ENTRAPMENT
by
William Broyles, Jr.
and
Ron Bass
and
Don Macpherson
Story
by
Ron Bass & Michael Hertzberg
TWENTIETH CENTURY FOX REVISED TENTH DRAFT
10201 W. Pico Blvd. May 8, 1998
Los Angeles, CA 90035
FADE IN:
EXT. NEW YORK - DECEMBER 1999 - LATE NIGHT
We are moving through a thicket of skyscrapers. In the dim
light we see one building, then its reflection against
another building. We swoop past the Empire State Building lit
in Christmas red and green, catch a glimpse of the Christmas
tree in Rockefeller Center.
On screen we see: NEW YORK CITY DECEMBER 15 1999. High atop a
tall glass building we find another Christmas tree.
We close on the Thief whose face is concealed behind a sleek
black-visored helmet with night-vision goggles. From a pack,
the Thief takes a climbing rope, clamps it with a carabiner
around a post, then dials a distance into the special ratchet
mechanism.
The Thief steps to the edge and LEAPS over, plunging past the
glass windows. After a terrifying free fall, suddenly the
rope gears down smoothly, bringing the Thief to a stop at a
window pane, a dizzying sixty floors above the street.
Through the glass, we see a CORPORATE HEADQUARTERS.
The Thief drills out bolts holding the window in place. Then
one is stuck! In a heartstopping move the Thief turns upside
down, torques on the recalcitrant bolt! Uhnnn! It comes free!
The Thief replaces the existing bolts with custom bolts
buffered with rollers, pries at the window corners and pops
the pane free. Then the Thief rolls the pane onto the
rollers, leaving just enough room to slip into...
INT. PETROTEX CORP - LATE NIGHT
The Board of Directors Suite of a large multinational
corporation, dominated by an obsidian table ringed with
leather chairs. An Alarm Box softly pulses.
The Thief points a Remote at the alarm. The Remote runs
possible codes at speed on display panel, until the right one
stops. The Thief clicks the Remote. Off.
The kind of art that gilds greed with taste lines the walls.
Ignoring it, the Thief picks up a VASE OF LILIES and carries
it across the room to a side table by the window. The Thief
carefully tilts the stems so that the lilies hang over the
lip of the vase, away from the window, then exits the Board
Room.
INT. RECEPTION AREA - LATE NIGHT
A Lichtenstein, some plants, a large map of the world with
tiny red lights indicating branch offices around the world. A
Christmas tree with some uniformly wrapped presents carefully
arranged beneath it. Keeping an eye on a set of double glass
entry doors, the Thief pauses behind a Henry Moore sculpture.
Through the doors we see a desk where sits a SECURITY GUARD,
his back to us.
INT. HALL/ INT. RECEPTION ROOM - INTERCUT
The Security Guard reads and half-watches the Monitors. On
one we see the Reception Area and the vaguest shadow of the
Thief. The Guard looks at his book, the Thief begins to move.
The Guard glances back at the Monitor, the Thief jumps back.
Then the Guard returns to the book. On the Monitor the Thief
darts across the room and into a door.
INT. BATHROOM - SAME
Which is a bathroom. Hmmm. But that is exactly where the
Thief wants to be. Out of the backpack the Thief takes a
small drill and begins to make a hole high on the wall.
INT. HALLWAY - SAME
Above the Security Guard, the drill pierces the wall, leaving
just a dusting of sheetrock on the floor.
INT. BATHROOM - SAME
The Thief feeds a tiny tube up to the edge of the just-
drilled hole. Turns a valve on a small canister.
INT. HALL - NIGHT
The Security guard yawns, tries to focus on his reading.
EXT. NEW YORK BUILDING - LATE NIGHT
From a distant perspective we see the shadowy Thief exit the
bathroom as the Security Guard puts his head down on the
desk. The Thief enters another room off the Reception area--
the Chairman's Office.
INT. CHAIRMAN'S OFFICE - NIGHT
Pictures of the Chairman with politicians and celebrities
line one wall. Across from the desk, a Jasper Johns map of
the United States. Above the desk, a SMALL PAINTING in an old
gilt frame. A REMBRANDT. The pride of the collection, a nude
woman reading a letter.
The Thief takes out a small periscope mirror and some right
angled cutters. Carefully slides the mirror behind the
painting, manipulates the mirror with one hand, the cutters
with another. Finds the alarm. Snips it.
Moving quickly now. The Thief rolls the canvas in acid-free
paper. Takes a cylindrical tube from the backpack, pulls out
another Canvas, fits it carefully into the stolen painting's
now-empty frame. The Thief stares at it through the opaque
helmet visor. Approves. Slips the rolled-up stolen canvas
into the empty tube. Leaves.
Before we follow the thief, we linger to see the replacement
canvas...ELVIS. On black velvet.
INT. HALLWAY - LATE NIGHT
With the Thief now, out the reception area and into the hall,
where the drugged guard sleeps, to a Mail Chute built into
the wall. As the Thief opens the chute we hold on the last
line of a mailing label: KUALA LUMPUR, MALAYSIA.
The Thief pops the labeled tube down the chute.
EXT. BUILDING WINDOW - NIGHT
The Thief disappears out the open window. The window closes,
becoming...
EXT. BUILDING WINDOW - NIGHT
Another window, in which we see reflected the lens of a
telescope and, in that lens, the image of the office where
the thief has just been. A silhouetted FIGURE is looking
through the telescope.
Through the scope's lens. Close detail of the Office where
the thief had been. We see light fall into the room as the
Figure exits a door and softly closes it. The Image lightens
and DISSOLVES INTO:
INT. PETROTEX HEADQUARTERS - VIDEO - DAY
The Board Suite on VIDEO, daytime, with COPS and
INVESTIGATORS combing the crime scene. The Security Guard
being interviewed, lots of activity.
FIRST TECHNICIAN (O.S.)
Look at those assholes.
INT. WEBBER INSURANCE - MAIN OFFICE - DAY
The video plays live on a large monitor in a big bullpen of a
room, all Herman Miller partitions and work stations butted
together, row upon row of them. This is where the world's
biggest insurance companies track down major theft losses.
FOUR TECHNICIANS work at computer monitors, calling up
security plans, art data, details on possible suspects.
HECTOR CRUZ enters, crisp, professional, an ex-FBI man who
thinks he's smarter than anybody else, and is almost right.
Cruz glances at the cops working in the Board Suite, knows
they'll never figure this out.
CRUZ
If the Rembrandt were lying on the table,
they'd toss their donuts on it.
Another Technician manipulates computer representations of
the system on screen.
SECOND TECHNICIAN
We did a hundred simulations. No way
anyone could have got in.
CRUZ
Too bad someone did.
The other Technician scrolls faces on his screen.
SECOND TECHNICIAN
We're checking airline and immigration
records against known aliases.
Cruz turns to the Third Technician.
CRUZ
How much we in for?
THIRD TECHNICIAN
Twenty four million.
This does not make Cruz happy.
CRUZ
Baker here yet?
FIRST TECHNICIAN
(nods)
She's been doing her own thing...
Cruz walks away before he can hear the rest.
SECOND TECHNICIAN
...as usual.
INT. WEBBER ASSURANCE - GIN'S CUBICLE - DAY
One of dozens of identical work stations. VIRGINIA BAKER,
early thirties, sits at the work station where she spends
most of her life. She's dressed in typical no-nonsense
insurance attire. Cruz peers over the partition.
CRUZ
Where were you? I called at 4:30 this
morning.
GIN
There are times when you don't answer the
phone.
(beat)
Besides I hardly knew the guy.
She pulls up security schematics, technical specs.
CRUZ
Why be rude to strangers.
Cruz has an easy, ironic demeanor that hides a steel will.
There's something eerie about him: he seems to be right
inside Gin's head.
GIN
Exactly.
He gestures at the video feed of the crime scene.
CRUZ
Perhaps you could find time--in your busy
personal life--to figure out how the Lone
Ranger broke through our best system.
GIN
He came in the window.
CRUZ
If he's Spiderman. This was sixty stories
up. Those windows are smart glass. 400
pounds a pop.
GIN
What if he drilled out the existing
bolts, replaced them with custom-fit
rollers--rolled the window aside?
CRUZ
And then just...flew away, leaving angel
dust behind.
She looks up at the live feed on the monitor and clicks the
remote as she murmurs something in Chinese.
CRUZ
(continuing)
Ordering Chinese again?
GIN
Let a thousand flowers bloom. Chairman
Mao.
She manipulates the camera, zooming in on the Vase of lilies
by the window. All the flowers are tilted in one direction:
away from the window.
GIN
He left the window open when he came in.
His only mistake.
Cruz is with her now.
CRUZ
The draft blew over the flowers.
GIN
Put the bolts on that window under a
scope. I'm betting you'll find wrench
scratches on them.
CRUZ
Here's a dollar. Buy yourself a cup of
coffee.
GIN
Keep digging. I'm going to tell you who
did it.
He fishes in his pocket for more money. She hits the remote,
changing the monitor to:
INT. SOTHEBY'S - DAY
The Auction House is filled with buyers.
GIN (V.O.)
Four weeks ago, when our client bought
the painting.
Paintings on the block. We recognize our REMBRANDT.
GIN
Bathsheba reading King David's letter...
She hits a button. The view SNAPS to tight resolution. The
image of ROBERT MACDOUGAL, 60: tall, wide shoulders, the
build of an ex-sailor and the elegance of a diplomat. Between
him and Cruz is some ancient enmity.
CRUZ
Robert MacDougal.
He says the name like Ahab when talking about Moby Dick.
GIN
He marked the buyer, then stole the
painting a month later.
CRUZ
Look at that smile. I hate that smile.
GIN
And let's not forget the calling card-
She hits the remote again, back to the crime scene. The image
of Elvis in the Rembrandt frame appears.
GIN
(continuing)
Elvis has not left the building.
CRUZ
I don't buy it. MacDougal's a Frank
Sinatra kind of guy. Besides, every art
thief from Oslo to Copenhagen imitates
his m.o.
GIN
Copies are copies. This is a MacDougal. I
can feel it.
CRUZ
You can "feel" it.
But it's better than anything else he has, so he reaches for
the phone.
CRUZ (cont'd)
All right. I'll get in touch with London
and Geneva, get Europol and the ALR on
it.
GIN
And you'll kiss catching Mac goodbye.
CRUZ
You got a better idea?
GIN
Someone who could get close to him. Win
his trust. Catch him in the act.
She begins to smile.
CRUZ
You?
GIN
Me.
CRUZ
In case it slipped your mind--this guy's
the best thief in the world. And he's
never, ever been caught.
GIN
I've never tried.
She crosses her very long legs. Cruz thinks. Hmm. Maybe she
does have something extra. Cruz puts the phone down.
