabbed off little Tracy Rickman, huh? LOCKWOOD Like you. Honer shakes his head, tolerantly unmoved by the accusation. LOCKWOOD (continuing) We can deal. Honer regretfully shakes his head. HONER Y'know, I'm tempted to go alone with you. Of course I can't deliver Rickman's precious little girl to him -- but I'm tempted to take him for a million just the same. LOCKWOOD Suppose the delivery fee's upped to a million-and-a-half? HONER (patiently) You got me wrong. I'm not negotiating, not bargaining. I can't because I don't know anything. 81 INT. CONTROL - NIGHT Medical telemetry dials, blips, flickers, etc., are being read by: AMY LOVE Blood-pressure, blink-rate, tremorrange, glandular productivity -- all straight out of the textbook. CAMERON Making allowance for the tension, now ebbing, provoked by your intrusion, Martin Honer reads truth -- truth truth -- all along the line, from pulse to perspiration. 24. 82 INT. FACTORY - NIGHT As Lockwood covertly reacts to the above, Honer's expres- sion and tone change, to communicate the full sudden biting venom of: HONER But I thank you for curing my insomnia by giving me the good news that John Rickamn is having a bad time. That relaxes me. I haven't slept an hour-and-a-half since he wiped me out. Now I'll be able to. Thank you and good night. LOCKWOOD You're all heart. OPTICAL TRANSITION: 83 LOCKWOOD'S CAR Runby. 84 OMITTED 85 INT. LOCKWOOD'S CAR - NIGHT Lockwood driving. CAMERON () Lockwood! We've just traced that tape of Tracy Rickman. 86 INT. CONTROL - NIGHT CAMERON ( ) Sole distributor reports recent purchase. Payment in cash -- by mail. Delivery to a yacht... the Pacific King... 87 INT. LOCKWOOD'S CAR - NIGHT CAMERON ( ) ... which just happens to belong to John Rickman II. How's that for audacity and flair -- holding the victim on Daddy's own yacht? Lockwood reacts. OPTICAL TRANSITION: 25. 88 EXT. LANDING STAGE Lockwood cautiously approaches, using whatever cover the wharf affords. No sign of life from the yacht. He be- gins to go up gangway, sees (and HEARS, confirming his next lines to Control) the BOAT-HAWSER. LOCKWOOD How's this for super sound- analysis? That sound on the tape? It's the boat -- rubbing against the dock. 89 EXT. OFFSHORE DECK Lockwood comes into CLOSEUP and reacts. He hurries to rail, looks down at: 90 EXT. SEA - HIS POV Tracy, dressed in a bathing suit, floating, very still, face down; Ophelia-like, her hair spreads on the water. 91 EXT. OFFSHORE DECK Lockwood moves to dive in, but halts, reacting again, to: 92 EXT. SEA - HIS POV Tracy suddenly dives, in a flurry of legs. Very much alive. A few seconds and her head breaks the surface, facing yachtside. She looks up, seems unsurprised to see Lockwood. Waves to him, but not very friendly. ZOOM TO CLOSEUP of her waving hand; it holds her gold chain and locket. TRACY (calls) The chain broke -- I found it. 93 INT. PROBE CONTROL On Monitor we see Lockwood reacting slightly puzzled. As he looks down at the sea O.S., following Tracy swim- ming back to the ship. OPTICAL TRANSITION: 94 OMITTED 95 INT. YACHT STATEROOM Lockwood alone. We OBSERVE, with him, the home-enter- tainment console which occupies much of one side of the room: teletape recording equipment is featured. (CONTINUED) 26. 95 CONTINUED: O.S., the FAINT, CONSTANT, now-identified SQUEAK-SOUND of the hawser. His attention is claimed by the waste- basket. He picks up several sheets of paper from it, looks at them. They are smothered with abstruse mathe- matical calculations, written in a bold, swift hand. 96 CLOSE - LOCKWOOD Slight reaction. He turns, putting papers on table, as: 97 SCENE Tracy enters, from cabin-area. She wears dry clothes, and a defiant expression. LOCKWOOD (handing her locket) I fixed the chain. TRACY (taking it) Thanks... can I give you a drink? LOCKWOOD You can give me an explanation. TRACY My father says I'm too young to drink, but they tell me this isn't a vintage year for explanations. Lockwood now deliberately needles her into open, abrasive conflict, to break through her resistance. Dialog-pace speeds, regulated by Lockwood, ever-pressing. LOCKWOOD Okay. Talk any way you want -- but tell me why you staged a phony kidnap and worried your father sick. TRACY That's between me and him. LOCKWOOD (driving) Were you real teed-off with him -- because he only gave you one tennis-court, not two, in case you lost one? (CONTINUED) 27. 