Magic by pengxuebo

VIEWS: 65 PAGES: 117

									original screenplay
         by
    Lee Sheldon
1
                                                             2


                          ROUGH MAGIC

FADE IN:

NEWSREEL FOOTAGE (BLACK & WHITE)

A massing of tanks, artillery, and troops. A sonorous
NARRATOR is explaining in clipped German phrases that what
we are seeing is film of a new series of Warsaw Pact
maneuvers along Czechoslovakian borders. They began five
days ago on August 11, 1968. The tone of the announcer
makes it readily apparent that the maneuvers are heartily
endorsed and that Czechoslovakia's denunciation of these
"pressure tactics" is in flagrant disregard of the Warsaw
Pact Treaty. The announcer expresses concern that
antisocialist elements are threatening to take advantage of
the recent climate of democratization in Czechoslovakia.
And the maneuvers should be viewed as a clear warning to
the lawless foes of socialism that a threat to any of the
Warsaw Pact countries is a threat to them all. The Narrator
continues:

                         NARRATOR
            Die Lander, die sich an militar
            Aktivitaten beteiligen sind
            Sowjetrussland, Polen, Ungarn, Bulgare,
            and unsere eigenen Truppe von die
            Deutsche demokratische Republik.

WE PULL BACK TO REVEAL:

that the newsreel footage is on an ancient television in a
tiny East German Hofsbrau where a substantial crowd has
gathered after work. One or two watch the television, but
this news has been unchanging for five days, and most are
content to drink and discuss their own troubles.

One man sits alone at a small table in the corner, a half-
finished stein of dark beer before him. He is in his early
forties, small frame, but robust looking, his head topped
with a leonine mane of whitening hair. His name is NICHOLAS
REESE. Reese lowers his eyes from the TV and glances at his
wristwatch. The time is 7:03. Absent-mindedly he makes a
coin dance back and forth across the backs of the fingers
of his other hand.

INT. CAR - EVENING - START CLOSE ON WRISTWATCH
                                                          3



This watch also reads 7:03. It is studied for a moment by a
small, dark man in a dark raincoat who sits sweating in the
front seat of a dark coupe. This man is in his late
thirties. His name is MATTHIAS KUFAHL. Kufahl looks out the
window of the car and across the nearly deserted street to
an imposing if austere stone building beyond stone pillars
and black iron gates. Two secretaries come out past the
uniformed guard at the gate, CHATTERING in INDISTINCT
German. They walk off down the road to a trolley stop a
block away. A car waits at the curb near the black iron
gates. A chauffeur waits at its wheel. Kufahl wipes
perspiration from his forehead and again checks his watch.

                         REESE (V.0.)
            You must do it.

                         KUFAHL (V.0.)
            It's impossible! No one has access to
            the safe after hours!

                         REESE (V.0.)
            Caliban, I can't believe this is you
            talking. You can charm locks to open!
            I've seen you do it.

                         KUFAHL (V.0.)
            They'll know...

                         REESE (V.0.)
            I'll get you out.

                         KUFAHL (V.0.)
            When?

                         REESE (V.0.)
            When you bring me proof. When you bring
            me the date of the invasion.

Other workers straggle out of the iron gates.

                         KUFAHL (V.0.)
            They wouldn't dare!

                         REESE (V.O.)
            Have you forgotten Hungary twelve short
            years ago?
                                                                4



                           KUFAHL (V 0.)
             No.

                          REESE (V.0.)
             They will invade. All we want to know
             is when.

                          KUFAHL (V.0.)
             You'll get me out?

             REESE (V.0.) What's my code name?

                           KUFAHL (V.0.)
             Prospero.

                          REESE (V.0.)
             We've worked magic together for a long
             time, Caliban. You must trust me in
             this.

Kufahl sees a short tubby man in a grey Homburg and a grey
coat come through the gates, and head a little unsteadily
for the car parked in front. The chauffeur jumps out to
assist him.

                         REESE (V.0.)
                   (cont'd; fading)
             Trust me...

The man in the grey hat and coat is driven away. Kufahl
waits for a moment, then gets out of the coupe, and heads
across the street.

EXT. MINISTRY OF DEFENSE

Kufahl passes through the gates, nodding to the guards on
duty, and goes up the stone steps between the stone columns
at the front of the building. He enters.

INT. LOBBY

Kufahl crosses to a small wooden desk and the foot of a
wide staircase, his heels CLICK-CLACKING on the marble floor.
                                                             5


                         GUARD
            Comrade Kufahl, I thought you'd gone
            home.

                         KUFAHL
            I forgot some papers the minister asked
            us to study.

                         GUARD
                  (frowns)
            How long will you be?

                         KUFAHL
            Fifteen minutes. No more.

The Guard notes this in a ledger. Kufahl signs his name,
then mounts the staircase quickly, glancing at his watch.

INT. CORRIDOR

Here too is a guard, HEINRICH, stationed at a small desk at
the head of the long corridor. Kufahl smiles at him.

                         KUFAHL
            Come along, Heinrich, I need you to
            unlock a file cabinet.

The guard removes a large key ring from his belt, and
follows.

                         HEINRICH
            You missed Herr Haase! He was here! In
            person! You missed him!

                         KUFAHL
            A great tragedy.

He unlocks an office door, and is followed inside by
Heinrich.

INT. KUFAHL'S OFFICE

Kufahl flips nervously through some folders on his desk as
Heinrich waits impatiently beside the row of file cabinets
alone one wall.
                                                             6


                          HEINRICH
             Herr Haase is an impressive man. Which
             one, Comrade?

                           KUFAHL
             What?

                          HEINRICH
             Which cabinet did you want to open?

                           KUFAHL
                     (checks his watch)
             Six.

He crosses to a cabinet, his arms piled with folders, and
holds out his key to Heinrich.

                          KUFAHL
             Heinrich, you do it.

Heinrich inserts Kufahl's key in one lock and turns it.
Then he inserts a key still on his ring in a second lock
just below the first. Kufahl's eyes stray to the telephone on
his desk, as if willing it to ring. It RINGS.

                          KUFAHL
                   (cont'd)
             Answer that, will you?

Heinrich pulls at his key, but it doesn't come out. He
crosses to the phone, leaving the keys dangling from the lock.

                          HEINRICH
             Allo? Bitte? Who is that? What?

Behind his back Kufahl shifts his burden easily to one
hand. The other hand deftly explores the keys on the ring.

                          HEINRICH
                   (cont'd)
             What? Nein, this is Herr Kufahl's
             office.

Kufahl finds the one he wants and liberates it from the
ring.
                                                            7


                         HEINRICH
                  (cont'd)
            Nein! You have the wrong number!

Irritated, he hangs up.

INT. HOFSBRAU - NIGHT

In a telephone booth Reese hangs up the phone and comes
out. He makes a coin appear from the décolletage of a
voluptuous waitress, and presents it to her.

                         REESE
            You should be careful where you leave
            your money, fraulein. You could easily
            turn an honest man to crime!

Several customers LAUGH with her. Smiling expansively,
Reese goes out.

INT. KUFAHL'S OFFICE - NIGHT

The files safely tucked away, Kufahl re-locks the cabinet
and withdraws his key. Heinrich follows suit.

                         KUFAHL
            Thank you, Heinrich. I won't need you
            any longer. I'm sorry I missed Comrade
            Haase's visit.

Heinrich touches his cap.

                         HEINRICH
                  (conspiratorially)
            Actually, I think he was a little bit
            drunk. There was Schnappes on his
            breath, and he didn't navigate the
            stairs any too well.

He CHUCKLES and goes out. Kufahl quickly crosses the room
to another door and goes through it.

INT. HALL

Kufahl trots down a short hallway and through another
doorway.
                                                             8


INT. STRONGROOM

Here, behind a steel grille is a floor-to-ceiling safe.
Kufahl puts his key in one lock of the grille, and
Heinrich's in the other, un-locks it, and swings it out of
the way. Swiftly he moves to the safe and begins twirling
the combination dial. Finally, there's a click. He throws
the bolt and opens the safe.

INT. SAFE

Here are more file cabinets, but these are not locked,
Kufahl opens one labeled PRESIDIUM PROTOKOLL, and extracts
a sheaf of papers from a file marked DIE TSCHECHOSLOWAKEI.
He lays the papers one by one on top of the open file
drawer, and takes pictures of them with a tiny camera.

INT. CORRIDOR

Heinrich fidgets at his desk, an increasingly worried
expression on his face. When he can stand it no longer, he
makes for Kufahl's office.

INT. KUFAHL'S OFFICE

Heinrich comes in just as Kufahl is closing the other door.
Heinrich's look of worry becomes mixed with one of
puzzlement.

                          KUFAHL
            What is it?

                         HEINRICH
Comrade Kufahl, you won't tell anyone that I said that?
About Comrade Haase, I mean. Will you? He is a fine man.

                         KUFAHL
            Your secret is safe with me.

He heads for the outer door.

                           KUFAHL
            I'm through here. Are you coming?

                         HEINRICH
            I'll lock up for you...
                                                                9


Kufahl looks at him. Then shrugs, and goes out. Heinrich
breathes a SIGH of relief, then turns to look at the other
door.

INT. CORRIDOR

Kufahl hurries toward the staircase.

INT. KUFAHL'S OFFICE

Heinrich crosses to the other door and opens it.

INT. LOBBY

Kufahl nearly stumbles on the stairs. The Guard at the
bottom looks up.

INT. HALL

Heinrich opens the door to the strongroom and looks in at the
safe. Both safe and grille are locked. Heinrich frowns,
then shrugs, but then unhooks his key ring as if to satisfy
himself nothing's wrong. He can't find the key to the
grille. He rifles through the keys a second time, growing
panicked.

                           HEINRICH
             Scheisse!

He dashes down the hall.

INT. LOBBY

Heinrich comes flying down the staircase.

                          HEINRICH
             Where's Kufahi!? Where did he go?!

                          GUARD
             He just signed out.

                           HEINRICH
             Stop him!

The Guard presses an ALARM button. The two race out,
followed by two more guards.
                                                            10


EXT. MINISTRY OF DEFENSE

They run to the gates in time to see Kufahl's coupe ROAR
down the street, and SCREECH around a corner into the
night. SHOUTING orders, the lobby Guard charges back into
the building followed by a distraught Heinrich.

INT. ROOM - NIGHT

A shabby, barely furnished room where Reese sits doing
sleight of hand with a deck of cards. There's a KNOCK and the
door is flung open. Kufahl rushes in, closing the door behind
him.

                         KUFAHL
            They're coming!

                        REESE
                  (calmly)
            The film.

                         KUFAHL
            We have to get out now!

                         REESE
            The film, Caliban.

Kufahl fumbles in his pocket and hands Reese the camera.
Reese pockets it along with the cards, and stands.

                         KUFAHL
            What are you waiting for? Let's go!

                         REESE
            Old friend, I'm sorry...

                           KUFAHL
            What?

                         REESE
            There wasn't time. The route will
            accommodate only one tonight, and I have
            to get the film out.

                         KUFAHL
            No! You promised!
                                                            11


                          REESE
            Tomorrow --

                         KUFAHL
                  (desperate)
            They're on to me! They'll be coming
            here!

Kufahl leaps at him. Reese knocks him to the floor.

                         REESE
            I'm sorry it had to end this way.

He goes out. Kufahl jumps up and throws the door open.

INT. STAIRWELL

Kufahl looks up and down the dimly lit stairwell. But Reese
has vanished into thin air.. The POUNDING of BOOTED FEET can
he heard ascending. Kufahl sags against the doorframe.

NEWSREEL FOOTAGE (BLACK & WHITE)

The invasion of Czechoslovakia. This time the ANNOUNCER is
speaking English, and describes the tragedy of tanks
rolling through the streets of Prague. Gunfire RATTLES
sporadically.

INT. CELLBLOCK

Through the closed door TORTURED SCREAMS can be heard.
SHOUTED QUESTIONS. And a single answer torn from the throat
in pain and rage:

                          KUFAHL'S VOICE
            PROSPERO!!!

NEWSREEL FOOTAGE (BLACK & WHITE)

The Announcer's VOICE GROWS FAINT over the invasion footage
as we slowly:

                                                FADE OUT.
12
                                                            13


FADE IN:

EXT. AIRPORT - DAY

A small airport serving a fair-sized desert community and
the mountains beyond. The sky is heavily overcast, and a
light, but steady rain falls. The time is the Present.

INT. TERMINAL

Drab, dusty. Faded linoleum on the floor. Tattered travel
posters on the walls. Groupings of plastic chairs, wooden
benches with peeling paint, and standing ash trays that
look like they were last emptied during Eisenhower's
administration. Behind a formica-topped counter a weary,
balding ticket AGENT is shooting rubber bands at a waste
basket, and missing every time.

There are several people waiting. A couple in their
twenties, tanned, healthy-looking, sit leafing through an
ancient copy of Consumer Reports; sturdy, well-balanced,
back packs on two seats beside them. They are EDDIE and
LOUISE OLMSTEAD.

Next we notice a fisherman in his forties, dressed in
khaki, and yes, even a hat with flies stuck in it. He paces
restlessly back and forth past an impressive array of
baggage and fishing gear. This is ART GATES.

Stretched out on a bench, apparently asleep is a uniformed
park ranger, his hat over his face. His name is MICHAEL
BLAKE. Also asleep, lying splayed in all directions on
Blake's chest is a puppy of such mixed parentage that he is
impossible to describe and impossibly ugly.

The final inhabitant of the waiting area looks like he'd be
more at home in a commuter terminal, than out here on the
edge of nowhere. Fiftyish, impeccably dressed in London
Fog, and three pin-striped pieces, business-like overnight
case on his knees, physically cringing from the dirt around
him, is ALLARD.

A door is opened at the far end of the terminal, and a
rugged man in his forties enters dressed in a pilot's
uniform. Square-jawed, clear-eyed. The kind of man used to
taking charge. This is JIM SHAWN. He crosses to the bored
ticket agent, and they CONVERSE in LOW TONES. His entrance
                                                           14


has caused the puppy to open his eyes, the Olmstead's to
look up from an article on toasters, Gates to stop pacing,
and Allard to peer impatiently at his watch. Finished with
the agent, Shawn turns to address those assembled.

                         SHAWN
            Folks, if I can have your attention for
            a minute. I'm Jim Shawn, your pilot.
            The situation is this: last report we
            got indicates the weather's gonna get a
            lot worse before it gets better. We got
            a line of squalls coming in, thunder
            showers, possible flooding in some of
            the canyons and desert areas. But don't
            worry --

The Olmsteads CHUCKLE nervously at this.

                         SHAWN
                   (cont' d)
            No, really. With any luck we can get you
            up to the lodge before things get messy.

                         ALLARD
            But it's raining now.

Shawn deliberately wipes at his wet clothes.

                         SHAWN
            Yeah, I noticed that. But the wind
            hasn't picked up yet, and the field up at
            Bixby is well-lighted.

