December 2, 1999
 
 

Fade In.

Ext. Lakeside Dock. Montreal—Afternoon

It’s a cool, early spring day.

ANGLE LOW—Tracking a man walking down the dock in black suede tuxedo shoes. Then tilt up to find…an extra pair of tuxedo shoes dangling by their shoelaces, held in the hand of one Nick Wells. Nick is an American. There’s a world weariness about him. He’s the kind of man who makes women of a certain age sigh wistfully and move on. The younger and less circumspect fall instantly

A seaplane floats at the far end of the dock, the city looming beyond the sunlit waters. She’s a beauty. He climbs aboard.

EXT. The Lake. Montreal—Moments later

The plane takes to the air. As it heads southeast, leaving the city behind…

ROLL TITLES and…CUT TO:

Ext. A Grand Estate. Martha’s Vineyard—Night

EYE LEVEL WIDE SHOT

Of the most lavish, Halloween-Birthday party Gatsby never threw. The estate embraces the moonlit ocean, perched upon the dunes, lighted with bonfires, as hundreds of PARTY-GOERS dance to seventies-style GLAM-BAND. The house and grounds are wrapped with strings of PULSING LIGHTS.

ANGLE THE DRIVEWAY OF THE ESTATE as a chauffeured town car drives into shot and a young valet opens the passenger door to find…

Nick tying the laces on his tuxedo shoes, wincing a tad.

Clearly they are too tight.

VALET: Welcome to the party, sir.
NICK: Thanks

Nick then steps out and we crane up to follow him. As he melts into the festive throng…

SAMI (O.S.) (Italian accent): All-a-right-a, shut up-a, shut up-a! I hope you are-a- enjoy all-a den muhney I have-a spend on-a you dirty BAS-tards!
 
TIME CUT TO: THE PARTY—LATER

ANGLE THE BASDSTAND

As the crowd laughs at the brazen charms of Sami Tortell (Italian 40). He wears the costume of a PIRATE. Eye patch, puffy shirt, codpiece—the works.

He’s cocked up, voice booming over the microphone.

SAMI Deh shrimp-a and-a deh lobster which you are-a stuffing, have-a flying in from deh most-a bella blah-blah-blahs in –a deh world-a, so you must eat-a dem like-a deh animals you ARE-A!

His guest laugh with him, reveling in the abuse.

PAN THE CROWD to find—stick now standing beside a woman dressed like a concubine from the court of Louis XIV.

He’s the only one who isn’t laughing.

SAMI (CONT’D) I have-a only one-a more request-a! I want dat dis-a party shall become Un grande SCAN-dalo! (the crowds spurs him on) Deh nineties in America will-a be remember-eh as a years ruled by-a deh fear-eh! By-a deh mean old blah-blah-blahs who never got-a the sex-eh and-a the politicol-ehs with-a no sense of-a humor! Well fuck-a dem all! Drugs are-a fun, mne are-a dogs, and pussy-is-a good!

Lots of whooping and applause. Nick leans into the ear of the concubine, touching his stomach…

NICK I think Sami overpaid for the shrimp.

CONCUBINE Just vomit and start over, honey. That’s what I do.

As Nick heads off, threading the crowd, Sami bursts into song, the band kicking in to support him..

SAMI (singing) Happy-a birthday to ME-O! (with the whole crowd) Happy-a birthday dear Sami! Happy-a birthday to MEEEEE-O

At that, Sami dives  in to the crowd like Eddie Vedder…
TRACKING Nick—HEADING UP THE STAIRS

That lead from the pool to the house

MAN (slurred, drunk) Hey, man where’s your mask?

Nick pops a stick of GUM in his mouth

NICK You’re looking at it.

INSIDE THE HOUSE—TRACKING NICK

Heading through the vaulted foyer. Foyer, down the hallway, passing several festooned PARTY-GOERS…

REVERSE ANGLE—THE OTHER END OF THE HALL

There’s a door. Nick tries the knob. Locked

A VOICE (O.S.) Can I help you, sir?

Nick turns to find a young security guard at the other end.

NICK I was looking for the bathroom.

The guard points toward the opposite end of the hall.

GUARD Other end.

NICK Thanks.

ANGLE THE GUARD—AS NICK PASSES

He taps himself on the tummy, feigning an upset stomach

NICK (cont’d) Too much of a good thing, you  know?

INT. THE BATHROOM---MOMENTS LATER

Nick locks the door behind him. He pulls a palm-sized tape player from his inside Jackiet pocket. Attached to the recorder is a wire with a metal prong tip.

He takes the bum from his mouth and fixes the prong to the brass doorknob, places the recorder on the floor, and presses play. Nothing happens. Until he giggles the doorknob.

The prong makes contact. Which produces a tiny spark. Which triggers the tape player. We hear the sounds of vomiting and nick ceiling out…

NICK (on tape) Sorry, I’ll be out in a minute.

After a moment, the loop runs out, stops.  Nick turns the volume all the way up and then withdraws a pair of neatly folded gloves from his rear pants pocket. Nick is a man of many pockets—as you will see. Some obvious. Some not.

OUTSIDE THE BATHROOM WINDOW—MOMENTS LATER as Nick looks into the study. The coast is clear. He places a small suction cup on the glass above the window-latch and cuts a square with a razor sharp blade he pulls from the buckle of his belt. You’d never know it was there. ..

INSIDE THE STUDY—MOMENTS LATER

Nick comes through the window  and moves quickly to the bookcase. The safe is tucked into the cabinet. Just then….he hears voices approaching from the hallway outside the study door. Nick scans the room for a place to hide.

There’s fucking nowhere. A key jiggles in the door lock. He eyes the open window but there’s no time.

ANGLE THE DOOR—AS SAMI ENTERS with a tres hot young thing, dressed like a fairy princess. Sami begins groping her as if the world were about to end.

FAIRY PRINCESS Slow down, baby, slow down…

SAMI I want-a to fuck-a you. I have-a to fuck-a you. I need-a to fuck-a you.

Nick is nowhere to be found, the window still open. Sami clears the desks and lays her on it, reaching between her..

SAMI (cont’d) Tell me to fuck-a you!

FAIRY PRINCES Sa’mi…

SAMI Tell me!!

FAIRY PRINCESS Fuck me!!

ANGLE THE UNDERSIDE OF THE DESK where Nick has wedged himself in, tight and tense. INT. OUTSIDE THE BATHROOM—CONTINUOUS

The security guard knocks on the door.

GUARD You all right in there, sir?

The doorknob jiggles. A spark flies. The tape player rolls.

NICK (on tape) Sorry, I’ll e out in a minute.

BACK TO NICK—AS THE ACTION continues above his head. Sami thrusts hard, penetrating.

SAMI Am I-a big?

She can hardly speak, reeeling…

FAIRY PRINCESS Yes, yes…

SAMI Say it! I am-a big! I am-a big!

FAIRY PRINCESS I am big! I am big!

SAMI Not-a you! Me-O! Me-o!

FAIRY PRINCESS You’re big! You’re big!

SAMI Dat’s it-a, baybee! Dat’s it!

Then Sami releases…

SAMI (cont’d) Aaaaaaaaaaaaaaaaaaa-uh-uh-uh.

And goes limp, panting.

SAMI (cont’d) Dat was-a good, no? when deh women want-a to go, dey go, when dey want-a to come, dey come-a to Sami.

Sami backs up, pushing his codpiece back into place.

SAMI (con’d) Come on, let’s-a dance.

ANGLE NICK—LISTENING TO THEIR FOOTSTEPS as they head out the door. It closes behind them. Click. He breathes a sigh of relief, crawls out from under the desk, and moves to the safe. He carefully removes the thinnest piece of plastic from the sleeve of his cigarette case. So thin that it naturally adheres to the computer keypad of the safe when he lays it over. Then…he gently blows his warm breath  on the plastic as..the smudges of Sami’s fingerprints—appear over the numbers: 6.0.9.1

NICK Six, zero, nine, one.

He punches in a random combination of those four numbers.

NICK (cont’d) Six, nine, zero, one

NICK (cont’d) (doesn’t open) Six, one, zero, nine….

Nothing. He tries another combo. And another. Nothing. Then….

NICK (cont’d) (under his breath) How old are you today, Sami? (calculates)
Forty would be…1960. That’s it. (punches the numbers) One, nine, six, zero.

Voila. The safe opens. Nick shakes his head.

NICK (cont’d) (re: Sami) No control and less imagination.

Inside the safe: CASH, PAPERS,  and a black jewelry box.

CU THE  JEWELRY BOX---AS HE OPENS IT to find..an emerald and diamond necklace of astonishing beauty. He drops it in the false inner lining of his jacket pocket, sealed with velcro. He puts the box back in the safe, shuts it and closes the panel. But just as he turns to go…he sees a note pad on Sami’s desk. He hesitates a beat, then picks up a pen. He sticks it between his middle and third finger. There is nothing smug about his expression. He is quite serious.

ANGLE THE PAD—AS HE PRINTS THE WORDS

Character is fate. DISSOLVE TO: EXT. HARBOR. MARTHA’S VINEYARD—DAWN

The bay is still, the pelicans jabbering.

TRACKING NICK—WALKING DOWN THE DOCK in his tux, sipping coffee from a paper cup. At the end of the dock waits a barnacled old man in greasy clothes by a fueling station. Nick’s plane is floating beside it.

OLD MAN All gased up. Checked the oil too.

NICK What’s the damage?

OLD MAN Seventy five

Nick peels off a hundred dollar bill

NICK Keep the change

OLD MAN Thank you, sir. Fly safely now.

Nick boards the plane, smiles warmly at the Old Man.

NICK I will.

INSIDE THE PLANE—NICK sits in the cockpit, flips the switches, gets her started. The propellers spin and purr. While she’s warming up..he removes his tuxedo shoes, sighting with relief. He then slips on his more comfortable pair , raps on the window of the cockpit, getting the Old Man’s attention.

NICK All set

At that, the Old Man takes his plastic pole and gives Nick a little push. As he skies her into open waters..

CUT TO: EXT. THE ATLANTIC OCEAN. FLYING—DAWN

The sun is almost fully risen as Nick sails over the waters, leaving the Vineyard behind, two thousand feet up. Then he rolls down the cockpit window..and tosses  those extra shoes. One. Then the other. Whoosh. Off Nick, watching them plummet into the ocean…

DISSOLVE TO: EXT. THE SKIES—WIDE SHOT

Nick flies home as we…
 
END CREDITS and…CUT TO:

EXT. CARE DES ARTISTE. MONTREAL—AFTER HOURS as MAXIMILLIAN BEARD (70s) raps lightly on the glass at the front entrance. It is a classic French Bistro, yet something more. When you eat here you know there’s nowhere else you’re supposed to be. But it’s closed now and only a few people are left. And angst ridden couple, a tipsy party of four.

INSIDE CAFÉ DES ARTISTE—JEAN-HUGUE {THE HEAD WAITER} looks up from the bar where he and the other waiters are gathered, enjoying their late nights drinks and cigarettes. He smiles at Max, and moves to the door.

ANGLE THE FRONT ENTRANCE—AS JEAN HUGUE opens the door for Max. Max is an overstuffed Canadian connoisseur of all things beautiful and buttery. He wears a cashmere coat and  uses a walking stick with an ivory handle

JEAN-HUGUE ( French accent) Good evening, Monsieur Max. Ca va?

Max has a lazy tongue bordering on a lisp, his constipated tonalities calling to mind a regal old woman.

MAX (entering tiredly) Like a ship wreck, jean-Hugue

JEAN-HUGUE (takes his coat) I give you a big slice of the tartan. You fell better.

MAX As hot as you can get it. I like it when the glaze is chewy. Is he?…

JEAN-HUGUE In the back, making like Picasso.

As Max looks off in that direction….

ANGLE NICK—SEATED AT THE BANQUET in the far corner of the room. He taps the cold ash of his cigar onto the paper tablecloth…and continues drawing with the tip of his ashen forefinger.
 
CU THE DRAWING—OF A CRUCIFIXION

The lines are accomplished. But the crucified figure is that of a nude woman.

MAX (O.S.) Now there’s a God you can prey to.

PULL BACK as Max takes a seat…

MAX (CONT’D) You ought to let me show your work. Nicky. Crime & Punishment; A semi-sensual perspective in Cuban Cigar Ash by Nicholas Wells. We’ll light the gallery with candles and fill the air with Frankincense and Myrrh

NICK (continues drawing) You’re late, Max.

MAX I’m old. It takes twice as long to get half as far and when you arrive you’re forgotten why you came.

Nick tosses him a glance.

NICK You want me to remind you?

Max makes a face. Their terse frankness is born not of ill will, but of familiarity and friendship.

BURT (O.S.) So whaddya think of this shit, Max?

Max looks up to find…Burt Slotnick (59s) reaching for what remains of the scotch  he had left at Nick’s table. He’s a big man with a face like a catcher’s mitt.

BURT (CONT’D) (eyeing Nick’s work) The man’s an artist. Better than that fartsy crap you have on display.

Max takes a sip of water, winces at the taste.

MAX We were just discussing that as a matter of fact. But he’s too modest.

BURT Fuck him, what does he know? (smiles then to Nick) So tomorrow night. I got two on the ice, Canadians and the Leafs. They drop the puck at seven

NICK You’re on

BURT  Good. ( drains the scotch) Nice to see ya, Max, you old cream puff.

Burt pats Max on the shoulder and moves off as…Jean-Hugue arrives with a plate of apple tartan and whipped cream

JEAN-HUGUE Voila, Monsieur. Hot, hot, hot

MAX Jean-Hugue, do you have any bottled water that isn’t French? This tastes like a whore took a bath in it.

NICK Get him some tap water, Jean-Hugue. Then go ahead and cash out.

JEAN-HUGUE Merci, boss

Max’s eyes widen in horror as Jean-Hugue goes off.

MAX (re: the tap water) Tap water?

NICK It’s filtered, Max. but if you’re worried about our health, I’ll give ya five to one on the sugar and cigarettes—even money on the water.

Nick tears the paper tablecloth outside the edges of the drawing…

NICK (CONT’D) Now where we?

And slips it into a leather satchel which contains his sketch pad and pencils

MAX Hard to remember. Conversation with you is such a magical mystery tour. (sighs off his look, loathe to tell him) I’m afraid the news is less than satisfactory, dear heart. But before you bite my head off, you should know that I’m just as upset, if not more, than you’re about to be.

They lock eyes. Max steels himself…

MAX (cont’d) The buyer passed on.

Beat. Nick darkens…

NICK He what?

MAX I only know what I heard through channels and they’re the kind of channels you don’t cross. Seems the poor fellow, whoever he was, just keeled over the day before yesterday, leaving no posthumous instructions.

NICK So there’s no payment.

MAX Now, now, it’s not a total loss. The necklace is already on its way to Bangkok where it will be cut into eight separate pieces and sold at a very acceptable  price.

NICK What’s acceptable?

MAX You’ll see a hundred and fifty, maybe more. I won’t even take a commission.

Nick swears inwardly, rarely given to outward displays of vulgarity. His eyes are hard enough.

NICK I needed that five spot, Max.

MAX Did I tell you to buy the plane? Did I tell you to renovate a perfectly beautiful restaurant?

NICK You’re not my business manager, you’re my fence

MAX (hurt) Is that so? I thought I was your…well, somewhat less than a father perhaps, but certainly more than a fence. You really are becoming rather harsh these days, you know.

Nick grabs his folder, rises.

MAX (cont’d) Nicky—

NICK Enjoy your desert

Nick hangs through the kitchen door and disappears. Jean-Hugue returns with a glass of ice water.

JEAN-HUGUE Voila. En ver du tap.

Off Max, looking after Nick…CUT TO:

EXT. NICK’S LOFT. MONTREAL—NIGHT

It borders the lake. We hear he sound of an answering machine playing back….

MARTA (V.O.) (over the machine) Bonjour, Nick. Ici Marte. Are you there? You’re not screeing your calls, are you?

INSIDE THE LOFT—NIGHT

The light is low, semi-dark. But what a place. Divided by columns. Seventeen foot ceiling. The furniture is modern, tasteful but austers. Pan the room as the message plays on…

MARTA (V.O.) Oh well, I drank too much the other night and ate too little. But I’m better now. (a slight laugh) So call me. Ciao

Beep.

ANGLE THE LIVING ARE—WITH A VIEW OF THE HARBOR to find…various sculpture and painting. Tending toward the religious. Catholic, Buddhist, Hindu, Native-American.

MAX (V.O.) (over the machine) God I detest Mondays. If we could only do away with Mondays and Sunday evenings I bet we could reduce suicide by half—worldwide. Hello, junior, it’s the old man. How bout a walk on the Bridge at four thirty tomorrow? I have news.

Beep.

ANGLE A DRAWING TABLE—BENEATH THE SKYLIGHT

Various sketches and oil pastels are spread out haphazardly. The only sign of spontaneous disorder in the room.

WOMEN (V.O.) (over the machine) Hey, Nick, it’s Diane. Just got back in town. I miss your cooking. Hint. Hint. You know the number.

Beep. Pan across the artwork; Nudes, details of hands, arms, legs from various perspective. A student of rom.

DETECTIVE RUGAT (V.O.) (French accent, over the machine) Mr. Wells? This is detective Paul Rugat from the Montreal Police. Sorry to disturb you, but I was wondering if you would come in for a brief interview. It is regarding…well, I should better explain in person. Would you mind calling me at—

ANGLE NICK—SEATED BY THE WINDOW  in the dark. He’s in his robe, hair still wet from a shower, a nightcap in his hand. As he turns to face the machine… CUT TO:

EXT. MONTREAL POLICE DEPARTMENT. RAINING—AFTERNOON

Establish. A pretty good downpour. INT. POLICE DEPARTMENT. RAINING—AFTERNOON….DETECTIVE SAMUELS leads Nick into the waiting area.

DETECTIVE SAMUELS Have a seat here, please.