GIN
I'd need an introduction. From someone he
trusts.
CRUZ
And you have in mind--
GIN
Romy Goriot.
CRUZ
Who we've got a hook into.
(beat)
And you'd need the file on a piece of art
Mac couldn't resist.
Of course.
GIN
Come on, it's almost a new century. Give
a girl a shot.
CRUZ
Okay...okay.
(beat)
Check in every day. I want to know
everything. God is in the details. Hello?
She's trying to listen, but the fact that he's going to let
her do this fills her with unquenchable enthusiasm.
CRUZ
This guy can charm the chrome off a
trailer hitch. But get in his way--you'll
end up a grease spot on the highway.
(softens a little)
So be careful. I'd never find anyone as
good as you for your salary.
He walks away. She stands up in her carrel, looks around at
the narrow confines of her life, at the identical cookie-
cutter work stations surrounding her. She slides the keyboard
into the drawer with a soft thwatch of finality. She whoops
with joy, which plays over--
EXT. LONDON - BOAT - DAY
SMASH CUT to Gin, finishing her yell in the bow of a large
speed boat in the middle of the Thames. The wind is in her
face, London before her in all its glory. She's out of the
office. On the case. On her own!
EXT. SOTHEBY'S - DAY
A black London cab stops in front of the famous auction
house. Nervous, Gin gets out, fumbles with her change, drops
some on the street.
She approaches the sliding glass doors, takes a deep shaky
breath, pulls herself together. She enters the building. The
glass doors close behind them. On the doors is etched the
Sotheby name.
INT. SOTHEBY'S - DAY
Beneath a banner announcing "The Summerfield Collection--
Treasures of Ancient China", an AUCTIONEER takes bids from an
international big-money crowd, including a formidable Chinese
WOMAN with a dog, and Robert MacDougal. He's bidding on a 6th
Century temple scroll.
GIN
(from behind; subtitled
Chinese)
Don't do it. You're already over value.
By fifteen percent.
Not even turning around, he subtly ups the bid.
GIN
(continuing; subtitled Chinese)
Twenty percent. You know what they say
about a fool and his money.
Mac turns very slowly, sees Gin, acknowledges nothing. He
turns back and raises his Chinese rival again.
MAC
(subtitled Chinese)
I have a question...
GIN
(subtitled Chinese)
Who am I?
MAC
(subtitled Chinese)
That is of no interest.
And now he turns and looks straight into her eyes.
MAC
(continuing; subtitled Chinese)
Why are we speaking Chinese?
GIN
(English now)
Uh. I'm showing off.
MAC
More than a billion people speak Chinese.
So don't be too impressed with yourself.
As for that scroll, I can resell it for
double. In 30 minutes.
GIN
No--you can't.
MAC
I can't?
GIN
It's sold.
Mac turns to see the Chinese woman flushed with victory. He
stares for a long moment, a philosophical veneer almost
masking his anger. Then he stands up.
MAC
Are you a confederate of my adversaries?
Or are you merely stupid?
Gin's smile fades.
GIN
How about if I try humility?
MAC
How about if you try disappearing.
Mac is gone.
GIN
(to herself)
Catch you later.
INT. RITZ HOTEL TEA ROOM - LONDON - LATER THAT DAY
A STRING TRIO of middle-aged women plays Christmas carols. We
see trays of triangle sandwiches and scones with clotted
cream. Very civilized. Mac is having tea with ROMY GORIOT, an
elegant, cynical European woman in her mid-forties.
Mac puts away some photographs we can't quite see.
ROMY
My darling, they guard them like the
Crown Jewels. It's all techno-security--
frighteningly efficient things I cannot
even pronounce. I can get you in, but
only God can get you out.
Mac smiles at her, holds out his hand to take hers, as if
they were talking about something entirely different.
MAC
Speaking of getting in--
Romy smiles flirtatiously, holds out her hand for a sensual
touch. When they remove their hands something is in Mac's. A
high-tech card. He glances at it. The card is his photo with
horned-rim glasses.
MAC
(continuing)
Not the glasses again.
She sets a glasses case on the table.
ROMY
They make you look very scientifique.
MAC
They make me look like Clark Kent.
He glances at the clock, stands up, casually picks up the
glasses case.
ROMY
Don't be in such a rush. I told you there
was someone I want you to meet.
MAC
He's late. And I have a few things to do
this afternoon, or did it slip your mind?
ROMY
She's--
Romy scans the room, then sees who she's looking for.
ROMY (cont'd)
--just arrived.
Gin appears at their table.
ROMY
This is--
Gin holds out her hand to Mac.
GIN
Virginia Baker. Nice to meet you
officially.
MAC
(to Romy)
You're joking, surely.
ROMY
Not at all. I told you, she's one of us.
Romy gives Gin the once-over as only another woman can.
ROMY (cont'd)
I'm sure you two will find each other
fascinating. Now if you will excuse me.
(to Mac)
A la prochaine, Cherie.
She says it with an intimation of intimacy, then leaves. Mac
glances at his watch, looks for the waiter.
GIN
I don't want to waste your time.
MAC
Then don't. Bill, please, Richard.
WAITER
Right away Mr. MacDougal.
Gin's chance is slipping away.
GIN
We share an interest in Chinese art--the
kind you don't buy at auctions.
He looks her over, makes a quick decision.
MAC
You have a car?
GIN
Uh, yes?
He signs the bill.
MAC
Meet me in front. Four minutes.
He gets up and without a word, leaves.
EXT. HOTEL - DAY
Lines of Rolls Royces and Mercedes. The parking attendant
pulls up next to Gin in a small Ford. Mac emerges in full
stride, heads for the driver's side.
MAC
Nice car.
Gin's a little embarrassed.
GIN
It's a rental.
MAC
Get in.
A little flustered, Gin slips into the passenger seat.
GIN
You're not authorized to drive it.
Mac puts the car in gear.
MAC
Live dangerously.
Mac drives away.
INT. CAR - STREETS OF LONDON - DAY
Mac driving in silence. Gin stealing glances at him.
GIN
Are you going to tell me where we're
going?
Suddenly and smoothly, he reaches down and grabs her bag.
GIN
(continuing)
Hey!
One eye on the road, he begins to rummage. We approach a
large MODERN BUILDING with a CHRISTMAS TREE in front. A
police kiosk guards the entrance.
MAC
Just want to see who I'm with. Can't be
too careful...
She snatches the bag away from him, he grabs it back, the car
swerves and crashes violently into the Christmas tree! The
tree falls across the street.
MAC
Oh, dear.
EXT. KOMITSU BUILDING - DAYY
Mac and Gin get out of the car. She goes to inspect the
damage and we go with her. She stares at the dented car, then
looks up to see Mac walking away toward the building.
GIN
Hey!
Bystanders gather around. So does the cop from the kiosk.
COP
Is this your car, Miss?
GIN
Yes, dammit, but I wasn't driving--
(yelling at Mac)
Come back!
A crowd has begun to gather around the fallen Christmas tree.
Traffic backs up. Horns sound. In the b.g. Mac strides toward
the modern building. We hear a police siren, coming towards
us.
EXT. KOMITSU BUILDING - DAY
As Mac enters the building, he clips on a the high-tech i.d.
badge Romy gave him. Slips on the horn-rimmed glasses. Does
look a little like Clark Kent.
INT. KOMITSU BUILDING - DAY
Mac approaches a security desk where a GUARD sits next to a
large TV screen. On the walls are blowups of computer chips
and large photographs of the production process.
Mac slips his i.d. card into the reader. We see his
photograph. CLEARED. The Guard glances at Mac, then at the
screen, then at the hubbub outside around the fallen tree.
MAC
Looks like they took down our Christmas
tree a little early this year.
The Guard pushes a buzzer. Mac goes inside.
EXT. KOMITSU BUILDING - DAY - TEN MINUTES LATER
A wrecker winches the Christmas tree out of the road. A
policewoman has just asked an exasperated Gin to count
backwards by twos.
GIN
--eight, six, four, two--
Her cell phone rings.
GIN
Hello?
POLICEMAN
Can you touch your nose?
GIN
Of course I can touch my nose!
CRUZ (O.S.)
I never thought you couldn't.
EXT. KOMITSU/INT. WEBBER INSURANCE - INTERCUT
Cruz is in his office, a big photograph of Mac on the wall
behind him.
CRUZ
So how's it going?
Gin sticks her finger toward her nose, fumbles a little with
the phone. This does not impress the policewoman.
CRUZ
Gin?
GIN
Great! Terrific!
To Gin's dismay, the policewoman pulls out a Breathalyzer.
Covering the mouthpiece, Gin protests to the policewoman.
GIN
But I wasn't driving.
POLICEWOMAN
You'll have to breathe into this, Miss.
GIN
(to Cruz)
Excuse me, one second.
She breathes into the tube. Suddenly we hear ALARMS from
inside the Komitsu building! AHOOGAH! AHOOGAH! The police
leave Gin and rush toward the building.
CRUZ
Did I remind you to keep a low profile?
GIN
I am.
CRUZ
Good. Romy said she made the intro.
What's Mac like?
GIN
Putty in my hands.
ALARMS screech! In the b.g. a panicky crowd of employees flee
the building! We hear screaming, yelling.
CRUZ
I'm filled with confidence. Remember,
this guy has more moves than a black cat
in a graveyard. Don't roll your hole card
till you see what he's holding.
In the b.g. Gin sees Mac exit as the police battle past him
to get inside.
GIN
Whatever that means, believe me, I won't.
She clicks off the phone. As a frazzled Gin stares at the
crowd, she sees Mac get into a cab and drive away.
INT. HOTEL ROOM - NIGHT
Gin enters her dingy, corporate rate room, a complete
contract to the exuberant girl we saw arrive on the Thames.
It's been a bad day.
She stops, surprised. Looks around the room. No luggage.
Nothing. Checks the number on her key.
GIN
Shit.
INT. HOTEL - MAC'S ROOM - NIGHT
Wearing reading glasses, Mac sits quietly reading an art
book. There's a loud pounding on his door. Carrying his art
book, Mac comes to the door, opens it for Gin.
GIN
You wrecked my car! You left me there!
MAC
You seemed to be handling things quite
nicely.
GIN
Nicely? They gave me a Breathalyzer!
MAC
You passed, surely?
GIN
Of course I passed. And then I get back
and my luggage's been stolen!
MAC
(genuinely concerned)
You're joking. Really?
GIN
Yes. No. I mean, no I'm not joking.
MAC
That's terrible. Come in, come in.
She enters, paces, still upset.
MAC
It's amazing what's getting stolen these
days. Your bags. That Rembrandt.
GIN
Excuse me?
MAC
Only the most valuable painting stolen in
years. If you don't keep up on the trade
gossip, you miss all the jokes.
