OCEAN'S TWELVE
Written by
George Nolfi
ROUGH DRAFT
1 A MULTI-COLORED SCREEN 1
After a few introductory credits, we pull back to reveal the
source of this kaleidoscopic backdrop: A SINGLE, STRIPED
TULIP, planted in a long row of other tulips. A HAND reaches
in and pulls the tulip from the ground. We then cut to:
1A A BASKET of tulips, carried by hand to a truck, where it 1A
is loaded with hundreds of other baskets. The door of the
truck is SHUT and we cut to:
1B The door of the truck OPENING to reveal that the tulips 1B
are now boxed and crated. A forklift moves the crates onto a
wagon, which is driven by a MANNED CART across the biggest
warehouse on the planet, the Bloenen Markt (CHECK THIS--
steven) in Amsterdam, Netherlands. The cart and wagons we
were following disappear into a maze of synchronized
activity.
1C The cart arrives in the AUCTION ROOM, which is 1C
constructed like an ampitheater: the buyers sit in a steeply
raked semi-circle, facing two giant, clock-shaped scoreboards
that display the bids on the flowers being viewed. The
striped tulips fetch a very high price.
1D The carts of striped tulips are delivered to an automated 1D
sorting apparatus of enormous size and complexity. They end
up on a truck heading for the airport.
1E The tulips are loaded onto a plane. During the transatlantic
flight, they sit nestled in the cargo hold.
1F The tulips are unloaded from the plane, driven across an 1F
airport tarmac and loaded onto another plane.
1G The tulips are unloaded from the plane and loaded onto a 1G
truck. The truck drives through a small town and pulls into
the back of a
2 EXT./INT. FLOWER SHOP -- DAY 2
A YOUNG MAN takes delivery of the flowers and carries them
through the rear of the store to the display area up front.
We stay on the tulips as we hear the following conversation:
CUSTOMER
Wow. How do they do that?
(CONTINUED)
2.
2 CONTINUED: 2
OWNER
It's an accident. It means the
flower developed a virus early
in the bulb stage. The flaws
create the unusual coloring.
CUSTOMER
Can you arrange something for me
with those?
OWNER
Of course. What kind of price range
are you looking for?
Now we SEE the customer: TESS.
TESS
Well, it's for my parent's
anniversary. They don't know I'm
coming. I just want it to be
beautiful. Can you just do whatever
you think looks best?
OWNER
I'll need a few minutes.
TESS
Take your time, please. And thank
you.
The Owner moves toward a corner of the store where the
flowers are arranged. Tess walks around, looking at the rest
of the store.
Tess looks out the window. A black sedan is pulling up at the
curb.
OWNER
That should be some surprise.
TESS
Which?
OWNER
For your parents.
TESS
Oh. Yes. I hope so.
One of the POWER TWINS gets out of the driver's side door and
crosses in front of the car. Tess starts moving away from the
window.
(CONTINUED)
3.
2 CONTINUED: (2) 2
OWNER
Which one is it?
TESS
I'm sorry?
OWNER
Anniversary.
TESS
Oh. Fortieth
OWNER
Wow. Okay. I think I have an idea.
Something classic.
The Power Twin opens the rear passenger side door, revealing
TERRY BENEDICT.
Tess turns away from the window.
TESS
Do you have a bathroom?
OWNER
Straight back, on the left. It's
unisex.
TESS
Thank you.
Tess scurries to the back.
OWNER
(to Tess, a caveat)
It's unisex!
Tess flies past the bathroom and heads for the back door. She
pushes through it and runs right into Power Twin No. 2.
CUT TO:
3 EXT. HOUSE -- DAY 3
A nice place on the eastern seaboard. We hear the faint sound
of a phone ring.
4.
4 INT. HOUSE -- DAY 4
Danny Ocean picks up the receiver, checks the caller ID. He
smiles and answers:
DANNY
Miguel Diaz speaking.
Almost immediately, his expression clouds. He looks at his
watch.
DANNY (cont'd)
Tess, Tess. It's okay. You remember
what we talked about, if this
happened? All right. Call me in
twenty-four hours on that number.
He hangs up the phone and runs out of the house. He doesn't
take anything with him.
5 EXT. HOUSE -- DAY 5
Danny runs out of the house and down the street, leaving his
car in the driveway.
6 INT. CAR -- DAY 6
Tess, floral arrangement in her lap, sits in the car with
Benedict.
BENEDICT
The Baldwins.
TESS
What about them?
BENEDICT
We had dinner with them three years
ago. You talked about your parent's
anniversary.
She says nothing.
BENEDICT (cont'd)
I'm getting married next month.
TESS
So am I.
(CONTINUED)
5.
6 CONTINUED: 6
A beat.
BENEDICT
Well, I hope Danny is as good as he
thinks he is. A bouquet toss in
prison can get pretty ugly.
7 INT. BANK VAULT -- DAY 7
Danny takes a safe deposit box out of a wall, He opens the
box, revealing a CELL PHONE and some CASH.
8 EXT. TRAIN STATION (NOT A BIG ONE) -- DAY 8
Danny boards a train.
9 INT. AMTRAK TRAIN -- DAY 9
The landscape hurtles by. We pan over to find Danny sitting
next to the window. We continue to pan and find REUBEN
TISHKOFF seated next to a group of male commuters.
REUBEN
(over)
I really think you're being too
sensitive. She's crazy about you. I
can tell.
10 INT. SPA -- DAY 10
REUBEN lies in a mud bath, his face covered with a dried
exfoliating "mask" treatment. There is a cigar in one hand
and a cellphone in the other. His eyes are closed to the sun.
REUBEN
Joyce, she's ninety-two. I'm all
she has left.
(beat)
The wheelchair thing was an
accident, she's having some trouble
with the joystick. I'll adjust it.
(beat)
I told you, when her mouth hangs
open like that, that means she's
happy.
(beat)
I am. When are you coming over?
(beat)
(MORE)
(CONTINUED)
6.
10 CONTINUED: 10
REUBEN (cont'd)
You're tired because you work too
much. You don't have to work all
the time. Don't you want to take a
break? Those trays look so heavy.
(beat)
Of course. How could you ask that?
(beat)
Because when I heard you laugh, all
my problems disappeared.
A SHADOW crosses over Reuben's face, and Reuben squints open
one eye. There, with the sun like an aura behind his head, is
TERRY BENEDICT.
11 INT. AMTRAK TRAIN -- DAY 11
Reuben is handed a bloody mary by the porter, who then
continues on, bringing a glass of white wine to THE AMAZING
YEN.
12 INT. POOL -- DAY 12
Yen swims a strong, steady freestyle. Pull back to reveal
that he is swimming in a 9' by 5' "Endless Pool" in his 15th
floor Shanghai apartment.
A HAND MOVES INTO FRAME and turns off the water current. Yen
immediately slams into the end of his jacuzzi-sized pool. He
lifts his head out of the water to SEE the POWER TWINS
standing "poolside."
He spits out a stream of invective, in Chinese. The Power
Twins look at each other.
13 INT. AMTRAK TRAIN -- DAY 13
Yen sets his magazine down and heads for the bathroom, where
TURK and VIRGIL MALLOY are waiting in line.
TURK
The opening doesn't work.
VIRGIL
Duh.
TURK
She shouldn't have the same dream
as Franklin. He's the antagonist.
(CONTINUED)
7.
13 CONTINUED: 13
VIRGIL
It was your idea.
TURK
No it wasn't.
VIRGIL
Well, it wasn't mine. It couldn't
be; it's too stupid.
TURK
Why do you do that? why do you have
to get personal?
VIRGIL
It's not personal, it's a fact.
14 INT. YOGA STUDIO -- DAY 14
VIRGIL and TURK MALLOY, in GTX lycra yoga gear lead a class
(mostly female) through the vinyassa. The studio is mirrored
on three sides.
TURK
It's personal. You don't argue
logically. You attack.
(to the class)
Bring the right foot back even with
the left, buttocks raised high....
(to Virgil)
...you have to have reasons, to
support your argument...
(to the class)
...flattening the back so the body
forms a triangle.
VIRGIL
I can't listen to you anymore. It
makes me physically sick.
Turk looks to him, but also sees a GUY in the class staring
at all of the women "raising their buttocks high". He
indicates this to Virgil, who goes over to the guy.
TURK
Relax the crown of the head toward
the floor. Draw the hips away from
the hands, len--gthening the spine.
And press the heels toward the floor.
(CONTINUED)
8.
14 CONTINUED: 14
Virgil steps on the guy's back and leans down to whisper in
his ear.
VIRGIL
This a serious class. No pigs
allowed. Okay?
GUY
Sorry.
TURK
Virge.
Virgil stands up. Benedict and the Power Twins are standing
right behind him. His expression changes as he sees them in
the mirror.
15 INT. AMTRAK TRAIN -- DAY 15
The Malloys and Yen are still waiting for the bathroom.
TURK
You're hallucinating.
VIRGIL
Yeah, whatever, OJ.
Finally, the lock OPENS and RUSTY RYAN exits. We follow him
to his seat, where he puts on a pair of headphones.
16 TIGHT SHOT 16
Of molten metal bubbling in a small iron cask, a jeweler's
cask. MOVE to REVEAL a GARAGE filled mostly with cars in some
state of restoration
FIND RUSTY as he painstakingly works on a new piece that is
just BELOW FRAME. Whatever it is, it is clearly getting to
him. He shakes his head; it's not right. It's just not good
enough. Rusty glances at the digital thermometer attached to
the cask of molten metal. It reads: 736.18 degrees.
RUSTY
You are kidding me.
9.
17 INT. RUSTY'S CAR -- DAY 17
Rusty glances in his rearview as he drives through the city
talking on his cell phone. He's keeping an eye on a white
Cadillac that seem to be following him.
RUSTY
736.18 degrees Fahrenheit, Felix.
I watched it.
FELIX (TELEPHONE V.O.)
Rusty. What do you want from me?
Rusty turns a corner, then glances in his rearview again.
RUSTY
I want what I paid for.
FELIX
And that's what I sent.
RUSTY
No, Felix, no. I paid for pure. And
if my workshop were on top of Mount
Everest it would be pure. But I'm
at sea level, Felix, and at sea
level it should liquefy at 736.95.
If it's pure, that is. Which this
isn't.
Rusty makes another turn. A few seconds later, the Cadillac
turns behind him.
FELIX (TELEPHONE V.O.)
Well, I didn't know you were going
to liquefy it.
Rusty pulls to a stop light. The Cadillac pulls up three cars
behind him.
RUSTY
Let me ask you something: When
Christo calls his cotton supplier
and asks for 100% cotton cloth, do
you think his supplier sends him
98% cotton and 2% polyester and
when that doesn't work, says to
Christo, "Well, you should have
told me you were going to wrap the
coast of Australia"?
(CONTINUED)
10.
17 CONTINUED: 17
FELIX
Who's Christo?
Rusty looks to the heavens.
RUSTY
Felix, you're in a shame spiral.
Have your assistant lose my number.
Rusty snaps his phone shut.
RUSTY (cont'd)
My god.
Rusty looks into the rear view mirror and then slows the car
to a stop. He gets out of his car and slams the door shut.
He walks back to the Cadillac and knocks on the window. It
rolls down electronically to reveal Benedict.
RUSTY (contd)
How long you gonna give us?
18 INT. AMTRAK TRAIN -- DAY 18
Rusty continues to listen to his headset. We pan over to see
FRANK CATTON seated opposite him.
19 INT. RITZ CARLTON HOTEL, NEW YORK -- DAY 19
The penthouse apartment. It takes the entire floor and has a
360 degree view. Right now, all of the furniture inside of it
is being taken away by movers. Frank enters frame.
BENEDICT
Four weeks.
FRANK
We stole that money fair and
square. You bought people off to
find me. You took advantage during
an economic downturn, and made them
say some shit they shouldn't have
said. It's not fair, it's not just,
and it aint' cool.
A long beat. Benedict stares back at him.
FRANK (cont'd)
Did you hear what I just said?
(CONTINUED)
11.
19 CONTINUED: 19
BENEDICT
I heard what you said, Frank. Did
you hear what I said?
Frank looks at Benedict and the Power Twins.
20. INT. AMTRAK TRAIN -- DAY 20
Frank takes us to Livingston.
21 INT. STAGE -- NIGHT 21
Livingston performs a stand-up routine.
LIVINGSTON
How many people here tonight were
stupid enough to have children?
A few people raise their hands.
LIVINGSTON (cont'd)
Wow. No, seriously, that's great. I
have a child. A daughter. She's
five. They get to you, right? Am I
right? Like emotionally. I mean,
sometimes she'll turn to me with
her little face and her little
shiny eyes, and she'll say, "Daddy,
please stop hitting me," and it
just breaks my heart.'
People aren't sure what to make of this.
LIVINGSTON (cont'd)
I'm Livingston Dell. Thanks for
listening. See you at ten.
Livingston strides off stage as we see that he is at the
Bellagio, in the lounge. Benedict and the Power Twins are
waiting for him. Somehow he isn't surprised.
LIVINGSTON (cont'd)
(to Benedict)
I appreciate you letting me finish
my run. You've been very patient.
BENEDICT
What can I say? You're a funny guy.
12.
22 INT. AMTRAK TRAIN -- DAY 22
Livingston takes us to Saul Bloom, reading the Racing Form.
23 INT. THE WASPIEST IMAGINABLE MEN'S CLUB -- DAY 23
All dark wood and oriental rugs. MOVE across a row of oil
paintings that flatter stodgy club members from the 1800s to
the present. Land on Saul, sitting in window light that
mimics the aforementioned portraits.
SAUL
What it is about horses? I ask you.
Is it the strength? The beauty? The
fearlessness? The grace? Of course.
But there's something else.
Something in the eyes.
The person with him nods.
SAUL (cont'd)
Yes. When I look into a horse's
eyes, I can tell: This one's a
winner.
A jacketed WAITER appears, holding a tray.
WAITER
Excuse me, Mr. Bloom?
SAUL
Yes?
WAITER
There appears to be a problem with
your card.
The waiter tips the tray to reveal Saul's credit card, which
has been CUT INTO TINY PIECES. Without missing a beat, he
reaches for his wallet.
SAUL
You take Visa?
WAITER
I was acting on instructions from
your business manager.
SAUL
My business manager?
(CONTINUED)
13.
23 CONTINUED: 23
WAITER
Mr. Benedict.
24 INT. AMTRAK TRAIN -- DAY 24
Saul leads us to Basher.
25 INT. RECORDING STUDIO -- NIGHT 25
Basher is putting the finishing touches on a song. A producer
and engineer sit behind a huge mixing console. It's good--
Basher's really got something going here.
26 INT. RECORDING BOOTH -- MOMENTS LATER 26
Basher is leaning over a thick legal document, and Benedict
is leaning over him. The music has been turned off.
BENEDICT
Look at it this way...Eugene....if
the album goes platinum it'll cover
what you owe. And if the second one
goes gold, that should cover the
interest.
27 INT. AMTRAK TRAIN -- DAY 27
Basher takes us to Linus.
28 INT. CAR -- DAY 28
Linus looking from the front seat to the back, talking to
Benedict.
LINUS
I'm responsible for myself. I have
my own life and my own plans. I've
never asked for anything but a fair
shake. We make a deal, I stick to
the deal.
He turns forward, thinking. Then after a beat, he turns back
to Benedict.
(CONTINUED)
14.
28 CONTINUED: 28
LINUS (cont'd)
I just need to be absolutely clear
that we have an understanding: If
you contact my father, I'll kill
myself, and you'll never get the
rest of your money.
Benedict nods. Linus turns forward and exhales, relieved.
29 INT. AMTRAK TRAIN -- DAY 29
Linus takes us back to Danny. The train hurtles onward.
CUT TO:
30 ABSOLUTE BEDLAM 30
Reuben, Yen, the Malloys, Frank, Livingston, Saul, Basher,
and Linus are all talking at once -- right at us. Right at
Danny. And they are not happy.
The group is in an abandoned WAREHOUSE somewhere near NYC.
Danny is overwhelmed, like a deer caught in the headlights.
He throws a desperate glance at Rusty, who's looking out the
window serenely, letting Danny flounder.
31 MOMENTS LATER 31
Total silence. Everyone just stares at Danny, waiting for an
answer.
DANNY
How many can't make the deadline?
Everyone raises their hands except Reuben.
REUBEN
(off their looks)
So I'm smarter than those schmucks
on Wall Street. Whose fault is that?
Fair enough.
DANNY
How many think if they run, they'll
be found?
(CONTINUED)
15.
31 CONTINUED: 31
Everyone raises their hands. Including Reuben. Danny gets up,
walks over to Rusty.
The rest of the guys shrug and begin talking amongst
themselves.
After a long beat.
DANNY (cont'd)
Well, the only other--
RUSTY
We're on the five o'clock.
DANNY
Good.
A beat.
DANNY (cont'd)
Where?
RUSTY
Amsterdam.
Danny steps back.
DANNY
AMSTERDAM!?
Danny's tone draws everyone's attention. Noticing this, Danny
and Rusty move into a nearby dilapidated office doorway.
The guys go back to talking, mostly about what they were
doing when they were found. This rises steadily in volume
until the din is obliterated by a LOUD VOICE:
DANNY (cont'd)
I'M TELLING YOU THIS IS A DEATH
SENTENCE!
RUSTY
FINE, THEN STAY HERE!
The guys exchange glances. Danny walks over to them and
sighs.
CUT TO:
16.
