The Spanish Prisoner and the Winslow Boy
Page 6
ANGLE.
ROSS, in shirt and tie, sitting, a cup of coffee before him, twirling the knife idly.
The phone rings. He picks it up.
ROSS: (To phone) Hello.
JIMMY: (VO) Hello. Joe? Jimmy.
ROSS: Jimmy. How are you?
JIMMY: What’d you go out last night, I was calling you, and …
ROSS: … went to a movie.
JIMMY: … what’d you see?
ROSS: … I …
JIMMY: … listen, Joe. Got to change the meeting. The lawyer can’t do noon.
ROSS: … he can’t do noon …
JIMMY: Make it at ten, can you?
ROSS: … ten A.M.
JIMMY: … and listen, listen … here’s what he wants to do. Meet us in the park.
ROSS: … in the park.
JIMMY: … by the carousel.
ROSS: … why is that?
JIMMY: He says for secrecy. To protect yourself. The carousel, at ten. And bring the Process.
ROSS: … bring the Process.
ROSS hangs up the phone. He toys with the knife for a moment. The phone rings again; he picks it up.
MAN’S VOICE ON PHONE: (VO) … we have it. He wanted to meet, the carousel at ten. Do what he says. Do what he says, but meet us at nine-thirty, the Dairy, Central Park. You know it?
ROSS: Yes.
MAN’S VOICE ON PHONE: (VO) Dairy, Central Park. Nine-thirty.
We hear the sound of the other phone being hung up.
ROSS takes a bagel from the Sunshine Bakery bag. He takes a bite.
54. EXT. CENTRAL PARK MALL. DAY.
Several JAPANESE TOURISTS walking the deserted mall.
ROSS walking hurriedly, checks his watch. We see it is 9:15. Under ROSS’s arm is the red-bound “Process.”
ANGLE.
The Central Park Dairy. In the BG an old man in a sanitation outfit picking up trash.
ROSS walks into the shot. Checks his watch, looks around, buys a bag of popcorn from a CART VENDOR. The SANITATION MAN walks past him and whispers.
SANITATION MAN: … keeping walking, Mr. Ross. Walk into the men’s room.
55. INT. MEN’S ROOM, CENTRAL PARK. DAY.
ROSS enters the room. There is a YOUNG MAN of similar coloring and build, dressed in a similar coat, and, next to him, one of the FBI men from the night before. The FBI MAN takes ROSS’s popcorn from him, hands it to the DOUBLE, and nods. The DOUBLE waits for a count or two, then exits the rest room. ROSS looks around. MCCUNE and a very ft, fortyish man in a business suit, KELLY, are also in the rest room.
Hold.
The young FBI man, LEVY, approximately thirty, puts his hand to his ear, waits.
KELLY: It’s an interesting setup, Mr. Ross. It is the oldest confidence game on the books. The Spanish Prisoner. ’S how far back it goes, the Glory Days of Spain. Fellow says, him and his sister, wealthy refugees, left a fortune in the Home Country. He got out, girl and the money stuck in Spain. Here is her most beautiful portrait. And he needs money to get her and the fortune out. Man who supplies the money gets the fortune and the girl. Oldest con in the world. Intelligent people—play on their vanity and greed … interesting twist.
LEVY, with his hand to his ear, nods.
LEVY: … they went for it.
KELLY: (To LEVY) How’re we doing on time …?
LEVY looks at his watch and shrugs.
KELLY: Alright, well, let’s make haste slowly … plug ’em in.… We’re going to have you wear a radio transmitter. Here is what we need. We need you to refuse to give him the material…
As they speak, they begin to wire him into a harness, which holds a transmitter.
ROSS: … to refuse…
KELLY: You have to refuse. He …
ROSS: (Of the red-bound “Process”)… but your man told me to bring it.
ROSS holds up the Process. KELLY picks it up and leafs through it, and we see the many pages covered in mathematical notation.
KELLY: … he told you to bring it?
ROSS: He told me to do everything that…
KELLY: (Handing the Process back)… this the Real Thing?
ROSS: Yes.
KELLY: Well. (To LEVY, working on the wire) How’re we doing?
LEVY nods.
KELLY: The important thing is to refuse to deal with him. He will then either bribe or threaten you, and we have him on tape, ’n’ he’s gonna have to answer for it.
ROSS: You’ve been after him a long time …
The AGENTS look at each other.
