The Spanish Prisoner and the Winslow Boy
Page 5
ROSS: (Over his shoulder, to the RECEPTIONIST) … thank you, I’ll do that later.
41. INT. KLEIN’S OFFICE, DAY.
KLEIN, TWO CORPORATE LAWYER TYPES, and ROSS, Some papers arrayed in front of them, on a coffee table.
LAWYER TYPE: … revalidation of your agreement with the Company.
ROSS: No, I don’t understand. Why would I have to “revalidate” my agreement?
SECOND LAWYER TYPE: It’s purely a formality.
LAWYER TYPE: Before any announcements, before …
KLEIN: They’re concerned that the Process, Joe …
Pause.
ROSS: … yes …?
KLEIN: That any uncertainty about … about …
LAWYER TYPE: About any outstanding …
SECOND LAWYER TYPE: Look, there are several questions involved here.
ROSS: … yes?
SECOND LAWYER TYPE: Questions of security…
KLEIN walks to the window, exchanges a look with ROSS, meaning, “What can you expect…?”
ROSS: There’s no question of security. There is one copy of the Process, it is in …
SECOND LAWYER TYPE: … any leakages of information … we have a proprietary Process worth over Half a …
ROSS: Well, that’s a legitimate concern, but I don’t see why that means I should sign your … what do you call it…? “Revalidate” my …
LAWYER TYPE: Mr. Ross …
ROSS: I’ll tell you what I will do. (He picks up the agreement.) I will be glad to show this to my lawyer, and then respond to you, and thank you for your time.
He gets up and starts to leave the office.
LAWYER TYPE: Mr. Ross, if I may. I don’t see any reason for you to adopt an attitude which …
ROSS: … thank you for your time.
ROSS starts out of the office. ONE OF THE LAWYERS closes the door.
LAWYER TYPE: … these are legitimate concerns of the Company, Mr. Ross, and, if I may, your “attitude …”
ROSS: My attitude, my attitude, what attitude was that? Did you question my attitude when we developed the Process, did …
KLEIN: … can we all calm down …
ROSS: No, wait a second, no, wait a second, no, wait a second … we were calm, all of a sudden, Mr. Klein, you’re in here with your lawyers…
KLEIN: All I …
ROSS: … all I, all that I am saying is I plan to take steps to insure that I, that I receive … I ask you for assurances, and all I get is you want me to void my contract, I’m going to make sure …
SECOND LAWYER TYPE: … what are you talking about, Mr. Ross, you aren’t talking about, I hope you are not talking about any method which would injure the Company.
Pause.
ROSS: … what do you mean?
SECOND LAWYER TYPE: … any premature … any premature or out-of-school dealings with …
ROSS: … how dare you?
SECOND LAWYER TYPE: … because if we were to find …
ROSS: (To KLEIN) How dare you? How can you hire these people and hide behind their dirty skirts? How dare you, after what I’ve …?
He barges out of the office.
42.
Past LANG, who is wrapped up and unwell looking, opening some medicines in a paper bag.
LANG: … I don’t feel well.
ROSS: … you don’t feel half as bad as me.
LANG: Where you going?
ROSS: I’m going to start looking out for myself.
LANG: We have a five o’clock meet——
ANGLE.
At the receptionist station. ROSS reading the form.
ROSS: (To RECEPTIONIST) Did Mr. Dell leave a number, please …?
RECEPTIONIST: Yes, sir, he …
ROSS: Would you get it for me, please …?
She dials the number.
ROSS: (On the phone) Hello. Hello, Jimmy. Yes. I would very much like to meet with the … the sort of person who we talked about. (Pause) You were right. (Pause) Yes, yes. I would, yes—tonight. Thank … thank you … what? Well, no, we’ll, oh, yes, soon as she’s out of bed. Absolutely. (Pause) Tomorrow. Lunch. The Plaza.
ROSS hangs up the phone.
RECEPTIONIST: The flowers, sir …?
ROSS: Flowers. Oh. Yes. The …
SUSAN strolls down the hall and stops at the receptionist’s area.
SUSAN: Cathy, could you get these out for me, please? (She hands some papers to the RECEPTIONIST.)
ROSS: (To receptionist) No, forget about it. Thank you.
43. INT. BOOKSHOP. DAY.
The photo/autograph of Don Budge at the French Open, playing tennis. It is being wrapped.
ROSS: (VO) One moment.
ANGLE.