32 INT. AIRPORT TERMINAL -- TICKETING AREA 32
Livingston hands his passport to a KLM AGENT.
LIVINGSTON
Flight 144 to Amsterdam.
JUMP CUT TO the agent handing Livingston his boarding pass.
KLM AGENT
You're in seat 43J. Enjoy your
flight.
LIVINGSTON
Uh...there must be some mistake. I
mean...unless...is your first class
section in the back of the plane?
The agent looks back at him, confused.
KLM AGENT
No.
JUMP CUT TO the agent handing Linus his boarding pass:
KLM AGENT (cont'd)
32E.
CUT TO the agent handing Virgil and Turk their tickets.
KLM AGENT (contd)
41C and D.
JUMP CUT TO the agent handing Saul his boarding pass:
KLM AGENT (cont'd)
55K.
SAUL
Fifty-five K? There's a fifty-five
K?
KLM AGENT
We've increased capacity by
employing advanced design
technology.
SAUL
You made the seats smaller. Can you
just say that? You made the seats
smaller.
(CONTINUED)
17.
32 CONTINUED: 32
JUMP CUT to show Frank:
FRANK
See, you're not hearing me. What
I'm trying to tell you is the
reservations agent made a mistake
when she issued the ticket, because
on the rare occasions that I fly
commercially, I always book a first-
class ticket with no restrictions--
The desk agent looks back at him skeptically.
KLM AGENT
She may have, air, but this is the
only ticket available to you on
this flight. I need you to step
aside so I can take care of the
next customer.
FRANK
Now, listen: Don't make me get
black.
33 INT. SECURITY AREA 33
Frank stands with his arm outstretched, shoes and belt off.
Two TSA officers run metal detecting wands over every inch of
his body. Three more guys pick through his luggage: they
squeeze toothpaste from his Sensodyne tube, sniff his hair
products, unroll his "tighty-whitey" briefs....
PAN to REVEAL that Basher is getting the exact same
treatment, right next to him. They exchange looks.
REVERSE ANGLE: the rest of the group stands sipping iced
lattes from Starbucks and watching the show. Reuben walks up.
DANNY
Reuben.
REUBEN
I wanted to wish you luck. And
listen: I want to do something
for you.
Reuben hands Danny an envelope.
DANNY
What's this?
(CONTINUED)
18.
33 CONTINUED: 33
REUBEN
Take it. Take it. This is the
least I can do. I've got a friend
who owns the Bellagio of Amsterdam
and I've made reservations for all
of you there. It's all taken care
of.
RUSTY
That's very touching, Reuben.
REUBEN
It's the least I could do. I love
you guys. Enjoy.
Yen says something in Chinese.
REUBEN (cont'd)
No, thank you.
34 INT. 747 -- NIGHT 34
Yen sits in First Class, playing an in-seat video. Virgil and
Turk kneel on either side, watching his progress.
VIRGIL
Nice.
TURK
Great anticipation.
FLIGHT ATTENDANT
Gentlemen, you'll have to go back
to your seats now.
Reluctantly, they do. We follow them back to coach, where
they pass Linus, talking to himself.
LINUS
Ground level. First floor. Day one.
Planning stages.
(beat)
Planning stages.
We move on to find Livingston, who grabs Turk by the arm.
LIVINGSTON
How'd he get that seat?
TURK
What seat?
(CONTINUED)
19.
34 CONTINUED: 34
Turk moves on, taking us past a sleeping Saul and landing on
Danny and Rusty, who watch a movie with fixed expressions. A
reverse angle shows us that the video screen is twenty rows
away--it is impossible to discern any detail at all. Rusty
takes his headphones off and exhales. Danny notices this and
does the same. After a beat:
RUSTY
Call me an elitist asshole, call me
a bourgeois clown, call me anything
you want, but 'economy' is
bullshit.
DANNY
Oh, I don't know...it's not that ba-
The guy in front of Danny moves his seat back suddenly and
spills Danny's drink all over Danny's lap.
Linus approaches Danny and Rusty.
LINUS
Hey. You guys have a minute?
DANNY
Sure, Linus.
RUSTY
What's on your mind?
LINUS
Well, I know this may not be the
exact right time to bring this up,
but I've been thinking
about...well, about where I want to
be in five years, career-wise, and
I've decided I really want to be
more than just a role-player. I
really see myself as kind of an
idea man, like you guys. I mean, I
know you do your part and you're in
the trenches with us and all, but
it's really your show, and like I
said, five years from now, I want
to be running my own show....
Danny and Rusty exchange a look...then look back at Linus.
DANNY RUSTY
Uh-huh. Right.
(CONTINUED)
20.
34 CONTINUED: (2) 34
LINUS
So if there's any opportunity for
me to be involved in the, you know,
planning stages of things, I would
really appreciate it. I really feel
like I'm ready for more
responsibility and that I could
really make a contribution.
Rusty turns to Danny.
RUSTY
Are you thinking what I'm thinking?
DANNY
Evelyn.
RUSTY
(to Linus)
We're negotiating the terms with
her tomorrow. You feel up to
taking the lead?
LINUS
Are you serious?
DANNY
Absolutely.
LINUS
This isn't some gag?
RUSTY
No gag.
LINUS
Wow. Yeah. That would be awesome.
DANNY
Okay, then.
LINUS
Man. I wasn't sure if I should say
anything. Now I'm glad I did.
DANNY
So are we.
RUSTY
We're here to listen.
(CONTINUED)
21.
34 CONTINUED: (3) 34
LINUS
Great. Thanks. Really. You won't
regret this.
Linus leaves. Danny and Rusty put their headphones back on.
Now they look content.
Basher and Frank watch Linus go.
BASHER
Tom.
SAUL
He can be a Tom?
BASHER
Anybody can be a Tom.
SAUL
You gotta make your own
opportunities. This ain't a
rehearsal.
BASHER
Tom.
Saul chews his economy class trail mix.
SAUL
Boy, you're tough.
BASHER
Stop calling me "boy".
Saul stops chewing. They look at each other.
CUT TO:
35 EXT. AMSTERDAM -- DAY 35
Establishing shots of the city.
36 EXT. RED LIGHT DISTRICT -- DAY 36
The group makes their way down a damp cobblestone street.
They stop in front of a window and look up.
REVERSE ANGLE
(CONTINUED)
22.
36 CONTINUED: 36
They have stopped in front of a narrow townhouse that has
been converted to a hotel. The sign says "Bellagio of
Amsterdam."
37 INT. BELLAGIO OF AMSTERDAM -- DAY 37
A single room with 12 bunks in it. Their noses are wrinkled
up because the place stinks.
LIVINGSTON
How could he lie to us like that?
RUSTY
The sign said 'the Bellagio of
Amsterdam'.
Everyone looks at each other and turns to leave.
LINUS (?)
Wait a minute. That's it?
DANNY
Yeah.
LINUS
Look, you guys no frills, no perks,
run-and-gun, all that stuff, and I
said no problem because I believed
you were right that we shouldn't go
deeper into debt and spend money we
don't have. I mean, am I the only
one who thinks this might actually
be a good thing? That we could use
a little humility? That maybe we
were a little too pleased and
impressed with ourselves after the
Benedict job? Okay, I grant you
that maybe this isn't what we
deserve, but maybe it's what we
need. We can do this. No, I take it
back: We have to do this.
A long beat.
CUT TO:
38 EXT. AMSTERDAM'S FINEST FIVE-STAR HOTEL 38
Four black mercedes skid to a stop outside Amsterdam's finest
five-star hotel.
(CONTINUED)
23.
38 CONTINUED: 38
Everyone emerges with big smiles on their faces. Everyone
except Linus. He scowls, yanks his bag back from the hotel
doorman who rushed over to take it for him.
39 EXT. CONVENIENCE STORE, UNITED STATES -- DAY 39
Tess enters and buys a phone card.
40 EXT. PHONE BOOTH -- DAY 40
Tess talks to Danny. Across the street, a BLACK SEDAN is
parked.
TESS
What are you doing in Amsterdam?
DANNY (PHONE V.O)
Only what I have to do to get
Benedict off our backs.
TESS
Be careful, Danny. Please.
DANNY
How's work?
TESS
It's the same. I'm distracted.
DANNY
I'm sorry.
TESS
It's not your fault.
DANNY (TELEPHONE V.O.)
I keep trying to figure out what I
did wrong. How did he find us?
Tess can't bring herself to tell Danny the truth, that it was
entirely her fault.
TESS
Danny, don't keep thinking about
it.
DANNY (TELEPHONE V.O.)
I did something wrong. He should
never have found us.
(CONTINUED)
24.
40 CONTINUED: 40
TESS
I'll call you tomorrow. I love you.
DANNY
I love you.
41 INT. AMSTERDAM HOTEL SUITE -- NIGHT 41
Danny hangs up the phone and site.
CUT TO:
42 INT. HOTEL -- NIGHT 42
In other rooms, the guys get themselves settled in. Each
takes a step toward personalizing their suite.
43 EXT. AMSTERDAM COFFEE HOUSE -- DAY 43
Danny and Rusty lead an obviously eager Linus towards a
coffee house.
RUSTY
She'll try and use her looks to
distract you. Don't let her.
DANNY
Be polite, but firm.
LINUS
Right.
RUSTY
Don't get soft on us. Don't make
too many concessions.
LINUS
I won't.
Danny and Rusty nod. Okay.
44 INT. COFFEE HOUSE -- CLOSE ON EVELYN. 44
Who is obviously a MAN IN DRAG.
Linus looks to Danny and Rusty but they give him nothing.
(CONTINUED)
25.
44 CONTINUED: 44
EVELYN
The onset of summer is like a woman
who owns too many shoes.
She/He looks to Linus, who looks to Danny and Rusty.
DANNY
(bailing Linus out)
If animals were capable of
flattery, the World Bank would be
open until 8pm.
EVELYN
When I was four years old, I saw my
mother kill a spider with a tea cozy.
Again, the Evelyn looks to Linus, who has nothing to say.
RUSTY
A doctor who specializes in skin
diseases will dream that he has
fallen asleep in front of the
television. Later he will wake up
in front of the television but not
remember his dream.
Evelyn nods and looks to Linus, as do Danny and Rusty. He
furrows his brow, then speaks:
LINUS
O let the sun beat down upon my
face, stars to fill my dreams. I
am a traveler of both time and
space, to be where I have been.
Danny and Rusty stare at Linus like he's nuts, like he's just
cracked. Evelyn's entire expression changes.
EVELYN
Your young friend has a great deal
to learn about respect.
She/He puts his/her drink down and walks to another part of
the establishment.
DANNY
Linus...why don't you wait outside.
Rusty and Danny follow Evelyn and quietly console him/her.
26.
45 EXT. COFFEE HOUSE -- AFTERWARD -- DAY 45
Linus cools his heels. Danny and Rusty emerge from inside.
DANNY
Is that your idea of making a
contribution?
RUSTY
Her terms were scandalous. And we
were lucky to get them after what
you said.
DANNY
The deal was this close to being
blown.
LINUS
"Deal?" What "deal?"
Danny and Rusty just look at him.
LINUS (cont'd)
I know what you guys are doing.
Danny and Rusty exhange looks. What?
LINUS (cont'd)
Look. That...person had too many
cupcakes.
They just keep staring at him.
LINUS (cont'd)
I was playing along.
RUSTY
"Playing along!"
DANNY
You called her mother a whore.
RUSTY
A really cheap one.
LINUS
Guys, I'm not falling for this.
I'm not....
But Danny and Rusty aren't laughing. They look pissed.
Seriously pissed.
(CONTINUED)
27.
45 CONTINUED: 45
LINUS (cont'd)
I mean...
Danny and Rusty just look at him. Linus squirms.
LINUS (cont'd)
I called her mother a whore?
46 INT. AMSTERDAM HOTEL SUITE -- NIGHT 46
Danny and Rusty explain the job to the group.
RUSTY
It's a privately owned home. But
don't let that fool you. It's
extremely well-protected.
A photo of a four-story canal house is displayed on a flat
screen connected to Livingston's computer.
SAUL
What are we after?
DANNY
A document. A very old, very
valuable document.
A photo labeled "The Vanderspeigle Getuigschrift" is
displayed on screen.
VIRGIL
What is it?
RUSTY
A stock certificate.
DANNY
The first one ever issued, from the
first corporation on the planet.
The Dutch East India Trading
Company. It's the only one of it's
kind and it's worth a boat-load.
TURK
What's our cut?
RUSTY
2.7 million after expenses.
A beat. Turk seems confused...
(CONTINUED)
28.
46 CONTINUED: 46
TURK
Each?
VIRGIL
Who negotiated this?
Danny and Rusty look at Linus,
LINUS
Thanks.
LIVINGSTON
What do we know so far?
DANNY
There's a dummy key pad by the
front door.
(points to a diagram)
But the alarm is really controlled
by the keypad in Mr.
Vanderspeigle's second floor
office. Now, here's good news: we
already know the system's master
code. Evelyn gave it to us.
FRANK
That's not good news, that's really
good news.
VIRGIL
We just wait until he leaves.
DANNY
Yeah, well...that's the bad news.
RUSTY
He doesn't.
Frank flinches. Doesn't like what he's hearing.
DANNY
He's agoraphobic.
47 AMSTERDAM PLANNING MONTAGE 47
Shots of their mark, Vanderspeigle, being an agoraphobic
weirdo.
LIVINGSTON
So he's never been out of his
house? Ever?
(CONTINUED)
29.
47 CONTINUED 47
RUSTY (V.O.)
Not once since he moved in ten
years ago.
SAUL (V.O.)
Doesn't this guy believe in fresh
air?
RUSTY (V.O.)
Cracks his windows at
night...that's about it.
When Vanderspeigle cracks his window we see that locking pins
fall into place to prevent the window from opening more than
a few inches.
LIVINGSTON (V.O.)
Can we tap into the system from the
outside through the phone lines?
RUSTY (V.O.)
Negative. It's a closed-loop
system with two redundant servers
locked into titanium cases in the
guy's bedroom.
47A We SEE the servers in Vanderspeigle's bedroom. 47A
BASHER (V.O.)
Could we use a remote device to
trigger the panel?
DANNY (V.O.)
It's hard-wired and shielded.
48 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 48
TURK
Guys, am I missing something here?
We know his damn code, right?
You're telling me with that much
information we can't find a way
into this freak's house?
Frank flinches again. He seem to be reacting to the term
"freak."
TURK
Can't we just get a telephone
repair truck...
30.
49 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 49
TURK (V.O.)
...put the basket up and use a
telescoping rod through the open
window to tap out the guy's code?
Turk's idea plays out as it is in his MIND'S EYE, until:
RUSTY (V.O.)
The street in front of the house is
blocked off to vehicles.
DANNY (V.O.)
And it's covered by five
independently-wired surveillance
cameras....
RUSTY (V.O.)
Monitored 24-hours a day by a
security company.
We SEE the security arrangements they describe.
50 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 50
SAUL
God, this guy really is a freak.
BASHER
Crazy freak.
Frank reacts again to the term "freak." It really bothers
him. Danny notices.
DANNY
Something wrong?
FRANK
Just...don't call the guy a freak,
okay?
Everyone turns and looks at Frank like he's a freak.
FRANK (cont'd)
What?
The entire room is staring at him.
(CONTINUED)
31.
50 CONTINUED: 50
FRANK (cont'd)
What?! I mean, am I the only one
here who feels funny about stealing
from a...a...handicapped guy?
Danny looks to one side of the room...then the other.
DANNY
Yeah.
The rest of the room agrees. Matter closed. Everyone just
turns back to what they're doing.
DANNY (cont'd)
Okay, so we know what we can't
do...
Frank stews.
DANNY (cont'd)
Time to think outside the box,
guys.
A beat. Everyone thinks. Then:
LINUS
Okay, here's something...I've got
an idea...suppose we--
RUSTY
No.
LINUS
Well, but how--
RUSTY
There's a Goldmann Grid over the
enitre surface.
Linus looks at him.
RUSTY (cont'd)
Is that what you were thinking
about?
Linus nods.
DANNY
(sudden idea)
But....
(CONTINUED)
32.
50 CONTINUED: (2) 50
RUSTY
--Well, that's different.
Especially if we--
Rusty makes a circular motion with his finger and then stops
it with his other hand.
DANNY
Right.
LINUS
What?
RUSTY
(quick aside to Linus)
A Schuman Special.
(then to Livingston)
Livingston--
LIVINGSTON
Absolutely. I mean, I'd need a day
to--
RUSTY
You'll have three. Basher?
BASHER
No worries.
RUSTY
Virgil, Turk.
VIRGIL.
Just gotta get the gear.
TURK
Sweden.
RUSTY
Yen?
Yen says something in Chinese.
RUSTY (cont'd)
What, and give up show business?
Saul--
SAUL
I know, I know. I'll be bored.
You'll be fine.
(CONTINUED)
33.
50 CONTINUED: (3) 50
RUSTY
Clock's running.
Everyone gets up and leaves. Within seconds, Linus is alone,
standing in the middle of the room.
LINUS
What's a Schuman Special?
51 INT. HOTEL SUITE -- THE PLANNING SESSION -- NIGHT 51
Livingston uses a mock up of the alarm panel as a visual aid.
LIVINGSTON
(to Basher)
Your shot has to hit directly above
the keypad.
52 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 52
We see Basher rehearsing the shot. He can't get a clear shot
of the target. In fact, he can't see it. He turns to Saul.
BASHER
Let me see the specs.
Saul pulls a well-worn copy of the alarm system blueprint.
