S E A R C H "THE PACKAGERS" written by Robert C. Dennis PROPERTY OF: Warner Bros. Television Final Draft 4000 Warner Boulevard 10/16/72 Burbank, California 91505 SEARCH "The Packagers" Revised 10/18/72 ACT ONE FADE IN: 1. EXT. CITY ANGLE ON JET DIVE BOMBER DAY as it sweeps down toward city, rockets firing. As it peels off. WHIP TO: 2. EXT. OUTSKIRTS OF CITY VARIOUS SHOTS Shells explode, troops rush through oblivious, guns roaring as they storm what looks to be a native quarter. We are witnessing the final hours of a revolution. CUT TO: 3. EXT. OFFICIAL BUILDING NORTH AFRICAN CITY DAY CLOSE ANGLE KARIM Dressed in uniform of an Air Force Lieutenant, holding his * automatic weapon over his head in surrender, he is being marched out of the building by three tommy-gun wielding, helmeted soldiers. A few guerilla bodies sprinkle the scene, lay sprawled. Smoke drifts thru the area, tongues of flame lick from the fire fight debris. Below waiting for KARIM is MAJOR MAROUK, and another solider. 4.-9. OMITTED * 10. FEATURE MAROUK AND KARIM MAROUK (to Karim) Your little coup d'etat is over, Karim...and so is your life. He turns to the tommy-gun carrying soldier with him as * though about to signal him to fire, when: 11. NEW ANGLE An Army Command car roars into foreground. Seated in the * rear is a hawk-faced civilian of fifty. This is President (Continued) 2. "The Packagers" Revised 10/18/72 11. (Cont.) SINJAR. His daughter ZUHRA, twenty-two and very beautiful is next to him. Her face reflects her own desperation, terror. No pause as Sinjar shouts to the distracted Marouk. SINJAR Major...! (at Marouk's reaction, lower) Not without a trial! Zuhra hasn't even waited for her father's order. Bursting from the car she rushes for Karim, flings herself into his arms. As they cling to each other, Sinjar exits the car, watches for a beat, then: SINJAR (to Zuhra) Zuhra! As she whips to him, seemingly protecting Karim with her body. SINJAR Stand aside. ZAHURA Please, father...don't kill him... (at Sinjar's look, up) I love him! SINJAR He is a traitor. He will be tried and he will be executed. ZAHURA (defiantly) If he is...then on that day...I will die with him... (harshly) Understand? Life will have no meaning for me! A long beat as Sinjar stares at her, hesitates, then: MAROUK (as though pressing) Mr. President...The army insists... (CONTINUED) 3. "The Packagers" Revised 10/18/72 11 (Cont.1) SINJAR (suddenly, indecision, cutting him off) I rule this country, Marouk...And it is now my decision that Lieutenant Karim be sent into permanent exile immediately. MAROUK But... SINJAR (whirls to daughter) And since you love him...this traitor ...this enemy of the people so much, I suggest that you accompany him! (to Marouk) Get them on a plane and out of here in the next ten minutes. He swivels on his heel, ignoring Marouk's salute, re-enters his car. 12. ANGLE ON CAR as it roars off, passing CAMERA in a blur. 12A. A NEW ANGLE * Marouk nods to troopers to take Karim and Zuhra away. As they are escorted out of scene, zoom in on Marouk and hold. OPTICAL TRANSITION: "PACKAGERS" 4. 13. EXT. AIRFIELD Revised 10/18/72 as a two engine jet, with army markings roars up into the sky. CUT TO: 14- INT. PROBE CONTROL ON SCREEN 15. The jet still climbing. The footage is now black and white. CAMERON (V.O.) This flight climaxed the end of a bloody revolt. PULL BACK to reveal our location. CAMERON, GROVER, MISS WILSON et all present. CAMERON (continuing) ...led by Lieutenant Karim... He punches a button. ON SCREEN Karim's picture appears. CAMERON (V.O.) An extremist of distinctly anti- democratic tendencies, his plot against... ON SCREEN Sinjar's picture appears. CAMERON (V.O.) ...President Sinjar barely failed. 16- BACK TO SCENE 17. CAMERON For the last eighteen months Karim has shared exile in Paris with Zuhra Sinjar... He punches a button. Zuhra's picture appears on a screen. CAMERON (V.O.) ...The president's daughter whose love for Karim saved his life. 5. 18. BACK TO SCENE Revised 10/16/72 CAMERON Ten days ago Pierre Karim vanished * from the face of the earth. The French police have failed to find a trace of him so we at World Securities have been retained to find him. C.R. (tersely) Kidnap. CAMERON That's the presumption. C.R. For ransom? CAMERON There have been no demands. C.R. That clinches it... (at Cameron's look) Karim's dead. The good President obviously had him wasted. CAMERON Then Sinjar is also wasting a very large sum of money. He's our client. C.R. Ooh! Cameron allows himself a slight satisfaction. CAMERON The disappearance has become politically embarrassing for Sinjar, both at home and abroad. Since he's paying us to produce Karim for the world to see, it suggests he's still alive, doesn't it? C.R. Suggests, but doesn't prove. 19. EXT. JET IN FLIGHT DAY CAMERON (V.O.) An appointment with Miss Sinjar has been arranged for 2 p.m. Paris time tomorrow. 6. 20. EXT. PARIS ON TAXI DAY MOVING NEAR ARC DE TRIUMPH CAMERON (V.O.) To maintain cover a set of credentials will be waiting for you at Orly Air- field. 21. EXT. PARIS APARTMENT BUILDING ESTABLISHING DAY CAMERON (V.O.) You will pose as a reporter for World View... 22. INT. KARIM'S APARTMENT DAY Old world charm and high rent -- just the kind of exile everybody should draw. Zuhra is angry, frustrated and below it all considerably frightened. ZUHRA I must know, Mr. Grover, when will this interview be published? C.R. Well -- as you know -- World View is a weekly magazine so -- ZUHRA What I want is immediate world wide coverage. There's no other way to save Pierre. If it isn't already too late. She chokes up at this thought and turns to hide her agitation. C.R. Now, you can't let yourself think that. Maybe he's just lying low. ZUHRA Not for eleven days. He would have been in touch with me. (regains control) I'm sorry, Mr. Grover. But I'm so alone. C.R. Not any longer. ZUHRA You're very sympathique, thank you for that. (CONTINUED) 7. Revised 10/16/72 22 (Cont.) C.R. Why don't you tell me how it happened, everything -- ZUHRA It started before noon that day. Pierre had just come back from * getting the newspapers -- he liked to read them over coffee and a croissant in the sidewalk cafe -- and he decided, very suddenly, we should take a drive in the country. I thought it a little strange but nothing more until I realized we were being followed. C.R. Followed? ZUHRA By a grey Fiat. C.R. Did you see who was in it? ZUHRA Two men. I never saw them clearly enough for identification...but I think they were both -- agents of the regime. * C.R. Your father. ZHURA Yes, my father! Do you find that unreasonable, Mr. Grover? That my own father would kill the man I love? Then you don't know much about the realities of power. C.R. All right. Suppose your father was still afraid of him. Did he have reason? Was Pierre plotting to go home and cause trouble? ZUHRA No! Pierre was finished with politics, with revolution. (CONTINUED) SEARCH 8. "The Packagers" Revised 10/19/72 22 (Cont.1) C.R. (half beat - then) Tell me something. How did you get away? ZUHRA The grey car crashed into a limousine. That gave us just enough time to turn a corner. Pierre insisted I get out. (defensively) For