Shawn sees a look that passes between Gates and Eddie
Olmstead.

                         SHAWN
                   (cont'd)
            Your alternative is to wait till
            tomorrow, maybe the next day. Anybody
            want to do that?

Nobody seems to. The park ranger hasn't stirred from
beneath his hat. Shawn takes a clipboard from the agent.
                                                         15


                         SHAWN
                  (cont'd)
            Terrific. Let's see who we got here.
            Edward Olmstead.

Eddie raises his hand.

                         SHAWN
                  (cont'd)
            Louise Olmstead?

Louise follows suit.

                        SHAWN
                  (cont'd)
            Mr. Allard.

The well-dressed man nods.

                         SHAWN
                  (cont'd)
            Arthur Gates?

                         GATES
            That's me.

                         SHAWN
            Going fishing, huh?

He and the agent share an amused look when Gates nods.

                         SHAWN
                  (cont'd)
            Michael Blake?

The park ranger removes the hat from his face and slowly
rises to a sitting position, holding the puppy gently. He's
in his late forties or early fifties, obviously fit and
sturdy.

                         SHAWN
                  (cont'd)
            You the new Ranger?

                         BLAKE
            That's right.
                                                         16


                         SHAWN
                  (chuckles)
            Kinda old to be new, aren'tcha?

                         BLAKE
                  (smiles slightly)
            I'm just getting my second wind.

Shawn consults the manifest again.

                         SHAWN
            Missing one.
                  (stumbles on name)
            Matt... Matthias Kuffle?

                           KUFAHL
                  (o.s.)
            Kufahl.

Everyone turns to look. Kufahl, visibly aged even more than
the passing of twelve years would lead one to believe,
slouches in the doorway, water streaming from a black hat
and black mackintosh that covers his body.

                         SHAWN
            Little wet to be running around out
            there, isn't it?

                         KUFAHL
                  (German accent)
            I was not running.

Aware that all eyes are on him, Kufahl crosses the room in
a strange, limping, crab-like motion that suggests a
horribly twisted body beneath the mackintosh. Shawn, his
foot stuck firmly between his gums, gives the ticket agent
a look, and hands back the manifest.

                         SHAWN
            No use hanging around here. Let's go.

He heads for the door to the runway. The Olmsteads hoist
their packs. Gates wheels a cart piled with his baggage and
fishing equipment after looking at the ticket agent for
help, and seeing him turn away uninterested.. Allard
clutches his overnight case and follows. Blake sets the
puppy on the bench, easily hefts a substantial looking
                                                           17


suitcase and heads after the others. The puppy lies down
and is immediately asleep. Kufahl alone has no luggage.

EXT. RUNWAY

Shawn leads his parade toward a glistening two-engined,
eight-seater Piper Cherokee parked on the wet tarmac.
Kufahl, looking more than ever like a black crab brings up
the rear. They begin to board the plane.

EXT. CHEROKEE

It taxies out on to the single runway, and takes off up
into the rain.

EXT. CHEROKEE (LATER)

As it flies between towering thunderheads in the late
afternoon sunlight above a roiling carpet of clouds.

INT. CHEROKEE

Directly behind the pilot sit the Olmsteads. Behind them
sit Gates and Blake. Allard sits by himself, as does
Kufahl, in the rear seat of the plane. Behind him are a
couple of jerry cans lashed to the bulkhead. The Olmstead's
are studying a map of hiking trails.

                           EDDIE
              This is the one the Sabin's recommended.
              Easy grades. Lots of fresh water.

                           LOUISE
              But look at this! Sun Lake. Now, doesn't
              that sound more beautiful and romantic?

                           EDDIE
              It's also rated for experienced hikers.
              We're not in that league yet.

                           LOUISE
              We would be, if you'd do more situps.

Eddie scowls at her. Blake takes a pair of steel rim glasses
from the breast pocket of his uniform and cleans them.
                                                           18


                         GATES
                   (to Blake)
            You done much fishing up in these
            parts?

                         BLAKE
            No. I'm transferring down here from
            Yosemite. I don't know much about this
            area at all.

                         GATES
            Been a ranger long?

                         BLAKE
            Five years now.

                         GATES
            What'd you do before that?

                         BLAKE
                  (smiles slightly)
            Fishing, Mr. Gates?

                         GATES
            Huh? No, just making conversation is
            all. I sell real estate in Encino.

                         BLAKE
            Excuse me.

He puts on the glasses, and takes a dog-eared paperback
book from his pocket. Gates looks at the title: CHESS
OPENINGS. Gates blinks. Allard opens his overnight case and
extracts a sheaf of papers. He studies them. Kufahl sits in
the back hunched within the darkness of his own thoughts.

EXT. CHEROKEE NIGHT

The plane is now flying amongst the clouds, rain lashing
its windscreen.

INT. CHEROKEE

Shawn strains to keep the plane level as it bucks and
kicks, buffeted by updrafts and downdrafts. Eddie leans
forward.
                                                         19


                         EDDIE
            How's it look?

                         SHAWN
            Damn stuff moved in faster than it was
            supposed to.

                         LOUISE
            Will we have to go back?

                         SHAWN
            We're only 25 minutes from the lodge.
            It's safer to go on in.

                         GATES
                  (to Blake)
            If this keeps up my whole weekend is
            shot.

He turns around, then looks quickly away. Behind him Allard
is throwing up into a bag. Kufahl watches him impassively.

EXT. CHEROKEE

As the storm's violence increases, the little plane pitches
and shudders. Visibility is near zero. Lightning flashes,
and THUNDER CRACKLES all around.

INT. CHEROKEE

Shawn speaks into the radio's microphone.

                         SHAWN
            Bixby Tower, this is Cherokee one-one-
            niner. Do you read? Over. Bixby Tower,
            this is Cherokee one-one-niner. Do you
            read? Over.

There's only static.

                         SHAWN
                  (cont'd)
            Son of a bitch. Some days it just
            doesn't pay to get outta bed.
                                                      20


                         GATES
                  (shouts)
            What is it? What's wrong?

                         SHAWN
            Radio's acting up.

                         LOUISE
            Could it be the storm?

                         SHAWN
            Maybe.

Blake looks up from his book.

                         BLAKE
            If the radio's out, what about your
            V.O.R.?

                         SHAWN
                  (quietly)
            Signal's gone.

                         GATES
            V.O.R.? What's that?

                         BLAKE
            The radio beacon that tells us where we
            are.

He takes off his glasses and chews on one earpiece.

                         ALLARD
                  (bag ready)
            Damn it! What can we do?

                         BLAKE
                  (to Shawn)
            Can you get over the mountain without
            it?

                         SHAWN
            Not in one piece I can't.

                         LOUISE
            Then turn back!
                                                         21


                         SHAWN
            Can't say I'd care to try and fly back
            down through these mountains blind.

                         EDDIE
            But then what -- ? What -- ?

                         SHAWN
            There's a meadow this side of Sun Lake.
            I've flown hunting parties in there
            before.

                         GATES
            Can we make it?

                         SHAWN
            We can, if you'll all shut up and let
            me fly this thing.

They all shut up. All are grim faced,, except Kufahl who is
smiling a crooked smile at some nightmare joke of his own.

EXT. HOUSE - NIGHT

A brooding, modern building. Three levels of concrete and
glass, thrusting out of the side of a ridge, surrounded on
all sides by forest. A beautiful young woman dressed in
flowing white garments, and looking like she just stepped
off the cover of a gothic paperback novel, stands on a
balcony, gazing into the darkness, as the rain washes her
face.

A bobbing light, low to the ground, comes toward her out of
the blackness of the trees. A flash of lightning reveals a
child-like figure in a long raincoat with a scarf on its
head, carrying a lantern. It carefully mounts the wet steps
to the balcony, revealing itself to be a tiny, grey-haired
woman not more than three feet high.

                         YOUNG WOMAN
            What was it, Mrs. MacDonald?

                         MRS. MACDONALD
            A plane, I think.

                          YOUNG WOMAN
            A plane...?
                                                             22



                         MRS. MACDONALD
            Trying to land in the high meadow I
            expect.

                         YOUNG WOMAN
            Should we go?

                         MRS. MACDONALD
            No. Best to get in out of the wet.

Her eyes twinkle in the lantern's light.

                         MRS. MACDONALD
                  (cont'd)
            Before you catch your death.

She takes the young woman in white by the hand and leads
her toward the house.

EXT. HIGH MEADOW

The Cherokee comes ROARING in below the clouds, skipping
across the tops of the pine trees, and settles with a
shaking, wobbling motion, to tear up a long swatch of dark
green turf. It slews about and comes at last to a stop.

INT. CHEROKEE

There's a long moment of silence while everyone realizes
that they're still alive. Then the Olmsteads and Art Gates
break into applause.

                         ALLARD
            Mr. Shawn, we are all grateful to you,
            of course. But now what? Do we spend the
            night here?

                         EDDIE
            Louise and I've got plenty food.
                                                       23


                         SHAWN
            We can play Swiss Family Robinson some
            other time. Sun Lake's down that way.
                   (points)
            There's a house that's lived in all year
            round. I don't know them, but it'll be
            warmer, and I'm sure they'll let us call
            somebody from the lodge to come pick us
            up.

Blake is watching Shawn.

                         BLAKE
            That's lucky, isn't it?

                         SHAWN
            Yeah, guess our luck's changing.

He returns Blake's stare.

                         SHAWN
                  (cont'd; frowns)
            I told ya I been in here before.

                         LOUISE
            How far is it? It's raining pretty
            hard, and

She nods toward Kufahl at the back of the plane.

                         LOUISE
                  (cont' d)
            I don't know if we can all make it.

                         KUFAHL
                  (quietly)
            Do not worry yourself with me,
            fraulein.

                         EDDIE
                  (trying to lighten the mood)
            Yeah, and no cracks about situps.
                                                           24


                         SHAWN
            Okay. First thing's to find the fire
            road that'll take us down to the house.
            We'll spread out and head west. It
            can't be more than a couple hundred
            yards. Everybody bundle up.

They all begin preparations to face the storm. Allard turns
toward the door, overnight case in hand.

                         BLAKE
It'll be easier going, if you leave that behind.. We can come
back for it in the morning.

                         ALLARD
            I'll manage, thank you.

EXT. CHEROKEE

Shawn steps down and helps his passengers out of the plane.
The wind whips the rain helter-skelter in the open meadow.

INT. CHEROKEE

Blake waits until the others have gotten out,, and Kufahl's
back is in the doorway. He slips quickly into the pilot's
seat and flips the V.O.R. switch. He turns to see Kufahl
looking at him. Kufahl leaves the plane. Blake follows.

EXT. CHEROKEE

Shawn points at the trees on the western side of the
meadow.

                         SHAWN
                  (shouts)
            It'll be easier under the trees!

The Olmsteads adjust each other's backpack. Gates carries a
long canvas case, and Allard his overnight bag. Gates sees
Blake looking at the case.

                         GATES
                  (shouts)
            This rod and reel set me back a whole
            toot. I'm not leaving it behind.
                                                            25


                           SHAWN
                    (shouts)
              Let's spread out. Stay twenty yards
              apart. First one to spot the road give a
              yell!

The others nod in agreement, and spread out as they head
for the dark trees. Kufahl, true to his word, scuttles
through the slick, high grass with surprising alacrity.

EXT. FOREST

Blake moves into the forest, losing sight of Gates on his
right, and Kufahl on his left. He stops, then starts to
move in Kufahl's direction.

EXT. MEADOW

The rain pours down. Lightning reveals a figure on the edge
of the meadow. It's Shawn. He trots toward the airplane as
THUNDER RUMBLES overhead. Reaching the plane, he opens the
hatch, and scrambles inside.

INT. CHEROKEE

Shawn settles himself into his seat, and begins unscrewing the
front plate of the V.O.R.

                           SHAWN
              Here we are. Just like I promised. Safe
              and sound. I'm gonna put the V.O.R. out
              of commission so there'll be no questions
              later.

He goes back to his work. There's the SPLASH of liquid.
Shawn turns. The dark figure is tossing liquid from a jerry
can into the plane.

                           SHAWN
                    (cont'd)
              Hey! What're ya doing! Hey! That's
              gasoline!!

He struggles to turn in his seat.
                                                            26


                           SHAWN
                    (cont'd)
              Burning up my plane wasn't part of the
              deal!

He gets a full face of gasoline, and slumps back. He YELLS
in pain and scrabbles at his searing eyes with his fingers.

                           SHAWN
                    (cont'd)
              Hey! Are you crazy?!

The can is tossed on to a seat. The figure in the hatch-way
STRIKES a match. Shawn hears it.

                           SHAWN
                    (cont'd)
              What -- ? No! Wait! Nooo!!!

The figure tosses the match inside and ducks away. The
interior of the plane quickly ignites. Shawn SCREAMS.

EXT. MEADOW

The dark figure runs across the meadow away from the plane.

EXT. CHEROKEE

The window next to the pilot's seat is thrown open, Shawn
appears, trying to pull himself through the small opening.
He twists and jerks blindly, and SCREAMS again.

INT. CHEROKEE

Shawn is stuck halfway through the window. The lower half
of his body is on fire.

EXT. MEADOW

Shawn SCREAMS again and the plane disintegrates as its
tanks EXPLODE in a blinding ball of flame. From the trees
on the western side of the meadow the passengers appear one
by one to watch what's left of the plane burn. Soon all are
there except Kufahl.
                                                            27


                         ALLARD
                  (shouts)
            Who screamed?! God, was someone inside?

                         GATES
            Who's missing?

They look around.

                         ALLARD
            The pilot and that crippled gentleman.

                         BLAKE
            There's nothing we can do here. We'd
            better find that fire road and go for
            help.

The five melt back into the shadows as pieces of the plane
burn fitfully, already beginning to be extinguished by the
pounding rain.

EXT. FIRE ROAD

Blake comes out of the trees to find Kufahl huddled beneath
his black hat and mackintosh waiting on the rutted dirt
road. Runoff has made it a virtual stream. Blake YELLS,
then goes over to Kufahl.

                         KUFAHL
            You see. There was no need to worry
            about me. I managed.

                         BLAKE
            Good for you.

                         KUFAHL
            I yelled, but no one seemed to hear.

                         BLAKE
            We were back at the plane. It caught
            fire. It looks like our pilot was
            inside.

Kufahl stares at him without speaking as the other four
struggle out of the undergrowth and join them on the rain
swept road.
                                                             28


                            GATES
               No sign of Shawn? Jesus, he musta been
               inside.

                            ALLARD
               Why did he go back?

                            BLAKE
               Let's get down to that house. We'll let
               the police figure it out.

They move off: Blake in the lead, followed by Allard,, the
Olmsteads, Gates, and Kufahl once more bringing up the
rear.

EXT. FIRE ROAD (LATER)

The storm's fury has increased. The little party are bent
against the wind and driving rain.