Basher goes to the height of the alarm keypad in the bedroom.
It's 4' 10".
BASHER
How tall is the surface of this
roof?
SAUL
About 87 feet.
BASHER
How tall exactly?
53 INT. HOTEL SUITE -- DAY 53
Danny looks at a diagram of the safe they'll have to crack
when they get inside Vanderspeigle's house, the safe that
contains the "Vanderspeigle Getuigschrift". Everyone but
Linus and Rusty are here.
But then Rusty comes in.
(CONTINUED)
34.
53 CONTINUED: 53
RUSTY
You're not going to believe this.
DANNY
Try me.
RUSTY
We don't have line-of-sight.
DANNY
What?
RUSTY
We tried everywhere. Some places
we're only three or four inches
off...but...there's no straight
shot. Even with Basher. It's
literally impossible.
Linus enters, out of breath. Seeing everyone, he goes to
Danny and Rusty.
LINUS
Can I talk to you guys for a second?
They nod and allow Linus to pull them into the corner. Linus
looks over at the group and then turns to 'them.
LINUS
Listen, I've done a little research
on the Schuman Special, and uh...we
don't have line of sight for the
shot.
DANNY
What?
RUSTY
Jesus. This'll kill us.
DANNY
(to Linus)
Listen: Don't say anything. If
you're ever going to run your own
crew, you've got to remember to
never show weakness.
RUSTY
It's like blood in the water for
these guys.
(CONTINUED)
35.
53 CONTINUED: (2) 53
DANNY
If they think you're slipping, you
won't even see it coming.
Linus swallows.
RUSTY
But hey--thanks.
Linus nods and goes back to the group.
RUSTY
(to Danny)
I need some air.
54 EXT. CANAL -- DUSK 54
Rusty and Danny walk along the adjacent road.
DANNY
The Swinging Priest?
RUSTY
Not enough time.
DANNY
Crazy Larry.
RUSTY
Too many variables.
DANNY
Robinov's Revenge?
RUSTY
Too many obstacles.
DANNY
The Soft Shoulder.
RUSTY
Not enough people.
DANNY
Baker's Dozen.
RUSTY
We'd need a woman.
DANNY
Hell in a Handbasket.
(CONTINUED)
36.
54 CONTINUED: 54
RUSTY
Can't train the cat that quickly.
DANNY
I can't have my wife watch me
hauled off in handcuffs again.
RUSTY
It's always about you, isn't it?
DANNY
This like running toward a cliff.
Speaking of which, how's Isabel?
RUSTY
I have no idea what you're talking
about.
DANNY
You get the tattoo removed?
RUSTY
Given its location, my doctor
advised against it.
Rusty stops walking. Danny continues, then notices he is
alone. He turns back to Rusty.
DANNY
What are you doing?
RUSTY
We're here.
DANNY
Oh.
As Danny and Rusty enter the hotel, Rusty trips on the steps.
DANNY
Nice.
Rusty bends down to look at the step. He notices that one
tile on the edge of the stop has lost some mortar. He touches
the tile and watches the lip rise up and down, up and down,
as though it's cantilevered.
55 THE GROUP STARES INTO CAMERA 55
SAUL
You want to do what?
(CONTINUED)
37.
55 CONTINUED: 55
REVERSE to REVEAL Rusty and Danny.
RUSTY
Tilt it. Raise it slightly.
SAUL
The whole house?
RUSTY
It's only a few inches.
BASHER
Then I'll have line-of-sight.
FRANK
We can't tilt a whole house.
VIRGIL
They did it with the Leaning Tower
of Pisa.
RUSTY
Exactly.
SAUL
It took three hundred guys two
years to do that. You're crazy.
Nobody's ever done anything like
this.
RUSTY
Not true. Palowski did it in `64
in Venice and `73 in Istanbul.
SAUL
Really?
LIVINGSTON
And he only had a crew of six.
RUSTY
There are thirty pylons. We cut
them, insert the jacks, and crank.
BASHER
For nineteen hours. Here's the
order in which they have to be
done.
38.
56 EXT. VANDERSPEIGLE'S HOUSE -- NIGHT 56
It is pouring rain. From across the canal, we MOVE towards
Vanderspeigle's house, favoring a barge moored just out
front. Then, instead of moving over the barge, we PUSH
THROUGH its hull to--
57 INT. BARGE HULL 57
FIND Frank and Livingston inside manning a series of
industrial water pumps. They're grimy and covered in sweat.
Rain drips through the deck above them.
LIVINGSTON
So, Basher approached me about
being on a crew.
FRANK
When?
LIVINGSTON
Yesterday.
Frank thinks about that.
Yen pops his head out from a small tube and says something in
Chinese.
Frank shrugs...doesn't understand. Yen tries again.... This
time he enunciates very clearly and talks very loudly (like
Americans do when foreigners don't understand English).
Frank nods, starts turning the handle of the water pump in
the opposite direction. Yen climbs down out of the tube.
Then he climbs back up the tube. He picks up a jack in the
corner. Climbs back in the tube.
58 INT. UNDER VANDERSPEIGLE'S HOUSE - NIGHT 58
We FOLLOW him as he climbs through the tube and emerges
underneath Vanderspeigle's house, inside its foundation.
The thirty pylons extend from the base of the house into the
into the swamp it sits atop of. There is little space
between the swamp level and the house. Runoff from the rain
outside drips everywhere.
(CONTINUED)
39.
58 CONTINUED: 58
FIND Danny and Rusty struggling to place a hand-cranked jack
into a freshly cut space in one of the timber pylons. They
are covered in muck and grime
RUSTY
The good news is, after the first
twelve hours, I stopped being able
to smell anything.
DANNY
Took a few more for me.
RUSTY
This water was stagnant six hundred
years ago.
FIND the Malloys, thirty feet away, using a fancy underwater
saw to cut a space in another pylon. Because the cutting is
taking place underwater it is extremely quiet.
VIRGIL
There's no reason for him not to.
He would go to the cops.
TURK
Okay, so he goes to the cops.
VIRGIL
Then they arrest Dominique.
TURK.
Right.
VIRGIL
Then we have no story.
TURK
Right.
LINUS
She steals the money from Mr.
Mulroney.
They turn to look at Linus, sawing nearby.
TURK
What?
VIRGIL
Why would she?
(CONTINUED)
40.
58 CONTINUED: (2) 58
LINUS
To pay Franklin to keep quiet.
Turk and Virgil think about that. Linus keeps sawing.
TURK
That's good.
59 INT. APARTMENT ACROSS FROM VANDERSPEIGLE'S HOUSE -- NIGHT 59
Basher and Saul sit in big cushiony chairs.
SAUL
Counterfeiting? Me?
(beat)
I have to tell you, it's not
something I condone. It's cheating.
BASHER
It is cheating.
SAUL
There's no subtlety to it.
BASHER
It's kind of embarrassing.
SAUL
No one I know...
BASHER
I can't imagine anything like that.
A long beat. Then each of them reach into their jackets and
produce $20 bills. They exchange and examine the bills
closely by eye. Satisfied, they trade them again and return
them to their coat pockets.
SAUL
Not bad.
BASHER
Bolivia.
SAUL
Diego's people?
BASHER
Yeah.
(CONTINUED)
41.
59 CONTINUED: 59
SAUL
Well. Congratulations.
BASHER
I told him about you.
SAUL
I'm too old. That's dangerous. My
stuff is cheap compared to that.
It's just me and my gal, you know.
What you're talking about is
organized. But thanks, anyway.
60 INT. APARTMENT -- NIGHT 60
Frank sits watching TV. Livingston enters with groceries.
FRANK
Jay Leno called.
LIVINGSTON
When are you gonna stop with that
tired "white people can't be funny
stuff"? It's so old, Frank, really.
Do you want some orange juice? I
got the good kind.
Just then they are interrupted by Danny's voice on a walkie-
talkie.
DANNY (V.O.)
Augie One, this is Condor.
61 UNDER VANDERSPEIGLE'S HOUSE 61
Rusty turns to Danny.
LIVINGSTON (V.O.)
This is Augie One; Go Condor.
62 INT. APARTMENT -- NIGHT 62
DANNY (V.O.)
We're fully cranked here. Let's go
to phase two.
Livingston and Frank look at each other.
(CONTINUED)
42.
62 CONTINUED: 62
FRANK
Bring that orange juice.
63 EXT. ROOF -- NIGHT 63
Basher sets up his gear again. This time, when he raises the
crossbow to check his shot, HE CAN SEE THE KEYPAD. Just
barely.
He steadies himself. Saul knows that he's ready to take the
shot. He speaks into a walkie talkie.
SAUL
This is Gatsby. We're green here.
Basher aims. The INSTANT he fires the shot we
CUT TO:
64 INT. EUROPOL HEADQUARTERS -- THE HAGUE -- DAY 64
A MALE SECRETARY (HESS) rushes through Europol's
extraordinary Richard Meier-designed headquarters.
65 INT. AUDITORIUM -- DAY 65
Europol Agent ISABEL LAHIRI gives a presentation to seventy-
five of her colleagues. With her on stage are a couple of
seated HIGHER-UP TYPES. She's nervous.
ISABEL
Let's discuss, briefly and to
begin, with the category of
"thieves", as distinguished from
the larger category of what might
be termed "hardened" criminals.
The highest level, "master
thieves," if you will, is a very
small world. Between six and ten
high-level crews are operating in
Europe at any given time.
Worldwide, no more than twenty. The
most famous, Gaspar LeMarc, is
either dead or retired, and the
expectation is that no one will
replace him. The good news is the
trend is toward their extinction.
(CONTINUED)
43.
65 CONTINUED: 65
The secretary enters the auditorium and walks toward the
podium.
ISABEL
For example: Anecdotal evidence
suggest these people are personally
insufferable.
The Higher-Ups look at each other; what did she just say?
ISABEL
Their egos demand constant praise,
and they embellish their exploits
to anyone who will listen. They
tell their own stories endlessly,
provided of course, they are
talking to a fellow thief or an
intimate.
Many in the audience are now looking to each other, wondering
if this is appropriate.
ISABEL
Those who interact with them on a
personal level are relegated to
positions of total servitude, with
no chance for growth or freedom.
Their lives are treated as
secondary. Many of them suffer from
depression. It's a crime for which
there is no law, and yet causes
untold damage.
One of the Higher-Ups convinces the other to say something,
but by now Hess the Male Secretary has reached Isabel and
interrupts her by whispering into her ear. She balances.
ISABEL (cont'd)
(amplified by the lectern
mic)
WHAT?
66 INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY 66
Isabel and Hess walk briskly through the ultra-modern
hallway. He briefs her as they walk in a hushed voice. Then
something he says stops her in her tracks.
Hess continues to explain something we can't hear. Then he
pulls out some PHOTOS. Isabel leafs through them.
(CONTINUED)
44.
66 CONTINUED: 66
ISABEL
That's impossible!
67 EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY 67
Isabel arrives and is greeted by PAUL, a lead detective
working the Vanderspeigle theft for the Amsterdam police
department.
PAUL
Thanks for coming. We can really
use your help on this one.
His partner looks over at Isabel, who is wearing a skirt and
pretty damn good shoes. The guy checks out her legs and looks
away.
ISABEL
I hope the scene hasn't been
contaminated.
Isabel walks away. Moments later, she enters the house with
the lead detective.
68 INT. VANDERSPEIGLE HOUSE - DAY 68
As soon as she's inside she's all business.
ISABEL
No forced entry.
PAUL
Not that we can find.
69 UPSTAIRS -- VANDERSPEIGLE'S HOME OFFICE 69
Isabel looks around Vanderspeigle's home office. Behind a
fake bookcase is a small room which contains the safe. In
the other direction is Vanderspeigle's bedroom.
PAUL
(nods)
We can't figure out how they
disabled the alarm. We thought
maybe they tried to short it out
somehow.
(CONTINUED)
45.
69 CONTINUED: 69
ISABEL
No, that would have triggered the
system.
Isabel goes to the alarm pad. Pulls the face plate off,
examines the inside.
ISABEL (cont'd)
And damaged the circuits.
PAM
Well, then I don't know how they
got in.
ISABEL
They had to have known the code.
She moves on to look in the mark's BEDROOM.
PAUL
(calls to her)
We considered that, but the mark
swears that nobody in the world
knew the code except him. He
programmed the last seven steps of
the system himself. He set it and
never left the house again. When he
dies, we'll probably have to
physically cut all the power lines
to the house to get it off line.
Isabel examines the computer brain of the alarm system which
was locked inside a titanium case in Vanderspeigle's bedroom
closet. She answers the detective almost as an afterthought.
ISABEL
There are other ways to get the
code.
(to herself)
Closed loop. Redundant servers.
Titanium encasement. Not bad.
The lead detective enters the bedroom.
PAUL
Like what?
Again, Isabel is inside her own mind. She's really just
answering the detective's questions out of courtesy.
(CONTINUED)
46.
69 CONTINUED: (2) 69
ISABEL
Uh...well, they probably set up in
a house across the canal and
watched him type the code in
through a pair of binoculars.
We GO WITH HIM as he walks back into the office. He stands
at the alarm panel and pretends to type in the code. He
twists around and looks out the window behind him.
PAUL
(calling to Isabel in the
bedroom)
Actually, I don't know about that.
Isabel re-enters the office.
PAUL (cont'd)
Unless he had a habit of typing in
the code like this--
He stands to the side of the panel and reaches over to type
in the numbers. It's an obviously unnatural position. Then
he moves in front of the panel and types in the code as one
normally would.
PAUL (cont'd)
--then his body would block the
view from across the canal.
ISABEL
That's why they probably set up
over there--
She points out an adjacent window on another wall.
ISABEL (cont'd)
--And used the mirror.
She points at a small mirror on the opposite wall. The
detective bends down so his eye is at the level of the
keypad, then he looks in the mirror. He can see directly
across the canal into another house.
ISABEL (cont'd)
I'm guessing they'd need a fifteen
hundred millimeter lens to get a
clear shot but--
But Isabel's already moved on. Something has caught her
attention just above the alarm panel: a patch of paint that
is shinier than the paint that surrounds it.
(CONTINUED)
47.
69 CONTINUED: (3) 69
Isabel puts her finger to her tongue to wet it, then touches
the shiny area. When she pulls her finger away there is
paint on it.
Isabel cocks her head.
70 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 70
A black-clad thief (LINUS) uses a paint brush to touch up the
wall above the alarm keypad.
71 BACK TO SCENE -- THE CRIME SCENE 71
The lead detective watches Isabel intently.
PAUL
What is it?
Isabel uses the blunt end of a letter opener from
Vanderspeigle's desk to gently dig at the wall under the
paint. The plaster there is soft and wet. In fact it isn't
plaster at all. It's spackle.
PAUL (cont'd)
What is that?
Isabel cooks her head again.
72 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 72
THUNK! A crossbow bolt hits the wall above the alarm panel.
73 BACK TO SCENE -- THE CRIME SCENE 73
ISABEL
It's where the crossbow bolt hit.
PAUL
A crossbow bolt?
ISABEL
Ever heard of Franz Schuman?
PAUL
No.
(CONTINUED)
48.
73 CONTINUED: 73
Isabel is at the window. The one that Vanderspeigle leaves
cracked open every night. Isabel looks across the canal at
the apartment where Basher and Saul were playing cards.
ISABEL
They would have fired from that
roof. Through this open window.
Isabel kneels down, checks the line-of-sight to make sure
she's correct.
PAUL
From that roof, through this
window? Nobody could make a shot
like that.
ISABEL
Not a cop, anyway.
PAUL
What's that supposed to mean?
ISABEL
Sorry. Your friend downstairs put
me in a bad mood.
PAUL
He's an idiot. You shouldn't let
him bother you.
ISABEL
Yes. You're right.
Isabel pulls out a notepad and writes the name: "Eugene
`Basher' Tarr." There are two names above Basher's in her
little book: "Robert Ryan" and "Danny Ocean."
ISABEL (cont'd)
But these man are exceptionally
good. Even when they make mistakes.
74 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 74
A bolt flies through Vanderspeigle's open window and hits the
wall above the alarm pad. Two thin wires are attached to a
tiny wheel, which is attached to the back of the bolt. The
wires run back to the window of the apartment across the
canal.
Inside that apartment: the wires end in another tiny wheel
which is mounted on a large tripod for stability.
(CONTINUED)
49.
74 CONTINUED: 74
In effect the group now has a mini-clothesline running
between the alarm pad and the apartment across the canal.
Livingston attaches a device designed to fit directly over
the number pad of Vanderspeigle's keypad to the "clothesline"
that runs across the canal.
75 BACK TO SCENE -- THE CRIME SCENE 75
Isabel writes: "Livingston Dell?" Underneath Basher's name in
her notebook.
76 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 76
Livingston's device is shuttled across the canal, through
Vanderspeigle's cracked window and right to the alarm panel.
Magnets on the side of the device cause it to snap into place
over the top of the keypad. Livingston then types a six-
digit code into a remote keypad. His keypunches are mimicked
by the remote device. Vanderspeigle's alarm shuts off.
Downstairs: From inside we see the front door lock picked.
The door swings open.
77 BACK TO SCENE -- THE CRIME SCENE 77
Isabel nods her head. There's a slight smile on her face.
The smile of admiration, respect in another's skills.
ISABEL
When did he get up and notice the
certificate was gone?
PAUL
The alarm woke him at 4:2O am.
ISABEL
But the alarm would have been--
She stops. And smiles to herself.