my own safety. He said he would draw them off, get away and call me later. But he never did. She chokes up again. C.R. puts a comforting hand on her shoulder. C.R. Maybe he got away from the. ZUHRA No -- no -- their car was damaged, but it was not disabled. They kept after Pierre, either he's dead or a prisoner. C.R. -- I don't suppose -- you were able to get its license number. Zuhra pulls herself together. ZUHRA No. If only I had, the police might have done something. But they do nothing. Nothing! C.R. What about the limousine? ZUHRA (blankly) What about it? C.R. If we could find its driver, he might've got the other car's number. (CONTINUED) "PACKAGERS" 9. Revised 10/18/72 22 (Cont.2) ZUHRA (restlessly) There's no way -- it was just a big limousine -- English * I think. C.R. It doesn't matter. We'll find him. (For Cameron) We know the date of the accident and the time of day -- CAMERON (V.O.) Right on, laddie. Fix the loca- tion and I'll have him for you. C.R. If you can just remember the location. ZUHRA The Rue Lepic, I think, near the Place Blanche -- 23. INT. PROBE CONTROL FEATURE CAMERON DAY CAMERON Got it. Stand by...Prepare for overseas linkup -- Paris police, traffic division: request identi- fication of registered owner -- 24. EXT. PARIS MANSION DAY In front is a courtyard separated from the street by a high wall and a grilled gate. A chauffeur named CRAIK is polishing a car that fits the following description: CAMERON (V.O.) -- of a limousine, probably British, involved in street accident occurring noon July 9th this year in the vicinity of Rue Lepic and Place Blanche... 25. INT. MANSION STUDY DAY A series of jerky images of the study as the scanner relays (CONTINUED) 10. Revised 10/16/72 25 (Cont.) them. It's a sumptuous, very masculine room of heavy furniture, much leather, a red carpet, and thick drapes. The panelled walls are lined with shelves of reference books and pictures, all of military nature. Scanner steadies as C.R. studies colored photograph of a British General in full dress uniform. CAMERON (V.O.) Brigadier General Lionel B. Harbison. 26. MED. SHOT C.R. He's alone in the study, using the wait to learn what he can. C.R. Okay. What about him? 27. INTERCUT CAMERON Harbison served at El Alamein, the Low Countries in * '45, after that Malaya and the Suez. He retired five years ago at the age of fifty-one -- 28. ANOTHER ANGLE GENERAL HARBISON enters the room. Well-groomed though not in uniform, he's a ramrod straight military man, very correct. HARBISON Good afternoon. I understand you're a journalist. C.R. Uh -- World View -- C.R. fumbles out his phony credentials. HARBISON (cool, crisp) Don't bother. I'm afraid you've had your trip for nothing. (CONTINUED) 11. Revised 10/16/72 28. (Cont.) CAMERON (V.O.) Harbison is a military historian, author of three books, presently at work on something called "World * Power and the Strategy of Defeat". HARBISON I never give interviews on work in progress. C.R. World Power and the Strategy of Defeat? HARBISON How the devil did you learn that? C.R. We journalists have our sources. And through one of them I learned you were involved in an accident -- HARBISON No sir, I was not. C.R. Well, your car then -- HARBISON You must've seen it in the court- yard. Did it look as if it were in a crash? C.R. Could've been repaired. HARBISON (very stiff) I am not a liar, sir. C.R. Police records show that your car collided with another vehicle on July 9th at the intersection of -- HARBISON July 9th? C.R. That's right. Harbison spins on his heel and strides to a window which he flings open. (CONTINUED) "PACKAGERS" 12. Revised 10/1 /72 28 (Cont.1) HARBISON Craik! Will you be so good as to report here on the double! * CRAIK'S VOICE (O.S.) Sir! 29. INT. PROBE CONTROL DAY Cameron is abstracting from the dossier of Harbison as it's printed out. CAMERON Brigadier L.B. Harbison ...Background data...born -- educated -- family -- nothing there. Financial rating... very fixed. 30. INT. MANSION STUDY DAY Craik, the chauffeur, stands at attention betraying his past: an enlisted man quite possibly Harbison's former batman. CRAIK Sir. The general's transport was struck by a French car at approximately 1230 hours sustain- ing minor damage to the right wing which has now been repaired. Sir. HARBISON July 9th? CRAIK Sir. HARBISON Wasn't that the week I was in Germany. CRAIK Yes sir. I took the car without proper authorization. Very sorry, sir. HARBISON Mr. Grover, it appears I was in error. Were you the other driver. C.R. Was I, Craik? (CONTINUED) 13. Revised 10/16/72 30 (Cont.) CRAIK (to a civilian) No sir. It was a foreigner called * Ian Fehrat. At least that's the name he gave the car-hire people. Ian Fehrat. He's gone now, sir. Deserted the car on a back street and never even went back to his hotel. Had to pay for the damages myself outa me own pocket. HARBISON All right, Craik. I'll have some- thing to say to you later. Dismissed! CRAIK Sir. Craik goes slowly, listening to: HARBISON As for you, Mr. Grover, I can't see your interest in this affair. C.R. I'm trying to locate this here Ian Ferhat. HARBISON Really? With total disinterest in the subject Harbison sorts through the papers on his desk: the interview is over. C.R. Yes, I think he knows what happened to Lieutenant Karim. Harbison is a fraction of a second late in covering up. When he does turn to C.R. his face is a mask. HARBISON Karim?....Oh yes. That North African chap the papers have been going on about. Not a very big story, is it? C.R. (he smiles) In my business, General, you take what you can get. With a wave C.R. exits from the study. Harbison seems to be mentally reviewing the conversation, then he crosses to the same front windows to look out. 14. Revised 10/16/72 31. EXT. PARIS STREET DAY C.R. comes through the gates of the courtyard and heads for his car. 32. INTERCUT C.R. I thought the General nearly popped his pips. CAMERON Quite right. We got a reading of increased adrenalin flow. C.R. But I sure don't see any connec- tion between a retired British General and a hatchet man! CAMERON (exasperated) Mr. Grover, I can find no logical basis for believing Pierre Karim has been -- terminated. C.R. Just run a check on Ferhat! CAMERON I will most certainly do that. C.R. Thanks. C.R. reaches the car, stares at a paper tucked under the windshield wiper. CAMERON What's that -- a traffic citation? C.R. aims the scanner at the note which is neatly hand- printed in green ink. CAMERON (continuing; reading) Where is Karim? Is he dead? What is the truth? For answers to these and other questions come to 57b Impasse des Voleurs Tristes tonight at 10p.m. * (CONTINUED) 15. Revised 10/16/72 32 (Cont.) C.R. casually folds up the note and turns at Craik's approach. C.R. Hi. CRAIK Like a word with you, mate. That was a nasty bit of work inside. You nearly done for me with the General. C.R. He'll cool off. CRAIK No thanks to you. A bit of warning, Yank, button your lip or somebody'll do it for you! C.R. Come on, Craik, you're too smart to * be talking so tough. CRAIK I'm warning you... C.R. (cuts in) Matter of fact, aren't you a little past joy riding birds in the old man's car? CRAIK That does it -- ! Craik throws a left-right which C.R. blocks and then whips him into a Half Nelson. Craik struggles to get free. C.R. Steady -- steady. Not too much strain on the arteries. (pushes Craik away) Okay, that's better. Just keep your distance. C.R. slides into his car. The noise of the motor starting drowns the cussing out from Craik. CRAIK (shaking fist -- swearing. C.R. speeds off. 16. Revised 10/16/72 33. EXT. PARIS NIGHT establishing the city. Montmartre. 