ROSS: … that’s why you were in Jamaica …
KELLY: … this is a Very Bad Actor, Mr. Ross. We have been after him some time, and we are very grateful for your help. Would you speak, please …?
ROSS looks confused, then starts speaking into the microphone.
KELLY: … just speak normally …
ROSS: … hello … hello … hello …
LEVY: … it’s time …
KELLY: We’ll have you in sight all the time … we …
MCCUNE: … can we put a vest on him …?
KELLY: … it’s going to bulk up … (To ROSS) There is very little likelihood of physical danger. Should it start to break up …
MCCUNE: … if there’s shooting …
KELLY: … if there’s shooting. Stay put. Do Not Move. What did I just tell you …?
ROSS: Do not move.
MCCUNE: … it’s time to go.
KELLY: … we appreciate your help. (Shakes hands with ROSS)
SANITATION MAN: ’S coming back …
The group looks up and picks up the pace.
MCCUNE: The transmitter’s good for three hours, more than enough time, good for twenty-five yards, we’ll be closer than that.
KELLY: Give ’em a word.
MCCUNE: You get in trouble, just say the word happiness… say it.
ROSS: Happiness …
LEVY finishes attaching the wire.
LEVY: … all done …
KELLY: You wait, until he offers you money, or he threatens you … and then hand him the package. When you hand it to him, you identify what it is …
ROSS: … I understand …
The DOUBLE for ROSS enters the rest room. ROSS starts to leave. He nods. The YOUNG FBI MAN starts to talk into his lapel mike. He nods “okay.” ROSS starts to leave the rest room. He is stopped by MCCUNE, who takes the popcorn from the DOUBLE and passes it to ROSS.
56. EXT. THE REST ROOM. DAY.
ROSS, holding the red-bound Process, walking through the park. He looks over at the SANITATION MAN, who pays no attention to him.
ANGLE.
On ROSS, as he walks. A pair of JAPANESE TOURISTS are taking photos of each other. A YOUNG MAN is working on a disabled bicycle. He looks up at ROSS.
57. THE CAROUSEL, CENTRAL PARK. DAY.
Two WOMEN sit chatting on a bench. ROSS moves toward the carousel. He checks his watch and sits down, holding on to the red-bound Process. The WOMEN move off. A busload of SCHOOLCHILDREN arrive, debark, and stand in line.
ANGLE, ROSS’S POV.
The TICKET SELLER at the carousel lowers his head and talks into a telephone.
ANGLE.
ROSS, sitting, holding the Process. He brightens, looking at TWO MEN walking toward him.
ANGLE, ROSS’S POV.
They veer away. Neither of them is JIMMY DELL.
ANGLE.
ROSS, sitting on his bench. He lightly touches the apparatus under his shirt; he checks his watch. We see the SCHOOLCHILDREN in the BG.
DISSOLVE TO:
58. THE CAROUSEL, EMPTY AND STILL. DAY.
ROSS, his shirt collar undone, looks down at his watch. He rises, and walks to a telephone.
ANGLE.
ROSS as he takes a card from his pocket.
ANGLE, INS.
It is the FBI card of AGENT MCCUNE.
ANGLE.
ROSS picks up the phone and dials. We hear, “The number you have reached is not in service …�
� ROSS is already picking up the yellow pages from its connection to the telephone post.
ANGLE, INS.
The listing for Federal Bureau of Investigation.
ANGLE.
ROSS dials the phone.
WOMAN’S VOICE: (On phone) Federal Bureau of Investigation.
ROSS: (On phone) Please, can you patch me through to Special Agent Pat McCune.
WOMAN’S VOICE: (On phone) One moment…
MAN’S VOICE: (On phone) McCune …
ROSS: I would like to speak to Special Agent Pat McCune …
MAN’S VOICE: (On phone) This is Pat McCune … how can I help you …?
ROSS hangs up the phone. He is staring at something.
ANGLE, ROSS’S POV.
It is the red volume, “The Process.”
ANGLE, INS.
ROSS’s hand comes into the shot and opens the cover.
ANGLE, XCU.
ROSS, sadly nodding as he looks down.
ANGLE.
ROSS, riffling through the book. He looks away. He picks up the FBI card, shreds it, and tosses it on the ground. He looks down.
ANGLE, INS., ROSS’S POV.
The red book, ROSS’s hand riffling through it. Every page is blank.