97 CONTINUED: TRACY It wasn't anything like that! LOCKWOOD What then? Did he stop you seeing your latest boyfriend? TRACY I don't have any boyfriend. LOCKWOOD Come on. That's impossible. TRACY The only "boys" I ever see, are Sam Field and his gorillas. Don't you know the way I live? LOCKWOOD Uh-uh. Tell me. Tracy bites her lip in full exasperation, still resists being completely drawn, shoves past him in an attempt to leave. He holds her firmly by the arms. 98 ANOTHER ANGLE - TWO SHOT LOCKWOOD (still on the attack) Why do you hate your father? TRACY (defensive) That's entirely my -- LOCKWOOD (relentless pressure) Okay. I'll put it another way. Why doesn't he love you as much as you love him? TRACY (near tears) What makes you think I love him? Lockwood lets go of one of her arms, snaps open the locket. 99 INSERT: OPEN LOCKET IN LOCKWOOD'S FINGERS A photo of John II within. (CONTINUED) 28. 99 CONTINUED: LOCKWOOD (quiet; sympathetic) I know: that million-dollar bungalow plus swimming pool plus tennis court -- minus love -- equals a very poor little rich girl. She looks at him, nods slowly, tears streaming. TRACY He's got all the money in the world. Why does he want more? Why can't he just stop -- give the some time -- some real time? Oh, he spends an hour or two with me every day. But all he talks about is business -- even to me. 101 INT. PROBE CONTROL Tracy's IMAGE on Probe screen. LOVE Selective narrative pattern: EKG-confirmed. She's holding back in this area. That isn't the whole story. TRACY (O.S.) I had to do something -- to prove to him that money isn't everything - LOCKWOOD So you risked throwing away five hundred thousand dollars of your father's money... 102 INT. YACHT STATEROOM LOCKWOOD I think you've made your point. I'll take you home. TRACY No. It's not enough just making the point. It's got to be dug in -- deep painful. I want him to hurt another day -- another full day. (CONTINUED) 29. 102 CONTINUED: LOCKWOOD I don't think he can take another day without you. TRACY (flaring finally) Why not? I've spent six years without him! 103 ANOTHER ANGLE LOCKWOOD You're going home. A long beat, then surrendering to the inevitable, she starts to get ready to leave with Lockwood. LOCKWOOD (continuing) One thing more. You weren't all that surprised when I showed up. How come? Tracy's eyes twinkle mischievously as she indicates the papers Lockwood found in the wastebasket. TRACY Isn't it obvious? LOCKWOOD Uh-uh. She picks up the papers and "explains", pointing to them. TRACY I worked out your ETA -- Estimated Time of Arrival. LOCKWOOD You did? TRACY Elementary. Dig this. I knew Daddy would call in your outfit when I disappeared. So I researched a few Press reports of similar cases -- you know -- all the relevant data from assignment to solution? 104 LOCKWOOD reacting, nodding slowly. (CONTINUED) 30. TRACY I took the mean duration average of every stage and circumstance of each case as the predictive standard -- Lockwood is openly lost already, trying to disguise it. But, at -- 105 INT. CONTROL -- Cameron is gazing enraptured at Tracy on the BIG SCREEN, transmitted by Lockwood's communicator. TRACY () -- and optimally presumed a limitable variant-quotient of five per cent. This all meant, of course -- 106 INT. YACHT STATEROOM They walk to the exit as Lockwood continues, bemused. TRACY -- that if I disappeared at noon, you should catch up with me by 7 A.M. the following day. LOCKWOOD But I actually showed at 7:03. TRACY Three minutes equals five per cent of one hour, equals the variant I allowed. So I was right, and you were right on time. As they exit, Lockwood impressed: CAMERON (V.O. ) (crooning with delight) Oh-h-h-h -- what wouldn't I give for a daughter like that! 107 EXT. OFF-SHORE DECK Lockwood and Tracy emerge from stateroom. At once, with shock-effect, they're jumped by FOUR FROGMEN, masked. Two of the gruesome figures grab Tracy. She doesn't stand a chance. In a well-drilled move her captors roll themselves (and her) over the rail and into the sea. (CONTINUED) 31. 107 CONTINUED: A speedboat slides INTO VIEW to pick them up. Meanwhile, (the brief spasm of violent action only last a few sec- onds) Lockwood is equally summarily dealt with. Two against one: all over very quickly. He's held by one, and chopped into deep unconsciousness by the other. Hurled overboard, he goes under. 