Three Days of The Condor

THREE DAYS OF THE CONDOR
By Lor enzo Sempl e J r .

and Davi d Rayf i el
FOR EDUCATI ONAL PURPOSES ONLY
Revi sed Dr af t
Febr uar y 3, 1975
Conver t ed t o PDF by Scr eenTal k
www. scr eent al k. or g
I NT. AN OFFI CE SOMEWHERE I N NEWYORK
OPEN CLOSE on a book pr i nt ed i n CHI NESE CHARACTERS, hel d open
under a movi ng SCANNI NG BEAM. A mechani cal ar mt ur ns pages
ever y coupl e of seconds whi l e an AUTOMATI C TRANSLATOR wi r ed
t o t hi s devi ce bangs out Engl i sh t ext at t er r i f i c speed.
GLI MPSE of J ANI CE CHON, pr et t y, at l east one of her par ent s
i s Chi nese. Her dar k hai r f al l s as she BENDS t o adj ust t he
machi ne.
VOI CE OFF ( RAY)
J ani ce!
TI TLES BEGI N.
CAMERA FOLLOWS J ANI CE TO I NTERI OR ANOTHER OFFI CE
RAY MARTI N, st andi ng at keyboar d of an I BM punchcar d machi ne,
mechani cal l y f eedi ng i n ent r i es of f of 3x5 i ndex car ds.
MOVE t o HAROLD THOMAS, i n t he same of f i ce. He si t s at a
t abl e pi l ed wi t h MYSTERY NOVELS, wear i ng a gr een eye- shade,
goi ng over a set of gal l ey pr oof s wi t h a mar ki ng pen.
RAY
What ' ve we got ?
HAROLD
Mal e Caucasi an, mi d- 40' s. Appear s t o' ve
been shot .
RAY
Wher e?
HAROLD
I n hi s r oom.
J ANI CE
Ver y f unny, Har ol d.
HAROLD
OK, t he wound i s j ust bel ow t he hear t .
CREDI TS CONTI NUE.
RAY
He was shot once?
HAROLD
Seems t o' ve been, yes.
Revi sed Dr af t Febr uar y 3, 1975 1.
Conver t ed t o PDF by www. scr eent al k. or g
J ANI CE
Fi r st you sai d "appear s" t o' ve been shot
. . . now "seems" t o' ve been. . .
HAROLD
That ' s what t he guy wr ot e!
J ANI CE
But t he machi ne won' t anal yze
specul at i ons.
I NT. SMALLER OFFI CE
OPEN on one wal l whi ch i s pai nt ed BRI GHT RED. Mor e
cont empor ar y t han t he ot her s, and per sonal i zed. A PHOTO-
BLOWUP of A. Ei nst ei n. Some homemade model s of submar i ne and
ai r cr af t desi gned by da Vi nci .
SOUND OF FOOTSTEPS AS CREDI TS CONTI NUE.
Angl e t o door as Dr . LAPPE appear s, car r yi ng paper s. He' s
f i f t yi sh, dr esses Br i t i sh, smokes a t r i mci gar .
DR. LAPPE
( hol di ng out paper s)
Mr . Tur ner . . . ?
He sees no one i n t he of f i ce. Gl ances, annoyed, at hi s
wat ch.
EXT. BROADWAY I N THE EI GHTI ES
Weavi ng t hr ough t r af f i c on a mi ni - power ed SOLEX i s J OSEPH
TURNER. He i s i n a much- wor n t weed j acket over a heavy
sweat er . A l ong scar f i s t i ed ar ound hi s t hr oat and t r ai l s
behi nd hi m. The SOLEX i s bat t er ed and mi sses occasi onal l y.
Somet i mes he peddl es t o assi st t he one cyl i nder engi ne.
RAY' S VOI CE
Why don' t you j ust f i ni sh r eadi ng i t . . .
and - -
HAROLD' S VOI CE
Come on - - i n f i ve mi nut es we can dope i t
out - - Save al l t hat t i me.
J ANI CE' S VOI CE
I f J oey wer e her e - -
HAROLD' S VOI CE
Tur ner ' s not t he onl y mi nd ar ound.
RAY' S VOI CE
Come on. What cal i br e sl ug?
J ANI CE' S VOI CE
Oh, you' r e mi ssi ng t he poi nt , Ray. . .
RAY' S VOI CE
Huh?
BACK TO THAT OFFI CE
J ANI CE
The machi ne' l l come back wi t h a: ' r e-
phr ase' or ' pl ease expr ess i t i n ot her
wor ds' . . .
RAY
So what do you want t o f eed i n?
J ANI CE
Wel l t hi nk, Ray: why does t he aut hor put
i t l i ke t hat ? . . . I t ' appear s' , he
' seems' . . .
EXT. THREE STORY TOWNHOUSE - EAST 70' S
I t nest l es among ot her s of i t s i l k, behi nd a bl ack i r on f ence
wi t h a gat e i n i t . SHI FT ANGLE t o see TURNER r ound t he
cor ner f r omMadi son ' Avenue and pul l t he SOLEX up ont o t he
si dewal k i n f r ont of t he bui l di ng. He has a somewhat
negl ect ed bear d and moust ache. He begi ns t o chai n t he SOLEX
t o a par ki ng si gn.
ANGLE ACROSS THE STREET
A smal l bl ue FI AT par ked at t he cur b. A man i s si t t i ng. You
do NOT SEE hi s f ace, j ust what he SEES i n t he r ear vi ew
mi r r or . TURNER chai ni ng t he bi ke.
DROP TO THE MAN' S LAP. He FLI PS t hr ough a l i t t l e pack of
phot os besi de a l i st of names. GLI MPSES of J ani ce, Har ol d,
Ray, Dr . Lappe. Phot o of TURNER comes up. MAN checks of f
TURNER' s name.
HAROLD' S VOI CE
He al ways wr i t es l i ke t hat , he' s a
Republ i can.
J ANI CE' S VOI CE
No no, i t means somet hi ng. .
FROM THE MAN' S POV
TURNER under FI NAL CREDI T moves t owar d t he gat e of t he house
and pushes i t open. Besi de t he gat e i s a pol i shed br onze
pl aque r eadi ng:
AMERI CAN LI TERARY
HI STORI CAL SOCI ETY
TURNER r eaches t he unl ocked gat e, pushes i t open.
I NT. ALHS HOUSE - RECEPTI ON AREA
A r ed l i ght f l ashes and a war ni ng buzzer sounds. Asi de f r om
t hat , t he f i r st f l oor of t hi s pl ace l ooks j ust l i ke what t hat
pl aque says i t i s.
MRS. RUSSELL i s at her cl ut t er ed desk. She has shor t gr ey
di shevel ed hai r and smokes i ncessant l y.
J ENNI NGS, a bur l y ex- ser geant , not qui t e comf or t abl e i n
ci vi l i an cl ot hes, i s bent over an open dr awer l oadi ng f i l m
i nt o a hi dden CAMERA. They BOTH l ook t owar d a smal l TV
moni t or scr een.
EXT. ALHS - HOUSE TURNER
He suddenl y t ur ns hi s back t o t he l ens of a TV camer a whi ch
i s di scr eet l y pl aced.
I NT. ALHS HOUSE - MRS. RUSSELL AND J ENNI NGS
They exchange a gl ance of di sappr oval of Tur ner ' s pr obabl y
dai l y- pr ank. As Mr s. Russel l opens her desk dr awer t o pr ess
a but t on r el easi ng t he out er door you gl i mpse wi t hi n i t a
. 45.
The door opens. Tur ner ent er s.
FLASH CUT of J enni ngs' desk wher e t he Camer a qui ckl y snaps a
phot o.
TURNER CLOSES t he door behi nd hi m. He st r i des t owar d t he
st ai r s, f l i ppi ng up t he vi sor . He poi nt s t o hi s nose.
TURNER
Tur ner , J oseph, no- mi ddl e- i ni t i al .
MRS. RUSSELL
Sevent een mi nut es l at e.
TURNER
I was bucki ng headwi nds, put down t wel ve
mi nut es. I t ' s gonna r ai n by 10: 20.
MRS RUSSELL
Thanks a l ot . I l ef t my umbr el l a on t he
bus.
Al l wi t hout st oppi ng. TURNER moves t owar d t he r ear of f i ce,
now t aki ng hi s hel met of f . He st ops at t he open door at
r ear . Pl ant s f i l l t he r oom, on desk, al ong wi ndowsi l l s,
r adi at or s and hangi ng f r ompl ant er s. And t her e' s t hat odd
ULTRA VI OLET LI GHT t hat encour ages pl ant - gr owt h.
TURNER
Dr . Lappe. . . ?
DR. LAPPE - - st andi ng on a chai r , wat er i ng one of t he hangi ng
pl ant s wi t h a l ong- snout ed wat er i ng- can - - j ust checks hi s
pocket - wat ch, says not hi ng. Tur ner i gnor es t he i nf er ence,
goes on:
TURNER
Was t her e anyt hi ng i n t he ear l y pouch?
DR. LAPPE
Yes . . . but not hi ng i n r esponse t o your
r epor t .
TURNER
Oh.
( r al l yi ng)
Maybe t hi s af t er noon.
DR. LAPPE
Pl ease have t he book you' r e wor ki ng on
anal yzed and on t he comput er by f our
o' cl ock.
TURNER
Yes Si r .
And he' s on hi s way agai n. Up t he- cur ved st ai r case.
I NT. TURNER' S OFFI CE - DAY
That one wi t h al l t he model s and t he r ed wal l . He ent er s - -
cr osses t o hi s desk, pi cks up a myst er y novel f r omhi s i n-
basket , l ooks at i t a moment , t hen put s i t asi de. Under
BRI GHT LI GHT, he ar r anges some I BM- r uns. We can SEE t hey' r e
machi ne- t r ansl at i ons, si de- by- si de, i n 3 or 4 l anguages.
J ANI CE' S VOI CE
What was t he cal i br e of t he bul l et ,
Har ol d?
HAROLD' S VOI CE
Appar ent l y a . 38.
J ANI CE' S VOI CE
Ther e i t i s agai n! Appar ent l y! !
HAROLD' S VOI CE
Wel l i t made an ent r y- wound
char act er i st i c of a . 38 . . . but t hey
coul dn' t r ecover t he sl ug i t sel f .
RAY' S VOI CE
Hey, we' r e get t i ng somewher e!
I NT. OTHER OFFI CE
J ANI CE pi cks up some paper s and moves t owar d t he door .
J ANI CE
You guys f i gur e i t out . I have Far - East
J our nal s t o r ead.
Camer a f ol l ows her down hal l way t o TURNER' s of f i ce.
RAY' S VOI CE
Was t he sl ug smashed agai nst t he wal l ?
HAROLD' S VOI CE
No. Mat t er of f act , t her e was no exi t -
wound.
I NT. TURNER' S OFFI CE
J ANI CE wat ches hi mwor k a moment . He i s ver y i nt ent on what
he i s doi ng. She moves ar ound behi nd hi m, put s her hands on
hi s shoul der s.
J ANI CE
. . . what t hey' ve got t o so f ar a . 38 wound
but no - -
TURNER
( not l ooki ng up)
I ce.
J ANI CE
What ?
TURNER
I nst ead of l ead. The mur der er pour ed
wat er i nt o a . 38 cal i br e mol d, f r oze i t ,
kept i t sol i d unt i l t he cr i me. . .
J ANI CE
( begi nni ng t o get i t )
Gr eat . . . !
TURNER
He shoot s t he guy wi t h t he i cebul l et .
Cops show up i n a hal f - hour : a f ew dr ops
of wat er , no bul l et no bal l i st i cs.
J ANI CE
Gr eat !
TURNER
Hey, what ' s t hi s char act er ?
I t ' s par t of a wor k- pr obl em: he dr aws an I DEOGRAM, usi ng a
t hi ck mar ki ng- pen. She comes cl ose:
J ANI CE
Your cal l i gr aphy' s get t i ng beaut i f ul . . .
She makes a mi nor change i n t he char act er :
J ANI CE
' Den' .
( t hen i n Engl i sh)
' Heaven' .
TURNER
Not hi ng el se?
J ANI CE
( shr ugs; doubt f ul )
I t can mean ' t he best ' . . . ' Tops'
Somet i mes.
( t hen)
Why?
TURNER
I ' mnot sur e.
J ANI CE
We goi ng t o Samand Mae' s t oni ght ?
TURNER
( back at wor k)
Mm.
J ANI CE
Why don' t you t al k t o Samabout i t ?
TURNER
( l ooks up)
About t hi s. . . ?
She nods.
TURNER
I di d. . . I nt er est i ng, he says.
( t hen smi l es)
But not hi s depar t ment . . . Whi ch means he
t hi nks t her e' s not hi ng . . . l i ke Lappe.
And you.
J ANI CE
Ther e' s not much. A mur der myst er y
t hat ' s been t r ansl at ed. . .
TURNER
( over r i di ng)
A myst er y t hat di dn' t sel l . . . t r ansl at ed
i nt o an odd assor t ment of l anguages:
Tur ki sh but not Fr ench, Ar abi c but not
Ger man and not Russi an. Dut ch!
J ANI CE
Spani sh. . .
TURNER
( admi t s)
Yes.
( beat )
Yes.
J ANI CE
Hey, wher e' d you get t hat t hi ng about t he
i ce? Dashi el l Hammet t ?
TURNER
Di ck Tr acy.
( no pause)
You sur e about t hi s i deogr am?
J ANI CE
Look at t hi s f ace . . . Coul d I be wr ong
about an i deogr am.
TURNER
I t i s a gr eat f ace. . .
( back t o wor k)
But i t was never i n Chi na.
EXT. ALHS HOUSE
A l i ght van pul l s up and st ops at t he cur b. As t he DRI VER
wai t s, a uni f or med MESSENGER get s out and goes i n t hr ough t he
gat e. Logo on van and on t he uni f or msays. . . "AAA- AROW
MESSENGER SERVI CE. "
Suddenl y i t st ar t s t o r ai n.
I NT. HAROLD AND RAY' S OFFI CE
HAROLD st i l l wor ks over gal l ey pr oof s whi l e RAY i s wor ki ng at
t he t er mi nal of a comput er . TURNER pokes hi s head i n.
TURNER
When can I get some comput er t i me, Ray?
HAROLD
( shaki ng hi s head)
Di ck Tr acy???
TURNER
( ser i ous)
He was a ver y under r at ed det ect i ve.
RAY
Ther e' s f r ee t i me at 2: 45.
J ENNI NGS' VOI CE
( Cal l i ng f r ombel ow)
Mor ni ng pi ckup!
RAY st ar t s f r omt he comput er t er mi nal t owar ds an envel ope.
TURNER
No, go ahead, st ay on schedul e, I ' l l t ake
i t .
WI TH TURNER
as he heads f or t he st ai r s wi t h t he envel ope.
I NT. DOWNSTAI RS - RECEPTI ON AREA
The AAA- Ar r ow messenger i s si gni ng f or hi s pi ckup on
J enni ngs' cl i pboar d as TURNER comes up and gi ves hi mRAY' s
envel ope.
MESSENGER
Fi ve pi eces, r i ght ?
J ENNI NGS
Af f i r mat i ve. Fi ver .
The envel ope goes i nt o a di spat ch bag. As TURNER st ar t s
t owar ds t he st ai r s, DR LAPPE comes out of hi s of f i ce car r yi ng
a sheet of paper .
DR. LAPPE
Wher e i s Mr . Hei degger ?
MRS. RUSSELL
He cal l ed i n si ck, Dr . Lappe.
J ENNI NGS
( mumbl i ng)
Pr obabl y hangover agai n.
DR. LAPPE
Thi s i s ext r aor di nar y. I was j ust
checki ng t he f i l es and I f ound t hi s
car bon copy of an enqui r y he sent t o
Per si an Gul f Command.
TURNER st ops on t he st ai r s.
TURNER
Oh . . . he di d t hat f or me.
DR. LAPPE
I t never went t hr ough my of f i ce.
TURNER
Wel l . . . I j ust asked hi mt o do some
r esear ch f or me. I guess he t hought i t
wasn' t t hat i mpor t ant .
DR. LAPPE
I wi sh you peopl e woul d go t hr ough
channel s.
Suddenl y TURNER' s at t ent i on i s caught by t he TV moni t or . He
char ges f or war d and out t he door s.
EXT. ALES HOUSE
Tur ner comes dashi ng out .
TURNER
( yel l i ng)
Hey! Leave t hat bi ke al one!
CAMERA r eveal s t wo ki ds t oyi ng wi t h t he SOLEX.
ONE KI D
What i s i t ?
TURNER
Never mi nd, j ust l eave i t al one.
The ki ds wal k away mumbl i ng. TURNER l ooks up at t he bl ack
sky, hol ds hi s hand out t o f eel t he r ai n, checks hi s wat ch
and nods. As he wal ks back i nsi de CAMERA PANS TO THE BLUE
FI AT. PUSHES CLOSER t o t he Man behi nd t he wheel . We st i l l
do not see hi s f ace. Hi s onl y move i s t o t r ace hi s f i nger
down a l i st of names comput er t yped on a sheet of paper .
Then he pul l s up one phot ogr aph of an el der l y l eaky- eyed man.
The name under t he phot o r eads R. HEI DEGGER. The MAN checks
hi s wat ch, t hen get s out of t he car i nt o t he r ai n.
I NT. TURNER' S OFFI CE - DAY
TURNER' s st andi ng at hi s desk. He compar es t hose machi ne-
t r ansl at i ons agai n, br i ef l y - - and shoves t hemasi de. He
si t s, pul l s t he gal l eys of t hat novel out of hi s "I N" box.
CLOSER ON TEST
TURNER' s hand movi ng st eadi l y down t he page, par t some speed-
r eadi ng t echni que. . . passes a cer t ai n phr ase, j umps back t o
i t : we READ:
. . . The next mor ni ng, at dawn,
t hey t r ansf er r ed me t o t he
East Wi ng, 17. I t was wor se
t han Lubj anka.
TURNER pi cks up a mar ker , dr aws a t r anspar ent yel l ow l i ne
t hr ough cer t ai n key wor ds: "East Wi ng, 17 . . . Wor se t han
Lubj anka. " He pi cks up t he page and heads out .
I NT. HALLWAY
Wi t h TURNER as he wal ks down hal l t o a Xer ox machi ne i n an
al cove. Taped t o t he t op of i t i s a si gn: OUT OF ORDER.
TURNER t r i es t o f i ddl e wi t h i t . J ani ce, comi ng out of her
cubi cl e sees hi m.
J ANI CE
I t ' s bust ed. Hei degger was copyi ng
somet hi ng. You know hi mwi t h machi nes.
EXT. 77TH AND MADI SON
A phone st and. The MAN f r omt he BLUE FI AT i s t el ephoni ng.
We don' t hear anyt hi ng but t he sound of t he dr i vi ng r ai n.
I NT. ALHS HOUSE - ALCOVE
TURNER wor ks at t he Xer ox, r emovi ng panel s, t wi st i ng wi r es,
et c.
DR. LAPPE' S VOI CE
Thi s was i n t he pouch f r omNew Yor k
Cent er .
CAMERA WI DENS t o r eveal LAPPE, who hands hi ma memor andum.
DR. LAPPE
HQ at Langl ey says t her e' s not hi ng f r om
any ot her i nt el l i gence sour ce t o suppor t
your t heor y.
Tur ner pauses, t hen st uf f s t he memo i nt o hi s pocket .
DR. LAPPE
( r ef er r i ng t o Xer ox)
I s t hi s your i dea of wor ki ng on t hat
book?
TURNER
( busy wor ki ng)
Oh, I ' l l have i t on t he comput er by f our .
Lappe wat ches as Tur ner cont i nues t o wor k on t he Xer ox.
DR. LAPPE
We have peopl e t o ser vi ce t hese machi nes.
TURNER
These t hi ngs ar e f ai r l y si mpl e . . . t hey
j ust l ook compl i cat ed.
DR. LAPPE
Mr . Tur ner . . . I wonder i f you' r e
ent i r el y happy her e.
TURNER
( sur pr i sed)
Wi t hi n obvi ous l i mi t s, yes si r .
DR. LAPPE
Obvi ous l i mi t s?
TURNER
I ' d r at her wr i t e. . . and. . . wel l i t
bot her s me t hat I can' t t el l peopl e what
I do.
DR. LAPPE
Why i s i t t aki ng you so l ong t o accept
t hat ??
TURNER
I act ual l y t r ust a f ew peopl e. I t ' s a
pr obl em.
DR. LAPPE
( shaki ng hi s head)
I bel i eve i t ' s your t ur n t o br i ng i n
l unch.
TURNER
What t i me i s i t ?
DR. LAPPE
11: 22.
TURNER
Rai n shoul d end by 11: 30.
DR. LAPPE
You can wai t 8 mi nut es.
EXT. EAST 77TH STREET - ANGLE ON BLUE FI AT
Br i ght er bl ue t han ever , pol i shed by t he r ai n.
I NT. BLUE FI AT - DAY
Cozy SOUND of r ai n on r oof . The VI EWt hr ough t he wi ndshi el d
di st or t ed by r ai n r i vul et s. The MAN swi t ches on wi per s - -
j ust a si ngl e st r oke back and f or t h - - cl ear i ng VI EWf or a
moment . Al l he needs: he sees t hat t he ALHS ent r ance i s
st i l l qui et . . . bef or e t he VI EWi s agai n gr adual l y r ui ned by
r ai n.
DI SSOLVE TO:
I NT. ALHS HOUSE - RECEPTI ON AREA
Tur ner descends t he st ai r s. He heads not f or t he f r ont door ,
but a nar r ow one near t he back.
J ENNI NGS
Mr . Tur ner !
But he i s gone.
J ENNI NGS
Goddamni t ! That i s not a pr oper exi t !
MRS. RUSSELL
He al ways goes out t hat way when i t r ai ns
. . . i t saves hi ma bl ock.
J ENNI NGS
Per sonnel shoul d ent er and exi t pr emi ses
by aut hor i zed means onl y.
MRS. RUSSELL
( r eachi ng f or anot her
ci gar et t e)
Gi mme a l i ght , wi l l ya?
EXT. REAR OF ALHS - DAY
TURNER squeezes out of t he coal chut e, i nt o a nar r ow al l ey.
The cl ose, over hangi ng bui l di ngs pr ovi de shel t er f r omt he
r ai n. TURNER pushes t hr ough a gat e l eadi ng t o anot her al l ey
t hat r uns at r i ght angl es t o t hi s one . . . l eadi ng out t o East
78t h St r eet .
EXT. EAST 77TH STREET - DAY
A MAN - - wal ki ng AWAY FROM CAMERA - - st ops besi de t he bl ue
Fi at . He t i l t s hi s umbr el l a t o one si de, sees t hat t he r ai n
has eased up enough t o do wi t hout t he umbr el l a; he col l apses
i t , r esumes hi s wal k.
He l ooks st r ai ght ahead; seems uni nt er est ed i n any of t he
st r eet - l i f e. He does one st r ange t hi ng, however : passi ng a
wast e- basket , wi t hout st oppi ng he shoves t he umbr el l a deep
i nt o i t , al most bur i es i t i n ol d newspaper s and gar bage.
EXT. EAST 78TH STREET - DAY
TURNER emer ges f r omt he al l ey, j ogs acr oss 78t h St r eet , t ur ns
ont o Madi son Avenue.
EXT. MADI SON AVENUE - EAST 70' S
A shor t st ocky MAI LMAN t r udges al ong i n t he r ai n, wi t h a f at
POUCH sl ung over hi s shoul der .
EXT. MADI SON AVENUE
TURNER RUNS acr oss i t and goes I NTO "J i mmy' s Caf e".
EXT. ALHS STREET - HI GH ANGLE
The r ai n has LET UP gr eat l y, but ever yt hi ng i s ver y wet and
shi ny.
EXT. ALHS - DAY
Fr omacr oss E. 77t h St r eet . CAMERA PANS OFF t he ALHS now . . .
PAST t he bl ue Fi at . . . and COMES TO REST CLOSE ON t he Man
wi t h t he umbr el l a f r oma f ew moment s ago.
Hi s concent r at i on, hi s unbl i nki ng eyes and cl ean, shar p
f eat ur es make hi mseemhawkl i ke i n t hi s PROFI LE VI EW. Hi s
name i s J OUBERT.
Then t wo ot her f i gur es APPEAR . . . comi ng west f r omMadi son i s
t he shor t st ocky mai l man, wi t h hi s f at pouch.
Si mul t aneousl y, a VERY TALL THI N MAN r ounds ont o ALHS st r eet
f r omFi f t h. Hi s r ai ncoat BULGES oddl y.
I NT. J I MMY' S CAFE
TURNER l eans on t he col d- case wat chi ng wi t h admi r at i on as
J I MMY wor ks on t he l unch or der wi t h def t hands.
J I MMY
How' s i t goi ng, Shakespear e?