Samuels disappears into the interview room, shutting the door. Nick takes a seat, looks up. The roof leaks. Drip. Drip. Is her nervous? You’d have to know him to see it. Detective Samuels  then opens the door…

DETECTIVE SAMUELS (cont’d) We’re ready for you now.

INSIDE THE INTERVIEW ROOM—NICK enters to find..Montreal police DETECTIVE RUGAT (French, 55) rising from the table. Seated nearby are DEPUTY INSPECTOR CAROL (ENGLISH, 35, a tightly buttoned, BESPECTACLED woman) and INSURANCE INSPECTOR WRIGHT  (Canadian, 40)

AT THE COFFEE-MAKER—A MAN pours himself a cup with his back to Nick.

DETECTIVE RUGAT We appreciate you coming in. Mr. Wells. I’m Detective Rugat. Can we offer you anything? Coffee…

NICK You can tell me why I’m here

CUMMINGS (from Belfast)  Oh, you know why you’re here.

E.C. CUMMINGS (50s) turns away from the coffee maker and faces Nick. He’s a two-fisted Irishman, old school. Nick hides his surprise, but the first glimmer says he isn’t thrilled to see him.

DETECTIVE RUGAT I understand you’re acquainted  with insurance Inspector Cummings of Harcort and Abbey?

NICK (a nod) Brought the weather with you, inspector?

CUMMINGS What’s an inspector without his raincoat? This is my deputy, Mr. Carol and the Canadian bureau chief of Harcourt, Mr.Wright.

They exchange expressionless nods. Carol opens her NOTE PAD.

DETECTIVE RUGAT A valuable piece of jewelry was stolen from the estate of Sami Tortelli in Martha’s Vineyard on Saturday Night, Mr. Wells. The American police asked that the interview be conducted within the auspices of our department and protocol demands that we oblique the insurance company as well. I must inform you of your right to an attorney, if you should desire.

NICK That’s all right

DETECTIVE RUGAT Then please sit down

Nick sits at the table. Inspector Carol takes notes.

CUMMINGS So how long has it been, Nicky?

NICK Your tell me

CUMMINGS Seven years, four months, and 3 days. (to Rugat) Mr. Wells was staying’ at the Ritz in Monaco, lovely hotel, in a room just below the suite where a certain Tiffany broach was stolen, worth a pretty pension I’ll tell ya that. Entered through the air conditioning vent, didn’t ya?

NICK It was a first class hotel. Full of underpaid housekeepers with master keys.

CUMMINGS And then there was the Count Gustaf ruby collection in Vienna—where ou just happened to be visiting. Had to have help on that one. Oh yes. State of the art alarm system. And when a similar crime was committed in Madrid three weeks later, presto, there you were again. And now, a necklace worth half a million pounds sterling is pinched form a man who’s party you just happened to attend? What are the odds of that, do ya think?

NICK I  don’t know, are you giving them or taking them?

Samuels places a cup of COFFEE before Nick

DETECTIVE SAMUELS Black all right?

NICK I didn’t ask for coffee

SAMUELS Oh, I thought you did

NICK (to Rugat) So am I a suspect, detective?

DETECTIVE RUGAT We have better things to do then suspect a wealthy Canadian citizen of a crime he did not need to commit, least of all in another country

CUMMINGS There are all kinds of needs, detective. Aren’t there, Nicky? Maybe it starts with  money and then becomes, what…habit? Addiction?

NICK For the record, the only people who call me Nicky are beautiful women and old queens

Cummings laughs. Carol scribbles furiously

CUMMINGS Speakin’ of which…are you familiar with Maximillian Beard, detectives? International art dealer of the first tier. Lots of sticky fingers in lots of fruity pies, old Max. Mr. Wells was a poor American foster child. Mr. Beard turned him into a Canadian citizen when he was, what, seventeenth?

NICK If you’re accusing me of being the adopted son of a respected art dealer, than I plead guilty

CUMMINGS I’m accusing you of being a thief

Nick turns to Rugat, unflustered

NICK Detective, in 1993, Inspector Cummings follower me around Europe, embarrassed me in front of friends and associates, and tainted my reputation without producing one bit of evidence this kind of brilliant detective work cost him his job at Interpol, which is why, I assume, he’s now working for a third rate insurance company (to Cummings) Am I right?

Nick gets under his skin. Cummings leans across the table

NICK In fact, I was resigned for beating a member of Green Peace into a come with a lamp stand. But I’ll admit to thinking of you at the time.

Rugat reviews the police report from Martha’s Vineyard

DETECTIVE RUGAT Mr. Wells, the American police found several footprints. Would you mind letting Det. Samuels measure your shoe size?

NICK Go right ahead.

Det. Samuels measures Nick’s feet with a tape measure.

DETECTIVE SAMUELS Eleven and a half

Rugat turns to Cummings, knowing the size doesn’t match

DETECTIVE RUGAT Would you describe Mr. Tortelli as a good friend, Mr. Wells?

NICK Not really. He produced a movie in town, ate at the restaurant a few times…Max knows him from the art circuit

DETECTIVE RUGAT And yet you flew all that way to attend his birthday party

NICK I’ve toyed with the idea of some low budget movie financing. He’s a good connection.

CUMMINGS You believe in karma, Mr. Wells?

NICK Sorry?

CUMMINGS  Karma. What comes back to haunt ya.

NICK I know what it is, Inspector

CUMMINGS Do you believe in it?

NICK Actually, I do

CUMMINGS So that would mean then, if a man were a thief, say the kind of man who had acquired it by sneaking through the dark and taking what wasn’t his, then, sooner or later, he’s gonna pay the piper, am I right? He’s gonna be punished. I mean, that’s the theory anyway

Their eyes are locked. The others have ceased to exist

NICK That’s the theory

Rugat then pushes a pad and pencil toward Nick

DETECTIVE RUGAT Would you mind printing the words. ‘Character is fate’ Mr. Wells?

Nick looks at him curiously

DETECTIVE RUGAT (cont’d) It seems the thief left a note to Mr. Tortelli with those words.

BEAT.

Nick then takes the pencil as he would normally and prints the phrase. The style is far different—of course

He slides the pad across the table. Rugat glances at it

DETECTIVE RUGAT (cont’d) Thank you for coming in, Mr. Wells

NICK You know where to find me

Samuels opens the door. Nick walks out. Samuels closes it.

CUMMINGS One thing’s for sure, the necklace is long gone (to Rugat) With your good graces, sir, I’d like to take a gender at his life here for a week or two. Any assistance would be greatly appreciated

Detective Rugat rises….

DETECTIVE RUGAT Mr. Cummings, I take the privacy of Canadian citizens very seriously, even those of American birth. Either you present me with something more substantial than coincidence linking Mr. Wells to the crime…or I cannot offer you the services of this department. Bon chance

Off Cummings, as Rugat and Samuels head out the door. CUT TO:

EXT. SIDEWALK. SAN FRANCISCO. RAINING---LATER

Nick exits the building, head down the sidewalk

TRACKING NICK succumbing to the nervousness he was striving so hard to control. Quick, shallow breaths. He moves into an alley, ducks behind a dumpster

And vomits up his guts  DISSOLVE TO:

EXT. A BRIDGE. OVER THE RIVIERE DES PRAIRIES –DUSK

The rain has stopped. Nick looks out at the river below, watching two men row a skull up stream. Then…the puny yap-yap of a dog earns his attention. Max approaches, leashed to a pocket-sized chihuahua

MAX Is Pepe leashed to me or am I leashed to Pepe? This is the question (eyes him a beat) What’s wrong, are you sick? You look pale.

TIGHT ON NICK just staring at the river. Far off…

NICK You realize this is the only line of work where, if you’re any good, nobody finds out who you are?

MAX As well it should be

NICK There’s just a blank space where something valuable used to be to mark your whole existence

MAX I know you exist. And I can name a banker in Paraguay who knows you exist

Nick just looks at him for a beat. Then…

NICK I’ve lost my stomach for it, Max

MAX What do you mean?

NICK I mean I’m too old for this shit. I like what I have. I don’t want to lose it

MAX Who said you were going to lose it?

NICK You believe in Karma, Max?

MAX No, I believe in randomness. I believe nothing makes any sense at all

NICK And that comforts you?

MAX Yes

NICK I believe if you’re a two-by-four, sooner of later you’re gonna fun into a buzz saw. If you’re a tomato, you’re gonna get sliced

MAX Well, you’re neither a two-by-four or a tomato, so you have nothing to worry about

NICK Cummings is in town, Max. working for Harcort & Abbey. He pointed  the police in our direction.

Max takes it in, digesting the news. The…

MAX So let him point. You made a surgical strike. You left no sponge in the patient. C’est tout

NICK You’re not listening

Max links his arm with his..

MAX Come, take a walk with the old man. There’s something new on the radar

EXT. THE RIVERSIDE—MONENTS LATER…

TRACKING NICK & MAX walking by the Riviere des Prairies

MAX A month ago, one hundred thousand dollars was wired into one of my tributaries as a demonstration of non-refundable good faith by a---

NICK  Max—

MAX Just hear me out. The buyer is interested in a complete collection of ancient Tarot cards valued at 15 million pounds. And he’s willing to pay more than handsomely to acquire them.

NICK Tarot cards?

MAX Not just any ones. The original, 14th Century Tarot, printed by the Jewish mystics of the Cabala. They’re said to contain the secrets of the universe, Nicky, foretell the future.

NICK Tell your buyer he isn’t playing with a full deck

MAX He isn’t paying us for a psychological evaluation. Now they arrive today at the National Library of Antiquities before moving onto the Smithsonian in Washington in two weeks.

NICK You mean in Montreal?

MAX (knowing his concern) I know, I know

NICK We don’t piss in our own pool, remember?

Max sights with a weight…

MAX The offer came through certain channels, Nicky. Channels..

NICK You don’t like to cross. Yeah, I know

MAX  I owe these people. And you need the money

NICK 2 weeks is a joke

MAX But 3 million is one hell of a punch line

NICK 3 million?

MAX Two and a half for you, a nickel for yours truly (off his look)  Come on, Nicky, you can’t quit. You’re a big jungle snake. I scooped you out of the underbrush, I should know. Ad the snake must eat the pig. It’s his nature

Nick puts his hand on the old man’s shoulder

NICK I love ya, Max, but the answer is no. tell your buyer my luck is pushed.

FULL SHOT—OF A NEWSPAPER

It’s the Monday Final.

ONE WEEK LATER

BRIAN (O.S.) Do you know the way to Cherry Street?

PULL BACK TO REVEAL a BUSINESSMAN lowering the paper…

INSIDE NICK’S BISTRO—LATE THE NEXT AFTERNOON to find…Brian (mid to late twenties). He wears Bifocals, an ill fitting suit, and off-kilter tie, hair parted and slicked down. There’s  a Captain Picard STAR TREK BUTTON on his lapel. He is  slow of speech and tongue

BUSINESSMAN What?

BUSBOYS are setting tables for dinner as waiters, waitresses, and Rene (French, 40s) in the pristine whites of an executive chef, gather at a table, stealing themselves with expression

BRIAN I said, do you know  how to get to Cherry Street?

ANGLE NICK—AT HIS BOOTH IN THE BACK  as he looks up from a pencil sketch on the paper tablecloth; a drawing which distinctly and grotesquely resembles Cummings

As Nick head out, Rene storms off toward off toward the kitchen—CURSING ht Philistines of the world in his native tongue

EXT. THE FRONT OF THE BISTRO---MOMENTS LATER

Nick holds the front door for Brian

NICK Tell your mother not to order fish on Sundays and Mondays, kid. On Sunday they try to finish off what’s hanging by a thread, and Monday is the chef’s day off. Little trade secret. (beat) So what’s our name?

TRACKING NICK & BRIAN heading down the sidewalk

BRIAN Brian

NICK I see you like Captain Picard

BRIAN He drinks Earl Grey tea. With milk

NICK Is that so?

BRIAN But he never pees

NICK Sorry?

BRIAN (oddly animated) He never pees. I’ve seen every episode of Star Trek and I’ve never once seen a toilet of any kind. I mean no one ever says, I’ll be out in a minute, or, hey, I’ve gotta pee. And their uniforms don’t have pockets. Are you trying to tell me that now one in the future wants to carry a few mints, a stick of gum, a comb?

Nick looks at him slightly askance. Brian’s speech is quicker

BRIAN (cont’d) And what about money? They have the gall to ask you to believe there’s no need for it in their little pristine perfected sanitized universe, but I away bullshit. Money is currency, man, and currency comes from the word current, as in e-fucking-lectricity, hear what I’m saying? Juice. You gotta have it

Nick stops in his tracks, hardens…

NICK Who are you?

Jackie drops the act, removes the bifocals, and smiles

JACKIE The name’s Jackie. Jackie Teller of Louisiana. But let’s talk about YOU. (sotto with delight) You, my friend, are a fucking thief. And I love you, man because you’re the best and I wanna fall at our feet like the Karat Kid and humble myself before the Master

NICK Look, I don’t know what game you’re running, but you picked the wrong mark

Nick turns to go..

JACKIE I got a nighttime janitorial job at the Library of ‘Antiquaries’ is what I’ve got. And I start tomorrow. Now tell me that ain’t a sweet situation?

Nick pauses, stunned

JACKIE (cont’d) Oh yes indeedy. The head janitor has mentally challenged nephew, took pity on me. Or should I say Brian. They’ll never suspect Brian of anything; Whatever you need on the inside, master-Brian’s your man. I mean I love Brian, don’t you? One of my finest creations. Dude breaks my fuckin’ heart

Nick glances up and down the street. Anybody watching this shit? He stays cool but his brain is on read alert.

JACKIE (cont’d) Don’t worry, I’m all by my lonesome. Tell ya what, I’ll drop by tomorrow. Say around  noon?

Nick is steely silent

JACKIE (cont’d) Sure, Jackie. That’s a great idea

Jackie moves to the MOTORCYLE at the curb, fires her up

JACKIE (cont’d) Great meeting you, Nick. Really

At that, Jackie zooms into traffic…

TIGHT ON HICK—MIND SPINNING as he watches him go. His life will never be the same  SMASH TO:

EXT. MAX’S HOUSE—LATER

Nick POUNDS on the door of the grand, ornate residence. Max peeks through the window. Then, opening the door…

MAX Darling…

Enraged, Nick grabs a fistful of Max’s shirt and pushes him…

INSIDE THE HOUSE

The place is GORGED with paintings, sculpture, and art objects of a truly eclectic variety

NICK Who is he? What did you tell him?!

MAX Who? I don’t know what you’re—

NICK Don’t you fucking lie to me, Max! he knew about the Library!

MAX Nicky, please calm down..

NICK He knew who I WAS, Max! He knew who I WAS!

JACKIE (O.S.) (matter of fact) Actually I didn’t, but I sure do now

WIDEN TO REVEAL---JACKIE at the top of the stairs, bare-chested, unlit cigarette ihn  hand, a framed photograph in the other. (Stripped of his Brian act, Jackie is a wildly attractive individual)

JACKIE (cont’d) And he didn’t tell me anything

Nick looks at Max in grave disbelief, stunned….

MAX Nicky, as God is my witness---

NICK Are you screwing him, is that it? You gave me up for a piece of ass?

JACKIE Hey, hey, whoa…I don’t care if he gets off with me in mind. In fact, I’m flattered. But I’m just a big tease. Isn’t that right, Max?

Max turns to Jackie, utterly staggered, teary-eyed, faint…

MAX What have you done? How did you---

JACKIE (comes down the stairs) Calm down, pumpkin. Here, siddown

Max can hardly breathe. Jackie helps him to sit on the stairs

JACKIE (to Nick) He has a weakness for fallen angels and pink champagne, what can I say? I mean the shit gives me a headache but any hoot, we met in down in New Orleans a while back, talked a little shop, and low and behold, he calls me last week, offers to bring me up to the majors. See if I could hit the curve, you know?

NICK (to Max, quite) You realize what you’ve done?

MAX Nicky…

JACKIE (re: the photo) How old were ya in this picture, master? Sixteen, seventeen? Sorry, but I stuck my nose in your old crib

WIPE PAST THE PHOTO—IN JACKIE’S HAND

It’s of Max and young Nick in front of the Louvre circa 1973. Faux-Father-Fagan and his 17 year old protégé

JACKIE Me I never knew my real father. But they say we’re a lot alike. 75% nature, 25% nurture I guess, huh?

CU NICK He’s perfectly still, eyes steely, voice flat.

NICK You talk too much, you know that?

JACKIE I know. Sometimes I don’t keep talkin’ I think I’m gonna die

MAX You refused the job and I looked elsewhere, Nicky, that’s all. I swear!

JACKIE Gospel fuckin’ truth, man. All he said was he knew the world’s greatest thief—and the buy never used a gun. I mean I am bit-time intrigued at this point, who wouldn’t be? So I followed him to the restaurant and…

Jackie holds his hands out in a gesture to Nick…

JACKIE (cont’d) Guess who fit the profile?

MAX Your vicious little brat

NICK Shut up

MAX He lied to me about his capabilities!

NICK I said, shut up.

JACKIE Who doesn’t cheat on their resume a little? I just old him I could handle the job alone and…I exaggerated, okay? But nothin’s compromised here. All I want is a piece of the score, and a lesson or two from the master. I mean, fuck, there’s more than one fly to a cow paddy, right?

NICK Kid, you’re in so far over your head, you’ve already drowned and you don’t know it. There is no score. We never had this conversation. You don’t exist

JACKIE I don’t?

Nick heads for the door

NICK Go talk yourself to death

JACKIE (a sigh) All right then, I didn’t want to do this, but…I printed this out from our computer, Max

Jackie pulls sheet of PAPER from  his back pocket

JACKIE it’s a trail of a certain item passing through Montreal to Bangkok by way of…
(mispronounces it) Kuwhala Lam-pur, is that it? This is just a copy of course

Nick stops where he stands. Max SNATCHES the paper from Jackie and eyes it in disbelief.

