S E A R C H "Let Us Prey" Written by Don Balluck PROPERTY OF: Warner Bros. Television FINAL DRAFT 4000 Warner Boulevard Burbank, California 91505 September 26, 1972 ACT ONE FADE IN: 1 OMITTED lA INT. DARKROOM - CLOSE ON DEVELOPING TANK - NIGHT As the hands of the photographer remove the still wet print of a strikingly beautiful woman, we PULL BACK to REVEAL the photographer, a man named: JOE KITTERING. Bearded, his face looks satanic in the red glow of the darkroom. As he admires his handiwork: 1B INT. HALLWAY OUTSIDE STUDIO - NIGHT We are IN TIGHT on a gloved hand as with a lock pick, it probes the keyhole silently. On the CLICK of the lock turning, we PULL BACK enough to SEE the back of the INTRUDER as he opens the door and is silhouetted by the gleaming light of the main studio room beyond. As the man enters: 1C INT. DARKROOM - NIGHT Kittering switches off light to darkroom, enters main room, carrying picture. We do not see the Intruder, nor does he. 1D INT. STUDIO Kittering moves to a wire hanging across room on which various prints hang. As he starts to pin his latest work up: lE CLOSE ON GLOVED HAND OF INTRUDER screwing a silencer onto a pistol. 1F KITTERING The slight SOUND alerts him. He turns startled. 1G NEW ANGLE - OVER INTRUDER'S SHOULDER as he brings up gun, FIRES, the SOUND muffled. Kittering gasps, twists, goes face down on the floor. HOLD for half beat on him, then: 1H THE INTRUDER Back to us, he pulls open the top drawer in file cabinet, swiftly removes the one thick file it holds. As he turns hurriedly, the move so quick, all we get is the blur of the file sweeping PAST CAMERA: 2. lI CLOSE - THE PRINT OF THE BEAUTIFUL WOMAN as the Intruder's gloved hand reaches up, snatches it off the wire. SHOCK CUT TO: 2 & INT. PROBE CONTROL - ON MONITOR SCREEN - DAY 3 A still of the same beautiful woman we saw in the photog- raphers darkroom. CAMERON'S VOICE Annjeanette Maria Shanahan PULL BACK to reveal we are in Probe Control. NICK BIANCO watches the monitor in a jaundiced attitude while CAMERON narrates the briefing with his usual strange relish. As he does, fast series of stills on monitor featuring Anjeanette which appropriately reflect Cameron's following identifying remarks: CAMERON ... daughter of a Count and widow of former United States Ambassador Mark Shanahan, who died leaving her wealthier and more famous than ever -- a world figure, sought after by the very rich, very famous, very chic and... A film clip of Anjeanette and Bianco is now running on the monitor. They are dressed in formal attire, arriving at a gala function. Flashbulbs POP, and a cordoned-off crowd of onlookers strain forward to gawk. CAMERON ... other individuals. BIANCO (not amused) Oh, that's funny, Cam. A little of your own brand of comedy relief to spice up the briefing, right? CAMERON (flat) She's missing. BIANCO Missing? (CONTINUED) 3. 2 CONTINUED: & 3 CAMERON That is correct. Our heroine has been kidnapped. BIANCO (genuinely surprised) Who says? CAMERON An old customer of ours says... Freeze frame on screen of HENRI DANZIG. (Still) CAMERON Her fiancee... Henry Danzig, international jet-setter -- electronics genius -- super- industrialist -- tied for first with the five richest men in the world and... BIANCO (picking Cam's line right up) And as power mad as they come. CAMERON He isn't employing you, Mr. Bianco, to psychonalyze him. BIANCO Employing me? Cameron punches up a button CAMERON This was taped two hours ago... The still on the monitor un-freezes. DANZIG (on monitor) Mister Cameron, you have an agent at Probe Control. His name is Nick Bianco. He is to be assigned to the case. (CONTINUED) 4. 2 CONTINUED: (2) & 3 CAMERON'S VOICE (O.S.) Why him? DANZIG (on monitor) He knows Anjeanette personally -- her life-style, habits, friends, interests. She told me they were once involved... romantically... (a light laugh) I assure you, I am not a jealous man -- It is my belief that his knowledge of her can save us precious time. Is he assigned? CAMERON'S VOICE (O.S.) Nick Bianco is on the case. DANZIG (on monitor; relieved) Good. And for Bianco's information, we were to be married this week. Find her -- please, find her. The screen goes blank. Cameron turns to Bianco, who is looking clearly displeased. BIANCO I'm sorry, Cam. I don't want this case. CAMERON What's the matter, Bianco? Still in love with the widow Shanahan? BIANCO I never was. (at Cameron's look) Look, we met on a gambling ship -- maybe a year ago. It didn't last long. I'm not going into details, but Anjeanette's a pretty freaky woman. The sick world she moves in just turned me off. She'd never been dumped by a man before, so things ended on a pretty ugly note. Clear? (CONTINUED) 5. 2 CONTINUED: (3) & 3 CAMERON Perfectly. But the fact is, you are the best qualified for this case; therefore, you are on this case. Now, before we get on with it, is there anything else you want to tell me about your personal life? BIANCO (laughs) No, Doctor. He starts out. CAMERON Where are you going? BIANCO To visit the last person most likely to have seen Anjeanette.... CAMERON And that is? BIANCO Joe Kittering. The photographer who's been hounding her for the past two years. 4 EXT. STREET - DAY It's one of those soiled but still practical business neighborhoods popular with wholesalers, cheap department stores and porno movie houses. Bianco pulls his car to the curb and gets out. 5 OMITTED 6 SHOT OF DOOR It's shabby and chipped but with a nicely lettered sign: "JOE KITTERING, Photographer" 7 BIANCO - WIDER ANGLE as he ENTERS. 6. 8 INT. KITTERING'S STUDIO - DAY The light filters dimly through a single window as Bianco ENTERS, looks around, sees something, then takes scanner from pocket and magnetizes it to his ring as he continues looking at: 9 ENTRY TO DARKROOM - MAN'S BODY All we SEE of it are the feet sticking out the doorway. 10 NEW ANGLE & 11 Bianco steps to the body. BIANCO Cam! Do you copy? We INTERCUT to Probe Control through the following scenes: CAMERON (watching monitor) We copy, Bianco. What is it? BIANCO (turning body face up) Kittering. He's dead. 12 ANOTHER ANGLE Bianco rises, notices file cabinet with the top drawer half open, crosses to it. As we TIGHTEN SHOT, we SEE the name... "SHANAHAN" ... on the plate. CAMERON Well, she rated an entire filing cabinet. BIANCO It's empty. CAMERON Any others? Bianco opens and closes the other files. (CONTINUED) 7. 12 CONTINUED: BIANCO Routine shots... girls, boats, dogs... CAMERON Apparently he took some incriminating pictures. BIANCO That's how I read it -- but with the entire file gone, we can't know which ones. How many of his pictures of Anjeanette do we have? CAMERON Enough. BIANCO Analyze them. We might come up with something. I'll call Homicide. 13 INT. PROBE CONTROL - CLOSE ON MONITOR Stills of Anjeanette flashing on and off. LOVE'S VOICE (O.S.) Three photos with something in common. CAMERON'S VOICE (O.S.) Display, please. 