EXT. HOUSE

At last Blake spots the lights of the concrete house.
He SHOUTS and points. They pick up their pace, crossing a
gravel driveway, past a large garage. They mount the steps
to the front door on the second of the three levels.

EXT. BALCONY

There they huddle as Blake uses the door knocker.

INT. HALL

WE FOLLOW Mrs. MacDonald as she bustles across the hail,
wiping her hands on her apron. OVER HER SHOULDER WE SEE her
open the door. The group of faces beyond look first
straight ahead, then seeing no one, lower their gazes to
the tiny woman.

WIDER ANGLE

Mrs. MacDonald opens the door farther and steps nimbly
aside.

                            MRS. MACDONALD
               Oh dear! Come in please! Please!
                                                           29


They file in and Blake helps her shut the door against the
wind.

                         MRS. MACDONALD
                  (cont'd)
            Thank you. What a terrible storm!

                         LOUISE
            We're sorry to bother you. Our plane
            was forced down by the storm.

                         MRS. MACDONALD
            How exciting! But it's no bother! We get
            few guests here. It's a treat!

She fixes an empty vase on a table with a fierce glare.

                         MRS. MACDONALD
            There should be flowers in that. To
            welcome guests. Now get out of those wet
            things!

The others begin shedding their outer garments. Mrs.
MacDonald makes a trip out with one load, and comes back
for a second.

                         LOUISE
            Can we help you?

                         MRS. MACDONALD
                  (her arms filled with coats)
            No! No! That's better isn't it?

She indicates the vase, and scampers out. They turn to
look. The vase is now filled with a bouquet of beautiful
flowers. They look at each other in amazement.

                         GATES
            Hey, when -- ?

                         EDDIE
            I swear she didn't go near it...

                         MIRANDA
                  (o.s.)
            I'm afraid Mrs. MacDonald loves her
            little jokes..
                                                            30



They look up as the Young Woman WE SAW earlier descends the
staircase now dressed in a long print dress. There are
flowers in her hair. This is MIRANDA.

                         MIRANDA
            She and the late Mr. MacDonald were a
            magic act for 30 years. Now that she has
            a new audience she'll be irrepressible.

She holds out her hand to Blake.

                         MIRANDA
                   (cont'd)
            I'm Miranda Reese. This is my father's
            house.

Blake introduces her to the Olmsteads and Gates, then:

                         BLAKE
            Mr. Allard...

                         MIRANDA
            Oh, yes! Well, this is a lucky
            coincidence! Father's expecting you!

                         ALLARD
            Yes.

The Olmsteads and Gates look at Allard as if another
bouquet had suddenly sprouted from his suit pocket.

                         BLAKE
            And, uh, Mr. Kufahl.

Without hesitation Miranda takes the withered claw thrust
out from beneath the shapeless cape that Kufahl has been
wearing beneath his mackintosh.

                         MIRANDA
            You're all more than welcome. We heard
            your plane earlier. I'm glad you all
            arrived safely.

Allard and the Olmsteads exchange a look.
                                                         31


                         GATES
            I'm afraid our pilot died. Is there a
            phone? We should call the police.

                         MIRANDA
            I'm sorry. We don't have a phone. But
            after dinner someone can borrow the car,

                         LOUISE
            Dinner? Oh, we couldn't impose on you.

                         MIRANDA
            Don't be silly. There's plenty of food.
            Now, what would you all say to a drink
            to warm you up?

                         GATES
                  (grins)
            I wouldn't say no!

Blake considers, then nods.

                         BLAKE
            Thank you.

Miranda smiles and leads them toward a set of double doors.

                         MIRANDA
            There's a fire in here.

She opens the doors and enters. The others follow.

INT. LIVING ROOM

There's a cheerful fire in the huge stone fireplace. Mrs..
MacDonald, now attired incredibly enough in a formal
waiter's outfit, stands beside an array of liquor spread
out on a low table.

                         GATES
                  (to Allard)
            She must be a quick change artist, too!

After they're all in Mrs. MacDonald beams up at them.

                         MRS. MACDONALD
            Now! What's your poison?!
                                                            32



INT. HALL (LATER)

Thunder CRASHES outside. Mrs. MacDonald waits on the
stairs, as the others come out of the living room.

                           ALLARD
                    (to Miranda)
              You're very generous with your
              hospitality, Miss Reese. Thank you.

The others echo his sentiments.

                           MIRANDA
                    (smiles happily)
              It's a big, lonely house. It can use the
              company. So can I.

                           MRS. MACDONALD
              This way to your rooms, please!

All but Blake and Miranda begin to follow her up the
stairs.

                           MIRANDA
              Mrs. MacDonald, we should be back in an
              hour. You may serve at 9 o'clock.

Mrs. MacDonald smiles and vanishes up the stairs. Miranda
turns to Blake.

                           MIRANDA
              I'll change, and bring your coat..

She follows the others up the stairs. Left alone, Blake
looks at the bouquet, puts on his glasses, and studies it
closely.

EXT. DRIVEWAY

THUNDER chases lightning across the sky,, hot on its heels.
Blake and Miranda (now dressed in blouse, slacks, and
hooded windbreaker) make a dash for the garage. Blake pulls
up the door, and a light goes on automatically revealing a
ten year old black Chrysler.

INT. GARAGE
                                                            33



Blake holds out his hand,

                            BLAKE
            Keys?

                         MIRANDA
            I'll drive, Mr. Blake. Even a ranger
            would have a tough time getting off this
            mountain alive unless he knew the road.

They get in. Miranda starts the car, and turns on the
headlights.

INT. CAR

Miranda smiles at Blake.

                         MIRANDA
            Besides, I like to drive.

EXT. DRIVEWAY

The car pulls out into the wild night, makes a sharp turn
in the gravel, and speeds away.

EXT. ROAD

Trees are bent at 45 degree angles in the wind. Branches
break free and rake the car as they are swept across the
road. Miranda drives fast, recklessly in fact considering
the conditions of the night and the road.
                                                            34


I NT. CAR

Blake hangs on to the dash. Miranda casts a quick glance in
his direction,, her eyes excited and alive.

                         MIRANDA
            Scared, Mr. Blake?

                         BLAKE
            Not for myself. I'm concerned for the
            car.

                         MIRANDA
                  (laughs)
            This is an adventure for me! Please let
            me enjoy it!

                         BLAKE
                   (holding on)
            I've had enough adventure for one
            night.

EXT. CAR

There's a blinding flash that might be lightning illuminat-
ing a bank up ahead above the road. And the CLAP of what
could be thunder. The car is jolted.

EXT. ROAD

A hail of rocks and earth rain down on the road directly in
front of the car.

INT. CAR

Miranda fights the wheel, as the car skids on the wet mud
of the road.

EXT. ROAD

The car slides to a halt in front of a growing pile of
debris.

INT. CAR

Miranda takes a deep breath. Blake looks at her.
                                                             35


                          BLAKE
             You all right?

                          MIRANDA
                   (visibly shaken)
             Yes, but now I've had enough adventure,
             too,

                          BLAKE
             Is this the only road?
                   (Miranda nods)
             How far to civilization?

                          MIRANDA
             Ten miles at least. Looks like you're
             going to be our guests a little longer.

Blake stares out at the now subsiding slide. It blocks the
entire road.

                          BLAKE
             Please wait here.

He opens the door.

                          MIRANDA
             Where are you going?!

                          BLAKE
             I'll be right back,

He gets out of the car.

EXT. CAR

Miranda watches from inside the car as Blake scrambles up
the hill near the slides dislodging more earth and stones.

EXT. HILL

Trying to clear his eyes of the rain, Blake slips and
slides up the hill to the section where the slide originated.
He picks up a clump of dirt near the top and smells it.
Then he makes his way higher up the hill, Once there he
roots around. A flash of lightning reveals in a bare patch
the distinct impression of a shoe filled with water.
                                                           36


He turns and is about to start back down when another flash
of lightning reveals something white caught in a bush: a
piece of wire. He plucks it from the bush,, pockets it, and
starts back down the hill.

EXT. CAR

Blake reaches the bottom of the slide. Miranda opens the
door for him, and he slips into the car.

INT. CAR

Soaked to the skin, Blake closes the door.

                         BLAKE
            Lets get back to the house.

Miranda begins to turn the car on the narrow road.

                         MIRANDA
            What were you doing out there?

                         BLAKE
            Looking for something.

                            MIRANDA
            What?

Blake says nothing. Angrily Miranda shifts gears.

                         MIRANDA
                  (cont'd)
            Well, did you find it?

                            BLAKE
            Yes.

                         MIRANDA
            I hope it was worth pneumonia.

She steps on the gas.

EXT. CAR

It heads back up the mountain as fast as it came down.

I NT. DINING ROOM - NIGHT
                                                         37



The newcomers look considerably better than when they first
arrived. Allard wears a set of dry clothes, and is fresh
and clean. Louise has fixed her hair and added a touch of
makeup. She's dressed in the same clothes she wore on the
plane, but they've dried. Eddie and Gates are similarly
attired. Blake is in stocking feet, his hair still wet.
Miranda is once again dressed in a choker, a long dress (a
different one this time), and the flowers in her hair make
her look like a fairy princess.

Miranda stands at one end of the table directing every one
where to sit. On her right is Blake, then Gates, then
Allard. On her left: Kufahl, Eddie and Louise. The chair
opposite her remains vacant.

                         GATES
            If the road's blocked, what do we do?

                         BLAKE
            Wait until morning. I can walk out
            then. Miss Reese --

                         MIRANDA
            You're all to call me Miranda.

                         BLAKE
                  (smiles)
            Miranda showed me a map. Cross country
            it shouldn't take more than two or
            three hours.

                         MIRANDA
            In the meantime you'll remain our very
            welcome guests,

                         GATES
            That's just great.. By the time we get
            to the lodge I'11 have lost a whole day's
            fishing.

                         MIRANDA
            Sun Lake is only a little way. You
            could try your luck there in the
            morning, if the weather clears.
                                                         38


                         GATES
            Lady, hell or high water couldn't keep me
            away from that lake! Thanks!

                         LOUISE
            Eddie and I were going to hike the
            trails anyway. We might as well start
            from this side of the mountain and walk
            to the lodge.

                         EDDIE
            Sure, we could get the sheriff for you,
            Mr. Blake.

                         BLAKE
            Thanks. Maybe I'll walk along with you.

The door behind the vacant chair at the end of the table
opens. All heads turn. Nicholas Reese enters, dressed in a
dinner jacket, his leonine head of hair now turned
completely snow white. But that's his only concession to
the twelve years that have passed since we last saw him.
He's as robust looking as ever.

                         MIRANDA
            This is my father: Nicholas Reese.

                         REESE
                   (expansively)
            I'm sorry I couldn't greet you earlier. I
            was in my library working.

His eyes sweep the table.

                         REESE
                  (cont'd)
            Mr. A11ard, I knew you'd come promptly.
            I didn't expect it would be so
            dramatically,

                         ALLARD
            I'm at your service, Mr. Reese.
                                                         39


                         REESE
            We'll talk after dinner.
                  (Allard nods)
            And several surprises my daughter called
            you. She didn't tell me your names, so
            we --

He stops dead, his eyes lighting on Kufahl at the far
corner of the table. For a fleeting second a look of sheer
terror crosses his face. Then it's gone and in its place
falls a mask of steel.

                         KUFAHL
            Prospero. Old friend.

The others at the table look from Reese to Kufahl and back
again.

                         MIRANDA
            You know my father, Mr, Kufahl?

                         KUFAHL
            Yes.

                         REESE
            Mr. Kufahl and I are old business
            associates.

                         KUFAHL
            And there is some business left
            unfinished.

                         REESE
                   (smiles)
            I'm glad to see you, old friend. We'll
            have a lot to talk about. Later. Mrs.
            MacDonald! You may serve us.

He seats himself at the head of the table. Mrs. MacDonald,
now dressed as a maid, enters, pushing a cart laden with
several dishes. Gates sees her costume and gives Allard a
look. But Allard's not interested in the familiarity.

                         LOUISE
            I'm Louise Olmstead, Mr. Reese, and this
            is my husband, Eddie,
                                                        40


                         REESE
            How do you do?

                         GATES
            I'm Art Gates, and our friend in
            uniform is Mike Blake.

                         REESE
            A ranger, Mr. Blake?
                  (Blake nods)
            A solitary life. Contemplative.

                         BLAKE
                  (smiles his slight smile)
            When the TV's turned off.

                         LOUISE
            Why did you call Mr. Reese: Prospero, Mr.
            Kufahl? It's from a play isn't it?

                         KUFAHL
            (watches Reese)
            A comedy. By William Shakespeare.

Reese smiles at Louise as Mrs. MacDonald serves.

                         REESE
            An obsession of mine, Shakespeare's The
            Tempest.

                         GATES
            You must feel right at home tonight!

                         REESE
            I do. I identify, too much probably,
            with the central character: Prospero, an
            exiled magician. I've carried the
            conceit to name my own daughter after
            Prospero's. And even Mrs. MacDonald has
            her counterpart in the play.

                         MRS. MACDONALD
            Ariel! I come to answer thy best
            pleasure!

She serves him, then begins pouring the wine.
                                                         41


                         KUFAHL
            You've forgotten your faithful Caliban.

                         REESE
            Caliban was a poor, unlucky creature.
            And has no place here.

The two stare at each other.

                         REESE
            I think you'll enjoy the wine. 1961.
            Chateau Haut-Brion.

Allard raises his glass.

                         ALLARD
            I'd like to propose a toast. To our
            generous host: Prospero!

Blake, the Olmsteads, Gates, Miranda, and Allard drink, as
Reese beams. The Olmsteads and Gates utter little CRIES OF
PLEASURE when they taste the wine.

                         ALLARD
                  (cont'd)
            Excellent! Excellent!

But Blake grimaces and spits his wine back into the glass.
Reese frowns.

                         REESE
            What is it, Mr. Blake?

                         BLAKE
            The wine's turned. If I were you, I'd
            check the temperature in your cellar.

Reese tastes the wine, then grimaces as well.
                                                         42


                         REESE
            Mrs. MacDonald, bring up the Chateau
            Latour.
                  (to Blake)
            My cellar is not at fault, I'm happy to
            say. I'll have to have a word with my
            wine merchant in San Francisco.

An uneasy silence descends as they begin to eat. Kufahl
makes no move to touch the contents of his plate or glass.
He can't seem to take his eyes off the man at the head of
the table. Blake sees this, then notices Miranda is looking
at Blake with an amused expression on her face.

Outside THUNDER ROLLS across the heavens as we:

                                             FADE OUT.
43
                                                            44


FADE IN:

EXT. HOUSE - NIGHT

The wind has slackened a bit, and the rain has fallen off
as well.

INT. LIVING ROOM

Blake leans on the mantle. Miranda sits staring into the
fire.

                         BLAKE
            Do you believe in coincidences,
            Miranda?

                         MIRANDA
            I believe in fate.. Why?

                         BLAKE
            Two men, both coming to see your father
            just happen to crash land near his
            home.