MAX How did you---

JACKIE Once you drag information into the recycling bin, you gotta remember to empty it, Max. you put it in the trash and forgot to take it out

JACKIE (cont’d) (to Nick, tapping himself on the temple) Short term memory’s the first thing to go

Nick fixes his coal black stare on Max

MAX Dear God…

JACKIE Hey, let the record show, you forced my hand

MAX …How much do you want?

JACKIE If it was just about money I wouldn’t mess around. I’d just pop that in the mail, give you two a figure, you’d pay me for my silence, and I’d be off. But you can’t put a price on and education like this. (sincerely, to Nick) I want to learn from you, man. I wanna LEARN

Max looks at Nick, pale as a ghost….

MAX There’s nothing here that implicates you directly, Nicky. It’s m y problem

Jackie is betting otherwise, looking right at Nick

JACKIE And what, leave you to twist in the wind? He wouldn’t do that (beat) Would you, Nick?

TIGHT ON NICK considering all the possible moves. He has no reply for now

DISSOLVE TO: EXT. THE BEARD GALLERY—MORNING

A tres exclusive showroom of contemporary art. Mr. Wright, and Deputy Carol get out their car and head…

INSIDE THE GALLERY to FIND…the attractive gallery manager. LYDIA ( 30) with a costumer. They are examining a large Matisse Lithograph

MR. WRIGHT Excuse me, Miss? Is a Mr. Maximillan Beard on the premises?

LYDIA He’s not due till this afternoon. Is there something I can help you with?

Deputy Carol holds up a COURT ORDER

DEPUTY CAROL This is a Court Order allowing us to review his financial records. Any failure to cooperate will result in your arrest

CUT TO: INT. NICK’S BISTRO THE OFFICE—MORNING

The busboys are setting the tables for lunch as Nick enters to FIND…Cummings and one ferrety little man named Mr. Speck (40s) coming out the kitchen

Holding Nick’s accounting REGISTERS and other PAPERS. Nick’s Employees are frozen where they stand

BARTENDER Sorry, boss. They had a---

Cummings holds out the COURT ORDER.

MR SPECK By authority of the Fifth District Court, this order allows me to review your books and tax returns for evidence of money laundering and other violation

Nick takes the Court Order, looks it over

CUMMINGS My friend Mr. Speck is from the Internal Revenue Service of Canada. They say he is to a calculator what Tommy was to a pinball machine

Mr. Speck nods. Nick looks up, addresses the room…

NICK It’s all right, everybody. Go on with your business (they don’t budge) I said go on

As the busboys gradually return to their tasks, Cummings and Mr. Speck head for the door

CUMMINGS Have a good day, Mr. Wells

Off Nick, watching them go out…

CUT TO: EXT. A MODEST  HOTEL. MONTREAL—NIGHT as JOE CARSON (late thirties) gets out of a cab. She’s dressed very wash-and-wear, her loveliness understated

INT. THE HOTEL—MOMENTS LATER

She heads down the hallway, pulling the key from her ppurse

INSIDE HER HOTEL ROOM—JOE enters. As the door closes behind her, a HAND covers her mouth…and a GUN is pressed against her temple

A MAN (O.S.) Just gimme what I want and everything will be fine. Nod if that’s a yes

She nods. He removes his hand from her mouth.

WIDEN TO REVEAL—JACKIE (WEARING THE BRIAN BIFOCALS) giggling to himself in his underwear. She whirls around….

JOE You stupid asshole! How did you get in here?!

He holds the to his lips

JACKIE Shhh. When the housekeeper turned down your bed. It’s amazing how people open up to the mentally impaired. God bless Forest Gump, you know?

JOE Well fuck you

JACKIE That’s my girl (loses his bifocals) So the first time you came to see me in prison you thought I was a ‘wile animal”?

She SEES her NOTE PADS on the bed beside a clump of his BRIAN CLOTHES

JOE Were you reading my notes? You were reading my notes, weren’t you?

JACKIE Hey, this is my story. I got a ‘proprietarial’ interest in it’s authencity

She gathers them up with outrage

JOE Don’t ever go through my stuff again. You hear me? That wasn’t part of the arrangement

JACKIE Fuckin’  you wasn’t part of it either

Whack. Her SLAP stings like a jelly fish bite

JOE I mean it

Whack. He SLAPS her back and YANKS her close

JACKIE So do I

He rips open her blouse….

JOE Motherfucker….

She struggles in his arms…

JACKIE Don’t worry, in two weeks I’ll buy you a hundred more. The score is on

She knows the meaning, gives up the struggle

JOE It’s on? What about the---

JACKIE She master? Oh, we really hit off. Still have a few details to hammer out, but…

JOE Details? What details?

Jackie slides his hand past the butterfly TATTOO just above her waist. His finger penetrates and disappears to the hilt

JOE (cont’d)  Who said you cold touch me there?

He lifts her fight off her feet. She sucks in air, wrapping her legs around him, pelvis open to his grinding hand. Then…

JOE (cont’d) Tell me about him. The master

JACKIE You wanna talk about another man, do ya? Little whore, you’re old enough to be my mother

He pulls her bra down, tugs at one of her nipples

JOE Just tell me

Jackie TWISTS that nipple, so taught it hurts to watch. She cocks her head, hanging onto the pain like a cliff. Yet one would classify the effect on her as….pleasurable

JACKIE He’s smooth as a fuckin’ ice cube

She reaches into his pants, takes hold of him…

JOE What does he look like?

JACKIE What do you care what he looks like?

She smiles, enjoying the glimmer of jealousy in his eyes

JOE Cause I want to fuck him

JACKIE What?

JOE You heard me

JACKIE Say it again

JOE I want to fuck him

JACKIE Say it again

JOE I want to fuck him!

What follows is quite primitive. Not one of those tender displays of love and intimacy. He can’t thrust hard enough. I’ll leave the rest to your imagination

TIME CUT TO: THE SAM---LATER

Jackie and Joe lie in bed, naked, used up. Jackie stares at the ceiling

JOE You think he’s the one who pulled the Vineyard heist? The master?

JACKIE (coy) Maybe yes, maybe no. he’s got no reason to discuss it with me

JOE The thing I don’t understand, is if he’s so great, why hook up with a hick from the sticks like you?

Jackie turns to her, taken aback

JACKIE Luke Skywalker was just a hick from the sticks once too, honey. And yo’re hooked up with me—so fuck you

JOE (mater of fact) I’m hooked up with you because I want to do an intimate study of an all American sociopath that makes the best seller list and gets me a six figure Hollywood option

He gets right in her face, low and hot

JACKIE You’re hooked up with me cause you’re a freak. And I’ve made myself indispensable for your information. I’m working inside the—

She puts her fingers on his lips, shakes her head

JOE You can’t tell me until after the fact, honey. That’s what makes me a journalist and not a co-conspirator. Remember? You wouldn’t want me t have tell on you…would you?

JACKIE I wouldn’t  want to have to kill you either

Off the moment…

CUT TO: EXT. THE LIBRARY OF ANTIQUITIES—EARLY EVEING

Establish.  A grand old edifice

WIDE SHOT—A BUS pulls up to the corner and Jackie (as Brian) gets off. As he heads for the SERVICE ENTRANCE…We HEAR the sound of a phone RING  and pick up. A mildly schizophrenic computer jock named STEVEN answers. He’s in a constant state of paranoid tension

STEVEN (V.O.) (over the phone) Hello?

NICK (V.O.) (over the phone) It’s Nick, you got anything?

STEVEN (V.O.) (testy) Of course I got something, don’t I always get something?

EXT. THE LIBRARY. SEVICE ENTRANCE—MOMENTS LATER

Jackie/Brian rings the buzzer as the phone call continues…

STEVEN (V.O.) His real name is Brian Colbert, but he’s used two aliases. Jackie Teller and Billy Rickles

NICK (V.O.) They sound like comedians

STEVEN (V.O.) Yeah, he got five  years of stand-up for extortion and mail fraud

THE LIBRARY. SEVICE AREA—JACKIE/BRIAN enters to FIND…a security guard (40) Danny (50) the head janitorial, and three other Janitors milling about in unifrom on the other and of an Airport-like METAL DETECTOR

DANNY There he is. How are you today, young man?

JACKIE/BRIAN Fine, Mr. Danny

We HEAR the O.S.  sound of a computer KEYPAD. Tap-tap

STEVEN (V.O.) Says here he wriggled his way out on good behavior in three and a half

Jackie/Brian hesitates before the metal  detector

DANNY Go on now, it won’t hurt ya

Jackie then takes a deep  breath, SHUTS his eyes, and DASHES through the detector. The janitors laugh

DANNY (cont’d) Attaboy!

CUT TO: INT. A PRIVATE MEN’S CLUB. MONTREAL---EARLY EVENING

 Nick and Burt are seated at a table by the second story window. They’re BOTH on the line with Steven, two separate phones. The club is all old-world elegance, manned by ATTENDANTS with white napkins on their arms

STEVEN (V.O.) (over the phone) What did-you do to deserve this geek?

NICK It’s complicated. I’ll be in touch

Click. Nick and Burt hang up

BURT A con who cons the cons. Nice racket if you got the balls for it

TIGHT ON NICK

Replying quietly, almost to himself…

NICK It’s more than that. He wants to be me. He wants my whole life

BURT Fuckin’ Max, he was always crazy. I say you let the old bastard twist on this one—all by himself

NICK I can’t do that

Burt sighs, knowing Nick, knowing all about such loyalty

BURT Yeah, I know. So then what?

Nick glances out the window

THEIR POV—THROUGH THE GLASS

Cummings sits on a bench directly across the street, reading a NEWSPAPER. Then he looks up..and SEES Nick and Burt through the glass darkly

ATTENDANT Monsieur Wells? Would you and  your guest care for a cigar?

ANGLE NICK AND BURT as they turn to FIN…an ATTENDANT holding an open HUMIDOR

BURT Don’t mind if I do

ATTENDANT May I recommend the selection on the left, sir. It’s hand rolled by a Cuban farmer from his private stock

BURT Whatever you say, buddy

Nick glances back at Cummings

NICK Not for me, thanks

ATTENDANT (to Burt) Shall I clip it for you , Monsieur?

BURT Nah, I’ll just bite it off like a man

The attendant retreats. Burt bites off the tip…

BURT (CONT’D) Tell you what, how bout I pay the comedian a visit? I’ll get the original sheet…put the fear or Jahovah into him. Better me than you under the circumstances

NICK He might not have it. He might’ve given someone the original, told ‘em to pop it in the mail if anything goes wrong

BURT If he had the time, or trusts anyone that much. But what’s the alternative, kill him? Take him under your wing and pull the score with the heat all over? I’d rather take a broom up the ass

Off Nick, on the zip-click of a CAMERA..

CUT TO: EXT. OUTSIDE THE MEN’S CLUB—MOMENTS LATER

POV—THROWN  A STILL CAMERA LENS as Burt exits the building. The camera  zooms in tight on Burt’s face. Click. He gets into his car. Click.

Zoom in on the REAR PLATE. Click

ANGLE DOWN THE STREET—AS DEPUTY INSPECTOR CAROL aims her CAMERCA through the passenger window of a parked CAR. Click. Inspector Wright sits beside her

NICK (O.S.) Pretty tedious work

CUT TO: EXT. THE SQUARE—AS CUMMINGS turns o the bench to FIND..Nick standing fight behind him.

CUMMINGS I’m a patient man

NICK (a nod) Lemme save you the trouble. I’m on my way to the restaurant. I’ll be there all night and back at the loft by two. You have the address, or should I write it down for you?

Off Cummings, to the sound of fingers DRUMMING on a table

CUT TO: FULL SHOT—OF A COMPUTER SCREEN

SCAN to READ: Dear Joe, checked with police in Martha’s Vineyard. Man named Cummings is insurance investigator, assigned to case by Harcourt & Abby---London based. In Montreal as we speak. Spoke with him on grounds there might be a connection to anther theft here in New Orleans. He mentioned two men—OFF THE RECORD: Nicholas Wells and Maximillian Beard. Wells owns a restaurant called Café Des Artiste. Beard  is gallery owner, art maven. Hope it’s of some help

Don’t get into too much trouble this time. The boys say hey

Det. Roberts N.O.P.D

P.S. You owe me a beer, doll face

PULL BACK to REVEAL Joe…

INSIDE HER HOTEL ROOM—AFTERNOON seated in front of her laptop, DRUMMING her fingers on the table. Then she thumbs through a PHONE BOOK as we…

CUT TO: EXT. THE LIBRARY. SEVICE ENTRANCE—MAGIC HOUR as Jackie/Brian exits the library with the other JANITORS. They say their good-byes and the janitors move to their cars

Jackie/Brian heads for the BUS STOP on the corner

ANGLE BURT—INSIDE HIS CAR watching from across the street, eating a powdered donut

Then a BUS pulls up, Jackie/Brian gets on. It belches black and pulls away. As Burt follows after….

INSIDE THE BUS. DRIVING—MOMENTS LATER

Jackie/Brian sits in the front seat of the nearly empty bus. The BUS DRIVER turns, kind to the mentally challenged…

BUS DRIVER How ya feelin’ tonight, Captain?

Jackie forces a smile, mumbles under his breath…

JACKIE Like a retard, how do you think?

CUT TO: FULL SHOT—OF A COMPUTER SCREEN in the middle of a RAPID SEARCH. Names, addresses, license and passport photos fly by until…

BURT’S DRIVER’S LICENSE PHOTO appears on screen. PULL BACK to REVEAL Deputy Carol…

INSIDE THE OFFICES OF HARCOURT & ABEY—MAGIC HOUR as Burt’s info pours out of the PRINTER, page after page. She tears one off and reads it to Cummings and Mr. Wright

DEPUTY CAROL His name is Burt Slotnick. Retired from the police force in 1989, now a licensed private investigator. It says here he was disciplined and put on probabtion in 1985…reasons not specified

CUMMINGS Check Mr. Slotnick’s passport. See if he was in Europe in 1993, particularly Vienna and Monaco

Deputy Carol pulls another page, then looks up…

DEPUTY CAROL He was. In Vienna

Off Cummings…

EXT. BOWERY DISTRICT—LATER

The bus empties Jackie in the tawdry beer-sodden bastion of the hapless and hopeless. He heads down the street as…Burt parks about half a block away. Jackie then heads inside one of those roach motels. A battered sigh says: THE IMPERIAL COURT HOTEL. Yeah, right

INSIDE BURT’S CAR—CONTINOUS

He settles back and waits

TIME CUT TO: INSIDE BURT’S CAR—NIGHT

Burt pulls a .38 from beneath the seat of his car.

INT. THE ROACH MOTEL—MOMENTS LATER

Burt enters the decrepit lobby, deserted but for the depressed PAKISTANI MAN (40) who sits behind the IRON MESH of the hotel counter, watching TV. Burt approaches, flashed his P.I.  BADGE

BURT A man came in a few moments ago

PAKISTANI MAN What you want?

Burt slides HUNDRED DOLLARS across the counter

BURT None of your business

INT. HALLWAY. ROACH MOTEL—MOMENTS LATER

Burt heads down the hall, stops at room number12. And OLD WOMAN peeks her head out of another room. Burt gives her the evil eye and she ducks back inside. Burt puts his ear to the door of room number 12. Paper thin. TV’S on, SHOWER running.

He slides a credit card in the jam. Voila. He opens the door as far as the CHAIN ill allow. Bathroom door is partially open I the B.G. Jackie is in the shower RINGING…

“If I Only Had A Heart” from the Wizard of Oz. Then…Burt pulls an ALUMINUM BAT from his coat, WHACKS the chain.

INSIDE THE SHOWER—JACKIE doesn’t hear the sound, head bent to the screaming stream. Burt YANKS the curtains aside

BURT  Hello there. Is Jackie startled? Put yourself in his birthday suit, buddy, Burt JAMS the bat into his ribs, doubling him over

JACKIE AAAAAAH!

He takes Jackie by the wet hair and drags him naked….

INTO THE SHIT-BROWN ROOM

There’ a single bed chest of drawers, TV, sick yellow lamp. He pushes Jackie face down on the bed….and WHACKS him in the back of the legs with the bed…

JACKIE AAAAAHHH! Stop it, please!

BAM! He WHACKS him again on the bottom of his feet. Bam! Bam! He writhes and howls

JACKIE (CONT’D) AAAAAAAAH! Fuck! Fuck! Who are you? What do you want?!!

Burt turns the TV way UP. One of those late night USED CAR commercials BLASTS the room…

COMMERCIAL Come on down, folks! No money down! One year warranty! Instant financing!

JACKIE Look, man, I don’t know what the fuck you’re ---AAAAAAAH!

Burt  puts the barrel of the gun right in Jackie’s….

BURT Know what a colostomy is? Cause you don’t tell me where those copies are in three seconds, I’m gonna give you one, courtesy of Smith & Wesson

JACKIE (whimpering) They’re in the drawer. In an envelope. Please God, don’t hit me anymore!

Holding the gun on Jackie, Burt steps back, moves to the drawers

BURT It’s a dangerous game you’re playing, kid. A dangerous fuckin’ game

Burt tries opening the drawer. It catches. He pulls harder

POP-FLASH! Burt SCREAMS and grabs his burning eyes, BLINDED by a ROAD FLARE cut lengthwise and rigged to burst

Jackie SPINS off the bed like a scythe in the hand of the grim reaper. The flare HISSES and fills the room with smoke as Burt….

CRASHES into the chest of drawers, BAND! The gun goes off wildly---puncturing the mattress. Jackie brings the aluminum bat down on Burt’s gun hand, SHATTERING his wrist.  He cries out and rolls on the floor. BAM! Jackie hits him again. In the legs, the side. Then, tiring, panting….

