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Deception Movie Script

Writer(s) : Mark Bomback, Patrick Marber

Genres : Crime, Drama, Mystery, Romance, Thriller

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                                         DECEPTION 



                                         Written by

                               Mark Bomback & Patrick Marber







                                                  September 15th,  2005

          

          I .

          EXTREME CLOSE ON A CELL PHONE
          resting face up on a black surface. A beat of silence           -- is
          broken by its abrupt RING... RING... RING... Move in tighter
          on the phone's LCD DISPLAY. A number comes up:                  555-3827
          RING... RING... RING... A hand enters frame. We follow it to
          a pad and pen we now discover to the left of the phone. The
          hand picks up the pen, brings it to the pad, on which we find
          a list of handwritten numbers. At least fifty. To this series
          is now added 555-3827. RING... RING... RING...

          FADE TO BLACK.

          FADE IN:

          EXT. MANHATTAN - LATE NIGHT

          We pan across the city skyline, a beautiful sight -- over
          which we hear the CLACKING of computer keys.

          INT. A CONFERENCE ROOM (RUTHERFORD STERN)                       - LATE NIGHT

          A wall of glass offers a letter-boxed view of a sleek
          conference room. Amber sconces illuminate an enormous table,
          empty save for & YOUNG MAN at the far end - a lonely figure
          hunched over a laptop.
          Steadily tighten on JONATHAN MESSER (late 20s), trim build
          not entirely at ease in a suit. Likeable features suggest a
          gentle, intelligent demeanor.
          Grids of numbers from the laptop screen reflect off his
          glasses. Tired, he rubs his eyes, continues typing.

          INT. RUTHERFORD STERN LAW OFFICES - LATE NIGHT

          Briefcase in hand, Jonathan walks a vacant corridor of empty
          cubicles. In a few offices lights are still on; the figures
          of YOUNG MEN AND WOMEN at work are blurred like photos out of
          focus behind the frosted-glass of closed doors.

          INT. TIMES SQUARE SUBWAY STATION - LATE NIGHT

          Waiting for his train, Jonathan pauses at a news kiosk.

          JONATHAN
          Do-you have tomorrow's Times yet?
          The grizzled OLD MAN behind the counter doesn't look up.

          OLD MAN
          It is tomorrow.

          (CONTINUED)

          

          

          

          

          2.

          CONTINUED:

          JONATHAN
          Right. I forgot.
          The Old man grudgingly bends to cut the plastic on a fresh
          stack of newspapers. As he does, Jonathan glances at numerous
          porn magazines on display. Naked women smile back at him --

          OLD MAN
          Anything else?

          JONATHAN
          Uh - no. No that's it, thanks.

          EXT. BROOKLYN - LATE NIGHT

          Jonathan descends an above-ground subway stop. Neighborhood
          streets are vacant, the clopping of his shoes the only sound.
          Jonathan turns a corner, heads for a humble duplex, the first
          floor marked by unlit neon: "FLEURS DE SOLANGE." He ascends
          the steps, his keys out --

          WOMAN'S VOICE                                                   (O.S.)
          Jonathan!
          The voice from nowhere startles him - he spins to find
          SOLANGE                                                         (50), a vibrant Haitian woman with a thick accent,
          standing in the doorway below, bundled in a ski jacket.

          JONATHAN
          Solange, you're up so late?

          SOLANGE
          So early, Jonathan. We open in one hour.

          (GRINS)
          So tell me, you have been out with a lady
          friend, oui?

          JONATHAN

          (SMILES)
          Je suis desole, madame, mais no.

          SOLANGE
          But why else does a young man come home at
          such an hour?

          JONATHAN
          Just working late, that's all.

          SOLANGE
          Every night working late, working late.
          (teasing him)
          Ah, you can't fool me. You are Mister
          Mischief maker - I know this! You come by

          (CONTINUED)

          

          

          

          

          3.

          CONTINUED:

          SOLANGE                                                          (CONT'D)
          later and pick out something for your lady
          friend, oui?

          INT. JONATHAN'S APARTMENT - LATE NIGHT

          Very modest. Furnishings are nice, but sparse. Jonathan hangs
          his suit jacket in a closet of empty hangers.

          INT. JONATHAN'S BEDROOM

          Not much decoration other than a dated Jimmy Connors poster
          and an old tennis trophy. Jonathan lies in bed, flipping
          channels on a small TV. Typical late night stuff:
          infommercials; CNN; a Brazilian soccer match; "Channel J"
          (public access) on which X-rated clips advertise phone sex.
          Jonathan lingers a moment on these explicit ads                  - then clicks
          back to, the roaring soccer crowd. He closes his eyes and
          drifts off to the frenetic Portuguese of an unseen announcer..

          INT. RUTHERFORD STERN LAW OFFICES - COFFEE LOUNGE - MORNING

          TWO CORPORATE LAWYERS are talking shop while pouring coffee.

          JONATHAN                                                         (0.S.)
          Excuse me.
          Fixing his coffee, Jonathan reaches past them. They barely
          give him a glance as they continue their conversation.

          LAWYER 1
          So, the Knicks win last night?

          LAWYER 2
          I'm pretty sure, yeah.

          JONATHAN
          Actually, they lost by 4.
          Both pause, turn to Jonathan. Jonathan smiles awkwardly.

          JONATHAN
          It was supposed to be a good game though.

          LAWYER 1
          Oh.
          (back to Lawyer 2)
          Hey, so. did you get a chance to look over
          that memo from Watkins?

          INT. RUTHERFORD STERN CORRIDORS - MORNING

          Bustling - yet here too Jonathan is ignored as he carries his
          coffee past ASSISTANTS and LAWYERS talking shop. He smiles

          (CONTINUED)

          

          

          

          

          4.

          CONTINUED:
          politely at those he passes; few bother to smile in return.

          INT. CONFERENCE ROOM - MORNING .

          Again Jonathan works alone at one end of the long table,
          rapidly typing, eyes ping-ponging from files to laptop,
          beside him a meticulous arrangement of pastel-colored post-
          its on which are scribbled various calculations. He strikes
          us as extremely good at his job, tackling the overwhelming
          array of numbers and data with methodical assurance.
          Taking a break, he pauses to peer out the glass wall before
          him. Behind the glass, employees pass like fish in a tank.

          INT. MEN'S WASHROOM -- DAY

          In a stall, Jonathan is staring sleepily at patterns in the
          stall's marble door -- when a sudden KNOCK-KNOCK on the
          divider to his right startles him. He peers down and over, to
          expensive black wingtip shoes, a Wall St. Journal spread on
          the floor. Another KNOCK-KNOCK. Confused, Jonathan turns to
          address the divider:

          JONATHAN
          Yes?

          MALE VOICE                                                      (O.S.)
          Take a look at this.
          The voice sounds youthful, energetic. Its owner slides his
          Journal along the floor halfway between the marble division.

          MALE VOICE                                                      (O.S.)
          The Japanese are developing a toilet that
          can analyze your urine for glucose levels,
          kidney disease, even cancer. They're
          referring to it as the "super bowl."

          JONATHAN
          That certainly is                                               - something.

          MALE VOICE (O.S.)
          Of course if you've ever been to Japan,
          you know they're nuts about their toilets.
          I'm talking web sites, symposiums...
          Jonathan chuckles.

          MALE VOICE                                                      (O.S.)
          You think I'm kidding. They have bowls
          over there that cost more than a piano.
          What I want to know is how you're supposed
          to retrieve this analysis - you know, from
          your super bowl.

          (CONTINUED)

          

          

          

          

          5.

          CONTINUED:

          JONATHAN
          Maybe they're developing a fly with a
          nursing degree. A superfly.

          MALE VOICE                                                      (O.S.)

          (LAUGHS)
          Who's in there anyway?

          JONATHAN
          Uh, Jonathan Messer.

          MALE VOICE                                                      (O.S.)
          Messer... What department?

          JONATHAN
          None. I'm from Worth and Berman. I've been
          over here a few wee--
          A FLUSH from the next stall cuts him off. The sound of
          zipping up, of a belt buckled, then of a stall door opening.

          MALE VOICE                                                      (O.S.)
          So you're an accountant?
          Jonathan follows the FOOTSTEPS, now addresses his stall door.

          JONATHAN
          Audit manager, yeah.

          MALE VOICE (O.S.)
          So how's it work, Rutherford Stern hires
          Worth and Berman to give their blessing to
          our books, and they send you?

          JONATHAN
          Have laptop, will travel. What about you?

          MALE VOICE (O.S.)
          What about me?

          JONATHAN
          Well, I didn't get your name for one.th--
          The SOUND OF A FAUCET RUNNING drowns him out.

          MALE VOICE                                                      (O.S.)
          .ose.

          JONATHAN
          Sorry - I didn't catch that?
          (gets no response)
          Hello...?

          (CONTINUED)

          

          

          

          

          6.

          CONTINUED:

          MALE VOICE                                                       (O.S.)
          I said it's Wyatt. Wyatt Bose.
          Jonathan FLUSHES, buckles his belt, opens his stall door -
          - only the men's room is now empty.

          COMPUVOICE                                                       (SOUND ADVANCE)
          Message-four. Three-oh-eight-pee-em.

          INT. CONFERENCE ROOM - DAY

          Alone again, Jonathan listens to voice-mail on his cell
          phone. We..find two more batteries sitting ready in a charger.

          PETERSON                                                         (O.S.)
          Jonathan? Chet Peterson. Just wanted to-
          confirm you're wrapping up over there at
          Rutherford Stern because the controller at
          Clancey has been on me to get someone in
          there by Thursday. I told him how
          brilliant you are, said you're the best
          auditor we've got. Anyway, I forwarded you
          some documentation...
          Jonathan clicks his mouse - to find 27                           a-mails ending in
          worth&berman.com. He reaches for his palm pilot, clicks on a
          day planner, stylus writes "Clancey" into next week. Other
          than places he'll be working, days-are-all entirely blank.

          INT. CONFERENCE ROOM - NIGHT

          Jonathan still working. Only a few of the post-its now remain
          on the tabletop. Yawning, he glances at his watch -

                                                                                               MALE VOICE   (O.S.)
          12:53                                                            a.m.
          Startled, Jonathan turns to a well-dressed young man in the'
          doorway - penetrating eyes, playful smile, familiar voice:

          WYATT
          Sorry if I scared you. I was heading home
          and saw the lights. We met before, in the
          can...

          JONATHAN
          Sure. It's Wyatt, right?
          WYATT BOSE nods as he steps into the room. There's something
          very likeably "on" about him.

          (CONTINUED)

          

          

          

          

          7

          CONTINUED:

          WYATT
          So do you normally work this late?

          JONATHAN
          Pretty much. I'm supposed to be out of
          here by tomorrow so I'm just trying to
          finish up. What about you?

          WYATT
          You kidding? This is an early night. Hard
          to believe that once upona time a man's
          success was measured by how little he had
          to work. You know in Sweden the average
          worker gets 7 weeks a year vacation?
          (regards his stacked files)
          Do-you like accounting?

          JONATHAN
          It's all right, if you enjoy working with
          numbers. Do you like being a lawyer?

          WYATT
          It's all right. If you enjoy working with
          assholes.
          Jonathan laughs, glances at his monitor screen.

          WYATT
          Well, I'm probably disturbing you -

          JONATHAN
          No - it's okay. Really.

          WYATT
          So Worth and Berman, huh? Don't you have
          to like be in Mensa to work there?
          Jonathan smiles, shrugs modestly.

          WYATT
          Been with them long?

          JONATHAN
          Since my senior year of college. They
          subsidized my graduate degree.

          WYATT
          Really. So you were poor?
          Jonathan is given pause by the bluntness of the question.

          (CONTINUED)

          

          

          

          

          S.

          CONTINUED:

          JONATHAN
          Well - I guess you could say that. I was
          raised by a single mother, and she died
          when I was nineteen, so... yeah. It wasn't
          so bad though. I'm sure a lot of people
          have had it worse.

          WYATT
          Not around here. Practically every suit I
          know is Harvard by way of Andover.

          JONATHAN
          Are you?

          WYATT
          Me? Hell no... I'm Princeton. By way of
          Exeter.
          Jonathan laughs. Wyatt smiles, takes a few idle paces.

          WYATT
          So. Jonathan.

          (GRINS)
          What do you say to a break?

          CUT TO:
          CLOSE ON A SCREENSAVER OF SWIMMING FISH. Tilt up from
          Jonathan's laptop screen to Wyatt and Jonathan, sitting on
          top of the expensive conference-table, passinga joint,
          staring out at the rain hammering the far windows.

          JONATHAN

          (STONED)
          .It's just sometimes I feel so - I don't
          know - removed. I mean, I work for one of
          the biggest accounting firms in the world,
          and.there's not so much as a desk there to
          prove it? They've decided all we need are
          cell phones and laptops. Messages are
          voice-mailed, documents e-mailed, salary's
          deposited online. Chet Peterson, my senior
          manager? I swear he wouldn't recognize me
          if I was sitting in his chair.
          Jonathan pauses, takes another drag, train of thought drifts:

          JONATHAN
          I don't know... I used to have friends.
          But it's like I've spent so much time
          trying to prove myself, working these
          hours                                                           - you can only do it so long before
          you look up and realize you've lost

          (CONTINUED)

          

          

          

          

          9.

          CONTINUED:

          JONATHAN                                                        (CONT'D)
          everyone. Just - fell out of touch. With
          everyone... And I try to meet people at
          work. I do. But it's always the same. To
          the accounting staff I'm a pain because
          for two weeks they have to hold their
          breath and hope I don't pick up on any of
          their screw ups. And to everyone else, I'm
          just a temporary fixture, so why bother?
          The truth is, this is the first meaningful
          conversation I've had in I don't know how
          long. It's like if I disappeared tomorrow,
          I'm not .sure anyone other than Solange
          would even notice - she's my neighbor. I
          live on what must be the only block in
          Brooklyn that still isn't hip.

          (EXHALES)
          I guess I just never counted-on the
          isolation. It's like sometimes I look
          through that glass, and I see life
          literally passing me by.
          Jonathan stares out the glass wall in stoned silence.

          WYATT
          Jonathan?

                                                                          JONATHAN
          Yeah?

                                                                          WYATT
                                                                          By the clock on the wall there? You've
          just talked for                                                 37                                       minutes straight.
          Wyatt looks at Jonathan -- and cracks up. Jonathan hesitates,
          then he too starts to laugh so now they can't stop, their
          laughter filling the expansive room -- until it's drowned by
          the SOUND ADVANCE OF POURING RAIN...

          EXT. MIDTOWN - STREET - LATE NIGHT

          Jonathan hurries in the cold. rain for the Times Square
          subway. He's just about to descend - when across                7th Avenue
          he spots a beautiful YOUNG WOMAN in a camel hair coat,
          clutching a slim briefcase, waiting to cross the street.
          Jonathan gazes at her, almost gasping. She's surrounded by
          pedestrians with umbrellas., she's the only one without one
          and she's DRENCHED. But she seems content to entertain
          herself drawing a pattern in the drops collecting on the
          umbrella in front of her.
          Jonathan watches, intrigued - and then the rumble of the
          subway below reminds him he'd better move.

          

          

          

          

          10.

          INT. TIMES SQUARE SUBWAY STATION - LATE NIGHT

          Jonathan stands in a long line to buy a Metrocard, his
          glasses steamed up. He takes them off to wipe the lenses.
          JONATHAN'S POV: the entire station is a blur, all unfocused,
          muted colors, no object discernible from another -
          - until his glasses return his POV to immediate focus, and he
          sees the same Young Woman in'the camel.hair coat, a pair of
          dollar bills in her hand, entering the station.
          Jonathan can't help but stare again. Despite her business
          attire, there's an almost childlike lightness. to her step.
          Jonathan notices her slim briefcase. Beneath her hand, he can
          make out the first letter of a monogram: "S."
          She checks out the long line for Metrocards, considers
          waiting, then decides life's too short. She continues past,
          headed for the turnstiles.
          Jonathan continues to observe as she raises her briefcase,
          then proceeds to wriggle her slender frame through the narrow
          gap in the turnstile.
          A PANHANDLER on the other side watches her with amusement.
          Glancing up, she catches his eye, and blushes a mischievous
          smile. Once she's through, she drops her money into his
          collection - and slips out of view.
          ANGLE ON JONATHAN, still stuck on line, staring at the space
          she vacated.

          INT. SUBWAY PLATFORM -- SHORT TIME LATER

          Jonathan arrives as an N train pulls away, the platform now
          practically. empty.
          Weary and still a bit stoned, Jonathan peers sleepily into
          the dark expanse of tunnel, yawns -
          And then he sees "S" is waiting on the same platform. Ten
          yards away. He gazes at her. She's unwrapping some GUM. He
          watches as she puts a piece in her mouth.
          The sound of an ARRIVING N TRAIN. "S" heads for it, Jonathan
          follows...
          The train halts. The door before him is the last of its car,
          the door before her the first of the next.
          The doors open.

          (CONTINUED)

          

          

          

          

          11

          CONTINUED:

          II S • II
          (turns to Jonathan)
          Excuse me, is this the train for canal
          Street?
          It takes Jonathan a second just to find his voice. She's even
          more arresting up close.

          JONATHAN
          Uh,.either one is                                               -- I mean the N and the
          R both stop there so, you know, either
          way, I mean, this is the right train. Yes.
          SOS Of
          Thanks.
          "S" enters her car. Jonathan wavers, wants to follow into her
          car but doesn't have the nerve. He enters a different car.

          INT. SUBWAY CAR - LATER

          Jonathan's slumped against a window, annoyed. at himself for
          not getting in her car.
          He can see 'S'. She sits in the other car chewing her gum. He
          studies her, he's absolutely knocked out by her.

          CONDUCTOR (O.S.)
          Next stop Canal Street. Canal is next.
          He sees "S" rising to join the small crowd gathering by a
          door.
          Jonathan stands up - his last chance. Determined, he braces
          himself and rises, grasping his briefcase.
          The screeching of brakes as the train grinds into "CANAL ST.

          STATION."
          A sudden JOLT of the braking train.causes Jonathan to stumble
          slightly and his briefcase BANGS against a seat and SNAPS
          OPEN - contents tumbling out. His cell phone hits the floor.
          Jonathan quickly bends for his phone - when the train lurches
          to a halt, nearly knocking him over, and sliding his cell
          phone a few feet along the grimy floor.
          O.S. we hear the hiss of the doors opening as Jonathan grabs
          for his phone a second before it's stepped on. He hurriedly
          stuffs it in his pocket, shoves his files and papers and
          paraphernalia back into his briefcase and rises to his feet -
          - to find the doors closing, and "S" gone.

          (CONTINUED)

          

          

          

          

          12.

          CONTINUED:
          Devastated, he hurries to a window, searching the platform as
          the train begins to depart... He can just glimpse the back of
          her camel hair coat as his car is sucked back into a tunnel.
          He stands helpless, just shuts his eyes and lowers his head.

          INT. RUTHERFORD STERN - COFFEE LOUNGE - MORNING

          Jonathan is pouring coffee when he brightens on hearing Wyatt
          enter, talking animatedly with Lawyers                          1   and 2. Caught up in
          telling his joke, Wyatt doesn't seem to notice Jonathan.
          Only when the lawyers burst out laughing does Wyatt glance
          up. His eyes meet Jonathan's. Jonathan smiles in greeting -
          but Wyatt just nods coolly, returns to his fellow lawyers.
          Jonathan's smile falters. He exits wordlessly.

          INT. RUTHERFORD STERN - DAY

          Jonathan hands over files and CD-Roms to a less than sociable

          ASSISTANT CONTROLLER.

          JONATHAN
          I guess that's it. then. Nice meeting you.

          ASSISTANT CONTROLLER
          Uh huh.
          Jonathan turns to go, takes two paces - then turns back.

          JONATHAN
          Listen - could you point me toward Wyatt
          Bose's office?
          The Assistant Controller looks up in mild annoyance.

          JONATHAN
          Wyatt Bose. He's an attorney here.
          She sighs, put upon, then slides out a desk drawer in which a
          laminated page of names and extensions is taped. Jonathan's
          eyes follow her lazy finger down the list --

          A GRUFF VOICE (O.S.)
          Hey, quit looking down her shirt!
          Jonathan instinctively leaps back from her desk, turns to
          find Wyatt grinning at him from down the corridor.

          WYATT
          Leaving, huh? So where to next?

          (CONTINUED)

          

          

          

          

          13.

          CONTINUED:

          JONATHAN
          Clancey Funds on Thursday. Clute Nichols
          after that.
          Wyatt's about to reply - when ANOTHER LAWYER passes him in
          the hall. Wyatt taps the lawyer's shoulder.

          WYATT
          Hey, wait up a sec.
          (smiles back)
          Well, good meeting you, Jonathan.
          ,Wyatt turns and starts to walk off with the other lawyer.
          Jonathan bends for his briefcase -

          WYATT                                                           (O.S.)
          Wait, so you have off tomorrow?
          Jonathan looks up to Wyatt smiling at him from down the hall.

          WYATT
          You don't happen to have .a. decent
          backhand, do you?

          INT. MANHATTAN RACKET CLUB - DAY

          Beneath an enormous bubble dome, Jonathan and Wyatt play
          mixed doubles with two attractive YOUNG WOMEN (early 20's).
          Between points, we observe from Jonathan's side of the net
          Wyatt chatting up his partner. The rapport between Jonathan
          and his partner is markedly less comfortable; he wipes his
          brow, smiles at her, she forces a polite smile in return.

          SAME SCENE - LATER
          A good rally underway. Jonathan fires a backhand. Wyatt
          returns it with an audible grunt. Jonathan snaps the ball
          back to Wyatt's partner - only Wyatt intercepts, nailing it
          back. Jonathan returns it with equal force.
          A grin on Wyatt's face as he savors the battle, blasting back
          each ball. The women step aside. Jonathan lunges, barely
          managing to lob a return. Sensing victory, Wyatt raises his
          racket and with a guttural bark mercilessly smashes the ball.
          Jonathan dives, racket over-extended - and returns a
          near perfect shot just over Wyatt's head... but it lands two
          inches outside the opposite baseline.

          WYATT
          Out!

          (CONTINUED)

          

          

          

          

          14.

          CONTINUED:
          Jonathan curls forward, gasping for air. Silence - then
          Wyatt's SOLITARY APPLAUSE echoes in the humid space.

          WYATT
          Commiserations, Messer. Good game.
          They shake hands at the net. Jonathan is exhausted.

          WYATT

          (WARMLY)
          Develop akiller instinct and you'll beat
          the crap out of me.
          Jonathan turns to commiserate with his partner - but she's
          already gone to join her friend. Jonathan crashes out on the
          court. From his low angle he watches as Wyatt goes over to
          the girls and says something that causes a burst of laughter.
          The girls finally wave goodbye. Wyatt hops over the net.

          WYATT
          They asked if we'd fancy a post-game
          cocktail. Don't worry, I got us out of it.
          Jonathan is barely able to speak.

          JONATHAN
          Oh? I would've been happy to.