DISSOLVE TO:
59. INT. ELEVATOR. DAY.
ROSS, standing next to a large OLDER MAN in a topcoat.
Beat.
ROSS: I couldn’t feel like more of a fool …
The elevator door opens to reveal several uniformed NYPD OFFICERS, a MAN dusting for fingerprints. It is the floor of JIMMY’s luxury apartment; the floor is empty. ROSS and the OLDER MAN walk into the room. They move toward the door to the bulk of the apartment.
OLDER MAN: … and his living quarters were in there …? He opens the door. It is a large broom closet.
FINGERPRINT TECHNICIAN: … absolutely clean, not a print anywhere …
The OLDER MAN nods. They proceed toward the elevator.
ANGLE.
On ROSS, looking at something.
60. INT. “CLUB ANTEROOM.” DAY.
Angle to show ROSS looking at the “Office” area of the club. The OLDER POLICEMAN and ASSISTANTS are talking to a JANITOR. They turn back toward ROSS.
OLDER POLICEMAN: (Motioning to the “Office” area, which is a coat-check room) … a coat-check room, Mr. Ross … (He gestures across the hall to a closed restaurant.) … it’s a restaurant, always has been, never been a private club …
61. INT. NYPD INTERROGATION ROOM. DAY.
ROSS, sitting immobile next to a blank wall at a steel desk.
SUSAN: (VO) … the … the photos of our trip.
POLICEWOMAN: (VO)… and this fellow? Getting off the boat?
SUSAN: (VO) Well, we joked about that.
POLICEWOMAN: (VO)… what do you mean?
SUSAN: (VO) I said he was never on the boat.
POLICEWOMAN: (VO) … was he on the boat…?
ANGLE, ROSS’S POV.
Several POLICE OFFICERS. Beyond them a two-way mirror and SUSAN, in an adjoining room, being questioned by the POLICEWOMAN. She has the photo album in front of her.
SUSAN: Well, I don’t know if he was on the boat or not. (Pause) I just used it … I just used it as an excuse to make conversation.
POLICEWOMEN: … to make conversation with Mr. Ross …
SUSAN: That’s right.
POLICEWOMAN: Why …?
SUSAN: I …
Pause.
POLICEWOMAN: Are you having an affair with Mr. Ross …?
SUSAN: What, what’s …
POLICEWOMAN: (Looking at the album) Now do you have any photographs in which we see this other man’s face …?
SUSAN: … what’s the matter, has something happened to Mr. Ross …?
DISSOLVE TO:
62. INT. INTERROGATION ROOM. DAY.
ROSS and the OFFICERS in shirtsleeves. Coffee and doughnut residue on the previously bare side table. As the interrogation of ROSS continues. The FBI “radio wire” apparatus lies on the table.
CHIEF INTERROGATOR: … this man didn’t offer you anything …
ROSS: I told you, he …
CHIEF INTERROGATOR: (Checking notes) You purchased a first-class ticket for … for Susan Ricci, an employee in your office, paid cash, a total of …
ROSS: (Repeating himself)… the money was from Mr. Lang …
INSPECTOR: George Lang, your colleague …
ROSS: He won it at a casino, and told me to …
INSPECTOR: … to give it to a Charitable Cause …?
ROSS: That’s right.
INSPECTOR: And you thought that meant to buy a first-class ticket.
Pause.
ROSS: Well. Perhaps … perhaps I was …
INSPECTOR: … you were what?
ROSS: Showing off.
INSPECTOR: Showing off for the girl. (Pause) Why?
ROSS: I, I don’t know. What, what does it matter—it wasn’t my money, it was … ask George…
INSPECTOR: We will. Believe me. He’s ill. We’ll have him in as soon as …
An ASSISTANT draws the attention of the CHIEF INSPECTOR to a notation on the list.
CHIEF INTERROGATOR: … bought some clothes down there.
ROSS: … that’s right.
CHIEF INTERROGATOR: … paid cash again …
ROSS: I went to the Hotel Office, I changed some traveler’s checks, and, yes, I paid cash in the clothing store.
CHIEF INTERROGATOR: So Mr. Lang didn’t give you that money, too.
ROSS: No.
INSPECTOR: Why’d you change the checks in the Hotel Office? (Pause) Why not just use them at the clothes shop? (Pause) Why not?
ROSS: … I don’t know …
INSPECTOR: … you don’t know why you did that.
ROSS: No.
CHIEF INTERROGATOR: … spent a lot of money on those clothes.