ISABEL (cont'd)
Oh... Oh, I know what happened.
PAUL
What?
Isabel quickly glances around the room. Her eye lands on the
floor near the false bookcase.
(CONTINUED)
50.
77 CONTINUED: 77
On some dark lines in the crevices where the floor boards
meet. She kneels down for a closer look.
ISABEL
There was someone else.
PAUL
Someone else.
78 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 78
Danny and Rusty come through the front door. They are
followed by Linus. All of them are soaking wet from 24 hours
in the swamp under the house, and the last few minutes in the
pouring rain outside the front door. The group silently
slips up the stairs.
ISABEL (V.O.)
Oh, I wish I could've have seen
that.
79 INT. VANDERSPEIGLE OFFICE - NIGHT 79
They enter Vanderspeigle's office. You can hear him snoring
in the other room. Danny and Rusty quickly, carefully remove
the crossbow bolt from the wall and take it to the window.
They drop it (and the attached wires) to the Malloys, who are
waiting on the street below.
Meanwhile Linus spackles the hole in the wall and paints over
the spackle.
Danny and Rusty turn to see that Linus is finished. They
hand-signal each other like Special Forces guys do, then move
towards the bookcase on the adjacent wall.
ISABEL (V.O.)
That must have really been
something.
Suddenly:
DANNY
Wait! Wait! Shhhh!
Everyone freezes. Danny puts his hand up to his ear to try
to listen for the sound he thought he heard. We hear the
faint sound of somebody singing to themselves.
Danny and Rusty quickly realize it's coming from behind the
bookcase. What the hell?
(CONTINUED)
51.
79 CONTINUED: 79
They yank open the false bookcase to reveal a handsome
Frenchman who has just finished cleaning out the contents of
Vanderspeigle's safe.
Danny and Rusty stare at him. He turns around and sees
them, but if he's bothered in the slightest he sure isn't
showing it. Danny approaches him. This exchange is whispered
with a great amount of drama at very close range.
DINNER JACKET
Can I help you?
DANNY
Yeah. What the hell are you doing?
DINNER JACKET
I am getting here first.
Just then, Frank and Yen arrive. The Frenchman looks them
over.
RUSTY
This is our score.
DINNER JACKET
I am here before you.
FRANK
(joining)
We let you in the house! Somehow
you got in after we hit the code
but before we got to the door.
DINNER JACKET
That's thirty seconds. How could I
know which exact thirty seconds I
had? Unless I knew you plan. Could
I have known your plan? Do you have
a snitch in your group?
DANNY
No.
RUSTY
We don't.
DINNER JACKET
Yes, I know you don't. Because I
saw, the whole thing from that
chair. I knew you were around,
but I had my own plan.
Yen says something in Chinese.
(CONTINUED)
52.
79 CONTINUED: (2) 79
DINNER JACKET
There's really no need for that.
Danny wants to raise his voice, but he can't. Vanderspeigle
is snoring twenty feet away.
DANNY
Listen, we have to come to some
arrangement.
LINUS
We've incurred some very serious
costs here.
Danny and Rusty look at him.
LINUS
Well, we have.
The Malloys arrive.
DINNER JACKET
Every second I am becoming more
outnumbered.
VIRGIL
(whispering, re: Dinner
Jacket)
Who's this?
FRANK
He said he got here first.
VIRGIL
That's bullshit.
RUSTY
Hey. Mouth.
VIRGIL
This is our goddamned job!
He sounds as angry as a guy who's whispering can sound.
LIVINGSTON
If the situation were reversed--
DINNER JACKET
But the situation is not reversed.
The situation is that I am here
first, without any help from you.
(CONTINUED)
53.
79 CONTINUED: (3) 79
Livingston arrives, soaking wet like everyone else.
DINNER JACKET
So as much as I would--
Basher and Saul arrive.
DINNER JACKET
Jesus, how many of you are there?
DANNY
Just give us the stock certificate.
Whatever else you took out of that
safe...it's yours.
Dinner Jacket stops. Thinks for a moment. Then:
DINNER JACKET
No. But: I leave you with
something.
He hands Danny a business card.
DINNER JACKET
My attorney. In case Evelyn's
employer tries anything...well,
anything.
Dinner Jacket smiles, then pulls a tiny electronic device out
of his shirt pocket. He presses a button.
And the alarm blares to life.
80 BACK TO SCENE -- THE CRIME SCENE 80
Paul stares at Isabel.
PAUL
Are you sure?
ISABEL
I'm sure there's another scenario
that would fit these physical
details, but I don't know what it
is.
PAUL
Where should we start?
Isabel takes out her PDA, writes something on her keypad, and
hits a few buttons. A second later, Paul's BEEPER goes off.
(CONTINUED)
54.
80 CONTINUED: 80
ISABEL
You can start by picking that guy
up.
81 INT. AMSTERDAM HOTEL SUITE -- DAY 81
The group sits around looking depressed.
VIRGIL
Who the hell was that guy?
FRANK
It's going to get out, you know.
People are going to find out.
BASHER
Somebody must know this bloke's
name.
LIVINGSTON
The question is who trained him. He
got into that place alone.
DANNY
He says.
FRANK
I believed him.
SAUL
(unsettled)
You think he's better than us?
FRANK
I'm not saying anything, but the
man was sitting there, waiting for
us.
LINUS
Do you think the cops even know who
this guys is?
RUSTY
Please. That guy's never even seen
a cop.
TURK
Maybe he works with the cops.
(CONTINUED)
55.
81 CONTINUED: 81
SAUL
You don't work with the cops unless
you absolutely have to. And not
even then.
BASHER
Either way, he's got to have a name.
LIVINGSTON
It can't be that hard to find out
who this guy is. Like I said,
somebody trained him. Who trains
the best?
DANNY
LeMarc.
(to Rusty)
Right?
RUSTY
If he's not dead.
LINUS
Who's LeMarc?
Stunned silence from the guys. They won't even respond.
Yen says something.
82 EXT. POLICE HEADQUARTERS -- DAY 82
Isabel arrives.
83 INT. POLICE HEADQUARTERS -- DAY 83
Isabel is waiting to be processed. Eventually, she is
directed down a hallway.
84 INT. INTERROGATION ANTEROOM -- DAY 84
We LOOK through a one-way mirror into the interrogation room
where detectives Onderdonk and Devenpeck are trying the bad
cop / bad cop routine on Evelyn.
Isabel walks INTO FRAME and watches: Onderdonk slams his fist
on the table. Davenpeck shouts in Evelyn's face. Evelyn
just laughs.
(CONTINUED)
56.
84 CONTINUED: 84
Isabel shakes her head.
Frustrated and more exhausted than their detainee, the two
detectives leave the interrogation room for the ante-room
where Isabel is.
ONDERDONK
Fucking stone.
DAVENPECK
I'm not quitting.
ONDERDONK
Who said quitting. I'm tired.
ISABEL
Can I speak to him?
The two detectives look at each other.
DAVENPECK
Who are you?
Isabel produces a signed document. They look at it, shrug,
and give it back.
DAVENPECK
Apparently, you can do whatever you
want with him.
ONDERDONK
Are you moving him?
ISABEL
Oh no. I just need to speak with
him. To get some information.
DAVENPECK
We've been on him for six hours.
ONDERDONK
With our best stuff.
DAVENPECK
Our best stuff. In mind terms,
we've been torturing this guy.
ISABEL
I'm sure. I only need a moment,
then I'll be out of your way.
(CONTINUED)
57.
84 CONTINUED: (2) 84
They shrug. Isabel goes into the room with Evelyn. We STAY
WITH Onderdonk and Davenpeck, who watch her through the two-
way mirror.
THROUGH THE MIRROR: Isabel walks right up to Evelyn, smiles,
and whispers one word to him/her.
Evelyn's face freezes. He/she looks at Isabel, scared. Then
he/she starts to weep. Uncontrollably.... Tears stream down
his/her face.
Isabel hands Evelyn a sheet of paper and he/she begins to
write.
Onderdonk and Davenpeck are dumbfounded. Isabel turns
around so she's facing them.
85 INT. AMSTERDAM HOTEL SUITE -- NIGHT 85
The entire group, minus Danny, sits around glumly watching
CNN International on the flat screen.
Danny is on his cell phone on the other side of the room.
DANNY (INTO PHONE)
It's not a problem, it's a hiccup.
It won't affect our schedule that
much. I want to talk about you, not
the job. How are you doing?
KNOCK-KNOCK-KNOCK. Something about it doesn't sound familiar.
Danny moves into the big roam.
Rusty is at the door, looking through the peep-hole. Rusty
puts his head down. Clearly it isn't a stranger.
DANNY
Tess, I've got to call you back.
He hangs up. KNOCK-KNOCK-KNOCK. Rusty indicates for Danny to
get it.
DANNY
Coming.
Danny opens the door to reveal ISABEL. She looks at Danny.
He looks back at her. They don't say a word. Danny motions
for her to come in.
(CONTINUED)
58.
85 CONTINUED: 85
RUSTY
(still glued to the TV)
Who is it?
ISABEL
(to Rusty)
Hello, Robert.
Rusty spins to see Isabel.
RUSTY
Isabel.
He crosses to her. STAY with the group for a moment.
LINUS
"Robert?" Is that his real name?
Virgil and Turk shrug.
LINUS
How does she know that?
LIVINGSTON
Ex-girlfriend.
BASHER & SAUL
Fiancee.
86 ANGLE ON RUSTY AND ISABEL 86
The entire group is watching them.
RUSTY
It's great to see you.
ISABEL
Is it? Because you've been seeing a
lot of me lately.
She hands a surveillance photo to Rusty.
ISABEL
You were sitting in a Mercedes
outside my apartment on Wednesday
night.
She hands Rusty another photo. (These are the photos Hess the
male secretary showed her at Europol HQ that we couldn't
see.)
(CONTINUED)
59.
86 CONTINUED: 86
ISABEL
You were hiding in the bushes when
I had lunch yesterday at Trattoria
Bella.
She hands him a third photo. Looks at the fourth.
ISABEL
This one...I'm not even sure where
this one was taken, but I like it a
lot. Very Ron Gallela.
She hands this photo to Danny. It's a picture of Rusty, with
a dorky look on his face, peering out from behind a mailbox
he's using as cover while he spies on Isabel.
ISABEL
I mean, if I didn't know better I'd
think you all came here to steal
the Vanderspeigle Getuigschrift,
also known as the world's first
stock certificate.
(to the group as a whole)
You must have been so proud of
yourselves. A Schuman Special. It's
been awhile.
(smiles at Basher)
That was a very handsome crossbow
shot, Eugene.
Basher winces at the sound of his real name. The group
stares back at her. Can't believe this is happening.
ISABEL
And the Palowski...whose idea was that?
She knows it was Rusty.
RUSTY
We didn't steal anything.
ISABEL
Oh...I know you didn't. Somebody
beat you to it. One man. No crew.
No back up. Tell me something --
just so I can get the full picture
in my head -- was he wearing a
tuxedo? A white dinner jacket?
(CONTINUED)
60.
86 CONTINUED: (2) 86
BASHER
(to Isabel)
At least we saw him in the flesh.
You'll never see this guy your
whole life.
ISABEL
So you know who he is?
DANNY
Of course we know who he is.
ISABEL
Well, then. I'll see you when you
see him. To get your certificate
back.
She takes the photo of Rusty peeking from behind the mailbox
from Danny's hand.
She walks out. The group is frozen. Livingston is still
looking at the pictures of Rusty following Isabel.
LIVINGSTON
(to Rusty, re: the photo)
Who's hat is that?
SAUL
How did she-- That was--
DANNY
(to Rusty)
This is what I was talking about.
This is exactly what I was talking--
RUSTY
--I was just checking up on her. I
knew she didn't want to see me. I
was being polite.
TURK
Where did she learn all that stuff?
The Palowski stuff.
DANNY
Her father.
VIRGIL
He was a cop?
RUSTY
Thief.
(CONTINUED)
61.
86 CONTINUED: (3) 86
LINUS
Was he good?
DANNY
Very.
FRANK
Great.
VIRGIL
What's the big deal? She's just
some brilliant, pissed-off ex-
girlfriend who's dad taught her
every trick in the book.
SAUL & BASHER
Fiancee.
TURK
But did you see that display of
emotion, handing out those
pictures?
VIRGIL
Totally unprofessional.
RUSTY
She's passionate.
VIRGIL
She's unbalanced.
RUSTY
Her job is very stressful.
SAUL
She could reduce her stress by
leaving us alone.
DANNY
We've got to slow her down.
Everyone agrees.
DANNY
But first: We find our French
friend and introduce ourselves.
FUNKY TRANSITION
TO:
62.
87 INT. EUROPOL HEADQUARTERS -- DAY 87
Isabel is talking to her superior.
ISABEL'S BOSS
Twenty-four hours. You know that.
ISABEL
I don't have twenty-four hours.
They're there now. They'll lead me
to him.
ISABEL'S BOSS
You also know that you can go now,
if you don't take your secretary.
When there's liability, I need a
document.
She nods.
88 INT. EUROPOL HEADQUARTERS HALLWAY -- DAY 88
Isabel exits.
HESS
He said we can't leave until
tomorrow because of liability
issues and he needs a document.
ISABEL
Yes.
HESS
Thanks for trying.
ISABEL
Let's share a car.
HESS
That would be nice. Thank you.
ISABEL
I can't believe they won't make an
exception.
(beat)
I've got to find out who this other
guy is.
CUT TO:
63.
89 INT. MONTE CARLO CASINO -- NIGHT 89
Dinner Jacket (AKA FRANCOIS TOULOUR) wins a huge blackjack
bet. The crowd reacts enthusiastically. A beautiful woman
stands near him.
90 INT. MONTE CARLO CASINO -- NIGHT 90
The crowd around the blackjack table erupts as Toulour wine
another massive bet. Note: The same dealer pays him off.
The same crowd is watching. But Toulour is dressed in a
different tuxedo, and a different women is standing by his
side.
ANOTHER BEAUTIFUL WOMAN
Fantastic.
BASHER (V.O.)
He did his first big job in 1989.
Bundesbank, Berlin.
DANNY (V.O.)
The fifteen million dollar one the
day the Berlin wall fell?
BASHER (V.O.)
He was nineteen years old.
91 INTERCUT -- INT./EXT. MONTE CARLO CASINO -- NIGHT 91
FOLLOW Toulour (in a different tuxedo, with a different
beautiful woman) as he exits the casino.
92 EXT. MONTE CARLO CASINO -- NIGHT 92
When we PICK HIM UP on the exterior he is in another tuxedo
with another woman.
ANOTHER BEAUTIFUL WOMAN
Where do you want to go this
weekend?
BASHER (V.O.)
Bank Faltier, Paris 190 and again
in '91.... Total take twenty-one
million euros. Bank of Italy '92.
Eighteen million. Danish Treasury,
also 192. Twenty-two million.
(MORE)
(CONTINUED)
64.
92 CONTINUED: 92
BASHER (V.O.) (cont'd)
Prado museum. Madrid '93.... The
Picasso. Estimated value--
SAUL (V.O.)
Hang on a second! He-- All of
them?!
LIVINGSTON (V.O.)
He's not done.
DANNY (V.O.)
Wait -- Prado Museum, the Picasso --
that was Moretti.
93 INTERCUT -- EXT. MONTE CARLO -- NIGHT 93
Toulour rockets his turbocharged Bentley into a tunnel.
94 EXT. MONTE CARLO TUNNEL - NIGHT 94
PICK HIM UP as he exits the tunnel in a new car, wearing a
new tux, with a new woman.
BASHER (V.O.)
He in Moretti. It's one of his
aliases.
RUSTY (V.O.)
Anything else?
BASHER (V.O.)
UDC bank in Geneva, `94. Nineteen
million in bearer bonds. The
Louvre --'95 and twice in '96.
Yen (in V.O.) says something in Chinese.
BASHER (V.O.)
He left a Post-It note on the Mona
Lisa that said "Bitch set me up."
LIVINGSTON (V.O.)
Tell them about Saint Tropez.
BASHER (V.O.)
In 2000, he stole the King of
Morocco's 230 foot yacht.
Vanished into thin air. Crew
surfaced a few days later in a life
raft. Couldn't remember a thing.
(CONTINUED)
65.
94 CONTINUED: 94
SAUL (V.O.)
How do you hide a two hundred foot
yacht?!
BASHER (V.O.)
If the King knows, he's not
telling. He received it back a
month later.
95 INTERCUT -- EXT. COTE D'AZURE -- NIGHT 95
Toulour. Another car. Another tux. Another beautiful
woman. He pilots his convertible Maserati at high speed
along the windy road.
ANOTHER BEAUTIFUL WOMAN
How far is your house, Baron?
TOULOUR
Twenty minutes by helicopter.
TURK (V.O.)
One guy did all those jobs?
VIRGIL (V.O.)
How'd he get all those aliases?
BASHER (V.O.)
Until a month ago Interpol were
convinced that the heists were the
work of twelve different people.
But not any more.
LIVINGSTON (V.O.)
The French national police just
gave him a nickname. "Le Renard
Nuit" -- The Night Fox.
96 INT. HOTEL SUITE -- DAY 96
Danny rolls his eyes.
BASHER
Scotland Yard said he's the new
LeMarc.
RUSTY
Scotland Yard never saw LeMarc.
66.
97 INTERCUT -- EXT. PRIVATE HELIPORT -- NIGHT 97
A helicopter lands on a massive Lake Como estate. Toulour
gets out. New clothes. New woman.