108 EXT. SEA Lockwood surfaces. Limp. Unconscious. Submerges again. The speedboat races by, Tracy and the Frogmen aboard. In its foaming wake, Lockwood has not yet resurfaced. 108A INT. PROBE CONTROL Stunned reactions to Lockwood's predicament. 109 EXT. UNDERWATER - DAY Lockwood drifts down, unconscious. FREEZE FRAME. END OF ACT II 32. ACT III FADE IN: 110 EXT. UNDERWATER - DAY Lockwood continues helpless and unconscious, drifting, swirling, in the eerie light and atmosphere. 111 INT. CONTROL PRIORITY SURVIVAL reads the red sign frantically flash- ing on and off above the big screen. Their activity re- corded and assessed on their own screens and dials, the named technicians constantly and rapidly report to the anxious Cameron. All work switches, levers and etc., continually. CARLOS Intention: recovery from anesthesia. KURODA Method: remotely-administered electric stimulus to brain cells. CAMERON What's delaying you? Do it. AMY LOVE Brain cells' condition must be checked first, sir. CAMERON Meanwhile he drowns -- and that's kind of fatal, too! Full stimulus! A screen lights up and flashes on and off in front of Kuroda, appropriate, urgently lighting his face, com- peting with the general on-off red "survival" light, his hands are already working appropriate controls to admin- ister the dose in question. REMINDER: all dialogue is at breakneck speed: great expertise on the edge of panic, spurred by the knowledge that a colleague is on the edge of death. With all controls set: CARLOS Interlock. Transmit. (CONTINUED) 33. 111 CONTINUED: He presses the final button. Impressive noises, anten- nae movements, and technical medical spellouts on big screen -and all of it under the suffusing red light on the on-off "survival" sign. 112 EXT. UNDERWATER A mini-beat. Then Lockwood's head jerks back suddenly. His limbs immediately move, in instinctive self-preser- ving swim-movements. We SEE him move, groping, slowly, toward the surface. 113 EXT. SEA Lockwood's head surfaces. He sucks in air hungrily, starts to swim for the shore. 114 INT. CONTROL Carlos tensely watches dials, etc. Then nods. CARLOS He's gonna make it. Relief all around. OPTICAL TRANSITION: 115 INT. MANSION - DAY Elliot and Lynne are present as John II, furiously in- credulous, attacks Lockwood. Lockwood is in dry clothes. JOHN II (angry) First, Tracy kidnaps herself... then the job is done for real by four frogmen!? Do you honestly expect me to believe that? LOCKWOOD Why not? I'm beginning to believe something a lot stranger than that triggered this whole thing. John II quickly smothers reaction. But his "defiant" tone is infused with new anxiety as: JOHN II What's that supposed to mean? (CONTINUED) 34. 115 CONTINUED: LOCKWOOD I said I'm beginning to believe. When I know for sure, I'll break out in a rash of details. JOHN II I'd like to know now! LOCKWOOD Uh-uh. JOHN II (full out) You're working for me. I am John Rickman II, and I have not mislaid a pair of monogrammed cufflinks. It's my daughter you're looking for -- and if you have any ideas about the case, no matter how half-baked -- I demand to hear them --now. LOCKWOOD (succinct, unimpressed) Like I said -- when I know for sure. JOHN II (tightly) Mr... Lockwood. ELLIOT You will apologize to Mr. Rickman. LOCKWOOD Go take a letter. JOHN II You're fired. LOCKWOOD Believe me, I'd like to walk. But Tracy's a nice girl: it's not her fault she's overprivileged. I'm gonna find her. Lockwood leaves. John II looks after him, taut and frustrated. 116 EXT. MANSION Lockwood has just exited when Lynne hurries out. (CONTINUED) 35. 116 CONTINUED: LYNNE Mr. Lockwood. Lockwood halts. They cannot be seen or heard from the house. LYNNE (continuing) I wonder if your theory is the same as mine. LOCKWOOD Yours? LYNNE Sam Field. LOCKWOOD Why? LYNNE I've never liked him. I've never been able to look on him as a hero. And he hasn't phone-in since Mr. Rickman appointed him bloodhound number two. LOCKWOOD Three great reasons for fingering him as a kidnapper. LYNNE (flares) The only thing I care about is Tracy's safety! LOCKWOOD (a little coldly) And that makes you unique. LYNNE Please check him out! LOCKWOOD Thanks for the advice. He starts off. LYNNE Mr. Lockwood -- (MORE) (CONTINUED) 36. 