He pours some whiskey.
MAC (cont'd)
Speaking of art, wasn't there something
you wanted to discuss with me?
GIN
Well, yes--
MAC
Have a drink. Do you good.
She takes a sip. Ahh. Still flustered, she reaches into her
bag, trying to make the transition to business.
MAC
(continuing)
Surely you don't want to go back to that
room, do you? After all this?
There's a pirate's smile on his face. Gin thinks she gets it.
Okay, here it comes. The usual pass. She puts her folder back
into the bag.
GIN
Not really--
He looks into her eyes. She is quite beautiful.
MAC
If it would make you feel any better, you
can sleep here if you like.
GIN
Very direct, aren't we?
MAC
Just trying to be helpful. In a way I got
you into all this.
GIN
I don't mind at all. Being into this.
She means him. She smiles, very close now.
MAC
May I say something, quite personal?
GIN
Please.
She's turning on all the charm now.
MAC
You've got lipstick on your teeth.
Nightmare! Embarrassed, Gin closes her mouth, runs her tongue
over her teeth. Mac heads for the bedroom door, not entirely
hiding that pirate smile.
MAC
(continuing)
I'll just slip into something a little
more comfortable.
He shuts the door. She checks herself in the mirror.
Suddenly the bedroom door bursts open! Out comes Mac, his
jacket on.
MAC
(continuing)
Don't worry about the bill. It's all
taken care of.
GIN
You can't leave.
MAC
Of course I can. I have a note from
mother.
Desperate, she pulls a photo out of her bag.
GIN
Mac!
He's already opened the door, but he turns.
GIN
(continuing)
Recognize this?
MAC
Of course. The Mask of the Emperor's
Consort.
GIN
Currently at the Imperial Gallery in
Blenheim Palace, on its first and only
visit outside China.
MAC
Jade, rubies, gold and carved rhinoceros
horn. Very politically incorrect.
GIN
Very priceless.
MAC
And very well guarded.
GIN
By its own random access security code.
Changed daily.
(beat)
To which I have the key.
MAC
Good for you. Then why do you need me?
GIN
Because you can get in. And out. Because
you're the best.
Mac thinks for a moment. Makes another quick decision.
MAC
Meet me in front of the hotel, tomorrow
morning, nine a.m.
(beat)
And buy yourself some clothes.
He's really leaving now.
GIN
Hey, how do I know you'll be there?
MAC
My dear girl, if I tell you I'll be
there, I'll be there. I'm never late. If
I'm late, I'm dead.
And he's gone.
EXT. BOROUGH MARKET - DAY
Mac's Jaguar drives up to the market. Gin is incredulous.
GIN
How about I get your laundry too?
MAC
If I can't trust you to pick up a simple
vase, how can I trust you with the most
valuable piece of Chinese art in the
world?
It's a challenge. It only takes her a moment to decide.
GIN
Fine. I'll do it.
MAC
Go into that warehouse right there. Ask
for Haas. It's 200,000 pounds. You can
pay with this.
He hands her a credit card. Gin takes it, gets out of the
car. He hands her a cellular phone.
MAC
(continuing)
I'll be right here. Just hit 1 if you
need me.
EXT. BOROUGH MARKET - DAY
Gin passes through the crowds of vendors and customers and
enters the warehouse. By the door are parked a Jeep Cherokee
and a large Triumph motorcycle.
INT. HAAS WAREHOUSE - DAY
Filled with architectural scavenging. A large sinister MAN
(QUINN) moves a mantel away from the entrance.
GIN
Mr. Haas?
Quinn looks blank, a little menacing.
GIN
(continuing)
Are you Mr. Haas?
QUINN
Up the stairs.
Quinn stares at her as she goes.
EXT. BOROUGH MARKET/INT. HAAS OFFICE - INTERCUT
Approaching Mac's car is A MAN passing out leaflets and
wearing a sandwich board reading "Repent, the Millennium is
at Hand". And then, "13 Days until the End of the World". The
13 is scrawled on a sheet of paper tacked to the sign.
In HAAS' office. A few MOUSE TRAPS on the floor, some antique
letter openers and knives on the desk. In contrast to Quinn,
HAAS is small and feral.
HAAS
Who the hell are you?
GIN
Mac sent me.
HAAS
I only deal with Mac. Where's Mac?
GIN
I believe you have a Qing vase for me.
Two hundred thousand pounds.
HAAS
Where's the money?
GIN
Where's the vase?
He pulls out the vase from beneath the desk, hands it to her.
GIN
Okay, show me the real one.
HAAS
This is as real as it gets, lady.
The phone rings.
MAC
Have you made the transaction?
Gin turns away from Haas.
GIN
It's a cheap Victorian knockoff.
MAC
Look inside.
She puts her hand in the case, pulls out a film canister.
MAC (cont'd)
That's what we're buying. Now
give him the card.
GIN
But--
MAC
Can you follow simple directions?
GIN
(to Haas)
We'll take it.
Fumbling with one hand and just a little pissed, she pulls
the card out of her purse. Haas stares at the card as if it's
roadkill.
HAAS
What's that?
GIN
A credit card.
HAAS
I know it's a credit card. What do you
think this is, fucking Harrod's?
GIN
No. I've never seen rats at Harrod's.
The tension makes her smile. And that infuriates Haas. he
rips an antique knife out of its scabbard.
HAAS
Ever see one of these? It's a Gurkha
knife. You're not meant to put it back
without drawing blood.
We're back on Mac, who's still on his cell phone.
MAC
Is there a problem?
Haas has stuck his knife under Gin's chin. She can barely
talk.
GIN
He says he won't take a credit card.
He sticks it even more, forcing her up on her tiptoes. The
hand holding the phone drops to her side.
MAC
Tell him it was just a joke. I'll bring
up the money.
But the phone is at Gin's side. She can't hear him.
The Millennium Man walks up to Mac's car, spewing fire and
brimstone. Mac rolls the window up, sets down the phone,
turns to the back seat to get a briefcase.
GIN
My bag. The money's in my bag.
HAAS
I'll get it.
Mac has the case with the money in it in his hand. Talks
again into the phone.
MAC
Tell him I'm on my way.
But no one hears. Holding the knife under her chin, Haas
looks down into the bag.
HAAS
(mocks her)
"No rats at Harrod's."
(dead serious)
I may bloody stick you anyway. That'd be
a laugher, eh?
He means it. As he looks through her bag she swings the vase
and SMASHES it against the side of his hand!
Over the phone, Mac hears the crash! Snaps to, alert!
MAC
Gin? Gin!
But his voice comes out of a phone lying on the floor next to
Haas's inert body.
INT. HAAS WAREHOUSE - DAY - MOMENTS LATER
Carrying her bag and grasping the film case in her hand, Gin
runs down the back stairs!
Quinn charges at her, blocking the way out the front, where
Mac is. She heads into a narrow concrete passage! Quinn is
right behind her, implacable, scary, a half smile on his face
like he is enjoying this.
She runs up some concrete steps, hits a padlocked gate,
covered over the top with a mesh screen. She shakes it like a
caged animal. And here comes Quinn, honing in on her! She
scrambles up, kicks upward at the wire cage above the gate,
knocks it off!
Just as Quinn reaches the gate, she lurches over, falls down
on top of a parked car. Thump! Jumps onto the top of another
car. Thud! Then runs toward the market!
EXT. BOROUGH MARKET - DAY
Gin runs down one row of stalls and up another. It's a maze.
Quinn is right behind her. She scrambles over a huge mound of
onions, leaps down into another stall.
But Quinn keeps coming. She runs down an alley. Turns a
corner. Dead end! Quinn is right behind her!
She scrambles up a fence, but he kicks the supporting post
out, and the fence collapses!
She struggles to her feet, runs over the fallen fence. Quinn
throws it out of the way and keeps after her.
She's in a maze of pillars now, dodging from one to another.
Out of breath, she pauses behind a pillar. No Quinn. Trains
rattle overhead. Traffic speeds by on the other side of an
impassable partition.
Getting her breath, she darts out again, but Quinn is right
there! He grabs her roughly, steers her into an empty stall.
Quinn pulls out a scary looking knife. This can't be
happening. Not in the middle of a public market. But it is.
No one is paying any attention. Quinn readies the knife.
QUINN (cont'd)
Take a good look. I'm the last face
you'll ever see.
His evil grin. Gin looks over his shoulder.
QUINN (cont'd)
Nice try, Love.
But he turns and BAM! Mac has driven up in the car, holds out
his fist, smashes Quinn in the kidneys!
Quinn goes down!
Gin jumps into the car. Quinn struggles to his feet. Still
without getting out of the car, Mac jams his elbow into
Quinn's stomach!
Mac pulls away, but he can barely drive faster than a walk.
It's claustrophobic and scary. All these people are in the
way!
And here comes Quinn, through the crowd, implacable fury on
his face. He leaps forward and stabs at the canvas roof with
his knife. RIP! The blade slices through the roof! Right by
Gin's head! Gin screams! Mac swerves the Jag!
MAC
What the hell did you do?
GIN
Me? Me!?
Quinn cuts around behind the stalls. Speeding up, Mac drives
right down the fish aisle.
Suddenly Quinn appears right in front of them, wielding a
pipe from some scaffolding. Crash! He smashes the tail light!
CRASH! He smashes the side window! They're trapped in the
damn car!
Mac spots an opening in the crowd, steps on the accelerator
and pulls away from Quinn.
MAC
Did you at least get the film?
She displays a small canister in her hand.
GIN
What is it, your beach vacation?
MAC
The complete plans to Blenheim Palace--
security system, everything.
The Jag bounces over the pavers in front of Haas's warehouse,
back where they started.
GIN
You're doing the job?
MAC
Congratulations, partner.
GIN
Then why couldn't you have just given me
the damn cash?!
MAC
Wanted to see how you handled a bit of
pressure.
GIN
It was a fucking test!? You bastard!
At that moment Haas emerges from the warehouse, blood on his
face, pistol in hand.
BANG! He fires at the car. Gin screams. People in the market
hurl themselves to the ground, all except the Millennium Man.
Mac throws the Jag into reverse and swerves into a tight
turn. Screech! The car narrowly misses the Millennium Man,
whose leaflets go flying.
Mac guns into the carpark. Haas jumps into the Grand
Cherokee. Quinn lowers the barriers. Mac's trapped!
Mac swerves through the carpark, a maze of pillars
crisscrossed by overpasses. Haas races behind him in the
Cherokee. And then so does Quinn, on the motorbike!
The Grand Cherokee and the motorcycle are right behind them!
Mac is corralled! Hemmed in!
He races into a warehouse. Ahead we see the STEEL DOORS
coming down. Mac guns the Jaguar toward the doorway.
MAC
You might put your head down.
Mac races for the narrowing opening!