          WYATT
          Are you kidding? They're a couple of first
          years at Merrill. Screw that, we can do
          better. Hey, you OK?
          Jonathan nods as an amused Wyatt helps him to his feet.

          INT. RACKET CLUB LOUNGE

          Soft jazz plays as Wyatt leads Jonathan past the bar area.
          Wyatt is admiring Jonathan's weathered tennis racket.

          WYATT
          Man, I remember when these first came out.
          I think I was a frosh at boarding school.
          (chuckles; fingers a string)
          Jeez, are these strings natural gut?

          JONATHAN
          Actually, it's a hybrid weave: natural gut
          and Kevlar. They're pretty obscure now. I
          should replace them, they're all frayed...

          (CONTINUED)

          

          

          

          

          15.

          CONTINUED:
          Looking up, Jonathan abruptly slows his pace, his eyes
          suddenly fixed on a woman sitting at the far end of the bar.
          From behind, it looks remarkably like "S"...
          Only, as she turns, her profile proves otherwise.

          INT. LOCKER ROOK!

          Wyatt and Jonathan in towels, heading for the showers.
          Jonathan still deep in the 'S' moment -

          WYATT
          Have you ever considered contacts?
          Jonathan halts, confused to find Wyatt studying his face       -
          his eyeglasses in particular.

          JONATHAN
          Huh? Oh - yeah, I tried once, but I was
          allergic to something in the solution.

          WYATT
          Too bad. You have an attractive face. Your
          eyes especially.
          Jonathan looks self-conscious in his towel.

          WYATT
          It's not a come on, just an observation.
          (considers him a beat)
          You don't get much, do you.

          JONATHAN
          What - you mean sex?

          WYATT
          No, flood insurance. How many women have
          you slept with?

          JONATHAN
          Oh, I don't know, not a whole-

          WYATT
          Of course you know. Everyone knows.

          JONATHAN
          Maybe - four.

          WYATT
          Maybe four?

          (CONTINUED)

          

          

          

          

          16

          CONTINUED:

          JONATHAN
          Okay fine, just four. What about you?

          WYATT
          Me? I have no idea.

          JONATHAN
          What? You just said everyone -

          WYATT
          I meant everyone like you.
          Confused, Jonathan looks up -- as Wyatt disappears into a
          shower stall.

          SAME - MOMENTS LATER
          Jonathan emerges freshly showered, a towel around his waist
          as he walks toward the rows of lockers.

          WYATT                                                          (O.S.)
          Tonight?... Fine. I'm on the list?
          Jonathan finds Wyatt half-dressed, seated on a bench by a
          locker and talking on his cell phone.

          WYATT
          There better be.
          Wyatt hangs up, looks up to find Jonathan staring, puzzled.

          WYATT
          Something wrong?
          Jonathan reaches into his locker for his hanging jacket, and
          pulls out his own cell phone. It's identical to Wyatt's.

          JONATHAN
          We have the same phone.

          WYATT
          Oh - and you thought I was using yours?
          I can afford my own phone calls, you know.

          JONATHAN
          No, I wasn't                                                   -- of course you can-

          WYATT
          I'm pulling your dick, Jonathan.
          (grins, slams his locker)
          Actually, I was just firming up some plans
          for tonight. Are you free?

          (CONTINUED)

          

          

          

          

          17.

          CONTINUED:

          JONATHAN

          (SURPRISED)
          Me? Sure, I guess                                               - but I don't want to

          INTRUDE-

          WYATT
          You're not. What do you say, are you in?

          JONATHAN
          I guess I could go home and change.

          WYATT
          To Brooklyn? Forget it, you can borrow
          something of mine.

          INT. WYATT'S BUILDING - EARLY EVENING

          A three-story brownstone in an expensive West Village
          neighborhood. As Wyatt leads Jonathan to the staircase, they
          pass a papery-faced GENTLEMAN                                   (50s) in a fine suit.

          WYATT
          t                                                               a                       uten Abend, Herr Kleiner.
          (glances back)
          This way, Jonathan.

          INT. WYATT'S APARTMENT

          Urban chic to a serious degree. Big terrace, funky furniture,
          framed snapshots of Wyatt with similarly hip and attractive
          young friends - and great art, including an entrancing image
          of a burning candle just slightly out of focus.

          WYATT
          Like it? It's a Gerhard Richter. Kleiner
          downstairs is a hot shot art dealer - he
          hooked me up with the gallery in Munich.
          Wyatt disappears into the next room. Alone, Jonathan wanders,
          pauses by the framed snapshots. The young people in them are
          like Wyatt -- beautiful, strong, wealthy. Jonathan pauses by
          one photo in which Wyatt looks a bit younger, his hair
          bleached blonde and loosely spiked.

          WYATT (O.S.)
          Talk about a bad look.
          Startled, Jonathan quickly turns to find Wyatt standing right
          behind him,. a slick, expensive SUIT draped over his arm.

          (CONTINUED)

          

          

          

          

          18.

          CONTINUED:

          WYATT
          Here, try this one.
          (off Jonathan's hesitation)
          What?

          JONATHAN
          Nothing, I just hope I can pull it off.

          WYATT
          You hope you can pull it off. You know who
          you remind me of? James Getz.

          JONATHAN
          Who?

          WYATT
          A guy I roomed with freshman year at
          Princeton.. Real smart                                 - witty too, when
          you loosened him up. Only from day one, he
          just didn't fit in. For starters, he was
          dirt poor. But it wasn't that. See, there
          was always this boundary - this wall -
          between Getz and everyone else. You could
          argue we laid the foundation, but he built
          it. Built it by believing the lie.

          JONATHAN
          What lie?

          WYATT
          That he was any different. The clothes,
          the money, the wry anecdotes - it's all
          one big masquerade. Anyone can get in,
          you've just got to wear a costume. But
          Getz never got that. He assumed he could
          never scale the wall, when the truth is he
          was the only one guarding it. It never
          occurred to him his anonymity could be an
          asset. No one gets over like the guy who's
          just a face, an impression. We are - all
          of us                                                  - only who we're perceived to be.

          JONATHAN
          So what happened to him?

          WYATT
          Who, James Getz? Oh - he killed himself.

          JONATHAN
          (hesitates a beat)
          You're pulling my dick, aren't you.
          Wyatt turns to him with a grave look... then smirks.

          (CONTINUED)

          

          

          

          

          19.

          CONTINUED:

          WYATT
          With both hands.
          Jonathan can't help but laugh as Wyatt hands him the suit.

          CUT TO:
          CLOSE ON A BUFF YOUNG MAN                                       (EMCEE) in a vintage bowler hat.
          He struts up to us, thumbs in his suspenders:

          EMCEE
          And now, straight from the Cafe Germaine,
          the Velvet Rope is proud to introduce you
          to the lovely Miss Lu Lu Lamour!

          INT. THE VELVET ROPE - NIGHT

          An ultra-elite "new burlesque" nightclub in Manhattan,          1920s
          Parisian decor. Strictly UPSCALE PATRONS, male and female,
          sip from crystal barware, while on stage a BETTY PAGE TYPE
          performs an elegantly choreographed strip tease.
          Wyatt and Jonathan sit at a small table; each table is fitted
          with. an old-fashioned black rotary telephone, as well as a
          small monitor recessed into the tabletop on which old stag
          films play silently. All part of the wink-wink ambience.

          WYATT
          It's a little self-conscious, but I
          thought you'd get a kick out of it. How's
          that suit working out?

          JONATHAN
          Oh - great, actually.

          WYATT
          Keep it then. I've got two just like it.
          Jonathan's about to protest, when a WAITRESS arrives.

          WAITRESS
          Two Macallan 25 year. Enjoy, gentlemen.

          JONATHAN
          Isn't this like fifty bucks a glass?

          WYATT
          We'll try not to spill any.
          (regards the floor show)
          So what's the wildest thing you've ever
          done? Sexually, I mean.

          (CONTINUED)

          

          

          

          

          20.

          CONTINUED:

          JONATHAN
          The wildest thing? Oh I don't know, I've
          never been too adventuresome.

          WYATT
          All right, what's the lamest thing then?

          JONATHAN
          The lamest...
          Wyatt's focused on him, amused, eager to hear it.

          JONATHAN
          Actually, that was probably a few months
          ago. I was flipping through money magazine
          and saw this small ad in the back. It read
          something like "Are. you feeling all alone?
          Looking to meet women but have forgotten
          how?" And-there was this number.

          WYATT
          And you called it? So what happened?

          JONATHAN
          Nothing actually. The phone just kept
          ringing. And that's it.
          Wyatt stares at Jonathan a beat, then starts to crack up.

          JONATHAN
          Lame enough for you?

          WYATT
          You called a sex ad - from Money Magazine.
          That is beyond lame.
          Jonathan too starts laughing - when the phone at their table
          lights'up. Wyatt looks to Jonathan, raises a brow - then
          picks up. He listens a moment, smiles, hands it to Jonathan.

          JONATHAN
          .Hello?
          Wyatt taps his shoulder, directs his gaze to a SEXY BRUNETTE
          at a distant table, receiver to her ear, eyeing Jonathan.

          JONATHAN
          .All right... Goodbye.
          Jonathan hangs up, turns to Wyatt.

          JONATHAN
          She wants to dance.

          

          

          

          

          21.

          ON THE DANCE FLOOR - LATER
          Jonathan is slow dancing with the sexy Brunette to an old
          Edith Piaf ballad. He looks over her shoulder to his table,
          where Wyatt is sitting, talking on his cell phone.
          Glancing up, Wyatt's eyes meet Jonathan's; he flashes a proud
          smile. Jonathan continues dancing, truly enjoying himself.
          The Brunette leans in, whispers something in his ear...

          BACK TO WYATT AND JONATHAN'S TABLE
          Wyatt clicks off his cell phone, looks up to find Jonathan
          returning alone, looking deflated.

          JONATHAN
          She's a hooker.
          Wyatt shrugs, grinning.

          JONATHAN
          Hold on - you knew? What - are all the
          women here prostitutes?

          WYATT
          That depends on what you mean by that
          word. Stretch the definition and you could
          incorporate most of the men as well.
          (sips his drink)
          You know in Amsterdam prostitutes not only
          belong to a union, they have to pay taxes.

          JONATHAN
          You seem to possess quite a store of
          international trivia.

          WYATT
          Not really. I just get around... Jonathan,
          relax. It's not like she just shot your
          dog. I was only trying to help. Besides,
          what are you looking for - a relationship?
          As if you have time for one? This was your
          first day off in how long?

          JONATHAN
          Three weeks.

          WYATT
          Four for me. Face it, we've mortgaged our
          youth. Pimped out our twenties. But we
          still have needs. And there's nothing
          shameful about wanting them met.

          (CONTINUED)

          

          

          

          

          22

          CONTINUED:

          JONATHAN
          So you sleep with hookers?

          WYATT

          (LAUGHING)
          Me? Never.

          JONATHAN
          So how do you - meet your needs?
          Wyatt studies him a beat, another French love song drifting
          in the background as the Emcee introduces a new girl.

          WYATT
          What if I told you...
          (breaks off, laughs)
          Christ, I sound like an infommercial.

          JONATHAN
          What were you going to say?

          WYATT
          Listen. You don't think that women have
          these same urges? Young women, just like
          ourselves, successful and working their
          asses off to stay that way? You better
          believe they do.

          JONATHAN
          And?

          WYATT
          And - well - let's just say, there's a
          way...a way it can be taken care of.

          JONATHAN
          You make it sound like a mob hit.
          Wyatt smiles, and turns his attention back to the floor show.

          INT. TAXI CAB - LATE NIGHT

          Wyatt and Jonathan are in the back seat. A quiet beat.

          JONATHAN
          What you were talking about, before.
          Peoples' needs...
          Wyatt turns to Jonathan with a grin:

          WYATT
          Some other time.
          (to Cabbie)

          (CONTINUED)

          

          

          

          

          23.

          CONTINUED:

          WYATT                                                           (CONT'D)
          At the corner, please. The Rhiga Royal.
          (to Jonathan)
          Listen, I have to meet someone..

          JONATHAN

          (SURPRISED)
          Oh... okay.
          The cab pulls up before the RHIGA ROYAL HOTEL.

          WYATT
          Hey. You had a good time tonight?

          JONATHAN
          Yeah. Yeah I did. Thanks.

          WYATT
          I'm glad. Listen, that thing with the
          hooker, I'm really sorry if I                                   -

          JONATHAN
          Forget it. It was funny.
          Wyatt smiles warmly, pats Jonathan's shoulder.

          WYATT
          I'll give you a call tomorrow.
          Wyatt                                                           climbs out. Jonathan watches through the cab window as
          Wyatt disappears into the golden glow of the lobby.
          LATER: Driving in the cab, Jonathan catches his reflection in
          the glass. He smiles, liking how he looks in Wyatt's suit.
          Outside, rainy Manhattan passes by ina hypnotic blur.

          JONATHAN
          (To driver)
          Hey. Could you let me out at the next
          corner over there, on 7th Avenue?

          EXT. TIMES SQUARE SUBWAY - LATER

          Jonathan stands in the exact spot where he first saw "S".
          He buys a New York Times and a hot-dog.
          Pedestrians and theatre crowds pass by as he remains rooted
          to the spot,.hoping he'll see that face in the crowd.
          After a while he shakes his head at the ridiculousness of it
          and heads down into the-subway.

          INT. CLANCEY INVESTMENTS - A CONFERENCE ROOM - MORNING

          Clancey's stiff CONTROLLER                                      (50s) hovers nervously over
          Jonathan as he unloads files onto the huge conference table.

          (CONTINUED)

          

          

          

          

          24.

          CONTINUED:
          Beside him we see he's set up his laptop, phone charger,
          pencils and a fresh, unopened pack of pastel post-its.

          CLANCEY CONTROLLER
          Any problems, you'll want to see Julie
          Levinson, she's our assistant controller                       -
          or if she's busy, Scott Werner, our senior
          accountant. If Werner's unavailable, we
          have two staff accountants                                     - but like I
          said, I don't anticipate any problems. I
          mean we've never had any before, so...

          JONATHAN
          Right.I just need the access codes for
          the accounts and sub-accounts?
          The Controller suddenly looks uneasy.

          JONATHAN
          You've got account numbers, but no access
          codes. Without those I can't get the banks
          to authorize statement verification.
          (beat; smiles)
          Besides, how else can I steal the money?

          CLANCEY CONTROLLER
          What?

          JONATHAN
          Nothing, I was just pulling your-- leg. I
          do need those codes though, when you get a
          chance.

          INT. CLANCEY CONFERENCE ROOM - DAY

          Other than Jonathan's suit and tie, the reduced number of
          post-its and the lighter stack of files                        - little has changed.
          Jonathan is hunched over his laptop. Like Rutherford Stern's
          conference room, this one too is designed with a glass wall.
          Jonathan peers out at workers passing in utter indifference
          to him. Slightly different tank, slightly different fish.
          CLOSE ON A BUSINESS CARD: a Rutherford Stern masthead,
          beneath it Wyatt's name and office number. Jonathan picks up
          his cell phone and dials it. RING... RING -

          WYATT (O.S.)
          Hey, Jonathan.

          JONATHAN
          How'd you know it was-

          (CONTINUED)

          

          

          

          

          25.

          CONTINUED:

          WYATT (O.S.)
          You really ought to block your caller ID.
          So - same place as yesterday?

          EXT. ROCKEFELLER CENTER - DAY

          Along the entire square of ledge, throngs of SUITED BUSINESS
          TYPES bundled in scarves eating street vendor fare. It's here
          we find Wyatt and Jonathan, having a quick bite.

          WYATT
          I wonder what the Founding Fathers would
          make of this scene.
          Wyatt regards face after face of young men and women wearing
          expensive suits, wolfing down lunch so they can get back to
          work - a good 2/3 of them talking on cell phones as they eat.

          JONATHAN
          I'm just glad to be outside.
          (awkwardly heartfelt)
          I've got to tell you, this has been great,
          meeting up for lunch. I used to just-
          A cell phone RINGS. They both instinctively reach in their
          jackets, take out their identical phones. It's Wyatt's that's
          ringing. Jonathan rests his down on the ledge.

          WYATT
          Yes?... Shit. Okay, see if you can.gettme
          on the 6:15                                                     out of JFK tonight... Fine.
          Wyatt rests his phone on the ledge next to Jonathan's.

          WYATT
          Rutherford needs me to join him asap in
          London to paper some financing with
          Lloyds. I tell you about this?

          JONATHAN
          No - no you didn't.

          WYATT
          Yeah, I should be gone a few weeks.
          Jonathan tries to mask the wave of loneliness setting in.

          JONATHAN
          Sounds exciting.

          WYATT
          Nah, it'll be boring as sin.

          (CONTINUED)

          

          

          

          

          26.

          CONTINUED:
          Wyatt studies him a moment, grabs his cell phone and rises
          from the ledge.

          WYATT
          Shit, I'd better get back. You ready?

          INT. CLANCEY INVESTMENTS - CONFERENCE ROOM - LATER

          Sitting before his laptop, Jonathan takes out his cell phone
          and punches in some numbers.

          COMPUVOICE                                                     (O.S.)

          I'RN-SORRY-THE-VOICE-MAIL-PASSWORD-YOU-

          ENTERED-IS-NOT-VALID-PLEASE-TRY-YOUR-
          He enters the numbers again, receives the same prerecorded
          message. He hangs up -- when it abruptly RINGS, surprising
          him. He stares at the phone a curious beat, then answers it.

          JONATHAN
          Jonathan Mess-
          CLICK. Dead air. More puzzled, Jonathan frowns a beat          - then
          replaces the battery with one fresh off the charger.

          INT. CLANCEY BUILDING - ELEVATOR - NIGHT

          As ignored as ever, Jonathan is squeezed among EMPLOYEES on
          their way home. TWO SECRETARIES speak in hushed tones:

          SECRETARY 1
          .That's just it. You caught him in a
          lie, so now everything he says you have to-
          RING of a cell phone. RING... RING... It's Jonathan's.
          Surprised, he takes out the phone, presses talk.

          JONATHAN
          Hello?
          A soft, electronic rustle from the other end... then:

          WOMAN'S VOICE                                                  (O.S.)
          Are you free tonight?

          JONATHAN
          Excuse me?

          WOMAN'S VOICE                                                  (O.S.)
          I asked if you're free tonight.

          JONATHAN
          I'm sorry, I think you have the wrong--

          (CONTINUED)

          

          

          

          

          27

          CONTINUED:
          CLICK. The line goes dead.

          EXT. TIMES SQUARE - NIGHT

          Jonathan trudging home. He descends into the subway.

          INT. SUBWAY STATION

          Jonathan is heading for the DOWNTOWN N/R when:. RING...
          RING... His cell phone again. He steps aside and answers:

          JONATHAN
          Hello?
          The CRACKLE OF STATIC on the other end. Then:

          WOMAN'S VOICE                                                   (O.S.)
          Are you free tonight?

          JONATHAN
          Actually I am, but I don't think I'm who
          The static on the other end worsens.

          WOMAN'S VOICE                                                   (O.S.)
          I'm sorry, I didn't get that?

          JONATHAN
          I said I am free, but I                                         -

          WOMAN'S VOICE                                                   (O.S.)
          Could you be at the Plaza in one hour?

          JONATHAN
          The hotel? I - I guess, but -

          WOMAN'S VOICE                                                   (O.S'.)
          Beneath the Eloise portrait.
          THE ROAR OF A TRAIN pulling in. Only when the train passes
          can he hear the other end. But now there's no one there.
          Jonathan stares at his cell phone - and frowns.
          Close on the phone's display as Jonathan scrolls down its
          list of stored numbers. His expression says none are
          familiar. And NOW he gets it.

          INT. TAXI CAB - NIGHT

          A heavy-set CABBIE glances in his mirror at Jonathan in back,
          cell phone to his ear.

          (CONTINUED)

          

          

          

          

          28.

          CONTINUED:

          JONATHAN
          (into phone)
          Hi, it's Jonathan, I've got your cell! I
          guess you must have mine. I imagine you're
          in the air now, but call when you get
          this. if you do. Oh, and you got a call
          from someone who I'm...forget it, just
          call me.
          Jonathan hangs up.

          CABBIE
          So where ya visiting from?

          JONATHAN
          Excuse me?

          CABBIE
          You're from out of town, right?

          JONATHAN

          (PUZZLED)
          Me? No.

          CABBIE
          Huh. I can usually tell. You seem like a
          tourist.

          JONATHAN
          I've lived here all my life!

          CABBIE
          No offence, pal.
          The cabbie pulls over on Central Park South. Jonathan leans
          forward, peers up at the gorgeous French Renaissance facade.

          CABBIE
          Well, here ya are. The Plaza.

          INT. PLAZA HOTEL - LOBBY - NIGHT

          Sheer elegance. Wealthy GUESTS stroll, chat, lounge. Hotel
          STAFF in immaculate uniforms greet, assist, etc..
          Jonathan anxiously wanders the perimeter, then slows as he
          spies a PORTRAIT OF A PRECOCIOUS LITTLE GIRL grinning at him.

          SAME SCENE - SHORT TIME LATER
          Jonathan is standing awkwardly beneath the Eloise portrait,
          glancing at his watch, growing restless, unsure --

          (CONTINUED)

          

          

          

          

          29.

          CONTINUED:

          WOMAN'S VOICE                                                    (O.S.)
          Pardon me, but may I ask you something -
          personal?
          Jonathan quickly looks.up, to find standing before him an
          attractive BLONDE WOMAN. She's. around his age, slender to the
          point of stark, dressed in a chic grey business suit.

          THE BLONDE
          Are you waiting for me?

          JONATHAN
          I                                                                - think so, yes. You're here for Wyatt,
          right?

          THE BLONDE
          Excuse me?
          (hesitates, appraising him)
          I'm sorry, did we speak earlier?

          JONATHAN
          Yes. Yes we did -

          THE BLONDE
          Good. Let's go then.

          INT. PLAZA - ELEVATOR

          Jonathan and the Blonde stand in an elevator alongside an
          ELDERLY COUPLE. The couple smile at the handsome pair.
          Jonathan fidgets uncomfortably. The Woman is staring at the
          lit numbers. He notices a ROOM KEY in her hand.

          JONATHAN
          (whispers aside)
          Look, I don't think I'm -- I mean; you and
          I., we don't know each other...?
          She turns to him, the slightest smile on her thin lips.

          THE BLONDE
          No fooling.
          DING. The doors open. She steps out. A beat. He follows.

          THE HALLWAY
          Walls, carpeting - details all classically gorgeous. The
          Blonde keeps a quick pace, headed toward a room.

          JONATHAN
          What I mean to say is, I'm fairly certain
          there's been some kind of mistake.

          (CONTINUED)

          

          

          

          

          30.

          CONTINUED:
          She stops dead in her tracks, her back to him.

          THE BLONDE
          You're not who I spoke with on the phone?

          JONATHAN
          No - I mean, yes, but -

          THE BLONDE
          You're not attracted to me?