34. EXT. STREET NEAR ALLEY NIGHT C.R. drives in, exits car. C.R. Impasse of something or other, right? 35. INTERCUT CAMERON Number 57b Impasse des Voleurs Triste. GRIFFIN Translates as the blind alley of the sad thieves. 36. EXT. ARCADE NIGHT A narrow L-shaped alley of small shops and mean houses. A few have lights, none are open. C.R. comes along check- ing numbers, reaches the L and turns. 37. REVERSE ANGLE We see it's a dead-end all right, blocked off by a two- story house, decrepit and moldering. 38 - CLOSE SHOT NUMBER 39. on door frame: 57, 57b. CAMERA PULLS BACK as C.R. considers the situation. He could well be walking into a trap. The absence of movement and sound has an ominous quality. He taps on the door and as it opens there's a muffled SOUND. * C.R. freezes. C.R. What was that? * CAMERON Caution, Laddie, caution... * Ignoring him, C.R. whips into building, running low. * 17. Revised 10/16/72 40. INT. OLD BUILDING FOYER NIGHT A stairs with a sagging banister goes up to the second floor. C.R. comes to the foot of the stairs and listens. No sound. C.R. starts cautiously upstairs one step at a time, making silent progress. Half way up a tread SQUEALS under his weight and this sets off SOUND OF FEET RUNNING AWAY. C.R. sprints the rest of the way to the top. 41. INT. OLD BUILDING UPSTAIRS HALL NIGHT At the end of the hall a window has been shoved up, the dingy curtain blowing in. C.R. hurries toward it, trips over a body and sprawls headlong. 41A. CLOSE ANGLE DEAD BODY FACE DOWN * C.R. checks, realizes he's dead, moves swiftly to window peers out. 42. EXT. ROOF TOP NIGHT A man, identified as the KILLER, is on the sloping roof of the building next door easing his way along the ridge He wears a stocking mask. * C.R. Hey -- ! The Killer, startled, almost loses his grip and skids down the slope. As he recovers, C.R. climbs through the window and drops on to the roof. Both crab their ways along the ridge toward the next building. 43. ANOTHER ANGLE The Killer reaches the edge, leaps an open area to the next roof. This one is flat, and his hands are free to pull his gun and shoot. He does so. The is silencer * equipped. 44. MED. SHOT C.R. The bullet hits nearby. He flattens out on the tiles, * loses his grip and goes sliding down toward the eaves. Thinking he has hit C.R. the Killer exits picture. By * digging in his knees, hands, feet, C.R. arrests the slide. Then he stands up straight and runs toward the edge, using speed to offset the slope. He makes the jump. 18 Revised 10/16/72 45. REVERSE ANGLE as C.R. lands on the next roof. He waits briefly. No shot. He trots across the flat roof, reaches a blank wall. Off to the side, and not intended for use from the rooftop, a fire escape ladder leads down to the outside street -- that is, not into the blind alley. Unaware of C.R., the Killer is clambering swiftly down. * C.R. stretches to reach ladder but it's too far away. He'll have to jump and hope to catch a rung, or crash to the street below. 46. MED. SHOT C.R. jumps, snags a rung and hangs swinging for a moment until he can get his feet set on the ladder. He looks down. 47. EXT. Street NIGHT The Killer turns and stands looking up, gun aimed at C.R. 48. MED. SHOT ANGLING UP from street to C.R. flat against the wall with no place to go. 49. NEW ANGLE As a heavy, canvas-topped truck roars into scene, head- lights washing the night, not picking up however, the Killer. 50. THE KILLER Just before the truck passes in front of him, blocking his view, he fires once... * 51. NEW ANGLE C.R. The bullet whines off the metal ladder. C.R. jumps. 52. DOWN ANGLE C.R. lands on truck top, almost slips off, hangs on tight. 19. Revised 10/16/72 53. THE KILLER whirls to fire once more after the truck. 54. OVER KILLER'S SHOULDER HIS P.O.V. Truck disappears around corner. 55. THE KILLER turns and frustratedly disappears into the night. 56. ON C.R. MOVING SHOT clinging to truck top. * FREEZE FRAME: END ACT ONE 20. ACT TWO Revised 10/16/72 FADE IN: 57. EXT. STREET NIGHT C.R. hurries along street until he reaches the entrance to the Impasse. It's now crowded with shopkeepers from the area. At the L, a uniformed COP blocks any further penetration. Now two orderlies come around the L, carrying a stretcher on which is a blanket-covered body. They are a little clumsy or the passage is so cramped they jostle the stretcher and the dead man's hand falls down below the edge of the blanket revealing a ring. C.R. aims his scanner at it. 58. INT. PROBE CONTROL ON SCREEN IN C.U. The dead man's hand. He wears a handsome and distinctive * ring of ornate design. During speech below PULL BACK TO REVEAL OUR LOCALE. CAMERON The ring, Mr. Grover, indicates membership in a very exclusive club. The officers corps of President Sinjar's air force. Which as you recall included Lieutenant Karim. C.R. (V.O.) I told you he was dead. 59- 60. OMITTED 61. INT. MORGUE NIGHT C.R., Zurah and a FRENCH INSPECTOR wait as a drawer is slid out revealing a sheet-covered body. The sheet is lifted for Zuhra to view the remains. She reacts and turns to hide her face on C.R.'s chest. 62. INT. PROBE CONTROL NIGHT Cameron, the others wait in silence. 63. INTERCUT INSPECTOR Madame? (CONTINUED) 21. Revised 10/16/72 63 (Cont.) ZUHRA It is not my fiance. Please, take me home -- C.R. Sure. (to Inspector) How did he die? INSPECTOR Violently, m'sieu. Zuhra flings herself away and C.R. follows her out. 64. OMITTED * 65. EXT. PARIS STREET (STOCK) NIGHT Heavy traffic on one of the grand boulevards. 66. OMITTED * 66A. INT. ZUHRA'S APARTMENT NIGHT * Door opens, she enters, turns to C.R. who waits in hall. ZUHRA Please -- don't come in. I need to be alone. There's so much to understand. C.R. All right, I'll phone you in the morning. ZUHRA Yes -- thank you -- for your strength. As she starts to close door. C.R. Zuhra -- you did recognize that man in the morgue, didn't you? ZUHRA I think -- I'm not certain -- it was one of the men who chased Pierre... (CONTINUED) 22. Revised 10/16/72 66A (Cont.) C.R. reacts. She slowly closes door, leans back against it, fear on face. 66B. INT. HARBISON'S STUDY CLOSE HARBISON NIGHT * He wheels from window in anger. HARBISON Excellent! Fifteen years of training and you couldn't kill one stupid Journalist. We've PULLED BACK to reveal Craik standing before him. He's taut, ready to fight back. CRAIK I succeeded in what I was ordered to do. Ferhat is dead! HARBISON (harshly) I'm sure our employer will be relieved to hear how magnificiently you handled the situation! A street killer could've performed as well. CRAIK Sir. I admit to a bit of bad luck, nothing more. If that truck hadn't appeared... HARBISON (roars) IF? IF?! You're a soldier, Craik. A soldier cannot afford to excuse his blunders by crying "if"...like some pathetic schoolboy. Especially when there is a fortune involved. CRAIK (sullenly) Yes sir. Harbison stares at him, then wheels to window. Half beat, then: HARBISON This one mustn't go wrong, Craik. I've put too much time, effort, planning into this campaign... (CONTINUED) 23. Revised 10/16/72 66B (Cont.) CRAIK (trying to appease him) You won't fail, sir. You never do. HARBISON (bitterly) Yes... I never do... Yet my superiors retired me before my time. A man of my skill, courage... 