TURNER
Gr eat . I ' mbui l di ng one of t he f i nest
col l ect i ons of r ej ect i on sl i ps i n t he
wor l d.
J I MMY
I know t he f eel i ng: I al ways want ed t o be
Escof f i er .
TURNER
I t ' s not t oo l at e.
( poi nt s)
No mayo on Dr . Lappe' s.
( MORE)
( t hen)
Van Gogh di dn' t begi n pai nt i ng unt i l he
was al most 30. . .
J I MMY
( encour aged)
Yeah?
TURNER
On t he ot her hand, Mozar t was pl ayi ng
pi ano at 3 and composi ng at 6.
J I MMY
( nods)
Fast - st ar t er . . . That ' s pr obabl y bet t er .
TURNER
( poi nt s agai n)
Mar k Ray' s no bat t er .
( t hen)
I don' t know: Van Gogh never sol d a
pi ct ur e i n hi s l i f et i me . . . and Mozar t
di ed a pauper . Har d t o say.
Dur i ng t hi s, ANGLE I NCLUDES a hal f - wr ecked CUSTOMER, cof f ee-
cup hal f way up t o hi s mout h, st ar i ng at Tur ner .
CUSTOMER
What ' mI ? I n t he New Yor k Publ i c
Li br ar y?
J I MMY
( t o Cust omer , r ef er r i ng t o
Tur ner )
Don' t you hat e hi m?
CUSTOMER
I t ' s ver y educat i onal i n her e. That ' s
why I come i n.
TURNER
( t o J i mmy)
Wi l l y' hur r y i t up? I t ' s goi ng t o st ar t
pour i ng agai n. . .
EXT. ALHS - STREET
J OUBERT st ar t s acr oss f or t he house. The Mai l man and t he
Tal l Thi n Man ar e CONVERGI NG on t he same spot f r omopposi t e
di r ect i ons, wi t h t he most per f ect t i mi ng. As t hey r each t he
GATE and go i n, t he smal l bl ue car pul l s out and dr i ves AWAY.
TURNER ( CONT' D)
I NT. ALHS - RECEPTI ON AREA
MRS RUSSELL i s t ypi ng, t he i nevi t abl e ci gar et t e dangl i ng i n
her l i ps.
RED LI GHT and BUZZER. She r eaches f or door - opener under her
desk.
As BELL RI NGS, ANGLE t o f r ont door . CLI CKI NG SOUND and i t
OPENS. The Mai l man st ar t s I N.
I NT. ALHS - LI BRARY
J ENNI NGS i s j ust comi ng down l i br ar y l adder , wi t h some books
he i s r ear r angi ng. He HEARS:
MRS. RUSSELL' S VOI CE
( pl easant l y sur pr i sed)
Hel l o! Don' t t el l me we' r e r eal l y
get t i ng t hat af t er noon del i ver y you' r e
al ways - -
Her voi ce st ops shor t . An i nst ant . Then a cur i ous CHU- CHU-
CHU- CHU SOUND, f ol l owed by a HEAVY THUD.
WI TH J ENNI NGS
Per pl exed, he st eps OUT i nt o hal l way. Hi s eyes go wi de. He
LEAPS t owar d a cl oset acr oss t he way. J ust as he yanks i t
OPEN t her e i s t hat CHU- CHU- CHU agai n, and a st r eamof bul l et s
send hi mPLYI NG. The shot gun he was r eachi ng f or CLATTERS t o
t he f l oor .
The Mai l man and t he Tal l Thi n Man st ep i nt o t he ext r eme f . g.
of FRAME, l ower i ng t hei r Si l enced st enguns. They t ur n
t owar d:
SHOT J OUBERT
He nods: pr oceed.
WI DER ANGLE
as t he t wo gunner s head f or t he st ai r s: J OUBERT goes t o
J ENNI NGS' desk and pul l s OPEN t he dr awer cont ai ni ng t he
secr et camer a devi ce.
DR LAPPE' S VOI CE
( f r omabove)
Mr s. Russel l ! Was t he Ki r kus r epor t i n
t hi s mor ni ng' s mai l ?
( MORE)
( a beat )
Mr s. Russel l ?
Hi s FOOTSTEPS at t op of st ai r s. The Mai l man ai ms hi s gun UP
and FI RES. CHU- CHU- CHU- CHU- CHU! The gunner s hur r y UP as DR
LAPPE' s body comes TUMBLI NG DOWN, t he pat het i c t oupee f al l i ng
of f .
EXT. J I MMY' S CAFE
TURNER EMERGES wi t h a bi g br own paper bag and st ar t s t o
HURRY, whi l e t he r ai n i s st i l l l et up.
I NT. ALHS - TOP OF STAI RS
The gunner s spl i t . The Tal l Thi n One BOUNDS i nt o TURNER' s
of f i ce, r i ght acr oss f r omt he l andi ng. He has al most pul l ed
t he t r i gger bef or e he r eal i zes t hat t he r oomi s unoccupi ed.
The Mai l man st eps I NTO Har ol d and Ray' s pl ace.
RAY' S VOI CE
Wai t ! Wai t !
CHU- CHU- CHU- CHU i s HEARD.
I NT. SECOND FLOOR - MEN' S ROOM
HAROLD i s paused, l i st eni ng as he dr i es hi s hands. A l i t t l e
myst i f i ed, he st eps OUT.
He i s f r ozen one moment , t hen LEAPS back i nt o t he J ohn,
pul l i ng t he door shut . CHU- CHU- CHU- CHU sl ugs pour t hr ough
t he f l i msy door and FI ND hi m.
I NT. ALHS LOBBY - DAY
Cont r ast ed wi t h t he vi ol ent act i vi t y upst ai r s, i t ' s a ser ene
t abl eau down her e: J OUBERT, wai t i ng f or t hemt o f i ni sh t he
j ob. Onl y a si ngl e, smal l movement : he t akes a ci gar et t e
f r omt he pack on MRS RUSSELL' s desk. He si t s at her desk.
Beat . He becomes awar e of t he sudden SOUND of machi ner y f r om
upst ai r s.
I NT. J ANI CE' S OFFI CE - DAY
She' s SWI TCHED ON t he t r ansl at i on machi ne. She t akes of f her
gl asses and begi ns t o pol i sh t hem.
DR LAPPE' S VOI CE ( CONT' D)
MACHI NE I N OPERATI ON - J ANI CE' S POV
I t scans t hose Chi nese char act er s and i t s phonet i c equi val ent
i n so- cal l ed Romaj i ( our l et t er i ng) , f ol l owed by a l i t er al
Engl i sh t r ansl at i on.
Abr upt l y, t he machi ne i s SWI TCHED OFF. She HEARS:
J OUBERT' S VOI CE
( ver y pol i t e)
Woul d you move f r omt he wi ndow, pl ease?
She t ur ns.
HER POV
Al l BLURRY. Then i t comes I NTO FOCUS, as she put s her
gl asses back on. I t i s ast oni shi ng. A st r i ki ng man i s
hol di ng some ki nd of weapon, poi nt ed r i ght at her .
FEATURE J ANI CE
J ANI CE
Par don me?
He si mpl y gest ur es t hi s t i me: away f r omt he wi ndow.
FAVOR J ANI CE
shaki ng her head no:
J ANI CE
I won' t scr eam.
CLOSE ON J OUBERT
J OUBERT
I know.
Hi s eyes r emai n on her but he r eaches down, SWI TCHES ON
machi ne . . . nods. CAMERA PANS t o Mai l man who br i ngs up STEN
GUN.
FLASH CLOSEUP - J ANI CE' S EYES
Openi ng wi de at what ' s about t o happen. Her HAND ENTERS
FRAME, t ear s of f her gl asses - - CLATTERI NG of t he machi ne.
EXT. MADI SON AVENUE - TRACKI NG TURNER
He' s had t he paper back book open on t op of t he bag of l unch,
snat chi ng f r agment s, phr ases, as he wal ks. . .
He st uf f s t he paper back i nt o t he bag, st ar t s j oggi ng down t o
East 77t h . . . r ounds t he cor ner .
EXT. ALHS - DAY
Qui et . The r ai n has st opped; ever yt hi ng i n t he st r eet seems
washed cl ean, even t he ai r .
TURNER goes up t o t he gat e, pushes buzzer . SOUND of BELL
i nsi de, but no answer i ng CLI CKS. He peer s UP at a wi ndow.
Uneasi ness pr i ckl es hi m. He get s out a door key.
I NT. ALHS - RECEPTI ON AREA
TURNER ENTERS and sni f f s an odd acr i d odor . He comes UP t he
i nsi de st eps and under st ands i t s or i gi n.
MRS. RUSSELL and J ENNI NGS LI E wher e t hey f el l . The onl y
SOUND i s t he aut omat i c t ypewr i t er up i n J ANI CE' s pl ace, st i l l
BANGI NG away.
He SEES J ENNI NGS' shot gun. TURNER DASHES t o i t and SNATCHES
i t up, WHEELS ar ound wi t h i t . Ther e i s no l i vi ng t ar get .
Li ke an aut omat on, shot gun at hi p, he MOVES t o t he st ai r s.
WI TH TURNER
He goes UP, edgi ng past MRS. RUSSELL' s and DR LAPPE' s
r emai ns. Li ke avoi di ng a cr ack i n t he si dewal ks, he avoi ds
st eppi ng on DR LAPPE' s t oupee. He REACHES t he second f l oor .
SEES t hi ngs. Ray i n hi s of f i ce. Har ol d hal f f al l en out of
t he Men' s Roomi nt o t he hal l .
Al ways t he CLATTERI NG of t he machi ne, LOUDER now as he
appr oaches:
I NT. J ANI CE' S OFFI CE - DAY
and J ANI CE dead, beneat h t he wi ndow, her gl asses cl enched i n
her f i st , pr opped hal f way up.
TURNER
The shot gun f or got t en i n hi s hand.
J ANI CE
MOVI NG CLOSER WI TH TURNER. He kneel s. Her st r ai ght j et hai r
has f al l en over her f ace; he pul l s i t back: CAMERA HOLDS
CLOSE ON TURNER as he r i ses, l ooks about . He MOVES t o t he
machi ne, SWI TCHES I T OFF. The new si l ence makes i t wor se; he
hur r i es out .
TURNER RUNS downst ai r s on r ubber y l egs. He st ops at MRS.
RUSSELL' s desk, SNATCHES up t he phone. NO TONE f r omi t .
Wi r es cut . Hol di ng t he dead r ecei ver , hi s eyes r egi st er a
det ai l :
MRS. RUSSELL
The ci gar et t e she was smoki ng f el l on her br east and bur ned
down near l y t he whol e way bef or e i t went out .
TURNER
Hor r i f i ed beyond descr i pt i on. He MOVES t owar d f r ont door ,
st ops. He t r i es t o STUFF t he shot gun he i s st i l l car r yi ng
under hi s coat s, but i t won' t go. Pul l s OPEN her dr awer .
That . 357 Magnumi n t her e. He st i cks i t i n si de over coat
pocket , hand on i t l i ke a gangst er , qui ckl y DESCENDS t o f r ont
door .
EXT. ALHS HOUSE
TURNER OPENS t he door a cr ack, l ooks out . ANGLE t o t he
st r eet . I t l ooks nor mal enough.
BACK TO TURNER
He st eps OUT qui ckl y, shut s t he door behi nd hi m.
MOVE WI TH HI M down and i nt o t he gat e. As he i s goi ng t hr ough
i t SOME UNSEEN THI NG GRABS HI M and al most pul l s hi mover
backwar d.
TURNER' s mout h i s openi ng t o SCREAM when he r eal i zes i t i s
j ust hi s coat caught on t he gat e l at ch. As he RI PS i t f r ee,
you ar e r eadi ng agai n t hat l yi ng br onze pl aque . . . "AMERI CAN
LI TERARY HI STORI CAL SOCI ETY".
CLOSE - TURNER' S SOLEX
The dr ops of r ai n make i t spar kl e.
FULL SHOT - I NCLUDE TURNER
He knows i t woul d be t oo conspi cuous - - al so t her e' s no t i me.
He t ur ns away.
I N THE STREET
TURNER st ar t s FAST al ong si dewal k Madi son, suddenl y HALTS.
Comi ng t owar ds hi mi s a woman pushi ng a baby car r i age. She
i s a dyky gover ness t ype, r ef l ect i ons GLI NTI NG of f her t hi ck
gl asses. She SEES hi m. She STOPS t oo, and BENDS over t he
pr aml i ke t o t ake somet hi ng out .
Cover i ng her wi t h t he pi st ol i n hi s pocket , TURNER BACKS
acr oss t he st r eet .
What she t akes f r omt he pr am, i s not a machi ne gun or hand
gr enade, of cour se, but j ust a BABY. She r ear r anges t he
dar l i ng.
TURNER br eaks i nt o a RUN.
ANGLES WI TH TURNER
He r ounds t he cor ner RUNNI NG ont o Madi son Avenue. Phone
boot h j ust ar ound t he cor ner wher e THAT MAN made t he cal l
ear l i er . I t ' s occupi ed. TURNER hesi t at es a moment . Than
dashes down t he bl ock t o anot her phone.
PHONE STAND
TURNER bar el y manages t o get t he di me i n. He di al s 911
aut omat i cal l y. A beat .
FI LTERED VOI CE
Pol i ce Headquar t er s.
Suddenl y TURNER doesn' t know what t o say he j ust br eat hes.
FI LTERED VOI CE
Hel l o?
Cl i ck. TURNER hangs up. He di gs f or anot her di me. Di al s an
easi l y r emember ed but t ot al l y i mpossi bl e number : 111- 222- 333.
TURNER
Hel l o?
I NT. A SMALL ROOM SOMEWHERE
Wi ndowl ess. Coul d be anywher e. No sense of pl ace, but a
per f ect sense of t i me: CLOCKS r un ar ound t he wal l , headi ng
t i me- zones on t he wal l - maps.
TURNER' S ( V. O. )
. . . Hel l o?
Comi ng f r oma massi ve SPEAKER hung f r omt he cei l i ng.
A l egl ess man i n a wheel chai r - - MI TCHELL - - i s al er t s
l eani ng f or war d. He f i ne- t unes knob on a bank of
communi cat i ons equi pment bef or e hi m. . . Tape- r ecor der s ar e
al r eady t ur ni ng . . . t hen speaks i nt o a t al k- box:
MI TCHELL
Thi s i s t he Maj or .
TURNER' S ( V. O. )
Thi s i s J oe Tur ner ! Li st en - -
MI TCHELL
I dent i f i cat i on.
TURNER' S ( V. O. )
What ??
EXT. PHONE & TURNER
We shoul d be awar e of how menaci ng PASSERSBY seemt o TURNER.
TURNER
I t ol d you, my name' s Tur ner - - I wor k
f or you! Somet hi ng' s happened, somebody
came i n and - -
MI TCHELL
I dent i f y your sel f .
TURNER can onl y hol d t i ght t o t he phone, hi s mi nd bl ank. So,
ver y cl ear , l evel :
MI TCHELL
What i s your desi gnat i on?
I t ' s l i ke t al ki ng t o a goddamn comput er : i f you don' t speak
i t s pr ogr ammed l anguage, i t won' t r espond. TURNER makes an
enor mous ef f or t :
TURNER
Thi s i s . . . oh . . . Condor ! Sect i on 9
Depar t ment 17. The sect i on' s been hi t !
MI TCHELL
What l evel ?
TURNER
What ?
MI TCHELL
( cool ; hel pi ng)
Level of damage.
TURNER
Tot al ! Ever ybody: J ani ce, Dr . Lappe, and
Har ol d was i n t he - -
MI TCHELL
Ar e you on a Company l i ne?
TURNER
I ' mi n t he st r eet ! I t ' s a payphone, near
t he - -
MI TCHELL
You' r e i n vi ol at i on of secur e
communi cat i on- pr ocedur es Condor .
TURNER
( over r i di ng out bur st )
You st upi d son of a bi t ch! I ' mt el l i ng
you I came back wi t h l unch, i t was
r ai ni ng and t he whol e house was mur der ed!
Ever ybody' s dead!
MI TCHELL
Ri ght . Has t he . . . i nci dent been
di scover ed by anyone out si de t he company?
TURNER
I don' t know. I don' t t hi nk so.
MI TCHELL
Ar e you damaged?
TURNER
Damaged? No!
MI TCHELL
Ar e you ar med?
TURNER
( r eachi ng i nt o pocket )
I ' ve got Mr s. - - what ' s her codename?
Ni ght i ngal e? She was af r ai d of bei ng
r aped, she kept a gun . . .
MI TCHELL
I dent i f y your ar mament .
I t t akes al l Tur ner ' s cont r ol t o answer :
TURNER
. . . 357 magnum.
( ur gent ; whi sper : )
Wi l l you get me i n! I ' mnot a f i el d-
agent , I j ust r ead books. . .
MI TCHELL
Leave t he ar ea.
TURNER
Shoul d I head downt own now?
MI TCHELL
Negat i ve! Fi nd a secur e l ocat i on.
TURNER
Wher e??
MI TCHELL
Avoi d any pl ace you ar e known. Do not go
home. Do not go home.
TURNER
Then . . . wher e?? What ' s secur e?!
MI TCHELL
( cal mi ng: )
Condor ? Look up an ol d f r i end.
TURNER
Huh?
MI TCHELL
A school chum. . .
TURNER
A what ??
MI TCHELL
( st eady; i nsi st ent )
. . . someone you' ve l ost t ouch wi t h,
haven' t been seei ng. Tr y t he phone
book. . .
( t hen)
Sur f ace agai n and cal l t he Maj or , i n t wo
hour s . . . That ' l l be. . .
I NT. THE SMALL ROOM
Mi t chel l scans t he wal l - cl ocks . . . STOPS at t he one mar ked:
NEWYORK.
MI TCHELL
1430 your t i me. D' you have i t , Condor ?
TURNER ( V. 0. )
( f r omspeaker )
Yes.
MI TCHELL
Wal k away f r omt he phone; don' t hang i t
up.
EXT. PHONE & TURNER
He l ooks at t he phone hand- pi ece, t hen, r i sks shout i ng i nt o
i t .
TURNER
Hey! I ' ve been out of school f i f t een
year s!
Absol ut el y not hi ng f r omt he ot her end. Tur ner pl aces t he
hand- pi ece on t he shel f . He backs away f r omphone.
I NT. THE SMALL ROOM
Mi t chel l ' s pr essi ng but t ons and PBX keys. A RED PANEL LI GHTS
UP: i t r eads "TRACI NG". Tape- r ecor ds ar e r ewi ndi ng f ast as
Mi t chel l speaks i nt o t he t al k- box:
MI TCHELL
Thi s i s t he Pani c Of f i cer . Sect i on 9/ 17
may have been hi t . I ndi go Al er t i n
ef f ect . Act i vat e f ol l owi ng pr ocedur es:
NY 1, 2, 7. DC 4, 6, ni ner . Repl ay of t he
r epor t upcomi ng: St and by.
I NT. GUGGENHEI M MUSEUM - DAY
MOVI NG WI TH TURNER, t hr ough t he maze of r amps. Hi s
expr essi on i s bl ank.
EXT. WEST SI DE WAREHOUSE
Bi g ol d hul k near t he r i ver . Some VEHI CLES come out . Pl ai n
car s, some panel t r ucks wi t h var i ous busi ness l ogos on t he
si de. On one van: "AUGEAN CLEANI NG SERVI CE, I NC. "
EXT. CENTRAL PARK - DAY
SERI ES OF CUTS t hat br i ng Tur ner out on Cent r al Par k West
near Col umbus Ci r cl e. VI EWOF THE COLI SEUM.
EXT. ALHS HOUSE
That "AUGEAN CLEANI NG SERVI CE" panel t r uck pul l s up. 3 MEN
i n cover al l s get out , car r yi ng r ug- shampoo machi ner y, et c.
One of t hemj abs a key i nt o t he f r ont door .
I NT. COLI SEUM - DAY
Tur ner wander s t hr ough t he di spl ays. He cont i nual l y checks
over hi s shoul der . He t r i es t o st ay cl ose t o wal l s.
Ever yone l ooks suspi ci ous. The most or di nar y behavi or seems
t hr eat eni ng. He HEARS A MOAN, he WHI RLS. A woman f ai nt s.
Tur ner bol t s!
EXT. ALHS - DAY
One of t he man i n cover al l s - - NEWBERRY - - comes out movi ng a
bi t t oo f ast , get s i nt o t he f r ont seat of t he panel t r uck,
br i ngs a r adi o- mi cr ophone up f r omunder t he dash:
NEWBERRY
Augi e One t o NY Cent er . . .
I NT. CI A OFFI CES NYC - DAY
One of t he t op f l oor s of t he Wor l d Tr ade bui l di ngs. A VI EW
of Upper NY Bay, Br ookl yn Hei ght , St at en I sl and and New
J er sey.
OPEN ON a man i n hi s 30' s named HI GGI NS: he' s pr eci se and
ambi t i ous, dr essed conser vat i vel y but not a cut out . The
f ai nt est t r ace of Texas i n hi s voi ce as he adj ust s a t al k-
box, and:
HI GGI NS
We r ead you, Augi e One. Go ahead.
NEWBERRY' S ( V. O. )
Who' mI t al ki ng t o?
HI GGI NS
Hi ggi ns. Deput y Di r ect or . I ' mhol di ng
t he baby. Go ahead.
NEWBERRY I N PANEL TRUCK
NEWBERRY
Hi t conf i r med. Maxi mum, as r epor t ed. 6
col d i t ems.
HI GGI NS
What was t he qual i t y of wor k?
NEWBERRY
Cl ean. Fast . Fi r st - r at e.
HI GGI NS
. . . Except t hey over l ooked one i t em- -
NEWBERRY
Nobody' s per f ect .
BACK TO CI A HEADQUARTERS - NEWYORK
HI GGI NS
( musi ng)
. . . or Condor i s . . . wai t a mi nut e! Di d
you say si x?
He' s been shuf f l i ng t hr ough some paper s on hi s desk. Then:
HI GGI NS
Except i ng Condor , t her e shoul d be seven.
NEWBERRY
Repeat , si x. Her e' s t he r undown on t hose
i t ems.
( r eadi ng f r oma sl i p)
Lappe, Chon, Russel l , J enni ngs, Mar t i n,
Mi t chel l .
HI GGI NS cl oses down r adi o- l i nk, he l ooks at TURNER' S f ol der ;
speaks t o a COMMUNI CATI ONS TECHNI CI AN who i s checki ng t apes
near by, but i t ' s r eal l y j ust t hi nki ng al oud:
HI GGI NS
Who' s Condor ? We' ve got a r esear ch- t ype
. . . who l i kes t o r ead comi c st r i ps
EXT. COLUMBUS CI RCLE - DAY
Tur ner wander s. He doesn' t know whi ch way i s saf e.
HI GGI NS VOI CE ( V. O. )
A man who want s t o wr i t e mur der - myst er i es
. . . but j oi ned The Company.
He' s suddenl y st ar ved. He r i sks a heat ed pr et zel . He cr ams
i t i nt o hi s mout h.
HI GGI NS ( V. O. )
I ' l l bet we' ve st uf f ed hi s head wi t h
enough t o wr i t e f or 20 year s. . .
Tur ner suddenl y st ops; st ar es.
TURNER' S POV
Seat ed on a bench i s a l eaky- eyed bum- - who t akes a sl ug
f r omt he t ypi cal br own- bag- cover ed- j ug.
HI GGI NS ( V. O. )
. . . Now he' s l oose somewher e . . . scar ed.
( t hen, f l at )
Or maybe not so.
( t hen)
Let ' s get hi mi n.
CLOSE TURNER
Hi s mout h f or ms a wor d. We don' t know what i t i s. He moves
away pur posef ul l y.
CLOSE NAMEPLATE UNDER BELL
"R. HEI DEGGER - - 310". Fi nger pushes buzzer . CAMERA PULLS
BACK. Tur ner i n t he vest i bul e of a br ownst one. Ten or
t wel ve ot her name pl at es and buzzer s. No answer . Tur ner
checks t he apar t ment number s, t hen pushes a buzzer on a f l oor
above Hei degger ' s. He get s t he answer i ng buzz and opens t he
i nner door .
STAI RCASE
He bounds up and st ops at apar t ment 310. About t o knock he
not i ces t he door NOT QUI TE CLOSED.
VOI CE
( f r omupst ai r s)
Who i s i t ?
TURNER pushes qui ckl y i nt o HEI DEGGER' s apar t ment .
I NT. HEI DEGGER' S APARTMENT
The BALDI NG LI TTLE GUY l i es hal f of f t he bed i n hi s Paj amas.
Cl ear l y dead.
PUSH TO TURNER' s r eact i on.
The apar t ment i s a shambl es. I t has obvi ousl y been sear ched
i n t he most t hor ough manner . An empt y bot t l e of I r i sh
Whi skey i s t i pped over on a ni ght t abl e.