DANNY (V.O.)
Personal information?
LINUS (V.O.)
Some say he's one of these guys
that thinks because he was born in
a penthouse, he controls the
elevator business. Others say he
turned out okay when you consider
how rich his parents were.
SAUL (V.O.)
Taxes over here are brutal. People
don't realize.
LINUS (V.O.)
Father was a big-time
industrialist, got into the
cellphone market on the ground
floor. Mother inherited. Had maids
as a child. He's a public figure,
people know who he is. He's been
rumored to run for office in Spain,
even though he doesn't appear to
live there.
98 INTERCUT -- EXT. / INT. TOULOUR'S HOUSE -- NIGHT 98
Toulour, in new clothes, with yet another woman, unlocks
several locks and disarms two alarms. The woman can't
believe all the security he has.
ANOTHER BEAUTIFUL WOMAN
What do you have in there, the Mona
Lisa?
TOULOUR
(as if)
Please.
ANOTHER BEAUTIFUL WOMAN
(doesn't miss a beat)
You know what? I don't like that
painting either. I don't like
anything Van Gogh did.
(CONTINUED)
67.
98 CONTINUED: 98
Toulour smiles and lets her in.
LINUS (V.O.)
He's an avid golfer, pro-level
tennis player, and inveterate
gambler. But apparently his
favorite pastime is....
Linus trails off.
99 BACK TO THE HOTEL 99
DANNY
What?
RUSTY
Spit it out, Linus.
100 INTERCUT -- INT. TOULOUR'S VILLA -- NIGHT 100
A tableau shot looking into the bedroom. ANOTHER BEAUTIFUL
WOMAN joins Toulour in his bedroom.
101 INT. AMSTERDAM HOTEL SUITE -- DAY 101
LINUS
He's rarely alone. I think it's a
compulsion. I have a list of names
here...it was just the first week.
DANNY
All right, moving on, is there
anything else we need to know about
this guy before we--
BASHER
Did we forget to mention he's a
Viscount?
DANNY
A what?
LIVINGSTON
Viscount. As in nobility.
(CONTINUED)
68.
101 CONTINUED: 101
DANNY
(cannot take it anymore)
Last time I checked titles like
that went out with a little number
I like to call the French
Revolution--
BASHER
Spain.
DANNY
What?
BASHER
His title. It's Spanish. Mother's
cousin.
102 INTERCUT -- INT. TOULOUR'S BEDROOM -- DAWN 102
Toulour crawls out of bad. Wonders who the woman next to him
is.
103 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAY 103
DANNY
He may be the greatest thief in
Europe. He may have slept with
half of the EU. He may be a
Casanova with the soul of a
starving artist. It doesn't matter.
104 INTERCUT -- INT. TOULOUR'S HALLWAY -- DAWN 104
Toulour comes downstairs in his bathrobe.
105 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAWN 105
DANNY
There's something he cares about.
There's something he can't live
without.
106 INTERCUT -- INT. TOULOUR'S HOUSE -- DAWN 106
Toulour reaches the base of the stairs and stops dead in his
tracks. He looks ahead of him to a wall covered with
paintings. One painting is clearly missing.
(CONTINUED)
69.
106 CONTINUED: 106
All that remains are the dust/fade marks on the wall to
indicate that it had been there.
He walks up to the wall and smiles -- certainly this will be
an interesting day. He's actually been cheered up by this.
107 EXT. TOULOUR'S VILLA -- DAY 107
Toulour in playing a hard-fought game of tennis. His
opponent (EDMUND) bangs a great shot. Toulour gets there and
smacks it back. Edmund dives for the ball, just gets it back
over the net. But Toulour is waiting and hits a kill shot.
EDMUNDS
Are you on steroids?
Toulour laughs.
EDMUND
Let's try again. Give me five games
this time.
TOULOUR
You are worse than Sampras. You
should be paying me.
A BUTLER arrives.
BUTLER
(in French)
Pardon me, sir.
He hands Toulour two business cards. One says "Daniel
Ocean," the other "Rusty Ryan."
BUTLER
(in French)
Two gentlemen. They say they met
you in Amsterdam last week.
TOULOUR
(in French)
Put them on the veranda and get
them a drink. I'll be right up.
108 EXT. VERANDA -- DAY 108
Danny and Rusty look out over Lake Como. Toulour arrives.
TOULOUR
(to Danny)
Rusty.
(MORE)
(CONTINUED)
70.
108 CONTINUED: 108
TOULOUR (cont'd)
(to Rusty)
Danny.
DANNY
Other way around.
TOULOUR
Are you sure? Usually I'm so good
at that.
Edmund arrives, carrying his tennis bag.
TOULOUR
This is Edmund. Edmund. Rusty.
Danny.
He calls by their wrong names again.
DANNY
Nice to meet you. Edmund.
(making conversation)
You a tennis pro?
Rusty takes a sip of ice tea.
EDMUND
Actually, no, I'm the King of
Morocco.
Danny and Rusty nod, their smiles frozen.
109 INT. VILLA -- DAY 109
Toulour shows Danny and Rusty his art.
TOULOUR
Sadly, I can't show you my favorite
painting of all -- a Degas that
used to hang right there -- because
it was stolen recently.
DANNY
That's awful.
RUSTY
The criminal element is everywhere
these days.
Toulour nods.
DANNY
Listen, Francois--
(CONTINUED)
71.
109 CONTINUED: 109
TOULOUR
Please. Call me Baron.
DANNY
We came here for the Vanderspeigle
certificate--
TOULOUR
That's not for sale.
DANNY
Your Degas is worth three times
that. You want your painting back,
you're going to have to trade.
TOULOUR
You actually expect me to believe
that you are in possession of my
Degas? You are living in a...in a
bubble.
Toulour looks at them and walks away.
CUT TO:
110 INT. LAKE COMO HOTEL SUITE -- DAY 110
Rusty and Danny stand with the rest of the group.
BASHER
He used the word "amateur"?
Rusty and Danny nod reluctantly.
VIRGIL
You said we could show him the
painting right, to prove that we
had it.
DANNY
Yes.
RUSTY
He still wouldn't trade.
Yen says something.
FRANK
We need to teach him a lesson.
(CONTINUED)
72.
110 CONTINUED: 110
TURK
Absolutely.
DANNY
All right, let's stay calm.
We don't need to over-react here.
He said some disrespectful things,
that's true. But why antagonize
this guy? Why get into something
with him? He's young and he's
filthy rich, and he's got time on
his hands. We don't want to become
his Betty noir. We can just fence
his painting and earn a lot more
than we would have from the
certificate.
BASHER
It's about reputation. You said so
yourself. We have to get that
certificate to Evelyn's buyer or--
DANNY
We'll make enough selling the Degas
to pay off her buyer--
FRANK
Then why did you make that trip
down there in the first place, if
you didn't want to get into
something?
DANNY
Saul?
SAUL
Turn his name over to Isabel. In
exchange for getting off our backs.
Tough one to swallow.
SAUL
Short of that...the only
appropriate response is to steal
his next job right out from under
him. Just like he did to us.
TURK
We don't even know our next job.
DANNY
We got ten million in that closet.
(CONTINUED)
73.
110 CONTINUED: (2) 110
Danny points at the closet in the room.
DANNY
I cash in the Degas, take a moment
to think about our next move.
Toulour isn't going anywhere. You
guys are hyping him too much,
you're letting him get inside your
head.
Everyone agrees.
Danny opens the closet.
There's a picture frame in there, but NO PICTURE. It's been
stolen by Toulour.
We hear the SOUND OF A CASE BEING SHUT AND LOCKED.
111 INT. PARIS BUILDING -- DAY 111
We see a SMALL, SECURE BOX being transported to a heavily
secured truck.
112 EXT. PARIS BUILDING -- DAY 112
The truck exits the building and drives down a street with
security MOTORCYCLES surrounding it.
113 EXT. PARIS FREEWAY -- DAY 113
The motorcade heads for the private airport.
The secure box is loaded onto a plane as Isabel and her male
secretary Hess exit a plane nearby.
114 INT. CAR -- DAY 114
Isabel and Hess heading into Paris.
ISABEL
Why do I need to see all these
guys? When I tracked the Munch
down in Sweden I got all the
approvals I needed with one phone
call.
(MORE)
(CONTINUED)
74.
114 CONTINUED: 114
ISABEL (cont'd)
With Lenin's shaving kit the
Russians brought me in and it took
a single signature and I got it at
the airport a minute after I
arrived. What's so goddamned
special about the French?
Hess gives her a look as though she should know better.
HESS
Without their signatures, you can't
do anything. You can't pull the
suspects over, you can't do
surveillance on them, you're not
even allowed to contact them.
They're real sticklers about
sovereignty issues here.
115 INT. PARIS BUREAUCRAT'S OFFICE -- DAY 115
The Bureaucrat looks at Isabel. All of her.
INSPECTOR
Isabel, I couldn't possibly sign
those documents in good conscience
without talking to you about the
case in detail. I realize you're in
a hurry and my schedule for the
rest of the day is quite full, so
perhaps, if you're interested in
being expedient, we could discuss
the case...over dinner.
116 INT. SEDAN -- DAY 116
Isabel sits in the back with Hess.
HESS
Foucquet's at eight-thirty.
Apparently their's a private room.
Better bring your kevlar.
(to the driver)
Don't stop for that.
117 EXT. PARIS STREET--DAY 117
The driver accelerates through a yellow/red light, almost
hitting DANNY AND TOULOUR
Who deftly avoid getting crushed.
(CONTINUED)
75.
117 CONTINUED: 117
DANNY
That's not how I want to go.
TOULOUR
No.
They walk on.
TOULOUR
Very theatrical of you...asking to
meet here. Like we're spies
meeting to do an exchange.
DANNY
Why are you doing this to us?
TOULOUR
Doing what?
DANNY
This is a game for you. For us it's
survival. Are you that bored? I
mean...
TOULOUR
No. I wouldn't do that. No... The
truth is...I made a bet. Or maybe a
better word is a "wager".
DANNY
What kind of wager?
118 EXT. PARIS CAPE -- DAY 118
Danny and Toulour sit across from each other. The bottom
quarter of the Eifel tower is visible in the background.
TOULOUR
A gentlemen's wager with a friend
of mine -- my mentor. A few months
ago we were at his winter place in
Nicaragua and another guest
referred to me as "the greatest
thief in the world." I didn't
object, obviously, but my mentor
fell silent. Later I asked him
about it. He said if I really
wanted to say I was the best
thief...I'd have to prove I was
better than the eleven of you.
(beat)
(MORE)
(CONTINUED)
76.
118 CONTINUED: 118
TOULOUR (cont'd)
You know, the Benedict job made
waves, even all the way over here.
16.3 million dollars. That's a lot
of money.
DANNY
163.
TOULOUR
Sorry. 163. Before you were found.
119 INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY 119
TOULOUR
Yes, 163 million is a lot of money.
It attracts attention. So, in a
way, you brought this problem with
me on yourselves. You're victims
of your own success.
DANNY
Here's what I'm going to do. You
tell me the name of your mentor.
I'll call him up and I'll tell him
that you're the greatest thief in
the world...that I accept that to
be true.... And in return...you
leave us alone, let us go about our
business. How about that?
TOULOUR
He said you'd probably say
something like that -- but he said
you'd probably have your fingers
crossed when you said it.
Danny frowns, pulls his hand out of his pocket.
TOULOUR (CONT'D)
So in this situation -- for the
purposes of my wager -- words
aren't good enough. I have to
prove this on the ground.
DANNY
This mentor of yours...was he a
good thief in his day?
TOULOUR
Who, LeMarc?
(CONTINUED)
77.
119 CONTINUED: 119
Danny swallows.
DANNY
Yeah. Him.
120 INT. PARIS HOTEL ROOM -- DAY 120
Angle on the group -- they're slack-jawed.
LIVINGSTON
Who?
Yen says something.
RUSTY
I thought so too.
SAUL
LeMarc. The LeMarc.
Danny nods.
SAUL
God hates me. He hates all of us.
FRANK
Hell, this could go on forever.
DANNY
No. It's going to be settled by one
more job. A single object.
SAUL
Whatever it is, let's just let him
have it.
DANNY
We can't.
LIVINGSTON
Because of pride?
DANNY
Because we beat him, he'll pay
Benedict off.
A stunned beat.
FRANK
(new lease on life)
Now we're talking.
(CONTINUED)
78.
120 CONTINUED: 120
BASHER
One score, for the whole thing?
LIVINGSTON
What do we have to do? I mean, is
it a fair bet or is it like...the
Coronation Egg or something?
Danny points. That's it. That's the one.
SAUL
He wants us to steal the Coronation
Egg!
BASHER
That's just... that's...what is
that?
SAUL
The Holy Grail.
RUSTY
Carl Faberge, the greatest
goldsmith in history, constructed
the Coronation Egg in 1896 for the
wedding of Czar Nicholas and
Alexandra. Every world class thief
in the last 108 years has tried to
steal it. No one has even come
close.
SAUL
That's because it's cursed.
LINUS
What?
SAUL
It's un-stealable.
DANNY
It's the only thing in LeMarc's
entire career that he went after
but failed to get. He tried three
times.
A long beat of silence....
DANNY
We get the egg and we're free.
(CONTINUED)
79.
120 CONTINUED: (2) 120
BASHER
That's great, except we can't get
it.
SAUL
It's not possible.
DANNY
Then we go to jail.
A beat...
VIRGIL
Well...where is it now?
121 EXT. ROME, ITALY PRIVATE AIRPORT -- DAY 121
The SMALL, SECURE BOX is being taken off a plane. Another
motorcade forms and escorts the vehicle into the city.
122 EXT. STREETS OF ROME -- DAY 122
The motorcade is completely stopped in traffic.
In a nearby sedan, Isabel sits next to an Italian CARABINIERI
LIAISON of same sort. Hess is in the front seat.
ISABEL
I'm going to need surveillance on
both hotels, phone taps, room bugs,
people in the lobby and by every
exit.
CARABINIERI OFFICER
Yes, absolutely.
ISABEL
If I had to guess I'd say I'll need
at least 25 people, a dozen
vehicles...and an on-call air unit.
CARABINIERI OFFICER
Yes, absolutely.
ISABEL
Okay, one more thing, and this is
crucial: these guys are extremely,
sophisticated at avoiding
electronic surveillance, so we'll
need real state of the art stuff.
(MORE)
(CONTINUED)
80.
122 CONTINUED: 122
ISABEL (cont'd)
I'm talking synthetic aperture
pinhole cameras, wave reformation
mics with a high Plank coefficient
and a passive input structure--
You're not writing anything down;
are you sure you're getting all
this?
CARABINIERI OFFICER
Yes, absolutely.
ISABEL
Okay. Good. Now what time am I
meeting Captain Giordano?
A beat...
CARABINIERI OFFICER
(tentative)
Yes...
ISABEL
No, what time?
Another beat...
CARABINIERI OFFICER
Yes...absolutely...
Isabel looks right at him.
ISABEL
I see...so...you've spoken with the
Pope and he's okay with
autographing my breasts?
Hess turns around.
CARABINIERI OFFICER
Yes, absolutely.
Isabel sighs loudly and sinks back into her seat.
123 EXT. STREETS OF ROME -- DAY 123
The motorcade arrives at the Museum of Modern Art.
We follow armored car and continue on to find Danny walking
up the front steps.
81.
124 INT. MUSEUM OF MODERN ART -- DAY 124
Angle on Livingston as he subtly nods at something in the
distance. Danny is standing next to him.
DANNY
What am I looking at?
LIVINGSTON
A TR354 infra red motion detection
system. It's the gold standard.
DANNY
Saul and Linus back yet?
LIVINGSTON
No.
DANNY
No?
LIVINGSTON
And I can't find Rusty.
125 INT. MUSEUM -- ELSEWHERE 125
Frank and Yen look at an "authorized-entry only" door as a
member of the museum staff goes through it. The door has a
complex double-locking mechanism that would make it
impossible to pick.
Yen says something in Chinese.
FRANK
What?
Yen says something in Chinese, again.
FRANK
Well, I don't know, but that's one
nasty lock.
Danny approaches.
DANNY
Seen Rusty?
FRANK
We thought he was with you.
(CONTINUED)
82.
125 CONTINUED: 125
Danny moves off.
126 INT. MUSEUM -- ELSEWHERE 126
Basher is being questioned by Danny.
BASHER
Not since we first got here. About
an hour ago.
Danny moves away.
BASHER (cont'd)
(to Danny's back)
And where's Saul and Linus?
127 INT. ROME HOTEL ROOM -- DAY 127
Isabel enters her room. Suddenly she spins and draws her
pistol. Her gun ends up in Rusty's face.
ISABEL
Jesus, Robert. I could've killed
you.
He shrugs. A long beat as she takes a look at him.
RUSTY
I'm older.
ISABEL
I hope so. What are you doing in my
room?
RUSTY
I thought maybe we could get some
coffee.
ISABEL
No, thanks.
RUSTY
Okay, how about a two week trip to
Zanzibar?
ISABEL
Please don't.
(CONTINUED)
83.
127 CONTINUED: 127
RUSTY
Fine, coffee then. Whatever you
say.
Isabel gives an exasperated sigh.
ISABEL
Why do I want to have coffee with
you?
RUSTY
How should I know? sorry about your
mom.
Isable nods.
RUSTY (cont'd)
She was a real...
ISABEL
She hated you.
RUSTY
Well, she was nice enough to hide
it from me. Some people can't even
do that.