          JONATHAN
          Oh no, it's not that at all, it's just                          -

          THE BLONDE
          It's just what... exactly?
          She turns, steps toward him. Jonathan opens his mouth to
          explain -- when she covers it with hers. It takes him a
          moment to succumb to her kiss... but not too long.

          INT. PLAZA -- A ROOM - LATER

          A smooth plane of pressed sheets creases as two bare bodies
          lower to them. The Blonde hovering over him, Jonathan's
          tentativeness is all but gone.
          Jonathan cradles her to him, her features softening under
          waves of pleasure as she gasps, and whispers in soft, slow
          annunciation as if it were the sweetest word in our language:

          THE BLONDE
          Fuck.
          LATER: Jonathan lies post-coital. A smile. And then a look of
          mild anxiety, 'what's going on'? He turns to the Blonde but
          she's fast asleep.

          INT. PLAZA - THE', ROOM - EARLY MORNING

          On the sound of a DOOR SHUTTING, Jonathan's eyes squint open.
          Still naked, he props himself up, leans over to find he's all
          alone. A clock radio reveals itself as the source of the
          FAINT CLASSICAL MUSIC we hear. The time reads:                  6:18   am.
          He rises, glances around the room. No sign of her.

          INT. PLAZA - RECEPTION DESK - MORNING

          Showered and dressed, Jonathan is talking with a DESK CLERK.

          (CONTINUED)

          

          

          

          

          31.

          CONTINUED:

          DESK CLERK
                                                                         Sir, I'm showing that room as having
          checked out at                                                 6:20                                   this morning.

          JONATHAN
          Well could you tell me the name of the
          guest who was staying there?

          DESK CLERK
          I'm afraid we're not allowed to disclose
          information regarding our guests. If you
          give me her name, I can confirm if she was
          registered here.

          JONATHAN
          Actually, the thing is... it's okay.
          Forget it.

          EXT. CENTRAL PARK SOUTH - MORNING

          Jonathan exits to good tidings from the BELL STAFF. Lost in
          his thoughts, it takes him a moment to respond.
          He starts to walk. His cell RINGS. He answers.

          JONATHAN
          Hello?

          WYATT'S VOICE
          Hey, you're up early!

          JONATHAN
          Hi! How's London?

          WYATT'S VOICE
          Raining. So you've got mine-and I've.got
          yours?

          JONATHAN
          Yeah. Listen, last night...um...I met this-

          WYATT'S VOICE
          Damn! Sorry, I'm gonna have to call you
          back, they want me in a meeting. Hey, no
          long distance calls, okay!
          Wyatt hangs up. Jonathan shakes his head, amused. He hails a
          cab, glances back at the hotel. His lips curl into a vaguely
          proud, if still dazed, smile.

          

          

          

          

          32.

          INT. CLANCEY INVESTMENTS - DAY

          Jonathan sits alone at the long conference table, working but
          distracted. He pauses, eyes Wyatt's cell phone sitting there.

          INSERT - EXTREME CLOSE ON THE CELL PHONE'S DISPLAY WINDOW
          The numbers stored have no names associated with them. It's
          just a series of undesignated seven-digit sequences, a list
          of phone numbers that seems to go on and on.
          Jonathan clicks on a number at random. It highlights itself.
          Jonathan hesitates, then clicks again. The number is dialled.
          RING...RING - a woman with an elegant BRITISH ACCENT answers:

          BRITISH ACCENT                                                  (V.0.)
          Yes?

          JONATHAN
          Hello, um - I'm sorry to bother you                             -

          BRITISH ACCENT (V.O.)
          How did you get this number?

          JONATHAN
          Through a friend.

                                                                          BRITISH ACCENT                             (V.0.)
                                                                          I think you've got the wrong number. Now
          if you'll excuse me                                             -

          JONATHAN
          wait -
          Jonathan fumbles for what else to say before she hangs up.

          BRITISH ACCENT                                                  (V.O.)
          Yes?
          CLOSE ON JONATHAN. What to say? And then:

          JONATHAN
          (braces himself, swallows)
          Are you free tonight?
          He shuts his eyes, ready for a hang up. A long silence.

          BRITISH ACCENT (V.0.)
          I can be.
          Jonathan opens his eyes half in disbelief.

          (CONTINUED)

          

          

          

          

          33.

          CONTINUED:

          BRITISH ACCENT                                                 (V.0.)
          Where?

          JONATHAN
          Where. Right... The Plaza?

          BRITISH ACCENT (V.0.)
          I'm afraid that's a bit uptown for me.
          Perhaps the Mercer? Say by the
          Shakespeare, half past eleven?

          JONATHAN
          The Shakespeare?

          BRITISH ACCENT                                                 (V.0.)
          It should be fairly evident.

          INT. THE MERCER HOTEL - LOBBY - NIGHT

          The SoHo industrial motif is the antithesis of the Plaza. By
          a vintage book library we find a sleekly dressed YOUNG BLACK
          WOMAN perusing spines of Salinger, Scott, Sheherazade -

          JONATHAN                                                       (O.S.)
          Excuse me, um - I'm sorry to disturb you -
          She turns, regards him a moment, curiously - a copy of
          Shakespeare's "A Midsummer Night's Dream" in her hand.

          JONATHAN
          I'm - supposed to meet someone here and-

          BRITISH ACCENT
          You're rather new to this, aren't you?
          Jonathan falters. She smiles.

          BRITISH ACCENT
          That's okay. I like that.

          LOBBY ELEVATOR
          She enters first, then Jonathan. He waits for her.to push a
          button - only it seems she's waiting for him to do the same.

          JONATHAN
          I'm sorry, what floor?
          She rolls her eyes.

          BACK TO THE HOTEL LOBBY
          Jonathan and British Accent cross the lobby once more.

          (CONTINUED)

          

          

          

          

          34

          CONTINUED:

          BRITISH ACCENT
          Frankly I'm surprised that whoever gave
          you access didn't explain more.

          (SIGHS)
          Right then, the rules: One,.no names, no
          jobs                                                           - no nothing. Two, latex is mandatory
                                                                         and non-negotiable.. Three, no rough stuff   -
          the only rule that's even remotely
          malleable provided there's mutual consent,
          although I say if that's your thing, take
          it elsewhere. And finally...
          She halts a few feet from the registration desk.

          BRITISH ACCENT
          The initiator is responsible for the room.

          JONATHAN
          (takes him a second)
          Oh - so I should...?

          BRITISH ACCENT
          Precisely.

          BACK IN THE ELEVATOR
          Jonathan is holding a key card. British Accent is leaning
          against the opposite wall, eyeing him with a slight grin. A
          moment. DING. The elevator doors open.

          INT. MERCER HOTEL - HALLWAY - NIGHT

          They are headed for a room as he ventures another question:

          JONATHAN
          So are there a lot of - people - who do
          this?
          She turns to him with a look of growing impatience -- when
          the CREAK OF A CART causes them to glance up: a ROOM SERVICE
          WAITER is crossing past the far end of the hall. Jonathan
          turns back to find her staring at him uneasily.

          BRITISH ACCENT
          How did you get into this?

          JONATHAN
          Well, a friend of mine -

          BRITISH ACCENT
          He uploaded your numbers but failed to
          explain the basics?

          (CONTINUED)

          

          

          

          

          35.

          CONTINUED:

          JONATHAN
          He's                                                          - well, he was going out of town.
          (off her frown)
          I'm doing something wrong, aren't I?

          BRITISH ACCENT
          It's not that, it's just... well, you
          strike me as something of a stowaway. In
          fact if I were more suspicious, I'd say
          you didn't belong here at all.
          Flustered, Jonathan's about to offer some explanation ---

          BRITISH ACCENT
          But obviously somebody felt you did.
          The notion suddenly registers with Jonathan -- Wyatt!

          BRITISH ACCENT
          And I'm a sucker for bashful boys...
          She takes his wrist, traces a finger over his palm... and
          removes the key card from his hand.

          INT. MERCER HOTEL - HOTEL ROOM - NIGHT

          Jonathan and British Accent having sex. She has his arms
          pinned back, writhing on top of him, clearly enjoying the
          control - Jonathan remains awed, just enjoying the ride.

          INT. MERCER HOTEL - BEDROOM- LATE NIGHT

          Jonathan lies in bed-beside British Accent.

          JONATHAN
          Can I ask you something? Why do you do
          this?

          BRITISH ACCENT
          Why are any of us doing this? For the
          economics of the arrangement.
          (rolls over, away from him)
          It's intimacy without intricacy.
          Jonathan's about to reply --

          BRITISH ACCENT
          Look, I've got a 7                                            a.m. breakfast, so...
          She says no more. Jonathan stares up at the ceiling a beat.

          JONATHAN
          Well - good night.

          (CONTINUED)

          

          

          

          

          36.

          CONTINUED:
          She doesn't reply.

          INT. CLANCEY INVESTMENTS                                        - CONFERENCE ROOM - LATE DAY

          Jonathan.alone at his laptop, the stack of files down to a
          bare few. He dials a number on 'his' cell:

          JONATHAN
          (into phone)
          Hey, I never heard back from you. I guess
          you're busy.with stuff over there.
          (smiles to himself)
          I've been kinda busy too! I've been
          wondering - did you mean for me to take
          your phone?

          EXT. RHIGA ROYAL HOTEL - NIGHT

          Jonathan walks the carpet-draped sidewalk toward the entrance
          - then pauses, looks around in recognition of this same spot
          where Wyatt had gotten out of the cab that night.

          JONATHAN (V.0.)
          I've got a feeling you did. You dog! I can
          see you grinning right now.
          Jonathan returns the BELL STAFF's chipper greetings and steps
          inside --

          JONATHAN                                                        (V.0.)
          Anyway, I just wanted to say... thank you.
          SOUNDTRACK MUSIC SWELLING: to herald a MONTAGE:

          INT. THE BENJAMIN - LOBBY - NIGHT

          Jonathan seems somewhat more relaxed as he lingers in the
          lobby. A woman with a BOYISH HAIRCUT taps his shoulder.

          INT. THE REGENCY - A ROOM - NIGHT

          Jonathan and an ASIAN WOMAN having sex on a plush celadon
          carpet, two briefcases resting side by side a few feet away.

          INT. CLANCEY INVESTMENT SERVICES - CONFERENCE ROOM - DAY

          Alone as usual, Jonathan now seems strangely contented in
          this isolated state. WORKERS pass in the wall of glass, but
          now he doesn't bother looking up.
          In his briefcase, we note the inclusion of a toiletries bag.

          

          

          

          

          37.

          INT. THE DRAKE                                                  - LOBBY - NIGHT

          At a registration desk, Jonathan hands his credit card to a
          DESK CLERK. A BELLHOP gestures to a luggage cart. Jonathan
          shakes his head, looking confidently past him to a TALL WOMAN
          seated inconspicuously among the various out-of-towners.

          INT. THE DRAKE - ROOM - MORNING

          Jonathan wakes up alone, his necktie knotted around a
          bedpost. He reaches for the phone, presses "Room Service."

          INT. WEISS MURPHY INSURANCE - COPY ROOM - DAY

          Jonathan is waiting to make some copies when the SECRETARY at
          the copier hands him a stack of paper...

          WOMAN'S VOICE (O.S.)
          Can you hold these?

          INT. THE MARK - ROOM -- LATE NIGHT

          .only the voice belongs to the woman Jonathan is having sex
          with - referring to her legs that she wraps around him.

          INT. THE FITZPATRICK - SUNDRY SHOP                              - MORNING

          Jonathan buys a bottle of O.J. and a 36-count box of condoms.

          INT. WEISS MURPHY INSURANCE - CORRIDOR DAY

          Carrying his coffee mug, Jonathan suddenly slows, his eyes
          locked on The Blonde with whom he'd first been at the Plaza.
          Her eyes fix on his as he.nears                                 - a flash of mutual
          recognition... then nothing as they pass without a word.
          Jonathan can't help but allow himself the slightest grin.

          INT. HOTEL ELYSEE - THE "CLUB ROOM"                             - NIGHT

          Jonathan wades confidently through a sea of YOUNG EXECUTIVES.
          He approaches a REDHEADED BUSINESSWOMAN. He asks her
          something. She looks up, confused ---
          -- when ANOTHER REDHEAD taps his shoulder. Her free hand
          slips into his,. their fingers interlocking...

          INT. THE PARAMOUNT - HOTEL ROOM - NIGHT

          . PULL BACK from interlocked fingers to find Jonathan's
          hand entwined with ANOTHER WOMAN'S. We realize we're watching
          their image in a MIRROR when we PAN away from the mirror...

          (CONTINUED)

          

          

          

          

          38.

          CONTINUED:
          to Jonathan and YET ANOTHER WOMAN having sex. The bed
          keeps banging against the night stand - a glass of water,
          moving closer to the edge with every bang. There's something
          almost rote about it, a numbness in the repetition... the
          glass FALLS, HITS the ground and BREAKS.
          MATCH CUT TO: Jonathan PLUNGES into water.

          INT. THE PENINSULA - HEALTH CLUB - MORNING

          Jonathan doing laps. He emerges from the pool, strides with
          confidence past the tourists flanking him on either side:
          OLDER COUPLES snoozing, PARENTS adjusting floaties on kids,
          BUSINESS TRAVELLERS with airport novels.
          He continues toward us, hair slicked back, like Wyatt's.

          MONTAGE ENDS/ CUT TO :

          EXT. BROOKLYN - JONATHAN'S APARTMENT - NIGHT

          Jonathan arrives at his building's steps to find Solange
          hurrying out of her flower shop. She embraces him warmly.

          SOLANGE
          Jonathan, for so long I don't see you!

          JONATHAN
          J'ai ete tres occupe. with work.
          He's exhausted. And no longer so exhilarated by his nightly
          activities.

          SOLANGE
          Work? No, no. You believe you can trick
          me, Mr. Mischief Maker! I want to meet
          this lady friend of yours.
          Jonathan is about to protest -

          SOLANGE
          Ah., ah                                                        - ecoutez, I have beautiful winter-
          roses, just. arrived. She.will swoon...
          Jonathan smiles, but there's a reticence to it.

          JONATHAN
          Maybe later, okay?

          SOLANGE
          There is no later when it comes to love!
          If you find it, you must not let it go.

          (CONTINUED)

          

          

          

          

          39.

          CONTINUED:
          Jonathan nods absently, continues up the steps                  - when she
          tugs his sleeve. He turns to her; she searches his eyes.

          SOLANGE
          There really is no one?
          Jonathan evasively shakes his head.

          SOLANGE
          There should be, Jonathan. It is not good
          for a young man to be too much alone.
          He gives her an uncomfortable smile. She smiles back, but as
          she heads inside, she looks both-sad and worried for him.
          Jonathan continues up the steps, opens the front door and
          disappears inside. We remain on the vacant street, hear his
          FOOTSTEPS climbing the steps - and then the muted RING of his
          cell phone. A beat, then another...
          .and the front door opens again as Jonathan steps back out
          into the night.

          INT. THE HUDSON HOTEL - LOBBY -- LATE NIGHT

          Checking his reflection in a mirror while he waits, Jonathan
          faintly hears what sounds like WYATT'S LAUGH. He quickly
          turns to the sound: a bar off the lobby. Through slotted
          glass he scans the backs of heads: a group of business men.
          Reflected in the mirror, a WOMAN appears behind him. Jonathan
          freezes, his eyes grow wide -

          WOMAN
          Excuse me...
                                                                          He doesn't breathe. Utterly stunned, he turns to confirm...
          It's her.                                                       -It's "S".

          INT. THE HUDSON - ELEVATOR

          Jonathan stares at her in sheer disbelief but she's
          oblivious, smiling casually back at him.

          INT. HOTEL ROOM

          "S" enters first, flips on the light, proceeds inside.
          Jonathan enters tentatively behind her, eyes still glued.
          "S" takes off her coat, drapes it over a chair. Jonathan
          remains still and silent, just watching. She undoes the
          wrists of her blouse, then the collar button.

          (CONTINUED)

          

          

          

          

          40.

          CONTINUED:
          Jonathan is about to say something but can't. She undoes the
          next button. We can glimpse a bra. She undoes the next --

          JONATHAN
          Before we...um, the thing is                                   - I know you.
          She glances up, curious                                        - her hand lingering by the front
          clasp of her bra.

          JONATHAN
          Not 'know' exactly, but we sort of met
          before. In the Times Square subway
          station. It was raining...

          „ S „

          (GRINS)
          In the subway?

          JONATHAN
          You had no umbrella. You were soaked.

          „C,.
          It's true, I don't have an umbrella.

          JONATHAN
          Then you asked me if the N train stops at
          Canal.
          She squints back at him, vaguely recalling him. She smiles
          warmly and continues to unbutton her blouse.

          JONATHAN
          Wait.

          „S»
          Is something the matter?

          JONATHAN
          This just seems strange, that's all.

          Because you've seen me before?

          JONATHAN
          Maybe. I don't know, it's just                                 -

          (EXHALES)
          Ever since that night on the train, I've
          thought about how nice it would be to see
          you again. And now suddenly, here you are,
          taking off your clothes.
          „ S of
          Bingo! So what's the problem?

          (CONTINUED)

          

          

          

          

          41.

          CONTINUED:

          JONATHAN
          It's just that-

          "S,1
          (a generous smile)
          Hmm, it is kind of a gear-shift.
          She starts to button her blouse back up.

          „S„
          Well, maybe some other time.
          Jonathan is thrown as she reaches for her coat -

          JONATHAN
          Wait - don't go.
          She glances back curiously.

          JONATHAN
          What I mean is, by any chance... are you
          hungry?

          INT. HOTEL CORRIDOR - PRE-DAWN

          A BELLMAN rolls a cart noiselessly down the carpet, placing
          early editions of the New York Times before each room.
          He pauses by a door, quietly leaves anewspaper. We can hear
          the sound of JONATHAN AND "S" TALKING AND LAUGHING...

          INT. HOTEL ROOM

          They sit across from each other Indian-style on the bed. The
          radio is tuned to a pop music station. They're finishing a
          meal of burgers and fries, getting along famously.
          You have some ketchup on your chin.

          JONATHAN
          sorry, I'm a messy eater.
          „s„
          Me too.
          Jonathan rubs at his chin with a napkin, misses. she takes
          the napkin, dabs it in water and cleans him up.

          JONATHAN
          Thanks.

          (CONTINUED)

          

          

          

          

          42.

          CONTINUED:
          They continue to eat for a while, eyeing each other   between
          bites.

          JONATHAN

          (POINTS)
          Um, I think there's a little piece of...
          „Sr.
          .onion in my hair?
          She laughs and flicks it.off.
          Hmm...they get everywhere.

          JONATHAN
          By the way, my name's-

          „S,.
          Don't!
          She puts her finger to his lips. A first touch. An
          electricity between them.

          „C/,
          (a playful smile)
          You know the rules. No names.

          JONATHAN
          The 'rules' seem to specify no
          conversation either.
          as.,
          They are a little rigid, aren't they? But
          I think we should obey the 'no names'.
          It'll be fun!

          JONATHAN
          Ah, but I know.yours begins with an 'S'.
          „Sir
          Is that right?

          JONATHAN
          I saw part of the monogram on your
          briefcase.
          ./ S If
          I see-Excellent work, Holmes.
          (leans in, smiles)
          Maybe I'll tell you if.you guess...
          Her face is an inch from his, the moment mysterious   and           sexy.

                                                                (CONTINUED)

          

          

          

          

          43.

          CONTINUED:

          JONATHAN
          (Holmes voice)
          Hmrn...what do we know of her? She sports a
          camel coat, a briefcase and possesses no
          umbrella. I deduce...her name is 'Sybil'.
          'S' laughs.

          JONATHAN
          Sarah? Sara? Samantha? Sandra? Susan?
          She makes a little sound of encouragement.
          Hun...

          JONATHAN
          Aha! Sue?
          (shakes her head)
          Suzie with a 'z'?
          You're saying my name is 'Suzie'?

          JONATHAN
          is it?

          „S•„
          Nape.
          Jonathan laughs.

          JONATHAN
          I've got to tell you, I'm much better with
          numbers... How about Sonia? Sheena? Wait -
          Sophie! You're definitely a Sophie.

          „S.
          With an 'ie' or a 'y'?

          JONATHAN
          Either.

          W7
          Neither.

          JONATHAN
          How about Syd? As in Syd Charisse?
          She was Cyd with a 'C'!

          (CONTINUED)

          

          

          

          

          44.

          CONTINUED:

          JONATHAN
          But maybe you spell it with an 'S'?
          ,, S . If
          I do not.

          JONATHAN
          Steffi? Sexy Steffi soaking in the:rain?.
          She                                                         mock-frowns.

          „S.,,
          Nein.

          JONATHAN
          Sally? Sally with three 'l's?
          She                                                         shakes her head, amused. Jonathan rubs his chin.

          JONATHAN
          Hmmm. Hmmm. The mysterious 'S' alighted
          from the train at Canal Street. She may
          well be from 'downtown'...hmm...ah! Of
          course! How foolish I've been; Sinead.
          'S'                                                         giggles, charmed by him.

          JONATHAN
          Stella? Sky? Sunbeam?

          »S.,,
          Do I look like a 'Sunbeam'?

          JONATHAN
          Absolutely. To me you are 'Sunbeam'.

          „S.,,
          Then so be it.
          Jonathan considers this a moment, and concedes.

          JONATHAN
          Can I ask what you do for a living?
          You first.

          JONATHAN
          I sit behind glass and watch people pass
          like fish.
          She smiles - a more interesting answer than she expected.

          (CONTINUED)

          

          

          

          

          45.

          CONTINUED:

          ALSIP
          You work in a bank?

          JONATHAN
          Nahh, I'm... I'm kind of an accountant.
          us,,
          Now I bet that's just what you wanted to
          do when you were a kid!

          JONATHAN
          Oh yeah. I'm living the dream. Feel free
          to leave now.
          u S „
          Still here.

          JONATHAN
          So what about you?

          „S»
          No, we're still on you, Frank.
          Off Jonathan's look, 'Frank'?

          „S.11
          You look like a Frank. So, Frank, when you
          were a little boy, what did you wanna be
          when you grew up?
          .Jonathan thinks. Confesses:

          JONATHAN
          A pro tennis player.

          „S,.
          Huh! I wanted to be an umpire.

          JONATHAN
          You're kidding?
          „s„
          Really! I loved the idea of sitting in
          that big, high chair.
          (umpire voice)
          'The ball was good,'Mr McEnroe.'

          JONATHAN
          I can see it.
          An 80's new wave love song comes on the radio. She beams,
          reaching across Jonathan to turn it up.

          (CONTINUED)

          

          

          

          

          46.

          CONTINUED:
          a, S 11
          I used to love this song.
          "S" stands up on the bed, starts to dance. She reaches her
          hand out to Jonathan. He smiles, shakes his head.

          JONATHAN
          Trust me, it's not a pretty sight.