EXT. BROWNSTONE
A pl ai n sedan pul l s up and doubl e par ks. Two "E. F. HUTTON"
t ypes get out whi l e a THI RD r emai ns i n t he car . The t wo men
st ar t t owar d t he door st oop.
I NT. HALLWAY OUTSI DE HEI DEGGER' S APARTMENT
TURNER comes sl owl y out and st ar t s t owar d st ai r s. As he
r ounds t he bani st er he sees:
TURNER' S POV
Those "E. F. HUTTON" guys comi ng f r omt wo f l i ght s bel ow.
BACK TO TURNER
He bol t s back ont o t he l andi ng and r ushes up t he next f l i ght
t o t he f our t h f l oor . As he r eaches a vant age poi nt wher e he
can see HEI DEGGER' s door way:
VOI CE
Hey!
TURNER whi r l s, hand goi ng i nst i nct i vel y i nt o hi s pocket f or
t he . 357. WI DEN ANGLE TO I NCLUDE a l ar ge beef y man hol di ng a
cof f ee cup, st andi ng out si de of a f our t h f l oor apar t ment .
MAN
Di d you r i ng my buzzer ?
TURNER f r ant i cal l y put s hi s f i nger t o hi s l i ps i mpl or i ng t he
man t o be si l ent .
HEI DEGGER' S DOORWAY
Wher e t he E. F. HUTTON" guys have ar r i ved. One l ooks up
answer i ng what he has j ust hear d.
HUTTON GUY
I t was a mi st ake, buddy.
TURNER AND THE BEEFY MAN
TURNER i s pani cked.
BEEFY MAN
( l eani ng over st ai r way)
Not you guys!
HEI DEGGER' S DOORWAY
But t he t wo men ar e al r eady i nsi de and t he door i s sl owl y
cl osi ng.
BACK TO TURNER
He bol t s, t aki ng t he st ai r s t hr ee at a t i me.
BEEFY MAN
( shout i ng)
Hey you! Who t he hel l ar e you???
EXT. DOWNTOWN WASHI NGTON D. C.
Busy and f ul l of t r af f i c but NO SOUND on t he t r ack. I nst ead
we HEAR FI LTERED METALLI C CLI CKI NG. Then:
HI GGI NS VOI CE
( f i l t er )
Go ahead.
VOI CE
Augi e t hr ee her e. Hi t on I t emseven
conf i r med. He bought i t at home af t er
f un and games.
HI GGI NS' VOI CE
OK. But t on i t up, Augi e. I ' l l send you
mor e J ani t or s.
A CLI CK, t hen:
HI GGI NS' VOI CE
( no f i l t er )
Let ' s have t hat Washi ngt on Rel ay.
I NT. CI A HQ - LANGLEY, VI RGI NI A - DAY
MOVI NG DOWN a l ong cor r i dor wi t h anot her cl ean- cut t ype:
FOWLER. Rows of cubi cl es and OFFI CE- WORKERS. Thi s coul d be
a bi g i nsur ance company.
FOWLER STOPS at a door mar ked: ' O. I . C. DEPT. 19' . He KNOCKS.
I NT. WI CKS' OFFI CE - DAY
WI CKS i s i n hi s 40' s, i n conspi cuousl y gr eat shape. Maybe
he' d been Regul ar Ar my, a l i ne of f i cer .
He l ooks up at Fowl er . . . and r eads hi s t r oubl e expr essi on,
wai t s f or :
FOWLER
Somebody t ook out one of your sect i ons.
WI CKS
What ?
FOWLER
9/ 17.
WI CKS
( al most l aughs)
New Yor k? . . . One of ' emgot mugged
maybe, but t hey - -
FOWLER
( f l at over r i de)
They wer e hi t .
WI CKS
They' r e bookwor ms!
FOWLER
Got 7 out of 8. We' r e on t he shut t l e t o
La Guar di a, J i m. 30 mi nut es.
WI CKS nods, seems t o be st i l l t hi nki ng about t he
i mpossi bi l i t y of i t ; t hen, vaguel y:
WI CKS
Di d you say one of my peopl e i s OK?
FOWLER
Condor . D' you know hi m?
WI CKS
( shakes hi s head no)
I s he OK enough t o t el l us what happened?
FOWLER
They di dn' t t ouch hi m: he was out t o
l unch!
WI CKS
What ' d he say happened?
FOWLER
He' s not i n, yet . Fi r st cal l was a
l i t t l e wi l d, scar ed.
WI CKS
Who' s br i ngi ng hi mi n?
FOWLER
Hi ggi ns.
WI CKS
He' s good.
WI CKS pi cks up a phone, punches an i nt er nal number ; we HEAR:
PHONE VOI CE
Tr anspor t at i on.
FOWLER
We' r e al r eady booked on. . .
WI CKS
( i nt o phone)
Thi s i s Wi cks, O. I . C. 17. I want a
chopper on t he r oof pad. Fuel f or New
Yor k. Now.
EXT. WEST 20' S - DAY
OPEN CLOSE ON TURNER, wat chi ng: ANGLE ADJ USTS TO I NCLUDE a
r ed br i ck bui l di ng, acr oss and down t he st r eet .
He deci des t o r i sk i t : cr osses t he st r eet , and i s about t o
ent er t he bui l di ng when he i s st opped by:
FULLER ANGLE - I NCLUDE LANDLADY
She i s dr aggi ng gar bage cans f r omunder t he st ai r s f or
col l ect i on.
LANDLADY
They' r e wai t i ng f or you!
Tur ner whi r l s.
TURNER
What ??
LANDLADY
Your t wo f r i ends.
Tur ner f r eezes, begi ns t o back away.
LANDLADY
They sai d you' d be home ear l y.
( t ur ns t o hi m)
They j ust got h- -
( he' s gone)
Mr . Tur ner ??
NEWANGLE - CLOSE ON TURNER
pr essed f l at , j ust ar ound t he cor ner : An abr upt r eact i on t o:
EXT. BRI CK BUI LDI NG - TOP FLOOR WI NDOWS - POV
Shades ar e bei ng pul l ed down!
EXT. WORLD TRADE CENTER - DAY
HOLD. Then a HELI COPTER set t l es i nt o f r ame, pr epar i ng t o
l and.
I NT. CI A - NEWYORK CENTER - DAY
SHOOTI NG THRU WI NDOWDOWN AT HELI PAD as Chopper set t l es.
PULL BACK TO SHOWHI GGI NS movi ng away f r omwi ndow.
EXT. BROADWAY NEAR COLUMBI A UNI VERSI TY
CLOSE ON TURNER' s HAND DI ALI NG. PULL BACK t o see hi mi n a
phone boot h, campus i n bag
I NT. THAT SMALL ROOM SOMEWHERE
The SERI ES OF MUSI CAL TONES we hear d ear l i er , t he STATI C . . .
and t he l egl ess man, MI TCHELL:
MI TCHELL
Thi s i s t he Maj or .
TURNER' S ( V. O. )
( f r omSpeaker )
Thi s i s Condor .
MI TCHELL
St and by. Rout i ng you t o NY Cent er .
I NT. CI A OFFI CE, NY - DAY
No pause: HI GGI NS act i vat es hi s t al k box and:
HI GGI NS
Hel l o, Condor . . .
I NT. PHONE BOOTH - DAY
TURNER
HI GGI NS
I ' mDep Di r ect or Hi ggi ns, NY Cent er ,
cont r ol l i ng now. Wher e ar e you?
TURNER
How come I need a codename and you don' t ?
HI GGI NS
. . . Wher e ar e you, Tur ner ?
TURNER
Her e.
HI GGI NS
( beat )
. . . Ar e you OK?
TURNER
Ar e you i nsane . . . ever ybody' s dead! !
HI GGI NS
Ar e you r eady t o come i n?
TURNER
They got Hei degger t oo! I went t o hi s
house t o see i f - -
HI GGI NS
You' r e doi ng t hi s wr ong, Condor ! We know
who t hey' ve got . Let ' s get you i n her e.
The door behi nd Hi ggi ns opens; Wi cks and Fowl er come i n.
HI GGI NS
Her e' s how i t ' l l be done: d' you know t he
Ansoni a Hot el ?
TURNER
Br oadway and 74t h?
HI GGI NS
Ther e' s an al l ey behi nd i t . One hour
f r omnow . . . t hat ' s15: 20 . . . wal k i nt o i t
- - f r omt he 74t h St r eet end.
TURNER
You' l l be t her e?
HI GGI NS
The head of your depar t ment j ust got i n
f r omDC. He' l l br i ng you home.
TURNER
I never met hi m.
HI GGI NS
No pr obl em: he' s checki ng our pi ct ur es of
you, now.
( t hen, at Tur ner ' s si l ence)
What ' s t he mat t er ?
TURNER
. . . I don' t know you, ei t her .
An exasper at ed l ook at Wi cks and Fowl er .
HI GGI NS
( r eassur i ng: )
We' l l meet , Tur ner .
( t hen)
He' l l be car r yi ng a Wal l St r eet J our nal ,
l ef t hand.
TURNER
Ther e wer e a coupl e of guys at my house.
HI GGI NS
What wer e you doi ng t her e?!
TURNER
I was homesi ck! Who wer e t hey?
HI GGI NS
. . . 0ur s.
TURNER
What wer e t hey doi ng i n my house?
( si l ence; t hen an out bur st )
Li st en, I don' t want t o go i nt o an al l ey
wi t h you or anybody you say and f uck The
Wal l St r eet J our nal !
HI GGI NS
I t ' s been a l ong, bad day, Condor , you' ve
been under - -
TURNER
Damn r i ght I ' ve been under !
HI GGI NS
Al l r i ght . Tur ner ? He' l l br i ng al ong
somebody, you know, a f ami l i ar f ace.
TURNER
. . . Who' s l ef t ?
Hi ggi ns r ef er s t o Condor ' s f i l es.
HI GGI NS
You have a f r i end down her e i n
St at i st i cs. . .
TURNER
SamBar ber .
HI GGI NS
Wi l l he do?
TURNER
( mor e cal ml y)
Yeah. Sam' l l do.
HI GGI NS
( t o Fowl er )
Get hi m. . .
( i nt o t al k- box agai n)
OK. St ay wel l f or 60 mi nut es, and you' r e
home, Condor .
He hangs up.
HI GGI NS AND WI CKS
Al one: WI CKS i s checki ng PHOTOS of TURNER.
HI GGI NS
Y' have 55 mi nut es.
WI CKS
Do we know why?
HI GGI NS
No.
WI CKS
Somebody get t i ng even? The f i r mj ust hi t
a pl ace i n . . . Pr ague, was i t ? The
uni ver si t y.
HI GGI NS
Buchar est .
( r ej ect i ng i dea)
They wer e codebr eaker s. No, t hi s i s . . .
odd: t hese peopl e di dn' t know much.
Wi cks has been scanni ng Tur ner ' s f ol der :
WI CKS
. . . Hi s psych- pr of i l e shows a peak at
I nt el l ect ual Cur i osi t y . . . di ps at
Conf or mi t y.
HI GGI NS
They mi ssed pl ent y: he' s moody, and
exci t abl e as hal l ! He' l l be shoot i ng at
shadows i f we don"t get hi mi n her e.
WI CKS
He' s ar med?
HI GGI NS
. 45
( t hen)
You di dn' t t r avel wi t h anyt hi ng, di d you?
WI CKS
No.
HI GGI NS
You know wher e Or di nance i s. . .
WI CKS
I ' mj ust goi ng t o wal k hi mhome. . .
HI GGI NS
Somebody went t o some t r oubl e t o get t he
ot her 7.
SPEAKER VOI CE
( sof t , f emal e)
Scr ambl er One, Mr . Hi ggi ns. . .
WI CKS & HI GGI NS bot h ar e i mpr essed wi t h t he desi gnat i on:
HI GGI NS
Deput y Di r ect or Hi ggi ns . . . Yes si r .
I ' l l be gl ad t o. That ' l l be no pr obl em,
si r . I ' l l l eave Wi cks wi t h t he baby . . .
Thank you.
He r epl aces phone gent l y; t hen:
HI GGI NS
54/ 12 Gr oup i s meet i ng. He want s me t o
br i ef t hemon i t .
WI CKS
He' l l be t her e, hi msel f ?
( Hi ggi ns nods)
Ni ce br eak.
I NT. CI A, NY - ORDNANCE ROOM
Wi cks and Tur ner ' s f r i end, SAM BARBER, a ni ce guy, and
f ear l ess, f ar beyond hi s physi cal st r engt h.
Bar ber i s i n a f l ak- j acket , ar ms hel d st i f f l y.
BARBER
Thi s i s r i di cul ous.
WI CKS
You' r e not a f i el d- agent ; i t ' s st andar d
pr ocedur e.
BARBER
To pi ck up a f r i end?
ORDNANCE MAN dr ops anot her f l ak- j acket on t he count er , and:
ORDNANCE MAN
What about you, Mr . Wi cks?
When Wi cks shakes hi s head no t o t he j acket :
ORDNANCE MAN
Si dear m?
WI CKS
I don' t know . . . D' you have a . 45?
As Or dnance Man t ur ns t o f i l l t he or der , Wi cks checks Bar ber :
WI CKS
Let me but t on t hat up f or you.
( Beat )
How l ong' ve you known Condor ?
BARBER
I knew hi mbef or e he was a bi r d, even.
We went t o CCNY. My wi f e, t oo.
WI CKS
She ever Condor ' s gi r l ?
BARBER
( You son of a bi t ch, but )
Bef or e she saw t he l i ght .
( t hen)
Hey wi l l t el l me what went on t oday?
WI CKS
When.
BARBER
Thi s mor ni ng. Those mur der s.
WI CKS
What mur der s?
He' s but t oni ng Bar ber ' s j acket t o t he neck.
EXT. ANSONI A HOTEL
OPEN CLOSE ON some or nat e st onewor k; WI DEN TO I NCLUDE an
oddl y- shaped wi ndow. Thi s coul d be anywher e, a mar vel ous
chat eau i n t he Loi r e Val l ey . . . PULL BACK TO I NCLUDE A BLUE
NEON SI GN: ' AL ROON' S GYM' .
EXT. ALLEY
Bet ween t he hot el and negl ect ed br ownst ones: gar bage cans and
empt y cr at es and boxes. MOVE I N t o di scover Wi cks and
Bar ber . Paper s bl ow agai nst t hei r l egs. Bar ber st amps hi s
f eet . Wi cks' adj ust ment t o t he col d i s t o r emai n mot i onl ess.
Onl y one move: he opens hi s over coat .
Bar ber sees t he move. I t ' s al i en behavi or . . . but he l et s i t
pass: i n a f ew moment s, hi s f r i end wi l l be her e.
WI CKS
Move over agai nst t he wal l . . .
BARBER
Why?
WI CKS
( l i ke t o a dumb chi l d)
So he wi l l see you. The i dea i s he
r ecogni zes you.
Bar ber st ar t s t owar d t he opposi t e wal l .
SHOT - TURNER
st andi ng agai nst f i r e- exi t at t he si de of t he hot el , under a
BARE RED LI GHTBULB, st ar i ng at hi s wat ch.
SHOT - WI CKS
st udyi ng hi s wat ch, t oo . . . He l ooks down t he al l ey.
TURNER
He t akes a br eat h, MOVES away f r omf i r e- exi t . He STOPS i n
shadows, PEEKS ar ound cor ner i nt o t he al l ey:
TURNER' S POV
Ther e' s SamBar ber , st andi ng agai nst t he wal l .
SHOTTURNER
Rel i ef ! . . . he STARTS ar ound t he cor ner . . .
ALLEY - VARI OUS ANGLES
TURNER, MOVI NG. BARBER SEES hi mnow, t oo: a smi l e . . . WI CKS
shi f t s posi t i on sl i ght l y: WE SEE hi mbut TURNER doesn' t .
Then SUDDENLY WI CKS DELI BERATELY KI CKS t he bot t omcr at e out
f r omunder an unst eady st ack . . . t he cr at es CRASH acr oss t he
al l ey.
TURNER
J umps t o one si de . . . r eaches t owar d hi s gun. WI CKS st eps
qui ckl y out of t he SHADOWS now br i ngs up t he si l enced Magnum
and i ncr edi bl y! - - FI RES!
An i nch over TURNER' s head a br i ck i s SHATTERED, spr ays down
on hi m. . . and t he RI COCHET SCREAMS. . .
BARBER
( scr eams)
Hey! I t ' s hi m! What ' r e y' doi ng??!
TURNER di ves f or war d and t o one si de, CRASHI NG agai nst
gar bage cans. . .
WI CKS i s unbel i evabl y FI RI NG AT TURNER agai n! . . .
TURNER r ol l s over t he gar bage- cans, pul l s t he gun f r ee.
Thr ust s i t f or war d i n bot h hands and pul l s t he t r i gger ! The
ECHO hammer s at t he wal l s of t he al l ey! RE- ECHO! WI CKS' l eg
i s knocked f r omunder hi m. He f al l s, hi s t hi gh shat t er ed.
TURNER
scr ambl es up, can' t bel i eve i t :
WI CKS
t r yi ng t o get i nt o posi t i on t o FI RE agai n!
TURNER
TURNER
Sam??! !
Anot her r ound sl ams past hi s ear . He RUNS.
WI CKS
on hi s f ace, manages t o FI RE agai n. Then - - he swi ngs hi s
pi st ol t hr ough a qui ck 90- degr ee ar c, AI MS i t acr oss t he
al l ey - -
BARBER
r oot ed, hypnot i zed! The st i f l ed SOUND of t he si l enced
Magnum! A SLUG RI PS THROUGH BARBER' s t hr oat s, j ust above t he
f l ak- j acket .
EXT. WEST 74TH STREET & BROADWAY
MOVI NG wi t h TURNER, t er r i f i ed! - - as he bol t s out of t he
al l eys, t hr ough a GROUP OF KI TCHEN- WORKERS who' ve come out of
t he back- door of a r est aur ant at t he sounds of shoot i ng.
He st umbl es, keeps r unni ng - - pur sued by t hei r SPANI SH CRI ES.
EXT. BROADWAY - SERI ES OF CUTS
TURNER dar t s THROUGH TRAFFI C, vaul t s t he f enced- i n cent er -
i sl and on Br oadway, j ams t he gun out of si ght as he r uns. . .
SI RENS. A PROWL- CAR headi ng t he ot her way, down Br oadway - -
t he SCREAM of i t s br akes.
TURNER t ur ns of f Br oadway - -
NEARBY STREETS & ALLEYS
TURNER zi g- zaggi ng bet ween car s, t r yi ng t o l ose hi msel f !
SI RENS f r omot her di r ect i ons, now. He t ur ns i nt o Col umbus
Avenue - - and i s met by t he FLASHI NG LI GHTS of a pr owl car
SCREAMI NG PAST t he i nt er sect i on.
He f l at t ens agai nst a st or e wi ndow . . . wat ches as t he pr owl
car STOPS at t he next i nt er sect i on and TWO COPS l eap out ,
guns dr awn. . . !
As easi l y as he can, TURNER ENTERS t he st or e. . .
I NT. SPORTI NG- GOODS STORE
Sudden QUI ET: Cl ot hi ng pi l ed on t abl es, hung on t he wal l s.
An unkempt mess of ar my- sur pl us, campi ng- equi pment and st uf f
f or wi nt er - spor t s. . .
DI STORTED REFLECTI ONS of al l of i t i n ant i - shopl i f t i ng
MI RRORS. . .
TURNER t r i es t o mel t i nt o a nar r ow ai sl e of ol d f i el d-
j acket s. He t r i es one on, j ust t o gi ve hi msel f t i me t o st op
t r embl i ng, cat ch hi s br eat h . . . Then, he not i ces. . .
NEAR CASH- REGI STER
A GI RL, l at e 20s, wi t h her pur chases: cr oss- count r y ski i ng
st uf f , l i ght wei ght boot s, backpack, j acket , et c. CLERK i s
checki ng her Mast er Char ge cr edi t , r eadi ng i nf o i nt o phone:
CLERK
Kat her i ne Hal e . . . H, a, l , e. 08 1156 172
208 . . . 08/ 75. Amount : 51. 86.
( t o Kat hy, cover i ng phone)
Wher e' s t her e enough snow t hi s ear l y?
KATHY
Ver mont . . . I hope.
CLERK
What ' s open? Sugar bush?
KATHY
I don' t do downhi l l ; t hi s i s f or cr oss-
count r y.
CLERK
Don' t l i ke t he l i f t - l i nes, uh?
KATHY
I t ' s t he I RT subway, wi t h f r ost bi t e! I
can use 2 weeks away f r omt hat .
I nt er r upt ed by:
CLERK
( i nt o phone; wr i t i ng)
474 . . . Thank you.
Dur i ng t hi s, ANGLE ADJ USTS TO I NCLUDE back of st or e:
TURNER' s gone.
ABRUPT CUT TO:
EXT. COLUMBUS AVENUE
SHOOTI NG PAST spor t i ng- goods st or e: a VWpar ked at a met er
and a METER- MAI D about t o wr i t e a ci t at i on.
KATHY emer ges wi t h her packages, hur r i es, cal l s:
KATHY
Don' t do i t ! Her e I am! . . .
METER MAI D
Cut t i n' i t cl ose, si st er . . .
KATHY
Sor r y. . .
TURNER' S VOI CE
- - Kat hy?!
As she t ur ns:
NEW ANGLE
As i f he' d been wal ki ng by, st opped . . . appr oachi ng her now:
TURNER
How' ve you been, Kat h?
She doesn' t r ecogni ze hi mof cour se, but i n NYC you meet so
many peopl e, so br i ef l y. . .
KATHY
Do I . . . ?
SOUND of si r en f or ces Tur ner t o make hi s move f ast er t han he
i nt ended: he st eps cl oser :
TURNER
Her e, I ' l l gi ve you a hand wi t h - -
KATHY
Hey! I don' t know you!
Too l at e: he' s t aken a knapsack f r omher , uses i t t o conceal
t he . 357 Magnumf r omanyone on t he si dewal k . . . but not f r om
her : i t ' s suddenl y t her e, huge, cl ose t o her t hr oat .
TURNER
Be qui et and ni ce, we' r e f r i ends. I need
hel p.
KATHY
( r ef er r i ng t o her t hi ngs)
Her e! Take t he st uf f !
TURNER
Put i t i n t he car . Get i n!
Her eyes dar t t owar d t he POLI CE CARS, st i l l conver gi ng on t he
ar ea. He knows she' s t hi nki ng of scr eami ng. He br i ngs t he
muzzl e of t he gun up cl ose t o her neck.
TURNER
Don' t be dumb. Get i n and open t he ot her
door f or me.
Kat e get s i n, l eans over and opens Passenger door .
MOVI NG WI TH TURNER - KATHY' S POV
Hi s f i xed smi l e - - as i f t hey wer e a f un- coupl e of f on a
t r i p.
I NT. VW
He sl i ps i n besi de her . She gr i ps t he st eer i ng- wheel but
doesn' t st ar t t he engi ne. Looki ng st r ai ght ahead:
KATHY
Li st en, pl ease. Don' t hur t me.
TURNER
( over l ap)
Wher e d' you l i ve?
KATHY
Br ookl yn Hei ght s.
TURNER
Al one?
She f umbl es wi t h t he i gni t i on key, her hands shaki ng badl y.
KATHY
( cont i nui ng)
I . . . I l i ve wi t h a guy.
TURNER
What does he do?
KATHY
St ock br oker .
TURNER
Wher e?
KATHY
Wal l St r eet .
TURNER
What number Wal l St r eet ?
KATHY
1030.
TURNER
( br i ef est l augh)
You l i ve al one.
EXT. CI A - LANGLEY, VI RGI NI A- ROOF
Hel i copt er on r oof t op pad. MEN wai t i ng. HI GGI NS cl i mbs out .
A f ew wor ds I NAUDI BLE under r ot or . MAN hands HI GGI NS a TELEX
SHEET. He' s movi ng away f r om, pad r eadi ng i t - - i t FREEZES
HI M.
ZOOM CLOSE on hi s r eact i on: shock. Const er nat i on!
EXT. BROOKLYN BRI DGE
The st one Got hi c t ower s and t he spi der web of woven st eel
cabl es. CAMERA TI LTS DOWN t o KATHY' S VW: she' s st ar i ng
st r ai ght ahead. TURNER wi t h hi s own t hought s, t oo . . . At a
cer t ai n poi nt he t ur ns t o l ook at her . Bot h r emai n si l ent .
I NT. OLD CAGE ELEVATOR
HI GGI NS ASCENDS t hr ough a bi g ol d bui l di ng. Topf l oor l andi ng
COMES I NTO VI EWt hr ough t he mesh.
An i ncongr ui t y: Pol i shed MARI NE GUARDS and aut omat i c weapons:
TOP- FLOOR LANDI NG
As he st eps out of el evat or , f l i ps open hi s I D:
HI GGI NS
Fr omNY Cent er . Her e t o br i ef 54/ 12
Gr oup.