ROSS, at the counter of the bookshop, writing on a card.
ANGLE, INS.
The card reads:
Mrs. DaSilva
For your collection. Hope this finds you improved.
Looking forward to making your acquaintance.
J.R.
44. ANGLE. EXT. CENTRAL PARK. DAY.
ROSS, walking. A group of JAPANESE BUSINESSMEN, taking photos of each other.
ANGLE.
ROSS, the wrapped parcel, on the outside of which is written: “Mrs. A. DaSilva, San Remo Apartments.”
ANGLE.
ROSS, walking through the group of BUSINESSMEN.
45. ANGLE. EXT. THE SAN REMO. DAY.
An OLD WOMAN with a walker. She is accompanied by a professional COMPANION.
ROSS moves past her and into the lobby of the San Remo. A white-gloved DOORMAN touches his cap.
DOORMAN: May I help you, sir?
ROSS: I’d like to leave a package, please …?
DOORMAN: Certainly.
In the BG the OLD WOMAN and the COMPANION enter.
ROSS: For Mrs. DaSilva.
DOORMAN: … Mrs. DaSilva … oh. (To the old woman’s COMPANION) … we have a package for Mrs. DaSilva.
The COMPANION takes the package.
ROSS: (To the DOORMAN) I’m sorry. A package for Mrs. Anna DaSilva (Pause) Young Mrs. DaSilva. (Pause)… the tennis player.
DOORMAN: (Pause) This is the only Mrs. DaSilva in the build——… this is Mrs. Anna DaSilva, sir …
Hold.
ROSS looks at the OLD WOMAN.
DISSOLVE TO:
46. INT. ROSS’S OFFICE. DAY.
ROSS, hanging up his coat, wearily slumps into the chair. As he does so, he hears a buzz and looks up.
ANGLE, ROSS’S POV.
SUSAN is seen in the window to the corridor.
ANGLE.
ROSS sighs and buzzes her in. She comes in holding an album and lays it out on his desk.
SUSAN: Well, you see, you see here, you see here, Mr. Ross, I believe you owe me a dollar, sir, a …
ROSS: (Distant. Of album)… I’m sorry …? What…?
SUSAN: (VO. Opening the pages and turning them as she speaks)
ANGLE, INS.
The album, and we see the pictures described.
SUSAN: Here is my Album of My One Day in the Sun. Here are some photos.
We see the airport concession area, and the YOUNG WOMAN with a mole on her cheek, and the JAPANESE in the background.
SUSAN: Here are some lovely photos of Japanese honeymooners. Here is the yacht. Here is my Ticket, good for One Free Return Anytime to Island-of-Jamaica…
We see the card of the FBI agent, PAT MCCUNE, etc.
SUSAN: And here, as you see, is our Mystery Man … in his boat, which, you see, has nothing to do with the yacht.
We see the launch coming from a direction off to the side of the yacht. SUSAN continues talking. CU on ROSS, as he leafs through the pages.
SUSAN: (VO) So you never know who anybody is, as I have said, so it would pay to be a little Careful who you …
ROSS: (Sotto) Oh, migod …
ROSS stares down at the photos.
ANGLE, INS.
In the photo album a shot of JIMMY, his back to the camera, and the PR
INCESS. We see she is a very beautiful woman with a mole on her cheek. ROSS’s hands turn back the pages to the shot of the GIRL at the concession stand, and we see it is the same girl.
ANGLE.
ROSS, stunned, and SUSAN standing by him.
SUSAN: … what is it?
The phone starts to ring.
SUSAN: … what is it …?
ROSS picks up the phone.
PHONE: (VO, Woman’s voice) Mr. Ross? One moment, please, for Mr. Dell… (Pause) Joe? Joe: Jimmy.
ROSS: (On phone) Hello, Jimmy. Whatever happened to that Princess …?
JIMMY: (VO) I don’t know who you’re talking about, but we flew her back to From Whence She Came.
ROSS: (On phone)… what do I owe the honor of your call?
JIMMY: (VO) The lawyer wants you to bring your contract when you come. We’re going to get you straightened out. I got him to stay in town tonight, and …
ROSS: (On phone) … I appreciate it …
ROSS: (On phone. He covers the receiver. To SUSAN) Would you excuse me, please …?
She nods, and exits.
JIMMY: (VO)… and here’s what I think: whatever this thing is …
ROSS: (On phone) The “thing” …?
JIMMY: (VO) The thing that you’ve done for the Company …?