GIN
Noooo!
Mac tears under the closing steel door! It RIPS the top off
the Jaguar! Gin raises her head, the wind now in her face.
MAC
That's coming out of your share.
Quinn slides the bike on its side, squeezes under the closing
gate and stays on their tail.
MAC
(continuing)
There's a turn just up here.
He races down a narrow street, then swings the Jag to the
right. WHOA! He screeches to a stop. The road dead-ends into
a modern building.
MAC
(continuing)
Was a turn.
He throws the car into reverse.
Mac races forward, confronted by a Truck pulling out of an
alley. Mac slams on brakes! Gin is thrown forward.
MAC
(continuing)
I must give you full marks for
initiative.
Gin sits back up again.
GIN
Thanks a lot.
MAC
So how'd you get in the business?
EXT. BOROUGH MARKET - STREETS - DAY
Gin is thrown from side to side as the Jaguar races on.
GIN
My father--
Zooom! Down a narrow street, just wide enough for a single
vehicle. Mac sees a delivery truck being unloaded by a
forklift, dead ahead!
GIN
(continuing)
My father went to prison. Embezzlement.
The Jaguar does a 270 degree spin and heads down another
street, the Grand Cherokee suddenly right behind them again!
MAC
So you learned at Daddy's knee.
GIN
I learned not to get caught.
Mac screeches faster past the Prison Museum, then bursts out
into a larger street which leads down into a tunnel. The
motorcycle and Cherokee are right behind them!
Mac is caught between two slow moving vehicles, unable to pass
them. He's helpless to prevent Haas pulling alongside them.
Haas' window rolls down. His gun is pointed directly at
Gin's head.
There's only one way out! Mac swerves to the right and heads
down the tunnel the wrong way!
INT. TUNNEL - SAME
The Jag heads into the semi-darkness.
EXT. TUNNEL - SAME
Haas and Quinn pull up by the median, stare into the tunnel.
HAAS
No way I'm going in there.
INT. TUNNEL - SAME
Mac is in the tunnel, weaving through the incoming traffic
from one lane to the other! It's incredibly dangerous.
GIN
Look, I hate to state the obvious, but
isn't this a one way?
MAC
(thoroughly enjoying himself)
We're only going one way.
Then we race around a bend and there, coming right at us, are
two huge semis, side by side. Mac's face falls.
GIN
We're going to die, aren't we?
MAC
I'm not the one to ask.
Steam brakes scream, horns shriek! Mac hits his brakes, hard!
The huge trucks fill the screen, thirty tons of angry chrome
and steel, coming right at them!
EXT. TUNNEL - SAME
Haas and Quinn listen to the panicked horn, the squealing of
brakes. Haas grins.
HAAS
Bye-bye, Mac.
Boom! Suddenly we see Mac blowing out of the tunnel at 60
m.p.h., IN REVERSE!
He jerks the wheel to the left, throwing the Jag dead into
the motorbike! It bounces off Haas's Grand Cherokee and back
into the roadway. Haas bangs on the door, trying to get it
open, but it's banged shut.
Quinn jumps out to recover the bike from the road but then
the huge trucks emerge from the tunnel and smash over the
bike, crushing it!
EXT. SPECTACULAR LONDON BUILDING - DAY
The Jag pulls up. Mac and Gin get out. Mac gives one last
look at his battered car as he opens the trunk.
MAC
That's four thousand for the top, six
thousand for the bumpers, God knows how
much for the body work, you have to go to
art school to work on one of these--
He pulls a valise out of the trunk.
GIN
Just put it on my bill.
MAC
You'll find some warmer clothes in here.
GIN
What about yours?
MAC
I never carry baggage.
They head inside.
EXT. BUILDING - DAY
They emerge up some concrete steps onto the roof. Saint
Paul's is spread out beneath them.
GIN
Where to now, Bungee Jumping?
MAC
Perhaps.
He turns her toward a helicopter waiting on a pad. As they
walk toward it she opens the valise.
GIN
I can't wait to see what you picked out
for me.
She checks out the valise, astonishment on her face.
GIN
These are my clothes.
MAC
Certainly not mine.
GIN
You stole my luggage? You--!?
MAC
I'm a thief, sue me.
GIN
You bastard!
MAC
When you were dealing with the wreck of
your rental car, I did a little job. Four
prototype copper super chips, value, five
million each. Come on, get in.
She gets in the helicopter.
MAC
(continuing)
Your bag is in Hotel Security. One of
those chips is inside. An anonymous phone
call from me, your rental car at the
crime scene, it's not a pretty picture.
The rotors are turning fast now.
GIN
That's entrapment.
MAC
No. Entrapment is what cops do to
robbers. Blackmail is what robbers do to
schmucks.
Off Gin's look, Mac lifts the stick up. The helicopter
plunges off the top of the building, gains airspeed, and
flies away.
INT. HELICOPTER - MAGIC HOUR
The long steady vibration has put Gin to sleep. Mac nudges
her awake. She looks around, eyes barely open, still half
asleep.
He gestures down at the ground. She looks, and then her eyes
open wide. It is...dramatic.
EXT. SAFEHOUSE - MAGIC HOUR
Deer running across a heath, crumbling stone walls, and then
a stunningly beautiful small castle, walls glowing lavender
in the twilight, set next to a coal gray loch rimmed with
mountains wreathed in a purple haze.
It is so hauntingly lonely, that Gin is speechless.
EXT. SAFEHOUSE - FRONT DOOR - MAGIC HOUR
The helicopter in the b.g., Mac and Gin walk up to the
castle. Like its owner, the house is craggy and forbidding on
the outside. Mac turns the knob and walks in. No key, no
code, no nothing.
GIN
No security? Not even a lock?
MAC
Perhaps I have a more optimistic view of
human nature than you do.
INT. SAFEHOUSE - LIVING ROOM - NIGHT
They enter what was once a baronial hall. Warm stone walls
glowing golden in firelight from a walk-in stone fireplace.
An eclectic mixture of contemporary and antique furnishings,
nothing ostentatious, everything carefully selected for its
uniqueness and comfort, all fitting together in harmony.
On the walls are a few classic paintings. A Renoir. A Turner.
A regimental banner from a Scottish regiment. Every item
reveals a piece of Mac's life and who he is. This is our
first glimpse of the private man. Gin lingers, looking at
everything, overwhelmed by this amazing place.
GIN
I've never seen anything like this.
MAC
I don't suppose you have. Let's keep
moving, shall we?
INT. SAFEHOUSE - GIN'S ROOM - NIGHT - MOMENTS LATER
He sets her bag down on the bed in a guest room decorated
with neutral colors and lined with bookcases bulging with old
books, all of which look read.
MAC
Good night.
He turns to go.
GIN
Wait...
She comes closer to him. She's in the post-adrenaline buzz
of an amazing day, the castle is incredibly romantic, and so
is he.
MAC
Yes?
GIN
I never thanked you for saving my life.
MAC
Don't mention it.
She's vulnerable now, doesn't even bring up that it was his
fault she was in danger in the first place. He turns to go.
GIN
Don't I get a bedtime story?
She really is hard to resist.
MAC
Like what? Prince Charming?
GIN
Actually, I always preferred the big, bad wolf.
She's being outrageous now, she can't help it.
MAC
My dear girl, I'm old enough to be your
father.
She's beyond outrageous now.
GIN
He always tucked me in.
Oh boy. Mac doesn't want to touch that with a ten-foot pole.
MAC
Hmmm. Well, you'll have to tuck yourself
in.
GIN
But it's so early.
The pouty little girl now. Nothing seems to be working.
MAC
Never mix business with pleasure.
GIN
What about Romy?
MAC
Romy? Oh, she's strictly business.
GIN
Really?
MAC
Really. Breakfast at six. Bring your
bungee gear.
He leaves. She stands in the doorway, watching him go,
totally unable to figure him out.
EXT. SAFEHOUSE - LOCH - EARLY MORNING
Mac is swimming in the gray early morning light. Gin watches
Mac swim for a moment as she takes in the grounds: the stone
walls, the hedgerows, the green lawn stretching down to the
loch.
Mac gets out, throws on a robe over his wetsuit.
MAC
You're late.
GIN
I'm dressed.
She pointedly looks at his wetsuit.
GIN
(continuing)
And good morning.
MAC
Morning. Let's get started.
He heads away.
INT. SAFEHOUSE-PLANNING ROOM - DAY - MOMENTS LATER
A converted snooker room. Tools in the cue racks. A long
table top with candlesticks. Specially designed hooks and
bins for gear, large bulletin boards, various monitors and
bits of electronic equipment. Mac stands next to a bulletin
board covered with photographs of the castle and sets of
plans, all marked up with red magic marker.
MAC
Twelve seconds--
GIN
Twelve seconds.
He writes 12 sec on the plans.
MAC
(continuing)
--to cut through eight inches of concrete
or three inches of steel
door--
He writes 8" conc, 3" stl.
MAC
(continuing)
--remove the marble floor, all without
exceeding three decibels of noise level-
He writes 3db.
MAC (cont'd)
Then we have six minutes before the guard
checks the Mask Room--
He writes 6 min on the board.
MAC
(continuing)
--to neutralize a state of the art set of
interlocking PIRs--
GIN
With only 20 centimeters of initial
clearance.
He writes 20 cm on the plans.
MAC
--to get into the Mask case with its
unbreakable code--
GIN
Which I have.
MAC
Which you hope you have. And then get
back out through the same security
system. Still without making a bloody
sound.
GIN
Right.
We expect him to say that is the craziest damn thing I ever
heard. He pauses for a moment, as if trying to find words to
express this. But he doesn't.
MAC
Hmmmm. Interesting.
He stares at the plans, lost in thought.
MAC
(continuing)
And the exhibit ends--?
GIN
Christmas night, with a party in honor of
the Mask.
MAC
A week. We'll need every single day.
We'll got that party for a final recce.
This is most definitely not her plan.
GIN
We can't. We've got to go sooner.
MAC
One week.
GIN
But why? It's risky. And we have all the
plans.
MAC
Prepare for surprises, you won't be
surprised.
He studies the drawings and the photographs, then points to a
lake in front of the castle.
MAC
(continuing)
That's the way in.
GIN
That's the lake.
MAC
I know it's the lake, dear.
He draws a line from the lake to the Palace.
MAC
(continuing)
The first Duke dug a tunnel as an escape
route--just in case. They made the lake a
hundred years later. Flooded the tunnel.
GIN
We go underwater?
She doesn't like that idea.
MAC
What's with the "we", Tonto?
GIN
We're partners.
MAC
Precisely. I steal the Mask, you get a
finders fee. At ten percent, that should
be worth two or three million. Not too
bad.
GIN
Look, I've got the code for the Mask
security.
