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"It's All Done With Mirrors"
original screenplay
 by Michael Kandel
TEASER
FADE IN:

(1)     EXT. FULL SHOT - ACAPULCO HARBOR - DAY
CAMERA PANS OVER EMBARCADERO, HOLDS ON FISH SCALES, BOAT, BOAT, GROUP.

(2)     MED. SHOT - THE GROUP
consists of SCOTT, KELLY, an itinerant PHOTOGRAPHER, two FISHERMEN, several WATCHERS and an immense SAILFISH. The fish is being hauled up by the tail, for weighing. Scott and Kelly are standing by with proud possessiveness. A very lovely girl, VANESSA, is strolling by -- she stops, looks at them, impressed. She wears very casual shorts, a man's shirt. Kelly notices her -- smiles -- and then the Photographer gestures emphatically -- urging Kelly to stand by the fish.

(3)     CLOSER ON SCOTT, KELLY
SCOTT
Just had a blood-chilling thought.

KELLY
Confide in me

SCOTT
What we do with a couple of hundred pounds of sailfish?

KELLY
Peasant! . . . We have it stuffed, then hang it in our den.

SCOTT
We have a problem. (beat) Vacation's over, we get a new assignment tomorrow, so I already packed the den.

KELLY
No strain. Pack the sailfish, too.

The Photographer gestures -- Kelly turns, smiles widely -- and the picture's snapped. At this moment Vanessa comes up, looks at the fish, awed. She looks at Kelly.

VANESSA
Did you catch it all by yourself?

KELLY
Why yes, my dear. Incredible as it must seem to you, I overcame this monster single-handed.

VANESSA
Oh, that must have taken a great deal of skill.

KELLY
Not to mention fortitude, daring and endurance...

SCOTT
...and a little bit of luck.

Kelly smiles seraphically at Scott.

KELLY
Yes. Just a smidgin. What a pity you must be running along, good buddy.

SCOTT
(smiles tolerantly) Yeah...I'll go back to the hotel. Hot shower, cold lemonade and a dab of eye lotion. (turns, a beat) Oh -- and I'll unpack the den, and put a light in the window for you.

KELLY
(hands Scott his rod) Bless you, Mums.

SCOTT
(as he leaves) Shalom.

Vanessa stares after him, baffled slightly, as Scott goes off.

VANESSA
Some sort of code?

KELLY
That's right. Cryptic and complicated, but I'm sure I could explain it to you over a couple of frosty Margueritas. (smiles)  I'm Kelly Robinson.

VANESSA
Vanessa Pemberly. And I'm afraid I --

KELLY
Don't know me. And you're right. We need someone to do an introduction.  (shrugs, mock-woeful)  But, who do we have in common?

VANESSA
Nobody, Mr. Robinson. It is a problem.

KELLY
I've got it.  (pats sailfish)  Our mutual friend, Melvin, here.  I'll have him put on wheels and we'll roll him along. Okay?

He smiles at her appealingly -- and Vanessa smiles back, then laughs.

VANESSA
(with a smile)  You're a bit mad, aren't you?

Kelly smiles, offers his arm.

KELLY
Security is an offered arm.

She takes his arm.  They start to move off, as:

VANESSA
What about the fish?

KELLY
Only on Fridays, my dear. Shall we?

VANESSA
Yes.

Kelly turns, looks for a taxi.

(4)     WIDER ANGLE
Kelly waves and a cab slows, angles toward them. Kelly urges Vanessa toward it. The cab stops, the CAB DRIVER gets out, opens the door for them.

(5)     ANGLE ON CAB
as Kelly starts to usher Vanessa in. The Cab Driver produces a hypodermic gun, jams it against Kelly's arm, jabs the needle into him. Kelly jerks away, but the Cab Driver holds him. Vanessa grabs his other arm.

VANESSA
Just relax, Kelly, dear.

He looks at her, starting to lose focus.

VANESSA
(continuing)  Right in here.

Kelly goes slack. The Cab Driver catches him and he and Vanessa help Kelly into the back of the cab. Vanessa slides in beside him. The Cab Driver gets into the driver's seat.

VANESSA
(continuing)  It would have been a charming evening, Kelly. But the one we've planned for you should be even more fun.