MARI NE checks I D agai nst a l i st , and:
MARI NE
Ri ght , si r .
FOLLOWHI GGI NS t o cl osed doubl e- door s. Faded gi l t l et t er i ng
on t he dar k wood: ' FI VE CONTI NENTS I MPORTS, I NC. ' He STOPS,
pauses l i ke an act or about t o audi t i on, t hen TAPS and sl i des
t he door s APART.
I NT. OLD, ORNATE ROOM
SHOOTI NG OVER HI GGI NS' SHOULDER: WE SEE I MPORTANT LOOKI NG
MEN, some i n uni f or m, most ci vi l i an. . . si t t i ng ar ound a
magni f i cent ant i que t abl e, bef or e a wal l of l eaded- wi ndows.
An OLD MAN wi t h t he manner of a ki ndl y uncl e, r i ses t o gr eet
HI GGI NS. As he comes TOWARD CAMERA, hand ext ended, t he
MARI NE ENTERS f . g. OF FRAME, CLOSES DOUBLE- DOORS on our VI EW
of t he r oom.
EXT. UNI ON STATI ON, WASHI NGTON D. C.
Met r ol i ner , SLOWI NG i nt o st at i on; CAMERA MOVI NG wi t h a
par t i cul ar wi ndow, and t he man t her e: i t i s J OUBERT.
EXT. BROOKLYN HEI GHTS - HI GH ANGLE - DUSK
Tr ee- l i ned nar r ow st r eet s; wel l - kept ol d houses. A st one
pr omenade above t he pi er s and r ai l head. The t ower s of l ower
Manhat t an ABLAZE acr oss Upper New Yor k Bay. Conspi cuous: t he
t wi n- skyscr aper s of t he Tr ade Cent er .
KATHY' s VWbacks i nt o a t i ght par ki ng- space.
CLOSE ON VW
Tur ner get t i ng out . When Kat hy get s out , moves t owar d t r unk:
TURNER
Leave t he st uf f .
Suddenl y KATHY DI SAPPEARS, ducks down on f ar si de of car .
Tur ner moves f ast - - st ops i n r el i ef : she' d dr opped her keys,
st ooped t o pi ck t hemup. She st ar t s al ong si dewal k. . .
FOLLOWI NG THEM
J ust AHEAD: an ol di sh MAN and hi s l eashed DOG. We SEE hi m
r ecogni ze Kat hy, st ar t t o gr eet her - - and hi s puzzl ed
r eact i on as she aver t s her gaze, wal ks r i ght past . The man' s
dog begi ns BARKI NG.
EXT. KATHY' S BUI LDI NG DUSK
as t hey ent er vest i bul e and she f i t s key i nt o l ock:
TURNER
You shoul d' ve sai d hel l o.
The door i s open. Suddenl y she knows she can' t go i n. He
sees her st i f f en, bal k! . . . and f or ces her i nsi de. The door
swi ngs SHUT.
I NT. OLD, ORNATE ROOM
HI GGI NS i s on hi s f eet ; he' s been br i ef i ng t hi s gr oup of t op-
l evel men, t he 54/ 12 Gr oup. READI NG f r omt he Tel ex, now:
HI GGI NS
' Condor f i r ed at us bot h. '
( put s down Tel ex)
That was t he onl y st at ement t hey coul d
get f r omWi cks bef or e he went i nt o t he
oper at i ng r oom.
CI VI LI AN
And t he ot her man - - Bar ber ?
He' s dead?
HI GGI NS
Bef or e he hi t t he gr ound.
OLD MAN ( WABASH)
You shoul d add t hat i t was a r emar kabl e
shot : a hal f - i nch above hi s f l ak- j acket .
CI VI LI AN
Was Condor qual i f i ed wi t h a handgun?
HI GGI NS
( scanni ng f ol der )
Two year s mi l i t ar y ser vi ce. Si gnal
Cor ps, For t Monmout h: pvt , basi c
t r ai ni ng; pf c, t el ephone- l i neman, l ong
l i nes; t ec 5, swi t chboar d mai nt enance . . .
si x mont hs over seas . . . separ at ed 9/ 60
. . . Col l ege on t he GI Bi l l . . .
MR. WABASH
The quest i on was, Mr . Hi ggi ns, was he
qual i f i ed wi t h a handgun?
HI GGI NS
( beat )
No Si r . . . M- 1 r i f l e and car bi ne. No
handgun. I t was sheer l uck. . .
( cl oses f ol der )
Or el se. . .
- - A phone RI NGS SOFTLY. Mr . Wabash, answer s i t ver y
qui et l y, l i st ens. Out of def er ence t o t he ol d man, Hi ggi ns
i s si l ent . But anot her MAN at t he t abl e, a MR. ATWOOD,
pr esses qui et l y:
ATWOOD
Or el se what , Mr . Hi ggi ns. . .
MR. WABASH
. . . Condor i sn' t t he man hi s t apes say he
i s . . .
CI VI LI AN
Then wher e di d he l ear n evasi ve moves?
Al most af r ai d t o say i t :
HI GGI NS
He . . . r eads.
CI VI LI AN #2
What i n hel l ' s t hat mean?
HI GGI NS
No. You don' t under st and. He r eads . . .
ever yt hi ng.
Ci vi l i an i s about t o pr ot est agai n but Mr . Wabash abor t s i t
wi t h a gest ur e . . . and appr eci at i vel y, t o Hi ggi ns:
MR. WABASH
Yes. Ver y good.
( t hen)
Has t he Bur eau t r i ed t o get i n yet ?
HI GGI NS
I had a cal l f r omThi r d Avenue, yes si r .
I bel i eve I bought us some t i me.
CI VI LI AN
Do t hey know i t ' s a domest i c I nt el l i gence
mat t er ?
MR. . WABASH
They know . . . but t hey won' t be a
pr obl em.
Moder at e amusement f r omt he ot her s; t ur ni ng t o a CI VI LI AN:
MR. WABASH
What does Count er I nt el l i gence have?
ATWOOD
Absol ut el y not hi ng, si r .
MR. WABASH
( beat , bef or e)
Ext r aor di nar y!
Hel pl ess gest ur e f r omAt wood.
ATWOOD
I t was ver y wel l execut ed.
MR. WABASH
( not buyi ng i t )
Whi ch r equi r es pl anni ng. . . communi cat i on
. . . t r acks. I don' t expect f oot pr i nt s
. . . but a bl ade of gr ass, a br oken t wi g
. . . somet hi ng di st ur bed!
ATWOOD
Yes, si r .
( A beat ; t hen)
Wi cks seems t o be al l we' ve got .
MR. WABASH
Wi cks i s al i ve . . . but won' t be abl e t o
chat sensi bl y unt i l t omor r ow.
CI VI LI AN
Wher e do we have hi m?
HI GGI NS
We don' t . He was r ushed t o Roosevel t
Emer gency bef or e we got wor d.
MR. WABASH
. . . whi ch l eaves Condor .
ATWOOD
Wher ever he i s.
MR. WABASH
Wher ever he i s, i ndeed.
ATWOOD
Per haps we shoul d publ i ci ze t he hospi t al .
Tr y t o get Condor t o - -
MR. WABASH
Let ' s not expect t oo many mi st akes f r om
t hi s man: he sounds mor e i nt er est i ng
t han j ust anot her of our r eader /
r esear cher s.
I NT. KATHY' S APARTI MENT
OPEN CLOSE ON Kat hy, si t t i ng mot i onl ess. Tur ner ' s hol di ng
t he gun.
MR. WABASH' S ( V. 0. )
For exampl e: has he gone i nt o busi ness
f or hi msel f ? Was he t ur ned ar ound? Does
someone oper at e hi m?. I s he a
homosexual ? Br oke? Vul ner abl e? Coul d
he be a . . . sol di er of For t une? Di d he
ar r ange t he hi t ? I s t hat why he' s st i l l
i n f l i ght ?
Tur ner ' s t ossed a PLASTI C CARD on t he cof f ee t abl e.
MR. WABASH ( V. 0. )
. . . St i l l , he may be an i nnocent . But
t hen: Why di dn' t he come i n f r omt he
Col d, gent l y, wi t h Mr . Wi cks?
THE CARD
as she pi cks i t up: we SEE a PHOTO OF TURNER, under t he
wor ds: TENTREX I NDUSTRI ES, and an embossed phone- number .
KATHY' S VOI CE
Tent r ex I ndust r i es . . .
TURI NER' S VOI CE
I t ' s a cover . . .
BACK TO SCENE
TURNER
I wor k f or t he CI A.
KATHY
( hel pl ess l aught er )
Oh, J esus . . .
As he l ooks ar ound f or a Manhat t an phone- di r ect or y:
KATHY
They ask you t o go out and ki dnap a gi r l ?
He t osses t he phone- book on t he cof f ee- t abl e.
TURNER
Look i t up: Tent r ex.
KATHY
Come on.
TURNER
Then l ook up t he number f or t he CI A i n
New Yor k.
KATHY
Y' mean t hey' r e l i st ed? Li ke my Aunt
Gl adys?
But she' s been doi ng i t . . . and f i nds:
KATHY
O. K. , i t ' s t he same number .
( t hen)
You know, you coul d' ve - -
TURNER
Made t he car d i n a machi ne! But I
di dn' t . . .
TURNER i s now up, MOVI NG ar ound t he apar t ment . He l ooks of f
t owar d one wal l .
SLOWPAN - STI LL PHOTOS - TURNER' S POV
The PHOTOS ar e pi nned t o a cor kboar d wal l . Good pi ct ur es: no
t r i cks i n devel opi ng, not hi ng st agey i n composi t i on. But
t her e i s a di st ur bi ng mood. A bi t l i ke t hose r emar kabl e
phot os of Di ane Ar bus.
TURNER' S VOI CE
( r ef er r i ng t o phot os)
You ar en' t exact l y car ef r ee, ar e you?
WI DER ANGLE
KATHY
Why shoul d I be?
TURNER
( r e: phot os)
I s t hi s what you do f or a l i vi ng?
KATHY
I phot ogr aph boot s! and shi r t s, and
West er n- st yl e pant s! f or a mai l - or der
house on 4t h avenue.
He' s been checki ng t hr ough dr awer s, cl oset s. . .
KATHY
You sur e do get i nt o i t , don' t you?
Mast er - spy f or t he CI A. . .
He pul l s a coupl e of men' s shi r t s out of a cl oset .
KATHY
Somet i mes . . . somebody st ays over .
TURNER
Same si ze.
KATHY
I di g 15- 1/ 2, 34s.
( t hen)
What si ze ar e you?
Tur ner whi r l s.
TURNER
Hey, what ' r e you?? A cl own! ?
KATHY
I ' mscar ed!
TURNER
So amI !
KATHY
What t he hel l ar e you scar ed f or ? You' ve
got t he gun!
TUPNLER
That ' s t he poi nt !
She st ar es at hi m. Then begi ns t o l augh at t he i ncongr ui t y
of i t . He senses i t t oo, wi pes hi s br ow wi t h hi s ar m.
TURNER
You' r e f unny . . . and you t ake pi ct ur es of
empt y st r eet s . . . and no l eaves on t he
t r ees.
KATHY
I t ' s wi nt er .
He moves t o si nk. Runs wat er i n a gl ass, dr i nks, t hen r ai ses
t he gl ass t o hi s f or ehead. Qui et l y:
TURNER
Li st en. I wor k f or t he CI A. I ' mnot a
spy. I r ead myst er y novel s, advent ur es,
j our nal s, ever yt hi ng publ i shed al l over
t he wor l d. We f eed t he pl ot s- - di r t y
t r i cks, codes, anyt hi ng - - i nt o a
comput er , t o check agai nst act ual CI A
Pl ans and Oper at i ons. We l ook f or l eaks.
Or new i deas.
( no r esponse)
Who' d i nvent a j ob l i ke t hat ?
( he r eads her expr essi on)
You' r e r i ght : a l unat i c! One pr obabl y
di d i nvent i t . . . but i t wasn' t me. . .
Then, an out bur st :
TURNER
Hey! Peopl e ar e t r yi ng t o ki l l me!
Peopl e I know!
KATHY
Who?
TURNER
I don' t know!
( t hen)
But t her e' s a r eason. Ther e i s a r eason
. . . and I need some qui et . . . saf e t i me
t o r eason i t out . . . put t hi ngs t oget her .
KATHY
Because t hey' r e af t er you . . . you' r e
af t er me.
( shr ugs)
That ' s onl y f ai r .
LOUD METALLI C CLANK- CLANK! f r ombehi nd hi m. He whi r l s
abr upt l y. The r adi at or . He' s shaken, sl umps wear i l y.
FAVOR KATHY
KATHY
I ' msur e you ar e t i r ed . . . al l t hat
r unni ng.
TURNER
( eyes cl osed; sof t l y)
Who' s t he guy wi t h t he shi r t s?
KATHY
( al ways soot hi ng)
Do you mean who i s he? Or do you want t o
know hi s name?
TURNER
( smal l smi l e)
O. K.
KATHY
Anyway, he' s at a ski pl ace . . . i n t he
Gr een Mount ai ns.
TURNER
( l ongi ngl y)
Gr een Mount ai ns.
KATHY
( a gent l e pl ea)
. . . we j ust want t o go cr oss count r y . . . a
coupl e of weeks away f r omever yt hi ng. . .
( Tur ner j ust nods)
Do you have a name?
TURNER
J oe Tur ner .
( checks wat ch)
What t i me' s t he news go on?
KATHY
Seven.
TURNER
Ther e' s an ear l y one at si x.
( check' s t i me)
40 mi nut es. . .
CAMERA MOVES wi t h TURNER t o a door , whi ch he opens, l ooks
i nt o her bedr oom:
TURNER
Come her e.
I NT. BEDROOM
She does; but as she get s cl oser . A pl ea.
KATHY
Li st en . . .
TURNER
Li e down.
KATHY
Pl ease.
TURNER
Li e down.
She si t s on t he bed. He gest ur es:
TURNER
Agai nst t he wal l .
He pr esses her qui et ont o t he bed.
TURNER
You l i st en t o me! I amt i r ed. I need t o
cl ose my eyes. I can' t t hi nk st r ai ght !
I f you t r y t o move or cl i mb of f t he bed
. . . I pr omi se I ' l l hur t you.
He r el eases her ; st r et ches out besi de her . Beat .
KATHY
Can' t you l et me st ay i n t he l i vi ng
r oom. . . ?
He bar el y shakes hi s head no.
KATHY
. . . I bel i eve what you t ol d me. . .
TURNER
( shakes hi s head no)
Doesn' t mat t er .
KATHY
I ' l l l et you r est .
( no r esponse; t hen)
Don' t you have any f r i ends t o hel p you?
( no r esponse)
Tur ner ?
TURNER
Shut up.
KATHY
. . . Tur ner ?
CAMERA PUSHES CLOSER ON KATHY. She st ar es at Tur ner whose
eyes ar e cl osed. I t i s a st r ange ki nd of vi ol ence.
CUT TO:
EXT. BESI DE THE POTAMI C RI VER
Bar e cher r y t r ees; GLOBED LAMPS LI GHT t he mi st . . . and t wo
f i gur es st r ol l i ng t hi s espl anade. J OUBERT i s checki ng t he
cont ent s of an envel ope handed t o hi mby t he ot her man . . .
Ther e ar e bi l l s i n evi dence . . . As t hey PASS BENEATH A LAMP
we r ecogni ze t he ot her man - - ATWOOD! He wat ches J OUBERT
count i ng t he money and:
ATW00D
( a di g)
That i ncl udes Condor , of cour se.
J OUBERT
Yes - - I owe you Condor .
ATWOOD
Ot her wi se, i t was. . .
J OUBERT
' Ot her wi se' doesn' t exi st .
ATWOOD
Wi l l Condor t ake l ong?
J OUBERT
You want an est i mat e?
ATWOOD
Ther e i s a t i me- f act or .
J OUBERT
Al ways.
( t hen)
Condor i s an amat eur : l ost , unpr edi ct abl e
. . . Per haps sent i ment al . He coul d f ool a
pr of essi onal - - not del i ber at el y, but
pr eci sel y because he i s l ost and doesn' t
know what t o do. Unl i ke Wi cks. Who was
ent i r el y pr edi ct abl e.
( beat )
The man . . . Condor ki l l ed i n t he al l ey?
ATWOOD
Some f r i end of hi s.
J OUBERT
A cl ose f r i end?
ATWOOD
I suppose so. Why?
J OUBERT
I t i nt er est s me. What was hi s name?
ATWOOD
I don' t know. He was nobody . . . he
was. . .
J OUBERT i s suddenl y awar e of a YOUNG MAN & WOMAN who have
mat er i al i zed - - qui t e cl ose - - out of t he r i ver mi st s; he
i nst ant l y swi t ches t o Fr ench:
J OUBERT
( i n Fr ench)
He was someone t o Condor . Fi nd out hi s
name . . . and wher e he l i ved. Have i t f or
me when I t el ephone.
ATWOOD
( i n Fr ench)
Yes. Al l r i ght .
( back t o Engl i sh)
What about Wi cks?
J OUBERT
Do you r eal l y want t he f i r mt o quest i on
Wi cks?
( at At wood' s si l ence)
They wi l l , you know.
ATWOOD
We . . . don' t want t hat .
J OUBERT
( beat )
Cost not hi ng. I was car el ess wi t h
Condor . Wi cks wi l l be done f or not hi ng.
I NT. KATHY' S APARTMENT - NI GHT
ON THE CUT: CLOSE on Tur ner ' s eyes, st ar i ng, and hi s RAPI D
BREATHI NG.
TURNER
I t hought i t was t hat f l ar e smel l . . .
ozone or gunpowder but i t was her
ci gar et t e. . .
ANGLE WI DENS t o i ncl ude:
KATHY
Whose?
TURNER
( al most r ambl i ng)
. . . bur nt t hr ough her dr ess . . . i nt o her
ski n - - who t he hel l chai n- smokes
anymor e?! . . . and . . . J ani ce. . .
Hi s hand moves up t o hi s own head: t he gest ur e we saw hi m
make dr awi ng J ani ce' s hai r away f r omher f ace. KATHY j ust
wat ches hi m, car ef ul l y. Then suddenl y:
TURNER
What t i me i s i t ?
KATHY
( qui et l y)
Newst i me.
Tur ner get s up of f t he bed. He wai t s f or Kat hy t o pr eceed
hi mi nt o t he l i vi ngr oom.
I NT. LI VI NGROOM - NI GHT
She swi t ches on t he TV, t hen cur l s up on a chai r and wat ches
TURNER. A COMMERCI AL COMES ON, t hen some WEATHER F0RECASTER.
Tur ner paces, vaguel y. He st udi es her PHOTOS.
TURNER
Lonel y pi ct ur es.
KATHY
So?
TURNER
Wi nt er . . . not qui t e Wi nt er . They l ook
l i ke November .
KATHY
( i mpr essed at hi s obser vat i on)
I never not i ced i t bef or e.
TURNER
I l i ke t hem.
KATHY
. . . Thanks.
TURNER
- - Shh!
He whi r l s t owar d:
ON TV- SCREEN
THE ANSONI A HOTEL ALLEY: COPS at wor k, keepi ng ar ea cl ear ,
maki ng chal k- mar ks, et c. Al so cl ear l y pr esent : CLEAN- CUT
YOUNG MEN i n busi ness- sui t s over seei ng t he pol i ce- wor k and
keepi ng TV- CREWat a saf e di st ance f r ommost of t he cops.
TV REPORTER
. . . The shoot i ngs behi nd t he Ansoni a Hot el
r emai n a compl et e myst er y at t hi s hour .
The vi ct i ms' i dent i t i es - -
CLOSE TURNER
Shar p r eact i on:
TURNER
Vi ct i ms??
TV REPORTER' S VOI CE
- - have not yet been r el eased.
TURNER
Vi ct i ms?? Di d he say?
TV REPORTER
Accor di ng t o a pol i ce spokesman, dr ugs
wer e not i nvol ved, and i t doesn' t seemt o
have been r obber y.
The TV REPORTER get s past a Cl ean- cut Young Man and manages
t o t hr ust a mi ke at a POLI CE LI EUTENANT passi ng by:
TV REPORTER
Li eut enant ?! Can you t el l us anyt hi ng
about t he possi bl e mot i ve?
LI EUTENANT
( br i ef est gl ance at Cl ean- cut
Man, bef or e)
Not at pr esent .
TV REPORTER
( pr essi ng)
Have you i dent i f i ed t he vi ct i ms?
LI EUTENANT
( st i l t ed)
Yes. They' r e empl oyees of a l ar ge
i nsur ance company . . . maki ng a r out i ne
i nspect i on f or possi bl e vi ol at i ons.
TV REPORTER
And t he man who' s al l eged t o have shot
t hem: Di d he know t he vi ct i ms?
The LI EUTENANT i s about t o answer , but :
CLEAN- CUT YOUNG MAN
Absol ut el y not .
I t ' s as i f he sai d i t f or t he Li eut enant . . . and pushes hi m
past t he Repor t er 5M away.
TV REPORTER
So t her e we have i t : one dead, one
cr i t i cal l y wounded . . . i n an al l ey on t he
west si de of Manhat t an. And t he man wi t h
t he gun . . . st i l l at l ar ge.
TV CAMERA PANS OFF TV REPORTER . . . PAST t he f al l en cr at es and
gar bage- cans . . . HOLDS ON A CHALK OUTLI NE OF A BODY, wher e
Bar ber had been.
ANGLE - TURNER
TURNER
Sam! ?
TV REPORTER' S VOI CE
St an Rober t s, Eyewi t ness News, New Yor k.
MOVI NG WI TH KATHY
her eyes on Tur ner as she CLI CKS OFF TV.
TURNER
He l ooked . . . chunky! And he' s not . . .
( t hen: )
But . . . t her e wasn' t much l i ght . . .
He moves t o t abl e, gr abs a sket ch pad, begi ns t o scr i bbl e
l i nes . . . t he out l i ne of t he al l ey. He r ushes on, a bi t
i ncoher ent l y.
TURNER
But I hear d hi m; i t was Sam' s voi ce:
' J oe! ' and t hen t o t he ot her guy: ' I t ' s
hi m! what ' r e you doi ng??'
( t hen)
I t was Sam. He sounded sur pr i sed . . . but
maybe. . .
He i s mar ki ng wher e Wi cks was, i n t he al l ey, and hi msel f .
TURNER
. . . maybe i t went exact l y t he way i t was
supposed t o go: Who was t hat ot her guy???
Hi s i ncoher ence al ar ms her . She al most t ouches hi m.
KATHY
Take i t easy . . . you' r e al l over t he
pl ace.
TURNER
I di dn' t shoot hi m.
KATHY
( qui et l y)
You shot somebody. You sai d.
TURNER
But . . . Not Sam!
KATHY
. . . nobody i n t hat al l ey sai d anyt hi ng
about t he CI A. . .
TURNER
They must have been t her e! To change t he
whol e st or y - -
KATHY
Wai t a mi nut e - -
TURNER
Who ki l l ed Sam? I t . . . i t had t o' ve been
t he guy t hat shot at me? Who t he hel l
was t hat guy? Samwas my f r i end, hi s
wi f e Mae . . . we al l . . .
( out of nowher e)
. . . Hi ggi ns sai d t he ot her guy was, wai t !
He' d j ust come i n f r omWashi ngt on. . . !
They' d have t o r each Samand he' d cal l
Mae. . . .
FAVOR KATHY
wat chi ng TURNER go t o t he phone, DI AL a number , wai t :
WOMAN' S VOI CE ( MAE)
Hel l o?
TURNER' S gl ad t o hear t he voi ce; hi s i mpul se i s t o speak- but
somet hi ng war ns hi mnot t o.
MAE' S VOI CE
Hel l o? . . . Who i s t hi s??
TURNER' s hung- up. He put s on hi s coat . KATHY i s i mmedi at el y
al er t .
TURNER
I need your car .
KATHY
That ' s cal l ed Gr and Thef t . . . You don' t
want t o get i n t r oubl e wi t h t he pol i ce.
TURNER
Hey?? I t hought you' d qui t cl owni ng.
TURNER t akes hi s own coat of f , begi ns t o sear ch t hr ough her
cl oset s f or somet hi ng el se t o wear . He f i nds an ol d Navy Pea
J acket .
TURNER
Thi s guy i n Ver mont ? What wi l l he do
when you don' t show up?
KATHY
Pr obabl y cal l . . . ver y soon, now.
TURNER
( but t oni ng Pea Coat )
J ust a cal l ? Do I have t o wor r y about
hi mcomi ng back her e t oni ght ?
KATHY
You' r e not ent i t l ed t o per sonal
quest i ons! That gun j ust gi ves you t he
r i ght t o r ough me up. . .