MAC
That's why you're here. Give it to me.
GIN
No.
MAC
Fine. It's almost been interesting
meeting you.
He starts taking down the plans, the photographs, putting
things away.
GIN
This is a two-man job. You need a sensor
expert. Me.
MAC
This isn't some Rocky Mountain print you
steal from a Burger King, my dear.
GIN
I'm not your dear! You arrogant bastard!
You don't have any idea how lucky you
are!
MAC
That's been a lifelong problem.
GIN
No, dammit! I mean me! That
Rembrandt...that Rembrandt!
He looks up at her. She has his attention now.
GIN
(continuing)
I stole it!
What the hell?
MAC
Look, you're a smart girl, but you're an
amateur. Whoever stole that Rembrandt was
a professional, not some wee slip of a
girl. So let's not kid each other.
Mac sits down at the end of the table and begins to put away
some of the documents lying on it.
Furious, Gin stares at him. He is so maddening and
dismissive. Nothing she says is going to change his mind.
She takes the table cloth runner, grasps it in her hands, and
jerks it off the table! Books, papers, candlesticks fly.
Mac's eyebrow goes up. You have my attention.
She walks to the end of the room, takes the measure of the
table, then runs toward it and BOOM! BOOM! Does two front
handsprings! Coming right at him!
Then does a full twisting layout vault! Right over his head!
Lands on her feet behind him!
MAC
(continuing)
Pretty good.
GIN
For a wee slip of a girl.
She's won him over.
MAC
The Rembrandt--that was very impressive.
GIN
It was perfect.
MAC
Perfect was it?
He gets up, makes a show of walking slowly and creakily over
to the corner.
MAC
(continuing)
How'd you get the painting out?
GIN
I mailed it. Down their own mail tube.
Simple. Effective. Safe.
MAC
Very, very impressive.
He takes out a rolled-up canvas.
MAC
(continuing)
Would you be referring to this Rembrandt?
He displays the familiar painting. Now it's her turn to be
shocked. And ours as well.
GIN
Oh my God. No.
MAC
Why rob the Penthouse when the mailroom
is on the ground floor?
(enjoying himself)
You're too easily impressed with
yourself. I believe I've mentioned that
before.
Gin reaches for the Rembrandt.
GIN
Someone was expecting that.
He studies the mailing label.
MAC
Obviously Mister Conrad Greene? But why
Kuala Lumpur, Malaysia?
GIN
We get the mask I'll tell you why.
MAC
A partner with secrets isn't much of a
partner.
GIN
Without the mask it doesn't matter.
MAC
Could it be a downpayment? On a bigger
job?
He's interested now.
GIN
Something like that.
MAC
What could you possibly want to steal in
Malaysia?
GIN
Let's just see how we do.
For the first time she's caught him off-balance.
MAC
Are you testing me now?
GIN
Oh, I think you can do it. Probably.
She smiles sweetly at him.
EXT. SAFEHOUSE - DAY - LATER
A delivery van drives up. A TRADESMAN steps out. He's mid-
forties, black. Mac meets him at the door.
TRADESMAN
Delivery for Robert MacDougal, Esquire.
He says it with just a bit too much deference.
MAC
Just take it around the back, would you?
EXT. SAFEHOUSE - DAY - MOMENTS LATER
Carrying a box, the Tradesman walks into the kitchen. This is
THIBADEAUX, a Cajun who carries himself with authority. The
Tradesman veneer didn't fit him too well: he's too dangerous.
Mac is there to meet him.
THIBADEAUX
What the hell did you do to that Jag? You
have any idea what it cost?
MAC
Actually, I do.
Thibadeaux sets down the box.
THIBADEAUX
You said small pneumatics, I got small
pneumatics. Got to be an elf to use
these.
Mac opens the box, picks up some flat black miniature tools,
handles them with expert ease.
THIBADEAUX
(continuing)
They work off the O2 tank.
MAC
And the blade det cord?
THIBADEAUX
In the van. That is bad shit. You don't
want to go mixing it with nothing else.
Mac checks off the tools. They look very cool.
MAC
...decibel meter...comm kits...lasers
with magic arms...got the IR/Thermo
camera?
THIBADEAUX
Had to get a liquid plasma screen.
MAC
How'm I supposed to do this without the
right tools?
THIBADEAUX
You're not the one trying to get all this
shit. You think they've got a Crooks R Us
on every corner?
MAC
You are a miracle worker.
THIBADEAUX
Where's the girl?
MAC
In the loch. Training.
THIBADEAUX
So when do we do the dirty?
MAC
We might not want to cash in our chips
just yet. She has another job after this
one.
THIBADEAUX
That's what they all say, right before
they disappear with the swag.
MAC
A really big job.
THIBADEAUX
This is big enough.
MAC
It's never big enough.
EXT. SAFEHOUSE - LOCH - HIS VIEW
Gin gets out of the loch onto a rock. Caught unaware, she
looks incredibly beautiful.
INT. SAFEHOUSE - KITCHEN - SAME
Thibadeaux is watching her through the telescope. An idea,
call it a suspicion, comes to him.
THIBADEAUX
You are keeping this business, right?
Mac gives nothing away.
MAC
I need you to get one more thing for me.
A dress, elegant but sexy. I'd say she's
a size six who wears a size four. Maybe a
Chanel.
THIBADEAUX
Chanel?
He gets a good laugh out of this.
THIBADEAUX
(continuing)
I buy my mama Chanel.
MAC
It's been a while since I bought a woman
a dress.
That lies there for a moment. Beneath their toughness there's
some real connection between the two of them.
THIBADEAUX
I know what you mean.
But it's not a place they like going.
THIBADEAUX
(continuing)
My Tina, she used to say, the dress makes
the woman. And I'd tell her, no, baby,
the woman makes the dress.
MAC
Tina, she was something else.
The "was" is the sad and operative word here.
THIBADEAUX
Don't go getting sentimental. You're no
damn good at it.
MAC
Tina was worth it.
Meaning worth all the trouble women can be.
THIBADEAUX
This better be worth it.
Mac looks out to Gin.
MAC
Oh, it is.
The job? The girl?
THIBADEAUX
It better be worth it to me.
And that is the nitty gritty, dead serious end to it.
EXT. SAFEHOUSE - DAY
Thibadeaux's delivery van drives away. Getting out of the
loch, Gin walks toward the house and catches just a glimpse
of the van and its driver.
INT. SAFEHOUSE - DAY - FEW MINUTES LATER
Her hair still wet from swimming, Gin stares at the
furnishings and casually arranged mementos, the way a woman
considers how a place is decorated to be a window into the
owner's soul. Mac enters, carrying a box of gear.
MAC
Our gear has arrived.
GIN
Who delivered it?
MAC
Delivery man.
GIN
You were in there a long time.
MAC
Suspicious are we?
GIN
Comes with the territory.
He heads across the living room with the box. Her eyes go
around the room, curious, taking in every detail.
MAC
You coming, or are you casing the joint?
She comes to a realization.
GIN
A woman did this.
MAC
Nonsense. I did it all myself.
GIN
Women can tell these things.
MAC
Which is why I live alone.
GIN
Who was she?
MAC
I should get this place redone.
It's his way of telling her to buzz off.
GIN
A partner with secrets isn't much of a
partner.
She throws his line back at him.
MAC
Bullshit I'm afraid. Secrets are what
make us human.
GIN
I like your face when you do that. It's
like this house. You think it hides who
you are, but it does exactly the
opposite.
MAC
Can we please get to work?
That box is getting heavy.
GIN
Oh, did I get too personal?
MAC
Yes you did.
There are vast Greenlands of buried emotion here.
MAC
(continuing)
Unless physical labor is beneath you,
there are more boxes in the kitchen.
EXT. SAFE HOUSE/INT. SAFE HOUSE - DAY/NIGHT - INTERCUT
Measuring precisely, Gin and Mac string red yarn into a maze
in the living room.
Mac runs blade det cord along a piece of concrete.
Boom! The det cord explodes. Mac checks a decibel meter.
Mac checks the depth of the cut in the concrete with a ruler,
makes some notes in his Notebook.
Mac and Gin squat underneath some planks set on scaffolding
five feet off the floor. Mac begins to chant, rhythmically,
as he tapes strips of blade det cord over a square 18" on a
side outlined on the wood with magic marker.
MAC
A one and a two and a three and a
four...Stand back!
Gin moves out of the way, but not fast enough for Mac.
MAC
(continuing)
Get bloody well back! We only have four
seconds for the concrete!
He stays after as they set up again.
MAC
(continuing)
And where's the air bag? That's on five,
or did you forget five comes after four?
She bites her tongue.
The maze of red yarn at complete. Some fruit cartons have
been stacked in the middle, atop which rests a Halloween mask
indicating the real Mask. Attached to the yarn are small
bells, the kind that go on cat collars.
Blindfolded, Gin tries to navigate through the yarn at Mac's
direction. He will be able to see it, but she cannot.
MAC
(continuing)
Okay, right arm to the left about six
inches.
She moves her left arm, touches the yarn, the bell jingles.
MAC
(continuing)
Your other right arm!
She pulls off her blindfold.
GIN
I need a break.
MAC
Get it right first.
She puts the blindfold back on, starts over.
Under the planks again. Gin has the air bag in proper
position this time.
MAC
(continuing)
And five--inflate!
Gin yanks a valve and a mylar bag inflates slowly--too
slowly--beneath them.
MAC
Then change the valve!
She stares at him, fuming.
MAC (cont'd)
Now, six, lever!
They rip out small steel levers and mimic some action that
looks like prying.
MAC
(continuing)
Seven--drop--
They rotate off to the side.
It's evening. They're jogging around the grounds. He runs
briskly ahead, turns and motions to her.
MAC (cont'd)
Come on! Come on!
She jogs by him. For just an instant he takes a breath and
guts it up. This is hard for him, but damned if he'll let her
see that.
Nighttime. They're around the table, with the remains of
dinner, going over plans. Their heads are very close. She's
got her hair up in a bun, held in place with a pencil.
She pulls out the pencil to make a mark on the plans, and her
hair falls down. She's concentrating, so she doesn't notice
her hair brush past his cheek, the touch and the smell right
in his face.
Early morning. They're back under the planks.
MAC
Eight--deflate--
They wrestle the pneumatics in place--a ram powered by the
slice pack.
MAC
(continuing)
And nine--move it, move it! --ten-- get
the air! Okay, stop. Stop! Am I supposed
to hammer this with my willy?
Gin's had enough of his hectoring.
GIN
I don't care what you do with your damn
willy! Just don't worry about me! I'll be
there!
MAC
I just meant to say, if you can't do it
in practice, you can't do it for real.
He's calm, conciliatory, realizing he's pushed her too hard.