ROSS: I, uh, I wanted to indulge myself.
CHIEF INTERROGATOR: … indulge yourself …
ROSS: I did it reluctantly. You can ask Mr. Lang.
CHIEF INTERROGATOR: … he’s your attorney …?
ROSS: He’s an attorney, he’s an attorney for the company, he’s my friend, he …
INSPECTOR: (Checks list) Why isn’t he here?
ASSISTANT: He’s ill.
CHIEF INTERROGATOR: You checked him out?
INSPECTOR nods.
CHIEF INTERROGATOR: And he’s gonna clear you of everything …?
ROSS: I’ve done nothing …
CHIEF INTERROGATOR: He have special “knowledge” of this case?
ROSS: Yes, he does, and when you see him …
CHIEF INTERROGATOR: (Nodding, looks at another piece of paper) Uh huh. You know, you know, Mr. Ross … you’re in a lot of trouble …
ROSS: I came to you…
CHIEF INTERROGATOR: … and we’re the least of it. I promise you. You can cooperate and turn back the clock right now, give your employer back what you took, ’f you’ve still got it … and I’ll deal with you. But if we’ve got to turn this over … (He shrugs his shoulders.)
ROSS: … what do you mean?
CHIEF INTERROGATOR: The Feds won’t deal with you, you know. They’ll put you inside for All day.
ROSS: … what are you talking about?
CHIEF INTERROGATOR: I’m talking about unreported income.
ROSS: I’ve explained to you, the first-class ticket…
INSPECTOR: (Gestures at sheet) … got any undisclosed bank accounts?
ROSS: … just what you see …
INSPECTOR: No Gold, no Foreign Money stashed away …?
ROSS: I’m just a salaried employee …
INSPECTOR: No “Swiss Bank Accounts” …
ROSS: I’ve told you, I … (He stops.)
INSPECTOR: (Showing him a slip of paper) You’ve got an account at the Credit Suisse de Lausanne. Numbered Account. Opened last week.
Pause.
ROSS: There’s nothing in that account.
&nb
sp; INSPECTOR: Then what’s it doing there …?
ROSS: It was a joke, Jimmy said …
INSPECTOR: Goddammit man, won’t you come clean? Don’t you know you’re beat? It’s over. It’s All Done …
ROSS: I’ve told you … believe me, I … look: Look. The fellow is, he’s obviously a … you must have him in your files. You must have a record of him.
CHIEF INTERROGATOR: A record. How would we find such a record? (Pause) You want to give us a photograph … fingerprints …?
Pause.
ROSS: His fingerprints.
CHIEF INTERROGATOR: You have something with his fingerprints …?
Pause.
ROSS: … uh …
The SECOND INSPECTOR gestures, meaning, “Why are we wasting our time?” The CHIEF INSPECTOR makes a gesture of acquiescence.
CHIEF INTERROGATOR: (Showing a piece of paper)… that your signature …?
ANGLE, INS.
It is the gold-leafed, scrolled “Club” membership.
ANGLE.
ROSS, looking down at it.
ROSS: I …
ANGLE.
ROSS and the CHIEF INTERROGATOR:
CHIEF INTERROGATOR: … planning a trip to Venezuela?
ROSS: Why would I go to Venezuela?
CHIEF INTERROGATOR: They have no extradition treaty with the United States.
ROSS: I have no intention of going to Venezuela.
ANGLE, INS.
The CHIEF INTERROGATOR’s hands on the document move, to reveal it is a request for asylum, to the Venezuelan consulate.
ANGLE.
ROSS and the CHIEF INTERROGATOR.
Pause.
CHIEF INTERROGATOR: Now, Mr. Ross, if I told you this story, would you believe it?
ROSS: I want a lawyer.
CHIEF INTERROGATOR: … I would Say SO.
63. INT. NYC JAIL HOLDING TANK. DAY.
ROSS sitting, hunched up, on a bench. Several OTHER MEN in the cell, asleep. One DRUNK mutters continually, “St. Paddy’s Day—I’m going to be stuck in the joint on St. Paddy’s Day …”
Hold.
Sound of a metal door opening. ROSS comes partially awake. He looks around.
64. ANGLE.
A JAILER, leading ROSS out, down a jail corridor, into a side room.
ANGLE.
Moving POV of ROSS as he moves past the cells. The door to the side room opens; in it is sitting KLEIN.