                         MIRANDA
            Mr. Allard is my father's attorney. He
            was coming here anyway.

                         BLAKE
            What about Kufahl?

                         MIRANDA
            He frightens me.

                         BLAKE
            I think he enjoys frightening people.
            He really put a scare into your father.

                         MIRANDA
                  (nods)
            I've never seen him look like that
            before.

                         BLAKE
            You have any idea who Kufahl is? Your
            father never mentioned him?
                                                      45


She shakes her head.

                          MIRANDA
            No.

                         BLAKE
            If I remember, Caliban was a deformed
            creature who wanted revenge on
            Prospero.

                         MIRANDA
            You think Mr. Kufahl wants revenge on
            my father?

                         BLAKE
            What does your father do?

                         MIRANDA
            He's retired.

                          BLAKE
            A magician?

                         MIRANDA
            Only an amateur one. Although he has
            one of the world's finest collections
            of magic books locked away in that
            library of his. No, he had an ordinary
            job. Something with the government.

                         BLAKE
            Are you retired too?

                         MIRANDA
                  (smiles sadly)
            Sometimes I feel like it. We moved here
            after father built this house ten years
            ago. I've never left.

                         BLAKE
            You don't travel?

                         MIRANDA
            Oh, I take weekly excursions into Bixby
            for supplies. That's about all. Our
            clothes are all from catalogues.
                                                          46


                         BLAKE
            They must be unusual catalogues.

                         MIRANDA
            Father picks my clothes out for me.

                         BLAKE
            If you're unhappy, why stay?

                         MIRANDA
            Father needs me.

                         BLAKE
            I'm sure he wouldn't want you unhappy.

                         MIRANDA
                  (suddenly bitter)
            Oh, wouldn't he?

There's a polite COUGH, Miranda GASPS and turns to find
Mrs. MacDonald standing behind the couch. Miranda leaps up,
livid.

                         MIRANDA
                  (cont'd)
            How many times have I told you! Don't
            sneak up on me like that! I hate it!
            It's not funny!

                         MRS. MACDONALD
                  (looking hurt)
            I'm sorry, Miranda.

                         MIRANDA
            No! You're not! You're laughing at me
            inside! Right now! You're laughing at
            me!

She hurries out of the room. Mrs. MacDonald winks up at
Blake.

                         MRS. MACDONALD
            She shouldn't take it so hard. I'm
            light on my feet.
                                                            47


                            BLAKE
               If it upsets her, and you still do it, I
               don't think it's very entertaining
               either.

Mrs. MacDonald's smile fades.

                            MRS. MACDONALD
               I'm not paid to entertain you. Mr. Reese
               would like to see you in the library.
               This way.

Blake follows her out. Neither one of them make a sound
walking on the wood floor.

INT. HALL

Mrs. MacDonald escorts Blake to a door behind the main
staircase. Here is another flight of stairs leading down.

INT. BASEMENT CORRIDOR

At the bottom of the stairs is a corridor running to the
back of the house. At the end nearest the stairs are two
closed doors. Mrs. MacDonald indicates one.

                            MRS. MACDONALD
               The wine cellar's through there. 55
               degrees. Always. I see to it.

She leads Blake to a single doorway halfway down on the
left side of the hall. The door stands open.

Allard comes out, clutching a sheaf of papers, he nods to
them, and heads for the stairs. Mrs. MacDonald indicates
that Blake is to enter. She follows him in, closing the
door behind her. The lock CLICKS.

INT. LIBRARY

Blake stands in the bizarre room as Mrs. MacDonald slips to
one side. In the floor just inside the wood door are six
holes. The room itself is chiefly filled with walls of
books. But the walls on either side of the door are
angled funnel-like out away from the door so that the entire
room can be seen by anyone standing in the corridor.
                                                          48


Reese stands at a modern glass table that he uses for a
desk. Behind it and standing in the center of the room are
three uncomfortable-looking, modernistic, clear Lucite
chairs. Also in the center of the room to either side are
long glass cases on spindly legs. Nowhere in the room is
there a place of concealment.

There's a ladder to reach the higher bookshelves propped
against one bookcase. Behind the desk is a blackboard bolted
to the wall. There are no windows. There are two small air-
conditioning/heating ducts above the bookcases in the
angled walls, and a door in the right-hand angled wall that
would put it at the back of the house. Blake can see that it
is made of metal, the hinges on the inside.

Reese presses a button of a console resting on the glass-
topped table. Blake turns as reinforced steel bars slip
from the top of the doorway to settle with a CLANK deep in
the holes in the floor. Mrs.. MacDonald CHUCKLES at Blake's
reaction. Reese is now wearing an elegant smoking jacket.

                         BLAKE
            Your own bank vault, Mr. Reese?

                         REESE
            In a way. My library contains a
            priceless selection of books on magic.
            Not just how-to books, but biographies of
            the great magicians, and works of fiction
            where magic or magicians have played a
            part.

                         BLAKE
            Then you'd have a copy of The Tempest I
            could read?

Reese smiles and gestures at one of the glass cases.

                         REESE
            I have a first folio in that case. It's
            too rare to be handled.

He indicates one of the bookcases.
                                                         49


                         REESE
                   (cont'd)
            But I have over two hundred editions of
            The Tempest there. Take one, if you like.

Blake puts on his glasses and studies the books. He selects
one. He holds it up.

                         REESE
                  (cont'd)
            An excellent choice. Please return it
            when you're through.

Blake locks around, chewing on his glasses.

                         BLAKE
            A strange room. You design it yourself?

                         REESE
                   (nods)
            The angle of the walls, the
            transparency of the furniture,
            everything was designed so that every
            corner, practically every square inch
            can be seen without ever entering the
            room.

                         BLAKE
            Is that good?

                         REESE
            This is my sanctuary. Before I enter, I
            like to make sure I'll be alone. I'm
            not interested in surprising burglars, or
            in anyone surprising me.

He gives Mrs. MacDonald an admonishing look. She looks
innocent.

                         BLAKE
            Have to be a pretty enterprising thief
            to break in here.
                                                         50


                          REESE
                   (pleased)
            True. Besides the conventional lock on
            the hall door,, those steel bars are set
            one foot down into a solid block of
            steel.

He crosses behind one of the cases and opens the other
door.

                         REESE
                  (cont'd)
            This door is also solid steel. Spring-
            locked and bolted automatically when it
            closes.

Blake sees a flight of stairs leading upwards.

                         BLAKE
            Where do they, go?

                         REESE
            They're dug out of the solid rock of the
            mountain. They lead to an outside door,
            also conventionally locked. Even a vault
            should have a fire escape. This door
            could be blown up, or in time broken
            in, I suppose. I'm not sure about the
            bars.

He allows the door to swing closed. There is a solid CLANK
as its bolt slides home.

                         BLAKE
            Very cozy

                         REESE
            Yes, perhaps... Do you have a gun, Mr.
            Blake?

                         BLAKE
            No. Expecting burglars?

                         REESE
            There are rarely strangers in this house.
            Extra precautions may be needed.
                                                         51


                         BLAKE
                   (smiles)
            Mr. Reese, I don't think an army of
            strangers could get in here if you didn't
            want them to!

In answer Reese nods to Mrs. MacDonald. She produces a
small automatic pistol apparently out of thin air, and
holds it out to Blake.

                           MRS. MACDONALD
            It's loaded!

Blake looks inquiringly at Reese.

                         REESE
            It is my habit to work in here every
            night until 1 a.m. At that time I'd
            like you to take up a post on the ridge
            where you can keep an eye on the outside
            door.

                         BLAKE
            I've been out in the rain enough for
            one day.

                         REESE
            What do Park Rangers make in a year?

                         BLAKE
            Enough to keep the wolf from the door,

                         REESE
            And apparently enough to develop a taste
            for fine wine. But I'll pay you $10,000
            for one night's work.

                         BLAKE
            None of your overnight guests look like
            they'd be interested in first editions
            of magic books.

                         REESE
            Nevertheless...
                                          52


             BLAKE
How do you know y o u can trust me? I'm
just as much a stranger as the others.

             REESE
Three reasons. Your uniform can hardly
be a disguise unless you planned the
plane's forced landing. Therefore as a
ranger you are used to a position of
trust . And responsibility.

            BLAKE
Weak.

             REESE
How about this one? You had no luggage
necessary to conceal the explosives or
sledge hammer needed to break in that
door.

             BLAKE
I could have stashed them somewhere
earlier.

             REESE
Finally, and most persuasive, I think:
if anyone does break in here while
you're on watch tonight, it could only
be with your help. You wouldn't get far
considering our isolated circumstances.
No, if anyone tries to break in, they
can only hope to keep their identity a
secret long enough for them to make a
clean getaway.

             BLAKE
      (nods)
You have it all thought out.

             REESE
I spend a great deal of my time
thinking, Mr, Blake. Will you help me?

             BLAKE
I'd be a fool to pass up that kind of
money.
                                                            53


                         REESE
            Excellent!

                         BLAKE
            But I'd want a little in advance as
            security. To keep me warm out there
            tonight.

Reese smiles and indicates the book Blake is holding.

                         REESE
            You're holding a copy of William
            Gillette's acting edition when he played
            Prospero in 1911. Signed by the actor,
            if not the author. It's irreplaceable.
            Will that do?

                         BLAKE
            Okay, one o'clock.

                         REESE
            I'll meet you here. Until then:
            pleasant reading.

He presses the button again. The steel bars are sucked up
into the ceiling. Mrs. MacDonald unlocks the hall door.
Blake turns to go.

                         REESE
                  (cont'd)
            Oh, Mr. Blake, You won't take that book
            outside will you?

                         BLAKE
            No. I'll keep it safe and warm.

                         REESE
            Thank you.

Blake goes out.

INT. BASEMENT CORRIDOR

As Mrs. MacDonald closes the door, Blake can hear the bars
sliding back down.
                                                          54


                         BLAKE
            A careful man.

Mrs. MacDonald heads for the stairs.

                         BLAKE
                  (cont'd)
            Is he frightened only for his books?

Mrs. MacDonald stops and turns to stare at him.

                         BLAKE
                  (cont'd)
            Or could Caliban be on his mind, too?

She SNIFFS, turns, and scampers up the stairs.

INT. HALL

Mrs. MacDonald comes from the basement stairs and goes into
the living room. Blake follows, but he stops at the double
doors and just looks in.

INT. LIVING ROOM

Gates, the Olmsteads, and Kufahl are there helping
themselves from the liquor cart.

                         GATES
            How about some more tricks, Mrs.
            MacDonald?

                         LOUISE
            Oh, yes!

                         MRS. MACDONALD
                  (flutters)
            Oh, but I'm so out of practice...

She absentmindedly pours a glass of water, but it
miraculously changes into red wine. She takes a sip as the
others applaud.

                         MRS. MACDONALD
                  (cont'd)
            Not a vintage year, I'm afraid.
                                                            55


INT. HALL

Blake turns away from the double doors, and takes the stairs
silently in his stocking feet, two steps at a time.

INT. UPPER HALL

Blake knocks on a door.

                          BLAKE.
            Miranda?

There is no reply. He tries the knob and opens the doo r.

INT. MIRANDA'S ROOM

A four poster canopied bed draped with lace curtains, a
menagerie of stuffed animals some four feet tall. Colors and
mirrors, and flowers everywhere, A room almost alive in its
childish, yet exotic decor. Several wigs are arranged on
the dressing table.

INT. UPPER HALL

Blake closes the door. He starts down the hall. A door
opens at the far end and Mr. Allard comes out, now dressed
in pajamas and robe.

                         BLAKE
            Turning in early, Mr. Allard?

                         ALLARD
            It's been a rather strenuous day,
            wouldn't you agree?

                         BLAKE
            Can't argue with that.

            Allard opens the door to his room.

                         ALLARD
            I have a lot of work to do in the
            morning. I plan to be well rested. Good
            night.

                          BLAKE
            Night.
                                                            56



Allard goes in and closes the door, Blake waits a moment,
then crosses the hall to another door.. He tries the knob.
This one's locked. He takes a remarkably shaped metal stay
from the collar of his shirt, and goes to work on the lock.

INT. OLMSTEADS' ROOM

The door opens and Blake slips inside, closing it behind
him. He replaces the stay, puts the book on a dresser, and
walks over to one of the backpacks on a chair. He looks it
over carefully, then rummages inside, finding only Eddie°s
clothes, some dried food, first aid and camping supplies,
and a coil of rope.

He looks around for the other backpack, then goes to the
closet. He kneels in front of the closed closet door, puts
on his glasses and carefully examines the edge of the door.

BLAKE'S POV

A thin strand of hair has been placed across the door.

BACK TO SCENE

Blake SIGHS and carefully removes it, sticking it on his
lapel. He opens the door. Inside the closet is the second
backpack. Blake examines it, then looks inside.

HIS POV

Much of the interior is taken up with a high powered short
wave radio. Blake's hands also find two heavy hand guns, and a
box of ammunition. Then he pulls out a small coil of wire. He
fishes in his pocket for the piece he found on the mudslide
and compares the two. They match.

BACK TO SCENE

Face set in a grim smile, Blake returns the backpack to its
former state and closes the door. He removes the hair from
his lapel and replaces it. Blake puts his glasses away,
retrieves his book, resets the lock, and quietly lets
himself out.
                                                         57


INT. UPPER HALL

Alone in the upper hall Blake goes back down the other way
to his room. He opens the door and goes in.

INT. BLAKE'S ROOM

Blake switches on his light, and stares. Miranda is in his
bed, wearing only a choker, obviously naked beneath the
covers.

                         MIRANDA
            I thought you'd never come to bed.

                         BLAKE
            Your father --

                         MIRANDA
            Long-winded. Yes, I know.

She grins at the book in his hand.

                         MIRANDA
            Bedtime stories?

                          BLAKE
            Sort of.

                         MIRANDA
            You won't need t h e m tonight.

                         BLAKE
            Miranda, you're a very attractive young
            woman, but --

She holds out her hands. The covers slip from her breasts.

                          MIRANDA
            I need you.

                         BLAKE
            More adventures?

She clutches the sheet back up around her angrily.
                                                           58


                         BLAKE
                  (cont'd)
            You're too young --

                         MIRANDA
            I'm twenty years old! Old enough to
            know what I want!

He puts the book on his dresser and walks over to sit on
the edge of the bed.

                         BLAKE
                  (gently)
            All of twenty? And for ten of those
            years you've been cooped up on this
            mountain? In that doll house of a room?

She sits up: letting the sheet fall away again, and puts her
arms around his neck.

                         MIRANDA
            Nicholas decorated that room when we
            moved here! He won't let me change it!
            He makes me wear little girl's clothes!
            Storybook clothes! But I'm not a little
            girl anymore! Take me away! Please! I
            want to get away!

                         BLAKE
            You don't need me for that.

                         MIRANDA
            But I do! I'm like a prisoner here! Mrs.
            Mac always watching me! Sneaking about!
            It's horrible!