14 FULL ON SCENE The last still remains on the monitor. Bianco stands watching with Cameron. 15 PREVIOUS SHOT The background of the photo is enlarged to show a cherubic young man, oddly sinister by the set of his mouth, and wearing sunglasses. The same process is repeated in other photos, as: CAMERON'S VOICE (O.S.) This man appears in the background of some of the photos. I.D. check... passports and licenses. LOVE'S VOICE (O.S.) I.D. search, please. 8. 16 & ANGLE FAVORING BIANCO 17 staring grimly at the monitor. BIANCO (interrupts) Hold the I.D. search. CAMERON You know him? BIANCO His name is Klaus Richter. Accused killer, never indicted, the New York Police and Interpol can fill you in. He works as a bodyguard. CAMERON Bodyguard? For whom...? BIANCO Jorge Alvarez. CAMERON (recognition) Alvarez. Yes. He's in Danzig's file. Keach, run please? She punches a button. A photo appears on the screen. Identified as Alvarez, Jorge. #1 NARRATOR Alvarez, Jorge, President of Alvarez International, Mexico City. Business competitor of Danzig Industries. Alvarez once was in partnership with Danzig. His public statements concerning him clearly reflect a deep hositility. The screen goes blank, as: CAMERON Well, there's the link-up. BIANCO All I know is if Klaus Richter's involved, Anjeanette's got a bad problem... I'll catch the next flight to Mexico City. I've got contacts there. 9. 18 EXT. SHOT OF JETLINER - MEXICO CITY - DAY The wheels fold out for a landing. 19 OMITTED 20 EXT. BULLFIGHT ARENA - MEXICO CITY - DAY The crowd is going wild. 21 ANGLE TO ARENA Bullfight in progress. 22 ANGLE AT RAMP AREA FUENTES, a huge, unwashed but prosperous-looking promoter scowls. BIANCO'S VOICE (O.S.) Hello, Fuentes. 23 ANOTHER ANGLE TO INCLUDE BIANCO Fuentes glares at Bianco, clearly displeaseed. FUENTES Trouble comes in pairs: First a bull made of concrete, now you. What do you want, Bianco? BIANCO Two minutes. FUENTES I'm busy. BIANCO Be busy later. Something in the way Bianco says this intimidates Fuentes. Bianco removes a snapshot of Anjeanette, shows it to him. BIANCO Know her? 24 CLOSE ON PHOTO of Anjeanette. FUENTES' VOICE (O.S.) Of course I know her. You got to be deaf, dumb and blind not to know her. (CONTINUED) 24 CON TINUED: CAMERA PULLS BACK to scene. BIANCO She's missing. A Jorge Alvarez may be responsible. 25 MED. SHOT ON SCENE FUENTES (suspicious) So? BIANCO So I want to find out. FUENTES And how much is such information worth? BIANCO I have enough filed to put you away for twenty years, my friend. Your value as an informer is the only reason you're a free man now. Do you want to lose that freedom? FUENTES It's dangerous... BIANCO You prefer prison? FUENTES All right -- all right, I'll do it. I don't know how, but I'll do it. BIANCO I really appreciate your cooperation. FUENTES Meet me at the Cafe Madrid, Cuernevaca... Four o'clock. BIANCO I'll be there. 26 EXT. CUERNEVACA STREET - ESTABLISHING - DAY A moderately busy section. 11. 27 ANGLE TO CAFE MADRID Bianco sits at an outdoor table chatting with LIEUTENANT RODRIGO, a well-dressed, plainclothesman of fifty who stands next to the table. Bianco has a drink in front of him. RODRIGO (smiling) A pleasure trip, eh? BIANCO You don't believe me do you, Lieutenant? RODRIGO I believe you -- but to Nick Bianco, business is also pleasure... Good hunting. BIANCO Thanks. Rodrigo moves off. Bianco sips his drink, then smiles at two passing GIRLS. The Girls move on. Bianco continues to sip his drink. Fuentes suddenly shows up, looking rattled, and sits across from him. FUENTES I saw you talking to the police. BIANCO You were spying on me. I don't like that. FUENTES What did you tell him. BIANCO All about you... He's ready to drop on you if you let me down. Now... what did you find out? FUENTES I... He hesitates, looks down nervously at the table. BIANCO Well? (CONTINUED) 12. 27 CONTINUED: FUENTES Bianco, what would it take to get you on a plane and forget this whole thing? Name the amount. BIANCO A bribe? (with an edge) Didn't I ever tell you how I feel about people who try to buy me? They get me very upset. FUENTES (a beat; then) A woman of her description is at the Estate of Jorge Alvarez -- under heavy guard. BIANCO That better be the truth. FUENTES Alvarez is a powerful man. If he ever found out I talked... BIANCO He won't. Your part of the job is over. Go someplace and get drunk. FUENTES I swear, Bianco, if something happens to me because of this -- you did it. Fuentes gets up and walks away. Bianco studies him a moment, then drops a bill on the table, stands and starts away. SOUND of screeching tires. He looks around at: 28 A GLEAMING MERCEDES Two MEN are dragging Fuentes, SCREAMING in terror, inside the car. It ROARS off. Before it rounds a corner, a SHOT is heard and Fuentes' screams are stilled. 29 & ON BIANCO 30 He stares grimly, remembering the man's parting words, while a few onlookers buzz in excitement. INTERCUT Cameron, the monitor blank. (CONTINUED) 13. 29 CONTINUED: & 30 CAMERON Bianco! What happened? BIANCO (a beat) I just killed a man. FREEZE SEARCH OPTICAL END OF ACT ONE 14. ACT TWO FADE IN: 31 EXT. SUBURBAN ROAD - NIGHT A car approaches, pulls off the road and stops. The head- lights are extinguished. 32 & OMITTED 33 34 EXT. CAR - NIGHT Bianco gets out, magnetizes scanner to medallion, puts on a pair of short, thick gloves and starts back up the road. 35 EXT. WALL OF ALVAREZ ESTATE - TO INTERCUT WITH PROBE CONTROL - NIGHT Bianco moves quickly into the shadows and checks around. BIANCO Bianco, here. Do you copy, Cam? CAMERON Copy. Where are you? BIANCO Outside the Alvarez estate. Bianco takes a small case from his belt, presses a button and flips his arm up in a throwing gesture. We HEAR a faint whirr as... 36 ANGLE UP TO RAISED SECTION OF WALL ... the weighted end of the wire flips around it and holds. 37 PREVIOUS SHOT Wrapping the wire around one hand, he gives it a test yank. It holds. Now, he starts pulling himself up the wall, each grip of the wire done with a wrap-around motion. 38 TOP OF WALL Bianco pulls himself up and quickly rewinds the wire back into the case as he stares off at: 39 SHOT OF HOUSE - FOR PROBE SCREEN It's big and ornate with only one upstairs window lit. 15. 40 PREVIOUS SHOT Bianco crouches into the shadow as he looks down at: 41 GUARD He's armed with a rifle, looks sleepy and bored. The man stops in the light a moment, looks around, then continues on into the shadows. CAMERA FOLLOWS as Bianco lets himself over the other side of the wall and falls softly to the ground. Quickly and silently, he moves from shadow to shadow toward the house. 42 AT FRENCH DOORS Bianco tests them. They are locked. He takes out a small magnetic device and presses it against the lock. A faint hum is heard and he turns it. The bolt slips open and he pushes the doors slightly inward. BIANCO Entering the house now. CAMERON We copy. Bianco quickly replaces the magnetic device and pushes the doors open. He starts to enter. 