TURNER
Have I r oughed you up?
KATHY
Yes! I was supposed t o be havi ng f un
wi t h some - -
TURNER
Have I ? Have I r aped you?
( t hen)
You sur pr i sed I haven' t r aped you?
KATHY
A l i t t l e bi t , yes.
( t hen r esor t s t o)
But t he ni ght i s young.
TURNER
( over l aps)
Di sappoi nt ed??
KATHY
You Louse! !
They st ar e at one anot her a moment . Then qui et l y:
TURNER
You don' t bel i eve . . . any of t hi s do you?
Beat . . . Then, qui t e di f f er ent l y . . . but so war i l y.
KATHY
I bel i eve you' r e i n t r oubl e. Danger .
Yes . . . But I don' t know what ki nd . . .
and I ' mnot sur e how much of i t i s . . .
made up.
( qui ckl y)
Real . . . but made up.
Suddenl y TURNER i s al most l aughi ng, shaki ng hi s head.
TURNER
What t he hel l di f f er ence does i t make?
The speed and f or ce of hi s move shocks her si l ent : he f l i ps
her ar ound, t apes her wr i st s behi nd her and pul l s her t owar d:
I NT. BATHROOM
KATHY
You cr azy! Bul l y! Ow! Ow!
as he SLAMS down t he t oi l et - seat , shoves her down on i t ,
t apes her l egs and wr i st s t o t he pi pi ng.
TURNER
I ' l l be back.
KATHY
Don' t come back f or me, you . . . cr eep!
Bum! Damn YOU!
Her ef f or t s spent , and her spi r i t ; she' s near t ear s. She
sl umps, submi t s t o t he r est of what he does. J ust bef or e he
pl aces a cl ot h gag over her mout h:
KATHY
Thi s i s . . . unf ai r ! !
TURNER
Yes.
EXT. PETER COOPER VI LLAGE - NI GHT
ESTABLI SH t he spr awl i ng hi gh- r i se apar t ment compl ex.
ANGLE TO Kat hy' s VWcomi ng t o a st op, par ki ng. HEADLAMPS GO
OFF . . . but no ot her act i vi t y f or a beat . Then TURNER get s
out , heads t owar d one of t he bui l di ngs. He knows t he way.
I NT. APARTMENT BUI LDI NG LOBBY - NI GHT
Smal l l obby, FEWPEOPLE, TURNER goes di r ect l y t o mai l boxes,
wi t h namepl at es and bel l - but t ons, and t he i nt er comabove i t .
SEE one of t hem: S. BARBER - 14F.
I NT. ELEVATOR
TURNER pushes but t ons f or f l oor s 14 and 15. Door s cl ose.
He' s al one i n t he car .
I NT. 14TH FLOOR LANDI NG
TURNER st eps out , checks l andi ng bot h ways, as he heads f or :
ANGLE ON DOOR - 14F
TURNER r eaches i t si l ent l y, l i st ens at t he door f or a moment
. . . Then he br aces hi msel f , pr esses but t on. BELL SOUNDS f r om
i nsi de. SOUND of woman' s f oot st eps . . . STOP.
I NT. BARBERS' APARTMENT - NI GHT
MAE BARBER opens t he door : She' s a qui t e young - - but somehow
mot her l y - - woman; chi l dl ess.
MAE
Hey, you' r e ear l y!
She st ar t s an easy embr ace - - CAMERA PUSHES CLOSER ON hi s
f ace as he hol ds t i ght , pr ol ongs i t ! . . . what ' s t hi s?
MAE heads back t o t he ki t chen, wi t h:
MAE
J ani ce wor ki ng l at e. . . ?
SHOT - TURNER
St opped! Si l ent .
MAE' S VOI CE
( f r omki t chen)
So i s Sam.
She doesn' t know! CAMERA FOLLOWS TURNER' s qui ck gl ance
acr oss t he l i vi ng r oom: t abl e' s set f or f our ! . . . BACK TO
TURNER, as MAE r ambl es on, f r omki t chen:
MAE' S VOI CE
Pour one f or me, t oo, wi l l you, J oe? I t ' s
t hei r own f aul t i f we' r e zonked - -
TURNER, st unned, hasn' t moved; cont r ol l i ng hi s voi ce,
over l appi ng:
TURNER
How do you know . . . Sami s wor ki ng l at e?
Sounds of her cooki ng, et c. , al l dur i ng:
MAE' S VOI CE
( l i ght l y)
Thi nk he' s up t o somet hi ng el se? Tom
cat t i ng ar ound?
CAMERA MOVES TO KI TCHEN- ENTRANCE WI TH TURNER . . . wher e he
STOPS. She gl ances up at hi m- - he f l ashes an empt y smi l e i n
r esponse t o her j oke.
TURNER
When di d he cal l ?
MAE
2, 2: 30. Maybe. Hey! Let ' s gi ve t hem
an hour ? I f t hey don' t show . . . i t ' s you
and me babe.
( si ngs)
"J ust l i ke ol d t i mes, da- da- da- da- dah. . . "
TURNER
What ' d he t el l you? Exact l y.
MAE
He di dn' t exact l y. Had t he Cent er cal l .
TURNER
Who, at t he Cent er ?
MAE
Not Mi ss Randol ph. She' s t he one I
usual l y get , wi t h t he Bal t i mor e accent :
' He' s oot ! ' . . . No, t hi s was a man.
TURNER
Di d you r ecogni ze hi s voi ce?
MAE
( def i ni t e)
No.
She' s been checki ng somet hi ng i n t he oven, st r ai ght ens t o
f i nd hi mpr eoccupi ed. A beat , bef or e:
MAE
. . . Hey? Wher e' s our dr i nks?
Shr i l l RI NGI NG of t el ephone.
NEWANGLE
as MAE moves past TURNER, f ast ; she' s angr y even bef or e she
pi cks up phone:
MAE
Hel l o?
Not hi ng . . . t hen a CLI CK . . . and a DI AL TONE. She SLAMS down
phone:
MAE
That ' s t he t hi r d damn t i me t oni ght !
TURNER goes ver y st i l l , i n f . g. of FRAME.
TURNER
Thi r d t i me. . . ?
MAE
Some cr eep bur gl ar casi ng t he j oi nt ,
t hat ' s how t hey f i nd out i f - -
TURNER
I have t o go.
MAE
( can' t bel i eve)
What ? What ' d I say??
TURNER
I ' msor r y!
As she moves t o r each hi mat t he door ; i t ' s al l over l appi ng:
MAE
What ' s t he mat t er ?
TURNER
I ' mso sor r y, Mae!
MAE
What about di nner ? What happened?
TURNER
I ' l l t r y t o cal l . . . but . . .
MAE
What ? What i s i t ??
TURNER
I can' t ! I ' msor r y! Goodni ght , Mae, I
don' t know . . . when. . .
( st ops; qui ckl y)
Good- ni ght !
He' s gone.
I NT. 14TH FLOOR LANDI NG
I n f l i ght agai n, TURNER doesn' t even check t he hal l way, moves
qui ckl y t o t he el evat or , pr esses but t on.
ANGLE TO i ndi cat or LI GHTS: 18 . . . 17 . . . 16 . . . as one car i s
comi ng down. 10 . . . 11 . . . 12 . . . of anot her comi ng up.
SOUND of apar t ment - door openi ng: he doesn' t want t o t ur n! . . .
but does:
I NCLUDE MAE
She' s st andi ng i n t he open door way. Her concer n f or hi mi s
so cl ear and so sweet . . . She says not hi ng.
TURNER i s st r i cken. He l ower s hi s eyes. At t hat i nst ant ,
t he UP ELEVATOR OPENS. J OUBERT st eps out .
J OUBERT' S EYES
WE SEE THE FLASH OF RECOGNI TI ON: he knows Tur ner f r omt hose
phot ogr aphs of ALHS peopl e.
Door of UP ELEVATOR opens.
I NT. ELEVATOR
TURNER pushes past t he OTHER PASSENGER i nt o t he r ear of t he
el evat or . He t ur ns t o f ace t he door s and SEES J OUBERT st ep
smoot hl y i n! Door s cl ose.
Thi s man' s odd behavi or - - hi s qui ck r ound- t r i p - - REGI STERS
ON TURNER' s f ace . . . But t hat ' s al l . He has not hi ng mor e on
J OUBERT.
TURNER l ooks at J OUBERT: hi s post ur e, t he way he' s dr essed,
t he way hi s hai r i s t r i mmed. He l ear ns not hi ng . . . except
per haps he' s a f or ei gner . . .
- - And t hen J OUBERT l ooks at hi m! An unr eadabl e moment
bet ween t hem. . . J OUBERT l ooks away.
CLOSE ON TURNER
sweat s, pul l s a handker chi ef out of hi s pocket - - TI NKLI NG
SOUND of somet hi ng hi t t i ng t he f l oor .
J OUBERT' S VOI CE
( i n Fr ench)
Your keys.
St ar t l ed t o be spoken t o! TURNER can' t even deal wi t h t he
meani ng of t he wor ds, j ust l ooks at :
FAVOR J OUBERT
Ef f or t l essl y scoopi ng SET OF KEYS of f t he f l oor , hol di ng t hem
out t o TURNER:
TURNER
Oh yes! . . . Thanks.
And t akes t he keys.
J OUBERT
Don' t ment i on i t .
Suddenl y t he el evat or STOPS. LI GHT above t he openi ng door :
5t h f l oor . A LADY get s of f , and 3 TEENAGE KI DS pi l e i nt o t he
car . They PUSH ALL THE BUTTONS; one KI D smi l es at J OUBERT.
No r esponse.
KI D
4t h f l oor : Ladi es' Under wear !
El evat or STOPS, door s open - - and t he KI DS pi l e out , wi t h:
#2 KI D
Bet we' ve t o wai t an hour !
KI D
Nah! She' l l be r eady.
#3 KI D' S VOI CE
Her name i s Fr eddy, she must be r eady!
Leavi ng TURNER And J OUBERT al one i n t he car . I t seems t o be
t aki ng a l i f et i me - - STOPPI NG at each f l oor . So, as i f t o
f i l l t he t i me:
J OUBERT
Ki ds. . . !
He shr ugs t ol er ance, r esi gnat i on; a ki ndl y man.
TURNER
( cal cul at es)
They di f f er ent ? Wher e you' r e f r om?
Fr ance?
J OUBERT smi l es at TURNER' s guess:
J OUBERT
Cor si ca.
( t hen nods)
Qui t e di f f er ent . Respect f ul .
El evat or STOPS at t heLobby Fl oor . J OUBERT st eps back t o l et
TURNER pr ecede hi m; TURNER does t he same, wi t h a gest ur e.
J OUBERT
( i n Fr ench)
I beg of you.
TURNER
( st andi ng f ast )
Pl ease. . .
An i mpasse . . . J OUBERT gi ves i n, wal ks br i skl y out :
I NT. APARTMENT LOBBY
Cr owded and noi sy; KI DS wai t i ng f or ot her ki ds. Dr essed f or
ni ght - games and par t i es.
J OUBERT i s t hr ough t he l obby and out of t he bui l di ng al most
bef or e TURNER st eps out of t he el evat or .
EXT. APARTMENT COMPLEX - NI GHT
I n sudden cont r ast : qui et and dar k and deser t ed.
TURNER st eps out of t he bui l di ng, hesi t at es, l i st ens. . .
Somet hi ng ENTERS F. G. OF FRAME - - OBLI TERATES OUR VI EWf or a
moment , THROWS I T OUT OF FOCUS - - THEN BRI NGS I T I NTO SHARP
FOCUS AGAI N:
EXT. APARTMENT BUI LDI NG - CLOSE ON TURNER ( GOBO)
A REMARKABLY CLOSE, SOMEWHAT GRAI NY VI EWOF TURNER' S HEAD AND
SHOULDERS - - HAI RLI NE CALI BRATI ONS I N ' SCOPE CLEAR AGAI NST
HI S HEAD.
THI S VI EWMOVES away f r omt he bui l di ng wi t h TURNER.
I MAGE J ARS sl i ght l y, as we HEAR a weapon bei ng COCKED f or
f i r i ng . . . STEADI ES agai n, TRACKI NG TURNER . . . ALONG THE
CURVI NG pat h, TOWARD Fi r st Avenue. . .
TURNER' s suddenl y LOST FROM VI EW! - - ot her FACES and FORMS
r ace THROUGH FI ELD OF VI SI ON, I N AND OUT OF FOCUS! KI DS!
J OUBERT' S VOI CE
( a whi sper )
Mer de!
EXT. APARTMENT COMPLEX - ANOTHER ANGLE - NI GHT
TURNER' s over t aken by t he KI DS. Sensi ng t he pr ot ect i on t hey
af f or d, he qui ckens hi s pace, wal ks t o keep among t hemas
t hey head t owar d t he LI GHTS and t r af f i c of Fi r st Avenue.
SHOT - J OUBERT
weapon l ower ed; st ar t i ng t o MOVE FORWARD out of conceal ment - -
a smal l , pr i vat e par ki ng- ar ea f or t enant s.
EXT. FI RST AVENUE - NI GHT
As TURNER det aches hi msel f f r omgr oup, ducks i nt o VW.
MOVI NG WI TH J OUBERT
acr oss compl ex, t owar d Fi r st Avenue, t he weapon conceal ed,
now.
I NT. KATHY' S VW- NI GHT
TURNER KI CKS OVER THE ENGI NE, j ackr abbi t s i nt o t r af f i c - - CAR-
HORNS i n pr ot est ! SQUEALI NG OF BRAKES, CURSES! . . . but
not hi ng spoi l s t he l ook of r el i ef on TURNER' s f ace: saf e!
EXT. KATHYS VW- LONG VI EW- NI GHT
Al r eady hal f l ost i n t r af f i c! . . .
CAMERA PANS HOLDS CLOSE ON J OUBERT: he sl ows t o a st op. He
det aches ' SCOPE f r omhi s weapon, br i ngs i t up t o hi s eye,
qui ckl y:
EXT. FI RST AVENUE TRAFFI C ( GOBO) - NI GHT
The SCOPE VI EWPANS PAST OTHER CARS, PAST KATHY' S VW, BACK TO
I T AGAI N - - LOST FROM VI EWBEHI ND OTHER CARS - - I N VI EWAGAI N
. . . and t hen t he LI CENSE- PLATE BROUGHT I NTO SHARP FOCUS!
HOLDS ON I T f or a beat , bef or e:
ABRUPT CUT TO:
I NT. KATHY' S LI VI NGROOM - NI GHT
Empt y; DARK, except f or a smal l TABLE- LAMP. Under i t , PHONE
RI NGI NG.
ANGLE TO f r ont door : SOUND of key i nser t ed i n l ock . . . beat
. . . Then t he door f l i es open and TURNER bounds i n, l ow hi s
gun r eady. . .
Not hi ng but t he RI NGI NG PHONE. He ki cks t he door shut , l ocks
i t qui ckl y. . .
MOVI NG WI TH TURNER
FAST! . . . t o t he ki t chen, wher e he pi cks up a kni f er t hen t o:
BATHROOM
KATHY' s hal f - of f t he l i d- down t oi l et - - she' s appar ent l y made
some ef f or t t o f r ee her sel f . But her wr i st s and ankl es ar e
st i l l bound back. Her eyes bl aze at TURNER above t he
washcl ot h- gag!
The PHONE RI NGI NG PERSI STS. KATHY t i ght ens, as TURNER
hur r i es t o her , sl i ps t he col d st eel of t he kni f ebl ade under
t he t ape hol di ng her gag i n pl ace. He sl ashes i t ; she SPI TS
OUT t he cl ot h. He doesn' t f r ee her wr i st s but does cut her
ankl es l oose and - - about t he I NSI STENT RI NGI NG PHONE:
TURNER
I want you t o answer i t !
KATHY
You answer i t . . . !
MOVI NG WI TH THEM
KATHY
. . . t el l t hemwhat a br ave sonof abi t ch you
ar e!
TURNER pushes her ahead of hi m. . . i nt o:
THE BEDROOM
and shoves her on t o t he bed, near enough t o t he RI NGI NG
PHONE. Wi t h her wr i st s st i l l bound, TURNER wi l l have t o hol d
t he phone agai nst her ear - - but he pr esses t he muzzl e of t he
gun agai nst her ot her ear bef or e he does:
TURNER
Be ni ce, and nat ur al .
and l i f t s r ecei ver so t hey can bot h HEAR, and she can t al k:
KATHY
Hel l o?
MAN' S VOI CE
( FI LTER)
Wher e t he hel l ar e you??
Despi t e hi s t one, KATHY cl oses her eyes wi t h t he pl easur e of
hear i ng hi s voi ce:
KATHY
( al most i n t ear s)
Ben. . . ?
BEN' S VOI CE
( FI LTER)
Who' d you t hi nk i t i s?
KATHY
( pl ai n, qui et )
Ben.
BEN' S VOI CE
( FI LTER)
You wer e supposed t o be up her e by now!
KATHY
I know.
BEN' S VOI CE
( FI LTER)
But y' haven' t even l ef t !
KATHY
I was . . . hel d up.
TURNER j abs t he gun i nt o her ear .
BEN' S VOI CE
( FI LTER)
Hel d up?? That ' s no excuse! Doesn' t
t hi s t r i p mat t er t o you at al l . . . ??
KATHY
( moved)
I t mat t er s.
BEN' S VOI CE
( FI LTER)
Yeah. . . .
KATHY
( hear s skept i ci sm)
I t does. . .
BEN' S VOI CE
( FI LTER)
I t ' s happened bef or e . . . l ast mi nut e
somet hi ng. . .
KATHY
. . . t hi s i s di f f er ent .
BEN' S VOI CE
( FI LTER)
What ' s t he hol dup? What coul d. . ?
TURNER' S MOUTHED THE WORDS FOR HER:
KATHY
The car - -
BEN' S VOI CE
( FI LTER)
What about i t ?
KATHY
Bust ed . . . down. . .
BEN' S VOI CE
( FI LTER)
What ' bust ed' ??
Agai n: TURNER MOUTHS i nst r uct i ons:
KATHY
. . . gener at or . . . went .
BEN' S VOI CE
( FI LTER)
AHHHH hel l ! That ' l l t ake f or ever !
KATHY
( l ooks at TURNER)
Maybe not .
BEN' S VOI CE
( FI LTER)
Bet t er t ake a bus up i n t he mor ni ng.
KATHY
I ' l l . . . t r y.
BEN' S VOI CE
( FI LTER. Beat , bef or e)
Y' sound f unny. I s ever yt hi ng OK?
KATHY
Yes. I t ' s OK.
BEN' S VOI CE
( FI LTER. Anot her beat )
Y' st i l l don' t sound so hot .
KATHY
I ' msor e!
TURNER pr esses t he gun cl oser .
KATHY
. . . at t he del ay . . . and you don' t
under st and. . .
BEN' S VOI CE
( FI LTER)
Ah yes I do, babe, sur e I do.
( t hen; mor e i nt i mat e)
J ust di sappoi nt ed.
( t hen)
Y' know . . . I r eal l y want ed t o be wi t h you
. . . up her e.
Somehow hi s t one makes her f eel t he er ot i ci smof her own
posi t i on: bound, over power ed by an ar med st r anger , hi s wei ght
agai nst her . She' s hel pl ess.
BEN' S VOI CE
( FI LTER)
Toni ght , babe? Y' know?
KATHY
( gl ance at Tur ner )
I know. We' l l have t i me.
BEN' S VOI CE
( FI LTER)
Get t he f i r st bus out i n t he mor ni ng.
KATHY
. . . Goodni ght , sweet hear t .
BEN' S VOI CE
( FI LTER)
Yeah . . . Sweet dr eams.
KATHY j ust nods; her eyes never TURNER. He hangs up.
They' r e ver y cl ose; nei t her of t hemmoves f or a moment
TURNER get s up, TURNS OFF LI GHT, pul l s asi de t he cur t ai n:
EXT. BROOKLYN HEI GHTS - NI GHT
SHOOTI NG THROUGH THE DARKENED WI NDOW: The st r eet of
br ownst ones i s qui et , deser t ed.
He l eaves t he cur t ai ns open, t he r ooml i ght s out . He si t s on
t he bed. The r egul ar SOUND of her br eat hi ng, t he ONLY SOUND,
i s hypnot i c: he makes no move t o f r ee her t aped wr i st s; nor
does she ask. Spent , he doesn' t even bot her t o pur sue hi s
own t hought ; t hey dr i f t , l i ke paper boat s. Then:
TURNER
Li st en, I ' l l be goi ng.
( she' s si l ent )
I n t he mor ni ng.
KATHY
Wher e?
He shr ugs: he doesn' t know.
KATHY
Was i t al l r i ght ?
TURNER
Al l r i ght ?
KATHY
Out si de; was i t saf e? Wher ever you went ?
TURNER
oh.
( t hen)
I ' mnot sur e.
KATHY
( l ooki ng away)
God I wi sh I knew mor e. . .
I t t ur ns hi m.
KATHY
About you . . . and yest er day. And t oday.
TURNER
( qui et )
I don' t r emember yest er day. Today . . . i t
r ai ned.
KATHY
( st r angel y)
Why' d you have t o l ock me up.
He l ooks at her wi t h a "You know why. "
KATHY
You t hought I ' d cal l t he pol i ce.
( he nods)
. . . Woul d you have?
He f eel s t he answer i s no; i t al most shames hi m.
KATHY
( shakes her head)
I woul dn' t have.
TURNER
Why?
KATHY
Ever y once i n a whi l e I t ake a pi ct ur e
t hat i sn' t l i ke me. But I t ook i t , so i t
i s l i ke me, i t must be!
( Then, qui ckl y)
I put t hose pi ct ur es away.
TURNER
Do you t ear t hemup?
She smi l es, makes a sl i ght l y sel f - depr ecat i ng gest ur e:
KATHY
. . . No.
TURNER
I ' d l i ke t o see t hose pi ct ur es.
KATHY
We don' t know each ot her t hat wel l .
TURNER
D' you know anybody t hat wel l ?
Her si l ence says no. She' s st ar t l ed at hi s obser vat i on.
Looks at hi ma moment , t hen:
KATHY
I don' t want t o know you ver y wel l . I
don' t t hi nk you' r e goi ng t o l i ve much
l onger .
TURNER
I may sur pr i se you.
( t hen)
Anyway: you' r e not t el l i ng t he t r ut h.
KATHY
What do you mean?
He consi der s not t el l i ng her , but :
TURNER
You' d r at her be wi t h someone who' s not
goi ng t o l i ve much l onger . . .
( smi l es)
At l east someone who' d be . . . on hi s way.
( t hen)
The man i n Ver mont want s t o st ay. And
you' r e af r ai d.
KATHY
( bar el y audi bl e)
I ' mnot af r ai d of Ben.
TURNER
You j oke. I nst ead of . . . t aki ng i t . You
t ake pi ct ur es. Empt y st r eet s. November .
( l ong pause)
Why haven' t you asked me t o cut t hose
t apes on your wr i st s.
She' s si l ent . Br eat hl essl y awar e of how cl ose he i s t o her .
KATHY
How . . . much . . . do you want ?
TURNER
I j ust . . . want . . . t o . . . st op i t , f or a
f ew hour s, f or t he r est of t he ni ght .
He begi ns t o unbut t on her bl ouse, ver y sl owl y.
TURNER
And t hen I ' l l go. I n t he mor ni ng.
She bar el y nods:
KATHY
. . . That ' s al most no t i me at al l . . .
Bet ween f r i ends.
She sl i ps her shoes of f . CLOSE ON THE DETAI L. Her hands
st i l l bound behi nd her begi n t o st r uggl e wi t h t he t ape. Hi s
hands r each ar ound and t ear t he t ape. CAMERA FOLLOWS CLOSE
as her hands sl owl y enci r cl e hi m.
I NTERCUT wi t h t hose sad and l onel y phot ogr aphs of her s. The
cut t i ng accel er at es i nt o a mont age of l ovemaki ng.
Af t er a beat CAMERA PANS OFF THEM . . . ACROSS THE STREET LAMP-
LI T FLOOR . . . hol ds on t he wi ndow.
I NT. BEDROOM
Lat er . KATHY i s asl eep. TURNER i sn' t t her e, but f r omt hi s
angl e we see LAMPLI GHT f r omt he l i vi ngr oom.
I NT. LI VI NGROOM - DAWN
He' s been wor ki ng under LAMPLI GHT on a sket chpad t hat he' s
f ound among Kat hy' s phot ogr aphi c st uf f .
CAMERA PUSHES CLOSER ON RAD. Ther e ar e many doodl es,
er asur es, qui ck sket ches. We r ead t he f ol l owi ng: ( NOTE: t he
l i nes and/ or X' s ar e i nt ent i onal )
ALHS HI T:
Somet hi ng i n bui l di ng?
No. Because Hei di gger hi t at home???
I nf or mat i on??? What i nf or mat i on?
Who want s i t ? Why?