Tears in her eyes, she begins kissing his neck.

                         MIRANDA
                  (cont'd)
            Help me... Love me... Help me... Love
            me...

She kisses him on the mouth. He puts his arms around. her
and returns her kiss. She pulls away to smile coyly at him.
                                                             59


                           MIRANDA
                    (cont'd)
              Don't worry! I'm not a virgin! There
              were boys from Bixby, Sometimes weld
              sneak off into the woods. But I know it
              can be better than that. Come on,
              Michael Blake, let me show you what
              little girls are made of...

She throws the sheet aside, and pulls him down on top of
her.

I N T . LIBRARY

Reese sits writing at his glass table, The door to the
basement corridor unlocks with an imperceptible CLICK, and
swings open, but he doesn't notice at first. After a moment
he looks up and a startled expression crosses his features.
Kufahl stands hunched on the other side of the bars,
staring with silent hatred at him, Reese smiles.

                            REESE
              I. didn't expect the door could keep you
              out, old friend. Care to try the bars?

Kufahl says nothing. Reese presses a button. The bars are
lifted out of the way. Kufahl limps into the room, looking
around. Reese raises a gun from his lap.

                           REESE
                    (cont'd)
              Let's have your hands out where I can
              see them, shall we?

Kufahl sees the gun and smiles his crooked smile. Two
broken, scarred claws emerge from beneath the cloak. Reese
grimaces.

                           REESE
                    (cont'd)
              My God, what did they do to you?

                            KUFAHL
              Everything.

                           REESE
              I thought you were dead.
                                                         60



                         KUFAHL
            I was. The US didn't stop it.
            Czechoslovakia. The invasion...

                         REESE
            That was never the intention. The
            knowledge was enough. It gave them some
            edge in the bargaining: a base in Turkey
            or something. I forget.

                         KUFAHL
            An edge...

                         REESE
            Now that you've found me, what do you
            want?

                         KUFAHL
                  (shrugs)
            You took twelve years of my life. How
            can you repay that?

He looks at the ancient contents of one of the cases.

                         REESE
            You want to torture me? An eye for an
            eye? Or my death?

                         KUFAHL
            looks up at him and smiles again.

                         KUFAHL
            This is all very impressive, Prospero,
            but I thought the Company would at least
            give you a country to rule when you
            retired. Not even a small one? An island
            somewhere?

                         REESE
            My library is Dukedom enough.

Kufahl leaves the case, and faces Reese, his eyes flashing.

                         KUFAHL
                  (a hiss)
            Where is it?
                                                         61



                         REESE
            What?

                         KUFAHL
            Steel bars to protect only magic books?

                         REESE
            They're quite valuable, you know.

Kufahl staggers toward him, enraged. Reese raises the gun.

                         KUFAHL
            The book, damn you! Your precious
            diary! Where is it?

                         REESE
            What makes you think I still have it?

                         KUFAHL
            Because without it you'd have been dead
            long ago! It's the life-support machine
            that keeps your heart pumping, and your
            lungs sucking at the air. C.I.A. K.G.B.
            No one can touch you while you have that
            book! You live here safe in your own
            little fantasy world, but you're not
            safe from me...

                         REESE
            I realize that it holds no power over
            you, You want it? For the money it
            would bring to the highest bidder?

                         KUFAHL
            I want it to strip you naked! To leave
            you scared and helpless as you left me!
            And I want to be there when they come
            for you, Reese. There are a lot of
            debts to pay.

                         REESE
            Get out.

                         KUFAHL
            It's here somewhere, isn't it?
                                                            62


                         REESE
            Tomorrow you'll leave my house. Or I'll
            kill you. Now go on, get out of here! I
            give your life back to you.

                         KUFAHL
                  (quiet)
            But I don't want it. I want yours...

He scuttles crab-like out of the room. Reese sends the
steel bars sliding back into position. He takes a deep breath
and lets it out slowly.

INT. BASEMENT CORRIDOR

Mrs. MacDonald is standing nearby when Kufahl comes out of
the library. He ignores her look of hatred, but after he
passes her look changes to one of contemplation as she
stares at the door to the library.

INT UPPER HALL

The Olmsteads stand in front of their door with Art Gates.

                         EDDIE
            Goodnight, Art. Hope the fish are biting
            for you tomorrow.

                         GATES
            Oh, they will be, From now on in, I'm
            determined to enjoy my vacation! Night!

                          LOUISE
            Night!

Eddie unlocks their door and they go in, as Gates goes to
his door and enters.

INT. OLMSTEADS' ROOM

Eddie sits on the bed as Louise checks the hair on the
closet.

                          EDDIE
            All secure?
                                                           63


Lousie smiles and nods. She opens the closet, checks the
backpack, and takes out the two guns. She begins to load
them. Eddie gets down on the floor and starts doing sit-
ups.

INT.- GATES' ROOM

Gates pulls the long case from under his bed and lays it
on the covers. He unzips it and removes a high-powered
hunting rifle complete with telescopic sight. He works the
action, and begins to clean the weapon.

INT. BLAKE'S ROOM

Blake and Miranda are in bed. He's wearing his glasses,
leafing through the copy of The Tempest. Miranda pulls off
his glasses.

                         MIRANDA
            Would you put that down? You were going
            to tell me why you became a forest
            ranger.

Blake puts the book aside with a LAUGH.

                         BLAKE
            No, you were asking me. I didn't say
            I'd tell you.

                         MIRANDA
                  (puts on his glasses)
            You love bears more than girls?

                          BLAKE
            Some bears.

He takes the glasses from her, and she gives him a playful
poke.

                         BLAKE
            There's no big secret, Miranda, The
            world you want to run to, I ran away
            from. I just couldn't take a nine-to-
            five-martini-for lunch-who's-screwing-
            whose-secretary career.
                                                       64


                        MIRANDA
            What did you do?

                         BLAKE
            Accountant, salesman, district
            manager... It doesn't really matter,
            does it? They're all the same. You
            don't work at a job. It works at you. I
            was lucky. One day instead of going to
            the office I got on a train headed west.
            I've never looked back.

                         MIRANDA
            But aren't you lonely?

                         BLAKE
            Yes. Sometimes. Not now.

She hugs him.

                         BLAKE
                   (cont'd)
            There's plenty to do. In the summer I
            raise vegetables, rescue hikers. Watch
            for fires.

                         MIRANDA
                  (snuggles)
            And in the winter when the snow's ten
            feet deep and the wind howls down the
            chimney?

                         BLAKE
            I compose chess problems for
            newspapers.

                         MIRANDA
            You're kidding.

                         BLAKE
            It's exciting.

                        MIRANDA
            Right...

                         BLAKE
            Tell me more about you. Your mother...?
                                                       65



                         MIRANDA
            She died. I don't remember her at all.
            Nicholas came for me when he finally
            retired ten years ago. I was... at
            school. I hated it. It was like a
            prison. I thought being with him would
            be an adventure. But here I am in
            prison again.

                         BLAKE
            You haven't been back to school?

                         MIRANDA
            No. He educated me.
                  (not without irony)
            I am his child.,

She turns to Blake.

                         MIRANDA
                  (cont' d)
            Will you take me out of here tomorrow,
            Michael? I want to be like other
            people! Other girls! I'll go crazy if I
            have to stay here any longer!

                            BLAKE
            Okay.

She gives a squeal of delight and hugs him.

                         BLAKE
                  (cont'd)
            I'll take you to the lodge. At least
            there you'll be out from under his
            influence a little. After that, well
            have to see.

                         MIRANDA
                  (crying)
            Oh, Michael, thank you. Thank you. Thank
            you. Thank you., Thank you...

Blake looks at his watch.
                                                           66


                         BLAKE
            But now you better get back to your
            room.

                         MIRANDA
                  (suddenly frightened)
            What time is it?

                            BLAKE
            Almost one.

She jumps out of bed, slips on a cute, little robe, then
she bends over, kisses him,, and is gone without a word.
It's too late when Blake sees the choker she left behind on
the end table. He picks it up, a smile on his face.

INT. BASEMENT CORRIDOR

Reese holds the console in his hand. He presses the button
and the bars slide into place. He closes the library door
and locks it. Blake approaches, dressed for a night in the
open.

                         REESE
            I thought I heard the rain stop.

                         BLAKE
            Wind's starting up again. I don't think
            it's over.

                         REESE
                   (shrugs)
            Well, for what I'm paying you, you can
            be uncomfortable for one night.

                         BLAKE
            Thanks for the concern. I'll survive.

They start up the stairs.

INT. HALL

Reese heads u p the stairs, leaving Blake near the front
door.

                            REESE
            Good night.
                                                            67



                         BLAKE
             Night.

Blake waits until he hears a door close in the upper
hallway, then he mounts the stairs .

INT. UPPER HALL

Blake silently pads to Miranda's door, He takes the choker
from his pocket, a smile on his face., and eases the door
noiselessly open. He looks in. His eyes widen in shock.

INT. MIRANDA'S ROOM

Miranda, again naked, stands by her fairy-tale bed, Her
father is already half-undressed. She pulls down his shorts
and kneels in front of him.

INT. UPPER HALL

Blake gently closes the door, and stands with his back to
the wall, still unbelieving,, not wanting to believe, his
breath coming in short, ragged GASPS. Then, still shaken,
he heads for the stairs and descends.

EXT. HOUSE

A light rain falls as Blake makes hia way up the hill
behind the house, He sits and leans back against a tree,
his eyes fixed on the library door at the back of the
house.

                                     TIME DISSOLVE TO:

EXT. HOUSE

Blake is in the same position, but now he's thoroughly
soaked. The rain falls harder now, driven by a quickening
wind at an angle to the ground.

EXT. UPPER HALLWAY

The door to Eddie and Louise Olmstead's room inches open.
Louise looks out, then comes out into the upper hall,
followed by Eddie. They are now dressed in windbreakers,
                                                            68


jeans, and boots. Louise carries her backpack. They creep
down the hall to the stairs and descend.

INT. HALL

The Olmsteads come down the stairs and go out the front
door. Mrs. MacDonald peeks her head out of the dining room
to watch them go, then pulls it back in again, and closes
the door.

EXT. HOUSE

From his vantage point Blake sees two figures cross the
drive and go behind the garage. He looks back again at the
library door, then makes a decision and starts down the
slope toward the garage.


EXT. GARAGE

Blake nears the garagef and cat foots it around one side.

EXT. FOREST

Blake looks around. There's no sign of the two figures,
Then he sees a flash of light back in the darkness of the
trees. He moves in that direction.

EXT. ROCKS

An outcropping of rocks forms a natural windbreak. And here
in this meager shelter Louise has set up the short-wave
radio. Eddie clambers up the rocks, uncoiling the antenna.

Blake crawls as close as he dares, but Louise's words are lost
on the wind as she talks into the microphone. One thing Blake
can hear: Louise is not speaking English. She's speaking
German. After a short message, Louise calls to Eddie. He
comes back down, the antenna still uncoiled. Blake catches
snatches of their conversation above the wind and the rain..

                           LOUISE
              ...call back.... trouble..
              helicopter...

                           EDDIE
              ...not staying out here...
                                                              69



                         LOUIIE
            ...will... orders... not long...

                         EDDIE
            ...shit...

Louise heads back toward the house leaving a disgruntled
Eddie behind. She walks right past where Blake lies like a
shadow on the ground. Eddie crouches by the radio as
THUNDER RUMBLES overhead. The radio CRACKLES.

                        EDDIE
                  (cont'd)
            Louise!

But she's long gone. He lifts the microphone. Blake makes
the rock outcropping in a jogging run, goes up one side of
it, and tries to climb out over where Eddie is talking on
the radio. His foot slips on the wet rock dislodging a
clump of stones. Eddie glances up sharply. His eyes widen
when he sees Blake. He reaches inside his windbreaker for
his gun, but he only has it halfway out when Blake's booted
feet hit him in the chest, knocking him backward in the
mud. There's the CRACK of a shot, and Eddie struggles to
get up, a stunned look on his face. He falls back, eyes
staring up into the rain.

Blake stoops over him,, and unzips the, windbreaker. Eddies
shirt is soaked with blood around a black hole where the gun
discharged.

                         BLAKE
            Should of stuck to the easy trails,
            Eddie.

He puts Eddie's gun inside his own coat, and goes over to
the radio. It's silent. He smashes it with his shoe,
then turns to Eddie. Grabbing him by his heels he drags him
behind the rocks.

INT, UPPER HALLWAY

Louise lets herself back into her room and locks the door.
After a moment Allard's door opens. He pokes his head out.
Seeing that the coast is clear he comes out, still in his
                                                            70


robe, carrying his sheaf of papers. He checks his watch and
heads for the stairs.

EXT. HOUSE

Blake has regained his vantage point on the ridge.

INT. BASEMENT CORRIDOR

Allard comes down the stairs and heads for the library. The
wood door stands open. Allard comes up to the door. But is
prevented from entering by the bars. He looks into the room.

                          ALLARD
                   (cries)
             Mr. Reese!!!


HIS POV (THROUGH BARS)

Reese is dressed again in his smoking jacket, but there's a
large, red stain soaking through the back. He is on the
floor. Crawling. Away from the bars. Between the
glass cases. The top of one of the cases has been shattered,
and there are pieces of glass scattered about. Reese crawls,
leaving a trail of blood behind him.

ANGLE - ALLARD

The papers drop from his fingers, and he jerks futilely at
the bars, but they're solidly in place.

HIS POV (THROUGH BARS)

Reese continues to crawl toward his glass table where the
console can be seen. He reaches up for it, but only
succeeds in knocking it across the slippery table top out
of reach.

                            ALLARD
             Mr. Reese!!!

Reese passes the table and begins lifting himself toward
the blackboard.
                                                            71


ANGLE - ALLARD

He looks around the library, helpless.

HIS POV (THROUGH BARS)

The other door is tightly shut. The library clearly has
only one occupant, and that occupant has now grasped a
piece of chalk. It reaches up toward the blackboard.
Slowly, the shaggy white head lifts. Agonizingly the hand
writes. C. A. L. I. B, A. N. And then, mission
accomplished, Reese slumps to the floor and lays still.

ANGLE - ALLARD

                          ALLARD
             Jesus! Jesus!

He looks around wildly, then races for the stairs.

EXT. HOUSE

As Blake watches, lights suddenly start going on all over
the house.

                         BLAKE
             Damn!

He scrambles down the ridge to the back door of the library
and tries it. It's locked. Extracting the pick from his
collar, he goes to work on it.

                          BLAKE
             Come on! Come on!

The lock CLICKS, and Blake throws the door open.

INT. STONE STAIRWAY

The rain coursing in, Blake hurries down the stairs. He
reaches the steel door, but i t s locked as well, and
there's no keyhole on this side. He charges back up the
already slick steps.

INT. HALL

Blake comes in the front door. Allard is at the top of
                                                              72


the stairs with Louise and Gates. Louise is still dressed.
Gates is half-dressed.