Jackie looks down at Burt…

JACKIE You’re fuckin’ right it’s dangerous

CUT TO: EXT. THE BISTRO—NIGHT

The place is packed, a hive full of buzz and color.

INSIDE THE NICK’S OFFICE—JUST OFF THE KITCHEN

Nick reviews the night’s receipts as Max appears in the doorway. He looks haggard, stricken

MAX You haven’t returned my calls

Nick looks up, no welcome in his eyes…

NICK We’re over-booked tonight, Max. You might want to get your food to go

MAX What are we going to do, Nicky?

NICK We?

MAX Tell me what to do. Please

Nick shakes his head bitterly, rises

NICK Good night, Max

Off Max, as Nick heads out the door
INSIDE THE MAIN ROOM—MOMENTS LATER

Nick comes out of the kitchen and runs into a gorgeous French MODEL. She plants her lips on Nick’s cheek

MODEL Thanks for the table, Nicky. C’est parfait

NICK You’re not driving, are ya?

MODEL (sleepy-drunk) No, I’m flying. You fly, don’t you? You promised to take me sometimes

Her DATE calls out jealousy a few doors down

DATE C’est tout, Jeanette. Alon

She makes a funny sound with those lips

MODEL Mon salo. Ciao

NICK Ciao

Nick’s face darkens as she moves off. He checks his watch. 10:45. Jean-Hugue

NICK Has Burt called, Jean-Hugue?

JEAN-HUGUE No, boss, but there is a woman who wish to speak with you. (hands him a CARD) She says she is  writer?

Nick glances at the card, then looks across the room

JOE

Is seated at the far end of the bar, sipping a Cosmopolitan. She raises her glass to him, smiles

NICK Thanks

PUSH IN ON JOE—AS N ICK APPROACHES

Her NOTE PAD and pen are on the counter. As he arrives

JOE Mr. Wells?

NICK Nick

She extents her hand. He shakes it

JOE Joe Carson, New Orleans Picayune. You have a wonderful place, here. And the light…my God, I love it

NICK Thanks. It seems to agree with you

JOE (flattered) Oh, well…

NICK Have you eaten?

JOE Couldn’t get a table. But I did use the rest room. Spotless

NICK Always use the rest rooms before you eat in the restaurant. If they’re dirty-run for your life

JOE I’ll remember that, (beat) You know, you don’t sound Canadian

NICK Buffalo, New York. I drifted up when I was sixteen, stuck around

JOE Drifted?

NICK It’s a long story

JOE The longer the better

Off the moment…

TIME CUT TO: INT. A BANQUET—MOMENTS LATER as Joe slides in and takes her seat

NICK Mind if I order for you?

JOE Please

Nick turns to Jean-Hugue, standing at the ready

NICK The onion goat cheese tart and the roast chicken (to Joe) You like garlic?

JOE Sure

NICK Steak frite or mashed potatoes?

JOE Steak frite

NICK (to Jean-Hugue) And a bottle of the Brunello

JEAN-HUGUE Yes, boss

NICK (sits) We don’t like to show off here. We just serve the classic stuff in the classic way

A  BUSINESS exchanges hellos with Nick as he passes. Then…

NICK (CONT’D) So you’re writing about the city?

JOE Uh, no, not exactly

NICK I thought you were a travel writer

JOE The only exotic islands I’m familiar with are the ones outlined in chalk on a bloodstained sidewalk. Actually, I write about crim

NICK Crime

JOE I wrote for the New Orleans Picayune, but I’m on sabbatical. And I know you’re a suspect in the Martha’s Vineyard heist

Pause. He just stares at her, losing his good humor

JOE (CONT’D) I have a date base which feeds me the dates in for on high-profile crimes throughout North America. That one was interesting because the thief was probably invited to the party, a very exclusive party, which means he or she is either successful or beautiful or both. Yes the thief operated so skillfully, reading the fingerprints off the key pad…even though he would have no way of knowing in what order the numbers were arranged

NICK I ‘m in the restaurant business, Ms. Carson

JOE You were also a suspect in several other extremely skillful, unsolved thefts in Europe a few years ago

NICK And how do you know that?
 

JOE Privately is a thing of the past, Nick. We exchanged it for information. (beat) You know what all these crimes have in common

NICK No.

JOE Each was accomplished without violence. The only difference in this case is the thief left as note: Character is fate. Which means maybe the thief felt morally justified in his act, I don’t know, because the victim made some lousy movies, or perhaps he’s just experiencing a crisis of conscience. Either way, it makes him very, very interesting

Eyes locked with his, she leans forward…

JOE (cont’d) I’m  not a cop, Nick. I don’t solve crimes, I report them. The mechanics are less important to me than the sociopathology of the criminal. In other words: His character. Tell me your story and I’ll promise to conceal your identity until either you’re tried and convicted, or you die

Nick glances across the room. Max is heading out the door

NICK Just for argument’s sake, let’s say you found your man (beat) What’s in it for him?

She takes the devil’s pause, prepared for the question

JOE Immortality

Off Nick…

EXT. NICK’S LOFT—LATER THAT NIGHT

Nick gets out of his car as another TENANT exits the building. He’s a bearded, downtown artist type, who wears TINTED SPECS and a BERET over graying shoulder length hair, tied in a PONYTAIL

POV—THROUGH BINOCULARS AT A HUNDRED YARDS

Nick and the tenant—exchange helios. The…ANGLE NICK—AS HE OPENS THE BUILDING DOOR glancing down the street before going inside, feeling watched

INT. INSIDE THE CAR—DOWN THE STREET

Mr. Wright and Deputy Carol have been watching

INT. NICK’S BUILDING HALLWAY—MOMENTS LATER

Nick exits the elevator and approaches the door. Burt’s P.I. PHOTO& BADGE are pinned to the door

JACKIE Would’ve done the same if I was you, so no hard feelings

Nick turns to FIND…Jackie at the other end of the hall

JACKIE (CONT’D) And you can return this too

He pulls Burt’s .38 from his belt, holds it out to him

JACKIE (CONT’D) Why is it you never use ‘em anyway? Guns I mean

NICK (low and hard) Cause they have a way of going off. Is he—

JACKIE He’s fine, maybe a little sore in spots, but..

PUSH IN TIGHT ON NICK—SEMI SLOW MOTION as reality dawns and TIME seems to STOP. Jackie, Cummings, Joe, Jesus. He tugs at his collar. Feels like a noose. The globes of his eyes spin the combinations. Then…

NICK So you wanna go to school, huh?

JACKIE Yup

NICK It’s a one shot deal. After that, you disappear for good and leave Max alone. Do anything to compromise him again and I’ll kill you

JACKIE I’m flexible

NICK (opens the door) I’ll contact you through Max

He disappears inside the loft. Jackie takes a breath as if to reply. Then smiles and heads down the stairs

INSIDE THE LOFT—MOMENTS LATER

Nick takes off his jacket, puts his keys down. Then something catches his eye

His MAIL has spilled off the kitchen counter onto the floor

He SCANS the space. ALL else seems in order. Then…

ANGLE THE PHONE ON THE KITCHEN COUNTER

Nick picks up the RECEIVER and opens it up. There’s a tiny RADIO MIKE in the battery casing

But he leaves the mike in place and puts down the phone

ANGLE NICK’S COMPUTER STATION—MOMENTS LATER as Nick types the words: I’VE GOT SOMETHING FOR YOU, STEVEN

CUT TO: INT. STEVEN’S LAIR—CONTINUOUS

STEVEN (late 30s) is at his elaborate work station, seated before one of THREE COMPUTERS, reading Nick’s message. He’s very tall, painfully gaunt. GALACTIC CHARTS cover his walls, AIR FILTERS and HUMIDIFIERS HUM. He types his response…

STEVEN: IT’S A BAD TIME, MAN. THE CONCENTRATION IS SHOT. MY MOTHER’S TOTALLY OUT OF CONTROL!

INTER-CUT THE COMPUTER CHAT—AS NICK TYPES HIS ANSWER

NICK: ARE YOU TAKING YOUR MEDICINE?

STEVEN: DOESN’T HELP. I STILL WANNA TAKE A KNIFE TO GER. SHE’S A GHOUL! SHE’S EVIL!

NICK: STEVEN..IRONCLAD  SECURITY HANDLES THE ALARM SYSTEMS FOR ALL GOVERNMENT BUILDINGS. I NEED THE BLUEPRINTS AND PASS CODES FOR THE LIBRARY OF ANTIQUITIES. DOUBLE YOUR USUAL PRICE.

Steven’s MOTHER then knocks on his door, calls out O.S.

MOTHER (O.S.) Steven? It’s time for your medicine

STEVEN: I’M ON THE PHONE, BITCH: NOW LEAVE ME THE FUCK ALONE!

Steven tape out his plea to Nick with great agitation…

STEVEN: DO YOU KNOW WHERE I CAN GET SOME ARSENIC?

NICK: RELAX. JUST TELL ME IF YOU CAN HACK INTO THEIR FILES.

Steven SCRATCHES himself, wanting to crawl out of his skin

STEVEN: I THOUGHT WE NEVER FEED IN OUR OWN FOOL?

NICK: WE WON’T BE SWIMMING IN IT AGAIN. FRO NOW ON DON’T CONTACT ME. I’LL CALL YOU. THE HEAT IS ON.

STEVEN: SOUNDS LIKE FUN. GIVE ME 24. LESS IF MY MOTHER EXPIRES UNEXPECTEDLY

HOLD ON NICK—AS HE LEANS BACK IN HIS CHAIR

He grips the arm rests until his knuckles whiten

CUT TO: EXT. A PHONE BOOTH MONTREAL—MORNING

Nick turns Joe’s business card over to read the telephone NUMBER written there. Then he dials the phone

INT. JOE’S HOTEL ROOM—CONTINUOUS

The phone rings. She appears from the bathroom, wrapped in a towel, wet from the shower. She answers..

JOE Hello?

NICK (over the phone) Do you believe in the Tarot?

Off Joe…

EXT. LIBRARY OF ANTIQUITIES. RAINING—AFTERNOON

BANNERS draped across the front of the grand old edifice read: The Ancient Tarot. Secrets of The Universe.

ANGLE JOE—STANDING BENEATH AN UMBRELLA at the top of the steps as nick gets out of a CAB below. He holds her gaze for a moment before heading up the steps.

INT. THE LIBRARY—NICK & JOE enter the foyer as an agitated looking MAN (55) accidentally BUMPS into Nick on his way out. He has a slight LIMP

THE AGITATED MAN Sorry

Nick turns to watch him hurry off, then…

NICK Here, let me take your coat

Joe is on a kind of delightful edge. She’s not sure what the game is yet, but she’s willing to play

JOE Thanks

INT. THE BAG CHECK AREA—MOMENTS LATER

Nick heads in with their coats, eyeing the LOCK on the open door, taking mental note. He hands the coats to the claim-check GIRL. He SEES a BIN in the corner behind her marked: LOS & FOUND. She smiles, hands him a numbered STUB

CHECK GIRL We close at six

INSIDE THE FOYER—MOMENTS LATER

Nick and Joe pass the SECURITY GUARD standing near the foot of the GRAND STAIRCASE…

JOE So why meet in a library? Any particular reason?

NICK You said you wanted a story. This is where they keep the first editions

The mouse turns to the cat. The cat smiles

JOE I’m listening

INT. THE GRAND STAIRCASE—TRACKING NICK & JOE as they climb the steps

NICK Once upon a time, there was a punk kid…

Nick SEES the MOTION SENSOR poised on the wall above and a large ALARM BELL stamped with logo: IRONCLAD SECURITIES

NICK (cont’d) He ran away from the orphanage and followed The Grateful Dead up to Canada. They were on tour

JOE Sex, drugs, and rock ‘n roll, huh?

NICK (nods)  He got caught pinching a silver ashtray from the house of a local art dealer. But instead of turning him in, he offered him a job and a place to stay, gave him an education

JOE What kind of education?

NICK (dry) Liberal Arts. After a few years, he legally adopted him, turned him into a citizen

ANGLE 2ND STORY LANDING—AS THEY ARRIVE and Nick pauses to stare down a l long, arched CORRIDO. At the far end is a door with an emergency EXIT sign

JOE What happened to your parents?

NICK My parents?

She plays on, conceding…

JOE His parents

NICK The father died when he was five

INSIDE THE CORRIDOR—NICK & JOE pass beneath the arches. Lined with old leather bound BOOKS

NICK He was plumber. The only thing the kid remembered about him was the smell of shit and bilge on his clothes. It disgusted him

Nick SEES a strip of wire running the length of the wall

JOE How did he die?

NICK One night he found out his wife was sleeping the with the next door neighbor. So he snatched the kid up, stuck him in the car, sped off into an ice storm. He slammed into the divider on the interstate. They found him so feet down the road

QUICK CUT TO: EXT. A HIGHWAY. ICE STORM—A SURREAL NIGHT

TIGHT ON THE ICY WINDSHIELD OF A CAR—SEMI SLOW MOTION

The wipers have no effect on the enveloping frost. Behind the glass, fogged and obscured by the ice, a MAN sits behind the wheel, his five year old SON in the passenger seat

ANGLE THE WHEELS OF THE CAR—IN COLD SILENCE as they SPIN helplessly on the icy road and SKATE across it

DIRECTLY AT CAMERA

BACK TO NICK & JOE pausing a the end of the corridor…

JOE And the kid?

NICK He was in a coma for three days. He and  his mother moved around for awhile until she went off the deep end and the state took over

JOE Is she still alive?

NICK (matter of fact) I have no idea

Off Joe…

INSIDE THE EXHIBIT—THEY ENTER to FIND a perfectly reconstructed Medieval room beneath a vaulted ceiling, 15 feet to the base, it’s angled glass windows blurred with rain. In the middle of the room is along WOODEN TABLE of the period, set with three CANDLELABRAS.

TIGHT ON NICK—QUICKLY SCANNING the room. There’s another MOTION SENSOR in one corner and an ALARM BOX, perched on the ledge at the base of the ceiling

THE TAROT CARDS are contained in two GLASS CASES in the middle of the room. Each card is like a separate work of art; multifaceted astrological DIAGRAMS of astonishing beauty and complexity. A small PLAQUE reads: From a private collection. Donor anonymous

PUSH  IN…on one TAROT CARD in particular. It is of a NAKED man at the center of COSMIC WHELL  in a star filled sky. A  HOUND-LIKE CREATURE explodes from his loins

ANGLE NICK & JOE as they appear before it…REFLECTED in the glass case

JOE Secrets of the universe, huh?

NICK The mystics considered man to be the heavens in miniature. To know oneself was t know the universe

Cummings then appears REFLECTED in the glass, entering the room in the B.G. Nick SEES him without turning

JOE And women? What about them?

PAN TO TIND the next TAROT CAR. This time a NAKED WOMAN is at the center of the wheel—SNAKES coiled around her throat

NICK They were just dangerous

They lock eyes. Nick then glances at his watch

NICK (cont’d)  Would you excuse me for a moment? I have to call the restaurant

JOE Sure

Nick goes out the other end of the room.  Cummings gives her the once over from the corridor entrance PUSH IN on Joe as she feels his stare and turns to meet his gaze

JOE’S POV—OVER  CUMMINGS’S SHOULDER—THROUGH THE CORRIDOR

Jackie (as Brian in his JANITOR’S UNIFORM) is pulling a trash BAG from the GARBAGE CAN  at the top of the grand staircase in the deep B.G.

 He doesn’t see her

TIGHT  ON JOE—PARALYED FOR A MOMENT realizing the significance of Nick’s choice of venue. Then…

ANGLE JACKIE—BY THE GARBAGE CAN as he feels the attention. He looks up and peers down the corridor to FIND…no one. Joe is gone

NICK (O.S.) Anything?

INT. THE LIBRARY. A BANK OF PAY PHONES—MOMENTS LATER

Nick is on the phone with Steven

STEVEN (over the phone) I hacked in to Ironclad okay, but I bumped into a weasel on the other end

NICK Speak English, Steven

INTER CUT WITH: INT. STEVEN’S BASEMENT—CONTINUOUS as Steven paces in his bare feet. He’s anxious, speeding…

STEVEN Someone who works inside Ironclad, man! I’m rooting around, doing my thing, and then I catch a bulleting with the words: “Nothing in life is free, asshole.” Can you believe that? The guy calls me an asshole!

NICK Steven…

STEVEN So I say, “How much for a library card?” Get it? And he says, “You mean for the alarm system? And I say,  “Maybe” And he says, “TWO HUNDRED THOUSAND, U.S.!” So I say, “Fuck you,” And he says, “No, fuck you!” And I say, “No, fuck You!”

Nick SEES Cummings drift out of the other room in the B.G.

NICK Can you find out who he is?

STEVEN  CAN I FIND OUT WHO HE IS?! I traced him to an on-line porn site and pulled his credit card number. I can tell you where he eats lunch every Tuesday. I can tell you where he LIVES!

ANGLE CUMMINGS—AS NICK HANGS UP and takes a purposeful walk right past him…

NICK Planning my next heist

Unamused, Cummings stays put, eyes following Nick down the hall where Joe stands waiting. Then….

ANGLE JOE—AS NICK ARRIVES and Cummings fades into the background…

NICK (cont’d )Everything all right? You look pale

JOE A  lot of dust on these old books, that’s all. I need some fresh air

CUT TO EXT. CAFÉ DES ARTISTE. THE BACK ALLEYWAY—EVENING

Nick pulls up in his BMW 740. Jackie waits by the dumpster.

JACKIE You said, 6:30, master. You’re late

NICK Stop calling me master. You ain’t a Jedi I ain’t fucking Yoda

Nick gets out of the car, glances up and down the alley

NICK (cont’d) (all business) There’s 2 ½ on the table. Even split. But I control the drop. Even Max won’t know where it’s gonna be until the last moment—so don’t fuck with me

JACKIE With all due respect, how do I know you won’t fuck with me?