ALLEY:
Sect i on chi ef . My Sect i on chi ef .
Why di d he shoot ??
WAS he my Sect i on chi ef ?
Di d Hi ggi ns say hi s name?
What t he hel l i s hi s name?
POSSI BLE: Di d he hi t ALHS house? HI S OWN PEOPLE? Why woul d
he?
1. I MPOSTER ( no)
2. Doubl e- agent ? Maybe.
3. A MI STAKE. ( not )
4. I s t he bast ar d al i ve. ( Phone Roosevel t
Hosp) !
SHOTS OVER TURNER
t hi nki ng . . . wr i t i ng . . . doodl i ng. At one poi nt he wr i t es:
SECTI ON CHI EF, WASHI NGTON, D. C. . . . And CI RCLE i t .
Then, he wr i t es:
ALHS l i nk wi t h D. C. ?? What ?
ONLY VI A NY CENTER. . .
CLOSE ON TURNER
r emember s somet hi ng: CAMERA MOVES wi t h hi mt o hi s r ai ncoat .
He sear ches pocket s - - f i nds t hat paper Dr . Lappe handed hi m
wi t h t he l unchl i st , t he ' negat i ve r epor t ' about ' hi s t heor y' .
CAMERA PUSHES CLOSER as he unf ol ds i t , smoot hs i t out :
CLOSE - REPORT
WE CAN READ i t s cl assi f i cat i on: CONFI DENTI AL.
And:
TO: 9/ 17
FROM: NY CEN
SUBJ ECT: REP0RT/ C0NDOR
LOCAL EVALUATI ON:
I nt el l i gence suppor t f r omot her sour ces:
G- 2: Ni l
CI C: Ni l
NSA: Ni l
Concl usi on:
Negat i ve. However , si nce l i t er ar y and machi ne
document at i on by Condor i s consi st ent , NY Cen i s
her ewi t h f or war di ng copy Condor Repor t t o HQ CI A,
Langl ey, At t n: Chi ef , Sect i on 17.
SHOT - TURNER
Hi s eyes r ace t o t he bot t omof sheet :
REPORT - TURNER' S POV
WE READ:
cc: WI CKS, J . W.
TURNER' S VOI CE
Wi cks. . .
MOVI NG WI TH TURNER
t o sket chpad. WE SEE HI M CI RCLE wor ds "SECTI ON CHI EF"
agai n . . . t hen DRAWAN ARROWt o i t , and WRI TE i n t he mar gi n:
SWWI CKS. And beneat h t hat : a doubl e- headed ar r ow; at one
end: ALHS; at t he ot her : DC. And t hen he SCRAWLS: "possi bl e
connect i on: Possi bl e mot i ve! " Then he sees Kat hy movi ng
t owar d t he ki t chen.
I NT. KI TCHEN
Tur ner hol ds sket chpad. He wat ches her . She knows he i s
l ooki ng but she says not hi ng. Does not acknowl edge hi m.
Fi nal l y:
KATHY
Y' di dn' t sl eep wel l .
TURNER
You di dn' t ?
KATHY
You di dn' t . You wer e up ear l y.
TURNER
I had some t hought s. . .
( i ndi cat es pad)
I , uh, have a pl an t hat mi ght wor k.
( beat )
I . . . need your hel p.
KATHY
Have I ever deni ed you anyt hi ng??
TURNER
( sof t l y)
Hey. . .
KATHY
( sor r y she sai d i t )
When t hi ngs qui et down . . . you' r e r eal l y
a sweet man t o be wi t h.
( t hen)
You had bad dr eam. You t al ked.
TURNER
What di d I say?
KATHY
Who' s J ani ce?
( beat as Tur ner st ar es at her )
Was she a vol unt eer or a dr af t ee l i ke me?
TURNER
She was a f r i end. She' s dead.
Kat hy l ooks at hi ma moment . Then can' t hel p:
KATHY
Do I have Per mi ssi on t o t ake a shower ?
TURNER
You don' t have t o hel p, you know.
KATHY
Don' t wor r y, you can al ways count on t he
ol d spy- f ucker .
TURNER
I ' msor r y.
He moves qui ckl y t o gat her hi s t hi ngs and l eave. Kat hy moves
af t er hi m. Maybe t akes hi s ar m. She shakes her head.
KATHY
I di dn' t mean . . . I can' t hel p i t . I . . .
do t hat .
( beat bet ween t hem)
I . . . want t o hel p. OK?
( he put s hi s t hi ngs down)
I ' l l j ust be a mi nut e. Wat ch t he cof f ee.
She st ar t s t owar d t he bat hr oom.
I NT. ROOSEVELT HOSPI TAL - DAY
A PATI ENT bei ng wheel ed by on a gur ney. OVERHEAR snat ches of
conver sat i on bet ween a DOCTOR and NURSE who ar e accompanyi ng
i t . Over t hi s si ck per son' s f or mhe i s t r yi ng t o per suade
her t o meet hi mt oni ght at Maxwel l ' s Pl um, or Fr i days.
I NT. I NTENSI VE CARE MONI TORI NG ROOM
Sof t noi ses begi n as bat t er i es of i nst r ument s st ar t doi ng
t hi ngs. A coupl e of NURSES r eact shar pl y t o t he l i ght s and
dyi ng cur ves.
1ST NURSE
18. I sn' t t hat - - ?
2ND NURSE
Yes!
They push but t ons t o al er t t he t eamt o a cr i t i cal emer gency.
ANGLE ON COFFEEPOT ON KATHY' S STOVE
I t per ks away. SOUND OF RUNNI NG SHOWER f r omt he bat hr oom.
Tur ner appear s and pi cks t he pot up.
The DOORBELL RI NGS. Tur ner i s i nst i nct i vel y J UMPI NG back
f r omsi ght when he SEES:
POV THROUGH WI NDOWTO EXT. APARTMENT
A MAI LMAN st ands t her e, pouch sl ung over shoul der . He i s
shor t and st ocky. He i s t he same mai l man who l ed t he hi t on
ALHS house. Hi s name i s LLOYD. He i s SEEI NG TURNER t oo, f or
he nods dawn at hi mwi t h a f r i endl y smi l e and SHOWS a
smal l i sh package.
ANGLE ON TURNER
He goes t o t he f r ont door . About t o open i t , he r emember s
t he . 357 st uck i n hi s wai st band. He HI DES i t , hast i l y, under
cushi ons of couch, OPENS DOOR.
LLOYD
Mor ni ng! I nsur ed package f or Kat har i ne
Hal e.
TURNER
Wel l . . . she' s i n t he shower - -
LLOYD
That ' s OK. You can si gn f or i t .
And he hands hi ma bal l poi nt . TURNER st ar t s t o WRI TE t he pen
j ust SCRATCHES DRY.
LLOYD
( wi t h a l augh)
Gover nment pens. . .
Unsl i ngi ng hi s pouch, he pat s hi s pocket s: no ot her pen or
penci l .
TURNER
I ' l l get one.
TURNER DI SAPPEARS i nt o ki t chen.
LLOYD
shut s door behi nd hi m, kneel s, whi ps SI LENCED STEN GUN out of
mai l - pouch, MOVES FORWARD . . . As he r eaches f or ar mi ng- l ever :
SHOT - TURNER I N KI TCHEN
r eachi ng f or penci l at t ached t o shoppi ng- l i st HEARS A SHARP
CLACK- TWANG!
He spi ns - - sees MAI LMAN i n door way. I n one mot i on he hur l s
t he pot of boi l i ng cof f ee i nt o t he MAI LMAN' s f ace.
MAI LMAN
t hr ows up hi s hands t o pr ot ect hi s f ace - - ! The st en gun
goes FLYI NG.
TURNER & THE MAI LMAN - VARI OUS ANGLES
TURNER l ur ches af t er i t - - t he MAI LMAN' S FOOT TRI PS hi m. He
st ar t s up agai n, gl i mpses somet hi ng over hi s shoul der , ducks
qui ck agai n - -
J ust i n t i me! because t he MAI LMAN l i t er al l y PLI ES OVER TURNER
wi t h a FLYI NG SI DE KI CK t hat woul d' ve br oken hi s neck!
The MAI LMAN l ands on a scat t er - r ug - - sl i des, goes down! . . .
He may be a bi t out of pr act i ce - - but he' s st i l l up f ast er
t han TURNER, and r eady!
TURNER
l ooks down at t he st en gun: he' s a l i t t l e cl oser t o i t t han
t he MAI LMAN . . . but knows he' d never have a chance t o f i r e i t
bef or e t he MAI LMAN' d ki ck hi mt o deat h. .
MAI LMAN
l ooks at TURNER . . . and t he st en gun . . . and smi l es. Makes a
bi zar r e, exot i c, move: he t est s t he har dwood f l oor wi t h t he
t i p of hi s shoe - - a bl ack l oaf er , whi ch TURNER shoul d have
not i ced.
MAI LMAN & TURNER
as t he MAI LMAN ki cks of f hi s shoes . . . and dr ops i nt o a
st ance: l egs bent , f i st s cl enched, l ef t ar mi n f r ont - -
per pendi cul ar t o t he f l oor - - r i ght ar mhel d cl ose t o t he
wai st .
TURNER can' t bel i eve i t ' s goi ng t hi s way . . . but t r i es t o
i mi t at e t he st ance.
The MAI LMAN moves sl owl y f or war d . . . TURNER ci r cl es away t o
t he r i ght . . . They wer e 15 f eet apar t ; t he MAI LMAN cl oses t o
10 . . . 8 . . . and at 6, makes hi s MOVE:
ANGLES
The MAI LMAN YELLS, f ei nt s a back- hand sl ap wi t h hi s l ef t . . .
Ant i ci pat i ng TURNER' s duck t o t he r i ght , he SPI NS i n a t hr ee-
quar t er ci r cl e on t he bal l of hi s l ef t f oot - - sends hi s
r i ght l eg SHOOTI NG UP at TURNER' s head.
Somehow i t j ust hi t s TURNER' s swi ngi ng shoul der , sends hi m
agai nst t he wal l and as he BOUNCES of f , he' s NI CKED on t he
l ef t el bow by t he MAI LMAN' s f er oci ous f ol l ow- up handchop!
DOORWAY TO BATHROOM
KATHY - - st ar i ng i n di sbel i ef !
TURNER & MAI LMAN
MAI LMAN' s back i s t o KATHY; he dr ops i nt o hi s st ance agai n
. . . TURNER' s numbed l ef t ar mTWI TCHES at hi s si de.
KATHY
MOVES FAST! - - i nt o t he KI TCHEN, comes out wi t h a CARVI NG
KNI FE, heads t owar d t he LI VI NGROOM . . . and t he MAI LMAN' s
back. But - -
MAI LMAN
- - SPI NS. Hi s l ow GUTTERAL CRY STOPS KATHY! Then hi s QUI CK-
SHUFFLI NG at t ack FORCES HER BACK . . .
She' s STOPPED by t he couch - - Hi s l ef t f oot SNAPS UP and
knocks t he kni f e out of her hand! and CHOP! hi s l ef t knuckl es
spl i t t he ski n over her cheekbone - - sendi ng her agai nst t he
couch, st unned! The MAI LMAN' s al r eady SPI NNI NG TOWARD TURNER
agai n, when - -
CHU- CHU- CHU- CHU! The same l et hal SOUND hear d i n t he ALHS - -
and t he MAI LMAN i s SLAMMED over t he couch, agai nst t he wal l
. . . and down t o t he f l oor behi nd t he couch.
TURNER
l ower s t he st en gun . . . but hol ds t i ght t o i t , t o keep f r om
shaki ng apar t . . . he MOVES TO t he couch: t her e' s some bl ood
under KATHY' s eye and she' s RI GI D, f r ozen. When he t ouches
her , she shakes her head no! shar pl y, once, cont i nues t o
st ar e. . .
CAMERA MOVES WI TH TURNER, as he f or ces hi msel f t o go behi nd
t he couch and sear ch t he dead MAI LMAN:
He f eel s somet hi ng i n one of t he pocket s, manages t o pul l i t
i nsi de out : a KEY hi t s t he f l oor . . . and a SMALL SQUARE OF
HEAVY PAPER, t or n of f a memo- pad.
CAMERA PUSHES CLOSER as he gl ances br i ef l y at t he key, dr ops
i t i nt o hi s pocket . . . t hen l ooks at t he paper : ACROSS THE
TOP I S PRI NTED:
CONTI NENTS I MPORTS, I NC.
And under t hat , handwr i t t en:
840- 6311
X- 1891
NEWANGLE
TURNER r i ses f r ombehi nd t he couch . . . sees t hat KATHY hasn' t
moved.
TURNER
Pl ease get dr essed, t hi s pl ace i s no
good. . .
He goes t o t he phone, DI ALS. WE HEAR RI NGI NG, t hen:
WOMAN' S VOI CE
St el l a Bout i que.
TURNER
1891, pl ease.
WOMAN' S VOI CE
Par don me?
TURNER
I s t hi s 840- 6311?
WOMAN' S VOI CE
Yes. Who' s t hi s?
TURNER
Ther e' s no ext ensi on 1891?
WOMAN' S VOI CE
We' r e l ucky we have any phoneser vi ce at - -
TURNER
Sor r y.
He' s al r eady DI SCONNECTED, t hi nki ng . . . Then: DI ALS ' 0' .
OPERATOR' S VOI CE
Oper at or .
TURNER
The ar ea- code f or Washi ngt on DC, pl ease?
OPERATOR' S VOI CE
That ' s 202.
He DI SCONNECTS, DI ALS, wai t s. . .
WOMAN' S VOI CE
( FI LTER)
6311.
SHOTTURNER
Hal f - beat , bef or e:
TURNER
CI A, Langl ey?
Exact l y as she answer ed bef or e:
WOMAN' S VOI CE
6311.
TURNER
. . . Ext ensi on 1891.
RI NG. RI NG. Then:
MAN' S VOI CE
1891.
TURNER
. . . Let me speak t o Wi cks.
Measur abl e del ay, bef or e:
MAN' S VOI CE
Who' s cal l i ng hi m, pl ease?
CLOSER AND CLOSER on TURNER' s f ace . . . as he put s mor e and
mor e t oget her . . . and BEGI NS TO HEAR CLI CKI NG OF EQUI PMENT
. . . He j ust hol ds t he phone, unt i l :
MAN' S VOI CE
Hel l o? . . . Li st en, I ' l l be gl ad t o t ake a
message. Wi cks i s out of t he of f i ce
r i ght now, but he' l l cal l back, can you
gi ve me y - -
TURNER DI SCONNECTS. He' s no l onger smi l i ng; hi s l ook i s
st r i cken - - as i f he' d been wi t ness t o an assassi nat i on:
unbel i evabl e! but t oo vi vi d t o bel i eve.
WI DER ANGLE - KATHY AND TURNER
She' s got t en up . . . st opped, now, by hi s expr essi on.
KATHY
What i s i t . . .
TURNER
I t ' s . . . i t goes al l t he way up t o
Langl ey!
KATHY
What ??
TURNER
( abr upt l y)
Get r eady. Hur r y!
EXT. WORLD TRADE CENTER - FULL VI EW( HELI COPTERS) - DAY
ESTABLI SHI NG t wi n t ower s and t hei r l ocat i on i n Lower
Manhat t an. MOVI NG CLOSER we hear :
MR. WABASH' S VOI CE
( THRU SPEAKER- PHONE)
D' you t hi nk he' s gone doubl e? . . . or
di r t y?
HI GGI NS' VOI CE
( NOT THRU SPEAKER- PHONE)
I don' t know, si r ?
I NT. HI GGI NS' OFFI CE I N CI A, NY CEN - DAY
He' s at t he wi ndow; a SPEAKER- PHONE ar r angement on t he desk
behi nd hi m. THRU I T WE HEAR:
Do you t hi nk he' s st i l l i n New Yor k Ci t y?
HI GGI NS
I woul dn' t be.
EXT. / I NT. KATHY' S CAR - DAY
MOVI NG acr oss t he Br ookl yn Br i dge TOWARD Manhat t an-
KATHY
What ' d you do t o t hem?
TURNER
I ' mnot sur e.
( t hen)
I f i l ed a r epor t . A guy i n Washi ngt on
r ead i t got on a hel i copt er . . . and came
t o New Yor k t o shoot me.
KATHY
Took i t per sonal l y.
( t hen)
Di d you know hi m?
TURNER
No.
KATHY
Di d you know. . .
( gest ur e behi nd t hem)
. . . t he mai l man?
TURNER
No.
KATHY
. . . t hen you won' t know t he next one,
ei t her .
TURNER
I ' mnot goi ng t o wai t .
I NT. THE OLD ORNATE ROOM - DAY
MR. WABASH, ATWOOD pr esent ; and t he same SPEAKER- PHONE set - up
as i n Hi ggi ns' of f i ce.
HI GGI NS' VOI CE
I n any case, we' ve had hi s desk and hi s
l ast week' s wor k seal ed f or st udy.
ATWOOD
( al er t )
How soon wi l l you get t o i t ?
HI GGI NS I N NEWYORK
HI GGI NS
Thi s af t er noon.
He does seemr at her exper t t o be ent i r el y
cl ean.
ORNATE ROOM
HI GGI NS' VOI CE
He may j ust l ear n f ast , si r
ATWOOD
Or was t aught damned wel l . And pl ant ed.
Year s ago . . . f or j ust t hi s oppor t uni t y.
BACK TO HI GGI NS
HI GGI NS
What oppor t uni t y?
( beat )
See, t hat ' s what bugs me, Mr . Wabash:
what coul d he have done f r omt he Li t er ar y
Soci et y? Why pl ant hi mt her e?
EXT. / I NT. KATHY' S VW HI GHWAY, TI P OF MANHATTAN - DAY
TURNER
That ' s al l I r epor t ed: t he st or i es wer e
bei ng t r ansl at ed i nt o t hi s odd gr oup of
l anguages.
( quot i ng, f r ommemor y)
Quer y: i s t her e an i nt el l i gence- net wor k - -
pr evi ousl y undet ect ed by CI A - - l i nki ng
cer t ai n Ar abi c- speaki ng count r i es wi t h
Spani sh and Dut ch speaki ng.
KATHY
Who wr ot e t he st or i es i n t he f i r st pl ace?
TURNER
Di f f er ent phony names. That ' s not
unusual .
Beat of si l ence.
KATHY
. . . Maybe you ought t o r un.
( i ndi cat es r oad ahead)
. . . i nst ead of t hi s.
TURNER
They f i gur e me t o r un.
She j ust shakes her head sl owl y, al most sadl y:
KATHY
Spi es. . .
I NT. ORNATE ROOM
MR. WABASH
Concl ude t he Condor epi sode: And wi t hout
any mor e noi se. We' r e al r eady vi si bl e;
l et ' s not become conspi cuous.
( t hen)
I f Company agent s ar en' t enough, use
f r eel ance. Use what ever i t r equi r es.
End i t .
CUT TO:
BACK TO HI GGI NS I N NEWYORK
SWI TCHES OFF HI S speaker - phone. Thought f ul .
EXT. / I NT. KATHY' S VW- DAY
They' r e of f t he hi ghway, movi ng past Bat t er y Par k, ot her
poi nt s i n Lower Manhat t an. He makes a t ur n, SLOWS TO A STOP:
They' ve ar r i ved. Tur ner l ooks t owar d her . She put s her hand
on t he door handl e. Then:
KATHY
You' r e not exact l y an i deal boyf r i end,
you know.
TURNER
Can we get t hi s over wi t h?
She get s out of t he car .
TURNER
Kat hy.
( She st ops)
Thank you.
A sol emn l ook on her f ace. She moves away.
I NT. CI A, NY - CORRI DOR - DAY
TRACKI NG BEHI ND 2 CI A- MEN . . . They STOP at Hi ggi ns' of f i ce,
PUSH DOOR OPEN: HI GGI NS, st i l l di st r act ed, l ooks up.
CI A- MAN
Lunch?
HI GGI NS shakes hi s head no. They l et hi s door CLOSE. . .
CAMERA RESUMES TRACKI NG CI A- MEN . . . THROUGH GLASS SWI NGI NG-
DOORS . . . ALONG cont i nuat i on of cor r i dor . . .
Then, as t hey pass under a SI GN:
PERSONNEL DEPT
Scr eeni ng I nt er vi ews
CAMERA STOPS, SWI NGS FOR VI EWTHROUGH OPEN DOOR TO PERSONNEL
OFFI CE: among PEOPLE f i l l i ng out appl i cat i ons - - i s KATHY!
She' s j ust handed a compl et ed appl i cat i on- f or mt o:
I NTERVI EWER
4t h door t o your l ef t , mar ked
' Cl ear ance' . See Mr . Addi son.
KATHY
Addi son.
MOVI NG WI TH KATHY
al ong cor r i dor . We READ - - wi t h her - - a SI GN on a door :
CLEARANCE . . . and t he name Addi son.
She keeps r i ght on goi ng, conspi cuousl y swi ngi ng t he
appl i cat i on- f or mi n her hand.
WE MOVE WI TH HER t hr ough an ar ea mar ked:
GREEN BADGE AREA
She keeps movi ng . . . STOPS at door mar ked: DEP. DI RECTOR, and
t he name Hi ggi ns. She KNOCKS.
HI GGI NS' VOI CE
Come i n.
She pushes OPEN t he door : t i mi d, havi ng t r oubl e r eadi ng
appl i cat i on i n her hand; bar el y l ooki ng at hi m:
KATHY
Uhhh . . . Mr . Addi son?
HI GGI NS
( back t o wor k)
Cl ear ance. You passed i t . On your
l ef t .
KATHY
Thank you.
She backs out . CAMERA STAYS, HOLDS ON HI GGI NS: sl i ght est bi t
t r oubl ed, cal l s af t er her :
HI GGI NS
- - and st ay t he hel l on t he ot her si de of
t he Gr een Ar ea!
The door ' s cl osed.
PUSHCART HOT- DOG STAND - LONG VI EW
The VWpar ked near i t . TURNER' s at t he st and, eat i ng,
wai t i ng, f r eezi ng. Al l st i l l i n LONG VI EW: KATHY moves
qui ckl y THRU TRAFFI C t o j oi n hi m. They t al k: WE DON' T HEAR.
Then t hey separ at e.
EXT. WORLD TRADE CENTER - DAY
Acr oss a busy i nt er sect i on TURNER wat ches:
KATHY - LONG VI EW- TURNER' S POV
She nods. CAMERA PANS TO FOLLOWHER GAZE . . . HOLDS ON
HI GGI NS l eavi ng Wor l d Tr ade Cent er . . . wi t h anot her MAN!
SHOT - TURNER
wat chi ng t he t wo men wal k a shor t di st ance . . . t hey separ at e!
He l ooks at :
KATHY
As t he wr ong man passes her , she makes a nast y f ace, a t humbs-
down gest ur e.
ON TURNER
He nods, and SI GNALS her t o execut e st ep #2 of t he pl an he
devi sed:
WI DER ANGLE - I NTERSECTI ON
KATHY f ol l ows HI GGI NS on f oot . TURNER get s i nt o VW, KI CKS
OVER ENGI NE.
I NT. BAR & GRI LL - DAY
CROWDED. HI GGI NS has f ound hi msel f i n a cor ner . . . but i t ' s
a qui ck t ur nover l unch- pl ace; peopl e shar e t abl es. So
HI GGI NS j ust gl ances up, br i ef l y, as she si t s acr oss f r omhi m
- - t hen l ooks up shar pl y agai n, r emember i ng t he f ace!
She smi l es.
KATHY
Yep.
( t hen)
I di dn' t get t he j ob.
He says not hi ng . . . but hi s eyes scan t he bar behi nd her .
KATHY
Looks good.
( t hen)
But , I have t hi s f r i end; he t ol d me t o
t el l you somet hi ng. Quot e.
( t hen)
Dear Mr . Hi ggi ns, t hi s wi l l i nt r oduce a
f r i end of mi ne: Spar r ow Hawk.
( as Kat hy)
( MORE)
- - I don' t under st and t hat par t of t he
message, do you - -
( back t o i t )
Pl ease accompany her t o t he West St r eet
exi t of t hi s pl ace. Now.
( as Kat hy)
Per sonal l y, I ' d do i t . See, because he' s
got t hi s huge gun and he can see us wi t h
i t r i ght now whi l e we' r e t al ki ng. . . !
HI GGI NS keeps eat i ng, st al l i ng. KATHY moves her hand sl owl y
t o t he gl ass of mi l k and pour s i t over hi s cor ned- beef
sandwi ch.
KATHY
( f l at ; qui et )
Ooops.
( she st ands)
Shal l we?
HI GGI NS wi pes hi s mout h:
HI GGI NS
Why not ? You' r e cut e as hel l .
FULL SHOT - RESTAURANT
COVERI NG t hei r move t hr ough t he cr owd t o a shor t hal l way past
t he ki t chen, l eadi ng t o a si de- door .
