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

Summary: Terry Benedict locates all eleven members of Danny Ocean's crew, demanding they return the $160 million they stole from his casinos plus $38 million interest. Short by half, the group schemes to stage another heist in Europe to avoid problems with U.S. authorities. They are tipped off by an informant named Matsui about the location of the first stock certificate ever. After a complex series of schemes, they find the document has already been stolen by the "Night Fox", another master thief. Europol Detective Isabel Lahiri is called in to investigate the theft and realizes that she gave Rusty the idea of how to solve a complication of the heist with a description of a similar burglary earlier during their relationship. Surprising the group at their accommodation, she warns them they cannot beat the Night Fox or his mentor, the mysterious master-thief "LeMarc", both of whom excel in practicing the "long-con". She has been hunting both for years. Danny and his gang discover the Night Fox is François Toulour, a wealthy French baron who has a villa on Lake Como. Toulour invites Danny to his villa and reveals that he had hired Matsui to inform the crew about the certificate in order to arrange the meeting with Danny. Toulour is upset that LeMarc did not describe him as the best thief in the world and challenges Danny to steal the Fabergé Imperial Coronation Egg. If Danny and his crew win, Toulour will pay off the debt to Benedict. Danny and his gang begin to plan an elaborate heist to swap the egg for a holographic recreation, but the engineer hired by the group accidentally tips off Lahiri to their presence, and she captures all of the crew except Linus, Tarr, Turk, and Saul. Linus comes up with a second plan involving Danny's wife, Tess, posing as a pregnant Julia Roberts in order to get close to the Egg and swap it. They are foiled by Lahiri and a coincidentally present Bruce Willis, and the rest of the group are captured. Lahiri is told that they are to be extradited to the United States. Linus is chosen first to be interrogated by the FBI agent assigned to collect them. It turns out that she is his mother, who organizes the release of the whole gang. She points out to Lahiri that Lahiri will face only retribution for forging a signature on a Europol form to obtain the necessary arrest warrants for Ocean's gang. Some time later, Danny and Tess return to Toulour's estate where he reveals his glee at their failure. Toulour explains he stole the egg at night using his agility and dancing skills to evade its heavy security. Toulour's celebration is short-lived when Danny reveals that his group stole the real egg while it was in transit to the museum, and Toulour realizes they were tipped off by LeMarc. A flashback reveals that Danny and Rusty had met LeMarc earlier when he revealed his confidence trick intended to humiliate Toulour, and at the same time, to restore to himself the Fabergé egg that he had stolen years ago and had returned following his wife's wishes. Toulour is forced to admit Danny won the bet and gives him the money for the debt. They pay back Benedict and promise not to perform any more heists in his casinos as Toulour is in the background spying on Benedict. Rusty takes Lahiri to a safe house that he claims has been lent to him by LeMarc. She is reunited with her father, who is revealed to be the man she has been pursuing for years: LeMarc.