          "S:,
          I'll be the judge of that.
          He hesitates, then takes her hand, rises to his feet, and
          starts to dance with her. He's self-conscious at first, but
          she's agile enough to guide him, and soon he's into it.
          is S Il
          See? You just need the right partner.
          She closes her eyes, swaying with the music. They dance
          together. He's falling even harder for her.
          As the song ends she holds his gaze -- when a small yawn
          escapes her. She covers her mouth.
          of S+„
          I'm so sorry. Suddenly I'm crashing.
          She drops down on the bed, tugging him down with her. They
          lie back, side by side.

          JONATHAN
          I'd like to see you again. Not in a hotel.
          it S+ "
          Hmm. I'd have to think about that.

          JONATHAN
          How about tomorrow?
          /. S to
          It is tomorrow.
          She curls up next to him, rests her head on his arm, closes
          her eyes and drifts off. Jonathan gazes over at her. The
          perfect line of her jaw. The petite divot above her lip. The
          tiny pierced comma in a presently unadorned earlobe.
          And then he notices, in the far corner: her purse. He stares
          at it; her name and personal details less than 20               feet away.
          He hesitates, then tries to silently slide his arm out from
          under her -- when she stirs and nuzzles closer. He looks over

          (CONTINUED)

          

          

          

          

          47.

          CONTINUED:
          to the purse, then back at "S," sleeping peacefully on his
          arm... and chooses this perfect moment over knowing any more.

          INT. THE HUDSON - HOTEL ROOM - MORNING

          CLOSE ON JONATHAN'S SLEEPING FACE. His eyes slowly open.
          JONATHAN'S POV: her purse is no longer on the chair.
          He raises his head, sees that she's gone. He stares at her
          pillow. The indentation where she slept. Smiles to himself.
          He gets out of bed and heads for the bathroom. There's a NOTE
          on the desk on hotel note paper:
          Frank - you snore like a tractor. Will
          call u later. Sunbeam xxx
          He stares at the note, beaming - when his cell phone rings.
          Jonathan picks it up.

          MAN'S VOICE                                                     (V.0..)
          Are you free tonight?
          A bea- - and then Wyatt's familiar laughter.

          JONATHAN
          Hey! Are you back in town?

          WYATT (V.0.)
          I wish. It's friggin' anarchy in the U.K..
          I'm stuck here at least another week.

          JONATHAN
          Oh. Because I thought I saw you last night
          - at the Hudson.

          WYATT (V.0.)
          The Hudson, huh? Sounds like you've been
          enjoying my little gift.

          JONATHAN
          Yeah. I mean, I was. Only now - well, I
          met a girl. Not just any girl. The girl.

          WYATT (V.0.)
          That's fantastic! Who is the lucky gal?

          JONATHAN
          She's a member of your naughty little sex
          club. I have broken all the rules and had
          an honest-to-God conversation.

          (CONTINUED)

          

          

          

          

          48.

          CONTINUED:

          WYATT (V.0.)
          That's extremely naughty of you! So what
          happened, Romeo?

          JONATHAN
          I'd like to say it's a long story but it's
          not. When you are coming back, you gotta
          meet her.

          WYATT (V.0.)
          So she's, what, a lawyer or something?

          JONATHAN
          I-have no idea, I don't know all that much
          about her. All I know is I can't wait to
          see her again.

          WYATT (V.0.)
          Listen, I don't want to dampen your
          spirits, but - be careful, okay?

          JONATHAN
          What do you mean by that?

          WYATT (V.0.)
          Nothing. I'm just saying, this club                         - who
          knows who anybody is, right?

          JONATHAN
          Yeah, yeah, yeah but - sometimes you just
          have to go with what you feel, don't you?

          WYATT (V.0.)
          True enough. Hold on a sec.
          Muffled sounds of Wyatt talking to someone else.

          WYATT (V.0.)
          It's non stop back-to-back bullshit here.
          Listen, I'll call you later. And hey -
          congratulations!
          Wyatt hangs up. Jonathan smiles. And then reads the note
          again - grinning.

          INT. WEISS MURPHY INSURANCE - BUILDING LOBBY - DAY

          The morning crush of executives filing toward elevators.
          Among them we spot Jonathan, just slightly out of step, a
          sleepy smile lingering on his face.

          

          

          

          

          49.

          INT. WEISS MURPHY INSURANCE - CONFERENCE ROOM - LATE DAY

          Jonathan is working on his laptop, clearly distracted. He
          looks at his cell phone, hoping it will ring, but it doesn't.
          He calls up the list of "Recent Calls: Incoming," scrolls up
          to the top number. It reads: "Number Unavailable."
          Jonathan looks worried, wondering how he can get a hold of
          her - when his cell phone rings. He immediately picks up.

          JONATHAN
          Hello?

          WOMAN (O.S.)
          (unfamiliar voice)
          Are you free tonight?

          JONATHAN

          (DEFLATED)
          I think you have the wrong number.

          EXT. STREET -- NIGHT

          Jonathan arrives at the subway station. He's a little anxious
          now, still hasn't heard from her. He lingers at the top of
          the stairs, not wanting to descend. Below him he can hear the
          lonely roar of a train pulling in below.
          only when the train quiets down does Jonathan realize his
          cell phone is ringing. He picks up.

          JONATHAN
          Hello?
          Intermittent static on the other end. And then what sounds
          like a WOMAN GASPING; it's unclear if it's a sound of
          pleasure or pain.

          JONATHAN
          .Hello?
          The Gasping comes faster; Jonathan debates hanging up - when
          the gasps halt,--replaced by the faintest whisp__of_ a female
          voice: "No... No please..." There's no mistaking the tone now
          it's fear - then. suddenly a shrill, terrified SCREAM...
          - and the line goes dead. Jonathan stares breathlessly at the
          phone in his hand, like he's just witnessed something awful.
          He quickly checks the display: "Number Unavailable."
          Jonathan looks panicked with the possibility that it was "S"-
          - when the phone rings again. He hesitates, then picks up.

          (CONTINUED)

          

          

          

          

          50.

          CONTINUED:

          "S"                                                             (V.O. FROM PHONE)

          (COYLY)
          Are you free tonight?
          Jonathan exhales in relief on hearing her voice.

          EXT. CHINATOWN - CANAL STREET - NIGHT

          Jonathan stands on a corner, looking out of place amidst the
          glistening neon and bustle of Asian faces. He peers anxiously
          down the.street, checks his watch, all anticipation             -
          - when something is wrapped around his eyes. He's startled,
          tugs it off and spins to find "S" smiling back at him.
          if S I'll
          I bought you a present.
          She drapes the scarf around his neck. It's all striped,
          bright colors                                                   - all the more funky against his dark suit.
                                                                          I knew it. You look smashing.

                                                                          JONATHAN
                                                                          Sure you don't mean "clashing?"
          She laughs                                                      - then notices how tense he seems.

                                                                          ,/S„
          Are you all right?

          JONATHAN.
          I guess. I got a call-before yours                              - I'm
          not sure if it was real, or if it was even
          meant for me - but there was a woman who
          sounded like she was being - I don't know,
          hurt. Maybe worse.
          "S" seems instantly on edge. Something about this scares her.
          If SIP
          You don't know who she was?

          JONATHAN
          (shakes his head)
          It could've been a prank.
          (notices).
          Now you're the one who looks scared.

          ..S„
          No, it's just                                                   - it sounds creepy, that's
          all.

          (CONTINUED)

          

          

          

          

          51

          CONTINUED:
          She shakes it off, mustering a smile as she takes his arm.

          „S„
          Come on.

          EXT. CHINATOWN -- AN ALLEY -- NIGHT

          A makeshift street market, everything from fish and meat to
          cheap electronics for sale in cramped stands. Jonathan and
          "S" walk arm in arm through the packed crowd, like a couple.
          Jonathan looks like we've never seen him before: a
          fascination with everything around him, especially her.
          They pause at a stall selling cheap trinkets, including a
          small metallic wind-up toy of a duck riding a bicycle.

          «S"
          He's so cute! What's his name?

          VENDOR

          (DEADPAN)
          Duck On Bike.
          "S" beams like it's the greatest name ever.

          INT. A RESTAURANT - CHINATOWN - LATE NIGHT

          An intimate place, Jonathan and "S" are the only patrons at
          this late hour. They sit across from each other, grinning at
          "Duck On Bike" as it totters across the table, trips over a
          chopstick and flails on its side.
          /t S „
          Oh, poor Duck On Bike!
          She uprights the toy and it keeps on moving across the table.

          JONATHAN
          You gotta respect him; he just keeps at
          it.
          A WAITER arrives and sets down a laminated menu - entirely in
          Chinese. "S" points to the characters like an expert.
          J! $ Ft
          We'll have this... and this... oh, and
          let's try one of these. Thank you.
          The Waiter nods, walks off.

          JONATHAN
          What did you order?

          (CONTINUED)

          

          

          

          

          52.

          CONTINUED:
          „ S of
          I have absolutely no idea.

          JONATHAN
          How do you know we'll like it?

          €

          S"
          How do you know we won't?
          Jonathan gazes at her a beat.

          JONATHAN
          This is so...not my life.

          „$„
          Is that a good thing?

          JONATHAN
          More than you know.

          O
          " smiles. Jonathan looks at her.

          JONATHAN
          Ever since that night on the subway - I
          haven't stopped thinking about you.
          She lowers.her eyes.

          JONATHAN
          Sorry, I didn't mean to freak you out.
          She slowly looks up again, touched.

          „S„
          Are you always so honest?

          JONATHAN
          No.
          it S.,
          Even so, I'm not sure I believe you.
          Jonathan's look, 'why not?'

          "S.„
          You're in the sex club! Another anonymous
          guy looking for anonymous action. I'm not
          judging you, I'm in. there too, but don't
          say you've been solemnly holding atorch
          for me for - how long is it -- wow, one
          whole month!
          Jonathan smiles.

          (CONTINUED)

          

          

          

          

          53.

          CONTINUED:

          JONATHAN
          Point taken. But I've thought about you a
          lot.

          ,.S.,,
          In between the mindless shtupping?

          JONATHAN
          And sometimes during.
          She laughs. The waiter brings them their drinks.

          JONATHAN
          So how come you got involved in the club?
          She frowns slightly, thinks.
          „s . If
          Wouldn't it be great if you could just
          meet someone and not have to do the 'work/
          family/previous relationships' thing?
          Isn't who we are right now so much more
          interesting than where we've come from?

          JONATHAN
          Sure... but that didn't really answer my
          question.
          She reaches over and takes his hand, holds it tenderly.
          „ S of
          I know it seems like I'm holding out on
          you, but I'm not. It's just                                  - I turned
          thirty this year, and I made this vow to
          live only in the present. And it's good,
          you know? And yes, maybe it's because
          there are things in my past I don't care
          to think about - but that's the same for
          everyone, isn't it?
          He nods, still holding hands, loving every moment of this.
          is S . „
          I like you. I hope you like me. Can't that
          be enough?
          Jonathan smiles, completely disarmed by her. The waiter
          brings their food and goes.

          JONATHAN
          I wasn't asking for an autobiography, you
          know. I was just curious.

          (CONTINUED)

          

          

          

          

          54.

          CONTINUED:
          If S. IS
          (a beat)
          A woman I know used to do it. So I decided
          to give it a try. For various reasons, it
          suits my present situation.

          JONATHAN
          You mean the intimacy without intricacy.

          „S . 110
          It has its merits. At least I thought it
          did... until you came along.
          He beams, gazing at her. Blushing, she starts in on the food.
          Outside we can hear rain starting to fall...

          EXT. CHINATOWN RESTAURANT - LATER

          Jonathan and "S" step out into pouring rain, pause under the
          shabby awning. Waiters inside are putting chairs on tables.
          She fishes in her coat and pulls out a PACK OF GUM. The
          wrapper is entirely in Chinese. She offers him a piece.

          JONATHAN
          Oh - no thanks.

          JIS.11
          Don't let the wrapper intimidate you. I
          buy it at a store nearby. It has ginseng
          in it, you know, for energy. It's not bad,
          though it sort of tastes like hairspray.
          She chews her gum. He watches her; the jaw line, her lips.
          She looks at him and smiles, but there's something behind it:
          a sadness. Almost an uneasiness.

          JONATHAN
          Hey, are you all right?

          "S€
          I don't want to complicate your life.

          JONATHAN
          Too late.                                                       -- I want all the complication
          you've got.
          She gazes at him, blinks back her emotions.
          it Sc,
          Your glasses. They're fogging up.
          She reaches out and gently removes his glasses.

          (CONTINUED)

          

          

          

          

          55.

          CONTINUED:
          She wipes the lenses, then peering into his eyes, slowly
          leans in to return them to his face... only she presses her
          lips to his instead, the glasses still in her hand, the kiss
          itself at once tender and passionate.
          She absently lowers her hand, lost in the unexpected
          intensity of the kiss. Embraced, they accidentally step under
          the sheet of water falling off the awning. Jonathan guides
          her back beneath the awning's shelter.
          At S is
          (breathless whisper)
          Maybe you should go...

          JONATHAN
          Maybe you should stay.
          She smiles as he kisses her even more passionately. Again
          they feel the awning's drops, and Jonathan moves to shelter
          them -
          - only "S" leans into him instead, leading him out from under
          the awning, the falling rain suddenly drenching their faces
          as they continue to kiss, the moment purely exhilarating.
          wiping the rain from her face, Jonathan gazes at her, soaked
          and utterly beautiful, with something akin to awe - like he's
          just breathed for the very first time.
          Rack focus on a hotel down the street, its neon sign reads:
          "Hotel Lotus."

          INT. HOTEL LOTUS                                                - ROOM - LATE NIGHT

          Jonathan and "S" lying on the bed in their white hotel bath
          robes                                                           (underwear on), his arm around her as they watch TV. He
          strokes her hair. She nuzzles up to him.
          She changes channels. Finds some tennis.

          JONATHAN
          Perfect.
          They watch together.
          „s_..
          So were you any good?

          JONATHAN
          Yeah. But I didn't want it enough. The
          guys who make it really need it. I played
          recently, first time in years. I've got
          this friend - a new friend, he's great.

          (CONTINUED)

          

          

          

          

          56.

          CONTINUED:

          JONATHAN                                                       (CONT'D)
          Maybe you'll meet him one day. Anyway, we
          played and he creamed me. But I knew I was
          better than him. He said I had no killer
          instinct.
          I's. it
          .I don't know, I think you're a pretty
          determined character.

          JONATHAN
          On a level with this feller?
          He points to 'Duck on bike' watching over them like a charm.

          "S
          Given the chance I believe you could be.
          She idly flips channels, finds a romantic melodrama, an old
          black and white film. They settle back to watch.

          JONATHAN
          I know we said we wouldn't rush. But for
          the record, I'm doing everything Ican to
          apply.the brakes here.
          „S                                                             . of
          Me too.

          (PAUSE)
          And for the record, I'd like nothing more
          than to make love right now. But I'm kind
          of glad we decided to wait.

          JONATHAN
          It's a wise and mature choice we've made.

          //S . ,/
          Our parents would be proud.
          Pause. Jonathan is wild with lust for her.

          JONATHAN
          But say we did, just say...
          Mmhmm...?

          JONATHAN
          Say we were to suddenly tear off these
          robes... Would that be such a terrible
          thing? For two people in Manhattan -

          „S.
          In the small hours on a wet Winter's
          night...

          (CONTINUED)

          

          

          

          

          57.

          CONTINUED:

          JONATHAN
          To consummate their deep human needs in a
          frenzy of...of...
          Fucking and sucking?

          JONATHAN
          Beautifully put.
          Its. I.
          You were saying?

          JONATHAN
          Who - who would blame these two people?

          0IS                                                           „
          Who could possibly judge them?
          They face each other, breathing deeply, almost panting...

          JONATHAN
          And who would know?
          His face is inches from hers                                  - when she rolls over and
          reaches for a glass of water on the night stand.
          She sips her water, as she turns back to Jonathan. Still,
          Jonathan picks up on her subtle shift.

          JONATHAN
          is everything okay?
          She starts to say something, then stops herself and nods
          instead. She sets down her glass, starts to get out of bed.

          JONATHAN
          Where are you going?

          ,I $„
          (a mischievous smile)
          For ice...

          JONATHAN
          (a lusty grin)
          Ice, huh?

          I,S,I
          I saw a machine down the hall. I'll be
          right back.
          She starts to tie her robe closed -

          (CONTINUED)

          

          

          

          

          58.

          CONTINUED:

          JONATHAN
          That's all right, I'll go.
          He hops off the bed, grabs an ice bucket from the mini bar
          and a key card from the table, he surreptitiously adjusts his
          penis                                                           (as one does): and goes to the door. He's about to turn
          the handle when -

          ., S„
          Wait -

          JONATHAN
          (glancing back)
          Yes?
          She hesitates a cryptic beat - then shakes her head, and
          smiles at him with immense tenderness. Jonathan beams back.
          its . P1
          Hurry, okay?
          He blows her a kiss, she blows one back. Almost in SLOW
          MOTION. She looks stunning.

          INT. HALLWAY - LATE NIGHT

          As Jonathan exits the room, hold on the room number:            517.
          Jonathan runs down the long corridor to the ice machine. He's
          giddy with excitement. Passionately alive.
          At the ice machine: an eccentric OLD WOMAN in her night
          attire is slowly filling a bucket. Piece by piece.
          Her weak, gnarly hands plucking at the blocks not wanting to
          break her long nails.
          Jonathan hops around in an agony of frustration.
          She turns, looks him up and down - he feels a bit self-
          conscious in his robe and bare feet.

          JONATHAN
          Would you like some help, ma'am?

          OLD WOMAN
          I can manage, thank you.
          Finally, her bucket is full and she goes on her way.
          .Jonathan quickly fills his bucket with ice.

          (CONTINUED)

          

          

          

          

          59.

          CONTINUED:
          Returning down the empty hall, ice bucket in one hand, key
          card in the other, Jonathan hurriedly checks door numbers.
          We see Room 518                                                 has the DO NOT DISTURB sign on.
          Jonathan arrives back at room 517. He pauses and slips his
          robe from his shoulder, mock 'sexy'. He puts the card key in
          the lock, starts to open the door-- a small rectangular light
          blips RED. He tries the card again. Again red. He knocks on
          the door, calls out:

          JONATHAN
          I can't get the card to work.
          He tries the card again. Leaning in, he thinks he hears
          something behind the door. He peers down at the key panel:
          red.
          He knocks harder, waits for a response. None. Dead silence.

          JONATHAN
          Hello?... Hello?
          He jostles the door handle: it won't budge. He's getting
          anxious now, his breath quickening. He tries the key card
          again: red. He pounds harder, then slams his shoulder into
          the door. Nothing.
          Desperate, he tries the key card again -- and the light turns
          green.                                                          - A millisecond's surprised hesitation - then he jerks
          the handle, throws open the door and Jonathan tumbles into

          THE ROOM
          He peers up into the small entryway: empty. Ahead of him we
          glimpse the foot of the bed, its mussed blanket and sheets.
          Jonathan gets to his feet, starts for the bed, his breath
          quickening as he now notices a few red specks on the blanket.
          Panicked, he rushes forward to find BLOOD soaking the bed,
          splattered all over the crumpled sheets...
          Jonathan gapes, horrified, the world crashing in on him just
          as he senses something behind him and BANG!                     - something hits
          him to the back of the head -- he goes down like a sack of
          potatoes.

          BLACKOUT.

          TWO HOURS LATER
          THE ICE BUCKET on the floor. The ice has melted, a pool of
          water seeps out... follow the flow to arrive at Jonathan's

          (CONTINUED)

          

          

          

          

          60.

          CONTINUED:
          fingers... slowly responding to the cold water... The TV
          playing a different film now.
          OVERHEAD OF JONATHAN lies on the floor. He groans a little.
          Rubs the back of his head. Checks his hand for blood.
          Pain etched in his face, he manages to get to his feet,
          shaky. He looks around the room. It's EMPTY. No sign of "S."
          He runs into the bathroom. Also empty.
          Back in the room, he tries the closets: empty. The CONNECTING
          DOOR between this room and the next: LOCKED.
          He looks to where she'd draped her clothes and bag - every
          trace of her is gone. He whips back to the bed - the sheets
          are still crumpled, only there's no blood an here on them.
          He runs to the window looks down at the street. It's four in
          the morning, no one around.

          INT. HOTEL HALLWAY

          Tripping over his own legs, Jonathan runs barefoot down the
          corridor. He rounds a corner, another stretch of narrow
          corridor. O.S. we hear the muted DING of an elevator.
          Jonathan tears off in its direction...
          He stumbles into the open square in which the elevators are
          located. He crushes the down button, peers up to the floor
          indicator overhead: "4" slowly creeps to "3".

          INT. STAIRWELL

          His bare feet pounding the cement steps, Jonathan takes each
          floor faster, sweat on his brow and his palms which slip
          their grasp on the railing -- he tumbles head first, crashing
          to the 2nd floor landing. He clutches his head, gets up and
          continues to dash down...
          BANG! of the stairwell's exit as Jonathan stumbles out; he
          lurches forward, finally looking up to find he's in

          THE LOBBY
          His undershirt tugged and misshapen, boxers twisted around
          his bare thighs, robe open, Jonathan scans the lobby, wild-
          eyed and shaking. It's utterly vacant at this hour, the only
          sound a piped-in muzak rendition of the Beatles' "Yesterday."

          SLAM! OF JONATHAN'S HAND ON THE FRONT DESK

          (CONTINUED)

          

          

          

          

          61

          CONTINUED:
          The Asian Clerk working there snaps his head up with a
          startled gasp. Jonathan barely manages to breathe the word:

          JONATHAN
          help...

          INT. HOTEL LOTUS -                                            5TH FLOOR HALLWAY - SHORT TIME LATER

          Two hotel SECURITY GUARDS take the lead as they near room
          517, Jonathan trailing, breathless and shaken...

          JONATHAN
          .I saw blood on the bed and then someone
          hit me. When I came to, she was gone.

          SECURITY 1
          This woman you were with. What's her name?
          Jonathan looks blank, his mind racing.

          SECURITY 2
          Sir?

          JONATHAN
          I don't know.
          (off their looks)
          It starts with an 'S'. I think.

          SECURITY 2
          Was shea prostitute?

          JONATHAN
          No! No, she's just a person. A friend.

          SECURITY 2
          A friend with no name.

          JONATHAN
          Of course she has a name! I just don't -
          we have to find her - something must have
          happened to her!

          INT. ROOM 517

          The two Security Guards are eyeing the bed.

          SECURITY 1
          I thought you said there was blood?

          JONATHAN
          I told you, whoever did this must have
          cleaned it up while I was out.

          (CONTINUED)

          

          

          

          

          62.

          CONTINUED:
          Jonathan freezes, eyes darting to the night stand.

          JONATHAN
          My wallet and keys                                          - they're gone! They
          were right here...
          He looks over to the chair where his crumpled suit lies.    His
          SCARF is gone too.

          SECURITY 2
          Maybe she took them.

          JONATHAN
          What?!

          SECURITY 2
          It happens.