ROSS: (On phone) Yes …?
JIMMY: (VO)… bring a copy of it, too, will you?
ROSS: (On phone) … a copy of that, too … (He nods to himself.)
JIMMY: (VO) My man wants to go over it with you, and he wants you to tell him precisely what your input was … in order to assess your potential ownership of this … (As if to a secretary) … tell him I’ll see him in Berlin on Wednesday … (To ROSS) So bring it along.
ROSS picks up and toys with the torn “Tennis” book.
ROSS: (On phone) Your Sister going to be there?
JIMMY: (VO) She’s Out for the Count. But thank you for asking. So, tomorrow. Lunch. The Plaza.
ROSS: (On phone) Yes. The Plaza. Right.
JIMMY: (VO) And if you’re free after work, let’s play some tennis. Oh … and bring those plans. Bring ’em with you.
The other end of the line goes dead.
ANGLE.
ROSS, at his desk, picks up the torn cover of the “Tennis” book.
Hold on ROSS at his desk. He hangs up the phone.
47. INT. CORRIDOR. DAY.
ROSS, camera following, moves into the office of LANG, who is sneezing and putting on his coat. He looks up at ROSS.
LANG: I have to cancel our … you know, all he wanted to do was to review the legal aspect of “Security” procedures … Legal Aspect—“Security Procedures,” that’s why they call them bureaucr——… are you alright…?
Beat.
LANG leaves the office.
48. ANGLE. INT. CORRIDOR, OFFICE SUITE. DAY.
A tracking shot. Moving past the offices of KLEIN, where we see KLEIN, at his desk, dictating to SUSAN.
ANGLE.
ROSS, moving past the offices. Camera takes him to a secretary’s cubicle. He looks around. He looks down.
ANGLE, INS.
On the desk, SUSAN’s “Jamaica” album. ROSS’s hands open it, leaf through it, take out a card.
49. INT. OFFICE “COFFEE” AREA. DAY.
ROSS, holding the card, comes into the small area, closes the door behind him, lifts the card, and dials a phone.
ANGLE, INS.
The card reads, “Special Agent Pat McCune, Federal Bureau of Investigation,” etc.
ANGLE.
Tight on ROSS, as he cradles the phone close and speaks into it.
WOMAN’S VOICE ON PHONE: (VO) Federal Bureau of Investigation … your call is being recorded …
ROSS: (On phone) Special Agent Pat McCune, please …
WOMAN’S VOICE: (VO) I’m sorry, Agent McCune is out of the office. May—
ROSS: It’s very important. Please, could you connect me. Could you tell me how to contact her …? If you could …?
WOMAN’S VOICE: (VO) One moment…
Sound of electronic beeps, static, etc. Then we hear the voice of the WOMAN FBI AGENT from Jamaica, on the phone, strained by electronic noise.
MCCUNE: (On phone. VO) McCune.
ROSS: (On phone) My name is Ross. I met you in Jamaica, I …
MCCUNE: (VO) Oh, Christ, you calling me up to hit on me, in the midst of …
ROSS: (Into the phone) I’m not calling you to hit on you—I’m calling you about that fellow off the yacht.
Pause.
MCCUNE: … the fellow off the yacht.
ROSS: That’s right. (Pause) Were you down there looking for him?
MCCUNE: … the fellow off the yacht, calls himself Julian Dell.
ROSS: That’s right.
MCCUNE: Who are you?
ROSS: My name is Ross, Joseph Ross …
MCCUNE: Gimme your date of birth …
ROSS: … what?
MCCUNE: You heard me.
ROSS: December tenth, nineteen sixty.
MCCUNE: This fellow Dell. Are you with him now?
ROSS: No.
Pause.
MCCUNE: Alright. I’m going to give you an address. You meet me there. Do you have a pencil …?
50. EXT. BROOKLYN SEMI-INDUSTRIAL NEIGHBORHOOD. NIGHT.
A cab pulls up in front of a block of old brownstones. ROSS gets out of the cab, looks around. The cab pulls away. ROSS looks down at a sheet of paper in his hand, begins to walk down the street. He turns a corner. He is joined by a TOUGH-LOOKING FELLOW in work clothes, who steps out of the shadows.
TOUGH-LOOKING FELLOW: … just keep walking.