116 CONTINUED: (2) LYNNE (CONT'D) (as he turns) I know Sam's got a clean record, but records are only words and figures. I'm talking about feelings. (beat) And one suddenly interesting fact. LOCKWOOD Like? LYNNE In the Marines, Sam Field was a frogman. 117 INT. CONTROL Cameron touches control, then gives his attention to the main screen. CAMERON Sam Field. Full run. Recheck. Search! Technicians press buttons to effect this. The following spells out on screen: SAM FIELD (SAMUEL) IN-DEPTH RE-CHECK Then -- nothing -- except a deep concentrated HUM as if the machinery is "thinking aloud". 118 OMITTED thru 120 121 EXT. PRIVATE AIRPORT - DAY Lockwood with Lenny. LOCKWOOD His name's Sam Field, If he's behind it he's holed up waiting for the pay-off. Then he figures to split. LENNY I get a very familiar picture. (CONTINUED) 37. 121 CONTINUED: LOCKWOOD What's the favorite stopover for someone like him, lately? LENNY Fake registrations and everything. LOCKWOOD Everything. Lenny does some more suspicious looking all around. LENNY There's a place. But my telling you is going to cost. I could get my head blown off for telling you. Lockwood hands over a wad of money. LOCKWOOD Buy yourself a solid gold crash helmet. LENNY (rapid money- check) I just might make that a ticket to far way places... (at Lockwood's look) All right, Lockwood, your way. 122 INT. CONTROL Big screen continues blank except for heading as before. A beat. Then there spells out, SL IMMINENT -- STAND BY. A beat. This wipes -- then -- with VISUAL on screen, plus NARRATOR VOICE, we get the following information: NARRATOR'S VOICE Key link: Sam Field is the adopted son of Theodore Field. Keach at once presses buttons. To her and Cameron's evident surprise, the following appears: RD IMMINENT -- STAND BY. Then, at once: A headline flashes on from a U.S. newspaper. BLACK MARKET NEAR SAIGON. (CONTINUED) 38. 122 CONTINUED: CAMERON Keach. What are you playing at? KEACH We asked for information on Sam Field and this came up instead. Before she can even repress.buttons, more headlines appear, from different hewspapers. VIET RACKETEERS FLEE NORTH HUGE BLACK MARKET OPERATION U.S. SUPPLIES, MEDICINE, VANISH IN SAIGON AREA KEACH I'm sorry, sir. CAMERON We'd better not intervene. When data overrides as strongly as this. 123 SCREEN Suddenly we get the following information spelled-out, computer-style, plus Narrator's VOICE. NARRATOR'S VOICE Common factor. A. Theodore Field sold Finance- Guarantee Business for an enormous profit to Comprehensive Holdings Inc. (beat) President -- (beat) John Rickman II. Pause Then: NARRATOR'S VOICE (continuing) B. Colonel Falkirk, Sam Field's commanding officer, now retired, joined board of Recycling Technology Inc., at $30,000 per year. Company President -- (beat) John Richman II. (CONTINUED) 39. 123 CONTINUED: Pause. Then: NARRATOR'S VOICE (continuing) C. Sam Field works for -- John Rickman II. Everything wipes out except the heading. Narrator's voice is not used for the final lines. We SEE the let- tering: D. Common Factor: 124 CLOSE - CAMERON Impressed, and, naturally, anticipating: CAMERON AND NARRATOR Common factor -- John Rickman II. Then, with an impatient gesture: CAMERON That's a fascinating set of statistics. It means that an alleged hero could have been involved in that black market and may also be a principal in this kidnap. 125 CAMERON A warning BUZZING SOUND on one of his console-dials. SEE it, headed RICKMANSVILLE PHONEWATCH. The words INCOMING CALL flash on and off. The participant dialog is HEARD, S.V. JOHN II (O.S.) Rickman. SAM (O.S.) This is Sam Field, sir. CAMERON Search... and trace. KURODA (V.O.) Recording signal-impulse pattern D.F. and L.T. JOHN II (V.O.) Yes? (CONTINUED) 40. 125 CONTINUED: SAM (V.O.) I'm following a lead, sir. It looks good. JOHN II (O.S.) Call me when you know it's good. Call disconnects. 126 KURODA Oscillating lines on one of his screens. Appropriate SOUNDS for a few seconds, as the call is traced. Kuroda pushes button. 127 EXT. FLIGHTWAIT MOTEL Lockwood's car arrives, fast, straight into parking space. 128 INT. LOCKWOOD'S CAR (PARKED) CAMERON (V.O.) We've traced Sam Field. He's at -- LOCKWOOD -- The Flightwait Motel, near the airport. 