43 INT. PROBE CONTROL - SCANNER POV ON SCREEN Cameron watches as the darkened room comes near. Gradually the screen snows over and the sound is replaced by a static HISS. KURODA Right light... Scanner malfunctioning. CAMERON (turning to the technicians) What's going on? KURODA Some kind of interference. Signal badly broken. CAMERON Recheck all circuits! (turning up gain) Probe Control to Omega Probe... Do you copy? Bianco! 16. 44 INT. ALVAREZ HOUSE - NIGHT Bianco moves through the darkened room carefully, unaware that anything has gone wrong. BIANCO (softly) I don't get it... the place seems deserted. He continues on, then stops, having expected some in- structions or remark from Cameron. BIANCO Cameron? (waits, nothing) Cameron... You there?! Suddenly, the lights FLASH on. Bianco whirls. 45 FULL SHOT - THE ROOM He faces three men, one of them KLAUS RICHTER we recognize from the photos -- and another, to Bianco's astonishment, Fuentes, who chuckles with malevolent relish. RICHTER Good evening, Mister Bianco. Permit me to introduce myself. BIANCO (stares -- knowing he's been had) No need, Mr. Richter. FUENTES (laughs, mocking) You felt sorry for me, huh, Nick? Well, now I'll cry for you. BIANCO (to Richter) Where's Anjeanette? ANJEANETTE'S VOICE (O.S.) ... here. 46 NEW ANGLE He turns to a smiling Anjeanette. At her side, HENRI DANZIG. (CONTINUED) 17. 46 CONTINUED: DANZIG Welcome. ANJEANETTE (admiringly, to Danzig) It took him almost no time at all. A couple of Guards, guns at ready, move in. Danzig now gestures to Fuentes and the other goon. The move in on Bianco and grip him from behind. Richter picks up a hypo- dermic syringe which he plunges into Bianco's arm. Bianco stares in bewilderment. 47 BIANCO'S POV - ANJEANETTE AND DANZIG They look on, Anjeanette still smiling and Danzig with an almost polite interest as slowly the SHOT BLURRS out. 48 INT. PROBE CONTROL Audio-visual conditions remain as before with the screen snowed over the sound of a steady hiss. Cameron intently jots equations on a pad. Kuroda looks over to him. KURODA Linkage to comsat Satellite clear. CAMERON Did you check microwave relay at La Paz? KURODA All channels wide open. CAMERON By-pass La Paz and re-route the signal. We've got to get through to him. His look sets the technician hustling. 49 INT. ALVAREZ HOUSE - NIGHT We are in a small, sterile operating room. Bianco is stretched out on a table, unconscious, while a SURGEON works on him. 50 NEW ANGLE Danzig moves to the operating table. (CONTINUED) 18. 50 CONTINUED: Anjeanette, drink in hand, watches from near a connecting door. Surgeon turns, gives something to Danzig. DANZIG Excellent... (examines object) Admirable how small they made this audio implant. He starts for the next room, nodding to Anjeanette: DANZIG Will you join me? 51 INT. STUDY - NIGHT Danzig ENTERS, followed by Anjeanette, and heads directly to a small work table on which are laid out tools and a microscope of special design. Anjeanette heads to a bar in the corner. 52 AT WORK TABLE Danzig places the receiver. on a small, sterilized pad. Next to it, on the table itself, is Bianco's scanner. DANZIG It shouldn't take long to recircuit this receiver. Then we'll replace it. 53 ANOTHER ANGLE - TO INCLUDE ANJEANETTE IN B.G. She replenishes her drink, as: ANJEANETTE Honestly, darling, I really never believed you were this serious. She moves over to him as Danzig laughs in rich apprecia- tion. He has pried open the receiver and is locking it under the microscope. DANZIG A challenge like this is worth taking seriously. He finishes locking in the receiver. 19. 54 INT. PROBE CONTROL Audio-visual conditions as before. KURODA Signal re-routed. CAMERON Switch on. Kuroda presses a switch. A BLIP on the screen together with an accompanying interruption of sound, then both return as before. Cameron stares, thwarted. Pulse tones. Static. CAMERON Are we up to full power? KURODA Yes, sir. And no reports of electrical storms in the area. CAMERON Then I don't think there can be any doubt. We're being stopped by a jamming device. 55 INTERCUT Danzig smashing the scanner with a small hammer and the picture contact goes completely out. KURODA Red light. Scanner completely out. CAMERON What about audio? KURODA No response. CAMERON We've got to keep trying... He stands there grimly. 56 EXT. LEAR JET - DAY It streaks across a blue sky. DISSOLVE TO: 57 EXT. AIRSTRIP - DAY The jet touches down. DISSOLVE TO: 20. 58 OMITTED & 59 59A EXT. BOAT LANDING - DAY A speedboat noses in to a private landing. A husky BOATMAN catches the line from the CREWMAN and makes it fast. Anjeanette, Danzig and Richter stand there, watching as two MEN carry a stretcher and we see that it holds Bianco, head bandaged. He is unconscious. As the stretcher passes, we hear Anjeanette LAUGHING. The thin, metallic voice of Danzig joins in: DANZIG'S VOICE (O.S.) Mister Bianco... you do hear me, don't you? The drug has worn off so I think it time you woke up and joined us. Through the above, we slowly CROSS-DISSOLVE into SHOT of: 60 EXT. TERRACE - CLOSE ON BIANCO - DAY Anjeanette's LAUGHTER continues O.S. as his eyelids work to open. DANZIG'S VOICE (O.S.) Come on, now. You've had enough rest. Bianco's eyes snap open, blink to focus. 61 POV ANJEANETTE - BLURRED She gradually comes INTO FOCUS, perched on the edge of a nearby chair, chin resting on one palm, the other hand holding a glass of champagne. She smiles delightedly: ANJEANETTE Good morning, lover. 62 FULL ON SCENE We now see that Bianco is stretched out on a chaise. It is a luxurious terrace with a spectacular view of the ocean in the background. As he stares in confusion at Anjeanette: DANZIG'S VOICE (O.S.) That's better. How do you feel? BIANCO What...? (CONTINUED) 21. 62 CONTINUED: Suddenly realizing where the voice is coming from, he puts his hand up below his ear. 62A NEW ANGLE To show the implant area bandaged. ANJEANETTE That's right. Now, don't ask questions. Not yet. BIANCO (indicating her glass) Isn't it a little early for that? Even for you? ANJEANETTE A little champagne breakfast to welcome you. Come inside and meet our host. She helps him stand. He wavers a moment. She leads him to the door into the house. 63 INT. ROOM - DAY It is massive and lavishly furnished. Danzig waits near a bank of computer consoles, complete with television monitor, as Bianco enters with Anjeanette and looks questioningly around. Richter sits nearby, a gun on the table next to him. DANZIG (enthusiastic) Good morning! Bianco stares down at a serving tray at one end of a coffee table. BIANCO Is that coffee? DANZIG By all means, help yourself. Bianco pours a cup and takes a healthy gulp. Still dizzy, he sinks down onto the sofa, puts the cup back. BIANCO Coffee... champagne, computers. (CONTINUED) 22. 