The cab pulls away, as we:
FADE OUT:

END OF TEASER


ACT ONE
FADE IN:

(6 thru 9)     VARIOUS SHOTS
of the cab moving through Acapulco. Then, perhaps through a small fishing village, nets, children. Then, countryside and an ancient cantina, now deserted, boarded up, by itself.

(10)     EXT. CANTINA
The cab comes to a stop. Two Men, SMOLLET and VLACEK, come out of the cantina, hustle Kelly's limp body out of the cab and into the cantina as Vanessa follows and the cab drives off.

(11)     INT. CANTINA
The entrance is small, dusty. Vlacek WHISTLES A LIGHT TUNE. A moment, a lock CLICKS and the inner door swings open ponderously. They hustle Kelly inside.

(12)     CAMERA MOVES WITH THEM INTO CLINIC
In startling contrast, the interior is mostly one huge room, gleaming white. It's filled with medical apparatus, including an operating table, a large, comfortable chair, various overhead lights, an overhead mirror, like a dentist's mirror, etc. The large chair has a microphone above it, and a tape recorder on a table by it. There are three Assistants: BERGER, SKLAR and BALTOR, who looks Mongol, all in medical white lab coats. Perched on the edge of a table is DR. ZOLTAN KAROLYI, elegant in blazer, slacks, ascot.

Kelly's pulled in, seated in the chair. Karolyi lifts his face, examines it, nods -- and Sklar gives Kelly a shot. Kelly stirs. Karolyi SNAPS his fingers and Berger turns on the tape recorder.

(13)     CLOSER ANGLE -- FEATURING KELLY

KAROLYI
Good afternoon, Mr. Robinson.

KELLY
(coming to, controls himself)  What exactly is so good about it?"

KAROLYI
(chuckles charmingly)  Why -- our meeting. At long last.  (spreads his hands)  You've been looking for me. And, here I am.  (beat)  Face to face.

KELLY
(looks around at the others)  All this -- just to keep me out of a small tennis tournament?

KAROLYI
Exactly.  (mock-mournful)  We've been grooming Major Smollet to win it and then you entered. Desperate, we resorted to kidnapping.

He laughs. Smollet SNORTS angrily.

SMOLLET
Are we here for jokes, Doctor?

KELLY
Doctor. Aha. Mad scientist needs healthy human guinea pig. Usually it's a sexy girl.  (smiles at Vanessa)  But, you've already got a sexy girl.

VANESSA
Why, thank you, Kelly.

KAROLYI
(to Berger)  That's enough for his speech patterns.

Berger nods, cuts off the tape recorder. Kelly looks at it. Vlacek crosses to the machine, takes the tape, exits with it.

KELLY
I was planning to recite "Horatius at the Bridge".

KAROLYI
You needn't bother. You're going to live it. A single man, standing against a hundred enemies.  (smiles)  We, of course, are the enemies.

KELLY
What's your aim, enemy?

KAROLYI
Frankly, we're going to reduce you to zero -- and build you right back up again, into a new, and far more useful man . . . Oh. By the way.  (bows)  Dr. Zoltan Karolyi.

He waits, then pouts.

KAROLYI
(continuing)  No shouts of recognition? Come, come, Kelly, my boy. I have my ego.

KELLY
Some reason I should know you?

KAROLYI
None at all, if you were the fly-brained tennis bum you pretend to be . . . but as half of one of your country's most effective intelligence teams, I'm sure you have been briefed on my experiments in conditioning animal behavior.

KELLY
Brainwashing? . . . . Sorry, I always send mine out to be done.

KAROLYI
But my specialty is home laundry. On the premises.

He grips Kelly's chin -- lifts his face as Baltor flicks a hot spotlight on, focused on Kelly.

KAROLYI
(continuing) (smiles)  We've been setting you up for eight months. Carefully.  (tilts Kelly's face)  You're going to hate me -- then you're going to love me -- and, finally, you'll obey me as if I were your personal God Almighty.  (lets go)  Now!