The curtains are drawn in the hall. The fire burns. Dressed
in a tight unitard, Gin moves through the maze of yarn. This
time it's like tai chi. Half-cat, half-ballerina, she
negotiates the maze with consummate skill and grace.
We see Mac watching her, knowing that blindfolded she can't
see him. The way he watches is the pride of a mentor for his
protege, but it's much more. For the first time we see how
this amazing, maddening girl is getting under his skin.
And then she's at the Mask case. She rips off her blindfold,
pure joy on her face.
GIN
I did it!
Mac opens the curtains. Light falls into the room.
MAC
In practice.
GIN
Oh come on sourpuss. Admit it. We're
ready.
He produces a box. He gestures at her. Open it. As she opens
it, as any man would he tries to protect himself.
MAC
It's by some Italian. Supposed to be very
trendy. I thought with your hair, the
color--
There's a beautiful dress inside.
MAC (cont'd)
I hope it's your size.
She holds it up to herself.
GIN
A Christmas present. For me?
She loves it. Given how hard he's been on her through the
training, she's genuinely touched.
MAC
It comes out of your share.
GIN
I don't know what to say.
MAC
(helpful)
Thank you.
GIN
Thank you.
There's a held moment between them.
GIN
(continuing)
I haven't got you anything.
He waves his hand--hardly necessary.
GIN
(continuing)
No, no, I want to. I'll just go into the
village.
MAC
It's not a village. There's nothing
there.
GIN
Won't take any time.
She puts the box under her arm, gives him a big smile, and
departs. On his face is the slightest trace of suspicion.
EXT. COUNTRYSIDE - DAY
Gin rides a bicycle down an isolated country lane.
EXT. VILLAGE - DAY
A small pub. A tiny post office and store. A phone call box.
Gin leans the bicycle against the phone box.
INT. SAFEHOUSE - DAY
Mac works a monitoring device.
EXT. VILLAGE - DAY
Gin dials a number. High up in the box we notice a tiny
microphone.
VOICE
Webber Insurance.
INT. MAC'S ROOM - DAY
We see him listening to the phone call.
GIN
Hector Cruz.
INT. MAC'S ROOM - DAY
And we see his face, as he listens.
VOICE
Connecting.
INT. WEBBER INSURANCE/EXT. VILLAGE - DAY - INTERCUT
Cruz comes on the line. There's an edge to his voice.
CRUZ
I believe we agreed on a simple feedback
loop. You call me? Check in?
GIN
This was my first chance. I can't exactly
use my cell phone.
CRUZ
Field men who don't check in--they end up
pushing papers or pushing daisies.
GIN
I got the message the first time.
CRUZ
Make it up to me. Give me some news I can
use.
GIN
He's got the Rembrandt.
CRUZ
Bingo. We nail him right now.
GIN
For what? Possession? He's onto something
big. After the Mask.
CRUZ
He's a thief. He's always onto something
big.
GIN
We parlay the Mask into some big job, roll
up MacDougal, his fences, everything....
CRUZ
In Vegas they call that the slow
surrender of resolve to desperate hope.
You win a dollar, you lose five trying to
win another one.
GIN
Do you want to sound smart on the office
tape or do you want to nail the bastard?
CRUZ
(tough now)
Do I want to nail him? Every night I
dream of catching him and every morning I
wake up pissed off I haven't.
(and softer)
So listen to me. You've done a great job.
I never thought you'd get him, but you
did. I'll give you the raise we had to
put off.
GIN
You're pulling me in?
CRUZ
Just tell me where you are. I'll take
care of the rest.
GIN
I'll send you a postcard.
She hangs up the phone. Cruz is not a man to trifle with, and
he hasn't finished.
CRUZ
Gin? Gin?
He slowly sets down the phone, lost in thought. CUT TO: Mac,
another man not to be trifled with. He hangs up his own
phone, his face scary and dead as the line.
EXT. COUNTRYSIDE - DAY
On her bicycle, Gin passes a lonely country cottage. Suddenly
she stops and stares at the cottage. Inside, on the ledge of
the kitchen window, she sees a vase of beautiful roses. Ah
ha.
INT. SAFEHOUSE - DAY - MINUTES LATER
The shadows are lengthening as Gin enters the Safehouse.
There's an empty feeling.
GIN
Mac?
She looks for him through the house, comes to a door that we
have never seen opened. It's half ajar. She opens it farther.
A cold breeze makes her shiver.
INT. SAFEHOUSE - STAIRWAY - DUSK
She climbs up a narrow curving stone staircase. It's shadowy,
scary. This romantic castle has suddenly become Gothic and
spooky.
EXT. SAFEHOUSE - BATTLEMENT - DUSK
She emerges on a battlement high above the loch.
GIN
Mac?
There's no one there. The wind blows a chill into her bones.
Suddenly a hand grasps her shoulder! She starts in fear.
MAC
Cold up here, isn't it?
We see his face, that matter of her phone call.
GIN
Is anything wrong?
MAC
Not a thing.
Mac opens a box. Inside is an ice bucket with a bottle of
champagne. His back to her, he pours them each a glass.
MAC
(continuing)
To the Mask. To our...partnership.
He turns to face her, hands her a glass, looking at her like
a butterfly he is about to pin.
MAC
(continuing)
Anything on your mind? Anything you need
to tell me?
He seems to know everything. Really spooked now, she shakes
her head.
MAC
(continuing)
Come over her.
He leads her over to the battlements. Almost forces her to
look over the edge. It's a long way down.
MAC
(continuing)
What would it be like to jump off? Would
you burst like a melon on the rocks, or
would you just fly away?
Her hand shakes as she drinks from the glass.
MAC
(continuing)
Don't tell me you're scared--
She nods.
MAC
(continuing)
Then how'd you do that Rembrandt?
GIN
I had a lifeline.
MAC
None now, though.
She shakes her head, shivers again.
GIN
I'm cold.
His face is dark.
MAC
(continuing)
I never come up here without dropping
something off.
She's right by the edge. He's behind her. Big, strong,
menacing. He takes her champagne glass. She wonders: does he
mean her?
He leans her over the battlement. There's a long beat. He
tosses first one glass, then the other, over the side. We
watch them break on the rocks below.
MAC
(continuing)
Supposed to be good luck.
And he gives her his best smile.
INT. GIN'S ROOM - NIGHT
Getting hold of herself, Gin checks her face in the mirror.
INT. GREAT HALL - NIGHT - SAME
Dressed in his tuxedo, Mac waits at the bottom of the stairs.
MAC
Gin, we're four minutes late!
GIN (O.S.)
I'm coming.
The door opens at the top of the stairs and out she comes,
wearing the dress. She looks truly beautiful. We watch him
watch her come down the stairs.
GIN
How do I look?
MAC
Very beautiful--for a crook.
GIN
I've got something for you.
She takes out a rose that looks suspiciously like one of the
roses from the farmhouse.
GIN
(continuing)
So I'll recognize you. Wouldn't want to
go home with the wrong man by mistake.
She pins it on his lapel, very close to him. He can smell her
perfume, her hair. She steps back, examines him.
GIN (cont'd)
Perfect.
She smiles at him, not looking away. There are several ways
to take that, most of which make him a bit self-conscious.
Then he gives her a Masquerade mask.
MAC
(continuing)
It's a masked ball. We all go as someone
else.
EXT. BLENHEIM PALACE - NIGHT
We swoop in on the Palace in all its magnificence. Rolls
Royces and Limousines drive over the bridge and disgorge
their guests at the tent by the entry. Over the gates is
draped a banner proclaiming THE MASK Two Thousand Years of
Chinese Art.
EXT. PALACE - NIGHT
Closer now. Guests getting out of cars. Gin and Mac sweep in
with the rest of the crowd as security guards check names
against a guest list. After their names are checked, the
guests don their masks and enter.
Mac nods and exchanges small talk with other guests. A
BEAUTIFUL WOMAN recognizes Mac.
BEAUTIFUL WOMAN
Robert--
MAC
Daphne.
There is history here. A lot.
MAC (cont'd)
Lady Ashcroft, Virginia Baker.
Lady Ashcroft gives Gin the full up-and-down.
BEAUTIFUL WOMAN
Hmmm. Yes. Youth will be served.
She leaves.
GIN
Business or pleasure?
MAC
Strictly pleasure.
INT. PALACE - NIGHT
A great hall. Musicians in the balcony. Mac and Gin stroll
in. We see a huge CLOCK against the back wall, one of those
mechanical wonders where dogs dressed like humans rotate
around, banging on gongs to announce the hour. It says 9:45.
Gin's fidgety.
MAC
Relax. You act like you're here to steal
something.
She can't relax.
MAC (cont'd)
Go get a drink. I'll look over the
security guard check points, meet you
back here.
She nods, walks away. He strolls into the crowd.
INT. PALACE - ANOTHER CORRIDOR
Mac examines a display of tin soldiers next to a security
check-in box. Thibadeaux appears in a Chinese mandarin's
outfit. He's agitated, worried about Gin catching them.
THIBADEAUX
Have you seen the setup in there?
MAC
I said a masked ball, not a costume
party.
THIBADEAUX
You didn't tell me only the women were
supposed to dress like Chinks.
MAC
No ethnic slurs, please.
THIBADEAUX
The damn mask, man, it's made of cotton
candy. What if you break it? What if she
is selling you a pig in a poke?
MAC
What if we drop it in the lake? It could
melt.
THIBADEAUX
Jesus, you gotta call this off.
MAC
Patience Thib, patience. Trust me.
THIBADEAUX
Remind me why.
MAC
Because it pays off.
THIBADEAUX
It's not your damn ass on the line.
Thibadeaux spots Gin coming up, disappears into the crowd.
MAC
(to himself)
Oh, but it is.
(to Gin)
Haven't I seen him before?
MAC
You mean Charlie Chan? He was looking for
number two son.
GIN
What?
MAC
Before your time.
The music changes to something very danceable.
MAC
(continuing)
We could dance, if you knew how.
She stares at him.
GIN
Try me.
INT. PALACE - GREAT HALL - DAY
The music begins. Mac reaches out his hand to Gin. She's had
to overcome a lot to get here. Her fear, the incredible
pressure of the job, his impossible behavior. But here she
is, Cinderella at the Ball.
She reaches out her hand to take his. And as she takes it
time stops. For the first time they are truly touching, truly
connected. They stare at each other. And then they take the
floor, tentative at first like new lovers.
He takes her in his arms and then, expecting nothing, he
leads her into one combination, then another. She follows him
effortlessly, her eyes never leaving his face, as if to say,
is that all you've got?
He takes her into more complicated moves, but she's right
there, in his arms, not missing a beat. Anyone looking would
believe they were completely in love.
MAC
Where did you learn to do this?
She smiles, teasing him.
GIN
My father.
MAC
Of course. Dear...old...dad.