'A war lover,' they said... As though I was sick. (wearily) I suppose they'd have said the same to Napoleon, Alexander... All the great military minds. CRAIK About this Journalist, Sir... HARBISON (as if he hasn't heard) Well, I've turned my loses to profit, haven't I, Craik. My own interprise has rewarded us far better than all the devoted years to God and country every could have... CRAIK That it has sir... As Harbison continues to stare out window... CRAIK (pressing) Sir... If the General will permit... We must decide what to do with... HARBISON (turning) Mr. Grover? CRAIK (relieved he has his attention back) Yes sir... HARBISON If he gets in the way again...I trust you will make no more mistakes... At Craik's look: (CONTINUED) 23A. Revised 10/16/72 66B (Cont.1) HARBISON Next time, however, do not use a pistol. Is that clear? If it comes to it I want nothing left of him to be traced back to me. On Craik's reaction: HARD CUT TO: 67. INT. HOTEL ROOM DAY C.R. is asleep. He's staying in a four star hotel. SOUND OF ALARM CLOCK. He wakes up reluctantly and fumbles, un- seeig, to shut it off. There's no clock on the night stand. 24. 68. INT. PROBE CONTROL DAY Cameron is holding a ringing clock near the mike. 69. INT. HOTEL ROOM DAY Unable to locate the clock, C.R. opens his eyes and looks around, finally realizing the ringing is in his own head. C.R. Shut it off! 70. INTERCUTTING: CAMERON (cheerfully) Good morning, Mr. Grover. Time to be up and doing. Your breakfast has been ordered. And now for the news. A report, re- ceived during the night from President Sinjar, states that -- Ian Ferhat, along with another agent named Marouk, was sent to Paris -- C.R. -- to assassinate Karim. CAMERON (firmly) -- to investigate a persistent rumor that Karim was plotting a return form exile. C.R. Maybe they misunderstood their orders. CAMERON May I point out to you that it's not Karim's body in the morgue. KNOCK ON DOOR. C.R. Come in. A WAITER wheels in a serving cart containing a silver coffee pot, cup and a plate with a croissant. As he pours the coffee: (CONTINUED) 25. 70 (Cont.) CAMERON I think it's a fair assumption that Karim shot this Ian Fehrat and is now hiding from the police. The Waiter presents the tab to C.R. who signs it. C.R. I'll put the tip on here, okay? CAMERON That means Karim will be very hard to find. The Waiter bows his thanks and exits. C.R. sips his coffee. CAMERON (continuing) But of course if it were simple it wouldn't be a job for World Securities, would it? C.R. has a bite of croissant. CAMERON (continuing) Well, how do you intend to proceed? C.R. (mouth full) Haven't the foggiest. CAMERON What? What? Message garbled in transmission. Say again, Mr. Grover. C.R. returns the croissant to the plate. 71. INSERT PLATE The croissant comes down on a folded note. 72. BACK TO SCENE C.R. reacts to the note, reaches for it. We see it's hand printed in green ink. (CONTINUED) 26. 72 (Cont.) CAMERON (V.O.) Mr. Grover! C.R. Mr. Cameron, do you have another Probe working on this case? CAMERON (V.O.) Certainly not. C.R. Then who's feeding me information? C.R. aims scanner at note. 73. INT. PROBE SCREEN Note on Big Screen. CAMERON (reading) Lieutenant Karim telephoned Miss Sinjar. They will rendezvous at 11 a.m. in the Bois de Boulogne -- 74. EXT. PATH IN WOODS DAY A footpath, too narrow for cars. Zuhra sits on a bench, waiting for Karim. It's a lonely part of the woods, and there's no one else in sight. CAMERON'S VOICE (O.S.) ...on the bench located one half kilometer west of the children's garden -- 75. CLOSER Zuhra's deep contemplation is penetrated by a barely glimpsed movement among the trees. She rises quickly. ZUHRA Pierre --? 76. MED. SHOT TREES Nothing moves, no answer. Zuhra hurries into SCENE. (CONTINUED) 27. 76 (Cont.) ZUHRA Pierre --! (a beat) It's all right, Pierre. It's I. A bush moves and Zuhra runs to it. 77. ANOTHER ANGLE Zuhra comes into SCENE, circling the bush. No one is there. She looks wildly about. From around a large tree an arm reaches out, encircles Zuhra from behind and pulls her out of sight. 78. TWO SHOT Zuhra is being held by C.R. ZUHRA (angrily) Mr. Grover, you had no right to follow me! C.R. covers her mouth. C.R. (low) Sh-sh. Listen... Wide-eyed she keeps still. C.R. ungags her. C.R. (continuing) You shouldn't have come alone. It could be dangerous. ZUHRA Dangerous? That's ridiculous. I'm meeting Pierre. C.R. Are you sure? ZUHRA Of course, I'm sure. He telephoned me. C.R. How do you know he wasn't forced to make the call? (CONTINUED) 28. 78 (Cont.) ZUHRA Forced to -- why? C.R. To trap you. Maybe your father's changed his mind about allowing you to live in exile. Maybe he wants you back home. ZUHRA I'll never go back....unless -- C.R. Unless they kidnap you. That's just how your father might figure it. Zuhra is silent, half convinced, appalled. C.R. (continuing) Look -- maybe I'm wrong -- but why take the chance? Keep under cover until I see who shows. If it's Pierre, okay. Okay? ZUHRA ....okay. C.R. squeezes her shoulders and then he's gone. 79. INT. PROBE CONTROL DAY CAMERON Mr. Grover, I do admire a man of iron convictions but your logic leaves something to be desired. C.R. (V.O.) (mimicking) Say why, Mr. Cameron. CAMERON If Sinjar wanted his daughter kid- napped, she's been alone and unguarded in that apartment for nearly two weeks! C.R. (V.O.) As long as the thought doesn't occur to her. 29. 80. EXT. PATH IN WOODS C.R. is seated on a bench. CAMERON (V.O.) Would you care to let us in on your reasoning? C.R. Ian Ferhat and Marouk had a shot at Karim and missed. So Probe was hired to set him up for round two. CAMERON (V.O.) (troubled) Your conclusion is -- monstrous... But until it can be refuted, proceed with great caution, Mr. Grover. C.R. checks along the path by moving only his eyes. 81. MED. SHOT ALONG PATH The sun filters through the leaves on an empty path. 82. CLOSE SHOT C.R. Eyes left to check the other approach. 83. MED. FULL SHOT Approaching almost idly from this direction is what at first glance appears to be a painter. Dark glasses con- ceal the upper half of his face, a two-week growth of beard the lower. He carries a folding easel. 84. CLOSE SHOT C.R. Karim, an enemy, or a painter? C.R. isn't sure. 85. WIDER ANGLE The Painter at the same measured pace, come abreast of C.R. -- and keeps on going. C.R. Lieutenant Karim --? The Painter continues away for another three steps then wheels suddenly and now there's a gun in his hand pointed at C.R. who isn't there. Instead he blindsides Karim, clamping a firm grip on his wrist. (CONTINUED) 30. Revised 10/16/72 85 (Cont.) C.R. No need for a gun. We're * all friends here. I mean -- I'm a friend of a friend. Zuhra sent me. KARIM Where is she? C.R. Just laying back to see that every- thin is all right. * KARIM And you? C.R. C.R. Grover. Journalist. World View. Got my credentials -- C.R. reaches for his ID but is frozen by a menacing gesture of the gun. KARIM I don't want to see your papers. Zuhra told me about you. What do you want -- an interview!? C.R. grins winningly at him. C.R. Only if it's the truth. 