63 CONTINUED: DANZIG As guest of honor, you're entitled to an explanation. BIANCO 'Guest of Honor?' DANZIG Or should I say 'dishonor?' BIANCO Whatever's fair. DANZIG (sarcastically) I forgot your sense of fairness. Although you never knew it when you were still with the crime commission, your investigation of one of my secret subsidiaries cost me millions. BIANCO (dryly) I can see how that would annoy you. DANZIG Annoy. That's a small word, and I am never small. So when Anjeanette came to me with the story of how badly you'd treated her -- how hurt and humiliated she was... BIANCO Wait a minute. 'Hurt and humiliated?' (to Anjeanette) Because I told you 'no?' Before she can frame an answer, he turns back to Danzig: BIANCO You're not telling me that's why I'm here? DANZIG What Anjeanette wants... Anjeanette gets... (a gesture) So... here you are. (CONTINUED) 23. 63 CONTINUED: (2) BIANCO Which is where? DANZIG Come. I'll show you. He moves to a wall with a map on it. Richter motions Bianco to follow. Anjeanette, joins them. ANJEANETTE I really was very angry at you, Nick. Henri understands that... and he is willing to do whatever is needed to make me feel better. Bianco ignores her. Danzig gestures proudly to the map. DANZIG This is my personal domain. I decided some time ago that the world was growing too unstable not to have a retreat. A place of maximum security. We see that the island is small and not unlike the one used in Antonioni's "L'avventura," high rock cliffs and a stark landscape. The estate is at one extreme end at the highest point. At the opposite end, a boat landing and between, remnants of a village. Evenly spaced about the island are many circled x's. DANZIG So I bought my own island and relocated the small population. The boat landing at the far end of the island is the only access. BIANCO (points to x's) What are these? DANZIG Closed circuit television cameras. The entire island can be kept under surveillance. My estate here is impregnable. The entire island is mined... But the explosives cannot go off unless activated by... (moves over to the console). ... this switch. So, you see... (MORE) (CONTINUED) 24. 63 CONTINUED: (3) DANZIG (CONT'D) ... until there is an emergency... some kind of threat from the outside world... my guests and I are free to live in comfort... and move about without danger. BIANCO And everything, from Anjie's fake kidnapping on, was just a trick to take me prisoner. DANZIG Of course, your friend Fuentes, coming into the picture was an added bonus. His tragic 'assasination' virtually assured you would walk into the trap. ANJEANETTE I admit, it's all been a bit cruel, but quite imaginative, don't you think? BIANCO (hard) Yeah -- especially the murder. I didn't know your sense of humor went that far, Anjie. ANJEANETTE (thrown) Murder? What murder? BIANCO Your shadow, the photographer -- Joe Kittering? ANJEANETTE He was murdered? (questioningly, to Danzig) Henri? DANZIG (shrugs) An oversight. Klaus got carried away. Besides, the man was a pest. You should be glad to be rid of him. (CONTINUED) 25. 63 CONTINUED: (4) BIANCO You'll do anything to make Anjeanette happy... won't you, Henri? DANZIG I do what is necessary! You see, Anjeanette and I have grown very close. I doubt if you can realize how very, very tired I've become of hearing your name -- You loom like a ghost between us ... and the ghost had to be exorcised -- discredited totally. BIANCO And have I been? DANZIG Not entirely... ANJEANETTE Henri... DANZIG You must let me continue -- There are certain women who can feel only two things for a man: awe or contempt. Anjeanette is one of them. ANJEANETTE I never realized I could be summed up so easily. DANZIG You are complicated in other ways, but in this, you are not. (to Bianco again) When a man rejects such a woman, he only inspires more awe in her, not less. Simply killing you would never do. She must see for herself that you are nothing. BIANCO Well... nobody's perfect. ANJEANETTE Henri... This has gone far enough. (CONTINUED) 26. 63 CONTINUED: (5) DANZIG No ... it has not! (to Bianco) I want you to understand your situation. I want you to think about it. You are controlled by me alone and there is no escape. BIANCO You're God? DANZIG On this Island, I am. Just before sundown, I will let Klaus dispose of you -- unless you yourself prevent it. BIANCO Prevent it? How? DANZIG You will beg -- for your life. BIANCO I have the feeling I could never be convincing enough. DANZIG Perhaps, but you will try -- very hard. ANJEANETTE Nick, give him what he wants, if it means your life. BIANCO That might give you too much pleasure. After all, that's what you live for. ANJEANETTE Please, Nick... BIANCO Oh? Now he's got you frightened. Your pet shark's out of hand. But what do you care? You're just an innocent bystander... playing your spoiled, rotten games. (MORE) (CONTINUED) 27. 63 CONTINUED: (6) BIANCO (CONT'D) Don't worry, Anjie... if he succeeds, it'll be the biggest turn on of your whole empty life. ANJEANETTE (flaring) You rotten... She hurls the glass. It misses and crashes against the wall, sending splinters showering against Richter, who is distracted long enough for Bianco to race for and leap through an open window. 64 EXT. ESTATE - DAY Bianco runs for the safety of a large rock at the edge of the wilderness area. 65 INT. ROOM - DAY Richter cocks the gun, aims at the fleeing Bianco through the window. Danzig places a hand on his arm, restraining him. Richter stares in surprise. DANZIG He has no place to go. He walks to the console and punches up the picture on the monitor. He pans the camera until a shot of Bianco comes on. 66 EXT. WILDERNESS AREA - DAY Bianco looks around him, as: DANZIG'S VOICE (O.S.) You're free to run, Mister Bianco, the mines are not activated, yet. Perhaps you can escape. Perhaps you can reach the other end of the island and swim to safety. And, by the way, I've modified your audio implant receiver so that we can have a two-way conversation. Is there something you'd like to say? BIANCO Yeah, Danzig: I know a nice doctor who can help you. Bianco moves off. 28. 67 INT. ROOM Danzig angrily turns to Anjeanette, seated on the couch and staring into space. DANZIG Are you all right? She is stung. ANJEANETTE He shouldn't have said that to me. DANZIG (smiles) No, that was not a nice thing to say. He takes a small pocket two-way radio unit from the top of the console, hands it to Richter. DANZIG (to Richter) Go after him. I'll stay in touch. But don't kill him until I give the order. Richter nods and goes out. FREEZE SEARCH OPTICAL END OF ACT TWO 29. ACT THREE FADE IN: 68 EXT. WILDERNESS AREA - ON DANZIG'S MONITOR - DAY TV CAMERA POV Bianco moves quickly along, carefully noting traces here and there of the traps: trip wires and the slightly pro- truding areas in the soil indicating land mines. At one of these last, he gingerly scrapes the soil away to expose the detonation cap. DANZIG'S VOICE (O.S.) Don't worry. They are not activated -- yet, Bianco stands, looks up at: 69 CAMERA ON POLE It is angled down on him. 70 ON BIANCO He moves off again. 