NICK You want guarantee go work for Timex

Nick takes his jacket off the hook in the back seat…

NICK (cont’d) Get a passport photo in a suit and tie. Shave and comb your hair normally. I want you looking official

JACKIE Why?

NICK Just do it. And we’ll need you workin’ the night shift, can you angle that?

JACKIE Sure

NICK Good. (moves off, then) Oh, and a couple of insurance investigation are watching me constantly, tapping my phone

JACKIE Which means?…

NICK Welcome to the big leagues

Off Jackie, as Nick enters the kitchen without another word..

CUMMINGS (O.S.) Excuse  me, Bartender!

CUT TO: INT. THE BISTRO. BAR AREA—LATER THAT NIGHT
Cummings gruffly squeezes between a gaggle of GODDESES and leans against the counter. He’s had a few. He calls out…

CUMMINGS I said excuse me!

BARTENDER #1 En moment, Monsieur. En moment

Commings nods, turns to the gaggle beside him and laughs

CUMMINGS En moment, he says. Even “fuck off” sounds batter in French!

Still no response from the goddesses. Then…

BARTENDER #1 Sur la maison, monsieur

CUMMINGS La maison, eh?

Cummings turns. Nick lock eyes with him from across the room

CUMMINGS (cont’d) Ah, well…(raises his glass, calls out) May I have your attention please?!

BARTENDER #! Monsieur, si vous plait…

CUMMINGS I said, may I have your attention please?!!

The restaurant falls SILENT---all eyes on Cummings

CUMMINGS (cont’d) I’d like to make a toast in the grand Irish tradition! To women who won’t give ya the time of day, pricks that refuse to rise without chemical aid, and to thieves who steal for no reason other than the fact that they’re greedy, sick motherfuckers!

He’s smiles—starring right at Nick. No doubt. Cummings then drains his glass to the sound of startled SILENCE

ANGLE NICK—AS A HUNDRED PAIRS OF EYES fall naturally on him, a restaurant full of confused people. Then he looks at the WOMAN in the table nearest him, gestures toward her GLASS of red win

NICK May 1?

WOMAN …Sure

He picks it up, hoists the glass, and says…

NICK I’ll drink to that

He drinks. The laugher starts slowly, then fills the room

EXT. OUTSIDE THE BISTRO—MOMENTS LATER

Cummings exists, pulling on his coat. As he hails a cab….

CUMMINGS Taxi!

As the cab pulls up, Nick steps outside in the B.G.

NICK Cummings! (Cummings turns) You haven’t found a goddamn thing, have you?

CUMMINGS You know, Nick, the only thing you have in common with any thief I’ve ever known, is that somewhere deep down—you want to get caught. (beat) Have a good evening

Off Nick, as Cummings gets into the cab and drives off

CUT TO: EXT. THE ROACH MOTEL—AFTERNOON

Jackie waits on the corner in conservative suit and tie. He wears dark SUNGLASSES, transformed yet again. Burt then pulls up, honks his horn

ANGLE BURT’S CAR—AS JACKIE leans in the passenger window. Burt wears a CAST on his arm

JACKIE Surprise, surprise. Healin’ up okay?

BURT Yeah, how bout you sign my cast

JACKIE Hey, my feet hurt like a bitch, motherfucker

Then Nick’s VOICE comes over the hands-free SPEAKER PHONE

NICK (V.O.) Get in the car, Jackie

JACKIE Where the fuck are you?

INTER-CUT WITH: INT. THE MEN’S CLUB. THE SMOKING ROOM—CONTINUOUS

Nick sits at the window table, on the house p hone, SKETCHING on a pad with charcoal as he talks. In the B.G.  CLUB MEMBERS are gathered at the bar watching a ball game on TV
NICK (into the phone) You’re on need-to-know basis. Now get in. you’re going for a drive

INSIDE THE CAR. DRIVING—MOMENTS LATER

Burt drives through the streets of Montreal

INTER-CUT THE PHONE CALL

NICK You have the photo?

Jackie pulls a small envelope from his pocket

JACKIE Right here

NICK How does he look, Burt?

BURT Like a bureaucrat

NICK Good

Burt tosses Jackie an FBI ID. A blank SPACE for his photo

BURT Just don’t stick your picture in upside down. It’s a dead giveaway

JACKIE Fuck you

NICK In a few minutes, you’re going to knock on the door of a man by the name of the Ralph Saperstien. He works at Ironclad Securities. You will introduce yourselves as agents of the American FBI. Burt will handle the rest of the talking, so keep your mouth shut and you might learn something. Got it?

JACKIE Sounds like a sweet situation

EXT. RESIDENTIAL DISTRICT. MONTREAL—AFTERNOON

Burt and Jackie get out of the car in front of a MODEST HOME INTER-CUT THE SCENE—AS NICK LISTENS FROM THE CLUB

The sound via the cell is SCRATCHY but clear enough

BURT (V.O.) (over the phone) Here we go

ANGLE THE FRONT DOOR---AS BURT sticks the phone in breast pocket, rings Saperstien’s bell. After a moment, the door swings open to REVEAL…a shy, middle aged woman who looks a little frightened of life

MRS. SAPERSTIEN Can I help you?

They flash their badges

BURT FBI. We’d like to speak with Mr. Sapersien. Ralph Saperstien?

Her pupils dilate with concern

MRS. SAPERSTIEN Ralph…

A chunky man with an emphysema-like wheeze, appears in the B.G. The same nervous guy who bumped into Nick in the foyer of the library. RALPH SAPERSTIEN (50s) walks with a LIMP

SAPERSTIEN Yeah?

They flesh thief badges again

BURT Federal Bureau of Investigation, Mr. Saperstien. I’m agent Jeffries, this is agent Teller. May we speak with  you in private, please?

NICK—STRAINS TO HEAR the conversation; fuzzed and muffled by Burt’s jacket pocket

MRS. SAPERSTIEN What have you done, Ralph?

SAPERSTIEN Nothing, nothing

The Club Attendant arrives…

ATTENDANT A plate of olives, sir?

NICK (distracted) Uh…yeah, thanks you

Saperstien limps outside and closes the door behind him

SAPERSTIEN Can we talk out here?

BURT I’ll come to the point. We know someone tried to hack into Ironclad and was offered access for a cool two hundred Gs by a weasel on the

BURT (cont’d) Inside. That weasel would be you, wouldn’t it?

SAPERSTIEN I don’t know what you’re—

JACKIE Shut up

BURT We piggybacked a little virus onto the hacker’s signal, unbeknownst to the hacker, so anyone communication with him is automatically infected. Understand what I’m saying?

Jackie digs the setup, eyes smiling

NICK—PRESSES HARDER ON THE CHARCOAL drawing darker lines as the reception EBBS and comes back

TIGHT ON SAPERSTIEN—AS THE BLOOD DRAINS FROM HIS FACE

SAPERSTIEN Oh my God. What have I done?

BURT You tell me

His wife PEEKS at them through the window curtain

SAPERSTIEN (tearing up, crumbling) Look, I never did anything illegal before, I swear God. It’s just I—Couldn’t meet my obligations…I borrowed too much from the wrong people. Look at this, they broke my kneecap with a hammer

BURT Who did? What are you talking about?

TIGHT ON NICK

He’s picking up every third word

SAPERSTIEN These animals I owe no money too. Russian guys. So I catch someone hacking into my files and I see a financial opportunity, that’s all. I’m not a bad person

JACKIE All right, here’s the deal. Take it or leave it

Burt tosses Jackie a hard look. The mouth is off and running

NICK—CLENCHES AND SITS UP as Jackie gets in Saperstien’s face

JACKIE (cont’d) We wanna catch the thieves, break their ring. Work with us, we’ll look the other way, help clean your debt. If not, we’ll turn you over to the Canadian police right now and send you up river to drown

SAPERSTIEN Okay, okay, anything you want

Nick relaxes a tad as Saperstien swallows the bait

BURT Good. Next time the hacker logs on, you offer to deliver the blueprints and pass-codes in exchange for two hundred in cash. (hands him a CARD) The number’s on the back. Call me when it’s done and we’ll arranges the meeting place

Saperstien wipes the tears from his eyes

SAPERSTIEN Thank you. Thank you both

SMASH TO: INT. INSIDE BURT’S CAR. DRIVING—MOMENTS ALTER

Jackie SQUEALS with delight. Nick is back on the hands-free

JACKIE Oooh, baby-baby! A piggyback virus? Who came up with that shit, master? Was it you? That was sweet

BACK TO NICK—AS HE RISES from his chair, quietly burning…

NICK Listen to me, that was your first test and you failed. Open your mouth again without permission and the deal is off. I don’t care what game you run

JACKIE Fine. Sure, whatever

Click. Nick hangs up, drains his brandy and heads out.

HOLD ON JACKIE—AS BURT DRIVES ON

JACKIE (cont’d) So this hacker guy, he’s part of the crew too?

BURT Too? You’re part of the crew, kid. You’re a piece of dog shit that struck to the sole of his shoe

Jackie just shakes his head

JACKIE Nobody fuckin’ appreciates me

DISSOLVE TO: EXT. THE BISTRO—NIGHT as a CAB pulls up and Joe gets out, looking ravishing

INT. THE BISTRO—MOMENTS LATER

Jean-Hugue opens the door for Joe. The place is EMPTY

JEAN-HUGUE Good evening, mademoiselle

JOE Good evening. Where is everybody?

NICK We’re closed for a private party

Across the room, Nick stands near his normal booth, beside Rene, in his chef whites. The table is set. Off Joe…

JOE (O.S.) So the kid moves to Canada. Then what?

TIME CUT TO: THE SAME—LATER

Dinner is over. Joe spoons the edges of her desert, eyes dreamy with the grasps. Nick sips a glass of port, smokes

NICK He learns how to be invisible

JOE And how is that?

NICK By appearing to be the opposite of what he is

JOE Go on

NICK First he cultivates taste, knowledge of business, art, food…This makes him impressive, but it’s not enough. So he increases his powers of observation. He learns to read people, learns to listen. As a result, he gains access, inspires trust…

JOE Like picking a lock

NICK And when he finds something he wants, he makes the fewest number of moves, and leaves nothing behind

JOE Except what isn’t there

He just looks at her. Jean-Hugue appears

JEAN-HUGUE May I get you anything else, boss?

NICK I think we’ve had it. I’ll lock up

JEAN-HUGUE Merci, boss. A demain

NICK A demain

Jean-Hugue  moves off. Joe extracts a cigarette. Nick lights it

JOE There’s something I don’t understand. Why develop all those skills for such a lowly purpose? To be a great thief instead of a good man?

NICK I’ll introduce you to him sometime. You can ask him yourself

JOE I’m asking him no

Beat.

NICK What about you? Why write about crime? Why not something else?

JOE Because I’m bored by everything else

NICK Then maybe you don’t have to ask him. Maybe you already know

A current passes. Off the moment…

DISSOLVE TO: EXT. JOE’S HOTEL—MUCH LATER THAT NIGHT

The streets are deserted. Joe gets out of a CAB in front of the hotel, heads for the entrance

JACKIE You know, I get beat with a baseball bat, I got bruises al over, and where the fuck are you?

He’s standing under in building doorway just next door

JOE I was out. Who hurt you?

Jackie flicks the butt of his cigarette, approaches

JACKIE Answer the question

JOE What are you, my chaperone?

JACKIE No, I’m your whole fuckin’ story, and don’t you forget it

JOE (a sigh) Look, I’m sorry, I met this couple at a gallery and they invited me to a party on the Isle de Boucherville, all right? The ferry broke down and I was stuck there half the night

JACKIE That’s so loopy it almost sounds true. You smell like sex

JOE It’s Calvin Kline. Now I’m tired, can we catch up tomorrow?

She moves off. He grabs her by the arm and squeezes—TIGHT

JOE (cont’d) You’re hurting me

JACKIE I’m just expressing the innate contradictions in the male-female experience. Besides, I thought you liked it hat way

She jerks her arm free

JOE I like it a lot of ways

Off Jackie, as she heads for the hotel entrance…

EXT. IRONCLAD SECURITY FIRM. MONTREAL—LATER THAT EVENING

Establish. Lights dim for the night. An armed GUARD out front

INT. SAPERSTIEN’S OFFICE

Saperstien sits before his computer, glowing like a lantern in the dark. He taps away at the keys…

CU THE SCREEN—AS HE WRITES

Two hundred thousand in small bills in exchange for blueprints and pass-codes on a floppy. IBM compatible

A security GUARD peeks in the doorway

GUARD Stayin’ late tonight, Mr. Saperstien?

SAPERSTIEN You know how it is. Work, work, work

The guard moves off. Saperstien presses ENTER to send

INT. STEVEN’S BASEMENT—CONTINUOUS as Saperstien’s MESSAGE appears on his screen

CUT STEVEN’S COMPUTER—AS HE REPLIIES

Deal. But make it MAC compatible. Bill Gates is the devil

BACK TO SAPERSTIEN—GETTING STEVEN’S MESSAGE he fumbles for Burt’s card. DIALS the number on the back. He HEARS only FOUR BEEPS on the other end of the phone. A PAGER. He punches in his number and hangs up

INT. A BOXING GYM. CLUB MATCH—CONTINUOUS

Two FIGHTERS go at it as Burt looks on with twenty or so OTEHRS. The paper on his belt VIBRATES. He checks it

INT. THE LIBRARY HALLWAY—NIGHT

Jackie/Brian  is mopping the floor, headphones over his ears, listening to his WALKMAN. The CELL-PHONE is ringing inside his pocket. Danny appears at the other end of the hall, waves to Jackie…

DANNY Hey, kid! Your cell phone’s ringin’!

Jackie pulls the headphones off…

JACKIE/BRIAN What, Mr. Danny?

DANNY Your cell phone

JACKIE/BRIAN Oh, gee, thank you, Mr. Danny (answering) Mommy?

NICK (V.O.) (over the cell) Tomorrow, LaFayette Square, ten pm. Call in sick

INTER CUT WITH:EXT A NEWSSTAND, PAY PHONE. DOWNTOWN—CONTINUOUS

NICK (on the pay phone) There’s an envelope at the bottom of the trash can be the bus stop. Follow the instructions

Click. Nick hangs up

HOLD JACKIE/BRIAN answering like he was still there

JACKIE/BRIAN I will, mommy. I won’t forget

He puts away the phone, pretends to fight a COUGH

DANNY Everything okay?

JACKIE/BRIAN My mother wants to make sure I take my medicine, Mr. Danny. I think I’m coming down with the flu

BACK TO NICK taking an ESQUIRE MAGAZINE off the stand. To the SELLER…

NICK How much?

SELLER Three fifty, monsieur

Nick hands him the money. But as he does, something catches his eye—tweaks his curiosity

He wrinkles his brow and bends to pick a…

N.Y. TIMES—OFF A STACK ON THE GROUND

PUSH IN  on the paper—too quickly to read it. Then…

SELLER (cont’d) Sir?

TIGHT ON NICK as he absorbs what he reads there

SELLER (cont’d) Sir?

Nick looks up

SELLER (cont’d) Your change, sir

NICK (troubled, taking it) Thanks

On the ringing of a phone…

CUT TO: INT. CUMMINGS’ CHEAP HOTEL ROOM—NIGHT as the phone RATTLES the night table. He’s watching TV, eating POPCORN from a bag

CUMMINGS Yeah

NICK (V.O.) (over the phone) It’s Nick

CUMMINGS How’d ya get this number?

INTER-CUT-WITH: INT. NICK’S LOFT—CONTINUOUS

Nick talks on the phone he knows is tapped. The N.Y. TIMES is on the counter in front of him

NICK I just wanted to invite you to dinner

CUMMINGS What?

NICK I don’t think there’s a conflict. We’ve known each other all these years…Why not share a meal?

INTER-CUT-WITH: INT. A BASEMENT OFFICE—CONTINUOUS as Deputy Carol monitors their conversation over the wire, ROLLING TAPE…

CUMMINGS (V.O.) I wanna know how ya got this number

NICK (V.O.) Say ten o-clock? I’m a late eater

CUMMINGS (V.O.) What’s the house specialty?

BACK TO NICK

NICK The sitting duck

CUT TO: EXT. THE BUS STOP. OUTSIDE THE LIBRARY—LATER

Jackie pulls a letter ENVELOPE from the trash can

INT. THE BUS. DRIVING—MOMENTS LATER

Jackie sits in the front seat. He opens the envelope, pulls out a CASSETTE. He sticks it in his walkman, presses play

NICK (V.O.) (on tape) At nine pm tomorrow, Burt will pick you up a white car with phony plates. The two of you will wait on the northwest corner of the square while I make the exchange with Saperstien. I’ll be carrying ten grand passing for two hundred. It’s usually pretty deserted out there, but if a cop shows up while you’re still in the car you’ll pretend to be a couple of gay tourists

Jackie digs it, forgetting himself. he says mumbles loudly…

JACKIE It’s like fuckin’ Mission Impossible or some shit

BUS DRIVER Sorry?