                          BLAKE
             What happened?

                          GATES
             Where the hell have you been?

                          ALLARD
             Please! We must help him!

Allard, Louise, and Gates come down the stairs, Miranda
appears behind them. in a long robe, and fluffy little girl
slippers.

                          MIRANDA
             What is it? What's wrong?

Allard locks up at her.

                          ALLARD
             Your father! He's hurt! In the library!

Blake runs to the basement stairs followed by Allard,
Louise, Gates and Miranda. As Miranda reaches the basement
stairs, Mrs. MacDonald pokes her head out of the dining room.

                          MRS. MACDONALD
             Miranda? What -- ?

                          MIRANDA
             It's Nicholas!

Mrs. MacDonald scampers after her.

INT. BASEMENT CORRIDOR

Blake, Allard, Gates, and Louise are grouped around the open
library door as Miranda, followed by Mrs. MacDonald, hurries
up to them.

                          LOUISE
             Is he breathing?

                          GATES
             Doesn't look like it.
                                                           73



Miranda pushes her way past them. Mrs. MacDonald dodges
between their legs.

                         MIRANDA
            et me through!


HER POV (THROUGH BARS)

Reese lies where he fell, his back to them, in a pool of
blood, the chalk clutched in his hand°

BACK TO SCENE

                         MIRANDA
            Father!

                         GATES
            How do you open these bars!?

                         MRS. MACDONALD
            A remote-control. You can see it there
            on the desk.

                         GATES
            Then that door

                         BLAKE
            It's steel. Locked on the inside.

                         GATES
            How do you know it's locked?

                         BLAKE
            I tried it from the other side.

Gates looks at him suspiciously.

                         MIRANDA
            We must get to him! He could still be
            alive!

                         GATES
            Lost a lot of blood...

Miranda turns away with a SOB.
                                                         74



                         BLAKE
            You're a real help, Gates.

                         GATES
            What do you suggest?

                         BLAKE
            Breaking down that other door¢

                         ALLARD
            I'll help! Mrs. Olmstead! Your husband!

                          LOUISE
            He... h e ' s gone...

                         ALLARD
            Gone? Gone where?

                         LOUISE
            For help. An hour ago. He couldn't
            sleep. He thought it'd be nice if when
            you all woke up in the morning the road
            was clear, and we could leave.

                         MRS, MACDONALD
                  (snorts)
            That's a pretty weak alibi, I saw them
            both creep out of the house earlier.

                         LOUISE
            Alibi? Who needs an alibi? What do you
            think's happened?

                         GATES
            It's obvious, isn't it? There's nobody
            in there with him, Somebody musta shot
            him through the bars here. Where's that
            Kufahl guy anyway?

                         MIRANDA
            Shut up! Shut up! Stop talking and try
            to help him!

She sags to the floor CRYING. Mrs. MacDonald comforts her.
                                                            75


EXT. HOUSE NIGHT

The rain continues to come down, although the THUNDER and
lightning are now on the other side of the mountain. A DULL
THUDDING can be heard coming from the back of the house.

INT. STONE STAIRWAY

At the bottom of the stairs Blake, Gates and Allard are
battering at the steel door with a six foot log. The door
is visibly damaged in the area where the lock should be.
The log THUDS again and again against the door.

INT. BASEMENT CORRIDOR

Miranda sits on the floor, drained of emotion. Mrs.
MacDonald hands her a cup of coffee, then gives one to
Louise. There's a shuffling sound on the stairs and Kufahl
appears, dressed in his cape.

                          LOUISE
             Where have you been?

                          KUFAHL
             I'm sorry. I'm not well. It took me
             some time to dress.

Louise looks at her watch.

                          LOUISE
             Twenty minutes?

Kufahl ignores her and peers through the bars. His
eyes stray from the body to the word CALIBAN and finally come
to rest on the broken top of the glass case. The THUDDING
behind the other door continues. Kufahl's face takes on a
look of anger as he surveys the details of the scene. He
turns on the three women.

                          KUFAHL
             What is this!? Some further farce
             enacted by Reese!?

He staggers down the hall and CLUMPS up the stairs. Mrs.
MacDonald and Louise look at each other in amazement.
There's a CRASH and a RENDING of METAL. Miranda pulls
herself up and joins the other two at the bars.
                                                            76



INT. LIBRARY

The door buckles and is pushed open. Blake comes through
first and hurries to Reese's body. He first notices the
three tears in the back of the smoking jacket in the middle
of the now coagulating blood. Blake feels for a pulse, but
can find none as Gates and Allard enter the room.

                             ALLARD
               Is he dead?

                             BLAKE
               Yes.

                            MIRANDA
               Open the bars!

Gates, nearest the desk, looks at the remote-control, but
hesitates.

                             LOUISE
               Open them!

Gates immediately picks up the console and presses the
button. The bars disappear into the ceiling. The three
women come in as Blake turns the body over.

                            ALLARD
               Why didn't he call out! He knew I was
               there! He could have named his murderer!

                            BLAKE
               He couldn't, His throat's been cut.

Miranda GASPS and turns away. Allard looks sick.

                            BLAKE
                     (cont'd)
               Stabbed three times in the back. Once in
               the stomach. The weapon's still here.

An ornate dagger can be seen sticking from the dead man's
stomach.

                            GATES
               Stabbed? Yeah, but -- ?
                                                            77



                            LOUISE
                     (at the glass case)
               What was in here?

Allard welcomes the distraction and goes over to her.

                            ALLARD
               A first folio of The Tempest. Mr. Reese
               pointed it out... You mean it's gone?!

                            GATES
               Yeah, but how... ?

Blake looks around the room.

                            BLAKE
               There isn't anything more we can do here.
               Let's go up to the living room.

He helps Miranda from the room, followed by Mrs. MacDonald,
Louise, Allard, and finally Gates, who turns in the door-
way to look back at the room, a bewildered expression on
his face.

                           GATES
               But... ?

He sees the air-conditioning/heating ducts, and his face
lights up with a shrewd smile. He charges over to the
ladder and places it beneath one of them. He climbs up and
pulls at one with his fingers. It's solid steel, firmly in
place. He climbs down, drags the ladder beneath the other
one, and climbs up again. But this one is equally solid.
Frustrated, he sees that his finger prints are the only ones
in the dust of the grates. He climbs down and walks slowly to
the door, then takes a final look around the room.

                            GATES
                     (cont'd)
               Son of a bitch.

He goes out.
                                                         78


INT. LIVING ROOM

Kufahl is in the living room, slunk in a chair, drink in
scarred fist, staring at the dead fire. The others file in.
Blake carries Allard's papers, now scuffed and torn from
being trampled on in the basement corridor.

                          KUFAHL
            He is dead.

It is a statement, not a question. No one bothers to answer
him. Blake pours some brandy and hands it to Miranda.

                          BLAKE
            Drink this.

Gates comes into the room and pours himself a stiff drink.
The others sit or stand in silence.

                          KUFAHL
            How?

                          BLAKE
            Stabbed.

                         KUFAHL
            Of course. Alone. In a locked room.
            Impossible. Magical.

                         GATES
                  (an inspiration)
            Maybe he was standing at the bars when
            he was stabbed! Then he crawled away!

                         BLAKE
            There's no blood anywhere near the
            bars.

                         ALLARD
            I saw him die! There was no one else in
            there!

                         GATES
            I wouldn't go spreading that story
            around, Mr. Allard.

Allard collapses in a chair. Blake studies Allard"s papers.
                                                     79



                         BLAKE
            And I was outside watching the other
            door. No one came out.

                         GATES
            Yeah, well maybe you went in!

                         LOUISE
            He wrote his murderer's name.

Kufahl CHUCKLES. Gates turns to him.

                         GATES
            Yeah, I saw the way you two looked at
            each other! You hated him!

Kufahl nods solemnly.

                         GATES
                  (cont'd)
            You came here to kill him!

                         KUFAHL
                  (considers; then:)
            Not precisely.

                         MRS. MACDONALD
            He isn't the only one who wanted Mr.
            Reese dead.

She looks at Miranda.

                         GATES
            Yeah?

                         MRS. MACDONALD
                   (pleasantly)
            He was going to cut Miranda out of his
            will, and leave it all to me!

                         MIRANDA
            No!

Blake holds up the papers.
                                                         80


                         BLAKE
            Not according to these.

Allard sees the papers in Blake's possession and starts to
protest.

                         BLAKE
                  (cont'd)
            You want to explain Mr. Allard?

Allard hesitates, then nods.

                         ALLARD
            I am Mr. Reese's attorney. He asked me
            here specifically to prepare papers
            leaving Miss Reese a substantially
            larger share of his estate than
            previously. And she was to get it upon
            reaching her 21st birthday in four
            months, not in the event of his death.

                         MRS. MACDONALD
                  (furious)
            No! That's a lie!

Miranda looks surprised. Blake holds out the papers to her.

                         BLAKE
            Read it for yourself.

                         MRS. MACDONALD
            I don't have to! Even if he did want to
            do that, he didn't succeed, did he?!

                         ALLARD
            No, I was to meet him at 2 a.m. for him
            to execute the papers secretly.

                         GATES
            Instead, somebody executed him. Somebody
            who knows about magic maybe.
                  (a new idea)
            No! Maybe somebody small enough to slip
            between those bars!

But as small as she is, this is clearly stretching things a
bit. Mrs. MacDonald heads for the door,
                                                       81



                         MRS, MACDONALD
                  '
            You re all fools.

She stalks out.

                         LOUISE
            This is all beside the point.. Reese
            knew who his murderer was. He couldn't
            say it. So he. wrote it.

                         KUFAHL
                  (bitter)
            And I killed him for an old play?

                         LOUISE
            Why not? It's probably valuable. It's
            missing.

                         KUFAHL
            Is it? Did it ever exist?

                            BLAKE
            I saw it.

                         KUFAHL
            Did you? You saw something he said was a
            first folio. Yellowed, crumbling pages.
            But what was really inside? Something
            far more valuable. Someone here knows.
            Someone here killed him for it. And
            they've beaten me. They've cheated me
            of my revenge.

He struggles to his feet.

                         KUFAHL
            I'm tired,. I'm going to bed.

Gates steps in front of him.

                         GATES
            Hey, not so fast.

                         KUFAHL
            You think Caliban is going to slip away
            over the mountain into the night?
                                                              82



                         GATES
            Why not? How do we know you're really as
            crippled as you make out?

Kufahl reaches for the drawstring of his cape and lets
it fall. His twisted, contorted body is now visible for all
to see.

                         GATES
                  (cont'd, flustered)
            But he wrote Caliban! That's you!

                         BLAKE
            Maybe he didn't see his murderer, He
            could have been stabbed in the back
            first.

                         GATES
            Somebody crept up on him? In that room?
            How? Just tell me that! The invisible
            man? A ghost? A secret panel?
                   (he stops dead)
            Jesus Christ! All those books! A secret
            panel!

Gates runs out of the room.

                         KUFAHL
            He won't find one.

                         BLAKE
            How can you be so sure?

Louise helps Kufahl pick up the cape. He struggles to retie
it.

                         KUFAHL
            Thank you.
                   (to Blake)
            In my youth. At my rather curious trade
            it was said, even by Mr. Reese, for
            whom I worked, that there wasn't a safe
            or lock I couldn't charm to open. Once
            upon a time I could have gotten in and
            out of that room, given the proper tools.
            I was a locksmith. In private practice.
                                                         83



                           ALLARD
               A thief?

Kufahl turns on him.

                            KUFAHL
               No! A patriot! I believed in what I'
               was doing! Not like Reese. Reese
               believed in nothing!

He nods to Miranda.

                            KUFAHL
                      (cont'd)
               I'm sorry.

He goes out.

INT. LIBRARY

Gates has torn through the shelves of books without regard
to their value. He's even pulled up the rug. He sits amidst
a pile of books on the floor. Louise comes in.

                            LOUISE
               No secret panels?

                           GATES
               No.

He picks up a book.

                            GATES
                     (cont'd)
               I'm surrounded by mysteries. Literally.
               It's impossible.

Louise picks up the console lying on the desk.

                            LOUISE
               No. I know how it was done, and who did
               it.

Gates stands up.
                                                         84


                         GATES
            Who? How? And why so goddamn fancy?

                         LOUISE
            To frame Kufahl. To make it look like
            only he could have done it.

                            GATES
            Which one?

                         LOUISE
            Mrs. MacDonald,

                            GATES
            How?

                         LOUISE
            I'll show you. It's simple,

She holds up the console.

                         LOUISE
                  (cont'd)
            I've just stabbed him, I go out into
            the hall.

She goes out into the hall, and pretends to lower the bars.

                         LOUISE
                  (cont'd)
            I lower the bars, and then...

She carefully tosses the console across the room. It hits
the table, and shatters the glass top. Gates' smile fades.
He looks at Louise.

                         LOUISE
                   (cont'd; irritated)
            All right. I don't know how she did it,
            but she killed him, and she's got the
            diary.

                            GATES
            So?
                                                            85


                            LOUISE
               So we take it from her, then kill them
               all.

Gates grins.

                                                FADE OUT.
86
                                                           87


FADE IN:

EXT. HOUSE - NIGHT

The rain has stopped. Clouds scud across the sky first
revealing, then obscuring a gibbous moon. The storm is
past.

INT. HALL

Blake and Miranda leave Allard alone in the living room,
and go up the stairs.

INT. MIRANDA'S ROOM

Blake closes the door when they are safely inside,

                         MIRANDA
            What are we going to do?

                         BLAKE
            Listen to me, Louise Olmstead and Gates
            aren't what they seem. They both have
            guns.

                         MIRANDA
            What? But Eddie went for help!

                         BLAKE
            No. Eddie's dead. I killed him.

Miranda stares at him with a shocked expression.

                         BLAKE
                  (cont'd)
            He would've killed me. They're well
            organized. They must've paid our pilot
            to fake a forced landing. There was
            nothing wrong with his instruments.

                         MIRANDA
            But why? Why?
                                                           88


                         BLAKE
            To give them entry to the house. They
            killed the pilot to cover their tracks,
            and set fire to the plane, so nobody
            could escape in it. Then they dynamited
            the road to cut us off completely.

                         MIRANDA
            And all this to... to get their hands
            on whatever was in that first folio?

                          BLAKE
                  (nods)
            Something even more valuable to them.

                          MIRANDA
            What?

                         BLAKE
            That's what I have to ask Kufahl. You
            stay here.

                         MIRANDA
            No way! Uh uh., I'm going to get
            dressed and come with you!

She takes off her robe. Blake watches her naked body a s she
slips into outdoor clothes.

                         BLAKE
            Miranda. I...

But when she smiles at him, he stops. She pulls on her
boots.

                         MIRANDA
            Okay! Let's go!

INT. UPPER HALL

They come out of Miranda's room and go to Kufahl's door.
Blake knocks.

                          BLAKE
            Mr. Kufahl?