71 PREVIOUS SHOT The camera follows his movement. 72 LONG SHOT OF BIANCO - RICHTER IN F.G. Richter, radio hooked onto belt, watches a moment, starts forward. 73 INT. PROBE CONTROL - CLOSE ON CAMERON CAMERON Visual contact was abruptly cut off, but I can't conceive of what happened to his audio implant. Telemetry indicates it's still functioning. 74 NEW ANGLE - TO INCLUDE STAFF KURODA Then why can't we reach Bianco? CAMERON Because something's happened to his audio implant. It might even have been recircuited. Search all possible radio frequencies. 30. 75 EXT. VILLAGE - DOWN SHOT - DAY Only a few rotted structures stand along the one dirt street. Bianco walks down the middle of the street, looks up at: 76 DISTANT CAMERA POLE The camera slowly angles, following him. 77 INT. ESTATE - DAY Danzig turns from the monitor as Anjeanette enters the room. She appears sober now -- and withdrawn. DANZIG Feeling better? ANJEANETTE No. DANZIG I'm sorry to hear that. ANJEANETTE Henri -- What do I say to you to stop this -- before you kill another innocent man? DANZIG Stop hiding behing that "humanitarian" role. You want his life spared because you're still in love with him. ANJEANETTE I never said I was in love with Nick. You did. DANZIG I know what goes on in your mind. ANJEANETTE But at least give him a chance'. DANZIG A chance for what? ANJEANETTE (angry) His life! DANZIG He knows the terms. 31. 78 EXT. FOREBODING ROCKY AREA - DAY Bianco makes his way through eerie setting, stops, stares ahead at: 79 LONG SHOT - ISLAND COAST The ocean stretching beyond. 80 PREVIOUS SHOT Bianco moves forward again at a run. 81 ON RICHTER He watches from a distant point. 82 FENCE LINE - ISLAND COAST Bianco approaches, studies the fence, being careful not to touch it. He takes off his watch, holds it directly over a small prong of the chain-link and drops it so that it hooks on. Nothing. Satisfied, he puts the watch back on, then vaults over the top. 83 NEW ANGLE He looks down the sloping incline to the base of the island. There are a few narrow sand beaches and the flotsam of previous sea disasters. He starts down. 84 INT. PROBE CONTROL The staff works intently. CAMERON Still no information on Alvarez? CARLOS Negative. He can't be located. Except for a caretaker, his house is closed up. CAMERON Yet we know Bianco was there. (half beat, then) We'd better start learning more about Mr. Alvarez and quickly. 85 EXT. ROCKY SHORE Bianco works with odd pieces of wood and rope, just com- pleting a crude craft. (CONTINUED) 32. 85 CONTINUED: He stands, looking doubtfully at his creation. An amused CHUCKLE from Danzig, then: DANZIG'S VOICE (O.S.) Bravo! Most inventive. But futile. You're not going anywhere, Mister Bianco. 85A HIS POV - TV CAMERA above him on a pole, focused on him mockingly. 95B PREVIOUS SHOT DANZIG'S VOICE (O.S.) You'll never get beyond the surf. Bianco stares out. 85C HIS POV - THE SURF It's rolling in at mid-tide, mild swells that lazily roll toward the beach. 85D CLOSE - BIANCO puzzled. There seems no great difficulty to getting beyond the swells. 85E FULL SHOT Shrugging off his lingering doubt, Bianco grabs the rope and starts hauling the raft into the water. 85F INT. ESTATE - DAY Danzig watches the monitor with obvious enjoyment as Bianco pushes off into the ocean, towing the raft behind him. Anjeanette paces nervously, glancing over at the monitor. 85G EXT. ROCKY SHORE Bianco wades out past the surf. Then, climbing on the raft like it is a surfboard, he begins to paddle out toward deeper water. In b.g., we HEAR faintly over the surf the SOUND of a high-speed motorboat. 85H NEW ANGLE Bianco paddling. Suddenly, he hears the roar of the motor boat, looks off. 33. 85I THE HIGH-SPEED BOAT Richter at the controls. The boar ROARS toward Bianco. 85J HIGH ANGLE - BOAT AND BIANCO The boat hurtling toward him at right angles. 85K BIANCO'S POV The boat speeds by him in a blur, its.wake slashing into Bianco's face. 85L ANOTHER ANGLE Bianco's raft capsizes, the boat speeds on 85M WIDE ANGLE For a second, Bianco disappears under water, then resur- facing, he looks after the boat, gulps for air, reluctantly turns, starts to swim for shore. 85N LONG SHOT The boat disappears around the curve of the island. 86 OMITTED 87 BIANCO reaches the beach, stands, gasping. Danzig's laughter comes through. DANZIG'S VOICE (O.S.) Well, are we through with your little maneuvers? Are you convinced? BIANCO What do you want? DANZIG'S VOICE (O.S.) I want you to crawl... like an animal. You have a few minutes before I activate the mines. When you decide to comply, they will be deactivated for exactly fifteen minutes. Not very long for you to make it back here, so you'd have to hurry. BIANCO If I do as you say... I have your word I'll go free? 34. 88 & INT. DANZIG ESTATE - DAY 89 Danzig stands by the console. Bianco's picture is on the screen. Anjeanette watches. DANZIG Anjeanette feels I am being unfair, so I am going to give you an additional chance. If you can survive Mister Richter and the traps, you may also leave a free man. My word on this is given not to you, but to Anjeanette. BIANCO (on monitor; the anger starting to burn) I'm not playing, Danzig, so you'd better hope I don't make it back. DANZIG (laughs) You threaten me? Don't you remember I control you? Danzig turns up a gain dial. We HEAR a piercing SCREECH. 89A EXT. ROCKY SHORE - DAY Bianco claps his hand over his ears, doubling up in agony as the SCREECH continues. Abruptly, it stops. DANZIG'S VOICE (O.S.) Excruciatingly painful, isn't it? as Bianco sags in relief. 89B INT. ESTATE - CLOSE ON DANZIG - DAY We are in a TIGHT SHOT showing only Danzig and the monitor with Bianco. DANZIG I think we can get on with it now. 89C INSERT SHOT - ACTIVATOR SWITCH Danzig's hand switches it to the "ON" position. 35. 89D PREVIOUS SHOT DANZIG The mines are activated. And by the way, the fence above you is now electrified. Be careful of it. 89E NEW ANGLE Danzig turns from the console, sees Anjeanette off to the side, pouring herself another drink. DANZIG (sharply) Anjeanette...! ANJEANETTE (turning to him, mockingly) Whatever Anjeanette wants -- she gets and right now she wants a drink. DANZIG (rising, moving to her; challenging) The game's begun to bore you. ANJEANETTE (moving away; gulps from drink) In the end, everything bores me... You know that, Henri... DANZIG You'd like to hurt me ... Make me fear I'll lose you if I don't just release him -- put him safely back on a plane to the States... ANJEANETTE (whirls) You have me... all right?! He stares disbelieving. ANJEANETTE I've even been forced to accept, God help me, your having had Kittering murdered... (MORE) (CONTINUED) 36. 