WE SEE HI GGI NS st ep OUTSI DE, I NTO DAYLI GHT - - and somet hi ng
f ast happens t o hi m:
EXT. BAR & GRI LL - DAY
TURNER gr abs HI GGI NS and dr i ves hi mt hr ough t he open door VW
par ked at t he cur b, and f ace- down on t he f l oor behi nd t he
f r ont seat s! He uses f or ce, f ear , t he . 357 - - what ever i t
t akes. The car ' s I DLI NG.
As KATHY hur r i es al ong besi de t hem:
TURNER
. . . Dr i ve!
I NT. KATHY' S CAR - DAY
HI GGI NS makes a move t o push out t he ot her si de bef or e KATHY
can get her door cl osed.
KATHY ( CONT' D)
TURNER
Tr y i t , I ' d l ove you t o t r y i t ! Tr y
anyt hi ng!
He j ams HI GGI NS down agai n, KATHY SLAMS t he car - door shut . . .
and t hey' r e away.
EXT. KATHY' S CAR - DAY
HEADI NG west and nor t h.
TURNER
Si t up.
HI GGI NS
What ' r e y' doi ng? I ' mnot ar med!
I NT. KATHY' S CAR - DAY
Tur ner ' s sear chi ng Hi ggi ns' cl ot hes - - mor e car ef ul l y t han
f or a gun:
TURNER
They coul d be DF- i ng us . . . i f you' ve got
a t r ansmi t t er sewn i nt o your - -
HI GGI NS
Damn! You do r ead ever yt hi ng!
STOPPED, physi cal l y SI LENCED by Tur ner :
TURNER
I t ' s no God damned book. Somet hi ng' s - -
someone i s r ot t en i n t he Company.
HI GGI NS
Y' never compl ai ned . . . unt i l yest er day.
TURNER
Y' began ki l l i ng my f r i ends yest er day!
Tur ner ' s caught by hi s own wor ds. St ops hi msel f . Beat .
HI GGI NS
( nods t owar d Kat hy)
Who' s she?
TURNER
( i gnor i ng i t ; over l ap)
Who hi t t he Li t Soci et y?
HI GGI NS
We had a bi g meet i ng about t hat . . . and
your name came up.
Tur ner ' s handed t he page f r omt he MEMO- PAD t o HI GGI NS.
HI GGI NS
( i n r e paper )
Wher e' d you get t hi s?
TURNER
Fi ve Cont i nent s? Ri ng a bel l ?
( t hen)
I t ook i t f r omt he mai l man.
HI GGI NS
Mai l man?
TURNER
The one you sent . . . wi t h t he gun.
HI GGI NS
We don' t use mai l men.
TURNER
He had t hat pi ece of paper i n hi s pocket .
HI GGI NS
. . . What ' s he l ook l i ke?
Tur ner ' s pul l i ng a phot ogr aph out of hi s- pocket :
TURNER
Ri ght now - - l i ke t hi s!
CAMERA PUSHES CLOSE ON: STI LL- PHOTO of st ar i ng, dead Mai l man,
behi nd couch i n Kat hy' s apar t ment . Hi ggi ns t akes t he
pi ct ur e. CAMERA FAVORS HI GGI NS: hi s expr essi on unr eadabl e.
TURNER
. . . You woul dn' t al so happen t o be
acquai nt ed wi t h a ver y t al l man. Si x-
f our , bl onde hai r st r ong l i ke a f ar mer .
He' s' not Amer i can. Has an accent .
Count r y. Towar d Ger many. Maybe Al sace-
Lor r ai ne.
Hi ggi ns l ooks at Tur ner , now; moment . . . Then qui et l y:
HI GGI NS
Al l r i ght , Tur ner . . . What ' ve you got . . ?
I NT. HOTEL- ROOM - SOMEWHERE
CLOSE ON PACKAGE OF CAMELS. A HAND opens i t , t akes out a
ci gar et t e. CAMERA MOVES UP TO J OUBERT' S mout h wi t h i t . He
LI GHTS up: we see hi s i mpassi ve f ace l ooki ng out of DARKENI NG
wi ndow - - at t he Br ookl yn Br i dge. PHONE RI NGS. I t ' s on a
t abl e near t he wi ndow so he keeps l ooki ng out , acr oss t he
East Ri ver , dur i ng:
J OUBERT
Yes.
ATWOOD' S ( V. O. )
( FI LTER)
Was t he l et t er del i ver ed?
J OUBERT
The r et ur n- r ecei pt hasn' t ar r i ved.
ATWOOD' S ( V. O. )
( FI LTER)
You shoul d' ve del i ver ed i t your sel f .
J OUBERT
A . . . mor e compl i cat ed package had t o be
handl ed. But I may have under est i mat ed
t hi s one.
ATWOOD' S ( V. O. )
I was t ol d you never make t hat ki nd of
mi st ake.
( beat )
What wi l l you do?
J OUBERT
Wai t .
ATWOOD' S ( V. O. )
For what ?
J OUBERT
Peopl e who move . . . l eave wor d of Change-
of - addr ess.
He hangs up.
EXT. FOOTBRI DGE OVER THE EAST RI VER - LONG VI EW
An ar c of l i ght gr een st eel l i nki ng Manhat t an t o an i sl and i n
t he r i ver .
SHOOTI NG PAST KATHY i n her par ked car , i n f . g. of FRAME: we
SEE Hi ggi ns and Tur ner f ar out on t he br i dge. As CAMERA
MOVES CLOSER - - LOSI NG KATHY - - WE HEAR:
TURNER
Come on, Hi ggi ns . . . Do you know hi m?
HI GGI NS
( Beat )
Pr of essi onal l y.
TURNER
Pr of essi onal l y he ki l l s peopl e!
HI GGI NS
Yes.
TURNER
He wor ks f or The Company?!
HI GGI NS
He di d. Once. He' s a f r eel ance.
( t hen)
Wher e di d you see hi m?
Tur ner l ooks, shakes hi s head no; he' s t r ust i ng peopl e l ess.
HI GGI NS
. . . I t ' d hel p i f I knew wher e.
TURNER
( omi nous: )
Who woul d i t hel p?
Beat . Tur ner ' s put t i ng t hi ngs t oget her . . . al most l aughs at
a deduct i on:
TURNER
You guys hi r e hel p: l i ke Engl i sh but l er s
and Fi nni sh mai ds and I r i sh nanni es - -
ki l l er s f r omAl sace!
( t hen)
Who' d hi r e hi mnow?
HI GGI NS
Anybody.
TURNER
Ter r i f i c answer .
HI GGI NS
. . . I woul dn' t accept i t , ei t her .
TURNER
. . . How good i s he?
HI GGI NS
I ' msur pr i sed you' r e her e.
Tur ner meet s hi s gaze; t hen, har d.
TURNER
Who' d hi r e hi m, Hi ggi ns. I mean, y' don' t
l ook up J ouber t i n t he Yel l ow Pages.
HI GGI NS
. . . I t woul d have t o be someone i n t he
communi t y.
TURNER
Communi t y?
HI GGI NS
The I nt el l i gence f i el d.
TURNER
( sof t l augh)
Communi t y. . . !
( t hen, at Hi ggi ns)
Boy, you peopl e ar e . . . ki nd t o
your sel ves! ' Communi t y!
HI GGI NS
Let ' s see t hat r epor t .
TURNER
I t went up t o Headquar t er s and
di sappear ed.
HI GGI NS
Who r ead i t ?
TURNER
You mean besi de Wi cks?
( Beat )
You t el l me. I pi ck up t r aces of what I
t hi nk' s an i nt el l i gence net wor k The
Company doesn' t know about . I r epor t
i t .
( Beat ; t hen)
Now why woul d t hat make anybody mad?
( MORE)
( pause)
Unl ess i t was The Company' s net wor k. And
you di dn' t want i t bl own, not even t o
your own guys.
HI GGI NS
( mi nd r aci ng; but qui et l y: )
. . . What di d Headquar t er s say?
TURNER
See t hat ' s t he t hi ng. They sai d no, ni l .
Ther e' s not hi ng t o i t .
( t hen)
But i f t her e' s not hi ng t o i t . . . why di d
t he r oof f al l i n? Why ki l l peopl e?
A BOAT WHI STLE r eaches t hemf r oma di st ance, i t seems t o
qui et ever yt hi ng, qui et Tur ner :
TURNER
Now somebody' s l yi ng. Come on, Hi ggi ns,
why i s ever ybody so shy?
HI GGI NS
( t r oubl ed: )
I ' mnot shy . . . But I don' t know. And
t hat wor r i es me.
TURNER
Ask Wi cks.
HI GGI NS
Wi cks di ed.
Tur ner ' s shocked.
HI GGI NS
Someone yanked hi mof f t he l i f e- suppor t
syst emat Roosevel t .
TURNER
( f l at )
Get me i n.
HI GGI NS
. . . What good woul d t hat do?
( Tur ner i s st unned)
I f you' r e r i ght , and t hey' r e i nsi de The
Company . . . what good woul d i t do t o
br i ng you i n?
TURNER ( CONT' D)
TURNER
Then . . . what ' mI supposed t o do?
HI GGI NS
I ' msor r y . . . St ay out , keep busy.
TURNER
( gr owi ng anger )
I get i t : you want me t o dr aw f i r e. I ' m
supposed t o pl ay one of t hose per i nya,
cade bear s? . . . par ade back and f or t h
wai t i ng f or somebody - - somebody ver y
good! - - t o t ake anot her shot ! And you' r e
goi ng t o hang ar ound and pi ck hi mup j ust
bef or e he does i t ! . . . or j ust af t er ?!
HI GGI NS
( over l appi ng)
I ' mgoi ng t o t r y t o f i nd out what ' s goi ng
on.
TURNER
( abr upt ; st ar t i ng away)
Ni ce t al ki ng t o you. Have a ni ce day.
Tur ner ' s movi ng away; Hi ggi ns has t o SHOUT:
HI GGI NS
I ' mgoi ng t o cr osscheck t hose peopl e you
gave me, and t hen - -
TURNER
You do t hat .
HI GGI NS
Hey! Wher e' r e you goi ng?? Tur ner !
How' l l I f i nd you??
TURNER
( movi ng t o t he car t hr ough a
col d wi nd)
I ' l l f i nd you.
EXT. YORK AVENUE I N THE 60' S - HI GH ANGLE - NI GHT
Kat hy' s car t ur ns of f t he FDR Dr i ve, pul l s i nt o a gas
st at i on. Dur i ng t hi s move:
KATHY
D' you t r ust hi m?
Reachi ng i nt o hi s pocket f or money, Tur ner f eel s t hat key he
t ook out of t he Mai l man' s pocket . He t ur ns i t over and over
i n hi s hand.
TURNER
I don' t know. . .
( t hi nki ng)
He cal l ed me Tur ner - - i nst ead of Condor .
He di dn' t i nsi st on t hat codename cr ap.
Maybe he' s not . . . 100%pr e- sol d:
Company Man.
KATHY
Does he t r ust you?
TURNER
( al most l aughs)
No. He' s i n t he suspi ci on- busi ness.
KATHY
That ' s what I mean: t hey' r e al l . . . r eal
spi es! How coul d anybody, you know,
sneak i n? And f ool t hem?
TURNER
Nobody di d.
KATHY
Then. . . ?
TURNER
What i f t her e' s anot her CI A?
( beat )
I nsi de t he CI A.
I NT. MACHI NE- ROOM CI A, LANGLEY
ANGLE ON TWO COMPUTER- DI SPLAY SCREENS, si de by si de:
FLASHI NG ON ' A' SCREEN: POLI CE PHOTOS OF DEAD MAI LMAN behi nd
couch, i n Kat hy' s apar t ment . Set s of FI NGERPRI NTS. A RUSH
OF CLASSI FI CATI ON NUMBERS, f ol l owed by:
A l i vi ng HEADSHOT of t he MAI LMAN, sol emnl y FACI NG CAMERA:
he' s wear i ng a US MARI NE CORPS uni f or m. LEGEND beneat h:
WI LLI AM LLOYD
Gunner y Ser geant , USMC
320- 618
HOLD f or a beat ; r epl aced on SCREEN by:
DETACHED SERVI CE: CI A
LEBANON/ 1967- 9/ OPNS
LI BYA/ 1970/ OPNS
VENEZUELA/ 1972- 3/ OPNS
HI GGI NS' VOI CE
( sof t l y)
I ' l l be damned. . . .
ANGLE TO HI GGI NS, wat chi ng t he di spl ay. FOWLER besi de hi m,
hi s f i nger s movi ng smoot hl y over t he CONTROLKEYS t hat punch
up I MAGES pul l ed f r omCARDS and TAPES, par t s of an enor mous
memor y bank of comput er s VI SI BLE I N B. G.
HI GGI NS
Al l r i ght . Now cr oss- r un hi s t ape
agai nst Wi cks' , on t he ' B' scr een.
As FOWLER' s f i nger s begi n t o move i n new pat t er ns:
HI GGI NS
. . . Hol d any i nt er sect . . . .
ON THE SCREENS
I MAGES AND WORDS FLASH - - t oo f ast t o r ead on t he si de- by-
si de scr eens. Br i ef HOLD, when BOTH SCREENS READ:
HAT SI ZE: 7
Anot her UN- MATCHI NG RUN - - HOLD agai n when BOTH SCREENS READ:
CI G PREEF: CAMEL ( NON- FI LT)
Anot her DI ZZYI NG RUN OF I MAGES - - AGAI N HOLD: BOTH READ:
BEI RUT, LEBANON/ 9- 9- 69
i n RE LUCI FER 2
HI GGI NS' VOI CE
Yeah! Run Luci f er 2.
FOWLER' S VOI CE
Comi ng up.
Af t er a SERI ES OF WHI RRI NG SOUNDS, si gni f yi ng changes of
r el ays, t apes, et c. : I DENTI CAL FI LMS START RUNNI NG on t he
Ll oyd and Wi cks DI SPLAY SCREENS - - one maybe a coupl e of
f r ames ahead of t he ot her f or vi sual i nt er est . WHAT WE SEE:
EXT. NARROWSTREET, THE NEAR EAST - NI GHT
Scene i s bei ng PHOTOGRAPHED ON I NFRARED FI LM, by a CAMERA you
can i magi ne i s CONCEALED somewher e.
A MAN of J ouber t ' s gener al bui l d EMERGES f r oma shop - - SI GN
I N ARABI C above i t . J ust bef or e we can see hi s f ace, he
pauses t o l i ght a ci gar et t e. The EFFECT of LI GHTER ON
I NFRARED FI LM I S DRAMATI C: FLARES OUT THE WHOLE I MAGE! . . .
but t hen SUBSI DES AS THE MAN snaps out hi s l i ght er , get s i nt o
a car par ked at cur b. . .
CAR BLOWS UP! DI SI NTEGRATES! As pi eces r ai n down: FREEZE
FRAME AND SUPER SAME LEGEND ON BOTH SCREENS:
TERMI NATI ON: FREELANCE AGENT G. J OUBERT/ Conf i r med by CASE
OFFI CER: J WWI CKS and ASST: W. LLOYD
SHOT - HI GGI NS
Sor t i ng t hi s i nf or mat i on, f i t t i ng i t i nt o what he al r eady
knows - - l i ke a car d- pl ayer ar r angi ng hi s hand. He heads
OUT!
I NT. LOCKSMI TH SHOP - NI GHT
LOCKSMI TH
( shout i ng)
ALL I know: i t ' s a hot el - r oom!
TURNER
( shout i ng)
What hot el ?
AN AUTOMATI C KEYMAKI NG- MACHI NE OPERATES NOI SI LY. LOCKSMI TH
uncl amps a key, st ar t s RASPI NG of f r ough edges, wor ki ng as he
and TURNER t al k about t he key l yi ng on t he count er bet ween
t hem. I t ' s qui et er .
LOCKSMI TH
Ther e' s no t ag! I t ' s r oom819 - - i n t he
Ci t y of New Yor k.
TURNER
( of f er s key)
. . . Ther e' s a code- number out i nt o t he
edge.
LOCKSMI TH
( war y)
You i n t he t r ade?
TURNER
I r ead i t i n a st or y. . .
LOCKSMI TH
Ther e' s a st or y about l ocksmi t hs?
TURNER
. . . I t ' s t he l ock- manuf act ur er ' s code; he
can t el l you what hot el . . .
LOCKSMI TH
I don' t want t o r ead about you i n t he
paper , sonny. . .
But he' s sl i pped t he key under a BRI GHT LI GHT on t he count er .
TURNER
( l i ke a conf essi on)
Okay . . . A gi r l . . . l ef t t he key at my
pl ace . . . Never l et me know wher e she
l i ved. Then she spl i t I t hought maybe i f
I knew t he hot el . . . t hey' d have a
f or war di ng- addr ess.
LOCKSMI TH
That i s t he wor st st or y I ever hear d. . . !
You ar e sur e no cr ook!
TURNER knows he j ust needs one mor e push:
TURNER
Make t he cal l . They woul dn' t t el l me but
t hey' d t el l you. . .
( t aps met al per mi t )
You' r e a l i censed l ocksmi t h.
He l ays a $20 bi l l on t he count er .
EXT. NEWYORK CI TY SI DE STREET - NI GHT
At one of t he t housands of hol es- i n- t he- gr ound i n New Yor k
Ci t y: GREEN PLASTI C t o pr ot ect i t f r omt he wi nd, a WARNI NG-
LAMP and an EQUI PMENT TRAI LER - - ever yt hi ng mar ked NEWYORK
TELEPHONE COMPANY PROPERTY. BRI LLI ANT WORK- LI GHT.
WHI LE THE TWO Wor ker s ar e pr eoccupi ed, TURNER pul l s a TOUCH-
TONE TEST SET and a f l ashl i ght out of t hei r t r ai l er . . .
EXT. ELECTRONI CS STORE - NI GHT
SHOOTI NG THROUGH WI NDOW: WE SEE KATHY buyi ng a smal l t ape-
r ecor der and maybe a coupl e of smal l accessor i es.
EXT. HOTEL EXCELSI OR - NI GHT
A shabby, or di nar y, 8- st or y hot el . FEATURE A WI NDOWbeneat h
t he ' X' of "EXCELSI OR". We may SEE J OUBERT at t hat wi ndow,
smoki ng.
ANGLE DOWN TO st r eet . . . Di r ect l y bel ow J ouber t ' s r oom,
wal ki ng cl ose t o t he bui l di ng, i s TURNER. He di sappear s i nt o
SERVI CE- ENTRANCE.
I NT. EXCELSI OR BASEMENT
TURNER cr ouches i n f r ont of an open TELEPHONE TERMI NAL BOX.
He cl amps t he st ol en TOUCH- TONE TEST- SET acr oss a pai r of
wi r es, TAPS OUT 8 - 1 - 9. Hol ds hi s br eat h - - i t al most
bur st s f r omhi mwhen he HEARS FROM TESTSET:
J OUBERT' S VOI CE
Yes?
TURNER
( i nt o t est - set )
I ' mdoi ng a sur vey: do you bel i eve t hat
t he Condor i s r eal l y an endanger ed
speci es?
TURNER wor ks f ast : br eaks cont act , r e- connect s TEST- SET - -
but t hi s t i me pr esses a t i ny SUCTI ON- CUP t o i t . A wi r e r uns
f r omt he suct i on- cup, PLUGS i nt o t he smal l t ape- r ecor der - -
whi ch TURNER SWI TCHES ON.
An I NSTANT l at er ; TURNER HEADS - - and i s RECORDI NG - - PHONE-
NUMBER BEI NG TAPPED OUT. Bef or e i t r i ngs, WE HEAR THROUGH
TEST- SET:
HOTEL I NTERCEPT OPERATOR
Your r oom- number , pl ease?
J OUBERT' S VOI CE
819.
The number ' s al r eady RI NGI NG.
J OUBERT' S VOI CE
Oper at or ? Was t her e - - a moment ago - - a
l ong- di st ance cal l f or me?
HOTEL I NTERCEPT OPERATOR
. . . 819? . . . Not hi ng, Mr . J ouber t .
J OUBERT' S VOI CE
Thank you.
I nt er r upt ed by:
ATWOOD' S VOI CE
Hel l o?
I NT. J OUBERT' S ROOM - STI LL DARK
J OUBERT
Yes . . . I had an i nt er est i ng cal l . . .
ATWOOD' S VOI CE
Who i s t hi s?
J OUBERT
. . . i n r ef er ence t o an al l but ext i nct
bi r d: t he condor . Have you had such a
cal l ?
ATWOOD' S VOI CE
( over l ap)
You' r e a f ool t o cal l me her e!
J OUBERT
( unf azed)
You' ve had none, t hen?
ATWOOD' S VOI CE
No!
J OUBERT
I t must have been t he Audubon Soci et y. I
assume t hey' r e st i l l l ocat ed i n New Yor k
Ci t y.
I NT. EXCELSI OR HOTEL BASEMENT
CLOSE ON TURNER, wor ki ng: on t he t ouch- t one t est - set he TAPS
OUT: 311 555- 6394. As he wai t s f or i t RI NG, he RE- WI NDS t ape-
r ecor der t o st ar t of FREQUENCY TONES, he' d j ust r ecor ded.
RI NG! RI NG! Then:
VOI CE
( FI LTER)
Comput er .
TURNER PLAYS MULTI - FREQUENCY TONES I NTO TEST- SET. STOPS.
Wai t s f or :
VOI CE
555- 7489.
TURNER DI SCONNECTS t est - set , RECONNECTS and TAPS OUT ANOTHER
NUMBER.
RI NG! RI NG! Then:
WOMAN' S VOI CE
( FI LTER)
CNA, Mr s. Col eman speaki ng.
TURNER
( i nt o t est - set )
Thi s i s Har ol d Thomas, Mr s. Col eman,
Cust omer Ser vi ce. CNA on 202 555- 7389,
pl ease.
WOMAN' S VOI CE
( FI LTER)
One moment , pl ease.
( al most at once)
Leonar d At wood, 765 MacKensi e Lane, Chevy
Chase, Mar yl and.
CLOSER ON TURNER: sear chi ng hi s memor y f or t he name . . .
not hi ng.
TURNER
Thank you.
DI SCONNECTS t est - set , st ar t s out of basement .
EXT. NEWYORK TELEPHONE CO. BLDG.
( Not e: Ther e' s a r eddi sh br i ck bui l di ng, j ust bel ow Canal St .
and anot her , wi ndowl ess one, on Tent h Avenue, ar ound 54t h
St r eet . )
ON THE CUT: Empl oyees - - most l y FEMALE TELEPHONE OPERATORS - -
ent er i ng and l eavi ng; a shi f t - chance.
Among t hem, now we f i nd: TURNER, goi ng i nt o:
I NT. NEWYORK TELEPHONE CO. BLDG. - L0BBY
TURNER sees a door mar ked "EQUI PMENT ROOM".
CAMERA MOVES WI TH TURNER, TOWARD t he door ; he' s conspi cuous
about t he t est - set , r ecor der , anyt hi ng t hat mi ght make hi m
pass f or a Tel ephone Company empl oyee. . .
I NT. EQUI PMENT ROOM
Endl ess BANKS OF DI STRI BUTI NG FRAMES, f ant ast i cal l y compl ex
WI RI NG AND RELAYS.
TURNER MOVES t hr ough t he bl ock- l ong ai sl es, t ur ni ng bet ween
r ows of equi pment t o avoi d cl ose cont act . . . Fi nal l y, he
STOPS, set t l es down, l ow, at t he end of an ai sl e. Ther e' s a
REEL OF COPPER WI RE near by; he r eaches f or i t .
I NT. THE SMALL ROOM SOMEWHERE
The l egl ess man - - MI TCHELL - - i s j ust LI GHTI NG A CI GARETTE
when, f r omt he massi ve, cei l i ng SPEAKER:
TURNER' S VOI CE
Hel l o. . . ?
Tape- r ecor der s ar e al r eady TURNI NG by t he t i me MI TCHELL spi ns
t owar d hi s TALK- BOX and:
MI TCRELL
Thi s i s t he maj or .
TURNER' S VOI CE
Condor . Fi nd Hi ggi ns f or me.
MI TCHELL
Rout i ng you, Condor . St and by. . .
Hi s f i nger s have been wor ki ng si nce TURNER sai d "Condor ".
That panel LI GHTS UP: "TRACI NG". . .
I NT. EQUI PMENT ROOM, TELEPHONE CO. - ANGLE ON TURNER
He' s usi ng t he t est - set . . . but ANGLE ADJ USTS TO I NCLUDE what
el se he' s done wi t h t he copper - wi r e: he' s l ai d i t acr oss t he
pr eci se phone- company ci r cui t r y.
HI GGI NS' VOI CE
( FI LTER)
Condor ??
TURNER gr unt s at bei ng cal l ed Condor , t hen:
TURNER
The Hot el Excel si or . . .