86. EXT. WOODS DAY Zuhra has become restive over the long delay and she begins to move in the direction of the path, darting from one tree to another, then waiting to see if she's been spotted. She repeats the maneuver. 87. EXT. PATH IN WOODS DAY Karim's gun is no longer in sight. He shares the bench with, but well-removed from, C.R. KARIM A man was watching my apartment. I recognized him: Ian Fehrat, at one time a brother officer. C.R. In the airforce? (CONTINUED) 31. 87 (Cont.) Karim shoots him a wary glance. C.R. (continuing) He was wearing a ring like yours. KARIM Yes. Now he's Sinjar's assassin. C.R. How did he get in the morgue? KARIM You mean he's dead? I didn't know that. C.R. I'll bet! KARIM But there's still Marouk. He'll never give up. Tell your readers, Mr. Grover -- C.R. Lieutenant -- C.R. leans back, stretches to cover a corner-eyed look into the trees off to the left. KARIM -- that I'm still alive but a fugitive from the vengeance of a bloody dictator -- C.R. smiles, keeps his voice low and conversational. C.R. Karim, will you just dummy up for a moment!...Don't be too obvious but take a look off to the left among the trees -- Can you pick him up? KARIM I see nothing -- ZUHRA (V.O.) Pierre --! Both men swivel their heads to the right. 32. 88. ANOTHER ANGLE Zuhra emerges from behind a tree on to the path. KARIM Zuhra -- C.R. catapults off the bench toward her. C.R. Get back --! 89. CLOSE SHOT HAND GRENADE It comes rolling, in wobbly fashion, along the path from the left. C.R. (continuing) Down -- down --! He literally tackles Zuhra swinging her off the path into the bushes. 90. REVERSE ANGLE C.R. and Zuhra roll behind a large tree. C.R. on top. The grenade explodes with much flame and smoke. 91. MED. SHOT ALONG PATH Smoke and dust obscure the scene. 92. TWO SHOT After a long beat C.R. raises his head from Zuhra's neck and looks down to see if she's all right. She is. Their lips are inches apart, their gazes locked, the emotional flow very strong. CAMERON (V.O.) Grover, are you all right? For C.R. this snaps the mood. He starts to pull away. ZUHRA Pierre --! 33. Revised 10/16/72 93. MED. SHOT ALONG PATH The smoke and dust have thinned out as C.R. and Zuhra scramble out into sight. C.R. He's gone. Somebody tried to * kill him! On her reaction FADE OUT: END ACT TWO 34. ACT THREE Revised 10/16/72 FADE IN 94. EXT. PARIS APT. BLDG. DAY Establishing. 95- INT. KARIM'S APT. DAY 96. Zuhra storms into the room, followed by C.R. who immediately starts checking the room for bugs, using his scanner ring. * ZUHRA Now -- there's no reason not to talk -- C.R. sh -- quiet. ZUHRA I will not be quiet! Tell me how they knew Pierre was going to be there... how did you know --? C.R. puts a finger to his lips, as he continues checking out walls, furniture, telephone, TV set, INTERCUT to show Control directing the search. CAMERON No -- cold, cold -- wait a minute -- You're on the track of something.... move to your left....not so sharply, angle, Mr. Grover, angle....warm, getting warmer -- ZUHRA I demand to know what you're doing --! CAMERON Bingo! Right there, Mr. Grover -- on the base of the lamp! 97. CLOSE SHOT LAMP BASE with a bug stuck to it inconspicuously. C.R. detaches it, holds it up for Zuhra to see, then drops it into an aquarium ZUHRA (a whisper) Somebody's been listening to us? C.R. Yeah, honey, the place has been wired. Did you have a visit from a phone repair man? (CONTINUED) 35. Revised 10/16/72 97 (Cont.) ZUHRA No, I don't remember -- C.R. The day Pierre disappeared -- ZUHRA An electrician! C.R. And you told Karim about him? Just before he decided on a drive in the country. ZUHRA Yes. C.R. Marouk hired him, I expect....wonder where Marouk's listening post is? 98. INT. BASEMENT DAY A bare, stone-walled room with uncovered pipes and ducts, and a small table holding the listening equipment. Marouk is working frantically to restore reception. Suddenly the door is slammed open and pins him against the wall. MAROUK Peace, friend, peace. We're on the same side. C.R. My friends don't try to frag me! MAROUK (bewildered) Frat? A word I haven't encountered -- C.R. Frat --fragmentation--hand-grenade--bang--bang! * MAROUK No, no. I did nothing like that to you. C.R. It was meant for Karim, but I was there, friend, I nearly got it too. And so did Miss Sinjar. MAROUK The whole mission has been like that -- everything's gone wrong. (CONTINUED) 36. Revised 10/16/72 98 (Cont.) C.R. What's the mission? Assassinate Karim, right? MAROUK (shocked) No. Just to keep him under surveillance -- learn his plans. Unfortunately he recognized my associate and fled. When we tried to follow, a car rammed us to permit his escape -- C.R. Wait a minute -- wait. Are you saying that limousine ran into you --? MAROUK With deliberatiion. Ferhat was injured. I had to take him to a hospital for * repairs. As C.R. stares: MAROUK (continuing) I'm telling you the truth! If we are * not allies, so to speak, why would I have tried to arrange for you to see Ferhat. Why would I have tipped you about Zuhra's rendezvous with Karim?! The only thing I'm guilty of, Mr. Grover, is refusing to break my cover. C.R. (for Cameron) Well now that it is broken, tell me * something: Why would Craik ram your car -- what's his connection with Karim? Or General Harbison -- MAROUK I don't know. 99. INT. PROBE CONTROL DAY CAMERON I don't know either, Grover. But I'll certainly run another background check immediately. Stand by. 37. 100. INT. CAR CLOSE SHOT C.R. NIGHT He's watching something o.s. CAMERON (V.O.) Dossier re-check reveals no added information on Harbison. But we've been re-thinking the problem this end. C.R. So have I. 101. INT. CONTROL INTERCUT CAMERON Point one: Harbison has an extremely large income. Point two: he devotes most of his time to research -- which means interviewing high-ranking mili- tary personnel in every country in Europe. Conclusion -- C.R. He may be using that as a front for a private espionage ring. CAMERON If he's a spy what does that make Karim? C.R. Possibly a client. Possibly a lodger. CAMERON You think he's holed up with the General? 102. EXT. MANSION NIGHT To reveal C.R. is parked across the street from the General's house. C.R. I think I ought to find out. CAMERON (V.O.) How? Harbison lied about his car being in a crash -- he's not going to tell you the truth now. (CONTINUED) 38. Revised 10/16/72 102 (Cont.) C.R. (getting out of car) I'm not going to ask him...Tell you the truth I got to be nuts to even go in there. 