Sklar is approaching Kelly with a hypodermic needle -- and Kelly explodes into movement, rolling over the arm of the chair, landing on his feet in a crouch. But Baltor leaps to intercept him, landing in a wrestler's crouch. Berger flanks him on the other side. Kelly feints -- turns -- kicks Berger in the belly. But Baltor is on him, dumps him. Kelly rolls over, kicks up -- grabbing for Baltor's wrist. Baltor falls away -- bounces up -- jabs fingers in Kelly's solar plexus -- locks his arm -- long enough for Sklar to inject him. Kelly half-turns, chops a blow at Baltor -- but it falters, he collapses. Baltor lifts him, carries him to the examining table and, with Sklar, starts to strip him. Berger, WHEEZING SLIGHTLY, is getting up. Vanessa and Karolyi stroll over to the table.

(14)     ANGLE ON TABLE
as Baltor strips Kelly, Sklar brings over a hypodermic needle, a vial. Karolyi takes the vial, shakes it as he talks, fills the needle, prepares to give Kelly a shot.

VANESSA
He's tough.

KAROLYI
I hope so. He'll fight harder -- and break down faster.

VANESSA
You're very positive.

KAROLYI
(fills the needle)  We began to concentrate on Kelly Robinson almost a year ago. I've studied him. I know him like a brother, like a child.

Baltor winds a sphygmomanometer (to measure arterial pressure) around Kelly's arm, adjusts the dials, pumps up pressure. Karolyi nods, injects Kelly's other arm.

KAROLYI
(continuing)  I am positive.

Sklar brings over the mirror and Karolyi pulls it down, aiming it at Kelly's face.

BALTOR
Arterial pressure 120 over 82.

KAROLYI
We're ready.

Baltor unwinds the sphygmomanometer bandage, Karolyi brings the mirror closer to Kelly's face. Kelly opens his eyes, dazed, vague.

(15)     KELLY'S POV -- TILT UP AT MIRROR -- KAROLYI
Karolyi smiles next to Kelly's reflection in the mirror. Then, Karolyi touches a switch -- and the mirror starts to turn on an axis, Kelly's reflection is broken up into a distorted pattern as the mirror whirls, hypnotically.

(16)     SCOTT'S POV -- TILT UP AT FAN
whirls on the hotel room ceiling.

(17)     MED. SHOT -- SCOTT
in his hotel room, on the bed, looking up, relaxed, at ease. He stretches, yawns, starts to sit up, reaches for a newspaper.

(18)     INT. CLINIC
Kelly is seated in the comfortable chair, his eyes open, but in a trance. Karolyi lifts an arm -- it drops back slowly. Smollet is watching intently, Vlacek is in the background.

KAROLYI
Given time, of course, you can make any human do anything. Isolate a man, deprive him of his identity -- reduce him to nothing -- he'll beg for the chance to murder his mother.

SMOLLET
A matter of conditioning.

KAROLYI
(nods)  The subtle pressures that shift a man until he wants to do exactly what I wish.  (smiles gently at Kelly)  Then -- by his own free will -- he's mine.

Karolyi turns, gestures, and Sklar brings over the mirror, adjusts it, aiming it at Kelly's slack face. Berger slides over a table with a tape recorder on it, starts the machine, adjusts a microphone over Kelly's head.

(19)     CLOSER ANGLE ON KELLY, MIRROR
Karolyi starts the mirror spinning -- and Kelly stiffens, tries to pull away. Karolyi gently holds his head in place, as Baltor brings over a box, like a battery recharger, with a rheostat, a wire ending in a needle. Baltor holds the needle by Kelly's cheek.

(20)     WIDER ANGLE

SMOLLET
What're you doing to him?

KAROLYI
Smollet -- you're here to observe. In other words, use your eyes -- not your mouth.

Smollet jerks back, furious, but controls himself, nods.

KAROLYI
(continuing)  First -- pain. We'll give him a universe of pain to live in. So that he'll do anything, believe anything -- to escape it.  (beat)  Now.

Baltor jabs the needle into Kelly's trigeminal nerve -- turns on the current. Kelly arches into a bow of agony -- his mouth open -- he fights it -- but SCREAMS.

(21)     CLOSE ON KAROLYI
face intent, kindly, thoughtful.

(22)     CLOSE ON BERGER -- BY TAPE RECORDER
getting the SCREAM.

(23)     INT. CLINIC -- TIGHT ON TAPE RECORDER
Screaming, echoes, o.s.