129 INT. CONTROL Cameron is somewhat deflated, but rallies. CAMERON May I spell out for you, Lockwood, some recently disinterred facts concerning one Sam Fields? LOCKWOOD (V.O.) Not yet. First, I want you to put these questions through the computer for me. Cameron nods to Keach who readies to press button, etc. CAMERON Questions relevant to what? 130 INT. LOCKWOOD'S CAR (PARKED) LOCKWOOD I think I know what Tracy didn't tell. Stand by for search. (CONTINUED) 41. 130 CONTINUED: KEACH (V.O.) Ready. LOCKWOOD Question one: how many kidnap threats did John II report to the law before he took Tracy out of school? Two: how many times has he been out of town for more than twenty-four hours? Three: when did the business last lose money? Four: when did John Rickman I die? 131 INT. CONTROL Screens and other indicators glitter and BUZZ with activ- ity, coding, cross-referencing, etc. SEE some of this, then: CAMERON Search in process. 132 INT. LOCKWOOD'S CAR (PARKED) LOCKWOOD Okay. What do you have on Sam Field? He begins to get out of the car. 133 INT. SAM'S MOTEL ROOM The door flies open to admit Lockwood . Sam, on bed, re- laxing with a magazine and one can out of a six-pack of beer, doesn't react, looks up coolly. LOCKWOOD Where's the girl? SAM For all I care, she's dead. As Lockwood stares at him, and burns. SAM (continuing) What's the matter? Haven't you got every little thing figured out yet? (CONTINUED) 42. 133 CONTINUED: Lockwood moves fast, slaps the magazine and beer can out of Sam's hands, smacks him across the head with suffi- cient force to knock him rolling off the bed, bends in, grabs him by the shirtfront, hauls him up, and slams him against the wall. Taken by surprise, winded, dazed, Sam quivers with pure hatred, his eyes sullenly, balefully fixed on Lockwood, who continues to hold him against the wall. The action all happens within a fairly fast count of four. Sam definatly continues sour and insolent, even though he has to gasp his words out. LOCKWOOD Every little thing -- except where Tracy is. Like, you were up to your snorkel in the Viet Nam black market. SAM Gee, you're good. LOCKWOOD The guy that adopted you asked Mr. Influence himself, John II, to get you out of that jam. SAM Real good. LOCKWOOD Rickman agreed -- if your foster father sold out to him at a price ten floors below bargain-basement. SAM All the facts, folks. LOCKWOOD John II got you out. Only a few days ahead of time, but enough to save you. My guess is your commanding officer didn't know he was helping a racketeer. SAM An officer and a gentleman -- yeh. LOCKWOOD And if he ever gets wise -- what can he do -- after innocently earning thirty G's a year from a Rickman outfit? (CONTINUED) 43. 133 CONTINUED: (2) SAM So right. An officer and a patsy. Lockwood grits his teeth, slams Sam against the wall again. LOCKWOOD You got tired being grateful to John II. So, instead of nursemaiding Tracy -- kidnap. SAM There you're wrong. That's a shame. Up till then you were scoring straight A's. But I had nothing to do with the kidnap. 134 INT. CONTROL Cameron gazes disbelievingly at screen, which now shows Sam's E.K.G. reading, etc. CAMERON True! 135 INT. SAM'S MOTEL ROOM Lockwood reacts slightly to the message from Cameron as: SAM What you don't understand is -- all I want is out. 136 INT. CONTROL Cameron is still in shock, at the height of almost comic frustration. CAMERON First Honer, now him. Why is it suddenly so difficult to find a dishonest man? 137 INT. SAM'S MOTEL ROOM Sam, somewhat recovered from being thrown about, is as frank as a mirror. SAM I knew you'd dig all this up. Who needed it? Not me. So I'm leaving for Mexico City, this p.m. (CONTINUED) 44. 137 CONTINUED: LOCKWOOD No one's going to Mexico City. No one's even going to Olvera Street until Tracy Rickman's home again. Sam tries to break free and fight his way out. Lockwood briskly parries his attempted blows, K.O.'s him swiftly. OPTICAL TRANSITION: 138 INT. MAIN SALON Lockwood is the focus of all present: Elliot, solici- tous as always to the tension-torn, sleepless John II, Lynne, LESOR, the guard, and (chastened) Sam. The re- maining two Guards are also around, clearly to prevent any hasty exits. JOHN II Just why have you got us all here? LOCKWOOD Because one of your check-double- checked characters pulled both kidnaps. 