          JONATHAN
          She didn't do this, okay?! Something
          happened to her! You don't understand, we
          were... Wait!
          He sees something on the floor between the bed and night
          stand. He runs to to pick it up: a Chinese Gum Wrapper.

          JONATHAN
          This                                                        -- this was hers...
          Jonathan clutches it desperately, the lone trace of her
          existence. The Guards exchange a look like he's INSANE.

          SECURITY                                                    1
          Sir - are these your clothes?
          Jonathan nods absently.

          SECURITY 1
          How about putting them on.

          INT. LOBBY - LATER

          Jonathan arrives to find DETECTIVE RUSSO                    (female, mid-30s)
          waiting by reception with a UNIFORMED OFFICER. Seeing
          Jonathan, she sizes him up a moment, then approaches him.

          RUSSO
          Mr. Messer, I'm Detective Russo.

          INT. POLICE PRECINCT - RUSSO'S DESK - LATER

          Still shaken, Jonathan sits in a wooden chair across from
          Russo, amidst the din and traffic of the precinct.

          (CONTINUED)

          

          

          

          

          63

          CONTINUED:

          RUSSO

          (SCEPTICAL)
          And you don't know anything about her.
          Where she works? Where she lives?

          JONATHAN
          I told you how we met.

          RUSSO
          Through a sex group.
          Her flat words hang in the air. He guiltily avoids her eyes.

          RUSSO
          Does this group have a name?

          JONATHAN
          I don't                                                         -- it's not like that.

          RUSSO
          Mr. Messer, I spoke to the desk clerk. She
          only recalled seeing you check in.

          JONATHAN
          That's... that's the way it works.

          RUSSO
          All right. But now you're telling me that
          in addition to this mystery woman, there
          was another individual in the room?

          JONATHAN
          Not at first -- look, I know how it
          sounds, but I'm telling you, whoever hit
          me must have - I don't know -- taken her.
          Maybe even...
          He stops himself, shuddering to think of the implications.

          RUSSO
          Mr. Messer, have you had - experiences
          like this before? Taking any sort of
          medication?

          JONATHAN
          I'm not crazy, okay?! A woman vanished
          back there! There was blood all over the
          goddamn bed!
          He becomes very conscious that this sounds crazy - when A
          CELL PHONE RINGS: it's Russo's. She pauses, struck by the
          genuine desperation in Jonathan's face. She finally picks up.

          (CONTINUED)

          

          

          

          

          64.

          CONTINUED:

          RUSSO
          Yeah.
          (glances at Jonathan)
          No, I don't think it's necessary... Right.
          She hangs up and turns to Jonathan. He looks away, barely
          able to contain his devastation.

          JONATHAN
          What am I supposed to do?
          An awkward silence, then:

          RUSSO
          If you want to file a report regarding the
          items she -
          (corrects herself)
          - the items you claim were stolen...
          Jonathan shakes his head, crushed and exasperated.

          JONATHAN
                                                                          I'd like to go now. Is that all right? Can
          I just                                                          - can I go?

          EXT. JONATHAN'S APARTMENT - FIRE ESCAPE - MIDDLE OF NIGHT

          Jonathan climbs up to the landing, fishes in the dark for a
          boot. He tips it, a SPARE KEY falls out. As he starts back
          down, he feels something in his coat pocket. He reaches in,
          finds "Duck On Bike" where he'd pocketed it.

          INT. JONATHAN'S APARTMENT - BATHROOM - MIDDLE OF NIGHT

          Jonathan stands motionless beneath the shower, face buried in
          his elbow, completely overwhelmed by his loss and longing.

          INT. JONATHAN'S BEDROOM

          Jonathan enters, wanders for his bed -- when he pauses,
          staring at his dresser. He approaches, peering down at
          something that's caught his eye...
          HIS HIGH SCHOOL TENNIS TROPHY. Nothing unusual - except for a
          small square outlined in dust three inches from the trophy
          base, the wood around its perimeter far more faded than the
          exposed area                                                    - as if the trophy had recently been moved.
          Jonathan swallows tensely, staring at the cryptic dust mark -
          (SOUND ADVANCE) BANG! of a file cabinet drawer yanked open in

          

          

          

          

          65.

          A SPARE BEDROOM
          Used for storage, including an old, gun-metal grey filing
          cabinet. Phone to his ear, Jonathan rapidly sifts through
          faded file folders crammed with papers and documents.

          JONATHAN                                                          (INTO PHONE)
          .Your ad says                                                     24-Hour Locksmith... Well
          how soon could you-... Fine.
          He opens a file: it's where he keeps his passport. He stuffs
          it in his back pocket, keeps searching, pulls a folder marked
          "CREDIT CARDS." Sorting through old statements, he finds the
          line: "To report a card lost or stolen..."

          INT. JONATHAN'S BATHROOM - PRE-DAWN

          CLOSE ON JONATHAN'S HAGGARD FACE in the mirror of a medicine
          cabinet as he pulls it open. Be fishes around, finds what
          he's looking for: a SMALL BLACK CANNISTER for film. He pops
          the cap to reveal a fat roll of emergency money.
          Jonathan exits the bathroom, crosses the living room to the
          foyer, where we find a LOCKSMITH finishing changing the lock.

          INT. JONATHAN'S BEDROOM - DAWN

          Jonathan lies awake, staring at his muted TV, his face tear-
          stained, his eyes clouded.

          JONATHAN (V.O.)
          This is Jonathan Messer. I won't be able
          to come in today. I'm - pretty ill...
          'Duck on Bike' sits on his nightstand next to his glasses.

          INT. SUBWAY CAR - DAY

          Jonathan seated, resting against the window, drifting off
          into.restless sleep. We MOVE IN TIGHTER ON HIS FACE, tighter --

          CONDUCTOR (O.S.)
          Next stop Canal Street. Canal is next.

          :
          Jonathan jerks awake. A few stares from nearby passengers.

          EXT. CANAL STREET - DAY

          Jonathan emerges from underground to hectic Chinatown. What
          once felt romantic now feels cold and exclusionary, a
          bustling mix of ASIANS and map-clutching TOURISTS. He surveys
          the area,-overwhelmed, eyes searching for anything resembling
          a clue. Foreign faces return only cold, blank stares.

          (CONTINUED)

          

          

          

          

          66.

          CONTINUED:
          Jonathan pauses by a STREET VENDOR, takes from his pocket the
          GUM WRAPPER he found in the hotel, shows it to the vendor...

          INT. CHINESE MARKET - DAY

          Cramped and dingy. Jonathan makes his way to the counter,
          where an OLD WOMAN sits smoking. He holds up the wrapper.

          JONATHAN
          I was told you sell this gum here?
          The Old Woman studies him a wary beat, then gestures to a
          candy display. In one box is the same gum.

          JONATHAN
          A woman - a white woman - buys this brand
          of gum. I need to find-
          The Old Woman interrupts him in raspy Chinese.

          JONATHAN
          I'm sorry, I don't                                              -- Do you know the
          woman I'm talking about? A white woman...?
          Please, it's very important that I                              --

          GIRL'S VOICE                                                    (O.S.)
          My grandmother doesn't speak English.
          Jonathan spins around to find a CHINESE GIRL.(13) in a smock.

          JONATHAN
          Can you ask if she knows the name of the
          white woman who buys this gum?
          The Girl questions the old woman in rapid Chinese. She takes.
          a dragon her smoke, then gives a lengthy answer. The girl
          nods, finally turns to an anxiously waiting Jonathan.

          GIRL
          She says they sell that gum in practically
          every store in Chinatown.

          EXT/INT. JONATHAN'S APARTMENT - NIGHT

          Jonathan is struggling with his stiff new key, hearing his
          PHONE RINGING inside.

          INT. JONATHAN'S APARTMENT

          Jonathan rushes for the phone, picks up.

          JONATHAN
          Hello?

          (CONTINUED)

          

          

          

          

          67

          CONTINUED:

          DETECTIVE RUSSO
          Mr. Messer?

          INT. NY MEDICAL EXAMINER'S OFFICE - LOBBY                       - AN HOUR LATER.

          Creepy and drab. Jonathan enters, approaches a RECEPTIONIST.
          The Receptionist nods, points across the lobby to Detective
          Russo. Jonathan looks very worried.

          INT. M.E.'S OFFICE                                              - A RICKETY ELEVATOR

          The elevator descends with an unnerving rattle as Jonathan
          rides down with Russo.

          RUSSO
          The body came in late last night, although
          time of death's still unclear. She was
          found in a taxi: driver was in a .coffee
          shop on his break, came back to his cab
          and there she was in the back seat.
          The elevator shudders to a metallic stop.

          RUSSO
          Her purse was recovered from a dumpster
          about a block away, so we've got a name.
          Jonathan tenses as the elevator doors BANG OPEN.

          RUSSO
          Simone Forester.
          Jonathan looks sick with fear.

          INT. MORGUE

          Russo leads Jonathan into the harsh fluorescent lights of the
          morgue. A MEDICAL EXAMINER                                      (50s) looks up from a deli
          sandwich, takes one last bite and waves them over.
          As they approach, Jonathan notices the TWO UNIFORMED OFFICERS
          stationed down here. They recognize Russo, nod in recognition
          - and eye Jonathan with hard, careful stares.

          SAME -"'MOMENTS LATER
          The M.E. stands over agurney, casually lifts the sheet
          that's been draped over the body. We glimpse a slender foot.
          CLOSE ON JONATHAN beside Russo. He turns instantly pale, lip
          quivering as he stares in disbelief, our CAMERA SLOWLY COMING
          OVER HIS SHOULDER to get a look at

          (CONTINUED)

          

          

          

          

          68

          CONTINUED:
          THE VICTIM'S FACE: it's not "S". But we do recognize her.
          It's the Blonde: the first woman he'd been with, the one he'd
          passed without a word in an office some days later.
          She looks the same, only death-pale and naked - and her neck
          marred by a thin, discolored line where she's been strangled.

          RUSSO
          Mr Messer...?
          He tries to speak, but can hardly breathe, let alone answer.

          RUSSO
          Was this the woman you were with last
          night?
          She frowns, suspicious of Jonathan's hesitation. His tense
          eyes whip across the morgue: the two cops still idling there.
          They're out of earshot, but their mere presence amps tension.
          Angle on the guns in their holsters. The handcuffs dangling --

          RUSSO
          Mr. Messer?

          JONATHAN
          No - she's not. Not last night... no.
          Russo studies his strained expression a suspicious beat.

          EXT. MEDICAL EXAMINER BUILDING - SHORT TIME LATER

          Jonathan exits behind Russo as they step onto the sidewalk.

          RUSSO
          I figured it was a long shot. The only
          reason I called you down is she was last
          seen with a man in the bar of the Hudson
          hotel.

          JONATHAN
          (suddenly tenses)
          The Hudson?

          RUSSO
          You mentioned this group of yours meets up
          at various hotels. I thought it was worth
          a shot.
          Russo glances up at him, trying to read him - something about
          his reaction not sitting right with her.

          (CONTINUED)

          

          

          

          

          69

          CONTINUED:

          RUSSO
          Mr. Messer, is there anything else you
          want to tell me?
          Nervous and torn, Jonathan manages to shake his head.

          EXT. MORGUE/ STREET - NIGHT

          Jonathan exiting the morgue, talking low into his cell phone.

          JONATHAN
          Wyatt, it's me. I need to talk to you.
          Call me, OK? Please.

          INT. RUTHERFORD STERN LLP - LOBBY - MORNING

          A pleasant RECEPTIONIST smiles up from her expansive desk.

          RECEPTIONIST
          May I help you?
          Jonathan is standing across from her.

          JONATHAN
          Yes, I need to get in contact with one of
          your attorneys, Wyatt Bose - it's
          extremely important. He's working out of
          the London office right now. If I could
          speak to his assistant or someone who'd
          know how-to reach him immediately...

          RECEPTIONIST
          Of course. Just a minute.
          The Receptionist types into her PHONE SYSTEM. She shakes her
          head, confused.

          JONATHAN
          B-o-s-e. First name Wyatt.

          RECEPTIONIST
          Wyatt with a 'Y'?

          JONATHAN
          Yes...
          The. receptionist frowns.

          RECEPTIONIST
          Oh -- Ms. Pomerantz?
          Angle on a MIDDLE-AGED WOMAN walking past.

          (CONTINUED)

          

          

          

          

          70.

          CONTINUED:

          RECEPTIONIST
          Ms. Pomerantz works in H.R..

          MS. POMERANTZ
          What can I do for you, Mr,

          JONATHAN
          Messer. Jonathan Messer. I'm an auditor
          from worth and Berman.

          INT. RUTHERFORD STERN - CORRIDOR

          Jonathan walks alongside Ms. Pomerantz.

          POMERANTZ
          Are you sure you have the right firm?

          JONATHAN
          Yes                                                             -- yes, I'm                         --- He works here. I've seen
                                                                          him working here. I net him here.

          POMERANTZ
          When was this?

          JONATHAN
          A few weeks ago. Wyatt Bose. Wait... here.
          He hands her Wyatt's business card with the Rutherford Stern
          masthead on it. She studies it with a look of confusion.

          POMERANTZ
          I don't know what's going on, but I can
          assure you, there is nobody here named-

          JONATHAN
          I've seen him in the halls                                      - for Chrissake
          we smoked pot in the conference room!
          Ms. Pomerantz abruptly frowns, when Jonathan spots a LAWYER -

          FLASH INSERT -= COFFEE LOUNGE
          This Lawyer and another laughing at Wyatt's punch line.
          Jonathan runs over to the Lawyer, grabs the man's arm.

          JONATHAN
          Thank God. Look, I'm trying to find Wyatt.

          LAWYER
          Who?

          (CONTINUED)

          

          

          

          

          71

          CONTINUED:

          JONATHAN
          Wyatt Bose. I saw you talking with him,
          cracking jokes in the coffee lounge.
          FLASH ON SAME SCENE: Wyatt looks up, eyes meet Jonathan's.
          Jonathan smiles in greeting... but Wyatt just nods coolly.

          LAWYER
          I crack jokes with a lot of people.

          JONATHAN
          Hold on, you're telling me you don't--

          LAWYER
          Hey - easy with the hands, okay?
          Jonathan realizes he's got the man's sleeve in his fist. He
          lets go, spins back to Ms. Pomerantz.

          JONATHAN
          He said he was in London with Mr.
          Rutherford, paperinga -

          MS. POMERANTZ                                                   (O.S.)
          Mister Messer.
          Jonathan spins to find Ms. Pomerantz scowling at him. A beat.

          MS. POMERANTZ
          Mr. Rutherford is presently recovering
          from hip surgery. In New Jersey.
          Jonathan glances around, to find everyone - lawyers,
          assistants, mail clerks                                         - all staring at him.

          INT. WYATT'S BROWNSTONE - DAY

          Breathless, Jonathan bolts up a set of stairs, knocks on a
          door. No answer. He knocks harder. From within we hear a set
          of FOOTSTEPS. Sound of a lock turning, the door is opened...

          JONATHAN
          Wyatt -
          .by a MAN in his early 60's, his WIFE behind him; both
          strike us as wealthy, downtown patron-of-the-arts types.

          JONATHAN
          Sorry, I                                                        -- I need to speak to Wyatt.

          MAN
          Excuse me - Wyatt?

          (CONTINUED)

          

          

          

          

          72

          CONTINUED:

          JONATHAN
          Wyatt Bose. He lives here.

          WOMAN
          In this building? He must be new. See,
          we've been out of town the past2 months -

          JONATHAN
          Not in this building - in this apartment.

          MAN

          (FROWNS)
          Young man, we've owned this apartment
          going on thirty years now.

          JONATHAN
          But... I was right-here-with him...
          The Man takes a step back, catching his wife's equally wary
          expression, his hand making for the chain lock.

          JONATHAN

          (DESPERATE)
          Wait!! That painting there, it's                              a Gerhard
          Richter, right?

          WOMAN
          (even more uneasy)
          Yes?

          JONATHAN
          From a gallery! In Munich - the one that
          Herr Kleiner handles? The art dealer
          downstairs?

          MAN
          Downstairs? You must mean Mr. Moretti, but
          he's in the carpet business                                   -

          JONATHAN
          But Wyatt smoke to him.

          MAN
          Unless it was in Italian I doubt he got
          very far.
          Jonathan steps back, looking like he's losing his mind.

          WOMAN
          Young man... are you all right?

          

          

          

          

          73.

          EXT. WYATT'S BUILDING -- DAY

          Jonathan stumbles out, breathing hard as he tries to grapple
          with this                                                      - when he slams up against a man's shirtfront. Two
          hands grasp his arms, we glimpse a pair of black wingtips      -
          - and whip tilt up to the papery face of "Herr Kleiner"        (aka
          Mr. Moretti).

          "HERR KLEINER"
          Sono spiacente.

          INT. SUBWAY CAR - EVENING

          Jonathan sits slumped against a window, the world around him
          is ceasing to make sense. Across the aisle, a YOUNG BOHEMIAN
          COUPLE sit side by side, her headon his shoulder. On
          Jonathan's face there's a sense of loss that is almost
          overwhelming.
          Jonathan takes the crinkled Chinese gum wrapper from his
          pocket, smoothes it in his hands, stares down at it with a
          look of longing...
          . when his eyes suddenly widen. He sees something inside,
          something he hadn't noticed. He unfolds it to reveal two
          words written in a feminine hand on the white underside:
          I'm sorry
          Jonathan quickly looks up, as if expecting someone else to
          share in this haunting discovery. of course, no one does.
          He stares back. down at it, bewildered, stunned - chilled.

          EXT. SUBWAY STATION - CANAL ST., CHINATOWN - LATER

          Jonathan runs out from the subway station. Determined, he
          walks down Canal street, his eyes suddenly land on a COPY
          SHOP across.
          TIGHT ON JONATHAN as we see something click in his head -

          INT. RUTHERFORD STERN - LOBBY - LATE DAY

          Jonathan steps off the elevator, heads straight for the
          Receptionist. She immediately looks nervous.

          RECEPTIONIST
          Sir, we asked around, nobody knows the guy

          YOU'RE-

          (CONTINUED)

          

          

          

          

          74

          CONTINUED:

          JONATHAN
          When I was working over here, you made a
          photocopy of my I.D..'

          RECEPTIONIST
          We do all freelancers, it's policy.

          (REALIZES)
          Oh - I'm not sure I'm allowed to-

          JONATHAN
          You have to.
          She looks at him', sees his desperation.

          SAME - MOMENTS LATER
          Jonathan is flipping through the stack of photocopies, then
          halts on one. He stares at it. The Receptionist peers over.

          RECEPTIONIST
          That's him? He was real cute. Only he
          wasn't a lawyer. He was a systems analyst,
          I think. He was here for a few days to
          work on the computers.
          RECEPTIONIST'S POV: of the photocopy in Jonathan's hand. It's
          of a Massachusetts Driver's License. Staring back up at us is
          Wyatt's smiling face.

          RECEPTIONIST
          I thought you said his name was Wyatt?
          PAN TO THE NAME beside the photo: Sansky. WilliamR.
          Jonathan is already running for the EXIT.

          INT. JONATHAN'S APARTMENT -- HIS BEDROOM - EVENING

          CLOSE ON JONATHAN'S LAPTOP SCREEN as an internet search
          engine runs the name: "Bansky, William." A page of some 200+
          matches is returned. Jonathan readies himself, then dives in.
          Beside the keyboard rests the receptionist's photocopy of
          William Bansky's Massachusetts driver's license. We see
          Detective Russo's business card resting a few inches away.

          ON JONATHAN - MOMENTS LATER
          Checking URLs site by site. He finally pauses on one. It's an
          article from the Boston Herald. The headline: "POLICE HAVE
          FEW CLUES TO YOUNG EXECUTIVE'S DISAPPEARANCE." As Jonathan
          scans the article, we glimpse some lines of text:

          (CONTINUED)

          

          

          

          

          75

          CONTINUED:
          "...looking for William Roger Bansky, age                       31...was employed
          on a freelance basis by an on-site software consulting firm
          in Boston..."                                                                                                                                       --                                                     .Bansky recently relocated from the
                                                                          Chicago area..."                                                                         --   •   ".              'lavish lifestyle'..."                                         --   .a
                                                                                                                                      number of bad checks"                      . debts"
          .a young man on the run..."
          Tilt up to Jonathan, scribbling on a Post-it pad:

          WYATT BOSE = WILLIAM BANSKY, SOFTWARE CONSULTANT, BOSTON

          ORIG. FROM CHICAGO -- $$ TROUBLE
          He sticks the post-it to the photocopy of Bansky's ID. He
          steps back, stares at it a beat - when he notices something
          on his desk,,resting under the phone: a manila file folder.
                                                                          He frowns at it - clearly out of place here. He picks the
          file up, opens it... to a series of                             8X10                                                        photographs?
          Heart racing nervously, he takes one out: it's of Jonathan
          standing in the Plaza lobby by the Eloise portrait. Confused,
          he quickly flips to the next one: in it, a Blonde now stands
          there with him -- the Blonde found murdered. Simone Forester.
          Jonathan's rapidly breathing as he shuffles through more
          photos. They're in sequence, taken by telephoto lens.
          Jonathan and Simone Forester getting in the elevator. Opening
          the room door. Undressing. Screwing. In one, Jonathan has his
          hands on her neck...
          He's sweating with anxiety- when suddenly the phone rings,
          startling him. He eyes it warily, then slowly picks up.

          JONATHAN
          Hello?

          RUSSO                                                           (O.S.)
          Mr. Messer, it's Detective Russo returning
          your call.
          Jonathan freezes, tries not to sound panicked, his eyes fixed
          on the damning photos of himself and Simone Forester.

          JONATHAN
          Oh - right, I was just - checking in, to
          see if you had any leads...

          RUSSO
          On that missing girl of yours? No, not
          yet.

          (CONTINUED)

          

          

          

          

          76.

          CONTINUED:

          JONATHAN
          (anxious to hang up)
          Oh - okay, thanks-

          RUSSO                                                      (O.S.)
          Are you sure you didn't know Simone
          Forester?
          The PHOTOS of Simone in his hands, Jonathan tenses...

          JONATHAN
          I told you before -

          RUSSO                                                      (O.S.)
          I remember what you said.
          (an unsettling silence)
          And you weren't at the Hudson two nights
          ago?

          JONATHAN
          I don't                                                    -- why are you-

                                                                     RUSSO             (O.S.)
          Turns out among credit card charges made
          that night, there was one with your name.
          The card was declined.

          JONATHAN
          I cancelled them all, the day they got
          stolen.

          RUSSO (O.S.)
          I see. I figured it didn't mean much -
          cards move quickly. It just struck me, you
          know.. The coincidence.
          Jonathan can hear the suspicion in her pause.

          RUSSO                                                      (O.S.)
          By the way, the morgue confirmed
          strangulation as cause of death. He found
          trace fibres of Kevlar in her neck wound.

          JONATHAN
          Kevlar?

          RUSSO (O.S.)
          It's used in certain kinds of rope and
          string.
          Jonathan's eyes suddenly go wide; whip pan with his gaze   to
          the hall closet door.