HI GGI NS' VOI CE
( FI LTER)
You' r e t her e now?
TURNER
. . . i n Room819 - - i f you move i t ! - -
You' l l f i nd t he Cor si can gent l eman we
spoke of .
HI GGI NS' VOI CE
( FI LTER)
What ?
( t hen, qui ckl y)
Wher e ar e you, damn i t ?!
TURNER
Shhh . . . qui et down. . .
( t hen)
Hi ggi ns?
HI GGI NS' VOI CE
( FI LTER; qui et )
Ri ght her e.
TURNER
Who i s At wood?
I NT. COMPUTER ROOM CI A, LANGLEY
HI GGI NS hol ds t he phone cl ose t o hi s ear . The ot her s i n t he
r oomcannot hear TURNER' s voi ce. CAMERA REVEALS MR. WABASH
seat ed apar t f r omt hem, and ATWOOD! ATWOOD st ar es at
HI GGI NS, who has j ust gl anced t owar d ATWOOD.
TURNER' S VOI CE
( r espondi ng t o Hi ggi ns'
si l ence)
Who i s Leonar d At wood?
( t hen)
Wher e ar e you.
CLI CK as t he l i ne goes dead.
MR WABASH
Somet hi ng. . . ?
HI GGI NS shoot s a gl ance t owar d ATWOOD, j ust a hal f beat of
hesi t at i on bef or e he PUNCHES I NTERCOM BUTTON and:
HI GGI NS
Maj or ??
I NT. THE SMALL ROOM SOMEWHERE
The LI GHTED panel "TRACI NG" i s REPLACED BY: "TRACE
COMPLETED".
MI TCHELL
Got hi m!
HI GGI NS' VOI CE
SHOWme t he di spl ay.
MI TCHELL spi ns. PUNCHES BUTTON:
FAVOR A LARGE ELECTRONI C DI SPLAY- SCREEN - -
HI GGI NS wal ks cl oser ; t he ot her s l ook at i t , t oo:
ON SCREEN: ENLARGED STREET MAP OF SOUTH BROOKLYN. A RED
ARROWHEAD mar ks a st r eet cor ner . As he appr oaches SCREEN:
HI GGI NS
How di d he get t her e?
MR. WABASH
( qui et l y)
Condor .
HI GGI NS
We can have a uni t - -
MR. WABASH
( st i l l qui et )
Wai t . . .
REACTI NG t o a SUDDEN CHANGE ON SCREEN: A NEWRED ARROWHEAD
APPEARS . . . t hen:
HI GGI NS
Hey! !
A BURST OF NEWRED ARROWHEADS HAS APPEARED ALL OVER SOUTH
BROOKLYN! Li ke measl es!
HI GGI NS r aces back t o I NTERCOM; SHOUTS:
HI GGI NS
Mi t chel l ?! . . . What ' s goi ng on??
As EVEN MORE RED ARROWHEADS APPEAR BEHI ND HI GGI NS:
MI TCHELL' S VOI CE ( VI A I NTERC0M)
The son of a bi t ch wi r ed t oget her 50
phones! !
HI GGI NS
WHAT??
MI TCHELL' S VOI CE
( FI LTER)
Ever ybody i n Br ookl yn' s t al ki ng t o each
ot her !
EXT. HOBOKEN STATI ON
Suddenl y l i ke f or t y year s ago. Ol d, di r t y, gl oomy i n t he
ear l y mor ni ng qui et .
I NT. HOBOKEN STATI ON
Tur ner st ands i n t he gr eeni sh l i ght . Kat hy moves over f r om
t he ci gar et t e count er and l i ght s a ci gar et t e.
TURNER
I di dn' t know you smoked.
KATHY
I qui t year s ago.
( t hen)
You' r e pal e.
TURNER
. . . l i ght i n her e.
KATHY
What ar e you goi ng t o do t her e?
TURNER
See a guy.
KATHY
Mor e secr et s.
( shakes her head, t hen, r i ght
t o hi m: )
What ' s so hot about keepi ng secr et s?
I t ' s j ust . . . unf r i endl y. That ' s al l .
TURNER
Li ke hi di ng t hose pi ct ur es.
KATHY
( she' s f ai r )
Yes.
( t hen; not casual )
Some day, I ' d l i ke t o show t hemt o you
. . . i n case you l i ve t hr ough t hi s.
TURNER
I ' d l i ke t o see t hem. Coul d you l i ve
t hr ough t hat ?
KATHY
Yes, I coul d. Now. Thanks.
Then SUDDENLY, an al most hopef ul t hought .
TURNER
You coul d dr i ve me t o Washi ngt on.
KATHY
No. I coul dn' t .
( t hen)
You have a l ot of f i ne qual i t i es but . . .
( t r i es i t anot her way)
I don' t t r eat mysel f gr eat , exact l y, but
I don' t go out of my way t o get mysel f
machi ne- gunned, ei t her .
TURNER
What f i ne qual i t i es?
She al most smi l es at hi s j oke, but t hen:
KATHY
You have good eyes. Not ki nd, but t hey
don' t seemt o l i e or l ook away much.
( t hen)
And t hey don' t mi ss anyt hi ng.
( beat )
I coul d use eyes l i ke t hat .
TURNER
But you' r e . . . over due i n Ver mont .
( she' s si l ent )
I s he a t ough guy?
KATHY
( nods)
He' s pr et t y t ough.
TURNER
What wi l l he do t o you?
KATHY
. . . under st and, pr obabl y.
TURNER
Oh . . . t hat i s t ough.
The LOUDSPEAKER announces t he t r ai n t o WASHI NGTON. Tur ner
t akes t he ci gar et t e out of her hands, t hr ows i t on t he f l oor .
TURNER
Kat hy . . . I need t i me.
KATHY
Hm??
Tur ner i s angui shed, but has t o r eassur e hi msel f .
TURNER
8 hour s at l east unt i l noon t omor r ow.
KATHY
So?
TURNER
( f i nal l y dr i ven)
You' ve t o gi ve me t hat much t i me. I mean
. . . don' t cal l anybody r i ght now, or - -
She can' t bel i eve i t ! Her eves FI LL. She manages t he pal est
smi l e, and shakes her head f r omsi de t o si de, sl owl y. Such
di sappoi nt ment and r egr et .
KATHY
Oh boy. . . !
He i s st r i cken t hat he' s come t hi s f ar . He cl oses hi s eyes,
squeezes t hemshut , wi shi ng he hadn' t r eveal ed hi s suspi ci on.
He can' t t ake back t he wor ds so he gr abs her , HOLDS HER
TI GHTLY, t he way one hol ds a chi l d one has hur t . . .
i mpul si vel y . . . t r yi ng t o shar e t he pai n wi t h her . THEN he
t akes her head i n hi s hands and KI SSES her f ace gent l y.
TURNER
Wi l l you t ake car e of your sel f .
KATHY
Do my best .
TURNER
Do your best .
He moves t hr ough t he door s and out ont o t he t r acks.
KATHY
( qui et l y)
Wi l l you t ake car e of your sel f ?
EXT. HOLI DAY I NN ( SECOND UNI T! ) - NI GHT
A pl ai n bl ack sedan pul l s up. Two pl ai ncl ot hes guys get out
and go i n.
I NT. 54/ 12 ROOM - WABASH & HI GGI NS - NI GHT
At wood i s gone. Hi ggi ns and Wabash wai t near t he phone.
MR. WABASH
. . . Why ar en' t you f ur t her al ong, Mr .
Hi ggi ns?
HI GGI NS
Wi t h t he Company, you mean?
MR. WABASH
You seemper f ect f or i t . . .
HI GGI NS
Thank you, si r .
MR. WABASH
Ar e you per f ect f or i t , Mr . Hi ggi ns?
HI GGI NS
I t r y t o be.
MR. WABASH
Wer e you r ecr ui t ed out of school ?
HI GGI NS
No, si r . The Company i nt er vi ewed a f ew of
us i n Kor ea.
( compel l ed t o f l at t er )
You wer e wi t h Mr . Donovan' s OSS, wer en' t
you si r ?
MR. WABASH
( smi l es t o r emember : )
I sai l ed t he Adr i at i c wi t h a movi e st ar
at t he hel m!
( MORE)
I t doesn' t seeml i ke much of a war now.
But i t was.
( t hen)
I go back even f ur t her : t o t en year s
af t er t he Gr eat War , as we cal l ed i t .
Bef or e we knew enough t o number t hem.
HI GGI NS
You mi ss t hat ki nd of act i on, si r ?
MR. WABASH
No. . . t hat ki nd of cl ar i t y.
The PHONE RI NGS LOUDLY. Mr . Wabash pi cks i t up, l i st ens,
t hen hangs up.
MR. WABASH
He' s bei ng hel d at New Yor k Cent er .
Hi ggi ns i s up and movi ng t owar d t he door .
MR. WABASH
Mr . Hi ggi ns! . . . I bel i eve you do
under st and t he Company' s posi t i on.
What ' s t o be done.
EXT. COUNTRY HOUSE, WASHI NGTON - NI GHT
A l ong vi ew, dar k, deser t ed. Then SUDDENLY THE NI GHT AI R I S
FI LLED WI TH LOUD BLASTI NG MUSI C.
I NT. COUNTRY HOUSE - NI GHT - TURNER
CLOSE Tur ner , si t t i ng i n t he dar k l i vi ng r oombesi de t he hi -
f i , hol di ng t he . 45 l oosel y i n hi s hand, wai t i ng.
FULLER ANGLE TO VESTI BULE
The l i ght goes on. An absol ut el y pet r i f i ed At wood descends
t he st ai r s i n r umpl ed paj amas. Tur ner does not move. At wood
comes sl owl y i nt o t he dar kened r oom.
TURNER
Who ar e you?
NEWANGLE
ATWOOD
What i s t hi s?
TURNER
Who ar e you?
MR. WABASH ( CONT' D)
ATWOOD
What d' you want i n her e?
TURNER
I ' mCondor .
ATWOOD' S SHOCKED.
TURNER
Si t down.
( t hen)
What do you do f or a l i vi ng?
ATWOOD
Don' t be r i di cul ous. . .
He st ar t s t o t ur n away he' s i n a swi vel - chai r behi nd hi s desk
- - Tur ner spi ns hi mback . . . har d!
TURNER
What do you do. . . ? Exact l y.
ATWOOD
I ' mwi t h Count er I nt el l i gence.
Tur ner can' t qui t e put i t t oget her wi t h what el se he' s come
t o know; he pr esses t he . 45 agai nst At wood.
TURNER
. . . What ar e you wor ki ng on? What ar e you
doi ng?
( at At wood' s si l ence)
What ' s t he secr et wor t h mur der i ng
ever ybody at t he ALHS??
ATWOOD
Ther e i s no secr et !
TURNER
Wi cks showed you my r epor t . . .
ATWOOD
What r ep - - ?
Tur ner ki cks t he chai r har d wi t h hi s f oot . I t SLAMS agai nst
t he wal l .
ATWOOD
( choki ng)
Yes!
TURNER
I t was your net wor k I t ur ned up.
At wood' s si l ence conf i r ms i t .
TURNER
. . . Doi ng what ?
At wood doesn' t answer . Tur ner PULLS hi mout of t he chai r and
SLAMS hi magai nst t he wal l .
TURNER
Doi ng what ! ! ?
Tur ner GRABS hi magai n.
TUPNER
What t he hel l does Count er I nt el l i gence
car e about a bunch of goddamn books! A
book i n Dut ch!
He SLAMS hi magai nst t he wal l .
TURNER
A book out of Venezuel a!
He SLAMS hi magai n.
ATWOOD
Wai t . . . !
TURNER
Myst er y st or i es i n Ar abi c!
He SLAMS hi magai n.
TURNER
What t he hel l i s so i mpor t ant about . . .
( he st ops dead. St i l l . Then
ver y qui et l y)
Oi l . . . f i el ds.
At wood i s pet r i f i ed. Hi s br eat h comes i n har d r aspi ng
gr asps. . .
TURNER
( t hen)
Thi s whol e damn t hi ng vas about oi l .
Poi nt i ng t he gun at hi magai n.
TURNER
Wasn' t i t ?? . . . Wasn' t i t ?
ATWOOD
Yes! . . . I t i s! I t st i l l i s.
J OUBERT' S VOI CE
Don' t t ur n f or a moment .
( t hen)
Set down t he gun. . .
( t hen)
Yes. Al l r i ght .
ANOTHER ANGLE - REVEALI NG J OUBERT
J OUBERT
( st r ai ght )
You wer e qui t e good, Condor . . . unt i l
t hi s.
( wave of hand t owar d At wood)
Thi s move was pr edi ct abl e:
At wood LAUGHS a bar k of a l augh i n r el i ef . J ouber t MOVES
f or war d t owar d Tur ner .
CLOSER ANGLE ON J OUBERT
He suddenl y swi ngs ar ound pushes t he gun agai nst At wood' s
head and FI RES.
SHOT - TURNER
A SI NGLE PROLONGED SHOUT, hi s hands over hi s ear s, as i f t he
REVERBERATI NG EXPLOSI ON mi ght st i l l ki l l hi m. St unned, he
wat ches J ouber t :
WI DER ANGLE
J ouber t i s pr oppi ng t he dead At wood i nt o t he post ur e of a
sui ci de . . . wi pes of f t he pi st ol , pl aces i t i n hi s hand.
TURNER
appal l ed, st i l l . . . but put t i ng i t t oget her .
TURNER
You' r e wor ki ng f or The Company agai n. . . !
J OUBERT
( qui et busi ness)
Di d you t ouch anyt hi ng but t he l amp?
J ouber t ' s wi pi ng i t cl ean.
TURNER
( dazed)
J esus, t hey t ook you back.
J OUBERT
( shr ugs)
J ust f or t hi s: f or At wood.
Tur ner i s st i l l r eel i ng.
TURNER
But . . . he' s wi t h t he Company, why woul d
t hey want hi mki l l ed?
J OUBERT
( a ' st op' gest ur e)
I don' t i nt er est mysel f i n ' why?' . I
t hi nk mor e of t en i n t er ms of ' when?' . . .
somet i mes ' wher e?' . And al ways how
much?'
( ver y br i ef )
I suspect he was - - about t o become - - an
embar r assment .
( t hen, l evel )
As you ar e. . .
Beat ; Tur ner nods.
TURNER
( sad, i r oni c l augh)
So you' r e not f i ni shed.
J OUBERT
Par don?. . . oh no, I have no ar r angement
wi t h t hemconcer ni ng you. They di dn' t
know you' d be her e.
( beat )
I knew you' d be her e.
TURNER
But , di dn' t you send t he mai l man?
J OUBERT
Oh . . . t hat was a busi ness ar r angement
wi t h At wood.
( t hen gest ur e at cor pse)
But you see.
( t hen)
Per haps i f he had a wi dow.
( MORE)
But he has none. He' s a sel f i sh man, I
t hi nk; t hi s house i s empt y.
He makes a qui ck but exper i enced check of t he whol e scene,
and:
J OUBERT
Come.
EXT. ATWOOD' S HOME - DAWN
Looki ng f ar out over sl opi ng l awns and a meadow. A pr et t y
VI EW. J ouber t FI LLS HI S LUNGS, deepl y. A car i s ' par ked a
saf e di st ance f r omt he house:
J OUBERT
Tel l me about t he gi r l .
TURNER
What , about her ?
J OUBERT
She was chosen . . . how? By age? Her
car ? Appear ance?
TURNER
At r andom. Chance.
J OUBERT
Real l y?
( t hen)
Can I dr op you?
TURNER
( sl owl y)
I ' mgoi ng back t o New Yor k.
J OUBERT
You have . . . not much f ut ur e t her e.
Tur ner l ooks at hi m.
J OUBERT
( l i ght i ng a ci gar et t e)
I t woul d happen t hi s way: You may be
wal ki ng one day may be t he f i r st sunny
day of t he spr i ng . . . And a car wi l l sl ow
. . . besi de you, and a door wi l l open . . .
And someone you know - - per haps even
t r ust - - wi l l get out of t he car and he
wi l l smi l e - - a becomi ng smi l e . . .
J OUBERT ( CONT' D)
( MORE)
but he' l l l eave open t he door of t he car
. . . And of f er t o gi ve you a l i f t .
Tur ner si nks sl owl y t o t he st eps
TURNER
Ter r i f i c.
( not r eal l y aski ng)
You seemt o under st and i t al l wel l . . .
what woul d you suggest ?
J OUBERT
The f act i s: What I do i s not a bad
occupat i on. Ther e i s never a Depr essi on.
Someone i s al ways wi l l i ng t o pay.
TUMNER
( sadl y)
I woul d f i nd i t t i r i ng.
J OUBERT
No. I t i s - - qui t e r est f ul . Al most
peacef ul . No need t o bel i eve i n ei t her
si de, or any si de. Ther e i s no cause.
Ther e i s onl y your sel f . And t he bel i ef
i s i n your pr eci si on.
TURNER
( ver y t i r ed now)
. . . I was bor n her e J ouber t . . . i n t he
Uni t ed St at es. I mi ss i t when I ' maway
t oo l ong.
J OUBERT
A pi t y.
TURNER
I don' t t hi nk so.
( beat )
Woul d i t be t oo much t r oubl e t o dr op me
at Uni on St at i on?
J OUBERT
( shr ugs)
I t woul d be my pl easur e.
As Tur ner r i ses t o wal k down t he sl ope t o t he car , J ouber t
hol ds out t he . 45. Tur ner l ooks at i t , t hen at J ouber t .
J ouber t shr ugs:
J OUBERT
For t hat day. . .
J OUBERT ( CONT' D)
Beat . Tur ner t akes t he gun.
EXT. WEST 43RD STREET - DAY
Ful l vi ew of t he st r eet . Tr ucks bei ng l oaded i n t he bi ns of
t he Newspaper bui l di ng. A smal l SALVATI ON ARMY BAND pl ays
and si ngs GOD REST YE MERRY GENTLEMEN.
An or di nar y l ooki ng car comes t o a STOP on BROADWAY. Hi ggi ns
get s out ; t he Dr i ver and anot her Man r emai n i nsi de. Hi ggi ns
l ooks up and down t he st r eet unt i l :
TURNER' S VOI CE
Hi ggi ns!
Hi ggi ns spi ns ar ound and sees:
TURNER
I n t he mi ddl e of 43r d St r eet . Pedest r i ans pass hi m. He
l ooks t i r ed, needs a shave.
FAVOR HI GGI NS
He smi l es, but i s t aki ng ever yt hi ng i n. Wher e Tur ner i s
st andi ng, he moves t owar d Tur ner as angl e wi dens t o i ncl ude
bot h. Hi ggi ns al most t hr ows a wel comi ng ar mar ound Tur ner ,
as Tur ner backs acr oss 43r d t owar ds t he si ngi ng Sal vat i on
Ar my Band.
HI GGI NS
I t ' s gr eat t o see you.
( Tur ner nods, vaguel y)
You l ook r eal l y beat .
TURNER
Yeah, I ' mt i r ed.
( t hen)
The car f or me?
HI GGI NS
Sur e. I t ' s saf e now. We need a f ew
hour s debr i ef i ng; t he net wor k had some
pr et t y compl i cat ed wi r i ng and - -
TURNER
Hi ggi ns? Let ' s say . . . f or pur poses of
ar gument . . . I have a . 45 i n one of t hese
pocket s.
Pause.
TURNER
So i f I asked you t o t ake a wal k wi t h me
you' d do i t , r i ght ?
HI GGI NS
( qui et l y)
Whi ch way?
TURNER
West . Sl owl y. Four or f i ve st eps i n
f r ont of me.
TRACKI NG TURNER AND HI GGI NS
The sound of si ngi ng gr ows l ouder .
Hi ggi ns shi ver s as a col d gust of wi nd chi l l s t hem. Anot her
pl ai n car i s movi ng East TOWARD THEM ON 43r d St r eet .
HI GGI NS
Wher e ar e we goi ng?
TURNER
( i ndi cat i ng t he car )
Wave t hemof f . . .
Hi ggi ns makes a sl i ght head move. The car st ops and par ks.
Tur ner moves up cl oser t o Hi ggi ns.
TURNER
Do we have pl ans t o i nvade t he Mi ddl e
East ?
HI GGI NS
Ar e you cr azy??
TURNER
AmI ?
HI GGI NS
Look, Tur ner . . .
TURNER
Do we have pl ans?
HI GGI NS
No. Absol ut el y not .
( t hen)
We have games. That ' s al l . We pl ay
games.
( MORE)
"What i f ?", "How many men?", "What woul d
i t t ake?", "I s t her e a cheaper way of
dest abi l i zi ng t he r egi me?"
( qui et er )
That ' s what we' r e pai d t o do?
TURNER
So . . . At wood j ust t ook t he games t oo
ser i ousl y. He was r eal l y goi ng t o do i t
. . . wasn' t he?
HI GGI NS
I t was a r enegade oper at i on! At wood knew
54/ 12 coul d never aut hor i ze i t : not wi t h
al l t he heat on t he company.
TURNER
Suppose t her e' d been no heat ? And I
hadn' t st umbl ed on t he pl an? Nobody had?
HI GGI NS
( shr ugs)
Di f f er ent bal l game. The f act i s, i t
wasn' t a bad pl an. I t coul d' ve wor ked.
TURNER
J esus - - What i s i t wi t h you peopl e? You
t hi nk not get t i ng caught i n a l i e i s t he
same as t el l i ng t he t r ut h.
HI GGI NS
I t ' s si mpl e economi cs, Tur ner . . . Ther e' s
no ar gument . Oi l now, 10 or 15 year s
i t ' l l be f ood, or pl ut oni um. Maybe
sooner t han t hat . What do you t hi nk t he
peopl e wi l l want us t o do t hen?
TURNER
Ask t hem!
HI GGI NS
Now?
( shakes head)
Huh- uh. Ask t hemwhen t hey' r e r unni ng
out . When i t ' s col d at home and t he
engi nes st op and peopl e who ar en' t used
t o hunger . . . go hungr y! They won' t want
us t o ask. . .
( qui et savager y: )
They' l l want us t o get i t f or t hem.
HI GGI NS ( CONT' D)
TURNER
Boy. You r eal l y f ound a home.
( t hen)
Ther e wer e seven peopl e ki l l ed!
HI GGI NS
The Company never or der ed. . .
TURNER
. . . At wood di d! And who t he hel l i s
At wood?? He' s you! Al l of you. Ther e
wer e seven peopl e ki l l ed and t he games go
on.
HI GGI NS
I can' t l et you st ay out , Tur ner .
Tur ner sl owl y st ops, l eans back agai nst - a bui l di ng, shakes
hi s head sadl y.
TURNER
Go home, Hi ggi ns. They have i t al l .
HI GGI NS
What ar e you t al ki ng about ?
TURNER
Don' t you know wher e we ar e?
Hi ggi ns l ooks ar ound. The huge newspaper t r ucks ar e movi ng
out .
TURNER
I t ' s wher e t hey shi p f r om.
Hi ggi ns' head dar t s upwar d and he r eads t he l egend above
Tur ner ' s head. THE NEWYORK TI MES. He i s st unned.
HI GGI NS
You dumb son of a bi t ch.
TURNER
I t ' s been done. They have i t .
CAMERA PUSHES CLOSER on Hi ggi ns. Al l t he physi cal opt i ons
r un t hr ough hi s br ai n . . . and he comes up wi t h not hi ng t o do.
HI GGI NS
You' ve done mor e damage t han you know.
TURNER
I hope so.
HI GGI NS
You want t o r i p us t o pi eces, but you
damn f ool you r el y on us.
( t hen)
You' r e about t o be a ver y l onel y man,
Tur ner .
Wi t hout war ni ng, Tur ner SLOWLY st ar t s away, st i l l f aci ng
Hi ggi ns. He t hr ows a gl ance over hi s shoul der at t he car .
HI S P. O. V. - THE PLAI N CAR
The t wo men wai t i ng f or a si gnal f r omHi ggi ns.
TURNER AND HI GGI NS
HI GGI NS
I t di dn' t have t o t ur n out l i ke t hi s.
TURNER
Of cour se i t di d.
HI GGI NS
( cal l i ng out )
Tur ner ! How do you know t hey' l l pr i nt
i t ?
Tur ner st ops. St ar es at Hi ggi ns. Hi ggi ns smi l es.
CLOSE - HI GGI NS
HI GGI NS
You can t ake a wal k. But how f ar ? I f
t hey don' t pr i nt i t .
CLOSE - TURNER
TURNER
They' l l pr i nt i t .
HI GH ANGLE - TURNER AND HI GGI NS
Pedest r i ans move bet ween t hem.
HI GGI NS
How do you know?
CAMERA PULLS BACK AND LOSES THEM I N THE NEWYORK STREETS.

Three Days of The Condor

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Copyright:

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Three Days of The Condor

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THREE DAYS OF THE CONDOR

By Lor enzo Sempl e J r .

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