89E CONTINUED: ANJEANETTE (CONT'D) (crossing back to bottle; quieter) Henri... let's just forget all this... call it off... (pours drink; turns, pleads) You know what I'd like... to get on the yacht... sail and just keep sailing... away from this nightmare... DANZIG (coldly) All Bianco has to do is make it back here alive... and... ANJEANETTE (cuts in; sarcastic) I know you gave me your word... (at his stare; pleads) Give it to me again, Henri... Make me believe you'll keep your end of the bargain... That once he makes it back here... you'll set him free... A long beat as Danzig stares, contemplating. Then, smoothly: DANZIG Have I ever broken my word to you...? (as she studies him; softly) Have I...? A beat as she stares at him in indecision. Then, as she gulps her drink in desperation, trying to drown out her doubts. CUT TO: 90 & EXT. FENCE LINE - ISLAND COAST 90A Bianco finishes scooping out a portion of the hard, rocky ground under the fence and throws away the flat rock he'd been working with. (CONTINUED) 37. 90A CONTINUED: Carefully, he starts crawling under on his back. A button on his shirt makes contact and there is a CRACKLE of current. Bianco freezes as he flattens out of contact, then resumes the painstaking process. As he makes it through: INTERCUT DANZIG WATCHING THE ACTION ABOVE ON MONITOR AS DESIRED. DANZIG'S VOICE (O.S.) Good work... But I would advise you the rest of the journey will not be so easy. Bianco moves off, carefully checking the ground. 91 & SERIES OF SHOTS - DAY 92 Bianco moving across the island to the village ruins, routing himself carefully around suspected areas. INTER- CUT SHOTS of Richter following, but we only SEE a portion of his face or body, with Bianco moving on in the b.g., giving Richter the character of a spectre as he tracks his prey. 93 EXT. VILLAGE RUINS - DAY Bianco starts past. BULLETS spatter around his feet and he presses against a wall, then slips over to a stairway. Another SHOT slams into the stone facing not an inch from him. He drops lower and continues up. 94 CLOSER Bianco pauses, then moves carefully up a couple more steps and examines a thin trip wire leading to a partially con- cealed explosive charge. Carefully, he steps over it and continues up. 95 EXT. UPPER LANDING - DAY He moves across, keeping low. Bianco pauses. Another wire this one waist-high, glints directly in front of him. It is quite long, stretching across the entire deck. DANZIG'S VOICE (O.S.) Bianco, you've trapped yourself. There's no other way down. You'll have to go back. (CONTINUED) 38. 95 CONTINUED: An idea comes to Bianco. He quickly traces the wire to a concealed explosive charge in the wall, bends to study it, then turns to look for something on the stone floor. He sees something and bends to pick up a small scrap of metal. Bianco presses the metal against the wall to straighten it, then bends under the explosive charge and gingerly inserts the metal into a screw. With utmost con- centration, he starts turning it. 96 ON RICHTER He moves to the edge of a wall and waits, looking across at the steps. 97 BACK TO BIANCO He gets the screw out and slowly withdraws the primer. He sets it aside, grips the wire and snaps it free. Now he yanks the other end free and coils it around one hand as he moves back to the steps. Crouching, he slips to the edge of the parapet and takes a quick look down. 98 BIANCO'S POV - RICHTER waiting next to the wall. 99 & PREVIOUS SHOT 100 Bianco starts down the steps. We note that the steps are set inside a low form, which makes it possible for Bianco to get cover by almost having to lie across the steps. He therefore takes them several at a time, crouching, then flattening down across them. INTERCUTTING Danzig, we also SEE that Bianco is out of his view as well when he does this. Bianco has made several moves down the stairs, but on the next, several SHOTS spatter as he flattens, then realizes he's been hit -- or rather, grazed on one arm. It isn't serious, but he remains flattened. DANZIG Mister Richter is an expert marksman. He's only amusing himself so far. Bianco starts inching down the steps, as: BIANCO I'm impressed. By the way, what keeps him from getting blown apart? (CONTINUED) 39. 100 CONTINUED: DANZIG Careful training. He knows exactly the right places to avoid. Bianco's feet are near the step trip wire he encountered earlier. He painstakingly works to move over the top of it without raising himself as a target. This, as: BIANCO Maybe he'll make a mistake. DANZIG I'd put that possibility out of my mind if I were you. BIANCO Yeah, I guess you're right. He has finished raising himself completely past the trip wire and quickly goes to work with the improvised screw- driver. Now he snaps the wire and starts splicing the longer length on it so that the charge is, in effect, at the far end of it. As he works, he calls out: BIANCO Richter! I'm hurt and I want to make a deal! Can we make a deal, Richter? No answer as Bianco continues working quickly. He's com- pleted the splicing. Now he picks up the primer. He puts it in position and inserts it. Sagging in relief, he's not been blown apart, he begins fastening it into place with the screw. BIANCO Richter, can you hear me? He finishes getting the screw in place and carefully picks up the charge. BIANCO Give me a chance! Bianco raises himself slightly. Immediately, BULLETS SPATTER and he hugs low again. BIANCO That's a good answer! Here's mine! Catch! He hurls the charge at the wall. The wire curls out. 40. 101 ON RICHTER He looks up, startled, and starts to duck behind the wall. 102 INSERT SHOT Wire at base of steps snaps. 103 PREVIOUS SHOT The charge EXPLODES. Richter is driven to the ground beneath an avalanche of collapsing rubble. 104 ON BIANCO He moves quickly down the steps and away. Danzig's voice comes over, his surprise and anger firmly controlled, as: DANZIG'S VOICE (O.S.) Up to now, you have been given a chance... BIANCO I appreciate all you've done for me. (Let's bear in mind that the above seeming flip remark and others like it serve only Bianco's determination to give Danzig nothing. They are, if anything, in counterpoint to what we see of a man striving to survive but being worn down nevertheless. This is a war of skill and guts for all concerned and the psychological reality of this will be maintained to the maximum.) DANZIG'S VOICE (O.S.) Yes, I'm sure of that. But bear in mind that as you get closer, the mines become thicker -- and a bit more unexpected. Bianco moves on. 105 EXT. VILLAGE - DAY Bianco hesitates as he comes to a deserted street. Seeing an old donkey cart leaning against a wall, he pushes it into the street. Several EXPLOSIONS as it is shattered apart. Keeping close to a wall, he starts between two structures, CAMERA FOLLOWING, and to the rear. Keeping to the back area, he continues on. 41. 106 EXT. EDGE OF VILLAGE - DAY He pauses, staring at an area that looks suspicious. Pick- ing up a rock, he throws it. Nothing. Picks up another and throws it a few feet from the first. EXPLOSION. He starts making a wide detour around. 