JACKIE Nothin’

NICK (V.O.) (on tape, continuing) Once I make the exchange, you’ll play FBI and slap the cuffs on me. Burt will take the floppy, give Saperstien the ten grand as a show of good faith, and tell him to go home. Understand? This tape will self destruct in three seconds

Jackie stares at the tape, excited. One, two…Nada. Then…

NICK (V.O.) (on tape) You  watch too much TV

Off Jackie, had…

DISSOLVE TO: EXT. MONTREAL SKLINE—TIME LAPSE

The night passes into day and then night again

INT. NICK’S LOFT. THE BATHROOM—EVEING

He lifts a long grey WIG onto his head, tied in a PONYTAIL

EXT. OUTSIDE NICK’S LOFT—A MISTY EVENING POV—THROUGH BINOCULARS

Nick’s bearded TENANT exits the building wearing tinted spec, a leather jacket, and a beret over his shoulder length ponytail. He carries a black SATCHEL. As he walks down the street…

INT. INSIDE A CAR—CONTINUOUS

Mr. Wright lowers his BINOCULARS and sighs with oredom

EXT. THE SIDEWALK—MOMENTS LATER

TRACKING NICK—CONTINUOUS DOWN THE SIDEWALK

Just another French-Canadian artiste out for a stroll

He disappears around the corner and hails a CAB

EXT. LAFAYETTE SQUARE—LATER THAT NIGHT

Nick walks through the mist, down the cobbled PROMENADE THAT RUNS DOWN that runs down the center of the square, carrying the satchel. The promenade is framed by trees, park benches here and there

There are no other pedestrians in the park. Deserted

ANGLE A PARK BENCH—AS NICK

Takes a seat. He checks his watch. 9:50

EXT. STREET CORNER. LAFAYETTE SQUARE—CONTINUOUS

Burt and Jackie wait in a nondescript white car. They are parked facing the square, in the shadows, with a clear VIEW of the promenade. Burt peers through a pair of BINOCULARS

POV—THROUGH THE BINOCULARS

Nick lights a cigarette

BURT There he

BACK TO NICK taking a drag, looking around

CUT TO: EXT. THE BISTRO—NIGHT

Cummings enters the crowded restaurant

EXT. LAFAYETTE SQUARE—NIGHT

 A MERCEDES pulls up, parks across the street, directly opposite Nick and perpendicular to Burt and Jackie. Two MEN in  heavy leather jackets get out of the car with Saperstien

They look like hockey goons. As they cross the street…

NICK  sees them and tighten. But he doesn’t move

BACK TO BURT & JACKIE

Burt SEES them too through the binoculars. He mutters…

BURT That stupid…I told him to come solo

JACKIE What’s wrong?

BURT We got company. I make the two for the Russian goons he told us about

Burt puts down the binoculars, pulls his gun

BURT (cont’d) You take the wheel. I’m gonna double around behind him. Anything happens, ride in like the fuckin’ Calvary

JACKIE Just be careful, sweatie

Burt tosses him a look, gets out of the car

TRACKING SAPERSTIEN—CARRYING THE ENVELOPE

He limps between the two men, nervous as a mouse

SAPERSTIEN Please, just let me handle it. I don’t want any trouble

Goon #1 has a thick Russian accent, slaps him on the back

GOON #1 Act like man. Relax

ANGLE NICK—AS THEY APPROACH

He keeps his cool, stealing himself

SAPERSTIEN Evening, uh…

NICK Deal was  you came alone, friend

SAPERSTIEN These are my associates

NICK I don’t give a shit who they are

SAPERSTIEN How did I know you wouldn’t shoot me once I gave you the floppy?

NICK If I shot ya I couldn’t do business with you again, could I?

NAGLE BURT—MOVIES STEALTHILY THROUGH THE PARK

Using the trees as cover, out of sight

BACK TO NICK—AS GOON #1

Matches the envelope from Saperstien and runs his mouth in a stream of RUSSIAN

NICK (cont’d) (to Saperstien What’s he blathering about?)

SAPERSTIEN (sweating bullets) I owe them money, that’s all. They’re looking after their interests

GOON #1 (mock friendly) You show money. Like Tom Cruise

NICK Tell you what, you show the floppy, I’ll give you the  money, and everybody goes home happy, all right?

GOON #1 Where you from, guy?

NICK Where am I from? Where are YOU from?

GOON #1 I from Russia. But I love Canada. My friends and I we come only two years ago, make a little, how you say? (mimes a gun) Bang-bang? How we run whole city

NICK Is that so?

ANGLE BURT—BEHIND A STATUE

No more than twenty yards away

BACK TO NICK & THE GOONS

As Goon #1 takes a seat beside Jackie—WAY TOO CLOSE. Goon #2 takes a seat on the other side of him. Nice and comfy

GOON #1 See, the Italian, Chinese…They paying me to suck my dick since 1997. So I am much surprised to find some independent like you wanting action without he checking with us first, paying good price for privilege
 

Goon #1 pulls a .44 from his shoulder holster—sticks it in Nick’s ribs. Saperstien goes white

SAPERSTIEN Oh God, fellas, please…

GOON #1 Shut up (to Nick) You understand what I saying?

Nick then SEES Burt appear in the shadows behind Goon #2. He nods to Goo #1 and replies humbly

NICK Oh yeah, I understand. You lost the cold war, you can’t build decent car, and you like it up the ass

As Goon #1’s shock becomes a terminal response…

BURT FREEZE FBI!!

It happens all at once. Goon #2 spins and FIRES at Burt as…

Nick JAMS his elbow down on the Goon #1’s arm, grabs for the gun, and SLUGS him in the throat

BACK TO JACKIE—SEEING IT HAPPEN

He puts her in gear and speeds toward the promenade..

ANGLE  NICK—FIGHTING furiously for the gun with Goon #1. But he won’t let go. They roll off the bench as…

Burt RETURNS FIRE. Bang. Bang. Bright bursts of heat

Goon #2 takes one in the neck, SPRAYING LEAD… and HITTING Saperstien. The bullet WIPES the features off his face like the paw of a grizzly as…

BURT

Staggers, clutching his stomach

BACK TO JACKIE—JUMPING THE CURB

Pedal to the metal, cobble stones THUMPING under his wheels

ANGLE NICK rolling over on the ground with Goon #1, stuggling as..

BURT

Drops to his knees in shock, calling out weakly as..

BURT (cont’d) Nick

TIGHT TWO—AS NICK

Gets the best of Goon #!. He PINS him down, their hands still wrapped around the gun—the barrel JAMMED beneath the goon’s chin

NICK Let it go! Let it go!

CU THE TRIGGER—THEIR FINGERS INTERLOCKED

As Goon #1 refuses to concede, his teeth grinding to powder

NICK (cont’d) Let it go!

Bang. Brain matter explodes from the goon’s skull. Nick reels off him, his face and clothes spattered with blood as…

GOON#2—FATALLY STAGGERED

 But not dead, levels his gun at Nick in the B.G. as…

JACKIE SPPEDS INTO FRAME—HORN BLARING

JACKIE Motherfucker!!!!

GOON #2—WHIRLS

Turns to face 3,000 pounds of oncoming steel as..

THE CAR—CLIFFS HIS GUN-ARM

At full throttle—LIQUEFYING THE BONE. The car SPINS OUT and stops as…

Nick SEES Burt lying  on the cobblestones---face down

NICK Burt

ANGLE BURT—AS NICK TURNS HIM OVER

His eyes blink like the wings of a hummingbird, BLOOD leaking from the end

NICK (cont’d) Burt, Jesus God…Hang on!!

SIRENS in the distance. Jackie grabs the envelope and the satchel, pulls Saperstien’s wallet from his jacket

JACKIE Leave him, man! We gotta get the fuck outta here!

Burt tries to speak. Nick gets very close, trying to hear…

NICK What? What?

Burt manages a last sigh of terminal resignation…

BURT Character…

Burt’s eyes o death-blank. Nick hangs his head, devasted

JACKIE I said, let’s go!

The SIRENS grow closer. Nick looks up at Jackie, his bearings briefly lost. The….

He pulls Burt’s wallet and I.D. from his jacket pockt

CUT TO: INT. THE BISTRO—NIGHT

Cummings site at Nick’s private booth, well into his second cocktail, checking his watch, restless and waiting as…

Jean-Hugue approaches with a bottle of fine RED

JEAN-HUGUE Excuse me, sir. But Monsieur nick has been detained and unfortunately will not be able to dine with you tonight. He ask that you accept this bottle of Chateau DeBrillion ’76 and his sincere apology

Off Cummings, feeling like the sitting duck indeed

CUT TO: INT. JOE’S HOTEL ROOM—NIGHT

She’s at the laptop, writing. The phone rings

JOE (answering) Hello?

JACKIE (V.O.) Chapter eight: Jackie cheats fate. I’ll call you when the coast is clear

JOE Jackie—

Click. Off Joe…

CUT TO: INT. NICK’S LOFT—LATER THAT NIGHT

Camera TRACKS through the space like a disembodied presence, following the sound of a TV NEWS BROADCAST concerning the shoot-out at the square. (It’s big news. Two of the dead are described as  ‘known mobsters”, the other bodies unidentified)

TRACK into THE BEDROOM to FIND…the TV. (We SEE shots of the police, the bodies, etc). The bathroom door is open

INSIDE THE BATHROOM—NICK is in the shower, still in his clothes, his world come apart at the seams

DISSOLVE TO:

INT. THE HALLWAY. NICK’S LOFT—LATER THAT NIGHT

Max raps on the front door. No response. He calls out…

MAX Nicky, it’s me

No response. He tries the knob. The door OPENS

INSIDE NICK’S LOFT—MAX ENTERS to FIND…Nick sitting by the rear window in the dark. The window is WIDE OPEN to the cool night air, the sounds of the city and the harbor wafting in…

MAX (approaching) Jackie called. Are you all right?

ANGLE NICK—STARING OUT THE WINDOW

NICK You who know Jackie is? He’s the bill collector. You and me, we’re finally paying up

There’s a new fatalism in his tone. An eerie resignation

MAX They haven’t caught us yet

Nick turns, locks eyes with him

NICK You’re the anonymous donor, aren’t you?

MAX What?

NICK I checked the provenance on the cards. You don’t need to know the secrets of the Universe to know the only person who’d pay three million to steal a bunch of Tarot Cards had to be the owner himself. Because the owner knew the truth

Max is very still. Nick shakes his head, rises….

NICK (cont’d) It’s in the N.Y. Times today, an article on the Smithsonian. All about some kind of new technology they’ve got to root out forgeries. You said that’s where the cards were headed, right? Once the truth came out, ancient objects insured for 25 million, wouldn’t be worth a damn (beat) Would they?

Max lowers his eyes

MAX No. they wouldn’t be worth a damn

NICK Why didn’t you tell me?

Max takes a deep breath, sighs…

MAX Every link is a weak l ink, darling. You simply didn’t need to know

Nick takes Max’s head in his hands with almost unbearable intensity…

NICK I blew a man’s brains out tonight, Max! There’s a link for you! My friend is dead! My friend is dead!

MAX I’m sorry…I’m sorry….

There are tears in Nick’s eyes. After a moment, he lets him go and turns away. Then, trying  to regain his composure

NICK Tell “the buyer” the job just got more expensive. I want another million on top of Jackie’s cut—and half my total share in diamonds. We pull the job day after tomorrow and then I disappear for good

MAX Don’t do it for me, Nicky. If you need to go, just go. Go tonight

NICK It’s not about you anymore, Max. It’s about the money

It cuts like a blade. Max’s mouth is open to speak, but nothing comes out

FADE TO BLACKE: FADE IN: EXT. STEVEN’S HOUSE—LATE AFTERNOON

Nick and Jackie (dressed for work as Brian, but not behaving like him) wait at the door. SHOES are lined up on the porch. The door then opens as far as the chain will allow…

STEVEN You’re late. My mom’s supposed to be home in a half an hour

NICK Let us in, Steven

STEVEN Take off your shoes

INSIDE THE HOUSE It’s decorated Hippie-style. The feeling is musty, oppressive. There’s a PHOTO of Steven’s mother. (See Mama Case)

Steven gives Jackie/Brian the once-over

STEVEN Who’s the retard?

JACKIE When was the last time they let you out your cage, man? That word is out of fashion

NICK This is Jackie. Brian’s his alter-ego. Our inside man

STEVEN  Jackie? What are you, a comedian?

JACKIE Why, are you a joke?

Steven turns to Nick

STEVEN I don’t like him

INSIDE THE BASEMENT—MOMENTS LATER

They head down the stairs. Humidifiers hum

JACKIE Sweet little situation you got here, Steven

STEVEN  Don’t touch anything. I just disinfected

ANGLE STEVEN’ST COMPUTER—AS HE TAKES A SEAT

BLUEPRINTS of the security system appear ON SCREEN

STEVEN (cont’d) There’s good news and bad news. Anytime security is breached, the police are automatically signaled by phone line. So cutting the line’s as good as setting off the alarm

NICK What’s the good news?

STEVEN The good news is, the entire system is monitored  by computer and with these pass codes I can trigger the perimeter alarm from here (eyes the blueprints) The circuit control box is hidden behind an air conditioning vent in a room outside the monitoring station. Is there a green room of some kind?

JACKIE There’s like a little lounge area

STEVEN That’s where it is. Once the alarm is turned off, you can rewire it to go from a closed to an open circuit

JACKIE Just like that, huh?

STEVEN Change six little wires and you could ride out the front door on an elephant and no one would know it

NICK Aren’t there 3 tiers to the system?

STEVEN Three, yeah

JACKIE I thought there were only two?

STEVEN Are you doubting me?

JACKIE I’m not doubting you, I’m---

STEVEN (to Nick, very agitated) He’s doubting me. He comes into MY world and DOUBTS me!

NICK Steven…

STEVEN I am in a state of complete LOATHING with this person. I want that understood

JACKIE The feeling’s mutual geek

NICK Shut up, both of you. Just go on

Steven takes a breath

STEVEN There are 3 systems. 3 as in 3. The 3rd is the simplest but also the trickiest. There are these grids of electrical conducting tape hidden in floor and running up the wall. They’re connected to a separate room alarm at the base of the ceiling, almost like a smoke alarm. Even with the building alarm and the motion sensors off, you crack open that display case—

NICK We’re gonna get an earful

STEVEN Exactamento

JACKIE Why can’t we just cut the electricity?

STEVEN Cut the electricity?! How about an automatic police response? HEL-LO?! Where’d you find this dufus, Nick?

NICK Finish what you were saying, Steven

STEVEN Well tell him not to speak

NICK Don’t speak

Jackie shakes his head, finds it almost amusing

STEVEN The only way to defeat that alarm is kill it. Open it up, rip its guts out

JACKIE How’d you tow find each other anyway? I bet that’s a wack little tale

NICK He said don’t speak (beat, to Steven) How high up is the alarm?

STEVEN According to this, it’s 15 feet

JACKIE (to Nick) What are you gonna do, drop through the roof, Mission Impossible style?

STEVEN OH MY GOD! That was total horseshit! Hanging  by those wires? One drop of sweat and he’s a goner? Five dollar motion sensor from K-MART nabs him easy! (to Nick) Where’d you get this wannabe?

JACKIE It’s a good question!

Nick rises and takes a breath

NICK Steven, I want you to set off the alarm tonight, say one or two in the entry, so they’ll chalk it up to the wind. We’ll clock it, see how long before they reset the alarm. (to Jackie) That’ll be all the time you have rewire the circuit

JACKIE Another fuckin’ test, huh?

NICK Just before quitting time, you plead a sudden case of food poisoning, ask to lie down in the lounge. Once the alarm goes off, you should be alone long enough to do the rewiring while the guards search the building. When you’re done, go back to your motel room and wait for me to contact you

JACKIE What about you?

NICK That you don’t need to know

JACKIE I don’t, huh?

NICK No. Steven will now instruct you in the fine art of splicing

Nick heads back up the basement stairs. Steven picks up a handful of multicolored WIRES, shakes them in front of Jackie

STEVEN Ready, genius?

Off Jackie…

CUT TO: EXT. THE LIBRARY—NIGHT as the ALARM BELL rings out

INSIDE THE LIBRARY—JACKIE/BRIAN stands at the top of the grand staircase with MOP in hand as MR. TOMS (60, head of security) and two SECURITY GUARDS  hurry across the foyer below. Unlike the other guards, Toms wears a suit and tie-and proud of it. Jackie checks his watch

EXT. LIBRARY GROUNDS—MOMENTS LATER

Mr. Toms and the guards SCAN the area with a FLASHLIGHT to FIND…nothing but leaves skating across the stone

EXT. ENTRANCE OF THE LIBRARY—LATER

Tow POLICE CARS roll up as Mr. Toms comes out the front doors

OFFICER #! Everything all right?

MR. TOMS (a cockney accent) Just the wind, sir. System’s touches than the little woman

INT. STEVEN’S BASEMENT—CONTINUOUS

Steven is at the computer, the alarm BLUEPRINTS on screen—a RED BAR BLINDING. He’s got Nick on the speaker phone…

STEVEN (to the speaker phone) It’s still on

INT. NICK’S LOFT—CONTINUOUS

Nick stands at the window, on the cell phone. He has a STOP WATHC in hadn-ticking…

BACK TO STEVEN’S COMPUTER SCREEN—AS THE RED BAR goes BLUE

STEVEN  The alarm’s back on. It’s back on

BACK TO NICK as Nick stops the watch, checks it

NICK Eight minutes. Is that enough

STEVEN (over the phone) All the retard has to remember is black to red, green to blue, white to yellow. Can he handle that?

TIME CUT TO: INT. NICK’S KITCHEN—LATER THAT NIGHT

Nick slides the refrigerator out of its nook to REVEAL a secret DOOR. H e opens it and goes…

INSIDE A SMALL WORK ROOM

All his tools are here. Drills, tape player, wires, UV light etc. On the work table is a fairly hefty BRIEFCASE with a large SLEEVE in the trunk and a TANK of pressurized air in the well. Beside the thank, secured to the well of the case, are a pair of heavy COILED SPRINGS with attachments, and two DIALS for PRESSURE and WEIGHT. Nick then…
Picks up a METAL PADDLE, similar in shape to a ping pong paddle—THEN INCHES IN DIAMETER. Using an electric SCREWDRIVER…he begins securing the paddle to the springs

TIME CUT TO: THE SAME—LATER

The paddle is in place. He sets the air pressure, burning the switch on the tank. A soft HISS as the NEEDLE on the dial rises into the RED. Then he picks up a small REMOTE CONTROL and presses the button

BANG! The paddle pops straight up with considerable force

He folds the paddle back into position, closes the case…and spins the four numbered COMBINATION lock

TIME CUT TO: INT. NICK’S LOFT—THE NEXT DAY

Nick puts on his raincoat. THE CASE is on the counter by the phone. He picks up the phone, speed-dials a number

It rings twice on the other end. Then we HEAR the outgoing message on Burt’s answering MACHINE

BURT (V.O.) (over the phone) Hi, this is Burt. I’m probably out wastin’ money, so leave a message and I’ll get back to ya

Bepp.