103. INT. MANSION CORRIDOR NIGHT C.R. is inside the house, making his way along the dimly lit central corridor which runs from the front door to stair- way. The study opens off this corridor. There's a glass- * front display cabinet against the wall containing bric-a- brac. Suddenly C.R. freezes, takes cover behind a cabinet. A beat later an AIDE comes down the hall. He's thirty, * very fit and military despite his casual attire. He comes toward C.R.'s hiding place. At the last second he enters * a room. C.R. lets out his breath. C.R. I think I'm going to be sick. CAMERON (V.O.) Nerves! C.R. Believe it! C.R. exits his hiding place. * 104. INT. CORRIDOR NIGHT A hub-bub of conversation with laughter, an occasional burst of song, emanates from a room off this corridor. C.R. creeps up and listens at the door. Several languages are being spoken and nothing is intelligible. C.R. looks thru keyhole, then puts scanner up to it. 105. INT. CLUB ROOM MATTE SHOT THROUGH KEYHOLE NIGHT We can see only a portion of the room but it looks like an officers' club. The Aide and several other men, all hard, tough military types of various nationalities (including North Africans) are drinking, talking and singing. CAMERON (V.O.) I don't see Karim -- he might be in there, of course, but I doubt it. (CONTINUED) 39. Revised 10/16/72 105 (Cont.) C.R. (whispers) I'll keep looking. * 106. INT. MAIN CORRIDOR NIGHT C.R. leaves the door, comes to a staircase leading down, * checks around, starts descending quietly. 107. INT. WAR ROOM NIGHT It's in total darkness for a beat, then a door opens, letting a brief glare of light in, as C.R. slips inside. * Then he closes the door quickly. It's very dark. He holds up his scanner. C.R. Switch to infra-red. * on BIG SCREEN the SCENE lights up, red. We see room has no windows. CAMERON (V.O.) A room without windows...I think you (More) (CONTINUED) 40. 107 (Cont.) CAMERON (CONT.; V.O.) could safely turn on a light, Mr. Grover. C.R. (V.O.) Nothing scares you, does it, Mr. Cameron! A beat, then a light switch clicks and the entire room is flood with light. 108. CLOSE SHOT C.R. For a moment, in his surprise, he forgets his fears. C.R. (continuing) Hey -- the Pentagon! 109. INTERCUT MONTAGE C.R., PROBE CONTROL AND ROOM WE SEE: 1) Large scale maps on the walls with plastic overleaf on which are crayoned military symbols. 2) Aerial photographs of cities. 3) Control map table showing in three dimensions the terrain of the country. 4) Stacks of mimeographed and stapled sheets labelled PLAN OF OPERATIONS - FIELD ORDERS - GENERAL STAFF TABLE OF ORGANIZATION. 5) Folder stamped TOP SECRET. 110 - 111. BACK TO SCENE C.R. This guy is still playing war! He's got everything but toy soldiers. CAMERON A re-creation of one of his campaigns, I shouldn't wonder. May I suggest a peek into that Top Secret folder. (CONTINUED) 41. 110- 111 (Cont.) C.R. opens the folder. C.R. You're out of luck this time. It's in code. CAMERON That's carrying make-believe to extremes. I think we'll let our Mr. Griffin have a look at it. If you please, Mr. Griffin. A page of code appears on the SCREEN. Griffin reads it. GRIFFIN It appears to be a variation of the Leevend cipher, named of course for Cornelius van der Leevend, the outstanding Dutch cryptographer. CAMERON The question of the hour, Mr. Griffin is, can you crack it? GRIFFIN I think so...It's quite simple actually. C.R. (low and tense) You guys play word games, I'm getting out of here! CAMERON You still haven't found Karim. C.R. Nobody's found me, and I want to keep it that way! C.R. starts to door but it opens to reveal Harbison. C.R. (his best smile) Oh -- good evening, General -- nice seeing you again...and all that... Harbison gives him a cold English stare and steps forward. Intimidated, C.R. moves aside as Harbison makes a snap- check of the room for loss or damage. In so doing he ignores C.R. 42. 112. ANOTHER ANGLE Deciding this is the best opportunity he's going to get, C.R. exits smoothly and silently. And just as smoothly and silently comes back in. The reason: Craik and the AIDE, both armed. HARBISON Nothing missing, apparently -- (checks secret folder) -- but you seem to have snooped very thoroughly. C.R. It was in code anyway. HARBISON Well, I was just leaving -- Craik and the Aide put him into the chair firmly. Harbison conducts the interrogation of the prisoner. HARBISON How did you get in? C.R. The front door was unlocked -- CRAIK It's a lie, sir. HARBISON Yes, I know. All the doors in this house have very special locks, Mr. -- Grover, isn't it? I would like to know how you managed. C.R. Trade secret. CRAIK Give me ten minutes with him, sir. HARBISON No. It's not important. But I must insist on knowing what you came for? C.R. Lieutenant Karim. (CONTINUED) 43. Revised 10/16/72 112 (Cont.) HARBISON I see. You're a hired assassin. C.R. No! I came to rescue him. HARBISON Rescue him -- C.R. He's a prisoner, isn't he? That's what his finacee thinks -- Karim steps into the room. C.R. reacts. KARIM I think, General, we should let Craik have him for a while. HARBISON Possibly. But a word in private first, if you don't mind. Harbison starts out into corridor. 113. INT. PROBE CONTROL ANGLE ON SCREEN We see letter code groups. They read: 0PRXO 70HLZ FHLB2 B8WAV F64EE TZL44 RS774 JM5YY 9HL23 * 14ZNT T3VV0 143HH PCBAB RX98R WABCZ 23456 26LHD 4BBXA X4227 BABEZ LORKZ ZORXY CBZXB 3344A XA0XA LMTFO ODGH8 8PTTN ACIML L4L5A L4L6A LXXXA DISSOLVE THEN TO: 114. SCREEN We read translation: 0800. Capture Central Radio Station. 0900, take airfield, reserve forces join palace attack. 0930 shock troops * air cover assault Armory. 1200. Second Armored Brigade join strike. 0200 capture palace. Shoot Sinjar. During above we've pulled back to reveal our locale. Cameron auibly reads, then: (CONTINUED) 44. 114 (Cont.) CAMERON Of course! I don't know why I didn't guess. The maps, the table, all the stuff -- that's not some old campaign. It's a war that hasn't even been fought yet. Mr. Grover -- 115. INT. WAR ROOM NIGHT With Craik and the Aide staring beadily at him C.R. can't shut off the flow of unwelcome knowledge except by shak- ing his head at the scanner. CAMERON (V.O.) -- it's a revolution! What we have here is nothing less than a complete package for a revolution to overthrow the Sinjar Government. That's Harbison's game -- he's a packager! C.R. drops his hand, and smiles sickly at his two captors who are puzzled by his strange behavior. 116. INT. PROBE CONTROL NIGHT CAMERON (continuing; to team) I want a breakdown on every revolu- tion anywhere in the world during the past five years. I think we'll find Brigadier Harbison packaged at least a few of them! 117. INT. WAR ROOM NIGHT Harbison reappears in the doorway. HARBISON Come along, Mr. Grover. (as C.R. hesitates) There's nothing to be alarmed about. I think you're a fool but a harmless one so we've decided not to turn you over to the police. Not wholly reassured but hopeful C.R. starts toward the door, the two guards parting to let him through. 45. 118. INT. CORRIDOR NIGHT As C.R. emerges from the war room Karim flings a blanket over his head and imprisons his arms at his sides. 119. INT. PROBE CONTROL NIGHT The BIG SCREEN has gone black. CAMERON We've lost transmission -- check your systems. Grover, if you are receiving, activate your dental contact switch. Cameron receives pulse tones -- the green light blinks. 