He opens the door and they go in.
                                                           89



INT. KUFAHL'S ROOM

Kufahl sits in a chair by the window, an empty glass, a
piece of paper, and a pencil on the table beside him. He
smiles sadly at them.

                          KUFAHL
            Welcome.

Blake closes the door.

                         KUFAHL
                  (cont'd)
            I've just taken 200 milligrams of
            hydrastine. Enough to kill many
            Calibans. I confess it had another
            intended use.

They hurry over to him.

                         KUFAHL
                   (cont'd)
            There's nothing you can do. My revenge
            has been taken from me. So...

                         BLAKE
            Mr. Kufahl, what was in that folio?

                         KUFAHL
            A diary. Reese's diary. Lists of
            agents, drops, safe-houses, escape
            routes. It was his insurance policy.
            With it he blackmailed the West,, and
            kept the East off his back...

Kufahl's voice begins to weaken.

                         KUFAHL
                  (cont'd)
            He retired, but many of those listed
            are still in place. In East Germany,
            Hungary, Poland, my poor
            Czechoslovakia... Agents, patriots,
            freedom-fighters. He broke a cardinal
            rule. He wrote it all down. He betrayed
            them all, as he betrayed me...
                                                            90



                         BLAKE
            Then the Olmsteads? Gates? Communist
            agents?

                         KUFAHL
            What? All of them?
                  (smiles weakly)
            They were never known for their
            subtlety. East German Counter
            Intelligence. I realize that's how I
            got out so easily. I led them here. Used
            again...

Eyes closed, he gropes blindly at the paper on the table.
When he speaks, it's little more than a whisper.

                         KUFAHL
                  (cont'd)
            Here is my farewell... my life... my
            horror... my creator...

His head slumps forward. Miranda pulls the paper from
beneath his hand. On it is a single word: PROSPERO.

INT. UPPER HALL

Allard is coming down the hall when they leave Kufahl's
room. He looks at them, obviously frightened.

                         BLAKE
            Kufahl's dead.

Horrified, Allard runs away from them.

                         MIRANDA
            Mr. Allard! Wait!

Allard slams the door to his room and locks it. They go
over to it.

                         BLAKE
            Mr. Allard, we're going to have to
            stick together!

                         ALLARD'S VOICE
            Go away! Leave me alone!
                                                            91



Blake and Miranda look at each other.

                         BLAKE
             It's almost light. You know the trail to
             Bixby?
                   (Miranda nods)
            Then let's go.

                         MIRANDA
                  (indicates door)
            What about him?

                         BLAKE
            We can't force him.

They walk down the hall.

INT. ALLARD'S ROOM

He is hiding under the bed.

INT. UPPER HALL

Blake and Miranda reach the head of the stairs. Louise is
at the bottom, gun in hand. She raises it.

                           LOUISE
            Hold it!

Blake drags Miranda to the floor. Louise FIRES. The bullet
splinters the wood of the railing above their heads.

                         MIRANDA
            Come on! I know a way!

They move quickly on all fours away from the stairs.

INT. HALL

Gates, his rifle ready, comes running in.

                         LOUISE
            They're upstairs! Blake and the girl!

They start up the stairs cautiously.
                                                              92


INT. UPPER HALL

Blake and Miranda duck into her room.

I N T . MIRANDA'S ROOM

Blake locks the door and pulls Eddie's gun from his jacket.
They turn. One of Miranda's giant teddy bears lies on her
bed. There's stuffing scattered everywhere.

                            MIRANDA
             What --                                    ?

Blake goes over to the bed, and rolls the teddy bear over.
Mrs. MacDonald is inside. Dead. Her mouth and. nose filled
with stuffing. Miranda SCREAMS.

INT. UPPER HALLWAY

Gates and Louise turn toward Miranda's room. Gates grins.

INT. MIRANDA' S ROOM

Blake grabs her.

                          BLAKE
                   (hisses)
             How do we get out?!

Miranda points at the window. Blake throws it open. Because
of the slope of the hill, her window is only a few feet
above the ground. She jumps, followed by Blake, as a bullet
tears into the door. The door is kicked in. Gates stands
there, gun ready. He heads for the open window.

EXT. HILL

Blake pulls Miranda toward the trees. Gates appears
in the window. Blake snaps off a shot, and Gates ducks down
out of sight. Blake and Miranda disappear into the trees.

INT. MIRANDA'S ROOM

Louise runs out the door.

                            LOUISE
             Come on!
                                                            93



Gates trots after her.

EXT. FOREST - DAY

Miranda leads Blake through the undergrowth as the dawn's
first grey light bathes the forest.

EXT. ROCK OUTCROPPING

Louise and Gates run toward the radio.

                           LOUISE
              Eddie! Eddie! Where is he?

                           GATES
                    (points)
              There's blood over there.

He looks for her reaction. There is none.

                           LOUISE
              Radio's broken.

                          GATES
              Blake?

                           LOUISE
                    (nods)
              Has to be. This is where he got the gun.
              Come on, they'll try for the trail past
              Sun Lake.

                           GATES
                    (grins)
              Sun Lake? Then we got 'em!

They run off into the trees.

EXT. TRAIL

Blake and Miranda reach the trail. Blake looks at Miranda.
She points. They start in that direction.


EXT. FOREST
                                                         94


Louise and Gates are making good time through the dripping
forest.

EXT. TRAIL

Miranda clings to a tree, panting for breath.

                          MIRANDA
             I can't. Have to rest...

                          BLAKE
             Okay. Only a minute.

They sit on an overturned log.

                          BLAKE
                    (cont'd)
             Damn. I haven't slept since that nap I
             had in the airport yesterday.

                          MIRANDA
             Maybe they'll let us go. They killed
             Mrs. Mac. They must have the diary.

                          BLAKE
             They can't leave any witnesses. They
             have to walk out, too. We could get to
             the Sheriff before they could get away.

Miranda pulls herself to her feet.

                          MIRANDA
             You convinced me. Let's keep moving.

Blake stands and they head off again.

EXT. SUN LAKE

Blake and Miranda make their way down toward the lake. The
lake is shaped in an arc with marsh at one tip and the
ground rising steadily to cliffs at the far end. The
reflection of the bright morning sun seen on the water is
dazzling.
                                                            95


ANOTHER ANGLE - BINOCULAR MATTE

Blake and Miranda are moving along the shore, clearly seen
beyond a large stretch of denuded tree trunks, trees
drowned when the lake's water level rose sometime in the
past.

ANOTHER ANGLE - BLAKE AND MIRANDA

A LOUD CHATTERING starts up. They look out over the lake.

THEIR POV

A flight of geese launch themselves from the placid surface
of the lake. But then from behind a tiny island a
helicopter rises, and heads directly for their position on
the shore.

ANGLE - MIRANDA AND BLAKE

Miranda waves her arms frantically.

                         MIRANDA
            Here! Over here!

ANGLE - HELICOPTER

There are two men inside. The man next to the pilot is
armed with an automatic rifle.

ANGLE - BLAKE AND MIRANDA

Blake pulls Miranda to the ground. The helicopter ROARS
overhead.

ANGLE - HELICOPTER

The automatic weapon FIRES.

ANGLE - BLAKE AND MIRANDA

Bullets ZIP and WHINE past the two prone figures.

ANOTHER ANGLE

The helicopter passes and turns to make another run at
them. Blake grabs Miranda's hand.
                                                            96



                           BLAKE
             Come on!

They race along the trail, then dive into the undergrowth
as the helicopter comes RACKETING overhead.; More FIRING.

EXT. TRAIL

On another part of the trail Louise and Gates hear the
automatic gunfire.

                          LOUISE
             Schroeder's spotted them. He'11 keep
             them pinned down until we get there.

They pick up their pace.

EXT. ROCKS

Blake, Eddie's gun in hand, and Miranda are pinned beneath
an overhang of rocks at the edge of the water. The
helicopter can't get at them because of the spikes of the
dead trees thrusting up for several yards out into the
lake. So it hangs like a spider overhead. Waiting.

                          BLAKE
             We can't stay here. I've got six
             bullets left in this gun. When I start
             firing, you make a break for the trees.
             Keep going toward the high end of the
             lake.

                          MIRANDA
             We can both go!

                          BLAKE
             Not a chance, Miranda. And if we both
             stay here we're dead.

She kisses him.

                           MIRANDA
             I love you.

Blake touches her cheek gently.
                                                            97


                          BLAKE
             Think about the riddle of the
             helicopter, Miranda. I will.

Miranda looks at him, puzzled.

                            BLAKE
                      (cont'd)
             Ready?

She nods. Blake swings out and FIRES two shots up at the
helicopter above. It pulls up and away.

                            BLAKE
                      (cont'd)
             Now!

Miranda leaps up and dashes down the trail.

ANGLE - HELICOPTER

Miranda can be seen running below, but she's on the
opposite side from the Gunman. He SHOUTS a command in
German.

ANGLE - BLAKE

He sees the helicopter maneuvering for a shot at Miranda. He
jumps out from underneath, the overhand, and FIRES a single,
carefully aimed shot at the helicopter,

ANGLE - HELICOPTER

The bullet stars the windscreen. The Gunman SHOUTS and
points urgently back at Blake. The chopper swings around, its
wash buffeting the trees.

ANGLE - BLAKE

He splashes out into the shallow water among the dead trees.
Behind, the helicopter comes after him, keeping just above the
tops of the trees. Blake dives behind a half-submerged log
as the helicopter ROARS past. A line of bullet holes are
punched into the soft wood of the log. Blake stands and
again sights carefully, shielding his eyes from the sun
glinting off the water.
                                                            98


ANGLE - HELICOPTER

It wheels about and moves in again. Blake FIRES a single
shot. The bullet ricochets off the metal strut near
the gas tank. Blake dives behind a tree as the helicopter
ZOOMS by overhead. More bullets rain down, churning up the
water, chopping splinters from the dead trees.

EXT. FOREST TRAIL

Louise and Gates reach the marshy end of the lake. They can
see the helicopter hovering some two hundred yards away.
They can barely make out the man crouching in the water.

                         LOUISE
                   (points)
            I'm going to circle above the trail and
            come in from the other side.
                   (Gates nods)
            Be on the lookout for the girl!

She moves off up into the trees. Gates hugs the shoreline.

ANGLE - BLAKE

He notices one tree several feet taller than the others,
and heads splashing towards it, tripping over submerged roots
and branches in his haste.

ANGLE - TURTLE

It pushes itself off a log and swims for the safety of
deeper water.

ANGLE - HELICOPTER

The gunman is URGING the pilot in German to go lower,
lower. The helicopter moves slowly after Blake, as the Gunman
slams another clip into the automatic weapon.

ANGLE - BLAKE

Shielding eyes from the sunlit water, Blake circles behind
the taller tree until he's between the chopper and the sun.
                                                               99


ANGLE - HELICOPTER

The pilot shades his eyes, the water's glare reflected in
his sun glasses. The Gunman URGES him on. Lower! Lower!

ANGLE - BLAKE

He aims at the sunlit windscreen as the helicopter swoops
in for the kill.

ANGLE - HELICOPTER

It comes in on the left of the taller tree, keeping only
inches above the others.

ANGLE -- BLAKE

He FIRES.

ANGLE - HELICOPTER

The bullets SMACK into the windscreen in front of the
pilot. Blinded by the sun, he instinctively jerks the
helicopter to the right. The Gunman sees the taller tree
and YELLS a warning. But it's too late., The helicopter
slides into the tree. Dead branches, like long wooden
spikes, are thrust into the cabin as the helicopter makes
contact with the tree. The Gunman, trapped in his seat, is
impaled.

ANOTHER ANGLE - HELICOPTER

The helicopter, out of control, lurches away from the tree,
leaving the gunman hanging in the branches. The chopper
falls, blades gyrating-wildly, Its fuel tank is punctured by
another tree.

Blake dives for cover as the top of that tree snaps off.
The helicopter EXPLODES, and falls to the water. There it
EXPLODES a second time,, and several of the dead trees catch
fire.

ANGLE - BLAKE

He splashes toward shore below the dangling body of the
gunman.
                                                            100


ANGLE - GATES

He watches openmouthed seventy-five yards away.

                         GATES
            Son of a bitch!

He quickly raises the rifle to his shoulder, and peers
through the telescopic sight.

POV - TELESCOPIC SIGHT

The cross hairs chase Blake toward the shore.

ANGLE - GATES

He FIRES.

ANGLE - BLAKE

He spins and falls at the water's edge.

ANGLE - GATES

He heads down toward him.

EXT. FOREST - MIRANDA

She sees Louise coming down through the trees, and she
takes off through the underbrush.

ANGLE - LOUISE

She hears the COMMOTION, and runs after her.

ANGLE - MIRANDA

Running for her life, branches whipping at her body.

EXT. LAKE - GATES

He comes up to where Blake fell. There's blood on a log,
and in the waterf but no body. Gates looks around warily.
                                                          101


EXT. FOREST - LOUISE

She catches sight of movement in a thicket up ahead and
fires. She's rewarded with the SOUND of a falling body. She
runs toward the thicket.

ANGLE - THICKET

Louise charges into the thicket, gun ready. Seven feet of
wounded brown bear rears up right in front of her. She
FIRES again and again into the bear. It CRIES OUT in pain
and hugs her to it. Her SCREAMS mingle with its CRIES.

EXT. LAKE - GATES

He stands frozen in horror, listening to the SCREAMS until
they are abruptly cut off. Swallowing hard, he follows
Blake's trail of blood up into the trees,, leaving the
wreckage of the burning helicopter, and the dangling body
behind him.

ANGLE - BLAKE

Leaning against a rock, he clutches a wounded shoulder with
his gun hand. He hears a twig CRACK) and freezes.

ANGLE - GATES

He too freezes, and lifts his boot off the broken twig.

ANGLE - BLAKE

He sees Gates twenty yards away, and sights the gun as best
he can on the figure moving among the trees.

ANGLE - GATES

He moves cautiously forward., then some instinct causes
harm to leap behind a tree as Blake FIRES, the bullet
SMACKING into the bark of the tree.

ANGLE - BLAKE

He pulls the trigger again. The firing pin falls on a spent
round. The gun is empty.
                                                          102


ANGLE - GATES

He grins, and steps out from behind the tree.

                         GATES
            All over, Mr. Ranger.

He walks over to where Blake leans against the rock.

                         GATES
                   (cont'd)
            Didn't get any fishing in, but hunting's
            my real sport anyway.

He raises the rifle. The tiny automatic Mrs. MacDonald gave
Blake seems to just appear in Blake's hand. He FIRES once
at Gates. The tiny caliber bullet knocks Gates back, but he
doesn't fall. A surprised look on his face, he tries to
again point his rifle.

                         GATES
                  (cont'd)
            Where'd you get that pea shooter -- ?

Blake FIRES twice more. Gates stumbles and f a l l s to his
knees, the rifle slipping from deadened fingers. Blake,
holding his wounded shoulder, goes over to him. Gates slumps
to the ground, and lies there GASPING, staring at the tiny
gun.