TIGHT ON NICK hesitating, his throat constricted by the loss. Then…

NICK Burt, it’s Nick. I’ll meet you at Churchill Fields at midnight

He puts down the phone. The he takes one last look around the loft. At all his things. His objects. Then…he walks out the door.

INT. A BASEMENT OFFICE—CONTINOUS

Deputy Carol is ROLLING TAPE, writing the words: CHURCHILL FILEDS on her pad. She picks up the phone, dials. Then…

DEPUTY CAROL (into the phone) Inspector? Are you familiar with a Churchill Fields?

MR. WRIGHT (V.O.) (over the phone) It’s a small airport, just outside of town

DEPUTY CAROL Wells and Mr. Slotnick are meeting there at midnight tonight

CUT TO: EXT. DOWNTOWN PARKING GARAGE—LATE AFTERNOON

Nick pulls his ticket and drives in

INT. THE PARKING GARAGE—MOMENTS LATER

Nick parks beside one of those old VW vans, painted wildly in the style of the flower children. He gets out of the car as Steven gets out of the van. Steven’s not all that pleased about being free of his hermetically sealed environment jumpy as hell, eyebrows TWITCHING nervously

NICK Hanging in there?

STEVEN I increased my dosage, but I still don’t like it. It’s smoggy. It’s loud…it’s chaos out here, man. It’ll swallow you up and spit you out

Nick takes his RAINCOAT off the hook in the back seat and puts it on

NICK You’ll be home soon, don’t worry

Nick takes THE CASE out of the trunk and hands it to Steven along with his car KEYS

NICK (cont’d) When you’re done, path it in the lot near the subway station

EX.T OUTSIDE THE GARAGE—MOMENTS LATER

Steven exits onto the sidewalk, carrying THE CASE, stepping gingerly, as if the ground were hot instead of cold as…

Nick appears a moment after, and crosses the street against

INT. THE LIBRARY. BAG-CHECK AREA—LATE AFTERNOON

Steven hands THE CASE to the check-girl and receives his STUB

CHECK GIRL We close at six

INT. JOE’S HOTEL—LATE AFTERNOON

She’s in bed, writing on the laptop. The phone rings

JOE (answering) Hello?

NICK (V.O.) (over the phone) It’s Nick

JOE I was wondering what happened to you

INTER-CUT WITH:

EXT. A PHONE BOOTH. DOWNTOWN—CONTINUOUS

NICK (into the phone) Mind if I come up for a minute? I’m only a coupe of blocks from you

JOE Um…

Joe looks around. Bit of a mess. Checks herself in the mirror

JOE (cont’d) Can you give me fiftenn minutes?

TIME CUT TO: INT. JOE’S HOTEL ROOM—MOMENTS LATER

A knock. Joe comes out of the bathroom, quickly freshened…

JOE Coming..

She opens the door in FIND…Jackie—dressed as Brian

JACKIE/BRIAN (acting the part) Special Olympics

JOE Jackie

JACKIE (dropping the act) Expecting someone else?

JOE No, no, I---

JACKIE (entering) What?

She closes the door behind him..

JOE Actually, I was on m y way out

JACKIE Out, out. Always goin’ out. You oughts stay in and write this epic

Jackie tosses a pair of AIRLINE TICKETS on the bed

JACKIE (cont’d) So there they are, baby. Two tickets to paradise. This time tomorrow we’ll be on out way to Cancun and I’ll give you enough crazy shit to win you a prize. The money’s gonna get wired direct. Just wish I had it now, so I wouldn’t have to fly coach

JOE I saw it on the news, Jackie. They said four people were dead

JACKIE Correction, four assholes are dead and I nearly go tmy head blown off, but thanks for caring

She just looks at him

JACKIE (cont’d) What?

JOE Did you kill anyone?

JACKIE (dismissive) You spent half your life goin’ to crime scenes just to smell the blood

JOE I said, did you kill anyone?

Beat. He makes a dismissive, almost sheepish face

JACKIE I’m not proud of it, but I ran for my life

She’s hardly convinced

EXT. JOE’S HOTEL—CONTINUOUSE

Nick approaches the building, enters. The…

BACK TO JOE & JACKIE

JACKIE One thing I can tell ya, is the master lost complete control. Motherfucker went off like a pipe bomb. Makes me almost afraid to go through with it

JOE What do you mean?

JACKIE I mean he’s a fuckin’ killer.  (pulls her close) Now gimme some juice. I need a boost

He tries to kiss her. She recoils

JOE (re: the Brian getup) It’s hard to kiss you when you look like this

He stares at her, suspicious. Then he glances at his watch

JACKIE Well…duty calls

JOE Good luck

He nods, moves to the door. Then he pauses and turns back

JACKIE (icy) I can still trust you, can’t I, Joe? Cause trust is the cornerstone of healthy
Relations

Off Joe, feeling the palpable threat…

INSIDE THE HOTEL HALLWAY—MOMENTS LATER Nick gets out and heads down the hall just as…the DOOR to the stairwell creaks slowly closed in the B.G.

ANGLE NICK—PAUSING TO LOOK BACK

As the door clicks shut

INSIDE THE STAIRWELL—CONTINUOUS

Jackie leans against the wall with his mouth open—stunned

JACKIE You fuckin’ little cunt

He tires to catch his breath. He GRIPS the doorknob. Should he go back and confront them? Goddamn it. He checks his watch

No. there’s a better way. As he heads down the stairs

JOE (O.S.) Can I can get you anything? There’s little bottles of—

INT. JOE’S HOTEL ROOM—JOE

Moves to the bar-fridge, trying to conceal her racing heart

NICK No, that’s okay. I can’t stay long

There’s vulnerability about him now. He’s staring down the tunnel, seeing the light of the oncoming train

She twists the top off a little bottle of SCOTCH

JOE You don’t mind if I indulge, do you?

NICK Not at all

She drops a cube into a glass, empties the bottle. He glances at her laptop

NICK (cont’d) So how’s the writing coming?

JOE I need more detail (raises the glass) Cheers

NICK Cheers

She drinks. A larger than average swallow

NICK (cont’d) So how long id you say you were in town for?

JOE I didn’t. why?

NICK I was thinking of heading south for awhile. I have a little seabird. Thought I’d head down to Rio, Costa Rica maybe

JOE A seabird. I like the sound of that

NICK There’s a hotel in the middle of the rain forest. Monkeys hanging from the trees outside your balcony…We could touch down on the Amazon, ski into a private lagoon. There’d be no obligation to—

JOE Sleep with you?

He just looks at her

JOE (cont’d) Actually, I like to get as close as possible to my subjects

NICK What happens to objectivity?

JOE There’s no such thing (beat) When would you leave?

NICK Tomorrow

JOE Tomorrow

He nods. Beat. She knows he’s pulling the job

JOE (cont’d) Sounds like a sweet situation

Beat. Nick visibly darkens

NICK What?

JOE I said it sounds like a…(catches herself, tries to cover) sweet situation. It’s from an old Professor Longhair song. “A Sweet Situation”. He was the King of New Orleans

NICK Oh (beat) Tell you what, if it’s a yes, meet me in front of your hotel at noon.

JOE Just like that?

NICK Anything for a story, right?

Off Joe…

CUT TO: INT. THE HALLWAY. OUTSIDE JOE’S ROOM—NICK EXITS and closes the door behind him. His face is as hard as stone.

INSIDE JOE’S ROOM—JOE moves to the phone, cursing her stupidity. She dials 411. It rings. She lights a cigarette. Her hand SHAKES

OPERATOR (V.O.) (over the phone) What city and listening, please?

JOE Montreal. Harcourt & Abbey Insurance Company

EXT. THE LIBRARY STEPS—DUSK

Nick climbs the steps and enters the building

INT. OFFICES OF HARCOURT  & ABBERY—DUSK

Mr. Wright is at his desk. His SECRETARY appears in the doorway

SECRETARY There’s someone on the line for Inspector Cummings, sir. Says it’s urgent

Mr. Wright picks up..

MR. WRIGHT (into the phone) This is Inspector Wright, can I help you?

INT. THE LIBRARY FOYER—DUSK

Nick passes through the METAL DETECTORS, still wearing the raincoat. He heads up the grand staircase, passing a SECURITY GUARD named LARRY  (65)

INSIDE CUMMINGS CAR. TWO LANE ROAD. DRIVING—LATE AFTERNOON

Cummings call phone rings as he and Deputy Carol pass beneath a SIGN that reads: CHURCHILL FIELDS 2 MILES

CUMMINGS (answering) Cummings

MR. WRIGHT (V.O.) (over the phone) Inspector, I just received a rather odd tipwith regard to the Library of Antiquities

Off Cummings, listening to the news…

EXT. THE TWO LANE ROAD—MOMENTS LATER

Cummings turns the car around and heads back to the city

EXT. THE LIBRARY—DUSK

Nick sits reading a book like an ordinary Library-goer

A VOICE (V.O.) (over the intercom) The Library will be closing in five minues. Please head for the exits

As he looks up…

INT. FIRST FLOOR—MOMENTS LATER

Jackie/Brian wheels his MOP & BUCKET out of the JANITOR’S CLOSET, leaving the door open as…

Nick approaches in the B.G.—wearing GLOVES. They lock eyes for a beat before…

As elderly VOLUNTEER appears at the opposite end of the hall. Jackie/Brian tries to district her..

JACKIE/BRIAN (slow, shy) Mrs. Hartley, may I …Could I…

VOLUNTEER Yes, Brian?

JACKIE/BRIAN Well, I was just wondering, um…If you, you know, like, diddle yourself?

VOLUNTEER Excuse me?

ANGLE NICK slipping into the janitor’s closet unseen

JACKIE/BRIAN I mean, will that make you go blind?

VOLUNTEER Well, I’m not going to encourage you to …diddle yourself all day, Brian, but your mother is medically mistaken

Off Jackie/Brian, turning back as she heads off…

INT. THE JANITOR’S CLOSET—MOMENTS LATER

Nick is wedged behind some BIG CARDBOARD BOXES of detergent. Jackie then peeks his head in the door…

JACKIE ‘nighty night

And shuts off the lights. The door clicks shut

TIGHT ON NICK’S EYES—IN COMPLETE DARKNESS

Like a cat’s

OUTSIDE THE LIBRARY—THE SKY DARKENS WITH PAIN

As the last the group of LIBRARY-GOERS exits the building and Larry the Security Guard locks the doors from the inside

DETECTIVE RUGAT (O.S) But she refused to identify either Mr. Wells or this other individual by name

INT. POLICE HEADQUARTERS. RUGATS’S OFFICE—NIGHT

Det. Rugat is at his desk. Cummings stands before him with Deputy Carol

CUMMINGS She fears for her life. Is she told us their names the trail back to her would be too obvious

DETECTIVE RUGAT (O.S.) Are you suggesting that Mr. Wells would be stupid enough to attempt such a theft right under you nose?

CUMMINGS Stupid isn’t the word I would use. Arrogant, perhaps. All I know, is that the woman asked to speak directly the violence of the other night and the man she knew I was interested in. now how would she know that?

Rugat presses his speaker button

DETECTIVE RUGAT (into the speaker) Have we received the I.D. on that third body, yet, Mrs. Montgomrie?

SECURITY (V.O.) (over the speaker) Yes sir. It just came in, sir

DETECTIVE RUGAT Would you bring it in, please? And ask Detective Samuels to pop by. (the, to Cummings) We received the first fingerprint analyses on one of the bodies. We should get the last one in tomorrow

The Secretary enters, carrying a FOLDER. Rugat takes the folder, opens it, examines the contains. Then…

DETECTIVE RUGAT (cont’d) Does the name Burt Slotnick mean anything to you?

Cummings exchanges a glance with Deputy Carol

CUMMINGS Only that he was Wells’ best friend

DEPUTY CAROL But that’s odd
DETECTIVE RUGAT Sorry?

DEPUTY CAROL He left a message for him this afternoon, telling Mr. Slotnick to meet him at Churchill Fields

DETECTIVE RUGAT Who left a message?

She realizes her mistake, looks at Cummings. He covers…

CUMMING She was following Mr. Wells this morning, overheard him on the phone

DETECTIVE RUGAT Following him rather closely I should say

CUMMINGS Ears like a rabbit, sir

Beat.

DETECTIVE RUGAT You haven’t crossed the line, have you, Inspector?

CUMMINGS No, sir

Rugat is not quite convinced. Detective Samuels enters

DETECTIVE SAMUELS You wanted to see me, sir?

DETECTIVE RUGAT I want you to stake out the Library of Antiquities tonight. It seems something might be up

CUT TO: INT. STEVEN’S BASEMENT—NIGHT

 Steven is at the computer, checks his CLOCK. It reads: 12:30

DISSOLVE TO: INSIDE THE LIBRARY—JACKIE/BRIAN mops the stairs on the grand staircase. He glances at the CLOCK above the foyer. The hands read: 1:30

INSIDE THE HALLWAY—FIRST FLOCK

Danny walks toward the closet, JINGLING his keys

INSIDE THE JANITOR’S CLOSET—MOMENTS LATER

The door opens. The lights go on. Danny takes something from the closet

TIGHT ON NICK hearing the door close after him

INSIDE THE FOYER—MOMENTS LATER

Larry, the old guard, sits in a chair at the bottom of the grand staircase, SNORING. Danny empties the trash nearby

JACKIE/BRIAN Danny?

Jackie/Brian appears behind him with mop and bucket

JACKIE/BRIAN (cont’d) (feigning queasiness) May I lie down for awhile please? I’m not feeling so good

EXT. THE LIBRARY—CONTINUOUS

Cummings sits in his car across the street with Deputy Carol. He pulls out a FLAME and takes a sip of the dog

EXT. THE REAR OF THE LIBRARY—CONTINUOUS

Detective Samuels sits in his car with a view of the back of the building and the park that surrounds it

INT. STEVEN’S LAIR—STEVEN is at the computer. His clock reads: 2:30 A.M.

STEVEN All right, retard, don’t fuck it up

As he logs on…

INSIDE THE LOUNGE AREA—JACKIE-BRIAN

Lies on the couch, staring at the HEATING VENT as…Mr. Toms passes by the open doorway

MR. TOMS Y’alright, young man?

JACKIE/BRIAN (very weak) Tummy ache

Just then, the ALARM rings out

MR. TOMS Aw, for goodnessake. Here we go again

BACK TO CUMMINGS—IN THE CAR

He HEARS the alarm

CUMMINGS Well, whaddya know

BACK TO NICK—HEARING THE ALARM

He checks the glowing hands of his watch. Right on time

INT. THE LOUNGE—MOMENTS ALTER

Jackie hops off the couch, looks down the hell, closes the door and locks it. As he starts unscrewing the grating…

EXT. THE LIBRARY GARDENS—MOMENTS LATER

Mr. Toms and two to other GUARDS come out of the building with FLASHLIGHTS and scan to FIND…Cummings, Deputy Carol, and Detective Samuels behind the gate that surrounds the garden

CUMMING Good evening, sir

MR. TOMS Who in the blazes are you?

BACK TO JACKIE/BRIAN—AS HE REMOVES THE GRATE to FIND…the CIRCUIT CONTROL. He pops the lid off. SIX WIRES intertwined, each a different color. He whips out a WIRE CUTTER. Then, under his breath…

JACKIE/BRIAN Black t blue, green to—No, black to green, blue to---(can’t remember) SHIT!

As he whips out his CELL PHONE..

INTER CUT WITH: INT. STEVEN’S BASEMENT—CONTINUOUS

As the phone rings beside his computer. He picks up just as his MOTHER picks up o n the other end

STEVEN Well?

MOTHER (V.O.) Who is this?

STEVEN GET OFF MY  LINE, MOTHER!

MOTHER (V.O.) Well who on earth is calling you at two thirty in the morning, Steven?! (re: the alarm in the B.G.) And what is that noise?

STEVEN NONE OF YOU BUSINESS! NOW GET OFF!

JACKIE (desperate) Steven, I forgot the colors

STEVEN You what?

JACKIE The colors! I forgot the colors!

MOTHER Who is thief?!!

STEVEN GET OFF THE PHONE, YOU BITCH!

MOTHER Who are you involved with Steven? Are you selling drugs, is that it?

STEVEN I DON’T SELL DRUGS,  YOU HAG, I USE THEM, I ALSO DEAL IN WHITE SLAVERY AND STOLEN BODY PARTS, IS THAT WHAT YOU WANT TO HEAR?!!

Jackie checks the clock. Seconds ticking past…

JACKIE Steven!  We’re running out of time!

STEVEN HOW COULD YOU FORGET THE FUCKING COLOR?!

MOTHER I’m going to call the police, Steven! You hear me?! I’ve had it!

She BANGS down the phone. Steven calls out up the stairs…

STEVEN YOU MAKE MY LIFE A LIVING HELL! (distraught to Jackie) She makes me want to kill myself!

JACKIE Would you calm down, motherfucker! I can’t remember my wires!

STEVEN BLACK TO RED, GREEN TO BLUE, WHITE TO YELLOW, YOU FUCKING RETARD!

JACKIE/BRIAN Black to red, green to blue, white to yellow. Black to red, green to blue, white to yellow

Jackie clicks off. As he prepares to splice…

INSIDE TO JAKCIE/BRIAN—MADLY SPLICING

The black wire to the red wire, dripping sweat..

JACKIE/BRIAN Black to red, green to blue, red to—

He pulls his hands away. Voila. The Perimeter light goes on

INSIDE A HALLWAY—MOMENTS LATER

Mr. Toms and the others head down the hall

DETECTIVE SAMUELS How many guards and janitors are still on duty, Mr. Toms?