120. INT. MANSION CORRIDOR NIGHT C.R. is on the floor enshrouded by the blanket as one of the guards finishes cinching a belt that encircles C.R. at the elbows. At a sign from Harbison the other guard approaches with a hypodermic needle, lifts the blanket edge to have a shot at C.R. 121. INT. PROBE CONTROL NIGHT The pulse tones and the green light continues in answer to Cameron's questions: CAMERON Has your scanner been confiscated? (no) Damaged? (no) Are you in restraint? (yes) Then it's covered over? (yes) Have you been injured? The pulse tones and the green light signals yes -- yes -- yes -- yes...yes...........Nothing. MISS WILSON He's unconscious.... Cameron is silent in his impotency. FADE OUT: END ACT THREE 46. ACT FOUR "Packagers" Revised 10/19/72 FADE IN: 122. INT. PROBE CONTROL NIGHT A deadly silence hangs over Control. Every console lifeless, silent. Except for Cameron, the team sits motionless staring at their instruments, willing them to life. Cameron has left his console to pace helplessly. Once he stops as though to make a suggestion but it turns to nothing before he can put it in words so he resumes pacing. KURODA I'm getting an audio signal --! Cameron wheels and lunges back to his console. RAMOS * -- very faint -- sounds like a car. CAMERON ... Mr. Grover, this is Probe Control, do you copy? Repeat, this is -- MISS WILSON Listen --! Voices faint and blurred come in. CAMERON Tune it -- bring up your gain. HARBISON'S VOICE (O.S.) ... that problem is yours. You must do whatever seems necessary. KARIM'S VOICE (O.S) Then it's settled. HARBISON'S VOICE (O.S.) Very well. But not here -- not in Paris. KARIM'S VOICE (O.S) What's the difference? HARBISON'S VOICE (O.S.) The difference, Lieutenant, is that I shall still be here long after you're gone. I have other work to do -- (CONTINUED) 47. "PACKAGERS" Revised 10/19/72 122. (Cont.) KARIM'S VOICE (O.S) Other revolutions? HARBISON'S VOICE (O.S.) --and I simply can't have dead bodies that might be linked to me. Miss Wilson gives Cameron a frightened look. KARIM'S VOICE (O.S) Then how do you suggest we dispose of him? HARBISON'S VOICE (O.S.) (exasperated) You'll be flying over open sea, won't you. Shove the fellow out, for heaven's sake! MISS WILSON Mr. Cameron, they're going to kill him. CAMERON (whip crack) I heard, Miss Wilson! (a beat) Probe Control to C.R. Grover, come in. Come in, Grover... RAMOS * You're not getting through, Sir! Cameron reacts. CAMERON * Kuroda, lock in on Grover's Scanner. We'll try to track him. 123. EXT. PLANE in flight over ocean. 124. INT. PLANE IN FLIGHT CLOSE SHOT C.R. DAY Snoring through his drugged sleep but growing restless as he nears the end of it. 125. WIDER ANGLE Now we see not only that C.R. is aboard a plane but that Zuhra sits beside him reading a magazine. She sees that he's about to waken and puts the magazine aside. C.R. opens his eyes. (CONTINUED) 48. 125 (Cont.) ZUHRA (smiling) Good morning. How do you feel? C.R. moves his eyes -- his head might roll off if he moved it -- and orients himself. C.R. Groggy... (beat) We're on a plane! ZUHRA Yes. We're going home -- my home. C.R. Back to Daddy? Zuhra loses her smile. ZUHRA No -- C.R. Oh -- that's right -- there's going to be a revolution. ZUHRA The people have to be freed. The promises they were made must be kept. My father must be deposed. C.R. To the barricades! (wincing, he sits up) What am I doing here? It's not my revolution -- I'm not even one of the people. ZUHRA Pierre had to bring you along -- for security. 126. INT. PROBE CONTROL DAY ZUHRA'S VOICE (O.S.) (continuing) It's only temporary -- CAMERON You might as well know the worst, Mr. Grover. Karim has no intentions of letting you live. 49. 127. INTERCUT C.R. reacts but not too broadly. He's quite cool -- the coward act is part of his bumbling masquerade. C.R. Are you sure? ZUHRA Of course. CAMERON He's going to drop you out of the plane -- unfortunately without a parachute. C.R. He's going to drop me out of the plane --! ZUHRA Oh no. Pierre wouldn't. He gave me his word -- you'll be free to leave as soon as the situation returns to normal. This satisfies C.R. that his situation is perilous. C.R. Baby, if you believe that, you'll believe anything. ZUHRA (stiffly) He gave me his promise -- C.R. Has he always kept his promises? (as she hesitates) How come he hasn't married you yet? She stares at him angrily, then suddenly whirls, flounces down the aisle. 128. ANOTHER ANGLE All of the people form the club room are aboard, now wearing sharp new uniforms with officer insignia. Most of them are mercenaries. Zuhra drops into an empty seat and broods. "PACKAGERS" 50. Revised 10/18/72 129. INT. PROBE CENTRAL DAY CAMERON That was unwise. The young lady may be your only ally. 130. INTERCUT C.R. turns his face to the window and shielding his mouth talks in a low voice. C.R. I thought you were on my side! CAMERON Mr. Grover, we've pinpointed your signal! You are somewhere over the Mediterranean Ocean at fifteen * thousand feet! There is not a great deal I can do for you at this moment. However... C.R. Come on! CAMERON If you can ascertain where you are headed, I mean your precise destination, and if you can manage to be still aboard at that time -- The Aide appears beside C.R. AIDE Colonel Karim wants to see you now. C.R. Colonel Karim? Given himself a battle promotion, has he? AIDE Up! C.R. follows the Aide along the aisle, toward what would be normally the lounge. He comes to Zuhra's seat and pauses. She stares at him, a speck of doubt gnawing at her. C.R. Goodbye, Zuhra -- She refuses to accept it and turns to look out of the window. C.R. exits into the other section. 51. 131. INT. PLANE LOUNGE DAY Karim wears a new uniform too with a Colonel's insignia. He has two or three members of his general staff with him for a drink to toast the revolution. Everybody -- except C.R. -- has an excitement high on. KARIM You've been a great disappointment to me, Mr. Grover. C.R. Me? How? KARIM I expected you to assure the people through your magazine that I was still alive, still their hope of freedom. But you never wrote the story of how I was nearly assassinated -- C.R. That was a set-up! One of your own people rolled that grenade! KARIM A specially prepared one -- mostly sound and fury. C.R. (admiringly) Clever! Hey -- look -- I'm sorry about that story but this is much bigger. I can't wait to cover it. Do you really thing the revolution will succeed? KARIM There's no doubt of it. Brigadier Harbison is a brilliant planner. A little icy for my tastes but a master strategist. (beat) But you, Mr. Grover? I know you don't work for World View. C.R. (wrily) I did until a second ago. KARIM I doubt you're even a Journalist. So what -- CIA or just a paid assassin of Sinjar's? (CONTINUED) 52. 