ISABEL
She hated everybody.
Rusty nods. He remembers.
ISABEL
You'll never get it by the way.
RUSTY
Get what?
ISABEL
You'll think you've got it, you'll
be so close that you'll be able to
taste it and then this guy, the
Night Fox or whoever he is, will
just take it -- right out of your
hand -- just like he did in
Amsterdam. He's as good as LeMarc.
RUSTY
It's not possible.
ISABEL
You're in a bubble.
(CONTINUED)
84.
127 CONTINUED: (2) 127
Rusty looks at her.
128 INT. ROME WAREHOUSE -- DAY 128
A mock up of the room the egg will be displayed in. A dummy
egg sits on a cradle in the center of the room. Infra-red
motion detectors cover the room. Motion sensitive lasers
shine directly onto the egg.
Danny, Basher, Yen, Frank, and Livingston try to figure out
how to get around the security systems.
LIVINGSTON (IN THE BACKGROUND)
No, that won't work either. The IR
will pick it up before you even get
close.
This is depressing to everyone.
FRANK
Look, if we're having this much
trouble, and we've got ten guys
Toulour must be pulling his hair
out.
129 INTERCUT -- EXT. POOLSIDE -- DAY 129
Toulour lies in a lounge chair.
130 BACK TO SCENE -- INT. ROME WAREHOUSE -- DAY 130
The group agrees Toulour must be suffering like them.
Rusty strides in. Everyone looks at him. He looks at the mock
up of the egg.
RUSTY
Would you call that bubble-shaped?
DANNY
What?
Rusty shrugs it off.
RUSTY
She pulled a gun on me.
He sits.
(CONTINUED)
85.
130 CONTINUED: 130
RUSTY (cont'd)
She won't back off.
FRANK
Are you back on?
RUSTY
I'm selling. She ain't buying.
DANNY
More importantly, what kind of
reception is the Italian Police
giving her?
131 INT. ROME POLICE HEADQUARTERS -- DAY 131
A SUBORDINATE OFFICER leads Isabel down a hallway.
SUBORDINATE OFFICER
Captain Giordano is handling an
urgent interrogation. He'll be up
as soon as it is completed. Please
wait in here.
He leads Isabel and Hess into the Captain's office. A large
clock on the wall reads 11:45 am.
The open windows in the office look out onto one of Rome's
famous courtyards. Captain Giordano stands with three other
officers. They are having a loud, tense conversation in
Italian.
Isabel watches as Giordano's temper really flares. He jabs
his finger at one of the other cops.
CAPTAIN GIORDANO (SUBTITLED)
Naples sucks! They're a joke! The
only decent player they have is
Pasqualli -- and he's a pussy.
ITALIAN COP 1 (SUBTITLED)
Pasqualli runs circles around
Bologna's backfield every time.
ITALIAN COP 2 (SUBTITLED)
Pasqualli could single-handedly--
Isabel turns to the officer who escorted her in.
ISABEL
What are they talking about?
(CONTINUED)
86.
131 CONTINUED: 131
SUBORDINATE OFFICER
It's an internal matter, Madame.
Isabel and Hess look at each other.
132 EXT. COURTYARD -- DAY 132
The Captain continues to argue. Those involved in the
discussion are being brought lunch.
133 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 133
Isabel's sitting on the couch now, her eye lids drooping.
Hess checks his PDA.
ITALIAN COP 3 (O.S., SUBTITLED)
--and her friends could trounce
NapIes!
The clock on the wall reads 2:20 PM. Isabel's been here two
and a half hours.
134 INT. ROME WAREHOUSE -- DAY 134
Livingston, Yen, Danny, and Rusty are experimenting with a
way for Yen to drop from the ceiling so that he's hanging
right over the egg.
Their mock-up alarm rings. A red light flashes.
LIVINGSTON
Damn-it.
Danny rubs his face. This is feeling impossible. He goes
into the corner and clicks a walkie-talkie.
in the background we see Rusty trying to keep everybody's
spirits high.
RUSTY
All right, okay. Let's not be
defeatists.... What about that
mirror trick that Akimbo tried at
the--
LIVINGSTON
--There's no mirror thin enough to
avoid tripping the lasers.
(CONTINUED)
87.
134 CONTINUED: 134
In the foreground, Danny on the walkie-talkie.
DANNY
What's he doing now?
VIRGIL (RADIO V.O.)
Nothing. Just reading the papers
at a cafe. Oh, no, wait. A woman
just sat down next to him.... He's
getting her phone number.
TURK (RADIO V.O.)
Wow. What are those?
VIRGIL (RADIO V.O.)
Jimmy Chu.
TURK (RADIO V.O.)
I've never seen that color.
DANNY
(into walkie)
Okay, take it easy over there.
Saul and Linus enter.
DANNY
What happened?
Linus puts his BACKPACK down.
LINUS
We thought someone was following
us.
SAUL
We gave 'em the shake. Caught 'em
napping.
135 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 135
Isabel is asleep on the couch. It's 5:30 PM. A hand taps
her shoulder. She wakes up and is shocked to see Captain
Giordano, finally, standing above her.
SUBORDINATE OFFICER
(doing the introductions)
Captain Giordano, Rome Police
Special Investigations. Isabel
Lahiri, Europol, Major Theft Task
Force.
(CONTINUED)
88.
135 CONTINUED: 135
The Captain nods. Isabel looks over at Hess, who is still
asleep.
136 MOMENTS LATER 136
Isabel and the Captain are alone now. Giordano is looking
right into her eyes, with laser focus. There isn't even a
hint of lasciviousness about him. He's all business.
ISABEL
...reason to believe these men...
(lays out photos of Danny,
Rusty, and Toulour)
...are going to try to steal the
Coronation Egg when it is actually
put on display next week. I need
official authorization to surveil
and pursue these suspected
criminals on Italian soil.
CAPTAIN GIORDANO
Yes, absolutely.
ISABEL
And I'll need substantial resources
from your department. Can I count
on that?
CAPTAIN GIORDANO
Yes, absolutely.
Isabel stops. Starts to wonder.
ISABEL
So, Captain, what do you think of
my skirt?
He smiles and looks at her.
CAPTAIN GIORDANO
I think it's very beautiful. Why,
don't you like it?
137 EXT. ROME CAFE -- DAY 137
Danny and Toulour. A waiter brings them coffee, Danny SPOONS
in a lot of sugar, then stirs.
(CONTINUED)
89.
137 CONTINUED: 137
TOULOUR
I don't usually call for a second
date. For you I make an exception.
DANNY
Thanks.
TOULOUR
I think it's good that we talk. You
see, you should stop following me.
You're wasting your time. I'm going
to let you go first and get caught.
Then they will increase the
security even more, and then I will
steal the Egg. Then Lemarc can make
his decision.
DANNY
You sound confident.
TOULOUR
Confident? This is a very American
word. I am arrogant. There's a
difference.
DANNY
Doesn't matter if you're that good.
Are you that good?
TOULOUR
I can move objects with my mind.
Danny just looks at him.
TOULOUR
You don't believe it?
DANNY
Do you?
TOULOUR
Are you done stirring your sugar?
Danny stops, lifts the spoon. It's completely BENT.
DANNY
That's fantastic.
(starts to go)
Listen, I appreciate the call, and,
best of luck.
(CONTINUED)
90.
137 CONTINUED: (2) 137
TOULOUR
Danny. I'm serious. Sit down,
please.
Danny site down and looks at him.
DANNY
You're telekinetic, is that what
you're telling me?
TOULOUR
Yes. But...it's a curse. A
nightmare. Everything is too easy.
But then LeMarc says I'm still not
the best. So I take his challenge.
And you will fail, and I will win,
and so what? What does it prove?
What is he trying to show me?
Danny just looks at him.
138 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 138
CAPTAIN GIORDANO
Ms. Lahiri, you're in Italy now.
We are a sovereign nation. We're
not some adjunct, some
administrative district of the EU.
When Europol calls we don't jump up
and tap dance for you. If you want
to work in Italy, then you have to
do it under Italian authority...and
that means you have to talk to
Commander Andriotti...who, I'm
sure, will be happy to meet with
you some time next week--
ISABEL
Next week!
CAPTAIN GIORDANO
--when he returns from vacation.
Isabel slumps back into her chair. Stares up to the heavens.
139 INT. POLICE HEADQUARTERS IN ROME, HALLWAY -- DAY 139
Isabel and Hess walk.
(CONTINUED)
91.
139 CONTINUED: 139
HESS
He said he has to get approval from
someone else and they're on sick
leave.
ISABEL
Vacation.
HESS
Sorry I fell asleep.
ISABEL
We both did. I'm exhausted.
140 EXT. CAFE JUST OFF PIAZZA NAVONA -- DAY 140
An exasperated Isabel tries to regain her equilibrium with a
cappuccino. A piece of music comes over the cafe loudspeaker
that catches Isabel's attention. A CHEESY WAVY SCREEN
TRANSITION TO:
141 ISABEL'S FLASHBACK 141
Years ago. Isabel's sitting at the very same cafe reading
the newspaper when she hears frantic police whistles. She
looks up to see a man running down the street at full bore.
As he gets closer we realize it's Rusty. Eight cops are
chasing him.
Rusty rushes past the cafe. As he does he notices Isabel,
they make eye contact. Then he's gone. Sprints around the
corner. The cops rush past her. She hears sirens converging
from all directions.
142 INT. POLICE HEADQUARTERS (STILL IN FLASHBACK) 142
Isabel shows her Europol identification to a detective.
ISABEL
Hi, this isn't official business.
Actually, I'm here on vacation. But
I was sitting in a cafe this
afternoon, near the Piazza Navona
and...the police were chasing
someone on foot. I was just
wondering if you caught him or...do
you know anything about that case?
(CONTINUED)
92.
142 CONTINUED: 142
ITALIAN DETECTIVE
I know the case, yes.
Unfortunately, we didn't catch him.
ISABEL
Oh...
143 EXT. CAFE JUST OFF PIAZZA NAVONA - DAY (STILL FLASHBACK) 143
Isabel sits in the same seat the next day, reading the
newspaper, enjoying her vacation. She looks up and stops
cold.
Rusty, all cleaned up now, dressed in a perfectly-tailored
suit, sits down three tables away from her.
She stares at him. Can't believe it. The brazenness. The
audacity of this guy. Rusty doesn't seem to have a care in
the world as he chats easily with the waiter, in Italian.
Finally, Isabel just can't help herself. She gets up and
walks over to Rusty's table.
ISABEL
Excuse me...
RUSTY
Yes.
ISABEL
Um...Did I...? I think I saw
you...yesterday.
RUSTY
Oh yeah?
ISABEL
The police were chasing you.
RUSTY
You sure your eyes aren't broken?
ISABEL
I'm quite sure it was you.
RUSTY
Well, then I'm not gonna argue. Can
I buy you a coffee?
93.
144 EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY 144
We transition back to the cafe. Isabel's phone rings.
ISABEL
Hello.
RUSTY
We've got to stop meeting like
this.
She turns. He's sitting at the table behind her.
145 EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY - LATER 145
Isabel and Rusty are being quiet for the moment.
The waiter's in the midst of an animated discussion in
Italian with one of the customers.
ISABEL
What are they talking about all the
time?!
RUSTY
Soccer.
(translating)
He doesn't like Naples....thinks
they're a bunch of...sissies.
(turns to Isabel)
Can I ask you a question?
(off Isabel's nod)
Will you come to Zanzibar with me
on Friday?
ISABEL
Stop it.
146 INT. ROME WAREHOUSE -- DAY 146
Danny sleeps, sitting up, in a chair as the rest of the group
tries to figure out how to defeat the security systems around
their mock-up egg.
The group breaks into applause startling Danny awake.
LIVINGSTON
We did it! It works!
(CONTINUED)
94.
146 CONTINUED: 146
DANNY
What, what happened?
147 INT. ORNATE HALLWAY -- DAY 147
TIGHT MEDIUM shot on uniformed National Police officer as he
strides down the hallway. His bearing is disciplined, stern,
formal. He is clearly handling a matter of utmost
importance. Tilt down to reveal he is carrying a tiny cup of
CAPPUCCINO.
148 INT. ORNATE OFFICE OUTER OFFICE -- DAY 148
The National Police Officer blows through, passing Hess.
149 INT. ORNATE OFFICE -- DAY 149
Isabel sits with Commander Andriotti. The office door swings
open and the National Police officer walks in. He places the
cappuccino on Andriotti's desk and leaves.
150 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 150
Giordano sits with his feet up on his desk, smoking a cigar.
The door swings open and Isabel strides in, catching him
completely off guard. She thrusts a piece of paper in his
face.
CAPTAIN GIORDANO
What's that?
ISABEL
An order signed by Commander
Andriotti instructing you to
"provide any and all support that
Agent Lahiri requests, whenever she
requests it."
He looks at it.
CAPTAIN GIORDANO
It's good, yes. Okay.
He looks at her.
CAPTAIN GIORDANO
That's a very nice blouse you wear
today.
95.
151 INT. MUSEUM --DAY 151
Linus and the Malloys walk through the museum.
LINUS
When Dominique goes back with
Thomas to check the trunk, the
money shouldn't be in the
briefcase. Franklin should have
double-crossed them.
VIRGIL
That could be a great moment, when
he's on the ground.
TURK
And you think Thomas is going to
get blown up.
VIRGIL
Hey.
They look. A large group of Security people are talking to
some NEW TECHNICIANS and ISABEL.
ISABEL
Another camera here and here. And
have a guard here at all times so
any attempt to disable the system
will be detected. All your IR
devices need to be fitted with
reflective faces otherwise a UV
later can be used to burn the
sensors out.
152 INT. ROME WAREHOUSE -- DAY 152
The guys look glum.
LINUS
She just walked in there like
Patton or something. She's
changing...everything and-- There
were so many cops with her. I've
never seen so--
Danny plats up his hand to stop him.
(CONTINUED)
96.
152 CONTINUED: 152
LINUS
I don't understand. If her father
was a thief...why's she such a
hardass? I mean you'd think she'd
have a little sympathy for us.
RUSTY
When she was twelve her mother told
her that her dad got arrested doing
a job in Russia and died in jail.
(beat)
So I wouldn't count on much
sympathy.
BASHER
"This time it's personal".
Danny looks to Rusty, who nods.
153 EXT. MUSEUM OF MODERN ART -- DAY 153
Fourteen police cars parked in front of it.
Isabel stands at a police checkpoint on the road in front of
the museum chatting with Captain Giordano, who's clearly
brown-nosing her big-time since receiving Andriotti's order.
Her phone rings. She looks at the number and answers it.
ISABEL
What do you want?
RUSTY (V.O.)
Ever heard of overkill?
ISABEL
I don't even think Toulour can get
it now.
RUSTY
If he gets it, we'll let you arrest
us. If we get it, you come away
with me to Zanzibar--
ISABEL
What is your obsession with
Zanzibar?!
RUSTY
Do you want to make the bet or not?
(CONTINUED)
97.
153 CONTINUED: 153
ISABEL
I'm hanging up. Stop calling me.
154 INT. HOTEL LOBBY -- DAY 154
Isabel crosses to the elevators.
155 INT. ISABEL'S HOTEL ROOM -- DAY 155
She enters. Shuts the door behind her. Then, instantly,
starts balling.
156 INT. ROME WAREHOUSE -- DAY 156
Danny and Rusty stand with Livingston.
LIVINGSTON
I'm telling you, with everything
she's done in the last twenty-four
hours...unless you happen to be
best friends with the head of
security at the museum, unless you
are someone he knows and trusts
enough to leave alone in the
gallery, after disabling about half
of their security system, forget
it. We are not stealing that
egg...
DANNY
"Someone he knows. Someone he
trusts...." "Someone he knows...."
RUSTY
What about someone he doesn't know
but trusts?
DANNY
For instance?
RUSTY
I'm talking about you know who, who
looks an awful lot like you know
who...
Everyone looks at Danny.
(CONTINUED)
98.
156 CONTINUED: 156
DANNY
She might. It's not going to be
easy getting her over here.
157 EXT. DEPARTMENT STORE -- DAY 157
Tess walks down the street. She passes an alley, where a
utilities truck is raising a MAN IN A BUCKET.
She enters the department store.
158 INT. DEPARTMENT STORE -- DAY 158
Tess shops for perfume. The Power twins watch her from a
discreet distance.
She smiles at them. Then makes her way to the ladies room.
159 INT. LADIES ROOM -- DAY 159
She walks in and goes right for the window. She's about to
open it when it opens from outside. She jumps a mile until
she sees that BRUISER is there, standing in the bucket from
the utilities company.
BRUISER
Hiya, Tess. Just climb on through.
Try not to look down too much.
160 EXT. DEPARTMENT STORE -- DAY 160
Four stories above an alleyway. Tess climbs out the ladies
room window into the cherry picker basket, with Bruiser's
help.
161 EXT. STREET LEVEL -- A MINUTE LATER 161
Tess climbs into a taxi cab. Reuben -- in an anachronistic
taxi driver's uniform -- is driving.
REUBEN
There's make-up in the bag there.
And some photos. Do the best you
can.
99.
162 INT. THE POSHEST ROME HOTEL -- DAY 162
The HOTEL MANAGER comes to the front desk to answer a call.
HOTEL MANAGER
Bonjourno. Yes. Yes. Oh...oh,
really. Well, absolutely. We can
have...I can make our presidential
suite available. No, no, no. No
trouble at all. We'd love... We're
honored that she'd think of us...