MR. TOMS Beside myself, four. All upstanding men. I assure you

CUMMINGS And the janitors?

BACK TO NICK—INSIDE THE CLOSET

He HEARS their muffled conversation, recognizes that brogue

MR. TOMS (O.S) They’ve all gone home. Uh, except one, that is

BACK TO CUMMINGS

CUMMINGS And who would that be?

INT. THE LOUNGE—MOMENTS LATER

Cummings and the others enter to FIND…an empty room

MR.TOMS Hmm, he was just here. (into the walkie-talkie) Donald, have you seen Brian?

SECURITY GUARD (over the talkie) He went home a few minutes ago, sir

MR. TOMS (to Cummings) He wouldn’t help you much anyway. Poor kid is mentally challenged. Lives with his mother, watches Star Trek all day

EXT. THE SIDEWALK. OUTSIDE THE LIBRARY—NIGHT

Jackie walks away from building, turns a corner

INT. THE LIBRARY—MOMENTS LATER

SERIES OF CUTS & DISSOLVES:

Mr. Toms, Cummings and the others search the building. They  open doors, look through rooms, check, locks, etc. then…

INT. THE HALLWAY. OUTSIDE THE JANITOR’S CLOSET—LATER

Mr. Toms unlocks the door, opens it, turns on the light

MR. TOMS This is the last of it

Cummings enters the room, between the narrow corridor of BOXES to FIND…an EMPTY SPACE where Nick used to be. Cummings then OPENS one of the boxes, stacked atop another GALLOWS of liquid detergent inside. As he looks up..

TILT to FIND the grating of an AIR VENT

CUMMINGS Toss me your flashlight, will ya, Mr. Toms?

Mr. Toms tosses it. Cummings climbs atop the boxes, points the flashlight into the vent, peering through the slate. Nothing. All four SCREWS are tight

CUMMINGS (cont’d) Very well the

Cummings gets down, heads out. Mr. Toms turns off the light and shuts the door behind him. After a moment…

IN ALMOST TOTAL DARKNESS—THE BOX that Cummings opened MOVES a little. Then a little more. Until it slides off the one beneath it and TIPS over. Two bottles of detergent tumble onto the floor. Then…

Nick emerges, panting, covered in sweat

MR. TOMS. (O.S) Truth is, they never catch the smart ones

EXT. THE LIBRARY SERVICE ENTRANCE. RAINING—MOMENTS LATER

Mr. Toms shows Cummings and the others the door

MR. TOMS It’s just most criminals are too dumb to make a go in the real world. Look at those Berkeley radicals. The ones from the 60s? FBI after them for 25 years, what. Only reason they caught ‘em is they turned themselves in

Off Cummings…

EXT. THE STREET OUTSIDE THE LIBRARY. RAINING—MOMENTS LATER

Detective Samuels, Cummings, and Deputy Carol approach Cummings’ car in the downpour

DETECTIVE SAMUELS Mr. Cummings, with all due respect, I think we’ve been had

CUMMINGS (nods) I think I’ll hang about anyway, if ya don’t mind. Would you give my Deputy a lift to her hotel?

DEPUTY CAROL But—

CUMMINGS I won’t be very good company tonight

INT. LIBRARY HALLWAY—LATER

Nick emerges from the janitor’s closest. There above the archway, is the MOTION SENSOR

He waves hand in front of it. Nothing happens.

INT. THE BAG CHECK AREA—NICK

Works the lock with two metal PRONGS and a JIMMY

INSIDE THE BAG-CHECK AREA—NICK

Switches on the light. He ducks beneath the counter, finds the CASE in the corner in the bin market: LOST AND FOUND

OUTSIDE THE BAG-CHECK AREA—MOMENTS LATER

Nick sticks his head out the door. The coast is clear

TRACKING NICK climbing the grand staircase in the dark

INT. CORRIDOR OF ARCHES—MOMENTS LATER

Nick walks quickly down the corridor, carrying the case

INT. THE EXHIBIT ROM—NICK ENTERS

The rain spatters the skylight. He places the case on the floor and opens it. He secures the plastic band of the miner’s light to his forehead. The PIN-SPOT of light dances on the well and lands…

ON THE TAROT CARD—BRIEFLY ILLUMINATING

The naked woman in the cosmic wheel with the snakes around her throat. TILT UP to FIND the ALARM BOX, fifteen high. It’s red light BLINKS in the dark. Then Nick takes off his coat, peals back the Velcro from the inner lining to REVEAL a secret POCKET. Out of which he removes a heavy duty SQUIRT GUN in TWO PIECES. He screws the plastic barrel to the gun handle, the chamber sloshing with water

ANGLE THE MEDIEVAL TALBE—AS NICK climbs on top of it. He AIMS the gun and FIRES.  A long and powerful stream of water arcs through the air and SPRAYS

The several SPARKS burst from it’s plastic shell and it short a itself out with a little ZZZT-ZZZT sound. The Red light dies.

Off Nick..

INT. THE LIBRARY FOYER—OLD LARRY

Takes his seat at the bottom of the grand staircase and settles in, hearing nothing as…

INT. THE LOUNGE—CONTINUOUS

Mr. Toms and the other guars settle down for a game of CARDS

EXT. AN ALLEYWAY. RAINING—NIGHT as Jackie pulls a REVOLVER from bottom of a trash bin and tucks it in his belt

EXT. THE SIDEWALK. RAINING—MOMENTS LATER

Jackie puts on his helmet, hops on his motorcycle, and speeds off..

BACK TO NICK—POPPING THE WOODEN FRAME

Off the glass that covers the first set of cards. He takes the glass out whole and lays it on the ground. He then takes a RAZOR BLADE a slice into the mounting…

Cutting along the outline of each card

EXT. OUTSIDE THE LIBRARY. RAINING—CONTINUOUS

Cummings sits in the car, rubbing the fog off the rainy window glass, his attention still on the Library as..

CUMMINGS’ POV—SLOW MOTION

Jackie’s MOTORCYCLE rolls down the street in the other direction, his EYES finding Cummings behind the glass

JACKIE’S POV—ROLLING BY as Cummings’ eyes follow him past

BACK TO NICK—FINISHING UP

He slips the cards into the sleeve in the trunk of the case, shuts it, and spins the combination lock

BACK TO CUMMINGS—IN THE CAR as Jackie, wearing his helmet, RAPS on the window

JACKIE Excuse me! Can you help me, pleased?!

CUMMINGS What is it?

JACKIE There’s a man in the street. I think he’s dead!

Cummings rolls down the window

CUMMINGS What , where?

JACKIE Right over there!

Bam. Jackie SMASHES him in the EYE with the handle of his gun. Then he leans in the and batters him in the head again

As Cummings’ world goes dark…

INT. THE LIBRARY—MOMENTS LATER

Nick walks gingerly across the second story landing, carrying the case. At the end of the CORRID is a DOOR identified with a glowing EXIT SIGN. He pauses and then..

HEARS the sound of Larry’s SNORES from down the stairs

ANGLE THE SECOND STORY LANDING—AS NICK arrives at the top of the grand staircase and looks down. After a moment’s hesitation, he proceeds down the stairs

He does not rush. He measures his steps like the last decent

ANGLE LARRY—SOUND ASLEEP as Nick passes, headed for the front door

EXT. OUTSIDE THE LIBRARY. RAINING—JUST BEFORE DAWN

The streets are deserted, gutters flush with rain as…Nick exits, turning to shut the door  quietly behind him. BOOM!

Jackie SMASHES his gun on the back of his head. He goes down, dropping the case. Then…

ANGLE NICK—CLINGING TO CONSCIOUSNESS as Jackie LOOMS over him in a BLUR

JACKIE You had to walk out the front door, didn’t you, master? I knew you couldn’t resist

NICK (woozy) Fuck you…

Jackie puts the gun to Nick’s head

JACKIE No fuck you. It’s gonna be the coolest Heist story ever told and you’re just the second banana. Now tell me the combination

NICK Why should I tell you…when you’re going to kill me anyway?

JACKIE Cause if you tell me, I won’t shoot you in the balls first. I’ll just put a bullet through your head and be done with it

Nick manages a hod, replies weakly..

NICK 6, 3, 7,

JACKIE You wouldn’t trick me now, would ya?

Jackie sets the numbers..

Jackie (cont’d) 6, 3, 7

ANGEL NICK—SLIPPING HIS HAND into his coat pocket, and grabbing hold of the REMOVE as…Jackie OPENS the case, leaning forward as he does, perplexed by what he sees inside. Bang.

THE PADDLE—SLAMS INTO JACKIE’S FACE crushing the bones to SPLINTERS. The gun files from his hand and SKIDS across the stone as…

INSIDE THE LIBRARY—LARRY THE SECURITY GUARD jerks awake, eyes blinking and…

INSIDE CUMMINGS’ CAR—CUMMINGS emerges from unconsciousness, his face swollen and bloody

BACK TO NICK—TRYING TO STAND on WOBBLY legs. Jackie is SPITTING teeth and blood, monstrous with blood, also trying to stand

BACK TO LARRY—RISING FROM HIS CHAIR

He SEES two figures—OBSCURED through the rain-blurred doors

ANGLE JACKIE—TEETERING LIKE A PUNCH DRUNK FIGHTER

He reaches out for ropes that aren’t there, laughing

JACKIE (garbled with blood) Motherfucker…Is that the beat you got? Is it, master?!

NICK picks the gun off the ground and turns to face him..

BACK TO CUMMINGS sitting up…

HIS POV—THROUGH THE CAR DOOR WINDOW

He sees two FIGURE through his blood—filled eyes

BACK TO LARRY—INSIDE THE LIBRARY

He POUNDS on the glass doors

LARRY Hey! Hey!

ANGLE NICK & JACKIE

Jackie LUNGES for him, SWIPING at the air like a wounded bear. Ban. Nick FIRES into his chest. Bang. Bang. Ban. Jackie’s dead before he hits the ground but it doent’s matter. Nick empties the chamber as if emptying himself

He keeps pulling the trigger even after all the bullets are gone

INSIDE THE LIBRARY—LARRY hurries down the hail, fumbling for the walkie-talkie

LARRY Mr. Toms! Mr. Toms!

ANGLE JACKIE—TUMBLING and over and over and down the stone steps as…

CUMMINGS—FUMBLINGS FOR THE DOOR HANDLE his brain scrambled, calling out..

CUMMINGS What’s going on?! What’s going on?!

ANGLED THE BASE OF THE STEPS—AS JACKIE comes to rest with a soft THUD in the rain. Nick stands still at the top, looking down, the gun SMOKING in his hand

TIGHT ON NICK—KNOWING that everything he was now lies at the bottom of those steps

NICK (quiet to himself) You win

DISSOLVE TO: INT. MAX’S HOUSE. BACK ENTRANCE—DAMN

Pepe yaps away as Max shuffles down the hall in his robe and slippers. Someone is knocking on the door

ANGLE THE DOOR—AS MAX OPENS IT

Nick wears a fresh set of clothes and a different coat

NICK (cont’d) I dumped them in the river. If I were a soothsayer, I’d say they were at the bottom by now

Off Max, realizing the meaning…

INSIDE THE  LIVING ROOM—MOMENTS LATER

Max shuffles in, moves to the BOOKCASE. Nick appears behind him, moving slower

The room is filled with an even greater CLUTTER of art and art-objects

NICK Getting crowded in here

MAX I’m remodeling the gallery. I took some pieces in

NICK More orphans, huh?

Max turns…

MAX You know me

Nick  SEES the photograph of him and Max in front of the Louvre in 1973, poised on the shelf. PUSH IN on the photo. Until Nick’s young EYES fill the frame, starting back at him, at us. Read into them what you will. He has those kind of eyes

The kind which contain everything and nothing. Then…

ANGLE THE BOOKCASE—AS MAX pulls back a copy of ‘Crime & Punishment’. This triggers the opening of a secret panel to REVEAL.. a SAFE in the wall. He spins the combo, opens it, and withdraws a small velvet SACK

MAX (cont’d) The two million U.S will be wired into your Latin account as soon I settle with the insurance company

Nick takes the sack, opens it. DIAMONDS glitter inside

NICK Jackie’s dead, Max

MAX Dead?

NICK He tried to nail me when I came out of the library. I figured he would so I was modestly prepared

Max can hardly draw a breath

NICK (cont’d) That’s another dead body. If I were you, I’d get the hell out of town

MAX Where would I go?

NICK Paraquay

MAX Too many fascists

NICK Bolivia

MAX Snake in the toilet bowls (a sigh) No, I’m too old to change my life now

Nick just nods, takes the photograph for himself

NICK See ya, Max

Nick turns to go

MAX Nicky..(off his look) Where will you go?

NICK A week go I would have told you

Nick exits. Off Max, on the ringing of a  phone…

CUT TO: INT. A HOSPITAL EMERGENCY ROOM—DAY as a DOCTOR stitches Cummings’ brow. The Cell PHONE rings in his pocket. Cummings answers…

CUMMINGS Cummings

MAX (V.O) (over the phone) Mr. Cummings? It’s Maximillian Beard. How are you this fine morning?

INTER CUT WITH: INT. MAX’S BEDROOM—CONTINUOUS

Max is seated at his French, eighteenth century, scribers desk writing on a piece of fine paper with an old QUILL and ink. He has Cummings on the SPEAKER-PHONE, Pepe curled in his lap. The TV is on in the B.G. with pictures from the LIBRARY CRIME SCENE. The sound is too low to hear

CUMMINGS How did you get this number?

Max is completely calm, his tone quiet and matter of fact as he continues writing—in calligraphy perfect script

MAX That’s not important. Now listen carefully. Last night, I stole some ancient Tarot Cards from the Library Of Antiquities with the help of someone who want by the name of Jackie Teller. A struggle ensued and I was forced to kill him

CUMMINGS You’re lying. It was Wells. It had to be Wells!

MAX In fact, Mr. Cummings, the cards were forgeries, purchased by me through a phony holding company in 1995. You’ll find all the remaining details in a letter at 13 Rue de St. Charles. I’ll leave the door open for you (beat) Aur revoir, Mr. Cummings

He hangs up and signs the confession. Then..

MAX  (cont’d) come Pepe, it’s time to go

As Max rises from the desk…

TIME DISSOLVE TO: INTO. THE SAME—LATER

The quill now rests upon the signed letter. Then PAN off the desk to FIND…Max lying on the bed, Pepe curled in his arm, his big eyes sad and confused

There’s a bottle of POISON on the night table

ANGLE MAX—ON THE BED

His body is stiff with death, eyes open. in SILENCE the…

DISSOLVE TO: EXT. THE LAKESIDE DOCK—DAY as Cummings and several DETECTIVES approach Nick’s seaplane, still moored at the far end. They check the plane

There is no one on board. Off Cummings…

DISSOLVE TO: FULL SHOT—OF A NEWSPAPER HEADLINE

Local Gallery Owner Dead In Apparent Suicide

SCAN to READ the first paragraph: Maximillian Beard, well known Montreal Art Impresario, was found dead in his house the man was found dead at the scene. In a signed confession, found at Mr. Beard’s residence, he took full credit for both the murder and the theft

PULL BACK to REVEAL Nick, dressed like Bohemian artist, wearing the grey wig and  ponytail and the tinted specs..

INSIDE AN AIRPORT TERMINAL—DAY folding the paper and tucking it under his arm

A VOICE (V.O.) (over the intercom) Last call for flight 567 for Panama

As Nick heads through the gate…

DISSOLVE TO: EXT. A BOOK STORE. MONTREAL—DAY

ON SCREEN: One year later

PUSH IN…on the window to FIND one particular BOOK in display. The cover reads: Portrait Of Two Thieves…by Joe Carson. Beside the book, an ANNOUNCEMENT rests on an EASEL. It reads: AUTOGRAPH SIGNING TODAY

INT. INSIDE THE BOOK STORE—JOE

Is signing autographs. The line is rather long

JOE Who should I make it out to?

She looks up to FIND…Steven. His eyebrows are TWITCHING

STEVEN Make it out to Steven

JOE (signing) All right

STEVEN  And this one too

He holds another COPY

JOE And who’s this one for?

STEVEN This one’s for Nick

Her mouth is open, speechless. Someone in line calls out…

SOMEONE Would you hurry it up, please?

JOE (swallowing, then) What should I write?

STEVEN Just write, ‘Character is fate’

TIGHT ON JOE

As she forgets to breathe. Then…

CU THE BOOK—AS SHE WRITES

Dear Nick, Character is fate. Best wishes, Joe. Then…

He closes the book and hands it to Steven

STEVEN (CONT’D) Thanks

JOE You’re welcome

ANGLE STEVEN as he turns and walks off

STEVEN (under his breath) Fucking bitch

TIGHT ON JOE

Watching him go. Then…

DISSOLVE TO: EXT. A LATIN MARKETPLACE—DAY

It’s thriving and full of life. People buy and sell fruit and vegetables, food of all kinds, arts and crafts

ON SCREEN: Buenos Aires, Argentina

TRACKING A LITTLE ARGENTINEAN GIRL—WALKING though the market, holding her MOTHER’S hand. Until she pauses before a small WATERCOLOR on canvas. It rests against a stone wall with a number of other SKETCHES AND PAINTING

The watercolor is of a little PEASANT GIRL, kneeling at the river’s edge. The Argentinean  girl smiles, pointing at it

ARGENTINEAN GIRL Mama, dame lo. Dame lo

MOTHER Quando, Senor?

PULL BACK to REVEAL.. Nick, seated before an easel in a painter’s smock. His hair is much longer and he wears a beard

NICK Nada. She can have it

He hands the picture to the little girl

NICK (cont’d) Para ti

LITTLE GIRL Gracias, Senor. Gracias

He smiles and watches her go off, clutching the water color like a prize possession

Then…

He turns back to his sketch, and continues drawing

FADE OUT:

THE END