(24)     WIDER ANGLE
Kelly's on the table, wrapped in a wet pack, arches against it -- as loudspeakers SCREAM at him in his own voice.

(25)     INT. HOTEL ROOM -- ANGLE ON SCOTT
asleep -- he moves, twists uncomfortably.

(26)     INT. CLINIC
The SCREAMING continues and Baltor gives Kelly a jolt -- with the electric needle -- another -- until Kelly curls into a foetal position, to get away from the shocks. Karolyi turns, gestures. The SCREAMS cut off.

KAROLYI
Now -- quickly!

Sklar and Baltor unwrap the sheets, towel Kelly quickly, wrap him in a warm robe.

(27)     CLOSE ON BERGER, BY TAPE RECORDER
Berger changes tape reels, starts the machine, holds the reel poised, ready to run.

(28)     MED. SHOT ON KELLY, CHAIR
Kelly's put in the chair, panting slightly, eyes blinking, he MOANS SOFTLY: Karolyi gestures and the tape recorder o.s. plays; DISHES CLATTER, A BIRD CALLS, A CHEERFUL WHISTLE, AN AUTO HORN. Vanessa, dressed in a nurse's uniform, moves up by the chair, out of Kelly's line of sight.

KAROLYI
It's all right, Kelly -- you're home now -- you're waking up -- the nightmare's over -- you're in your own bed -- nine years old -- just waking up...

VANESSA
(in a warm, motherly voice)  Kelly. Kelly! It's seven o' clock!

Kelly twists his head, stiffens, tries to lift his hands to his head. Karolyi holds them, speaks gently.

KAROLYI
Answer her, boy. It's morning.

VANESSA
Kelly Robinson!

KELLY
(voice boyish)  I'm coming, Mom!  (hesitates)  Mom...

KAROLYI
It's seven-thirty, you've finished breakfast, you're hurrying to school.  (beat)  You can't be late. Miss Hennessy is very strict about tardiness.

KELLY
Ol' Hennessy...

O.S. TRAFFIC SOUNDS

KAROLYI
You're running across the street -- look out!

HONK, O.S.

KAROLYI
(continuing)  A car's coming right at you!

A SCREECH OF BRAKES, O.S. A THUD. Kelly jerks convulsively -- and Karolyi picks up a short metal bar -- RAMS it into Kelly's side. He GASPS in pain, O.S. SOUND OF CAR DOOR OPENING, SLAMMING SHUT. Vlacek leans over him:

VLACEK
The driver gets out of the car, snarls at you...

KELLY
He -- hurt me...

VLACEK
He tells you his name is Alexander Scott and it serves you right for getting in his way.

Kelly shakes -- shakes his head -- Karolyi grips him, holds him, firmly, gently.

KAROLYI
Relax -- it's all right -- we'll take care of you...

Vanessa puts a hand on Kelly's forehead, gently.

VANESSA
Welcome back to the world, Kelly. We've got a broken rib and some handsome bruises. I'm Miss Barton, your nurse. This is Doctor Wallace.

Kelly looks up at Vanessa, then to Karolyi, who smiles.

KAROLYI
Good morning, Kelly.

KELLY
Morning, Doctor. I -- got hurt, didn't I?

KAROLYI
You certainly did. But, I'll take care of you. You just trust me...count on me...

KELLY
Yes, Doctor.

KAROLYI
Right now, go to sleep. Here --

He gestures. Vanessa opens a box, takes a compact out -- opens it -- turning the mirror to Kelly.

(29)     CAMERA MOVES IN CLOSER
The mirror distorts the reflection of Kelly's bewildered face. Vanessa bends over, smiling.

KAROLYI
Look right in here --

KELLY
I look....

VANESSA
You're hurt...You can see that -- and you need help -- so, you relax, leave it to me, trust me, relax....sleep now...

She holds the mirror before him and Kelly slumps back, asleep. Karolyi CLAPS HIS HANDS SILENTLY.

KAROLYI
Beautiful. He's caught.  (beat)  He actually suffered the accident when he was nine. Now -- we've given him a cause, somebody who caused that accident.

SMOLLET
Scott?

KAROLYI
Exactly. He'll never remember it consciously. But from now on he'll associate Scott with pain. With being hurt.