                        GATES
                  (cont' d)
            Where -- ?

                         BLAKE
            Magic.

Gates dies. Blake kneels beside the body and begins
searching it.

EXT. CLIFF - DAY

Miranda sits on a rock, her legs tucked under her, looking
for all the world like Copenhagen's Little Mermaid with her
clothes on. She's on the trail at the far end of Sun Lake
where it rises to a height of one hundred feet above the
water. The wind plays in her hair.
                                                        103



Blake, his arm in a sling torn from Gate's jacket, walks
wearily up the trail toward her. She runs to embrace him{
taking care not to injure his arm.

                         MIRANDA
            Oh, Michael! I was so frightened!

He looks over her shoulder out across the lake, a sadness
in his eyes.

                         MIRANDA
                  (cont' d)
            I saw the helicopter crash...

                         BLAKE
            Gates and Louise are dead, too. Did you
            solve the riddle of the helicopter,
            Miranda?

Miranda stands back from him, and shakes her head, watching
him carefully.

                         BLAKE
                  (cont'd)
            Remember why they were chasing us?

                         MIRANDA
            To stop us from going to the Sheriff
            before they could get away.

                         BLAKE
            But they had a helicopter waiting. They
            could've been long gone by the time we
            walked out.

                         MIRANDA
            I don't understand.

                         BLAKE
            Where's the diary, Miranda?

                         MIRANDA
            They got it from Mrs. MacDonald.
                                                          104


                          BLAKE
            No they didn't. I searched them both..
            They thought one of us had it. That's why
            they couldn't let us go.

                         MIRANDA
            Then she hid it!

                         BLAKE
            No, the murderer had the diary all
            along. And for one simple reason Mrs.
            MacDonald couldn't have been the
            murderer.

                         MIRANDA
            Then Mr. Kufahl. Father wrote CALIBAN.

                         BLAKE
            Nope. For the same reason it couldn't
            have been him.

                         MIRANDA
            But he wrote it! Mr. Allard saw him!

                         BLAKE
            No he didn't. And that's the answer.
            The trick. The illusion. The key to the
            only way your father could've been
            killed.

                         MIRANDA
                  (frowns)
            Mr. Allard -- ?

Blake holds up a small black book. Miranda's eyes widen
with fear.

                         BLAKE
            Reese was murdered probably 15 or 20
            minutes before Allard said they had an
            appointment. Let me tell you how it was
            done...

INT. BASEMENT CORRIDOR - NIGHT (FLASHBACK – MURDERER'S POV)

WE are the murderer. Reese walks toward the library doom
smiling at US, SAYING something. He unlocks the door to the
                                                             105


library, and using the remote control, raises the bars. WE
follow him inside.

INT. LIBRARY

WE TURN TO WATCH as Reese closes the bars behind US. He
walks to his desk and puts the control on it. He turns his
back on US. Suddenly the raised dagger enters FRAME. It
stabs him in the back three times. Reese turns, grabbing at
the desk.

ANOTHER ANGLE

FROM BEHIND Reese. His body blocks his murderer from view.
The knife is slashed across the front of his throat. Then
it is apparently plunged into his stomach. Reese doubles
over and falls to the floor REVEALING Miranda dressed in
the short robe she wore when she visited Blake.

                                           FLASHBACK ENDS.

EXT. CLIFF - DAY

Miranda backs farther away from Blake.

                              MIRANDA
               Michael! No!

Blake waves the little black book..

                            BLAKE
               But the murderer had the diary, Miranda,
               You had it, until I picked your pocket
               just now, Let me go on...

INT. LIBRARY - NIGHT (FLASHBACK)

Miranda drags Reese's body over to the steel door and opens
it.

INT. STONE STAIRWAY

A plastic shopping bag sits on the lowest step. From it
Miranda takes a wig of leonine white hair, an identical smoking
jacket, pants, shoes etc. all identical to Reese's own.
                                                           106


                            BLAKE (V.O.)
               You'd planted an identical set of
               clothes earlier. Right after you left
               my room?

Miranda sheds her blood-spattered robe, stabs at the smoking
jacket with the blood-stained knife, smearing additional blood
on it from Reese's wounds. Then she dresses in the duplicate
set of clothes.

                            BLAKE (V.O.)
                     (cont'd)
               It would've been easy to order a
               duplicate set of clothes from one of
               the catalogues you used. After all
               you'd been planning to kill him for a
               long time.

Miranda bundles the robe into the plastic bag, and drags
Reese's body on to the steps.

INT. LIBRARY

She steps back into the library and lets the steel door
swing closed, concealing Reese's body on the steps. Then
she places the remote control console near the edge of the
desk, being careful not to leave fingerprints, and lies
down on the floor.

ANGLE - MIRANDA ON FLOOR

Beyond her is the steel-barred doorway. She lies there,
eyes open, waiting. FOOTSTEPS CAN BE HEARD, She begins to
crawl away from the doorway. Allard appears on the other
side of the steel bars.

                            BLAKE (V.O.)
               Reese told you he had an appointment
               with a single witness. That's exactly
               what you needed.

                             ALLARD
               Mr. Reese!!

ALLARD'S POV (THROUGH BARS)

As earlier: the figure crawling away from him.
                                                        107



                         BLAKE (V.O.)
            You see why it couldn't have been Mrs.
            MacDonald or Kufahl. For obvious physical
            reasons neither one of them could have
            impersonated your father.

ANOTHER ANGLE MIRANDA

As she knocks the console out of reach.

                          ALLARD
            Mr. Reese!!

As he looks around frantically Miranda crawls to the
blackboard and writes CALIBAN. Then she slumps to the floor
and lies still. Behind her Allard leaves the doorway. HIS
FOOTSTEPS and CRIES FOR HELP recede down the corridor, and
up the steps.

Quickly Miranda rises, leaving the chalk. She crosses to
the steel door. She opens it, drags Reese beneath the
blackboard, and arranges his body, lastly putting the chalk
in his hand. She crosses to the steel door, pulls it open.

                         BLAKE (V.0.)
            Up till now thing's were going like
            clockwork. Then something happened that
            could have ended your criminal career
            right there.

INT. STONE STAIRWAY

She freezes. There's a FUMBLING at the lock at the top of
the steps.

                         BLAKE'S VOICE
            Come on! Come on!

She snatches up the shopping bag and re-enters the library.
The steel door swings shut. The outer door is opened, and
Blake comes charging down the stairs. The rain pours in. He
finds the steel door locked.

                         BLAKE (V.0.)
            There must've been blood on the steps. I
            missed it in the dark, and the rain.
                                                          108



INT. LIBRARY

Miranda, terrified, leans against the steel door,

                            BLAKE (V.0.)
               Boy, you must've been sweating! The
               last thing in the world you expected
               was somebody watching your escape
               route.


HER POV - THE STEEL BARS

The basement corridor beyond is still empty.

                           BLAKE (V.O.)
               What would people've thought if they
               found two Prosperos in that room instead
               of one?

INT. STONE STAIRWAY

Blake races back up the stairs The steel door opens. Miranda
looks out, then heads up the stairs, the door locking itself
behind her.

EXT. HILL BEHIND HOUSE

Lights are on all over the house except in Miranda's room.
She opens her window (as we've seen, it's only a few feet
from the ground), tosses in the plastic bag, and climbs in
after it. She pulls the window closed.

INT. MIRANDA'S ROOM

Miranda quickly strips, removes the wig (it has kept her
own hair dry, of course), and stuffs wig and clothes into
the plastic bag. She dries herself with a towel, carefully
laid out by the other wigs on her dressing table, and puts
on a long, clean robe. She goes out into the hall.
                                                           109


INT. UPPER HALL

Miranda goes to the top of the stairs. Gates, Louise and
Allard are already halfway down. Blake looks up at her.

                                        FLASHBACK ENDS.

EXT. CLIFF - DAY

Blake shakes his head.

                         BLAKE
            I should've noticed you'd changed
            robes.

She stares at him with a slight pout.

                         BLAKE
                   (cont'd)
            A gimmicky plan, but you had the
            inspiration from all those magic books
            and mysteries. In time they'll find which
            one you stole it from.

Miranda looks more like a little girl than ever.

                         MIRANDA
                  (proud)
            I made it up myself.

                         BLAKE
            Why did you do it, Miranda? Because he
            forced you into the incest?

                          MIRANDA
            You saw us?

Blake nods. Amazingly she smiles a bitter smile.
                                                         110


                         MIRANDA
                  (cont' d)
            Well, you can relax, Michael. I did it
            for money. I wasn't Nicholas Reese's
            daughter. I was his whore.
                  (Blake reacts)
            I was 10 years old. When Reese returned
            from Europe he bought me from a house
            in San Francisco called The Sign of the
            Bee. That was my first prison. Not a
            school in the traditional sense.

                          BLAKE
            My God...

                         MIRANDA
            Save your pity, Michael.

                         BLAKE
            You knew who he was?

                         MIRANDA
            Ex-C.I.A.? Sure. He loved to talk about
            it. Double-agents, murder, extortion.
            Those were my bedtime stories.

                         BLAKE
            He told you about Kufahl.

                          MIRANDA
                   (nods)
            I sent out a request using Reese's name to
            one of the still active East German
            agents in the diary. Kufahl was still
            alive. Working in a library, if you can
            believe it. I knew he'd be the perfect
            fall guy.

                          BLAKE
            Fall guy...

Miranda frowns.

                        MIRANDA
            Isn't that right?
                                                       111


                         BLAKE
            But why kill him? Reese was going to
            give you everything!

                         MIRANDA
            I didn't know that! And even after
            Allard said that, I still didn't
            believe it. Reese had started to lose
            interest in me. The little girl clothes
            and toys weren't working for him
            anymore. He'd take "business trips"
            more and more often to visit greener
            pastures. We'd fight. After our last
            one he sent for Allard. He said he was
            going to cut me out of his will! I was
            his baby hooker for ten goddamn years!
            So I sent Kufahl an anonymous message
            telling him where he could find good
            ole Prospero. After what Reese had done
            to him?
                   (smiles grimly)
            I knew he'd come.

                         BLAKE
            You just didn't count on all the
            company he'd bring.

                         MIRANDA
                   (pouts)
            No.

She walks slowly, seductively toward Blake, smiling.

                         MIRANDA
                  (cont'd)
            That book is our future, Michael! But
            we have to sell it fast!

                         BLAKE
            Why?
                                                         112


                         MIRANDA
            Honey has a copy. The madam   of the
            whorehouse. Reese calls her   the first
            of every month. He misses a   call, the
            diary goes to the papers or   somewhere.
            We gotta sell it before she   finds out
            he's dead!

Blake shakes his head sadly. She stops about five feet away
from him.

                         BLAKE
            Can't do it, Miranda.

                         MIRANDA
            You said you left a boring 9 to 5 job
            to be a ranger! Here's your chance for
            real adventure!

                          BLAKE
            I lied.

                          MIRANDA
                    (blinks)
            What?

                           BLAKE
            I'm not   a ranger. Happily, I've never
            had a 9   to 5 job. I'm C.I.A., Miranda. I
            was put   on Kufahl's trail when he
            cleared   customs. We have to protect our
            agents.

He walks past her to the edge of the cliff.

                         MIRANDA
            What're you going to do?!

                         BLAKE
            What Prospero should've done a long
            time ago. What does he say in the play?
            Drown his book.

Her face livid with rage, Miranda launches herself at him
as he tosses the book out over the water. He tries to grab
at her with his one good arm, but her momentum carries her
                                                           113


over the edge. Still reaching for the book, she falls
without a sound. Blake looks over the edge after she hits.

HIS POV

Miranda floats face down on the sparkling surface of Sun
Lake.

ANGLE - BLAKE

He turns and walks away from the edge.

EXT. ROAD - DUSK

Blake sits by the side of a paved road reading his book on
Chess Problems. A pickup truck approaches. He sticks out
his thumb. The truck slows and stops. He gets in and the
truck moves off.

EXT. REESE'S HOUSE - DUSK

The house is quiet.

INT. ALLARD'S ROOM

Allard is still hiding under the bed.

EXT. SAN FRANCISCO SKYLINE - DAY - ESTABLISHING SHOT

Not a cloud in the sky.

EXT. TOWNHOUSE - DAY

Blake, clean, dressed in a conservative suit, one arm in a
proper sling, mounts the steps to a black and yellow door.
Over the door is a laminated picture of a happy bee. Blake
rings the doorbell. After a few moments, the door is opened
by an attractive fiftyish woman, looking for all the world
like a suburban housewife.

                        BLAKE
                  (smiles)
            Mrs. Carr?

                         HONEY
                  (smiles)
            My friends call me Honey.
                                                        114



                         BLAKE
            Lt. Blake, S.F.P.D.

Her smile fades when she sees his badge.

                         BLAKE
                  (quickly)
            This isn't a bust. I'm here to collect
            a book that was left with you. Ten years
            ago?

She gives him a suspicious look.

                         HONEY
            You better come in.

INT. HALL

Honey closes the door.

                         HONEY
            Even if there was a book, why should I
            give it to you?

                         BLAKE
            Nicholas Reese is dead, Honey. I'm not
            going to argue with you about this. I
            want the book. You give me a hard time,
            I'll see to it the only way you'll ever
            make another buck is putting out for
            winos in an alley off Mission Street.

Honey considers for a brief space, then nods sourly.

                         HONEY
            If he's dead, he won't being paying the
            rent on the room anymore anyway.

                         BLAKE
            Room?

She crooks a finger and he follows her up the stairs.
                                                           115


INT. UPPER HALL

She has a mysterious smile on her face as she points at a
door.

                         HONEY
            In there. Top left drawer of the
            dresser.

Blake goes into the room.

INT. ROOM

Blake is in a room that with its childish, exotic
furnishings is virtually a duplicate of Miranda's room in
Reese's house. Honey sticks her head in the door as Blake
looks around, remembering, then crosses to the dresser.

There's a look of genuine concern on her face when Honey
next speaks.

                         HONEY
            Hey, Lieutenant?

Blake takes a small, black book from the drawer and turns.
He puts on his glasses to study the book.

                            BLAKE
            Yeah?

                         HONEY
            How's Jane doing?

                          BLAKE
                    (looks up)
            Jane?

                         HONEY
            Reese's... daughter. This used to be
            her room. She was a cute little thing.
            Was gonna grow up and have lots of
            adventures, she always said.

Blake pockets the book, and chews on his glasses.
                                                         116


                         BLAKE
            Oh, she left Reese a couple years ago.
            Got married to an accountant in
            Sacramento. They've got a baby girl
            named Miranda.

                         HONEY
                  (smiles)
            Yeah? That's really nice. I like happy
            endings.

She steps into the hall. Blake puts his glasses away, and
turns in the doorway to take one final look at the room.
Then he goes out and closes the door.

                                             FADE OUT.

                         THE END

								
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