ROSS accompanies the MAN to a corner, where he is motioned to stop again. In the BG we see another semi-industrial street with a battered red van parked some fifty yards up it. The van side door opens and a PERSON gets out and begins walking toward ROSS and the MAN. It is a young WOMAN in chinos, a bomber jacket, and a watch cap. They round the corner, she takes off the watch cap, and we see it is the FBI WOMAN from Jamaica. They stop under a streetlamp. The woman, PAT MCCUNE, takes a sheet of fax paper from her jacket and studies it.
ROSS: … what…?
MCCUNE: (To TOUGH-LOOKING FELLOW) Following him?
The TOUGH-LOOKING FELLOW shakes his head.
ROSS: (Clears his throat)… my name is …
MCCUNE: Well, yeah, no, I know who you are … (She holds the fax paper toward him.)
ANGLE, INS.
The fax paper bears a facsimile of his driver’s license and other pertinent data. It is headed, “FBI, File Use Only,” and other hieroglyphics.
MCCUNE: Ross, Joseph A. D.O.B. twelve ten sixty …
ANGLE.
The group. They walk and talk, and proceed to a car where the FIRST MAN gets out.
MCCUNE: Zat it? What was your mother’s maiden name …?
ROSS: … Bainbridge.
MCCUNE: What was her mother’s maiden name …? She gestures to one of the MEN, in mime: “I want to take a ride with this fellow, can you stay here and mind the store …?”
FIRST MAN: (Into microphone)… sitrep on the Paul? (He listens.) Sally for a bit-of-seven …? (He listens and nods “okay” to MCCUNE.)
ROSS: … Laval …
MCCUNE nods, motions to the SECOND MAN to drive.
MCCUNE: (To ROSS) Get in the car, would you, Mr. Ross …?
ROSS starts to do so. As MCCUNE gets into the car, she speaks, back, to the FIRST MAN, gesturing in the direction of her van.
MCCUNE: If they move, gimmeashout, and we’ll catch you rolling …
The car starts off.
51. EXT. TRUCKER’S DINER. NIGHT.
A truck stop in the BG. The Elevated. The SECOND FBI MAN is in the car, behind him several rigs, and the diner. He glances toward the diner, stretches, gets up, gets out of the car, looks around, and puts his hand to his ear, as if receiving a radio transmission.
52. INT. DINER. NIGHT.
ANGLE, INS.
ROSS: (VO) … to deliver the plans to him.
MCCUNE: (Taking notes) … to deliver the plans …
ROSS: Yes. The plans … are for a project, which …
MCCUNE: Hey, don’t tell me. ’F it’s so damn secret, I don’t wanna know … (She closes the notebook.) ’F our friend is after them, I assume they’re valuable.
ROSS: … they’re very valuable.
MCCUNE: Alright. (She sighs.) How much’ve you told this guy?
ROSS: I haven’t told him anything.
MCCUNE: … how much’ve you told him?
ROSS: I haven’t done anything illegal, my God, that’s why I…
MCCUNE: Has he tried to bribe you?
ROSS: Bribe me? (Pause) No, he’s, he’s offered me … uh …uh …
MCCUNE: Yeah. You’re in a lot of trouble.
ROSS: I haven’t done anything wr——
MCCUNE: Not from me, Mr. Ross.… But you have an advantage, if he doesn’t know you know.… Whaddaya want to do?
ROSS: I don’t understand.
MCCUNE: Do you want to help?
Pause.
ROSS: Yes.
MCCUNE: Are you sure?
ROSS: Yes, I’m sure. Why wouldn’t I be sure?
MCCUNE: ’F he can’t trick you or bribe you, he’s going to threaten you or hurt you, and it could get dirty.
ROSS: I want to help you catch him.
MCCUNE: … hurt your feelings, did he?
ROSS: That’s right.
MCCUNE: It’s any consolation, you ain’t the only one, he’s …
The SECOND FBI MAN comes into the diner and slides into the booth.
FBI MAN: (Sotto, to MCCUNE) … they’re rolling.
MCCUNE nods and starts out of the booth.
MCCUNE: (To ROSS) … I gotta go to work. Where’s the meet?
ROSS: … Plaza. At noon.
MCCUNE: (As she leaves) He’ll change it. Don’t worry. I’ll be on top of it. Don’t worry.
ROSS: How will I contact you?
MCCUNE: We’re on top of it—keep your sense of humor …
53. INT. ROSS’S APARTMENT. DAY.
ANGLE, INS.
The Boy Scout knife, point stuck in the counter, being slowly twirled.