We are absorbed in their absorption with each other. It's as
if the force between them clears a space around them.
And then we see Thibadeaux watching them, watching intently,
gauging just how close these two seem to have become. And he
doesn't like it.
The other dancers disappear into a swirl of color and
movement. We only see them now, and it's hot and beautiful.
They see only each other. Suddenly the clock strikes 10. The
little figures swing out and begin pounding the chimes. Dong.
Dong. Dong. The reminder of time, of their job, makes her
stumble.
MAC
(continuing)
About to turn into a pumpkin, princess?
As the chimes continue, they stare at each other, the spell
not quite broken. Neither expected this surge of feeling.
Neither knows what to say. Mac offers her his arm.
MAC
(continuing)
It would be rude to leave without paying
a visit to the guest of honor.
Meaning--the Mask. She nods and takes his arm.
INT. PALACE - MOMENTS LATER
We are strolling down a long hall with other couples going to
see the Mask. The Gallery is just ahead, around that corner
there's a security guard's clock and there's...oh no!
Greeting them is a pair of GLASS DOORS.
GIN
Where are the damn steel doors?
MAC
Replaced obviously. Armored smart glass
at a guess.
In front of them, on a special pedestal, covered with a dome
of clear glass, is the MASK. The first time we have seen it
for real. It is right there, so close. But Glass Doors!
Panicked, Gin hisses at Mac under her breath.
GIN
We can't do this in a fishbowl!
(beat)
It's off!
MAC
It's on. Something always goes wrong. At
least we know going in what it is.
As he talks, he kneels down to check his show, quickly
peeling off a tiny silver disc with tape backing and leaving
it in the center of a square of marble.
MAC
Besides, you're good. You told me.
(beat)
Now smile.
And she does as they walk out through the very clear glass
doors, the Mask gleaming in its case behind them.
EXT. PALACE LAKE - NIGHT
CRANE DOWN from bridge as a car exits the now-quiet Palace
and crosses to reveal a SMALL BLACK ZODIAC in which we find
Mac and Gin, dressed in dark silver mylar thermal suits,
diving bags carrying all their gear. They both have lights
mounted on head bands.
MAC
Ready?
GIN
(beat)
Ready.
Mac pulls on his face mask, slides backwards into the black
water. Gin follows behind him.
EXT. PALACE LAKE - UNDER WATER
Mac swims through the murky water. Once he gets under the
bridge he switches on his head lamp. Up ahead, in the dim
light, we see a window covered with rusted bars.
Mac pulls out his slice pack, turns on the valve, and begins
to burn the bars.
EXT. LAKE - NIGHT - MOMENTS LATER
They swim through the now-cut gate, toward us, shining their
light through the dark dirty water. They enter a narrow tube,
their feet disappear and then the light dims into blackness.
INT. TUNNEL - NIGHT
They emerge from the water. Gin leads as they belly crawl up
a dank tunnel that narrows as they go. This is creepy,
scary hard. We hear their breathing. Gin's headlight picks
out a reddish glint. Holy shit. A rat.
She's overcome with claustrophobic panic! Her mouth goes dry
at cotton. Her breath comes in gasps. She can't move. She can
barely get the words out.
GIN
(continuing)
There's a rat.
MAC
There's a bigger bloody rat behind you!
Get your ass in gear!
She takes a breath, begins to crawl again.
INT. PALACE - TUNNEL - NIGHT
They reach a rusted steel door. Mac pushes it in. An old
shelving unit on the other side falls to the floor.
INT. CASTLE BASEMENT - MOMENTS LATER
They make their way through the maze of a class foundation--
hand-laid brick piers supporting thick cut beams, over which
has been laid a wood sub-floor.
INT. GREAT HALL - NIGHT
The party-goers are leaving. The clock hands jerk closer to
midnight. It's 11:58.
INT. CASTLE BASEMENT/INT. PALACE/INT. MASK ROOM - INTERCUT
They reach a chamber where all the piers and beams are
reinforced steel, the floor solid concrete. We are beneath
the Imperial Gallery.
They move urgently now. Mac takes out a receiver, homes in on
the signal from the mini-transmitter he taped to the floor.
He measures out a certain distance one way as she measures
the other. He carefully marks the square on the concrete,
eighteen inches on a side. As they work Gin pops some bubble
gum into her mouth.
MAC
Less than a minute.
Gin hands Mac the blade det cord. Mac quickly squeezes it
onto the concrete. Gin sets up the decibel meter.
GIN
(continuing)
Five, four, three, two, one...
DONG! goes the big clock chime and BOOM! in perfect synch
goes the first explosion.
MAC
And two--
DONG! Boom. We now see what they've been practicing.
MAC
(continuing)
And three--
DONG. Boom.
MAC
(continuing)
And four--
DONG. Boom.
MAC
(continuing)
And five--Inflate!
DONG. As they jump back, Gin pops the valve on the mylar air
bag. They stick levers into two of the holes. DONG.
MAC
(continuing)
And six--
They pry the two sides. DONG.
MAC
(continuing)
And seven--
CRACK the concrete square falls onto the inflated air bag,
revealing the marble square of the floor. DONG.
MAC
(continuing)
And deflate!--Eight--
They move the ram into position. DONG.
MAC
(continuing)
Nine--air!
Gin works the valve. BAM! The ram strikes against the marble.
DONG.
The decibel meter jumps, coming perilously close to a read
line drawn on it.
MAC
(continuing)
Ten--More air!
In the Mask Room we see the slightest bit of dust rise from
one of the marble squares on the floor. DONG.
GIN
It's too loud!
MAC (cont'd)
Eleven--More!
Gin turns the valve even more, her eye on the decibel meter.
Mac carefully shifts the ram striking point.
MAC
(continuing)
And twelve.
DONG. Bam. The ram hits the last time.
In the Mask Room, one of the marble squares floats slightly
above the floor.
A GUARD walks through the Great Hall. He enters a card into a
check-in box, which beeps quietly. Then he continues his
rounds through the debris of the party.
Mac has his hands on the marble.
MAC
(continuing)
Rollers.
She hands him black pipes which he places under the marble.
MAC
(continuing)
Gently, very gently.
They lower the marble onto the rollers, then roll it away.
The basement is bathed in the dim light of the Mask room.
Mac carefully extends the 20 centimeter rod. They know they
can't go above that.
Mac positions the camera, which comes oh so close to the top
of the rod. He opens a palm top computer with a mouse that
lets him control the camera, tests it, surveys the room on
his screen.
He positions the tripod with its laser magic arms, carefully
sets it. She mounts the first light. They are head to head,
extremely close, in the narrow opening.
GIN
Contact.
She turns on the laser. On Mac's screen we see a red beam
stream out directly into the PIR sensor.
The guard has made his way closer to the Mask room. He
inserts his card into the next checkpoint.
In the Great Hall, the hands of the clock move to 12:02.
Mac positions the next tripod through the small opening.
On Mac's palm top monitor we now see a maze of red lights
exactly like the yarn on his floor.
Mac turns to Gin. It either works now or it doesn't. They
share a long look, then she crawls up through the narrow
opening, into the room. He looks at his watch.
MAC
Less than four minutes now.
For a moment she lies on the floor, still, the Mask looming
over her on the other side of the room. We hear her
breathing.
As he talks her through, MOS, she begins the delicate tai chi
around the beams which only Mac can see. If she breaks one,
she sets off the alarm.
We are on her face, then his. The concentration is intense.
He is dancing through the beams using her body. It is as
intimate, if not more so, as their dance.
The Guard checks in at another checkpoint. The clock says
12:04.
Finally she makes it to the Mask, pulls out a tiny palm top,
scans a series of numbers, then enters them into the keypad.
Very slowly the canopy above the Mask begins to rise.
GIN
(continuing)
Thank you God.
MAC
Watch the pressure switch.
She has a knife in one hand, ready to slide it carefully
under the Mask. But her hand begins to shake. Pulls back.
Tries again. Damn! Worse!
Mac doesn't bully her now. He talks softly and confidently,
mentor to protege, professional to professional.
MAC
We all get the shakes. Deep breath now.
In through the nose. Out through the
mouth.
She tries, but her hand still shakes.
The Guard enters the room before the corridor leading to the
Mask Room.
The Great Hall Clock says 12:05.
Mac glances at his watch.
MAC
(continuing)
Okay, think of a beach, palm trees
swaying in the wind, the gentle sound of
the surf. Think of nothing.
She closes her eyes, tries to imagine.
MAC
(continuing)
Or a great big rat, about to take a bite
out of your ass.
She opens her eyes, grinning and determined. She sticks her
hand with the knife toward the base of the Mask again. It
shakes, but she steadies it, slips it under the Mask! Ahhh.
MAC
(continuing)
Good girl. No hurry, but the guard's
coming down the corridor.
The Guard turns into the corridor leading to the glass doors.
Gin carefully lifts the Mask, holding the knife under it.
The Guard approaches the Mask Room. We see the double doors,
but not the Mask case. He stops and takes a sip of champagne
from a half-empty glass.
Gin slowly slides the Mask over to the edge of its pedestal
and into her bag while holding the knife down.
GIN
Preparing pressure switch neutralization
device.
The we have a wonderful low-tech moment. She takes the BUBBLE
GUM out of her mouth, sticks it on the Mask mount, then lifts
her hand away. Success.
MAC
Just speed it up a bit.
The big clock says 12:07.
The Guard idly glances into the Mask Room. He does a double
take. What the bloody hell?!
There's a mask there, but it's Gin's party mask. The real
Mask is gone.
EXT. PALACE LAKE - NIGHT
Splash! Mac bursts through the surface of the lake! He climbs
into the Zodiac, slips off his mask. Splash! Woof! Gin comes
up, gasping, thrilled.
GIN
Oh God! Oh God!
MAC
Give me the Mask.
She undoes it from around her neck, lifts it up to him. She
reaches up her hand, expecting him to help her in. He
doesn't. He stares at her, dark, baleful.
MAC
(continuing)
Now's when you tell me who you really
are.
He grabs her by the hair, then shoves her under! She comes up
gasping.
MAC
You work for Hector Cruz at Webber
Insurance. You're a bloody cop.
She treads water, tries to talk through her sputtering and
choking. WHOOP! WHOOP! WHOOP! An alarm goes off in the
Palace. Lights pop on all around the building. In the b.g. we
see people running toward the Palace.
GIN
I'm not!
He shoves her under again! Lifts her back out! She's gasping
for breath, terrified, desperate.
GIN
The insurance job, it was cover. That's
how I got the code!
The boat has drifted out into the light. Police cars race
over the bridge right above them. Mac pays them no attention.
GIN (cont'd)
For God sake, the cops...!
He stares at her. Impenetrable and menacing.