He hangs up. Turns, elated, to his front desk staff.
HOTEL MANAGER (SUBTITLED)
Julia Roberts is coming to stay with
us!
163 EXT. POSHEST ROME HOTEL -- DAY 163
Tess, as Julia Roberts, steps out of a Mercedes limo wearing
sunglasses and carrying a puppy. Frank and Basher, as Nation
of Islam bodyguards, clear a place in front of her. Reuben
trails, dressed in the latest hip-hop clothes.
A throng of fans and paparazzi rush toward her. Strobes
blind us. Fans scream out her name, thrust paper and pen at
her for autographs. It's a frigging madhouse.
PRESS
Ms. Roberts! Ms. Roberts! Why did
you come back to Rome so soon!!
TESS
I...uh...
PRESS
Was it to see Topher?
TESS
To see what?
PRESS
Topher Grace!! Your co-star!! Is
that why you're here?!
TESS
Oh. No. I came to -- to see the--
(CONTINUED)
100.
163 CONTINUED: 163
PRESS
Where's Danny?
TESS
What?
PRESS
Danny, your husband!!
TESS
(looks to Reuben)
Well, he's not really--
REUBEN
Ms. Roberts is very tired!! Please
let her through! Please!
164 INT. PRESIDENTIAL SUITE -- DAY 164
Tess enters and shuts the door behind her. She takes a deep
breath and exhales. She looks up at Danny, who's there
waiting for her.
TESS
I can't do this.
Danny goes to her. Kisses her. Hugs her. When he steps
back he answers:
DANNY
Yes, you can.
TESS
I'm not an actress, Danny! And I
don't look like her!
DANNY
You do, Tess. You really do. I
never told you that before, but
it's true.
TESS
Come on: my...
She notions at her body, but we can't tell what part.
TESS
And my...
She motions at her body again; again it's totally ambiguous
what part.
(CONTINUED)
101.
164 CONTINUED: 164
TESS
And my ears. Anybody who sees my
ears is going to know instantly.
DANNY
Nobody's looking at your ears.
TESS
Yes, Danny, they are. They're
going to know.
165 INT. DISPLAY ROOM FOR EGG -- MUSEUM OF MODERN ART -- DAY 165
Isabel stands with the MUSEUM DIRECTOR.
ISABEL
When did that happen?
MUSEUM DIRECTOR
We just found out. I arranged a
private showing for tomorrow
morning before we open the show to
the public.
ISABEL
I don't understand, why do you have
to disable any of the systems--
MUSEUM DIRECTOR
Because she might want to get close
to the egg, got right up here and
look at it. And I'm not going to
embarrass myself or this
institution by telling her she
can't.
ISABEL
She's an actress, Giovanni, not the
Pope.
MUSEUM DIRECTOR
Do you realize how much free
publicity we'll get for this
museum, just because she because
she decided to come by and look at
the egg? She's even agreed to do a
photo shoot for us promoting the
museum.
Isabel gives an exasperated sigh.
(CONTINUED)
102.
165 CONTINUED: 165
ISABEL
That's exactly the sort of thing...
166 INTERCUT -- INT. WAREHOUSE -- DAY 166
Saul, Frank, and Rusty sit on plush couches and watch
Isabel's conversation with the museum director from six
different angles. Clearly, Livingston has tapped into the
museum's closed circuit system.
ISABEL (TELEVISION V.O.)
...that the people I'm after will
exploit.
(thinks)
Okay, fine. You want to shut down
half the electronic system, let me
post eight cops in the room...
Saul, Frank, and Rusty clench teeth and fists... On pins and
needles for a moment. If the museum director agrees they're
in big trouble.
MUSEUM DIRECTOR (TELEVISION V.O.)
Are you crazy? That's worse
than....you want me to treat her
like a criminal?
The guys relax back into the couches, their plan narrowly
having escaped disaster.
167 ANOTHER ANGLE 167
On Saul, Frank, and Rusty relaxing. Only this angle has a
digital quality to it -- because we are watching them now
through a hi-def TV screen.
PULL BACK to REVEAL Toulour, sitting in a warehouse of his
own, watching his own surveillance footage of both our guys'
warehouse and the museum's closed circuit system.
MUSEUM DIRECTOR (TELEVISION V.O.)
Look, if you need to do something
to reinforce security during her
visit, fine. But it's got to be
out of sight. And it can't effect
Julia in any way. Are we clear?
103.
168 INT. ROME BISTRO -- DAY 168
Toulour eats with a beautiful woman. Virgil sits six tables
away, keeping an eye on him.
Turk strolls in and sits with his brother.
TURK
Where is he?
VIRGIL
(points at Toulour)
There. I took a look at the
interrogation scene.
TURK
Why?
VIRGIL
'Cause Linus said it was
repetitive.
TURK
It clarifies everything.
VIRGIL
He said it's too on the nose.
TURK
What's he, the head of the studio?
What's he ever written?
VIRGIL
He's just saying -- Oh, no--
TURK
What?
VIRGIL
It's not him!
Turk spine to see "Toulour" get up at the other table. Only
it's not Toulour. It's somebody who looks like Toulour from
behind.
TURK
What! How did you-- You moron!
You said you were watching him the
whole time!
(CONTINUED)
104.
168 CONT1NUED: 168
VIRGIL
I was! I mean, I used the bathroom
once, but it was quick. You lost
him yesterday!
They sit for a minute.
TURK
Livingston said Frank said that
Rusty said that Danny said Toulour
said don't ever bother following
him.
169 INT. RUSTY'S HOTEL ROOM -- NIGHT 169
ON Rusty -- the blue light of an unseen television reflecting
off his face. He walks onto the balcony.
170 WAVY TRANSITION TO FLASHBACK: 170
We follow Rusty down a hallway. He enters a dark apartment.
Slips silently through the dining room. Two places are set.
A candle on the table is burned down to almost nothing.
171 INT. BEDROOM -- NIGHT 171
The lights are out here too. But Isabel's still awake.
Rusty enters the room. She doesn't look at him
RUSTY
I'm sorry.
ISABEL
What happened?
RUSTY
I have to go. Right now. I have
to leave the country. It could
be a while. A month. Maybe more.
Isabel turns to look at Rusty. She can barely see the
outline of his face in the darkness.
ISABEL
What are you saying? What the hell
are you saying? Where are you
going?
(CONTINUED)
105.
171 CONTINUED: 171
RUSTY
I can't tell you.
Isabel stares at his dark face.
ISABEL
When people start talking the way
you're talking there are only two
possibilities: you're either in
intelligence or you're a criminal.
And no one I work with has ever
worked with you...or even knows
your name.
RUSTY
You knew what I was the day you met
me, Isabel.
ISABEL
Robert...
RUSTY
We can talk about it when I get
back.
ISABEL
No, Robert. I have to tell you
something.
RUSTY
What is it?
ISABEL
I'm taking the job. I'm moving to
Amsterdam.
He doesn't respond for a moment.
RUSTY
I can't have this conversation
right now. Please, Isabel. I have
to get out of here. I love you.
He kisses her then leaves.
172 EXT. APARTMENT -- NIGHT 172
Outside the front of the apartment, he shuts the door and
turns toward us. We see his face in the light for the first
time: His left eye is swollen shut. Blood is caked into his
hair and on his cheek. Somebody beat the shit out of him.
106.
173 BACK IN THE PRESENT DAY 173
Rusty is still on the balcony.
There's a knock at the door. He opens it to see Isabel.
ISABEL
You want to walk?
174 EXT. ROME -- NIGHT 174
Rusty and Isabel sit on the steps of the Campidoglio.
ISABEL
I know how you're planning to do
it. I know Julia's visit is the
key.
RUSTY
Who's Julia?
ISABEL
(after a beat)
LeMarc knew when to get out. He
just quit...with his perfect record
intact. Now he's a legend.
(exhorting)
Don't do this.
RUSTY
LeMarc quit because he was 75 years
old, Isabel. He was tired. His
doctor told him if he didn't start
taking it easy he was going to have
another heart attack. You're
dramatizing it.
ISABEL
You don't know why LeMarc retired,
any better than I do. You have no
idea.
RUSTY
Actually, I do. I know exactly
why.
ISABEL
Really? How's that?
(CONTINUED)
107.
174 CONTINUED: 174
RUSTY
He told me.
ISABEL
(skeptical as hell)
You know LeMarc?
RUSTY
A little.
ISABEL
Since when?
RUSTY
Ten years ago.
ISABEL
For how long?
RUSTY
For six months.
ISABEL
You--
She's so mad she can hardly speak.
ISABEL
You knew LeMarc? You knew LeMarc
and never told me? That's the worst
thing you've ever done to me.
Nobody knows more about LeMarc than
me. How could you do that?
RUSTY
I couldn't tell you, then.
ISABEL
Really awful.
Isabel thinks.
ISABEL
Then why aren't you as good as
Toulour?
Rusty shrugs.
A beat.
(CONTINUED)
108.
174 CONTINUED: (2) 174
ISABEL
I don't want to arrest you, Robert.
I really don't. But I will if you
make me. I will if you go for that
egg.
Rusty goes silent, looks out at the lights of the city.
ISABEL
So many times, I waited. You can't
do that to a person.
RUSTY
Isabel--
ISABEL
I have to go.
Isabel gets up...walks away fast. She's barely holding
herself together.
Rusty watches her go. Several seconds, then:
175 FLASHBACK -- INT. APARTMENT BUILDING -- ROME -- DAY 175
Rusty carries a huge bouquet of flowers up the stairs to the
front door of his apartment with Isabel. It's a perfect
sunny day outside.
He unlocks the door quietly and swings it open to see the
apartment is bare. The furniture is still there. But
nothing else. Nothing on the walls or the shelves. Isabel
has clearly moved out.
Rusty's whole body reacts.... He slowly looks around him, as
if in a dream. His eye goes to the dining room table.
Isabel's engagement ring is there.
176 BACK TO SCENE -- EXT. ROME -- CAMPIDOGLIO -- NIGHT 176
Rusty is still watching Isabel, small now in the distance.
She turns the corner out of sight.
177 EXT. MUSEUM OF MODERN ART -- DAWN 177
Isabel pulls up in her car.
109.
178 INT. MUSEUM OF MODERN ART -- DAWN 178
The Egg is being put into position. Isabel watches.
179 INT. HOTEL SUITE -- DAWN 179
Reuben is talking to Yen. Frank and Livingston get ready in
the background.
REUBEN
You're a photographer. Very
exacting. You want things a certain
way, but you never raise your
voice. You're uncompromising.
Strong.
FRANK
Reuben, what are you doing?
REUBEN
Oh, we understand each other. I'm
mean, the actual words are
gibberish to me, but I know what he
means. There's a tone, you know. We
communicate. I'm sure he'd tell you
the same thing.
(to Yen)
Am I right?
Yen says something in Chinese.
180 INT. HOTEL SUITE -- DAWN 180
Danny and the Malloys are looking at Tess's hair.
TURK
I say we do a Joey Heatherton,
1971.
VIRGIL
It's the wrong color.
Turk looks at his watch.
TURK
Damn.
There's a knock at the door. They let Tess check on it. She
looks out the keyhole;
(CONTINUED)
110.
180 CONTINUED: 180
It's TOPHER GRACE.
Tess looks back to the group and shrugs.
TOPHER
(off)
Hello?
He knocks again.
The group scrambles and hides. Tess opens the door.
TOPHER
Hey! I got your room number from
McCormick, I hope you don't mind.
He walks in and hugs her. She looks terrified. Topher
disengages and looks around.
TOPHER
This is great. Do you have the
adjoining room?
TESS
Uh, no.
TOPHER
Oh. Hey. I saw the rough cut of YOU
ALWAYS, YOU NEVER. It's so awesome.
Congratulations.
TESS
Oh. Thank you.
TOPHER
It was just like a dub of a lo-rez
output, but I could totally see
what you were doing. I think you
might win again. Seriously.
TESS
Oh.
TOPHER
It really actually looked like you
were blind. How did you do that?
What is it like, an on-set thing,
or was it digital?
TESS
It was, uh...
(CONTINUED)
111.
180 CONTINUED: (2) 180
TOPHER
You can tell me, I won't tell a
soul. Because if you say it's
instinctual, I'm quitting right
now. Seriously. The way you parted
your hair? That was so connected.
And that scene with the matches?
And when you find out who your real
grandmother is and run through the
rain and find her on the porch and
touch her face? Man, that was...you
gotta tell Steven how much I loved
it.
TESS
Okay.
TOPHER
So what are you doing?
TESS
I'm, uh, getting ready to go out...
TOPHER
(laughs)
I mean next. What movie are you
doing next?
TESS
I...I'm having trouble deciding
what to do next.
TOPHER
Is Danny working?
TESS
Danny...Danny is...Danny is...
TOPHER
Oh, no. Is something wrong? Have
you two...
TESS
No, no...
TOPHER
I'm so sorry. I'm so sorry.
TESS
No. we're absolutely fine, he's
just--
(CONTINUED)
112.
180 CONTINUED: (3) 180
TOPHER
I've got to stop asking people
about their spouses, it's like
always a mistake--
TESS
No, really--
TOPHER
Listen, I won't say a word.
Seriously. I'm rooting for you
guys, you know that. This is your
private business and I totally
respect that. No more Danny
questions from me.
TESS
Thank you. He's fine. Danny's fine.
He's working.
TOPHER
Hey, cool, whatever. That's what
I'll say.
A beat.
TOPHER
So can I come look at that Egg with
you?
181 INT. MUSEUM -- ENTRY HALL -- DAY 181
Reuben (dressed in a hip-hop outfit) and Linus (dressed like
an agent) stand in front of some paparazzi. A crowd of
museum employees also rubberneck.
REUBEN
My name is Stuart Feldman,
Worldwide Executive Senior Vice-
President of Marketing, Corporate
Senior Vice-President of Publicity
and Corporate International
Executive Worldwide President of
Promotion for the Warner Brothers
Motion Picture company.
(indicating)
My colleague, Grant Wells, who is
responsible for Ms. Roberts
itinerary, has graciously set aside
time for Ms. Roberts to view the
Coronation Egg privately.
113.
182 INT. SECURITY ROOM 182
Isabel, the Security Director, and Captain Giordano sit with
four cops watching a bank of closed circuit screens.
ISABEL
I want to be on record as saying
that you should have shut the
entire museum down.
Isabel keeps her eye on the tourists who circulate through
the other wings of the museum.
183 INT. MUSEUM -- ENTRY HALL -- DAY 183
"Julia" arrives flanked by her "Nation of Islam" guards,
Frank and Basher. The assembled employees clap and call her
name. She waves as they take her picture.
Topher throws his arm around Julia to make sure he gets in
all the shots. The Museum Director comes up to greet
"Julia".
184 INT. SECURITY ROOM 184
Isabel watches the security camera feeds.
ISABEL
There! Right there!
Isabel points at a screen showing the museum's other
entrance. Rusty nonchalantly slips into the museum.
185 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 185
"Julia" enters and walks up to the egg. Her entourage
follows.
TESS
It's so beautiful. My God.
Topher looks at the egg--
TOPHER
Kinda small.
He turns away to look a cute girl on the museum staff.
(CONTINUED)
114.
185 CONTINUED: 185
TOPHER
Hi.
BACK ON "JULIA"
She leans in close to the egg.
TESS
I'm not going to set off any
alarms?
MUSEUM DIRECTOR
No. No. Get as close as you like.
Reuben pops his head in between them.
REUBEN
(obsequious)
Julia -- unless you have any
objections -- Wen and his crew set
up for the publicity stills.
186 INT. ANOTHER PART OF THE MUSEUM -- DAY 186
Rusty ponders a painting like college student trying to
impress his art history professor. Finally he moves on, into
another gallery.
PAN to REVEAL nine uniformed cops trailing behind him.
187 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 187
Yen ENTERS FRAME -- dressed like a pretentious grunge rocker.
He whispers Chinese into a bullhorn.
Theoretically he's speaking to his crew (Danny, Saul, and
Livingston in lame disguises) telling them where to set up
the camera, lights, and flags.
Each "crew member" carries an odd-looking oversized "light
meter". Upon closer examination we can see that each device
has a small TV screen on it -- which is tapped into the
museum's closed circuit system. The guys are carefully
placing their flags and lights so as to block the view of the
egg from each of the eight cameras on the ceiling of the
gallery.
"Studio Execs," Reuben and Linus go to "Julia."
(CONTINUED)
115.
187 CONTINUED: 187
REUBEN
I was thinking maybe we could get
you and Topher into some "You
Always You Never" hats and t-shirts
for the shoot--
TESS
That's stupid.
REUBEN
(instant reversal)
So stupid!
(turns to Linus as if it's
his idea)
Idiot.
(gingerly)
Maybe we could put some posters in
the background--
TESS
I don't think we want to be so
obvious--
REUBEN
I completely agree!
(to Linus)
Stop trying to turn this into some
sort of stunt.
188 INT. OTHER PART OF MUSEUM 188
Isabel struts up to Rusty.
ISABEL
This isn't going to work.
RUSTY
I don't know what you're talking
about.
189 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 189
Yen stands on two apple boxes to shoot photos of "Julia" and
Topher. "Julia" looks ridiculously stiff and keeps putting
her hands up to block her ears.
Topher keeps shooting glances at Danny, who is moving around
flags and lights, ostensibly in accordance with Yen's Chinese
language orders.
(CONTINUED)
116.