139- 140 CLOSEUPS of all listeners are INTERCUT, reacting, during the fol- lowing fast exchange between Lockwood and John II. JOHN II Who? LOCKWOOD The phony kidnap happened through someone playing on Tracy's feeling that you didn't love her. JOHN II That's enough. You haven't been hired as a psychoanalyst. LOCKWOOD These are plain facts, friend. Tracy was immature enough to try shocking you with a fake kidnap. (MORE) (CONTINUED) 45. 139- 140 CONTINUED: LOCKWOOD (CONT'D) But that's all. She wasn't interested in the money. So when she blew the half-million, her partner, who's only interested in the money, decided it would have to 'be a real kidnap. JOHN II Who was it? LOCKWOOD Do you have to see the ticket to Mexico City in Sam's pocket before -- ? SAM Hey! -- You're not gonna lay that on me. LOCKWOOD Talk yourself out of it, Sam. You were always close to Tracy. Tell who spent most time with her. SAM Mr. Desmond. Elliot reacts, frothing protests, but Lockwood cuts him short. LOCKWOOD Right. I never thought it was you, Sam. You're too dumb. SAM (with relish) Not so dumb as Desmond. He thought Tracy really loved him. I could have told him -- she saw through him from the start. Used him. (at John's look) That's right, Mr. Rickman... Elliot! JOHN II Why you miserable... 46. 141 SCENE He lurches for Elliot, grabs him, starts to choke him. Lockwood intervenes, thrusts John II away. John II, shattered, sinks into armchair. LOCKWOOD (to Lesor) Watch him. Lesor moves to Elliot. Before anything can be said, the tickertape CLATTERS. John II looks up. Lockwood goes to it. CLATTER STOPS. LOCKWOOD (continuing; reading rape) The ransom is ten million dollars or the girl dies. Instructions wil follow. He looks across toward the obvious source of information --Elliot -- but everyone's attention is claimed by: 142 JOHN II Briefly, chillingly, his mind snaps. He leans back in the chair, with a slight groan, exhaustion and hysteria vying for control of him. Hysteria wins. He laughs wildly, dryly. JOHN II Ten million! He looks around, at everyone. 143 & 144 OMITTED 145 FEATURE JOHN II His laughter fades as he meets Lockwood's steady look. In a different, quieter, more intimate tone: JOHN II Only ten million -- ? 146 CLOSEUP - LOCKWOOD Nodding slightly, completing: LOCKWOOD -- when they could have ten times as much? 47. 147 SCENE A beat. The hushed listeners look from one to the other as: JOHN II (staring at Lockwood) You know. TRACK to Lockwood during: LOCKWOOD Yes, Mr. Rickman. I know. I know the real reason why Tracy was kidnapped. And it's liable to get her killed. FREEZE FRAME. END OF ACT III 48. ACT IV FADE IN: 148 INT. CONTROL - OVERALL VIEW RE-ESTABLISH: all units alert, listening, registering, etc., under Cameron. 149 INT. MAIN SALON - DAY A minute later. All eyes are on - LOCKWOOD Tracy is the investment whiz around here --not you. She hits the market jackpot seventy per cent of the time -- not you. 150 REACTIONS Elliot, his face drawn with frustrated avarice -- Lynne, Sam -- and John II, who leans forward from his chair, head bowed in acknowledgement and humiliation. LOCKWOOD If they find out about her, the kidnappers will force her to do the same for them -- and make this ten million dollar ransom look like walkaround money. 151 ELLIOT is by now in a torment of open envy. He points a trem- bling finger at John II, but addresses Lockwood: ELLIOT I worked for that fraud -- all these years --and I never knew he was a fake. (full anguish) How did you find that out? 152 SCENE John II looks up slowly, mutely asking the same question. Lockwood addresses him. LOCKWOOD You never reported any kidnap threats when Tracy was a little girl. 49. 153 INT. CONTROL Cameron listening, fascinated, checks off: CAMERON The answer to Lockwood's Question Number One. 154 INT. MAIN SALON LOCKWOOD So there had to be another reason for shutting her away in this luxury lock-up. All right. Try this. 155 INT. CONTROL LOCKWOOD (V.O.) Three months after John Rickamn I died, the firm, headed up by you, made its first-ever loss. Shortly after Tracy was taken out of school, profit began again. That was almost six years ago. CAMERON Questions Three and Four. 156 INT. MAIN SALON LOCKWOOD It speaks for itself. You have her guarded like she's worth her weight in gold because -- she is. 157 JOHN II LOCKWOOD (V.O.) You depend on her completely. You check market figures and business conditions with her every day and she tells you what to buy and sell. I mean every day: you haven't gone away from her for more than a day at a time, all this time. 158 INT. CONTROL CAMERON Question Two. Registering admiration. 