107 EXT. SPARSELY WOODED AREA - DAY As he moves through, Bianco reaches out to part a limb obstructing his path and is violently jolted by an electri- cal charge which hurls him to the ground. Dazed, he stares up at a fine mesh screen concealed behind the limb, which is now starting to burn. 108 INT. DANZIG ESTATE - DAY Anjeanette watches the screen in horror as Bianco slowly picks himself up. ANJEANETTE You're never going to stop this, are you? DANZIG I believe we've already settled that. ANJEANETTE You were right about how I can only feel two things for a man, because what I feel for you right now is complete contempt! DANZIG And for him? ANJEANETTE I don't think I've ever admired a man more in my life. He strikes her. She falls back against the couch. She runs from the room. Alarmed, Danzig hurries after her. DANZIG Anjeanette! 109 EXT. ESTATE - DAY Anjeanette comes out and runs across the lawn to the edge of the wilderness area. Danzig appears in the doorway. DANZIG Anjeanette! Come back! She is gone from view. Danzig quickly re-enters the house. 42. 110 INT. ESTATE - DAY He hurries to the console and pulls the activator switch to "OFF." Immediately, the timer starts ticking from fifteen minutes. He manipulates a dial and the screen shows a PANNING SHOT of the island until Richter comes into view. Bruised, he shows the effects of the explosion, but is essentially intact, the M-16 still carried in his right hand. DANZIG Klaus. Richter stops. Danzig adjusts to zoom in. DANZIG Anjeanette is coming out there. I've had to deactivate the traps. Kill Bianco and see that she gets back safely. Is that clear? RICHTER (on monitor) Yes. 111 EXT. WILDERNESS AREA - DAY Bianco moves cautiously on. BULLETS SPATTER around him and he falls, clutching his leg. Painfully, he gets back to his feet and turns to see: 112 SHOT OF RICHTER He approaches slowly from the distance, rifle leveled. 113 EXT. ISLAND - ANJEANETTE - DAY slows her pace and calls out: ANJEANETTE Nick! She starts forward again at a half run. We SEE she is already growing exhausted. 114 LOW SHOT FROM TRIP WIRE Anjeanette running toward us, calling again. ANJEANETTE Nick! Where are you? Her foot hits the wire. It snaps. 43. 115 MED. SHOT Anjeanette falls, turns back to see: 116 TRIP WIRE Completely severed, it is coiled next to explosive charge. 117 ON ANJEANETTE She gets back to her feet and runs on. 118 EXT. WILDERNESS AREA - DAY Bianco, limping badly, tries to move away from Richter, who is apparently intending to take his time with the killing. Bianco stumbles and falls. He lies still, as though unconscious. 119 INT. PROBE CONTROL - ON AMY LOVE LOVE Report coming in on Alvarez. 120 ANOTHER ANGLE - TO INCLUDE CAMERON CAMERON Display. The printout quickly clatters out: "ALVAREZ INTERNATIONAL SOLD TO DANZIG INDUSTRIES. NEGOTIATION INCLUDES ALL REAL PROPERTY MEXICO CITY AREA AND AN ISLAND IN MEDITERRANEAN. CAMERON The Mediterranean. We've been searching radio frequencies in the wrong hemisphere. 121 EXT. WILDERNESS AREA - DAY Richter kicks Bianco in the side. RICHTER Get up! DANZIG'S VOICE (O.S.) (coming through Richter's set) Don't kill him yet. I want him to know it's coming. (CONTINUED) 44. 121 CONTINUED: RICHTER (kicks Bianco again) Bianco! In a lightning move, Bianco kicks Richter off balance, then smashes the gun away from him. Bare-handed, the two men go at each other, Karate style. It's an even match, though Bianco is obviously in great pain from the leg wound. He breaks through Richter's guard and slams him to the ground unconscious. He stands there, heaving for breath, then retrieves the rifle and smashes it against a rock. He moves off, as: DANZIG'S VOICE (O.S.) Very impressive. My compliments. BIANCO I do the best I can. 122 INT. PROBE CONTROL KURODA Mediterranean relay, greenlight on new audio frequency. CAMERON Let's hear it. Kuroda presses a switch and Danzig's voice comes over: DANZIG'S VOICE (O.S.) ... nothing you can do will help you. BIANCO'S VOICE (O.S.) Do what you have to do. CAMERON Can we contact Bianco? KURODA Not yet. 122A & EXT. WILDERNESS AREA - DAY 122B Anjeanette can be SEEN in the far distance. Surprised, Bianco starts limping across to meet her. (CONTINUED) 45. 122B CONTINUED: DANZIG'S VOICE (O.S.) I've only been toying with you up to now. Don't you remember how painful it was...? INTERCUT Danzig turning up the gain dial. The SCREECH begins and Bianco doubles up in agony, then falls, writhing to the ground. FREEZE SEARCH OPTICAL END OF ACT THREE 46. ACT FOUR FADE IN: 122C INT. PROBE CONTROL The SCREECH, together with the SOUNDS of Bianco's groaning in agony, come through to the shocked Cameron and staff. CAMERON Come on! Find the channel! Reach for him! 123 EXT. WILDERNESS AREA - DAY The SCREECH continues, as in end of Act Three. Bianco is on the ground, writhing as An,jeanette runs-to him. 124 INT. PROBE CONTROL Cameron and staff listen in consternation as the SCREECH continues. Abruptly, it goes out. KURODA Almost got it. DANZIG'S VOICE (O.S.) You will bring Anjeanette back, Bianco, is that clear? Otherwise, I can turn that signal up again and you'll die in agony in thirty seconds. KURODA Go ahead. CAMERON In that case, Mister Danzig, perhaps we should help even the odds. 125 INT. ESTATE - DAY The picture of Bianco with Anjeanette bending over him is on the monitor as Danzig reacts. DANZIG Who is this?! CAMERON'S VOICE (O.S.) C. R. Cameron. Probe Control. DANZIG Cameron! How did you...? CAMERON'S VOICE (O.S.) Oh, we have our ways. 47. 126 SHOT OF BIANCO AND ANJEANETTE BIANCO Cam. Jam the circuit and fast! CAMERON'S VOICE (O.S.) We'll try! 127 SHOT OF DANZIG Furious, he twists up the gain. 128 BACK TO BIANCO as the SCREECH starts. BIANCO (shouting) Do it! Now! 129 INT. PROBE CONTROL Cameron gestures urgently to Kuroda. He punches up a formula and presses a key. 129A SHOT - BIANCO sagging in relief as screech and pain stop. 129B INT. PROBE CONTROL The familiar HISS of the jamming signal punctuates the silence. KURODA Circuit's jammed. CAMERON (concerned) But we still don't know what's been going on, and we won't as long as we have to keep his frequency jammed. 130 EXT. WILDERNESS AREA Bianco is ripping a piece of his shirt to make bandage, then starts to bind his leg as Anjeanette kneels next to him. BIANCO What are you doing here, Anjie? Get bored? (CONTINUED) 48. 130 CONTINUED: ANJEANETTE Nick, I'm sorry. BIANCO Sure you are. ANJEANETTE Nick, I'll make it up to you! I swear! Bianco notices something, averts his face and glances side- long, like he's trying not to give something away. Anjeanette stares, puzzled. ANJEANETTE What is it? Bianco continues looking at: 131 MOUNTED CAMERA It is angled down on them. 132 PREVIOUS SHOT BIANCO Anjie, help me up. She does so. Leaning on her to steady himself, he indicates a direction. BIANCO Walk over there. ANJEANETTE (moving with him) Why? BIANCO Just do it. They continue moving away, with Bianco watching the camera out of the corner of his eye. 133 ON CAMERA It follows their movement. 