(30)     ANGLE ON KAROLYI, VLACEK, VANESSA, SMOLLET

SMOLLET
That compact -- is that part of it?

VANESSA
(holds up compact)  This is his key. It distorts his reflection. When we're finished -- it will remind him of how he was broken apart.  (smiles)  He'll look into it -- and be thrown back into dependence. On me.

DISSOLVE:
(31)     INT. CLINIC -- CLOSE ON KELLY, VANESSA
seated on a rug, his head in her lap. O.S. SOUNDS OF A RIVER, BIRDS, WIND IN TREES.

VANESSA
Peaceful here, isn't it, Kelly?

KELLY
Mmmm. Like a dream.

VANESSA
(bends, kisses him lightly)  Am I a dream?

KELLY
No -- you're the realest thing I have, Leslie...

VANESSA
Go to sleep now, Kelly -- I'll keep watch -- go to sleep...

Kelly relaxes, sleeps. Vanessa looks up, her face tightening into clinical severity.

(32)     WIDER ANGLE -- INCLUDING KAROLYI, SMOLLET, VLACEK

VANESSA
Zoltan, who was this woman? This Leslie?

KAROLYI
An Australian nurse, Leslie Church. They had a brief affair, on leave from the war. Idyllic, unspoiled by reality. Now you are associated in his mind with that perios. With pleasure and fulfillment. Are you identifying?

VANESSA
There is some inevitable emotional feedback. I can control it.

KAROLYI
This is an eminent chance to embarrass the United States. And, to destroy a dangerous team of agents. Whatever you feel for this man, control it.

A moment, the SOUNDS OF RIVER, BIRDS, WIND IN TREES. Vanessa bends over Kelly.

(33)     INT. CLINIC
Kelly is stretched out on the table. One side is bruised badly and the bruise is being taped. Karolyi and Vanessa ENTER SHOT, Karolyi looks at the bruise.

KAROLYI
And, we are almost finished. Now, we fit in the keystone of the structure.

Karolyi takes off his blazer, puts on a tie, a discreet gray jacket. Sklar begins dressing Kelly. Berger and Baltor begin setting up a small stage set: an official desk, a U.S. flag, the Great Seal on the wall, a portrait of LBJ, a false window with Washington outside. As Karolyi sits at the desk, Vanessa stands by it. There's a straight chair before the desk. Karolyi nods, Sklar gives Kelly an injection and the lights are turned out on the set. Kelly stands by himself, looks around. Karolyi speaks from the darkness.

KAROLYI
You've been flown to Washington, Kelly. Urgent. Special Orders. You're somewhere in the Pentagon.

The lights go up -- Vanessa steps forward, smiles, gestures...

VANESSA
This way, Mr. Robinson

She leads him in, gestures at the chair. Kelly sits.

KAROLYI
Mr. Robinson -- I'm General Carroll. And, this meeting must remain strictly secret. Understand?

KELLY
Yes, sir.

KAROLYI
(gestures to Vanessa)  This is Miss Pemberly -- she's an agent in our section.

KELLY
Miss Pemberly --

KAROLYI
Robinson, your chief ordered you to cooperate, without questions. Now, I'm going to tell you why.  (beat)  How long have you worked with Alexander Scott?

KELLY
We've been teamed for three years.

KAROLYI
Ever had any problems?

KELLY
No, sir.  (hesitates, frowns)  Not really. We're friends.

KAROLYI
Then, brace yourself.  (beat)  We have conclusive proof that Alexander Scott is a traitor. He's a plant -- an enemy agent!

KELLY
(leaps up)  I can't believe that!

KAROLYI
Sit down!

Slowly, Kelly sits.

VANESSA
It's true. Believe me.

KAROLYI
Trust me. I'm sure of my facts.

KELLY
He's my best friend!

KAROLYI
He's a traitor.

VANESSA
A serious threat to our country.

KAROLYI
Believe me -- he's tricked you. He's used you.

VANESSA
Trust me -- Scott is a traitor. A dangerous enemy.

KELLY
What'm I supposed to do?

KAROLYI
Nothing -- yet. Stay with him. You'll receive orders direct from Miss Pemberly.

KELLY
Yes, sir!

KAROLYI
She's the only one you can trust.