50. 159 INT. MAIN SALON LOCKWOOD And you've resented her. JOHN II I didn't resent herl I just forgot to love her. LOCKWOOD But she never stopped loving you. The rest -- He shrugs: it doesn't need saying. He suddenly turns from the crushed John II to Elliot. LOCKWOOD (continuing) Who's holding her? Elliot is understandably scared. Lockwood looks phys- ically menacing. The merest dry-lipped beat -- and he talks. ELLIOT Martin Honer - 160 INT. CONTROL CAMERON Huh?! 161 INT. MAIN SALON Elliot's eager to spill everything now. As Lockwood starts to leave: ELLIOT (babbling) I never meant it to go this far. But when Tracy double--crossed me, I got in touch with Honer. 162 INT. CONTROL Cameron nods, mollified. CAMERON Who was, therefore, sickeningly truthful and innocent when we checked him out. 163 INT. MAIN SALON ANGLE FAVORING Lockwood on his way to exit, ignoring Elliot's continued confession. (CONTINUED) 51. 163 CONTINUED: ELLIOT Honer was just waiting for a chance like this. He knew who to hire and he had just enough money left to hire 'em. He -- I-- But Lockwood has gone by now. Elliot's voice trails away. He looks fearfully at John II, but the phony financier is preoccupied with loathing himself. Elliot registers relief. Looks up. Meets Lynne's eyes, which blaze with contempt. 164 OMMITTED & 165 OPTICAL TRANSITION: 165A CLOSE SHOT - HONER - IN OFFICE on phone. HONER (whispered, harsh) Rickman? 165B INT. MAIN SALON - FEATURE RICKMAN JOHN II (urgent) Yes -- 165C HONER (TO INTERCUT) HONER Your instructions, Mr. Rickman! Disobey what you're told to the slightest degree and you'll never see your daughter alive again. 165D RICKMAN listens a beat more, Honer's voice an indistinguishable whisper, then: JOHN II Yes... Yes. I understand. I'll do exactly as you ask. 165E HONER HONER Remember -- it's her life! 52. 165E FEATURE JOHN II The dead phone held in his hand, he thinks, sweating for a second, then suddenly hangs up, starts to dial. 166 INT. LOCKWOOD'S CAR - RUNBY CAMERON (V.O. ) Rickman's frantic. He demands to know what you plan. LOCKWOOD Here's how it stacks. I either hit them with complete surprise, so they don't get a chance to kill her -- or I lay off altogether. (a beat) What's the computer say about my chances? CAMERON (V. 0.) Oh, come on. How can you expect the computer to know that? LOCKWOOD (deadpan) I thought it knew everything. 167 INT. CONTROL Cameron fumes slightly. 168 EXT. INDUSTRIAL COMPLEX - NIGHT ESTABLISHING LONG SHOT of the appropriate area. Honer's car parked, partially-visible. HEAVY #one patrols near one of the decaying buildings. PAN TO CLOSEUP of Lockwood, suitably concealed. He moves out. 169 EXT. MAIN BUILDING - FACTORY Heavy #one as patrolling silently, but spectacularly as location will allow, Lockwood appears and K.O.'s him. 170 INT. FACTORY - MAIN ROOM We are LOOKING straight ahead to -- Tracy, seated glumly on an upturned box. There is no sign of her captors. Again the overwhelming menace of the silent, phantom-like machinery. 171 EXT. MAIN BUILDING - FACTORY A beat. Lockwood decides. Suddenly, he uncoils into action, swift and calculated. He smashes the door with a couple of well-aimed kicks, and jumps into: 53. 172 INT. FACTORY - MAIN ROOM Lockwood races to Tracy ahead. She turns to see him, surprised, thrilled. Suddenly a Guard appears. Lockwood takes him out with one swift blow, sends the man crashing back into a wall switch. Suddenly all the machinery in the plant springs to life, a menacing, reverbertaing ROAR. 173 LOCKWOOD'S POV He whirls to see the throbbing machinery, the sudden appearance of Honer, armed, in the distance. 174 LOCKWOOD reacts again. Shoves Tracy to safety behind cover. A shot RINGS OUT. WHINES off a lathe right next to him -- the echo of the gun lost in the teeming life of the chugging machiner. Lockwood rolls to cover in the gloom. 175 LOCKWOODS POV Honer searching for him in the dark; deadly, keyed up. 176 HONER'S POV Shadows of the pumping machinery... each shadow men- acing, each could conceal Lockwood. 177 SCENE Heavy #two appears -- FIRES. Seeing a silhouette. he FIRES wildly. 178 ANGLE ON HONER as a bullet ricochets near him. HONER (shouts over din) You fool... it's me Honerl 179 HEAVY #two Turns. 