134 PREVIOUS SHOT Bianco and Anjeanette stop. (CONTINUED) 49. 134 CONTINUED: ANJEANETTE What are we doing, Nick? BIANCO Just checking to make sure we have an audience. We do. ANJEANETTE (starting to turn) The cameras? BIANCO (stopping her) Don't turn around. Just behave naturally. Cameron got through and jammed the circuits. Danzig can still see us... but he can't hear us. ANJEANETTE It won't make any difference to him. He's insane. BIANCO I'm going to be counting on that. How well do you know this island? ANJEANETTE Well enough. BIANCO Is there another way back? ANJEANETTE Yes, why? BIANCO Because our host is going to be coming after us. And while he's doing that, we're going back and steal his speedboat. ANJEANETTE What's going to make him come out here? BIANCO Jealousy. ANJEANETTE What? (CONTINUED) 50. 134 CONTINUED: (2) BIANCO We're going to play a very sexy love scene. ANJEANETTE (understanding now) I think that would do it. 135 INTERCUT Camera watching through the following: BIANCO Now, we have to set up the shot for the best angle -- so I'll move... (a few steps) ... over here. And you turn to me. She does so. BIANCO Fine. First, I hold out my arms a little -- and you start moving to me. She does so. BIANCO Hesitate... She does so. BIANCO You can't resist me. They merge together into a fervent clinch. 136 INT. ESTATE - DAY Danzig watches the monitor in cold fury. 137 PREVIOUS SHOT still in the clinch. 138 BACK TO DANZIG furious. He lunges for the gun rack and takes down a rifle, hurriedly checks to see it is fully loaded, then runs for the door. 50. 139 BIANCO AND ANJEANETTE They luxuriate in the continuing clinch. They stare a moment at each other, affected by the experience, ruse or not. ANJEANETTE (deeply involved) Nick... BIANCO You're doing fine. Reluctantly, she disengages. BIANCO Now we move back to where we started. They start walking, both furtively watching the camera. 140 INTERCUT - CAMERA It doesn't move. BIANCO It worked. He's on his way. Let's go! Bianco follows her, moving as quickly as possible. 141 ANOTHER AREA Danzig, clutching the rifle, hurries through the area, his face reflecting a madman's fury. 142 SERIES OF SHOTS & 143 We FOLLOW the progress of Bianco and Anjeanette moving in one direction -- and Danzig the other. 144 ANJEANETTE AND BIANCO Bianco's leg is causing him pain. He stumbles. Anjeanette clutches his arm to break the fall. They continue on. 145 EXT. SPARSELY WOODED SECTION - DAY Danzig moving through, wild-eyed. DANZIG Anjeanette! Anjeanette! 52. 146 ANJEANETTE AND BIANCO They continue making their way over the rugged terrain. ANJEANETTE The boat landing is just ahead. They head down toward ocean. 147 BACK TO DANZIG He stops, listening intently. Gradually, we make out the SOUND of FOOTSTEPS scraping over rock -- rapid footsteps of someone running. Danzig is at the bottom of a low rise. He cocks the rifle and waits. The footsteps come nearer. He raises the rifle. 148 NEW ANGLE - TO INCLUDE RICHTER He stumbles into VIEW at the top of the rise. He's dirty, sweating. Danzig scowls in disgust. RICHTER They're headed for the landing! The two men rush off. 149 OMITTED 149A BIANCO AND ANJEANETTE moving down cliffside to ocean. 149B DANZIG AND RICHTER on the run. 149C THE LANDING as Bianco and Anjeanette burst into it. 149D DANZIG AND RICHTER still on run. 149E EXT. SPEED BOAT - DAY Bianco leaps aboard, Anjeanette follows. Bianco searches desperately around. Anjeanette, next to him, watches anxiously. ANJEANETTE What's wrong? BIANCO There's no ignition key! 53. 149F EXT. CLIFF NEAR OCEAN Danzig and Richter start down. 149G THE BOAT Bianco has ignition wires out, trying to jump them. 150 DANZIG AND RICHTER The distant SOUND of the SPEEDBOAT engine WHINING to start comes through. It dies, then starts up again, then dies again. Danzig stares, the realization flooding him. DANZIG The boat. 150A EXT. BOAT - DAY Bianco has the ignition wires out and tries again to jump the circuit. The engine WHINES again and dies. BIANCO This always worked with a car. 150B PREVIOUS SHOT Richter holds his hand out for the rifle. DANZIG I want him... dead. Danzig slams the rifle to him. DANZIG You'd better not fail again. Richter is off, tearing down cliff at top speed. 151 & EXT. BOAT - DAY 152 Bianco continues trying to start the machine. It almost catches, SPUTTERS, then dies. INTERCUT Richter running. 153 OMITTED 54. 154 EXT. BOAT - DAY ANJEANETTE Nick! Hurry! 154A OMITTED 154B 154C INSERT SHOT: ACTIVATOR SWITCH TICKING. Timer moving toward zero. 155 FOLLOWING RICHTER now near cliff bottom, coming hard. 156 NEW ANGLE Bianco and Anjeanette see Richter heading for them. As he opens up with his automatic weapon, still coming. 156A OMITTED 156B 156C VARIOUS SHOTS INTERCUTTING, as the boat suddenly pulls away with a ROAR. BULLETS rip through the cabin, Bianco shoves Anjeanette down to the deck. Richter continues running for a close shot at them. 157 LOW ANGLE FROM TRIP WIRE Richter running towards us, breaks wire, continues on a few yards, goes to one knee to aim carefully. 158 INSERT SHOT: ACTIVATOR SWITCH The timer above it clocks to zero. The switch snaps: "ON." 159 NEW ANGLE The explosive CHARGE GOES OFF and Richter is hurled to the ground. 160 SHOT OF BOAT It shudders from the force of the blast. 161 EXT. BOAT - DAY heading away. (CONTINUED) 55. 161 CONTINUED: ANJEANETTE What was that? BIANCO (looking back) One of the mines... Richter bought it... As boat continues on: 161A OMITTED 162 EXT. ISLAND CLIFF - POV OF DANZIG A lost, hopeless figure as the boat pulls away from him. 163 EXT. AIRPORT TERMINAL - BOARDING AREA - ATHENS Bianco is heading for the boarding gate as Cameron comes on from Probe Control. (Various signs indicate our locale) CAMERON'S VOICE (filtered) Medical telemetry says your vital signs are back up to speed. It's good to have you up and around. BIANCO What's the final report on Richter and Danzig? CAMERON'S VOICE (filtered) Richter's in a prison hospital, but he'll recover to stand trial. As for Danzig... Your 'love scene' apparently precipitated a total psychotic collapse. I imagine he'll spend the rest of his life in an institution. 164 BIANCO'S POV - ANJEANETTE dressed magnificently, she's on her way over, wearing a big smile. 165 NEW ANGLE BIANCO (a slight bow) Anjie. (CONTINUED) 56. 165 CONTINUED: ANJEANETTE (to Bianco) You look well. BIANCO I'm working toward a full recovery. ANJEANETTE I'm so glad. I really am -- and so very -- grateful. (beat) Nick, when you feel right about it, do you think we might get together again? bianco (beat) When I feel right about it ... (at her look) Thanks for seeing me off... 165A CLOSE ON ANJEANETTE watching him as he DISAPPEARS FROM FRAME. 165B EXT. JET taking off, rising into the azure Greek sky. SLOWLY SUPERIMPOSE Anjeanette's FACE OVER the AIRCRAFT, then: FADE OUT. THE END