189 CONTINUED: 189
Julia sees Topher's expression -- he recognizes Danny from
somewhere...
JULIA
Okay, thanks everybody. Thank you
so much.
She starts to walk out. Topher shrugs and follows her.
190 INT. MUSEUM HALLWAY -- DAY 190
Julia and her entourage barrel down the hallway. Topher
catches up.
TOPHER
Hey, J Ro, why the quick exit?
TESS
I...uh, I have to take some pills.
Aspirin. I get headaches.
TOPHER
Yeah, well, with everything thing
you've been going through I can see
how you'd need something.
TESS
They're just aspirin.
TOPHER
Right. I've never taken aspirin in
my life, ever. Can you believe
that?
TESS
That's amazing.
TOPHER
For me, it's like a control thing.
TESS
Well, with aspirin...it's very
beneficial.
TOPHER
Oh, yeah. I'm sure.
They are interrupted by the sound of PIERCING SIRENS and
CLANGING BELLS -- all manner of alarms coming from the
gallery containing the egg.
(CONTINUED)
117.
190 CONTINUED: 190
Tess rushes back to the gallery just in time to see police
officers pin Danny and his entire crew on the floor and
against walls and start handcuffing them. She freezes.
Can't move.... Her bodyguards (Frank and Basher ) grab her
and move her quickly out of the area.
191 EXT. ROME POLICE HEADQUARTERS -- DAY 191
Three massive Ford Excursion SUV's with diplomatic plates
double park out front, completely blocking the flow of
traffic on the narrow street.
Eight FBI agents climb out of their behemoths and walk inside
like they own the place. The boss is a 55 year-old agent
named MOLLY STARR.
192 INT. LOBBY -- DAY 192
Molly Starr steps inside with her posse. She pulls out her
badge and hangs it around her neck.
AGENT MOLLY STARR
Who's in charge?
Isabel and Captain Giordano look at her and her team with
obvious trepidation.
ISABEL
(tentative)
I am.
CAPTAIN GIORDANO
(smelling trouble)
She is.
Molly gives a slight nod to one of her lackeys. He thrusts
an official-looking paper at Isabel.
193 INT. "OBSERVATION "HALLWAY -- DAY 193
Molly swaggers down a hallway, followed by Isabel and
Giordano. She stops at an observation window and looks
through it to see Danny, who is handcuffed to a chair,
awaiting interrogation. His expression is impassive.
She moves on to the next window: Yen. Same impassive
expression. She continues down the line, Reuben, Livingston,
and Saul. Each has the same impassive expression. Through
the final window she sees Linus...
(CONTINUED)
118.
193 CONTINUED: 193
He's nervously tapping his foot. Molly smiles sadistically.
AGENT MOLLY STARR
Oh, yeah... I'll start with him.
194 INT. INTERROGATION ROOM -- DAY 194
Molly sits face-to-face with Linus. Isabel and Captain
Giordano stand in the corner and observe.
AGENT MOLLY STARR
When people think of Italy they
think of food, wine, the
Renaissance. They don't realize
Italy has the scariest prisons in
the civilized world. You know why?
They're all leftover from the
Middle Ages. They're worse than
dirty; they're damp. They're like
caves.
Linus can't look her in the eye.
AGENT MOLLY STARR (cont'd)
I'm the only hope you've got.
LINUS
What do you want?
AGENT MOLLY STARR
Testify against the others in the
Benedict case.
LINUS
I can't do that.
AGENT MOLLY STARR
Sure you can. You'll get a year,
maybe two. The Italian charges
will be dropped. You and the
others will be extradited to the US
this afternoon.
A long beat.
AGENT MOLLY STARR
Think about those prisons. Think
about living there for twenty
years, getting out when you're
fifty. What a catch you'll be.
119.
195 EXT. / INT. FBI SUV -- DAY 195
Linus is bundled into the back of the SUV. Agent Starr gets
in next to him. She motions to the driver. They pull out.
196 EXT. POLICE STATION -- DAY 196
Agent Starr's SUV is followed by three other SUV's and
escorted by two Rome Police cars.
197 INT. FBI SUV -- DAY 197
Linus stares morosely at the headrest in front of him.
A long, long beat...then he turns to Agent Starr:
LINUS
Did you tell Dad?
Before "Agent Starr" answers the agent in the passenger seat
turns around.
It's Clint Eastwood.
CLINT
Of course she did. We're married,
for God's sake.
198 INT. HOTEL SUITE -- DAY 198
Tess waits. A key sounds in the door, and she is on her feet.
She reaches Danny before he's all the way in the room. She
kisses him, then remembers she's mad at him.
TESS
Why didn't you tell me?
DANNY
I couldn't.
TESS
Why not?
DANNY
Because you're not an actress. You
wouldn't have been so real.
(CONTINUED)
120.
198 CONTINUED: 198
TESS
I thought you were going to jail.
DANNY
I'm not going to jail.
A beat.
TESS
So you don't think I'm a good
actress.
DANNY
You're a terrible liar.
TESS
I'm a good liar.
DANNY
Where did Benedict find you?
TESS
He...
DANNY
At your parent's house.
TESS
That was...okay, so I'm not a good
liar. So what. You're good enough
for both of us.
DANNY
Exactly.
199 EXT. CIAMPINO AIRPORT -- DAY 199
The motorcade of FBI SUV's pulls through the security gate
and drives toward a US government Gulfstream parked on the
flight line.
Isabel watches with Captain Giordino and Commander Andriotti.
Linus, Saul, Yen, Livingston and Reuben get out of the SUVs,
all of them beaming. They hug Linus's mom and dad and mount
the steps to the plane. Then Rusty gets out, says goodbye to
everyone, and heads for Isabel.
ISABEL
(eyes go wide)
What the-- Oh my God!
(MORE)
(CONTINUED)
121.
199 CONTINUED: 199
ISABEL (cont'd)
(spins to Giordano)
Call the tower! Don't let that
plane take off!
Giordano stares blankly at her. But he doesn't move.
ISABEL (cont'd)
Do something! Do you realize
what's happening?! Do you
understand what's going on?!
CAPTAIN GIORDANO
(deadpan)
Yes, absolutely.
Isabel blinks. It takes a second to hit her. Rusty
approaches.
RUSTY
Guys. Get on there before they
leave without you. Thanks.
CAPTAIN GIORDANO
(speaking like an
American)
Hey, no problem. Good seeing you,
man.
ANDRIOTTI
Take care. See you back home.
RUSTY
Thanks, Scooter.
Isabel is dumbstruck.
200 EXT. TOULOUR'S VILLA -- DAY 200
Toulour pulls up in a Ferrari. His butler gets the door for
him.
BUTLER
How was Rome, air?
Toulour answers by handing a small velvet bag to his butler
(a bag just big enough to hold the coronation egg).
TOULOUR
Put this in the safe, would you?
(CONTINUED)
122.
200 CONTINUED: 200
BUTLER
Of course, sir. Your guests are on
the veranda.
TOULOUR
Guests?
201 EXT. CIAMPINO AIRPORT -- DAY 201
Isabel watches as the "US Government" Gulfstream containing
all the members of Rusty's crew that she arrested at the
museum taxis down the runway and becomes airborne. She turns
to Rusty.
ISABEL
I hate you.
RUSTY
I love you.
ISABEL
This will ruin me.
RUSTY
No, it won't. Not if you come to
Zanzibar.
ISABEL
What is it with Zanzibar?
RUSTY
It's where LeMarc is.
Rusty points nearby at another private plane. The pilot has
just opened the door and put the stairs down.
RUSTY
That one's ours. We can be there
in three hours.
A beat.
RUSTY
Don't you want to meet him? He
wants to meet you.
ISABEL
You're asking me to turn my back on
my whole life.
(CONTINUED)
123.
201 CONTINUED: 201
RUSTY
Would you miss it?
ISABEL
I'm a cop. That's who I am.
RUSTY
You're only a cop because your
father was a thief.
ISABEL
Who died in a Russian jail.
RUSTY
According to you mother.
ISABEL
What does that mean?
RUSTY
It means you should meet LeMarc.
202 EXT. VERANDA -- DAY 202
Toulour walks out to find Danny and Tess chomping on gourmet
nuts and sipping his special reserve brandy.
TOULOUR
(to Danny)
Let me guess, you decided you did
want to give my lawyer a call. But
you lost his card.
Toulour holds out another card to Danny.
DANNY
No, nothing like that. We just
came to collect our money.
TOULOUR
Not only did you fail, half of your
crew got pinched! Your plan was
not good.
(to Tess)
And you don't look anything like
Julia Roberts! I mean your...
(motions ambiguously to
her body)
...and your...
(another ambiguous motion)
...and your ears.
(CONTINUED)
124.
202 CONTINUED: 202
Toulour stops. Danny and Tess just look at him. Something
about their demeanor is troubling. Namely, that they look
completely untroubled.
TOULOUR
Oh, no. You stole it on the way to
Rome didn't you? I stole a replica.
203 EXT. PARIS BUILDING -- DAY 203
A repeat of the shot of the SMALL, SECURE BOX being taken to
a truck.
The truck moves out of the garage and on to the street as
before. This time the shot continues over to a door on the
side of the building. A YOUNG KID emerges with a backpack
over his shoulder.
204 EXT. PARIS STREET -- DAY 204
The BACKPACK KID passes another guy, a NORMAL-LOOKING GUY,
who, after a beat, follows Backpack Kid.
205 INT. PARIS TRAIN STATION -- DAY 205
The Backpack Kid, followed by Normal-Looking Guy, walk
through the terminal and get in line. We swing over to see
Normal Looking Guy #2 looking at them.
206 INT. TRAIN -- DAY 206
In motion. We start on the Backpack Kid, who is reading a
book. The Backpack is beneath his legs. Next to him sits
LINUS. Across from him is one of the Normal-Looking Guys. The
other Normal-Looking Guy is a row away, facing him.
Linus looks at the door of the car.
SAUL
Is making his way through the door. He looks drunk.
LINUS
Looks down at his copy of the French FHM.
SAUL
(CONTINUED)
125.
206 CONTINUED: 206
Gets close and closer to Linus and the Backpack Kid.
LINUS
Puts his magazine away.
SAUL
Is almost to Linus's row, he stumbles a little, almost falls.
Then, with a loud WHOOSH the train goes completely dark. It's
gone into a tunnel. We hear Saul's voice CRY OUT.
In a few seconds, the train exits the tunnel and the lights
come back on.
SAUL
Has fallen into the lap of the BackPack kid. Linus and the
Normal-Looking Guy try to help him up.
He stumbles onward and collapses into a vacant seat.
LINUS
(in French)
He's completely drunk.
The BackPack Kid nods his head. Linus goes back to his book.
We drop down to see HIS BACKPACK also beneath his feet.
207 INT. TRAIN STATION ROME, ITALY -- DAY 207
Linus walks through the terminal, backpack over his shoulder.
Suddenly he stops and kneels to tie his shoelace.
Saul, seeing this and reacting, splits off into another
direction.
208 INT. WAREHOUSE -- DAY 208
Linus and Saul approach the group.
DANNY
What happened?
Linus puts his BACKPACK down.
LINUS
We thought someone was following
us.
126.
209 BACK TO TOULOUR ON VERANDA - DAY 209
TOULOUR
But that means you knew what to
steal before LeMarc proposed that I
challenge you for it. That means...
210 INT. RUSTY'S GARAGE -- DAY 210
The image from the beginning of the film, with Rusty watching
the boiling cask. He's talking on the phone.
RUSTY
Gaspar, it's Rusty. How are you?
And this time we see what be is working on:
A PERFECT REPLICA OF THE CORONATION EGG.
In the warehouse in NYC, we see Danny and Rusty "arguing",
but from a different angle. They are smiling as they yell:
DANNY
I'M TELLING YOU IT'S A DEATH
SENTENCE!
RUSTY
FINE, THEN STAY HERE!
211 BACK TO TOULOUR ON VERANDA - DAY 211
TOULOUR
LeMarc told you. Of course.
He looks deflated. It's probably just occurring to him that
he's never lost before.
He sits down.
TOULOUR
To teach me.
He is silent.
Tess indicates to Danny that they should leave. Danny nods,
and they rise.
(CONTINUED)
127.
211 CONTINUED: 211
DANNY
Well, we'll be in touch to make all
the arrangements.
TOULOUR
No. Don't go. Please.
Toulour gets up.
TOULOUR
You are my guests. I will celebrate
your victory. Besides, you may have
noticed, I don't like to be alone.
212 EXT. VERANDA -- LATER 212
They are toasting champagne.
TOULOUR
I am feeling more French by the
minute. To my first depression.
213 INT. TAXI -- DAY 213
Saul and Basher ride to the airport.
BASHER
So I think if you really analyze
it, you can see that it's
inevitable. It's time for us to
evolve, en masse. I have to help
bring that about whatever way I
can, you know. Otherwise, the
trajectory is fixed. You know what
I'm saying?
SAUL
Mmm. Yes. But I'm through evolving,
I think. It's too tiring. I feel
pretty evolved. You know,
considering.
214 INT. AIRPORT -- DAY 214
Frank and Yen buy magazines. Yen has a copy of an ITALIAN
TABLOID. The headline screams CO-STAR SAYS JULIA MARRIAGE IN
TROUBLE. A sub-headline reads HER ADDICTION TO PAINKILLERS IS
RIPPING THEM APART.
128.
215 INT. AIRPLANE -- NIGHT 215
In First Class. Basher and Saul tip champagne glasses.
Virgil, Turk, and Linus all crack open copies of their story
to read.
TURK
I've got an idea for another
Dominique story.
VIRGIL
Can we finish this one first?
TURK
Just let me tell it to you.
VIRGIL
No.
TURK
It's like three sentences.
VIRGIL
I'm serious; you're asking too
much.
Virgil puts on his headset. Turk leans over to Linus and
begins to speak. Linus, reading, holds his finger up.
Yen reads a magazine. Reuben glances at it.
REUBEN
May I look at that when you're
through with it?
Yen says something. It would seem he is okay with that.
Livingston speaks into his VOICE RECORDER.
LIVINGSTON
(trying to be
dispassionate)
All in all, it was depressingly
familiar. The forced camaraderie,
the hollow smiles. Scared to take a
moment's reflection. Scared to
imagine a different life. We
behaved like boys.
(beat, he chokes)
But...
(CONTINUED)
129.
215 CONTINUED: 215
He begins to weep, quietly, but very quickly regains his
composure.
LIVINGSTON
I'm Livingston Dell. Thanks for
listening.
216 EXT. VILLA -- NIGHT 216
Tess and Danny enjoy the sunrise.
TESS
When do you want to go back?
DANNY
Feel like traveling?
TESS
Yeah. Don't you?
DANNY
Yeah.
Toulour enters with THE LAST BEAUTIFUL WOMAN in tow.
TOULOUR
Tess. Danny. This is Monica
Bellucci.
And indeed it is.
MONICA
Hello.
TESS & DANNY
Hello.
TOULOUR
We're thinking of taking a trip to
the states. Take a look around.
We'd love to meet some of your
friends while we're there.
Actually, one friend in particular.
217 EXT. SKY OVER ZANZIBAR -- DAY 217
We follow the Gulfstream jet.
130.
218 INT. JET -- DAY 218
Isabel looks out the window. Rusty watches her, She looks
over at him, then back out the window.
219 EXT. BEACH HOUSE -- DAY 219
Stunning. Classic. Rusty and Isabel pull up.
He takes her hand and leads her inside.
220 INT. BEACH HOUSE -- DAY 220
Rusty and Isabel walk through the house.
RUSTY
There he is.
Rusty indicates the back porch. A figure sits in a lounge
chair, reading a book. This is LEMARC.
RUSTY (cont'd)
Gaspar!
ISABEL
Gaspar? That was my fa--
Isabel looks to the porch just as LE MARC, her father, turns
to face her. She goes to him and they embrace.
ISABEL (cont'd)
Daddy.
LeMarc looks to Rusty.
Rusty salutes, makes a drinking gesture and heads for the
kitchen.
The sound of a jet takes us to
221 A GLOBE 221
As we rotate from Toulour's villa to LAS VEGAS, NEVADA
CUT TO:
131.
222 ESTABLISHING SHOTS 222
Of the Bellagio hotel.
CUT TO
223 A RECEIPT 223
For a wire transfer of $ 191,507,067.37 into the account of
TB ENTERPRISES. Description: "Repayment of personal loan".
224 TERRY BENEDICT 224
Staring at this receipt. He looks up.
REUBEN
Is opposite him. They are both being served for lunch by a
JACKETED WAITER, whose face is continually obscured.
REUBEN
That's the exact figure, I'm pretty sure.
BENEDICT
Yes.
REUBEN
So we're clean?
BENEDICT
You want it in writing?
REUBEN
I'll take your word.
BENEDICT
You're clean.
REUBEN
These grudges, they're awful.
Nobody wine.
BENEDICT
As soon as someone retaliates, the
situation is out of control.
(CONTINUED)
132.
224 CONTINUED: 224
REUBEN
This way, there's no need for
retaliation. Why would there be?
BENEDICT
There's plenty for everyone.
REUBEN
More than plenty. It's just a
matter of sharing.
BENEDICT
Sharing is good.
REUBEN
It is. Waiter? Can I get sparkling
water? It's good for my acid
reflux.
WAITER
(off)
Of course.
The waiter turns toward the bar and we see now that he is
FRANCOIS TOULOUR. He's wearing a STRIPED TULIP in his
WAITER'S JACKET.
CUT TO BLACK
THE END