          (CONTINUED)

          

          

          

          

          77

          CONTINUED:

                                                                                                 RUSSO      (O.S.)
                                                                         Mr. Messer?

                                                                                                 JONATHAN
          Yes                                                            - yes, I'm              --

                                                                                                 RUSSO      (O.S.)
          Thought I lost you for a second.

          (PAUSE)
          Well, I won't keep you. You have a good
          night.
          Jonathan slowly hangs up, his panicked gaze returning to the
          hall closet as he paces toward it, throws open the door.
          In the far corner rests his racket bag. He grabs it, yanks
          open the zipper... his face draining of all remaining color
          as he peers into his empty racket ba                           . His racket is gone.

          SAME - MOMENTS LATER
          Jonathan pacing the floor, paranoid. He holds Detective
          Russo's card. Knows he should call back. He abruptly reaches
          for the phone, and dials... another number.

          JONATHAN
          I know, okay? I know your name isn't Wyatt
          Bose. I know you killed that woman. And I
          know you're trying to frame me for it, so -
          so - WHY? What the hell is going on? And
          where is she?! If you hurt her I swear to
          God I'll...
          Jonathan falters, unsure where he's going with this and
          realizing he's now talking to himself.

          COMPUVOICE

          TO-SEND-THIS-MESSAGE--PRESS-POUND-OR-
          simply-hang-up. To-erase-and-record-a-new-
          messa ge---press-Star.
          Jonathan hesitates, hits the Star key. A new BEEP. Harder:

          JONATHAN
          It's me. I need to talk to you.
          He hits pound. Breathes. At least he's done something.
          Suddenly from O.S. a faint creak. Jonathan spins, scans the
          room, grabs the nearest blunt object: his tennis trophy.
          QUICKLY CUT SHOTS of Jonathan searching his apartment, his
          trophy raised as a makeshift weapon.

          (CONTINUED)

          

          

          

          

          78

          CONTINUED:
          He finally halts, uneasy but satisfied there's no one else
          here - when his home phone rings, startling him. RING...
          RING... RING... Jonathan hesitates. His machine picks up:

          JONATHAN'S ANSWERING MACHINE
          This is Jonathan. Please leave a message.
          BEEEEP. A moment of hiss                                       - then:

          MALE VOICE (O.S.
          Jonathan?
          Jonathan whips to the phone - it sounds like Wyatt ---

          PETERSON                                                       (O.S.)
          Chet Peterson calling -
          -- only it's not.

          PETERSON                                                       (O.S.)
          I understand you were out today. I left
          messages on your cell but never heard
          back, so I thought I'd try you at home.
          He slowly lowers his trophy as he listens, staring out the
          window at the dark night and empty street below.

          PETERSON                                                       (O.S.)
          Just want to make sure you're up to speed
          with Weiss Murphy, because the folks at
          Clute Nichols are expecting you...

          INT. SUBWAY CAR - MORNING

          Jonathan sits in a crowded car, dressed for work.

          PETERSON                                                       (V.0.)
          They're our biggest client, so needless to
          say, make them your top priority...
          Jonathan takes out the crinkled Chinese gum wrapper. He
          stares at it with a look of longing: this is his Priority-

          EXT. CHINATOWN -- DAY

          A series of shots: Jonathan asking around about "S." The
          street vendors. The receptionist at the hotel. The waiter at
          the restaurant where they ate... They all shake their heads.
          Heading back for the subway, dejected, he steps on.a
          discarded page from the newspaper's Metro section, sees a
          headline: "STILL NO SUSPECT IN MURDER OF YOUNG EXEC." The
          photo is of Simone Forester.

          

          

          

          

          79.

          INT. CLUTE NICHOLS BROKERAGE - CORRIDORS                        - LATE DAY

          Intensely preoccupied, Jonathan walks alone past assistants
          and execs. In his eyes a sense of paranoia, a mistrust of
          every strange face.

          INT. A CONFERENCE ROOM - NIGHT

          Isolated behind yet another wall of glass, Jonathan just
          stares bleary-eyed at his laptop, unable to work.

          EXT. CLUTE NICHOLS BUILDING - NIGHT

          Jonathan exits, starts toward the sidewalk -- but hears
          something: sandpaper SHUFFLE of shoes on pavement. Be spins     --
          No one there. Just one of many large stone pillars adorning
          the building. Jonathan peers anxiously at the pillar,
          wavering. He steps closer, trying to glimpse behind it -
          RING! of his cell-phone breaks the stillness. RING... RING...
          He catches his breath, quickly picks up. A silent beat.

          A WOMAN'S VOICE                                                 (O.S.)
          Are you free tonight?... Hello?
          He hangs up, chilled. Turns again to the pillar, steps closer
          - no sound. He hesitates... then turns and walks off.

          INT. TIMES SQUARE SUBWAY STATION - NIGHT

          People heading home from work. Jonathan among them, utterly
          desolate. Sliding his MetroCard, he suddenly feels watched
          again. He spins, peers anxiously behind him. Only strange
          faces passing through turnstiles.

          INT. SUBWAY STATION - CORRIDOR

          A narrow, curved stretch of grimy walls of ads and graffiti.
          Jonathan keeps a quick pace, feeling vulnerable.
          We lag back, following him from an ANONYMOUS POV; glance up
          at a sign for stairs to the N & R trains.

          INT. SUBWAY PLATFORM

          Jonathan is waiting for his train, eyes nervously glancing
          around, still feeling watched -
          When he sees a young woman standing all the way across on the
          opposite platform, waiting for a train. She casually turns
          her head, and Jonathan's eyes go wide...

          (CONTINUED)

          

          

          

          

          80.

          CONTINUED:
          It's "S."
          Jonathan just gapes across the divide of two subway tracks;
          he can't believe he's seeing her again...
          . when she starts to back away, almost as if she might run.
          Confused, Jonathan rushes to the edge of his platform.

          JONATHAN
          wait! Wait, right there!
          Jonathan stands on the edge reeling, desperate to get,to her.
          He looks around, hears the distant: .nimble of afar. off train,
          and suddenly he does something we'd have never thought him
          capable of: he jumps onto the tracks!
          He lands hard, nearly breaking his ankle, but quickly
          scrambles to his feet, splashing in the sludge between rails,
          eyes darting along the track, anxious to avoid the third
          rail, ears attuned to the sound of that distant train as he
          races for

          THE CENTER DIVIDER
          He reaches the grimy rungs and quickly climbs up.
          He gets to his feet on the center divider - now only one lane
          of track separating him from the platform she was standing on
          - only she's no longer there?
          He scans the people waiting, no sign of "S" among them - and
          then suddenly he spots her, heading for the exits.

          JONATHAN

          STOP!
          She glances back, utterly stunned to find Jonathan standing
          on the center divider, feet soaked in muck.
          Neither speaks for a moment, just staring at each other
          across the solitary track. Then:

          JONATHAN
          I thought you were dead!
          She looks like she wants to say something, but doesn't. And
          all at once he's hit with a crushing realization:

          JONATHAN
          You are in on this, aren't you?!
          She holds his eyes a moment longer, fighting back emotion -
          then she abruptly turns and starts back for the exit again.

          (CONTINUED)

          

          

          

          

          81.

          CONTINUED:

          JONATHAN
          How do you know him?
          (off her silence)
          Damn it answer me!
          She halts, slowly looks back at him.
          of cam„
          Through the club. He caught me trying to
          steal his wallet.
          Jonathan looks confused; she's struggling to stay composed
          but looks like she could break down at any moment.

          „S„
          He asked if I wanted to make some real
          money. All I had to do was get involved
          with you, and not ask any questions.
          Jonathan just stares, devastated.

          JONATHAN
          So everything between us - was nothing?
          She fights back tears.

          ., S
          No - no... After that first night I tried
          to call it off, he said he'd kill me if I
          didn't go through with it.

          JONATHAN
          Go through with what?

          „C,.
          The plan. Get you out of the hotel room,
          slip out and meet up later for my money.
          Only I ran instead. He's been looking for
          me ever since. I have to leave the city -

          JONATHAN
          Then why didn't you?

          Because I needed to see you again. I
          needed to be sure you were all right.
          Despite his conflicting emotions, Jonathan is moved          by   this.
          S,f
          I didn't know how to find you - you were
          just a number in a cell phone, and

          (CONTINUED)

          

          

          

          

          82.

          CONTINUED:
          'is"                                                             (CONT-D)
          Jonathan had taken that. I remembered you
          took this train -

          JONATHAN
          Wait, Jonathan? I'm Jonathan. Jonathan
          Messer.
          You're                                                           -?
          O.S. we hear the approaching roar of an INCOMING TRAIN...
          ii S                                                             7f
          Did you go to the police?

          JONATHAN
          I can't. He's framing me for murder.
          What?

          JONATHAN
          He killed a woman from the club, someone
          I'd been with.
          "S" is shocked., instantly terrified. Clearly she had no idea.
          I/ S$f
          Jonathan, you have to leave! Do you
          understand? You need to get the hell out
          of here, he's going to kill you!
          The roar of the incoming train is growing LOUDER...
          Don't you understand? He's going to kill -
          - when the INCOMING TRAIN completely drowns him out... and
          swipes "S" out of Jonathan's view.
          Jonathan struggles to peer through the train windows but its
          passengers prevent him from getting a look at her. Just then
          the TRAIN DOORS OPEN WITH THE NOISE of passengers getting on
          and off. Panicked, Jonathan cranes his neck, trying to see
          her through the windows.

          JONATHAN

          STOP!
          He boards the train; using it as a bridge, he pushes through
          passengers, desperate for an open door to the other side.

          (CONTINUED)

          

          

          

          

          83.

          CONTINUED:

          CONDUCTOR (O.S.)
          Shuttle to New York's Grand Central
          Station. Grand Central is next.
          He jumps off the train, in the direction she'd been walking
          -- only she's nowhere in sight. Jonathan spins frantically as
          the doors close and he hears the TRAIN START TO PULL AWAY.
          He runs alongside the train - desperately searching for a
          glimpse of her                                                  - no sign of her in any of the windows...
          .until the last car passes                                      - and there she is, standing at
          the rear observation window, her hand pressed to the pane,
          her tearful expression bidding him a heartbreaking goodbye.
          He stumbles to a devastated halt, eyes pleading vainly as he
          watches her recede, framed by the rectangle of window,
          directly beneath it the train's steel. exterior labelled the
          shuttle line's circled black and white S.

          INT. GRAND CENTRAL STATION - MAIN CONCOURSE - LATE NIGHT

          TILT DOWN FROM THE CONSTELLATIONS of the vaulted ceiling to
          the tiny figure of "S," standing at the ticket counter,
          staring uneasily through bars at a TICKET AGENT.

          TICKET AGENT
          Let's see - there's one to New Haven,
          leaving in... six minutes. If you need to
          go farther, you can transfer from there.
          "S" peers anxiously around her, like someone hunted.

          #; SIT
          And that's the very next train leaving?

          INT. METRO-NORTH TRAIN                                          (IDLING IN THE TERMINAL)

          Only a few scattered travellers this late. "S" slumps into a
          seat, takes a breath - and starts to quietly break down. She
          shuts her eyes, tries to stifle her sobbing.
          A man's hand extends a handkerchief from the seat behind her.

          „S„
          No thank you.
          RACK FOCUS on the man withdrawing his handkerchief behind
          her, grinning coolly to himself: it's-Wyatt.

          WYATT
          Suit yourself.

          (CONTINUED)

          

          

          

          

          84.

          CONTINUED:
          RACK BACK TO "S" as her eyes blink open in terror --

          SMASH CUT TO:

          INT. JONATHAN'S BUILDING - MAILBOXES - LATE NIGHT

          Jonathan yanks open his mailbox. Empty. As he heads upstairs,
          there's a change in his face: a newly forged determination.
          He takes out his cell phone, dials. The other end immediately
          picks up:

          COMPUVOICE                                                      (O.S.)

          WORTH-AND-BERMAN-VOICE-MAIL-BOX-FOR-

          JONATHAN'S VOICE                                                (O.S.)
          Jonathan Messer—
          Jonathan hangs up. Takes an angry breath. Presses redial.

          COMPUVOICE                                                      (O.S.)

          WORTH-AND-BERMAN-VOICE-MAIL-BOX-
          He hangs up again. But his face bears a blank, eerily driven
          expression. He hits redial again as he opens the door to

          INT. JONATHAN'S APARTMENT

          Jonathan enters, phone still to his ear.

          COMPUVOICE                                                      (O.S.)

          WORTH-AND-BERMAN-VOICE-
          Jonathan hangs up and just stares at the phone in his hand,
          on the verge of something like a scream. He takes a breath.
          Presses redial once more. Only now it RINGS. Jonathan
          freezes. RING... RING... RING... RING... RING -- a CLICK of
          someone picking up, then SILENCE and faint wisps of static.

          JONATHAN
          Hello...?
          Not a word from the other end. We barely make out BREATHING.

          JONATHAN
          Wyatt? Is that you?
          Jonathan takes a tentative step forward, as if fearful that
          the least movement will cost him this connection.

          JONATHAN
          Say something damn it!
          From the receiver we hear a well-exhaled breath. And then:

          (CONTINUED)

          

          

          

          

          85

          CONTINUED:

          WYATT'S VOICE                                                   (O.S.)
          (sung in a low whisper)
          Yesterday...
          Reeling, Jonathan grips the phone tighter to his ear.

          WYATT'S VOICE                                                   (O.S.)
          All my troubles seemed so far away...

          JONATHAN
          What do you want from me?

          WYATT'S VOICE                                                   (O.S.)
          Now it seems as though -

          JONATHAN
          Answer me!

          WYATT'S VOICE                                                   (O.S.)
          - they're here to stay, Oh I believe

          JONATHAN
          Why are you doing this to me?!

          WYATT'S VOICE                                                   (O.S.)
          - in yester--

          JONATHAN
          I'm going to find you, you hear me? I'm-
          CLICK. Dead air.

          JONATHAN
          Hello?... Hello?!
          Jonathan SLAMS the phone down, tension in his face joined by
          a new emotion, something closer to. fury.

          JONATHAN
          I'm going to find you.

          EXT. MIDTOWN MANHATTAN - STREET - DAY

          Jonathan is heading for the Clute Nichols building, that same
          focused tension on his face -

          WOMAN'S VOICE
          Mr. Messer?
          Jonathan is too lost in thought to hear it.

          WOMAN'S VOICE                                                   (CONT'D)
          Jonathan.

          (CONTINUED)

          

          

          

          

          86

          CONTINUED:
          He glances up... to find Russo standing near the entryway -
          what's she doing here? He has no choice but to meet her.

          RUSSO
          I was gonna call, but I was in the area.
          Just doing some follow-up.
          Jonathan tries to mask his uneasiness.

          JONATHAN
          Follow-up?

          RUSSO
          On that missing girl of yours. The.one
          whose name began with. an "S." Have any
          luck finding her?
          Jonathan absently tightens his grasp on his briefcase.

          JONATHAN
          No. No luck.

          RUSSO
          I see. That's too bad.
          she studies him a cryptic beat, then smiles flatly.

          RUSSO
          Well, who knows, maybe she'll turn up yet.
          You have a good day, Mr. Messer.
          Jonathan nods tensely, then walks off, feeling her watching
          him from the curb as he goes.

          INT. CLUTE NICHOLS - CONFERENCE ROOM - DAY

          Employees pass by the glass behind which we see Jonathan - a
          lone figure at his laptop, surrounded by files and post-its.
          Close on Jonathan as he scribbles on a post-it: "Yesterday -
          Beatles?" Widen to find the post-its organized with his usual
          fastidiousness                                                  - only scribbled with words, not numbers:
          "Wyatt Bose = William Bansky" and other random scribblings.
          He's trying to apply his mathematical mind to his crisis,
          hoping to conjure some kind of pattern or logic to it all.
          Reverse angle through the glass: to anyone passing, he looks
          like your typical overly meticulous, isolated auditor.
          Closer on Jonathan as he clutches the table, looks seconds
          away from utterly losing it -- when something suddenly occurs
          to him. He whips around, gaze fixing on

          (CONTINUED)

          

          

          

          

          87

          CONTINUED:
          His cell phone. He grabs it. Presses a key repeatedly -
          scanning                                                        - then hits SEND. Jonathan brings the phone to his
          ear, listens for the other end; then:

          JONATHAN
          Are you free tonight?

          CUT TO:

          INT. THE KITANO HOTEL - LOBBY - NIGHT

          Jonathan waits anxiously by a Botero sculpture of a rotund
          dog. A young woman in a BLUE PASHMINA approaches.

          INT. THE KITANO - ELEVATOR

          Blue Pashmina enters first, Jonathan follows her into an
          empty elevator. The doors close.

          JONATHAN
          Do you know Wyatt Bose?

          BLUE PASHMINA
          (immediately guarded)
          Excuse me?

          JONATHAN
          What about William Bansky? Does that name--
          She darts.for the "Door Open" button, but he blocks her path.

          BLUE PASHMINA
          I swear to God I'll scream.

          JONATHAN
          Please, I'm not trying to scare you, I
          just                                                            -- I'm looking for someone.and it's
          very important that I find him.
          she tries to push past him, again Jonathan blocks her.

          JONATHAN
          He does this too - or he did. someone had
          to give him the numbers. Someone let him
          in. If I can-'find who it was that knew
          him, they might know where he's                                 --
          she suddenly kicks him in the shin with a spiked heel.
          Jonathan grasps his leg - she presses the button and is out
          the opening doors before he's even looked up.
          SOUND ADVANCE: TENSE CLACKING of computer keys...

          

          

          

          

          88.

          INT. CLUTE NICHOLS                                               - CONFERENCE ROOM - SAME NIGHT

          CLOSE ON JONATHAN alone at the end of the conference table,
          eyes scanning files absently, fingers typing on auto-pilot.
          His gaze holds a new determination, as the CLACKING OF KEYS

          SET THE RHYTHM FOR A BRIEF MONTAGE-

          INT. HOTEL CASABLANCA - LOBBY - LATER

          Jonathan anxiously escorts ANOTHER YOUNG WOMAN past the quasi-
          Moroccan motif. Asking her something, he takes out a folded
          paper from his pocket, shows it to her: it's the photocopy of
          Bansky's license with the image of Wyatt's face. She quickly
          shakes her head, her eyes searching for the exit.

          INT. THE LOMBARDY - BAR - NIGHT

          Jonathan trails a TALL WOMAN as she bee-lines for the exit.
          He grabs her arm, thrusts the photocopy into her hands. She
          halts, looks up at him... and tears it in two before handing
          it back and hurrying off, her glare full of paranoia.

          TNT. THE SHERRY-NETHERLAND - LOBBY - NIGHT
          Jonathan rises from a couch to greet YET ANOTHER YOUNG WOMAN.
          He gets no more than a few seconds into his question when she
          about-faces without a word. Jonathan has a relentless look in
          his eye. Takes out his cell, calls another number...

          INT. VARIOUS HOTELS - LOBBY COUCHES - NIGHT

          Rapid jump cuts of A DOZEN DIFFERENT WOMEN'S FACES, all
          indicating twenty different kinds of "no"; with each cut the
          women occupy the exact same position in frame, only their
          faces and the hotel backgrounds behind them change.

          INT. THE MICHELANGELO - ELEVATOR - NIGHT

          Room key in hand, Jonathan rides up with a woman in a BLACK
          BUSINESS SUIT - a tall, attractive business-type. Jonathan
          stares at his shoes, trying to mask his. utter exhaustion.

          INT. THE MICHELANGELO - A ROOM - NIGHT

          Jonathan and Black Business Suit come in. She starts to

          UNDRESS:

          JONATHAN
          I need to ask you something, it's
          incredibly important...

          (CONTINUED)

          

          

          

          

          89.

          CONTINUED:
          He pauses to unfold his now scotch-taped photocopy, shows it
          to her. She freezes, eyes fixed on the license photo.
          Jonathan braces himself for her departure                       - when she stares
          back up at him in scared but clear recognition.

          SAME SCENE - MOMENTS LATER
          Seated on the edge of the made bed, Black Business Suit
          shifts uncomfortably as she lights a cigarette.

          BLACK BUSINESS SUIT
          I was in Chicago on business, a little
          over a year ago. I was out.to dinner with
          one of our Chicago partners,.a man named
          Holloway. That's how I met him.
          TIGHT ON JONATHAN as we SMASH TO:

          INT. EXPENSIVE CHICAGO RESTAURANT - NIGHT

          A slightly older man                                            (HOLLOWAY) sits with his back to us.
          Across from him sits Black Business Suit. A YOUNGER MAN steps
          into frame, rests his hand on Holloway's shoulder.

          BLACK BUSINESS SUIT                                             (V.0.)
          At first I assumed he was a junior
          executive at their firm. But he wasn't.
          That's not to say he didn't work for
          Holloway, but clearly in a more intimate
          capacity...

          TNT. THE MICHELANGELO - ROOM - NIGHT
          Black Business Suit takes a cool drag on her cigarette.

          BLACK BUSINESS SUIT
          I wasn't shocked. Besides, obviously I'm
          no prude. Even back then, I'd been doing -
          you know, this thing -- for a while.

          INT. EXPENSIVE CHICAGO RESTAURANT - NIGHT

          Wyatt is talking, entertaining his two companions - but
          clearly more focused on Black Business Suit, flirting it up.

          BLACK BUSINESS SUIT                                             (V.0.)
          I was simply curious. More so when he
          apologized, explaining that he'd forgotten
          about another engagement.
          Wyatt's knuckles just barely stroke Black Business Suit's
          thigh as he rises to leave. They exchange a knowing glance...

          (CONTINUED)

          

          

          

          

          90.

          CONTINUED:

          BACK TO MICHELANGELO ROOM

          BLACK BUSINESS SUIT
          I was intrigued. He was intelligent,
          informed about everything from law to art
          to politics. I'd never met anyone so in
          command of his own charm. He said that
          he'd come from nothing, that everything he
          learned, he learned from his tricks. He
          claimed that Holloway was even grooming
          him for a position at his company.
          She lights another cigarette with her old one.

          BLACK BUSINESS SUIT
          In a way, I felt for him. But I also
          admired him. It sounds silly,. but he had a
          way of making me feel - close to him, you
          know?
          This clearly hits home with Jonathan. He barely nods.

          BLACK BUSINESS SUIT
          So I found myself telling him things..
          Personal things. And, next thing I knew -

          JONATHAN
          You told him. About this.
          A beat, and she nods, crushing out her other cigarette.

          BLACK BUSINESS SUIT
          He seemed fascinated by it. Wanted to know
          all the details.

          (EXHALES)
          I suppose I'd had too much to drink. And I
          was distracted... I was thinking about
          what a great lay he was going to be.