MAC
So you're playing both sides of the
street. Keep the Mask, turn me in.
Down under the dark water again! Then up!
GIN
Please! I'm a thief! Like you!
Mac thinks for a moment.
MAC
Okay, you're a thief.
GIN
Yes! Yes!
MAC
What do I need a thief for? I've got the
Mask.
He shoves her under again! For a long time! When she comes up
this time she's terrified now.
GIN
The big job.
MAC
There is no big job.
He starts to shove her under again. This is very scary.
GIN
It's a billion!
MAC
A billion what?
GIN
Dollars.
He's about to dunk her again, for the final terrible time.
GIN
That's just your share.
Mac stares at her for a long beat.
GIN (cont'd)
Please. Trust me.
What is he going to do? We don't know. His face is hard,
gives us nothing.
MAC
Get the hell in.
He pulls her unceremoniously into the boat. She lies gasping
on the floor like a fish, rolls over and faces the night sky.
WHAAOOO!! WHAAOO!! More police cars race across the bridge,
their sirens screaming.
Totally unflappable and always unpredictable, Mac reaches
down into the boat and pulls out a bottle.
MAC
(continuing)
Whiskey?
Gin can barely get her breath. A moment ago he was about to
drown her.
GIN
No...thank you.
Mac savors his. The sirens increase!! More police cars!!
GIN
(continuing)
Can we celebrate somewhere else?
MAC
If you want, certainly. Where to?
GIN
Start paddling, we've got a long way to
go.
He paddles the boat out of frame and the dark lake DISSOLVES
TO:
EXT. KUALA LUMPUR - DAY
The prow of a boat enters the frame. Gin and Mac are in a
small river craft on a narrow brown stream overhung with palm
trees and tropical vegetation. As the boat docks, the two of
them continue a discussion they have obviously been having
for quite some time.
GIN
Come on. You mean a billion isn't enough?
MAC
Depends.
GIN
If you absolutely have to know--
MAC
Trust me, I do.
Beyond them is an extraordinary sight: supermodern buildings,
set against deep green tropical mountains: the architectural
design laboratory that is Kuala Lumpur, city of the third
millennium.
GIN
Amazing, isn't it?
Gin is putting Mac off a little, having her fun now.
MAC
Extraordinary.
He's not even looking. He wants his answer.
GIN
Eight. The whole job is 8 billion.
INT. TAXI - KUALA LUMPUR - DAY
The taxi makes its way through open air markets shoe-horned
between sleek white towers.
MAC
I'm getting less than fifteen percent!
GIN
You're not happy? I'll make it 80-20.
EXT. KUALA LUMPUR - CROWDED DISTRICT - DAY
The taxi stops. Gin and Mac get out. Gin pays the driver.
They walk toward the unmarked door of an unmarked warehouse.
MAC
To be fair, it's your plan, you should
get at least 30 per cent--
GIN
My eighty, your twenty, smart guy--
MAC
It's fifty-fifty.
Gin flips down a metal cover on the warehouse wall, revealing
a control panel into which she enters a code.
The door opens, revealing circular stairs. Gin heads up.
MAC (continuing)
What can you do with six billion dollars
you can't do with four?
GIN
Hold the record. Alone.
On Mac's face we see grudging respect.
MAC
That's my girl.
INT. GIN'S LOFT - DAY
The stairs lead us into a huge loft, hardwood floors
stretching to shuttered windows. Not a single personal item
anywhere.
MAC
It's....homey.
Gin unpacks the Mask, opens a closet along the wall, pulls
back a row of men's clothes.
MAC
(continuing)
Finally, a personal detail. Boyfriend?
GIN
No. I don't carry baggage.
The echo with his line is deliberate. She's dialing in the
safe combination, she's constantly moving.
MAC
Smart girl.
He examines some men's work overalls and a tuxedo.
MAC
(continuing)
Hmmm, 44 long.
GIN
That is your size, isn't it?
She puts the Mask into the safe, then closes it back up.
MAC
So we're here. What's the job?
She goes to the windows, throws open the shutters. Framed in
the windows is a matched pair of ivory towers that seem to
rise into the heavens. Connecting them is an airy sky bridge
of glass and metal. It's a truly incredible sight.
GIN
The Petronas Towers. World's tallest
building.
MAC
We're going to steal it? Interesting.
She holds out her hand.
GIN
I need the Rembrandt.
Mac produces the tube with the painting.
MAC
What for?
She hands him a stack of photographs, notebooks, maps.
GIN
Some homework for you. There's food in
the fridge. Briefing at six. Don't be
late.
She leaves. We stay on Mac's face. Okay, I'll play along for
a while.
EXT. KUALA LUMPUR - DAY
In long shot we see Gin arrive at the headquarters of CONRAD
GREENE, ex-CIA Asia hand, now the expatriate head of a
business of questionable legality.
INT. GREENE'S OFFICE - MOMENTS LATER
A POCKMARKED YOUTH escorts Gin into Greene's office. Greene
is mopping his face with a scarf.
GREENE
The damn heat. Rots the flesh. Rots the
soul. It's a shame colder countries do
such good police work.
He holds out his hand to Gin, who takes it.
GIN
We all live with injustice.
CLICK. CLICK. We hear the sound of a camera shutter.
EXT. GREENE'S OFFICE - SAME
Thibadeaux takes Gin's picture through the window as she
shakes hands with Greene.
INT. GREENE'S OFFICE - SAME
She hands him the mailing tube.
GIN
I wanted to deliver it personally.
He takes it out, stares at it.
GREENE
A true masterpiece.
He hands her an identical mailing tube.
GIN
(re: the painting)
So who's getting that?
GREENE
I'm thinking my old CIA friends will
peddle it to Russia for a little
plutonium. The plutonium to an
unmentionable Middle Eastern Country--in
return for embargoed oil on tankers for
delivery to me. Elegant, no?
GIN
You are the scum of the earth.
GREENE
Gin, Gin, you flatter me.
GIN
I need the rest tomorrow. It has to be
tomorrow. Or forget the Mask.
GREENE
Always in a rush.
She stands up, her business over. But there's a reptilian
evil behind Greene's oily demeanor.
GREEN
Oh Gin, if you don't come through. We'll
be making a--shall we say--more up-to-
date death mask. Do I make myself clear?
His unctuous smile.
INT. GIN'S PLACE - MAGIC HOUR
Gin returns, carrying the metal canister. The place has that
empty feel.
GIN
Mac?
No Mac. She paces for a moment, doesn't want to think what
she's thinking, can't avoid it.
She walks to the closet. The safe's slightly open.
GIN
(continuing)
Please Jesus no.
She opens the safe. EMPTY. Except for a note: IOU 1 MASK.
She stabs at her message machine. No messages. She bangs the
machine! Damn!
She dials Mac's number.
MAC
(message)
I'm not in. You can leave a message but I
won't call back.
She throws the phone down!
She rips through the clothes, throwing them onto the floor!
She throws out everything in the cabinets! Empties the
drawers!
No Mask. Nowhere.
Devastated, she slumps to the floor. This is as bad as it
gets.
EXT. MALAKA MARKET - SAME
On piers by the brown water we see locals gobbling their
meals. At a narrow table we find Mac, chopsticks in hand,
mouth full. On his plate is a whole fish. Thibadeaux sits
down beside him, looks at the bowling ball bag.
THIBADEAUX
This your bowling night?
MAC
Check out my ball.
Thibadeaux does not lift out the Mask.
THIBADEAUX
I didn't think I would see this baby
again. Talk about plug ugly.
Thibadeaux is not one to appreciate art.
THIBADEAUX
(continuing)
Who'd pay 50 million for this?
MAC
People of taste and judgement.
THIBADEAUX
People with more money than sense.
MAC
It's not just art. Dear boy. It's
history. Something you Americans don't
care about--because you haven't got any.
THIBADEAUX
That's because we live in the future.
Dear boy. Which is what's on my mind.
He spreads out the photographs of Gin and Greene.
THIBADEAUX (cont'd)
Your girlfriend.
Mac picks up the photographs, looks at Gin's image.
MAC
She's not my girlfriend.
Thibadeaux studies his face, not quite buying it.
THIBADEAUX
Uh huh. What's she doing with our old
friend Conrad Greene?
MAC
Her job?
THIBADEAUX
What is her job?
MAC
It's a bank job that's all I know.
You've got to have faith Thibs.
THIBADEAUX
Faith is angels dancing on the head of a
pin. I've got to have trust. You
wouldn't be thinking of changing
partners, would you? You change partners,
you change the rules.
MAC
Thibs, after all these years together--
THIBADEAUX
(passionately)
I don't want this girl to fuck you over.
MAC
I won't let her.
THIBADEAUX
Look, we've got what we need.
(meaning: the Mask)
Mac examines the Mask.
MAC
A touch of immortality.
(beat)
That's why art is all that matters. It
lasts. We don't.
INT. GIN'S PLACE - NIGHT
The place is dark. The only light comes from the Kuala Lumpur
skyline. We can feel Gin's presence in the darkness. Hear the
freight elevator. Mac enters.
MAC
(Ralph Cramden)
Hi, honey, I'm home.
BAM! Someone coldcocks him! Stunned, he falls to his knees.
Looks up woozily. Standing over him is--Gin. Furious.
GIN
You bastard!
Then she swings at him again. This woman doesn't fight like a
girl. BAM! Really connects this time. He goes down like a
sack of potatoes and the momentum of her swing carries her
down onto the floor with him!
GIN
(continuing)
Sonofabitch bastard!
She keeps trying to beat on him.
MAC
Stop for a bloody second!
GIN
I trusted you! I TRUSTED YOU!
He holds her tight, trying to subdue her.
MAC
It's in the bag, the Mask is in the bag.
She catches her breath. He lets her up, she sees the bag.
GIN
Oh my God, I thought--
She's embarrassed and relieved. But what really upset her is
not only losing the Mask but losing him and that realization
comes in a long moment of silence.
GIN
(continuing)
I thought you'd gone.
She struggles to get control of her uncontrollable emotions.
GIN (cont'd)
Get out! Just get out! Get the fuck out!
Get out!
As she pushes him away, the tears come.
MAC
Hey...hey...
He starts to hold her, she pushes him away, then all the hurt
and anger goes out of her and she lets him hold her.
Their faces are so close, hers streaked with tears. And it's
her who kisses him first.
He holds back for a moment but only for a moment and then he
kisses her and then all the emotion they've held in flows
out.
And then, breathing hard, she pulls back.
GIN
I've got to know something.
He stares at her.
GIN (cont'd)
At the Palace, in the lake--?
MAC
Would I really have drowned you?
She nods. Yes, that's it.
MAC (cont'd)
Absolutely.
And he says it so simply and so honestly that she begins to
smile.
GIN
Good. I'd have done the same thing.
MAC