180 OMITTED 181 LOCKWOOD Moving stealthily, crouching, trying to close with his foes -- quietly, urgently. (CONTINUED) 54. 181 CONTINUED: LOCKWOOD Cam... give me a reading on him. He aims scanner. 182 PROBE CONTROL CAMERON (to staff) Maximum audio tone. Kill machinery sound! KURODA I'm not sure it's possible! CAMERON (curt) Make it possible! They've got weapons and he's unarmed. Buttons are hit in urgent succession by Kuroda and Amy. AMY LOVE Adrenalin surge... rapid pulse... KURODA Fifteen degrees left... distance ten feet. He's in a hurry! 183 INT. FACTORY - MAIN ROOM Lockwood jumps the racing Heavy #two before he can reach wall switch. He drops him. The gun goes off, SHOT MUFFLED. With the Heavy unconscious, Lockwood hurries off. A beat, then suddenly a second SHOT. A small wall mirror, reflecting Lockwood, breaks several yards away. Honer is clearly way off. Lockwood uses his scanner in the gloom, continues on the move. CAMERON (V.O.) Cold. Cold. You're losing Honer. Lockwood swings around completely, hand-and-ring extended. CAMERON (V.O. ) (continuing) Hot. Dead ahead. Lockwood lunges -- connects with the gun-toting, sweating Honer, grabbing his gunwrist, bashing gun out of his hand. It slides away on floor. Honer desperately grabs a metal bar, swings it, catches Lockwood with a glancing blow; Lockwood is slammed back into some machinery. 55. 184 OMITTED 184A NEW ANGLE Flinging away the bar, Honer retrieves gun, brings it up to fire. 185 FEATURE LOCKWOOD Rolling frantically away, behind a heavy piece of equip- ment. Bullets WHINE, CLANG off machine. 185A HONER Gun CLICKS empty. He flings it widly away, dashes for freight elevator. 185B FEATURE LOCKWOOD Lockwood, though stunned by earlier blow, takes off after him. Hurdles a piece of machinery. 185C HIGH ANGLE The desperately fleeing Honer. Lockwood moving to cut him off. 186 OMITTED thru 190 190A AT THE ELEVATOR Honer swings open the gate, whirls to slam it shut on Lockwood. Lockwood takes the blow of the elevator door closing, lunges forward. 190E ANOTHER ANGLE Honer swings once, wildly, futilely. Lockwood catches his arm, spins him onto elevator wall, drops him with a chop to the back of the neck. Honer goes down and out. At the SOUND of APPROACHING FOOTSTEPS echoing on the concrete floor, he turns prepared for a new assault. A half beat, then he suddenly relaxes. 190C PAST LOCKWOOD - HIS POV As Tracy appears out of the gloom. She halts, seeing he's okay. 190D NEW ANGLE TRACY (after a beat) You're all right. (CONTINUED) 56. 190D CONTINUED: LOCKWOOD (breathing hard) Yeah... but do me a favor, huh? (as she waits) Don't tell me what the odds were against either of us walking out of here... it might keep me up nights. As he takes her arm and they move off: 191 EXT. LANDING STAGE The Pacific King moored. But readying to set sail. ROCK MUSIC HEARD. A few YOUNG PEOPLE on deck, dancing. JOHN II Of all people -- that it should have been Elliot Desmond. I thought I knew something of human nature -- at its worst -- but -- to think he was behind it all -- planning everything -- even bringing Honer into it. (shakes head) I still can't quite accept it. I was sure he was loyal... LOCKWOOD He was... to your money. (raises glass) Bon voyage. JOHN II (a little uneasily) Do you think I'm condemned to hearing Tracy play this music all the way to the Greek Islands? LOCKWOOD Before we know it, they'll be playing it all the way to the moon, and back. JOHN II I'll try it... and I'll like it. (shakes hands) Thank you for everything. He drifts away, looking a little pained in the head, but smiling determinedly. Tracy appears behind Lockwood, taps him on shoulder. He turns around. She is radiant. (CONTINUED) 57. 191 CONTINUED: TRACY Why don't you change your mind and come with us? LOCKWOOD Don't tell me you haven't worked out the chances against? TRACY A thousand to one. LOCKWOOD You're a mathematical genius. TRACY I know. But don't mention it to my father -- ? She leans in and kisses Lockwood very quickly on the cheek. Then looks at him, smiling, a little moist- eyed. She is very young and appealing. Then she turns and, without another word, hurries away. 192 LOCKWOOD looking after her. CAMERON (V.O. ) All ashore, Lockwood. This is one pleasure cruise you're not taking. FADE OUT. THE END