          INT. FOUR SEASONS CHICAGO -.SUITE BEDROOM - LATE NIGHT

          Wyatt and Black Business Suit go at it with animal
          aggression. She's on all fours, arching lustily, pleasure
          nearly unbearable, eyes clenched shut as she climaxes.
          Exhausted, her body goes limp.
          TILT UP to his face: an eerily blank, driven stare, devoid of
          real pleasure. She struggles, tries to protest - when his
          hands grip her shoulder blades, thrusting harder, violently
          pinning her down, her sudden fear stifled by the mattress --

          INT. THE MICHELANGELO - ROOM - NIGHT

          CLOSE ON Black Business Suit staring off, chilled by memory.

          (CONTINUED)

          

          

          

          

          91.

          CONTINUED:

          BLACK BUSINESS SUIT
          Only afterwards I discovered two of my
          credit cards were missing. As was my cell
          phone. Of course I couldn't say anything
          to Holloway. And Jamie must have known I'd
          never report it to the police.

          (BEAT)
          So I just put the incident out of my mind.
          I all but forgot about it, until one
          night, maybe two months ago -

          INT. THE WARWICK (NYC)                                         - LOBBY - NIGHT

          Black Business Suit is crossing the lobby for a portrait of
          Hearst and A SUITED MAN lingering beneath it... when the man
          looks up. It's Wyatt.

          BLACK BUSINESS SUIT                                            (V.0.)
          I almost didn't recognize him. But when I
          did, I suddenly felt very, very scared.
          She freezes -- obscured by one of the trees as Wyatt checks
          his watch, scans-the lobby with a cool, piercing look.

          BACK TO BLACK BUSINESS SUIT AND JONATHAN IN THE MICHELANGELO

          BLACK BUSINESS SUIT
          I left before he saw me.
          She drags on her cigarette, looks off into space.

          BLACK BUSINESS SUIT
          He must have used my cell phone to get
          into the group.
          (crushes out her cigarette)
          Anyway, that's it. That's all I know.
          She looks around. At the room, the bed. She shudders, rises.

          JONATHAN
          Wait - thank you.
          (off her look)
          Have you ever run into him again?

          BLACK BUSINESS SUIT
          Getz? No. And I don't ever want to.

          JONATHAN
          Getz?

          BLACK BUSINESS SUIT
          That was his name. Jamie Getz.

          

          

          

          

          92.

          EXT. FLEUR DE SOLANGE - NIGHT

          Bundled in her ski jacket, Solange is closing up her shop for
          the night, stacks of flowers in her arms, when she notices
          Jonathan coming down the front steps.

          SOLANGE
          Jonathan, you're home early -
          Only when he looks up, she finds the young man in the
          overcoat isn't Jonathan. It's Wyatt.

          SOLANGE
          Oh - je suis desole. My mistake.
          Wyatt flashes her an icy smile, continues down the steps.
          Solange watches him walk away, a puzzled look on her face.

          INT. MICHELANGELO - HOTEL BUSINESS CENTER - NIGHT

          Huddled over a computer, Jonathan typing, eyes red from
          exhaustion and stress as we hear his recall:

          JONATHAN (V.0.)
          who's James Getz?

          WYATT (V.0.)
          A guy I roomed with freshman year at
          Princeton.
          on Jonathan's monitor we see he's on a web site for Princeton
          University alumni. He types in: Getz, James.
          A beat - then: "No match." A long list of G names follows.
          Jonathan scrolls down the list, but there's no Getz.

          JONATHAN
          Shit.
          Jonathan exhales, about to log off - when a name among the
          H's jumps out at him: Holloway. Reed.
          Jonathan stares at it tensely - then clicks on the name.
          "Sort no contact information available."
          Jonathan thinks a moment - then tries a search engine, types:
          "Holloway Reed" then decides to add the word "missing."
          An article appears. From the Chicago Tribune: "BODY OF
          MISSING BUSINESSMAN FINALLY DISCOVERED." A head-shot style
          photograph shows a man in his early 40s whom we recognize
          from Black Business Suit's story. Beneath his photo, his
          name: "Reed Holloway."

          (CONTINUED)

          

          

          

          

          93

          CONTINUED:
          Jonathan glances up at the Hotel employee manning the desk.

          JONATHAN
          Can I print this out?

          EXT. EIGHTH AVENUE                                              (HELL'S KITCHEN)   - LATE NIGHT

          Porn shops and prostitutes, the streets pulsing with a
          sinister energy. Jonathan is pacing toward the subway,
          reading over the printed article.

          EXT. BROOKLYN - ELEVATED SUBWAY PLATFORM - LATE NIGHT

          Jonathan descends the steps to his presently deserted
          neighborhood. O.S. the departure of the subway train is
          joined by the distant.wail of SIRENS.
          Jonathan continues down the block, then pauses. He wrinkles
          his nose, smelling something. He looks up: two blocks away, a
          thick plume of smoke is billowing up into the sky --

          EXT. JONATHAN'S DUPLEX

          Jonathan bolts around the corner to find an ambulance and
          fire engine curbside -- a fire raging in the lower story of
          his building!
          Running toward the blaze, he speeds past a BLACK BMW parked
          across the street, engine running. It suddenly shifts into
          gear and peels out in a fast turn. Jonathan spins               - something
          about it troubling him - but the BMW is already gone. He
          continues racing toward his building...
          The neon "FLEURS DE SOLANGE" sign crackles and sparks in the
          flame. Through blown out windows, piles of burning flowers
          emit what must be an awful stench.
          Two EMS WORKERS are loading a gurney on which Solange lays,
          burned and half-aware, but alive, when Jonathan rushes over.
          She manages to open her eyes, her voice barely audible:

          SOLANGE
          Jonathan...
          He squeezes her hand as she's lifted into the ambulance.

          JONATHAN'
          (to EMS worker)
          Is she going to be okay?

          EMS WORKER
          Yeah, she'll make it.

          (CONTINUED)

          

          

          

          

          94.

          CONTINUED:
          The ambulance doors SLAM shut. A hand grabs Jonathan's arm.
          He spins                                                        - it's a FIRE WORKER.

          JONATHAN
          I live here.

          INT. JONATHAN'S APARTMENT - LATER

          Thick smoke clouds the stairs and corridor. Suit jacket over
          his head, Jonathan is hurriedly escorted by the Fire Worker.
          His own door has already been kicked open, splintered at its
          hinges. The place looks like it's been turned upside down,
          furniture soaking wet, charred areas on walls.

          FIRE WORKER
          Lucky we were able to contain it somewhat.
          Better get your valuables together.

          INT. JONATHAN'S BEDROOM

          still in shock, he tosses random clothes in a gym bag - "Duck
          on Bike" too.

          JONATHAN
          (calls out)
          How did it start?

          FIRE WORKER (O.S.)
          We're not sure. Maybe a bad fuse.

          INT. JONATHAN'S BATHROOM

          Jonathan opens his medicine cabinet, takes out his small film
          cannister, uncaps it to see how much money he has left. Not
          very much. He stuffs the cannister into his pants pocket.

          INT. SPARE BEDROOM

          Jonathan opens his old gunmetal-gray filing cabinet, then
          pops open his briefcase, trying to decide what to take.
          He finds a file marked "Bank Statements," pulls it, about to
          toss it in his briefcase - when he stops, something about its
          contents ---
          CLOSE ON THE FILE. Stuffed with paper. But not bank
          statements... Copies and copies of photographs of Jonathan
          with Simone Forester. Some we've seen, some new.
          Jonathan hunts through more files, his breathless nausea
          telling us the contents of each and every file have been
          swapped out with photos.

          (CONTINUED)

          

          

          

          

          95.

          CONTINUED:
          He opens another at random - and freezes: it's a photo of
          Jonathan and "S" walking in Chinatown. He scans through
          others, shots of them in the restaurant, entering the Hotel
          Lotus...
          TIGHT ON JONATHAN, terrified by the horrific implication -

          FIRE WORKER                                                     (O.S.)
          Mr. Messer?
          Jonathan gasps as he looks up to find the Fire Worker in the
          doorway. He quickly shuts the file.

          JONATHAN
          Just                                                            - give me a minute.

          INT. JONATHAN'S APARTMENT - LIVING ROOM

          A paranoid-looking Jonathan returns with a briefcase stuffed
          near to bursting. The tired Fire Worker looks up impatiently.

          FIRE WORKER
          That everything?
          Jonathan regards his minimal possessions, realizes how little
          evidence there is of a life. A wrenching sense of isolation.

          JONATHAN
          I guess it is.

          FIRE WORKER
          You got someone you can stay with?

          INT. A SEEDY HOTEL LOBBY - DOWNTOWN - PRE-DAWN

          The sort of decrepit no-tell motel frequented by hookers and
          junkies. Jonathan clutches his briefcase as he stares through
          steel mesh at. the NIGHT CLERK.

          NIGHT CLERK
          It's fifty for the night.
          Jonathan fishes out his film cannister, and parts with what
          he discovers are his last three                                 $20s.

          INT. SEEDY HOTEL - ROOM - PRE-DAWN

          Even more depressing than the lobby: bars on the windows,
          stains on the thin walls through which the faint sounds of
          paid sex bleed in. Somewhere a bottle smashes.

          (CONTINUED)

          

          

          

          

          96.

          CONTINUED:
          Unable to sleep, Jonathan has emptied his briefcase contents
          onto the bed. He stares at one of Wyatt's photos of him and
          "S." She's smiling up at him.
          EXTREME CLOSE ON THE IMAGE OF HER FACE. The smile, frozen in
          time, at once haunting and heartbreaking.
          He gently sets the photo down beside the Chicago Tribune
          article he'd printed on the unsolved murder of Reed Holloway
          ("BODY OF MISSING BUSINESSMAN FINALLY DISCOVERED"). His eyes
          drift to the article, and something suddenly occurs to him -
          FLASH ON: THE PHOTOGRAPH IN "WYATT'S.BROWNSTONE" of Wyatt
          with bleached hair styled in a loose spike --
          IN THE ARTICLE'S PHOTO, Holloway sports an almost identical
          look.-His eyes move to the date of the article: "May 17."

          CUT TO:
          Jonathan on the phone, a business card in hand.

          OFFICE ON PHONE
          Boston Police, how can I direct your call?
          Jonathan reads off the card Detective Russo had given him:

          JONATHAN
                                                                                                      This is Detective Russo, NYPD, badge
          number 274655.                                                                                                                     1   just need some
                                                                         information from you guys.
          Jonathan sits in suspense, awaiting a response. Finally -

          OFFICER ON PHONE
          Well?

          JONATHAN
          You've got a case, a missing person named
          William Bansky. I'm wondering if you can
          tell me the date he was last seen?

          OFFICER ON PHONE
          Hold a sec.

          (PAUSE)
          Bansky, William, last seen... May                              17.
          Jonathan's eyes return to the Holloway article                 ("BODY OF
          MISSING BUSINESSMAN FINALLY DISCOVERED:), dated "May 17."

          OFFICER ON PHONE
          Anything else you-

          (CONTINUED)

          

          

          

          

          97

          CONTINUED:

          JONATHAN
          That's it, thanks.
          Jonathan quickly hangs up, equally encouraged and chilled by
          the connection he's made.
          TILT DOWN to a post-it, on which he's scribbled: "BOSE =
          BANSKY = HOLLOWAY." To this he adds: "= JAMES GETZ"

          INT. CHASE MANHATTAN BANK - MORNING

          A line of customers stare mutely up at plasma tv screens
          above - except for Jonathan, unshaven, suit wrinkled, face
          all anxious tension.

          SAME - TELLER'S WINDOW - MOMENTS LATER
          Jonathan slides his passport through the window's metal tray,
          to the TELLER                                                   (40s) working behind three inches of glass. The
          Teller examines the passport, then slides it back.

          TELLER
          M'kay, if you'll just swipe your ATM card.
          She gestures to a small punch pad to Jonathan's right.

          JONATHAN
          Actually, my card was stolen.

          TELLER
          Mmm'kay... do you see those two taupe
          colored telephones over there? Just pick
          up either one and you'll be connected with
          our automated system.

          JONATHAN
          The thing is, I already used your
          automated system and...look, this
          passport's all I have left, it's the only
          thing proves who I am and now I'm down to
          like my last ten dollars here, so...
          Jonathan's cool is cracking. The Teller wrinkles her brow.

          TELLER
          Mm'kay, if you press "0" on either phone?
          A customer service representative will -

          JONATHAN
          Give me a goddamn break.

          (CONTINUED)

          

          

          

          

          98.

          CONTINUED:

          TELLER
          Sir, there's no need for profanity.

          JONATHAN
          (loses it)
          Oh no? In the last few days I've seen a
          woman I thought might be dead turn up
          alive and a woman I assumed was alive turn
          up dead, both at the hands of a guy about
          whom everything I know is apparently a
          lie. I've had my building set on fire, my
          neighbor nearly killed, and my apartment
          ransacked. So please forgive my language,
          but it's been one fuck of a week.
          The stunned Teller stares back at him slack-jawed.

          JONATHAN
          Look, I know I'm just another face on this
          side of the glass, I get that. But I'm
          begging you, as one human being to
          another, please let me into your life just
          long enough to help me out here. Please.
          The Teller stares back at him a beat - and nods.
          She starts quickly typing into her monitor, finally looks up.

          TELLER
          I'm showing that card as having been sent
          out four days ago. It definitely went out.
          We even heeded the change of address
          request.

          JONATHAN
          Well, like I                                                    -- wait, what request?

          TELLER
          Apparently you informed the bank of an
          address change?
          She swivels her monitor so he can see.

          TELLER
          Mr. Jonathan Messer,                                            140                      E.   91st Street -

          EXT. BANK - DAY

          AS SEEN FROM THE CONVEX MIRROR OF AN ATM MACHINE: we watch
          from an ANONYMOUS POV Jonathan racing out of the bank.

          

          

          

          

          99.

          EXT.                                                                  91ST STREET

                                                                                                                                          Jonathan rounds the corner at a jog, checking awning numbers,
                                                                                              finally halts on one: "140             E.   91st."

          INT.                                                            140   E.            91ST                         - LOBBY

          We recognize the DOORMAN in the midst of fielding a complaint
          by an ELDERLY TENANT with a yappy dog. Jonathan hurries to
          the elevators, unnoticed.

          INT.                                                            140   E.            91ST -- HALLWAY

          Jonathan emerges from an elevator. The last door on the left.
          Jonathan tries the doorknob. It's locked. Jonathan checks
          under the mat. Sure enough, there's a key.

          INT. THE APARTMENT

          Utterly bare. Empty walls, expensive views, polished wood
          floors. Jonathan takes a wary step inside, leaning to peer
          around the corners.
          He paces cautiously through the living room. The dining area.
          The glistening chrome and granite kitchen.

          THE BEDROOM
          A room as empty as the others - with the exception of a small
          pile of envelopes beneath a window in a far corner. Jonathan
          slowly nears...to find it's a stack of mail. He picks up an
          envelope -- O.S. the CREAK of a door hinge.
          Jonathan whips around -- no one behind him. He steps out of
          the room to investigate.
          We remain alone in the empty room an excruciating beat...
          .until Jonathan finally steps back in, only slightly at
          ease. He returns to the stack of mail, picks up an envelope.
          He reads: "Mr. Jonathan Messer 140 E.                           91    St..."
          Eyes wide, he hurriedly flips through the rest of the mail -
          all addressed to him at this address.
          Jonathan still staring at this mail in disbelief, when he
          finds at the bottom of the stack: another PHOTOGRAPH. It's of
          "S" standing fearfully on the subwa latform across the
          track from Jonathan. And suddenly Jonathan is gripped with
          fear, unaware of a blurred, nearing intruder...

          WYATT
          Long time no see.

          (CONTINUED)

          

          

          

          

          100.

          CONTINUED:
          Jonathan spins round, Wyatt's standing there with a gun. It's
          pointing directly at Jonathan.

          WYATT
          I have some instructions. Follow them and
          I might let her live.

          JONATHAN
          Where is she?

          WYATT
          This should've been simpler. I frame you,
          you panic...

          JONATHAN
          Where is she?!
          A terrifying silence - Jonathan erupts:

          JONATHAN
          Goddamn it tell me what you did to--

          WYATT
          Press pause on the questions and listen.
          The brokerage firm you're auditing is
          Clute Nichols. As a standard part of that
          audit you're temporarily privy to all
          client accounts as well as access codes
          required for transactions. At                                   11                              p.m.
          tonight you're going to skim from those
          accounts a total of                                             $200 million and
          transfer that money to an account I've
          established overseas.

          JONATHAN
          I can't                                                         - I have no idea how to even-

          WYATT
          I know you don't. But I do. Your passport.
          (brandishes the gun)
          Now, please.
          Jonathan takes it out and tosses it to him. Wyatt catches it.
          And hands Jonathan an ENVELOPE.

          WYATT
          It's all in there.                                              11                              pm tonight. Their
                                                                          banks will just be opening.

          JONATHAN
          It won't work - they screen for stuff like
          this. It'll be discovered eventually.

          (CONTINUED)

          

          

          

          

          101.

          CONTINUED:

          WYATT
          I can live with eventually. I always have.

          JONATHAN
          This account overseas                                   - it's in my name,
          isn't it?
          A moment of tense silence.
          Jonathan just stares back hard a quiet beat; then:

          JONATHAN
          Why'd you pick me?
          Wyatt raises a brow, vaguely amused the question.

          WYATT
          You answered the ad, Jonathan.
          (off Jonathan's confusion)
          "Feeling all alone out there? Have a great
          job, fine personality and good looks to
          match, but no time to.meet that special
          someone? Help is just a phone call away -"

          JONATHAN
          The ad - in Money magazine...

          WYATT

          (GRINS)
          Told you to block that Caller ID. Of
          course I had to scope out a whole lot of
          losers before I hit the jackpot. After
          all, there only so many Jonathan Messers
          out there.

          (BEAT)
          If you screw with me, well - you saw what
          I did to that Blonde? That's kindness
          compared to what I'll do to your little
          .girlfriend. You won't even recognize her
          when I'm through.

          JONATHAN
          Why should I believe you? Everything you
          told me was lies.

          WYATT
          Not lies, Jonathan. Foreplay. And now...
          now you're fucked.
          He grins his 'charming' grin and starts for the door.

          (CONTINUED)

          

          

          

          

          102.

          CONTINUED:

          WYATT
          Remember: be smart. I'll be watching you.
          And... feel free to take a shower, looks
          like you could do with one.
          The front door slams. Jonathan just stands there, staring
          shell-shocked at the envelope.

          EXT. STREET - MINUTES LATER

          Jonathan comes out the building putting the envelope in his
          suit pocket.
          As he crosses the street a CAR HORN BLARES - WHIP AROUND to
          find a car barrelling at us. Jonathan dives out of the way an
          instant before the car would have hit him.
          Face first in the gutter, scraped and gasping, Jonathan peers
          up to see Wyatt's BLACK BMW speeding away.

          CUT TO:

          INT. WORTH & BERMAN - AN OFFICE - LATE DAY

          A stiff guy in his late-30s is working in his office when an
          ASSISTANT enters.

          ASSISTANT
          Mr. Peterson, one of the audit managers is
          here to see you. Jonathan Messer?

          PETERSON

          (PUZZLED)
          Really? Well - okay, bring him back.
          We follow the assistant out the door, read the name
          stencilled on the glass "CHET PETERSON, SENIOR MANAGER."

          INT. WORTH & BERMAN - LOBBY

          Through a set of frosted glass doors we see Peterson's
          Assistant approach a RECEPTIONIST, who gestures across the
          lobby. The Assistant approaches the sofas, where Jonathan is
          seated. She addresses him. He rises.

          INT. WORTH & BERMAN - PETERSON'S OFFICE

          Chet Peterson looks up as his door is opened -

          PETERSON
          Jonathan, good to see you again!

          (CONTINUED)

          

          

          

          

          103.

          CONTINUED:
          - reverse angle to find a YOUNG MAN we've never seen before.

          YOUNG MAN
          Actually, I was just looking for Fred
          Whipple's office?

          PETERSON

          (AWKWARDLY)
          Next door down.
          The Young Man ducks out, and now Peterson sees his Assistant
          approaching, Jonathan a few paces behind her, adjusting his
          glasses. Peterson reloads his greeting:

          PETERSON
          Jonathan, good to see you again!

          INT. PETERSON'S OFFICE - MOMENTS LATER

          Close on Chet Peterson, gravely peering across his desk.

          PETERSON
          Well, I have to say, your resignation
          comes as something of a surprise. Most of
          our auditors seem to like the freedom the
          position affords.

          (CONCERNED)
          You'll stay on to finish up at Clute
          Nichols, of course?
          Track around Peterson to see Jonathan seated across from him,
          lifting his head to reply - and doing so revealing it's

          "
          Wyatt," wearing one of Jonathan's suits, hair colored and
          styled like Jonathan's, even sporting identical eyeglasses.
          He offers an awkward half-smile, just as Jonathan would.

          WYATT
          Absolutely.

          PETERSON
          So do you have any plans?

          WYATT
          Yes. I'm going to travel. I want to see
          the world.
          Peterson nods benignly.

          CUT TO:

          

          

          

          

          104.

          A SERIES OF QUICK DISSOLVES/ STOP-MOTION PHOTOGRAPHY:
          Jonathan sitting in the conference room of Clute Nichols,
          lettered-boxed by the glass wall through which he watches
          employees pass in fewer and fewer numbers. Throughout this,
          Jonathan's blank stare of harrowed tension never changes.

          LAST DISSOLVE TO:

          EXT. MANHATTAN SKYLINE - NIGHT

          Abeautiful shot of the cityscape - accompanied by the sound
          of fingers clacking on keys...

          INT. CLUTE NICHOLS - CONFERENCE ROOM

          Jonathan seated at the far end of the empty table, typing on
          his laptop. Beside him is the envelope Wyatt gave him, and
          its sheet of paper on which instructions are typed.
          Jonathan peers at the laptop clock. It reads                            10:58   PM.
          His eyes travel in a tense triangle from instructions, to
          laptop screen, to glass wall - fingers typing all the while.
          He finally reaches a prompt: BIENVENUE. POUR ANGLAIS, CBOISEZ P2.
          We glimpse a small. logo with a SWISS FLAG.
          Jonathan presses F2. Reads some more, types some more.
          Finally we read: ENTER SUB-ACCOUNT NUMBER.
          Jonathan enters more per Wyatt's typed instructions. Reads.

          ENTER DESIGNATED ACCOUNT NUMBER:
          Jonathan copies the numbers in from the instructions. Waits.

          ENTER SENDER'S 8 DIGIT ACCESS CODE. REQUIRED TO COMPLETE TRANSACTION.
          His eyes travel to a page atop a Clute Nichols file. We can
          glimpse an 8 digit code circled in pencil. Jonathan stares at
          the cursor.on the laptop screen, the icon blinking
          petulantly. He's about to type...
          And then he halts. His eyes drifting to HIS CELL PHONE,
          resting in its charger.
          TIGHTER ON JONATHAN. His eyes fixed on the cell phone, an
          idea forming in his mind --
          RING!! of the cell phone suddenly jars us. RING... Jonathan
          hesitates, then picks up.

          WYATT (O.S.)
          What's taking you?