VANESSA
I'm the only one. I'll keep in contact. Don't worry.

Kelly nods slowly. Vanessa smiles.

KAROLYI
Now -- sleep.

Kelly slumps in the chair.

SMOLLET
Is that all?

KAROLYI
We'll find out. Now, we'll run the test.  (to Sklar)  Bring him out.  (to Smollet)  He's been drugged, to make him receptive to suggestion. Now, we pull him out of it. And see if the suggestion remains -- when the effect of the drugs is gone.

As Berger and Baltor remove the set, reducing it to a table, a blank wall, an empty "window" space, Sklar gives Kelly an injection. Kelly remains relaxed for a moment, then stirs, shakes his head, coughs -- looks up and instantly tenses, resisting, staring at Karolyi, perched on the table edge. He moves -- GRUNTS in surprise, feels his side.

KELLY
What hit me?

Vanessa looks at Karolyi, he nods, she takes out the compact, smiles, opens it.

VANESSA
What hit you, Kelly? This.

She turns the compact -- so light reflects off it into his eyes -- he looks -- and goes blank.

VANESSA
(continuing)  Kelly. Wake up. You're in General Carroll's office.  (beat)  Describe everything you see.

KELLY
Sure. There's a desk -- with the General sitting behind it -- (points)  A picture of the President -- by the window...

(34)     CAMERA MOVES IN TIGHT ON KELLY -- HIS POV ON SCENE (AS HE IMAGINES IT)

KELLY'S VOICE
(o.s.)  The flag -- and you're standing right next to it, Miss Pemberly.

(35)     MED. SHOT
Kelly gestures at Vanessa, by the table. Vanessa and Karolyi look at each other -- triumphantly.

KAROLYI
What about Alexander Scott?

KELLY
(spits out angry words)  A lousy traitor!  An enemy agent -- and I thought he was my friend.

VANESSA
But now you know he's the enemy.

KELLY
Yes!

VANESSA
And, you'll take care of him -- when and how it's necessary.  Right now -- go to sleep.

Kelly's eyes close, as Vanessa smiles. Karolyi CLAPS.

KAROLYI
It took! One night and part of a day...and it took!  (sighs)  Now we set it in tight, give him some memories for tonight and turn him loose.

VANESSA
On a leash.  (smiles, shuts compact)  Like a hunting dog.

(35A)     CAMERA MOVES IN TIGHT ON KELLY
DISSOLVE TO:
(36)     INT. HOTEL ROOM -- MORNING
Kelly enters, closes the door. Scott's bed is empty; WATER IS RUNNING in the BATHROOM. Kelly WHISTLES. A moment and Scott comes out, grins.

SCOTT
Hey now! My wandering tomcat returns.

KELLY
It wasn't all romance. I got into a small hassle with a truck.  (touches his side)  Don't let anybody tell you that a clean-cut American boy in a taxi can lick a Mexican produce truck.

SCOTT
Looking at you, I believe. I believe. What kind of truck was she? Four wheel drive, I hope.

KELLY
She was earlier

He starts to take off his jacket, winces. Scott reacts.

SCOTT
Kelly -- for real, a rackup?

KELLY
(nods, touching side, pulls up shirt, revealing bandages)  I got first aid at a local clinic. Just bruises -- but big bruises.  (smiles)  Howsoever, let me shower and shave and I will once again be the alert, keen eyed government issue superman.

SCOTT
You okay for a small job of work?

KELLY
Sure. What's up?

SCOTT
The Pentagon wants us to check out a report that the fellers in the black hats have been smuggling a lot of anti-American propaganda into Mexico off private yachts...

As he speaks, Scott turns away, bends to take shirt out of a bureau drawer. Kelly looks down and there's a gun in a holster on a bedside table. Kelly idly picks it up, weights it in his hand, takes the gun out.

(37)     CLOSE ON KELLY
He flicks off the safety, looks at the gun -- lifts it, casually, easily.

(38)     ANGLE PAST KELLY ON SCOTT'S BACK
As Scott digs out a shirt.

SCOTT
The way they do my shirts --

KELLY
It's a sin and a crime. Should be punished by instant death...

He lifts the gun, aims at Scott's back...
FADE OUT

END OF ACT ONE

COMMERCIAL

ACT TWO