131 (Cont.) C.R. You're all wrong, Lieutenant -- Captain -- Colonel -- I really am a reporter. You want proof? (whips out pencil and pad) Pencil. Pad. Ready for interview KARIM (furious) Get rid of him! C.R. is hauled out of his chair by two officers as the Aide goes to the door and begins to open it. C.R. struggles fiercely. He decks one of the officers, but he's outmanned. He turns to face a drawn gun. Then Zuhra enters. ZUHRA (appalled) Pierre -- no -- you can't -- you gave me your word -- Everybody freezes. KARIM Get back where you were, Zuhra. This doesn't concern you. ZUHRA Doesn't concern me? You're going to commit murder -- KARIM This is war -- he's the enemy. ZUHRA So is my father. Did you lie to me about him too? Or are you going to kill him? KARIM (sullenly) Exile -- I told you that. ZUHRA You also told me no harm would come to C.R. Pierre -- I saved you once. You owe me a life. Or have you lost your honor too? He looks at his fellow officers, then: (CONTINUED) 53. Revised 10/16/72 131 (Cont.1) Karim is on the spot and unable to see a way out he makes a gesture for C.R.'s release. KARIM Take him back. Watch him. C.R. and Zuhra exit quickly followed by the armed guard. KARIM (continuing) She'll win supporters for us... people will say what kind of man is the president when his own daughter turns against him... She's an asset to our cause... we'll take care of Mr. Grover, later. * 132. INT. PLANE DAY C.R. and Zuhra sit together, speak quietly. Guard hovers in b.g. ZUHRA C.R., I'm sorry -- C.R. Well at least we still have a few hours. ZUHRA A few hours? C.R. As soon as we land, he'll have us both killed. She reacts. * C.R. (continuing) Zuhra -- look -- look -- I don't suppose you know exactly where we'll be landing. ZUHRA No....the rebels will assemble at * a place somewhere beyond the Jebel Dakan -- (CONTINUED) 54. Revised 10/16/72 132 (Cont.) CAMERON (V.O.) (to team) Jebel Dakan?... Dig, Mr. Grover, dig. We need another reference. C.R. What's the Jebel Dakan? ZUHRA The mountains that lie south of the Kerma Desert. C.R. A desert... I guess there's lots of flat places in a desert for a plane to land, huh? * ZUHRA Well, there is one place where a plane might land... * C.R. Where...does it have name? * ZUHRA Oh yes. 133. EXT. AERIAL SHOT OF DESERT DAY ZUHRA'S VOICE (O.S.) * It's an oasis called Bir Salah. The Allies built an airstrip near there during World War II. It's been abandoned for years... 134. EXT. DESERT AIR STRIP DAY As lonely and dreary a place as can be found. A single run- way and minimum of buildings. The control tower is a joke. Huddled in whatever shade they can find is the wel- coming committee, dressed in fatigues. A few jeeps wait * nearby. SOUND OF PLANE 135. FULL SHOT PLANE losing altitude. "PACKAGERS" 55. Revised 10/19/72 136. MED FULL The men stir around and begin to fall in as an honor guard. They are all armed with carbines. At two strategic points machine guns are already set up but not identified as such yet because they are covered by tarps. SOUND OF PLANE INCREASES. 137. MED. FULL PLANE making its approach. 138. INT. COCKPIT DAY The crew is intent on their procedure. 139. EXT. AIR STRIP DAY TWO REBELS standing by a loading ramp. 140. MED. FULL The plane lands and rolls forward. 141. INT. PLANE (TAXIING) DAY The Mercenaries are preparing to deplane. Karim beckons curtly. 142. TWO SHOT Zuhra hangs on to C.R.'s hand for a moment, then raises and goes toward Karim. 143. EXT. AIR STRIP DAY The ramp is rolled into place. The Honor Guard has shaped up smartly. The plane door opens. The Mercenaries file out, come down the ramp, and form an aisle for Karim to make a MacArthurian return. 144. MED. SHOT GUNNER throwing off tarp to clear the mounted machine gun. 145. MED. SHOT GUNNER #2 The same. 146. MED SHOT PLANE DOOR Karim appears there, poses and holds a salute. It freezes there. The honor guards turn and point their weapons at the Mercenaries. The Mercenaries freeze, caught off guard. HONOR GUARD LEADER You're under arrest! Raise your hands! * 56. Revised 10/16/72 147. CLOSE SHOT KARIM Still hoding the salute but he senses he's landed into an ambush. KARIM (sotto) Zuhra -- come here. 148. EXT. AIRSHIP DAY * President Sinjar comes out of concealment. He calls out * to Karim: SINJAR You are surrounded by loyal government troops. Your position is hopeless. Surrender and avoid unnecesary bloodshed --! 149. CLOSE SHOT KARIM All doubts are gone. KARIM (sharp but low) Zuhra --! Zuhra steps out beside Karim. 150. CLOSE SHOT SINJAR reacting. 151. TWO SHOT Karim moves swiftly to put Zuhra between him and the troops. Then he retreats backwards into the plane, drawing his human shield with him. KARIM Take off --! 152. INT. PLANE C.R.'s guard has to move aside as Karim backs in past him. He stars stupidly until Karim pulls his side-arm. KARIM (screaming) Take off -- take off! It's a trap -- take off. (CONTINUED) 57. Revised 10/16/72 152 (Cont.) The guard dives for the cockpit to relay the order. Karim shoves Zuhra aside, into a seat near C.R. 153. EXT. AIR STRIP DAY The plane taxis away. Mercenaries start to scatter. There's a brief burst of machine gun fire. They stop. One of the * machine guns start to track the plane, but before it can fire. 154. CLOSE SHOT SINJAR SINJAR (shouting) Hold your fire -- don't shoot. My daughter's aboard - ! 155. MED. FULL PLANE It's picking up speed. 156. INT. PLANE DAY C.R. comes running up the aisle toward Karim who, in his blind fury, is loosing off a couple of rounds through the open door. C.R. drives into him. getting a good lock on the gun. They wrestle fiercely. 157. CLOSE SHOT ZUHRA She tries to get up and is knocked back against the seat by the struggling men. 158. TWO SHOT C.R. smashes Karim with three chopping rights beating him into submission. 159. CLOSE SHOT GUN held aloft by both hands. Then Karim's darker hued one grows limp and falls away. 160. WIDER ANGLE Armed now, C.R. jumps over Karim and into the cockpit. 58. 161. INT. COCKPIT DAY C.R. waves the gun. C.R. Hold it! As Pilot hesitates, C.R. fires a burst floorwards. C.R. Did I forget to say please? The Pilot throws him an agonized look and moves to stop the plane. 162. EXT. AIR STRIP DAY The plane runs off the end of the air strip and immediately the locked wheels set up a dust storm that almost conceals the plane. 163. INT. PLANE DAY The skid of the plane tumbles C.R. off his feet. 164. EXT. DESERT The dust begins to settle to reveal the plane canted at an eccentric angle. Nothing moves. 165. MED. FULL Army jeep is racing toward plane. Sinjar aboard 166. EXT. PLANE DAY For a second nothing moves. C.R. now appears in doorway with Zuhra as Sinjar leaves jeep with soldiers, C.R. hands her down. SINJAR Zuhra -- Zuhra runs to her father. They embrace fondly. CAMERON (V.O.) You all right, C.R.? C.R. Great.... (CONTINUED) 59. "THE PACKAGERS" Revised 10/19/72 166 (Cont.) He turns back, drags Karim into shot, pushes him down to waiting soldiers * CAMERON (V.O.) Grover... Sinjar asked us to produce Lieutenant Karim for him and I think we can justly say we have done so. 167. INTERCUT C.R. You can say more than that. CAMERON More? Oh -- well done, Mr. Grover. C.R. Take a week off, Mr. Grover, on the Rivera. With pay. CAMERON And what about General Harbison, Mr. Grover? Don't you think you should go back to Paris and talk to the Surete? C.R. (disappointed) I can always count on you, Mr. Cameron, can't I? CAMERON Always, Mr. Grover. C.R. reacts, then turns to see Zuhra and Sinjar looking * at him. Zuhra smiles at C.R. Her gratitude is evident. CAMERA PULLS BACK and AWAY as we FADE OUT: THE END