          (CONTINUED)

          

          

          

          

          105

          CONTINUED:
          Jonathan says nothing. We can hear Wyatt getting tenser:

          WYATT (O.S.)
          I said what's taking you?

          JONATHAN
          I wondered if you were monitoring this.

          WYATT (O.S.)
          Don't worry about what I'm doing. Just
          finish the transaction. Now.

          JONATHAN
          Not until I see her.
          (off Wyatt's silence)
          The transfer's impossible without an
          access code. And there's no way I'm
          entering it until I'm sure that she's
          safe. So you tell me. How do we do that?
          Wyatt still remains unnervingly silent. We tighten on
          Jonathan, holding his breath, any plan he's concocting
          clearly hinging on this...

          WYATT (0..S.)
          (low, frustrated)
          You have a wireless connection?
          Jonathan lets out a brief exhalation.

          SAME - MOMENTS LATER
          Jonathan snaps his laptop lid shut, packs it in his gym bag,
          in which we glimpse the photo he's kept with him of "S"
          smiling up at him.
          He then turns to his cell phone once more. He picks it up,
          scrolls the menu, punches a number.

          RING... RING... RING... RING-

          AWOMAN'S VOICE                                                 (FROM PHONE)
          Hello?

          JONATHAN

          (BEAT)
          Are you free tonight?
          A sudden, jarring SOUND ADVANCE OF MUSIC as we

          CUT TO:

          

          

          

          

          106.

          EXT. THE PLAZA HOTEL - ROOFTOP - LATE NIGHT

          An elaborate and intensely packed WEDDING PARTY is being held
          up here beneath the glow of heat lamps, the music and crowd
          noise unspeakably loud. We travel through the din, past
          hundreds of well-heeled partiers, mainly young and wealthy.

          EXT. PLAZA HOTEL - LATE NIGHT

          The party noise is even slightly audible                        30   stories below,
          where we find Jonathan carrying his bag as he enters...

          INT. THE PLAZA HOTEL - LOBBY

          Jonathan surveys the busy lobby. GUESTS mulling. STAFF
          bustling. And, of course, the "ELOISE" PORTRAIT.

          WYATT (O.S.)'
          May I ask you a personal question?
          Jonathan spins around, stares frostily into Wyatt's magnetic
          smile. With Wyatt's new look, they could be brothers.
          Except Wyatt looks clean and crisp, Jonathan dishevelled and
          tense. Wyatt eyes the bag in Jonathan's hand.

          JONATHAN
          Where is she?

          WYATT
          In one of the rooms. Safe.
          (a thin smile)
          I got us a table.

          INT. LOBBY BAR - MOMENTS LATER

          A WAITRESS delivers a pair of drinks to where Jonathan and
          Wyatt are seated.

          WAITRESS
          Two Macallan 25 year. Enjoy.
          The Waitress leaves. Wyatt raises his glass.

          WYATT
          To friendship.
          Jonathan just stares back at Wyatt.

          JONATHAN
          Bansky's dead, isn't he?

          (CONTINUED)

          

          

          

          

          107.

          CONTINUED:

          WYATT
          He was dead when I met him. Just like you.
          The rest was a mere formality.
          (re: the laptop)
          Of course he didn't have your bargaining
          chip. Speaking of which...

          JONATHAN
          Not until I see her. She's the only reason
          I'm here and not at the police.

          WYATT
          I told you, she's in a room. Alive.

          JONATHAN
          Give me the key then.
          Wyatt considers this, then takes out an electronic key card
          and slides it across the table. Of course there's nothing on
          the key card to indicate a room number.

          WYATT
          As soon as you're done, I'll tell you the
          room number.

          JONATHAN
          Not good enough.
          Wyatt reaches for the key card; as he does we glimpse a
          handgun concealed by his suit.

          JONATHAN
          You won't let her live. You killed all the
          others, you'll have to kill us too.

          WYATT
          Hey, I like you, okay? You'll be fine.

          JONATHAN
          (scoffs, repulsed)
          You like me.

          WYATT
          I do, Jonathan. In my way. After all,
          you're my creation. I'm the one who gave
          you life.

          JONATHAN
          Don't you get it? It was her, not you!
          She's the one. She gave me life! You can
          steal my identity, but not what's here.

          (CONTINUED)

          

          

          

          

          108.

          CONTINUED:
          He puts his hand on his heart. Wyatt is startled by
          Jonathan's passionate outburst.

          WYATT
          Yeah, well, I'm weeping big wet ones for
          you both. Now, let's get on with it.

          (BEAT)
          I don't have all night, Jonathan.
          Jonathan reluctantly nods his assent. Wyatt lets go of the
          key card. Jonathan opens his bag...

          SAME - MOMENTS LATER
          CLOSE ON JONATHAN'S LAPTOP SCREEN as it defuzzes from sleep.
          The screen as it was, cursor blinking by the request for an
          access code.
          Wyatt watches intensely as Jonathan starts to type -- then
          pauses, looking confused.
          Jonathan quickly reaches around. to the back of his laptop,
          feels an empty jack - and suddenly turns pale.

          WYATT
          What is it?

          JONATHAN
          My wireless modem - I must have left it in
          the conference room. I can't get back
          online.
          Wyatt glares at Jonathan, seething.

          WYATT
          You stupid fuck.

          JONATHAN
          I can go back there and-

          WYATT
          No.
          (thinks, then abruptly)
          Get up.

          INT. PLAZA HOTEL - LOBBY - MOMENTS LATER

          Wyatt and Jonathan crossing the lobby; they arrive at
          HOTEL GUEST BUSINESS CENTER, partitioned by a wall of glass.
          Jonathan and Wyatt stand on the other side, peering in.

          (CONTINUED)

          

          

          

          

          109.

          CONTINUED:

          JONATHAN
          They don't let you use your own computer.
          Wyatt takes out a hundred dollar bill, gives it to Jonathan.

          WYATT
          They will now.
          Jonathan takes the hundred, and heads into

          INT. HOTEL.BUSINESS CENTER

          Empty at this hour, with the exception of a sleepy-looking
          EMPLOYEE. As Jonathan steps toward the desk, he takes out
          the hotel key card, his eyes travelling up to a clock
          overhead:                                                       11:29.

          INT. LOBBY                                                      (OUTSIDE THE BUSINESS CENTER)

          Wyatt eyes Jonathan on the other side of the glass.
          INSERT WYATT'S POV: Jonathan explaining himself to the clerk.
          Satisfied, Wyatt finds a comfortable chair with a direct view
          of the business center's glass.
          Across the lobby, an attractive AUBURN-HAIRED WOMAN in
          business attire glances over at him.

          INT. BUSINESS CENTER

          Jonathan is subtly slipping the                                 $100                            bill to the Employee.

          EMPLOYEE
          You forgot your. own room number?

          JONATHAN
          I just checked in and it's been a hectic
          day. Look at me!
          The Employee looks uneasy - something about the ill-concealed
          tension in Jonathan's eyes.

          EMPLOYEE
          You could just ask at the front desk. I'm
          sure they can-

          JONATHAN
          I really don't have time, okay?
          Jonathan presses the bill into the Employee's palm, peers up
          at the clock again: the big hand clicks over to 11:30.

          (CONTINUED)

          

          

          

          

          110.

          CONTINUED:

          BACK TO WYATT IN THE LOBBY
          Still eyeing Jonathan. He sees the Employee hesitate, then
          accept the money.
          Wyatt looks relieved -- when his view is abruptly blocked by
          the Auburn-Haired Woman.

          AUBURN HAIR
          Pardon me, but may I ask you something -
          personal?
          Wyatt quickly looks up at her, momentarily confused.

          AUBURN HAIR
          Are you waiting for me?

          BACK TO JONATHAN IN BUSINESS CENTER
          The Employee finishes swiping his card through a scanner.

          EMPLOYEE
          Room 907.

          JONATHAN
          907                                                             - thanks.

          BACK TO WYATT IN THE LOBBY
          His view of Jonathan still obscured by Auburn Hair.

          WYATT
          What the hell are you --
          And then he sees Auburn Hair glance unsurely at the Eloise
          portrait, then at her cell phone's clock -- and now realizes:

          WYATT
          Motherfucker!
          He jumps up, shoves Auburn Hair aside - eyes darting to the
          Business Center to find Jonathan no longer behind the glass,
          just his laptop resting on the counter where he'd been
          standing.

          INT. HOTEL ELEVATOR

          Jonathan rushes into an elevator car just as it's about to
          close. He turns to find a YOUNG FAMILY riding up with him.
          They've pressed floor 6. He presses floor                       9.

          

          

          

          

          INT. HOTEL LOBBY

          Wyatt arrives at the elevators - none are ready to open. He
          furiously presses the call button, his hand hovering by his
          concealed gun.

          INT.                                                            6TH FLOOR HALLWAY - ELEVATORS

          Ding as the elevator doors open and the family step out.
          Jonathan is left alone, impatiently waiting for the doors to
          close -
          - when his eyes land on something in the hallway: the fire
          alarm. He suddenly reaches out to stop the elevator door just
          as it's about to close.

          INT.                                                            6TH FLOOR HALLWAY

                                                                                                          Wide shot of an empty hotel hallway -- as suddenly the fire
          alarm blares to life. Pan                                                                                                                                     180   to find Jonathan dipping into
          an emergency exit stairwell.

          INT. PLAZA HOTEL - LOBBY

          Wyatt is just about to step onto an elevator, when a crowd of
          wedding guests also start to pile in. Furious, he abandons
          the elevators for the nearest stairs.

          INT.                                                            7TH FLOOR HALLWAY

          GUESTS spilling out of rooms met by the blaring alarm...

          INT.                                                            8TH FLOOR HALLWAY

          . as Jonathan smashes the glass of yet another fire alarm.

          INT. LOBBY - SECURITY DESK

          Surveillance monitors show guests in the various hallways and
          stairwells rushing in confusion at all angles...

          SECURITY                                                        (O.S.)
          We've got alarms on two - wait, three
          floors                                                          -

          EXT. HOTEL ROOFTOP

          Only the party 30 stories above remains oblivious: music
          still blasting, the upscale throngs still partying.

          

          

          

          

          112.

          INT. STAIRWELL

          Wyatt is bounding up the stairs, rounding the Fifth Floor -
          - when he hears the door overhead bang open, and like a tidal
          wave a flood of guests fill the stairwell.
          Wyatt presses against the crush of bodies, pushing his way up
          the stairwell.

          INT.                                                            9TH FLOOR - HALLWAY

                                                                          Close on a door marked by a placard:   9th floor -- as it's
          banged open by Jonathan's shoulder.
          The sound of the fire alarm is fainter up here as Jonathan
          races down the carpeted corridor, room numbers blurring past
          in sporadic fits                                                -                                      925...921...           918...   913...   910...
          Jonathan finally lurches to a halt before room 907.
          He takes out his key card, about to slide it in the slot --
          when a hand grabs his forearm! He spins in panic to --
          - a CLEANING WOMAN. She says something.in Vietnamese,
          indicating the ringing alarms.

          JONATHAN
          Fire, I know - I'll be out in a minute.
          The scared Cleaning Woman nods and hurries off as Jonathan
          quickly slides the key in the slot. The light blinks green.
          He jerks the door handle and throws open the door to find -

          INT. ROOM 907

          - nothing. The room is freshly made up, no sign of life other
          than A PORNO FILM BLARING from the TV set on Pay-Per-View.
          Jonathan's heart is pounding - where is she? He searches
          every corner, the bathroom, the closets. Everywhere.
          The sterile room taunts him - the uncreased bedspread, the
          neat arrangement of the complimentary stationary, the
          incessant moaning coming from the porn on the TV set --
          Jonathan suddenly erupts, grips the TV and shoves it off its
          ledge. It hits the floor with a crash, and sudden silence.
          Jonathan rubs his brow, heaving in desperation -- when his
          eyes land on the sleek, dark piece on which the TV was

          (CONTINUED)

          

          

          

          

          113.

          CONTINUED:
          resting; it's a dense, rectangular block - only when Jonathan
          taps it, he realizes: it's hollow.
          He immediately seizes it, yanks it from the wall...
          And there she is, lying face down in a lifeless heap: "S".
          Panicked, Jonathan rushes to her, turns her over. She looks
          semi-conscious, hands and mouth duct-taped. Jonathan
          hurriedly removes the tape, gently shakes her, terrified by
          how lifeless she appears -
          - when her eyes widen, focus on his face. Before he can say
          anything, she throws her arms around his neck, presses her
          face to his chest.

          „S.,
          (whispers gratefully)
          You're alive.
          He's struck by these words, and nods, holding her face in his
          hands as he kisses her urgently and gratefully.

          JONATHAN
          What do you say we stick together from now
          on?

          JA S"
          I'd like that.

          INT. EMERGENCY STAIRWELL

          A rush of guests hurriedly descending the staircase, a
          seemingly endless stream of densely packed faces.
          Close on Wyatt jostled within the flow of the wealthy guests -
          as he's the only one heading up. He passes the 6th floor...

          INT.                                                             9TH FLOOR

          Jonathan and "S" hurrying down the hall - Jonathan torn
          between a choice of two stairwells. His eyes dart from one to
          another                                                          - he finally gambles on the one to the right.

          INT. EMERGENCY STAIRWELL

          Wyatt forcing his way upstream with menacing determination;
          his gaze is wilder, more and more irritated by the descending
          mob of successful, well-dressed guests he's pushing against --
          - when he halts, peering up through the railings' lozenge-
          shaped opening, past a collection of hands and profiles...
          .to Jonathan and "S" some three stories above.

          (CONTINUED)

          

          

          

          

          114

          CONTINUED:
          TIGHT ON WYATT. As yet unnoticed by Jonathan, he remains
          halted on a stair, bodies squeezing past him.
          TIGHTER ON HIS EYES. That predatory gleam.
          EVEN TIGHTER ON HIS GUN, tucked carefully at his side.
          CLOSE ON JONATHAN AND "S" three stories above, starting to
          descend -- when Jonathan notices the hint of disruption in the
          flow of bodies below.
          Immediately wary, he leans over the railing, but can't get a
          good look. He grips the railing, leans further over... and
          his eyes find Wyatt's staring right back up at him --

          JONATHAN
          He's down there! I saw him -

          11 SIP
          Oh God -

          JONATHAN
          Up - we've got to go up!
          Clutching her arm, Jonathan and "S" turn back up, against the
          flow of traffic. Stories above, less and less people are
          evacuating.
          ANGLE ON WYATT as he presses upward, his steely gaze even
          more rapacious.
          The crowd is thinning as Jonathan and "S" race upward as
          well.
          INSERT JONATHAN'S POV: a shaky, dizzying blur as they race
          higher and higher...
          INSERT WYATT'S POV: from below but gaining on them, Jonathan
          and "S". appearing and disappearing with each twist and turn
          of the staircase...
          CLOSE ON JONATHAN AND "S", desperately racing upwards...
          CLOSE ON WYATT bounding the stairs, footsteps echoing, the
          staircase now empty and quiet, save for the footfall of
          Jonathan and "S"                                                 - no more than three floors above Wyatt
          now...
          Wyatt slows his pace, leans into the railing, takes aim...
          CLOSE ON JONATHAN AND "S" still hurrying up - when a shot
          rings out, a jolting echo clanging through the stairwell, the

          (CONTINUED)

          

          

          

          

          115.

          CONTINUED:
          bullet missing them by inches. "S" screams, Jonathan tugs her
          with him                                                         -
          - when a second shot rings out, the bullet punching a dent
          into the underside of the stairs just overhead.
          ON WYATT, realizing he needs a cleaner shot, taking the
          stairs even harder in pursuit, all merciless intensity.

          EXT. HOTEL ROOFTOP - MOMENTS LATER

          The party is still at full throttle. Apparently no one has
          yet told them of the alarms.
          CLOSE ON A STAIRWELL DOOR MARKED "EMERGENCY EXIT" as it
          suddenly bangs open and Jonathan and "S" spill out.
          They pause a moment - thrown by the sight of all the wealthy,
          beautiful faces, laughing, dancing.

          JONATHAN
          Come on!
          She grabs his hand, and they waste no time disappearing into
          the mass of bodies.
          They keep moving. Shoulder to shoulder within the swell of
          partiers, they fit right in - instantly anonymous                - though
          not as smartly attired.
          BACK TO THE STAIRWELL DOOR as Wyatt enters the party,
          scanning the dense crowd, all senses alert.
          INSERT WYATT'S POV: just a mass of successful, attractive,
          partying young men and women. There's no way to pick Jonathan
          and "S" out.
          Wyatt's smirk fades to an icy glare as he stalks the
          periphery.
          WITHIN THE CROWD "S" clutches Jonathan's hand, their heads
          ducked low as they press forward...
          CLOSE ON WYATT, frustration gnashing at him as he quickens
          his pace, the idiotic enthusiasm of the crowd enraging him,
          sweat beading on his face                                        --
          -- when suddenly the music stops. Wyatt frowns., eyes darting.
          CLOSE ON JONATHAN AND "S" glancing around in confusion -

          SECURITY                                                         (DISTANT U.S.)
          Ladies and Gentlemen, we need everyone to
          evacuate the hotel. This way please.

          (CONTINUED)

          

          

          

          

          CONTINUED:
          The crowd noise resumes, as the throngs begrudgingly start
          for the exits.
          ON JONATHAN AND "S," doing their best to stay concealed
          within the exiting crowd.
          Angle on Wyatt pushing his way through the crush, shoving
          people aside, trying to find them -
          - when he suddenly stops. He has an idea. He takes out his
          cell phone.
          BACK TO JONATHAN AND "5" within the crowd -
          - when Jonathan's cell phone RINGS.
          CLOSE ON JONATHAN as his eyes widen in panic.
          RING... He quickly fumbles for it, tries to turn it off        -
          - but it's too late... WHIP ACROSS THE CROWD to Wyatt,
          grinning wider. He's spotted them. In an instant he is bee-
          lining through the packed suits.
          WIDE SHOT OF THE ROOFTOP as the throngs are clearing out.
          Jonathan grabs "S" as they duck, racing across the dark,
          rooftop, looking for a place to hide.
          They take cover behind a large venting duct near the ledge -
          gasping to catch their breath... Stepping back, "S's" foot
          clinks against something: a stray iron railing post.
          She reaches. down for it, starts to lift it -
          - when Wyatt's hand darts in and grasps the other end.
          She looks up in terror - when Wyatt punches her violently,
          knocking her to the ground.
          Jonathan rushes to her - only to be blocked by Wyatt,
          gripping the iron rod tight.

          WYATT
          Nice try back there, Jonathan. Looks like
          you picked up a thing or two from me.
          Jonathan tries to strike him - when with a lightning quick
          movement Wyatt whips the iron rod through the air, cracking
          Jonathan across the face.

          WYATT
          Killer instinct, pall

          (CONTINUED)

          

          

          

          

          117.

          CONTINUED:
          Jonathan crumples, his glasses knocked to the ground.
          CLOSE ON WYATT as he grips the iron rod like a tennis
          racquet, steps into position                                   -
          - and brings the rod down on Jonathan with ruthless tennis
          strokes: Backhand! Bam! Forehand! Bam! Slice! Bam!
          Jonathan can barely peer up, bloody and beaten. He hears
          Wyatt drop the iron rod...


          JONATHAN'S POV: Wyatt's blurry figure hovering above suddenly
          swoops in on us  
                                              -
          - as Wyatt grabs Jonathan by the throat, hefts him up and
          yanks him back to the roof's concrete ledge. Jonathan fights
          to struggle free - when Wyatt jams the gun under his chin.
          Jonathan freezes.

          JONATHAN

          (GASPING)
          They'll... catch... you...

          WYATT
          Me? No - no, I'm just a face in the crowd.
          I'm a tourist, just passing through.
          JONATHAN'S POV: Wyatt's face presses closer, now almost in
          focus as he presses Jonathan's torso back over the ledge -

          WYATT
          As for you, you had your fun...
          Wyatt presses closer, crushing Jonathan's back to the edge.

          WYATT
          Now we're going to go back down...
          INSERT JONATHAN'S HAND reaching into Wyatt's pocket, his
          fingers fumbling for the cell phone                            (Jonathan's old phone).

          WYATT
          We're going to get that laptop...
          CLOSE ON JONATHAN'S FINGERS blindly prodding - he has the
          phone now - his fingers feel for the antenna...

          WYATT
          And we're going to finish this, once and
          for -
          - when with all his strength Jonathan jams the cell phone up
          into Wyatt's eye, the antenna punching into the retina.

          (CONTINUED)

          

          

          

          

          118

          CONTINUED:
          Wyatt's grasp slips from Jonathan's collar as he stumbles
          back, cupping a hand to his wound as he swings his gun toward
          Jonathan -
          - when with every ounce of strength Jonathan charges, Wyatt's
          shot missing him as Jonathan slams him into the ledge wall,
          seizing the momentum to turn himself -
          - as Wyatt falls right over the edge of the hotel rooftop...

          EXT. THE PLAZA HOTEL                                             (WIDE SHOT)

          .Wyatt's body plummeting down the magnificent facade,
          vanishing into the vastness of the city below.

          EXT. ROOFTOP

          CLOSE ON JONATHAN as he crawls to the ledge, peers down into
          the darkness. He exhales, then turns back to "S"                 -
          - to find she's right beside him, grateful tears in her eye.
          She leans into him, and he holds her tight, the two of them
          embraced on the precipice as we

          DISSOLVE TO:

          EXT. PLAZA HOTEL - STREET LEVEL - SHORT TIME LATER

          Strobed reds and blues of police and fire.trucks amassed,
          trying to control the throngs of guests and pedestrians
          blocking our view of the body they're all gawking at.
          We travel through the confusion until we find JONATHAN AND
          "S" sitting side by side on the sidewalk curb, each propped
          against the other.
          The 'shock of it all is beginning to fade. He reaches into his
          pocket and hands her 'Duck on Bike'.

          JONATHAN
          Yours, I believe.

          01S.11
          Thanks, Frank.
          She winds the toy up. They watch it make it's funny way down
          the sidewalk.

          JONATHAN
          Can I ask you something personal?
          She nods.

          (CONTINUED)

          

          

          

          

          119.

          CONTINUED:

          JONATHAN
          What's your name?
          "S" considers the request, then smiles gently, leans in close
          and whispers the answer in his ear. Jonathan gazes at her a
          moment - whatever her name is, it must be perfect.

          JONATHAN
          So what now?
          She smiles up at him.

          S
          Well... are you free tonight?
          On Jonathan: treasuring these moments. He is truly free --
          perhaps for the first time in his life.

          JONATHAN
          Yes. I'm free.
          They gaze at each other.
          We leave Jonathan and "S" to their privacy, pulling back as
          they continue talking, continuing away until we're

          THROUGH A WINDOW AND INSIDE THE HOTEL ITSELF
          the window itself now a frame, letter-boxing the scene,
          people passing like fish in their tank... except for Jonathan
          and S, seated center-frame, two small figures side by side,
          face to face, talking intimately as we.

          FADE OUT.


                                      THE END