1 A MULTI-COLORED SCREEN 1 After a few introductory credits, we pull back to reveal thesource of this kaleidoscopic backdrop: A SINGLE, STRIPEDTULIP, planted in a long row of other tulips. A HAND reachesin and pulls the tulip from the ground. We then cut to: 1A A BASKET of tulips, carried by hand to a truck, where itis loaded with hundreds of other baskets. The door of the truck is SHUT and we cut to: 1A 1B The door of the truck OPENING to reveal that the tulips 1B are now boxed and crated. A forklift moves the crates onto a wagon, which is driven by a MANNED CART across the biggestwarehouse on the planet, the Bloenen Markt (CHECK THIS-- steven) in Amsterdam, Netherlands. The cart and wagons wewere following disappear into a maze of synchronizedactivity. 1C The cart arrives in the AUCTION ROOM, which is 1C constructed like an ampitheater: the buyers sit in a steeplyraked semi-circle, facing two giant, clock-shaped scoreboardsthat display the bids on the flowers being viewed. Thestriped tulips fetch a very high price. 1D The carts of striped tulips are delivered to an automated 1D sorting apparatus of enormous size and complexity. They endup on a truck heading for the airport. 1E The tulips are loaded onto a plane. During the transatlanticflight, they sit nestled in the cargo hold. 1F The tulips are unloaded from the plane, driven across anairport tarmac and loaded onto another plane. 1F 1G The tulips are unloaded from the plane and loaded onto a 1G truck. The truck drives through a small town and pulls intothe back of a 2 EXT./INT. FLOWER SHOP -- DAY 2 A YOUNG MAN takes delivery of the flowers and carries themthrough the rear of the store to the display area up front. We stay on the tulips as we hear the following conversation: CUSTOMER Wow. How do they do that? (CONTINUED) “Clowns Can’t Sleep” 2. 2 CONTINUED: 2 OWNER It’s an accident. It means the flower developed a virus early in the bulb stage. The flaws create the unusual coloring. CUSTOMER Can you arrange something for me with those? OWNER Of course. What kind of price range are you looking for? Now we SEE the customer: TESS. TESS Well, it’s for my parent’s anniversary. They don’t know I’m coming. I just want it to be beautiful. Can you just do whatever you think looks best? OWNER I’ll need a few minutes. TESS Take your time, please. And thank you. 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. OWNER That should be some surprise. TESS Which? OWNER For your parents. TESS Oh. Yes. I hope so. 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. (CONTINUED) “Clowns Can’t Sleep” 3. 2 CONTINUED: (2) 2 OWNER Which one is it? TESS I’m sorry? OWNER Anniversary. TESS Oh. Fortieth OWNER Wow. Okay. I think I have an idea. Something classic. The Power Twin opens the rear passenger side door, revealing TERRY BENEDICT. Tess turns away from the window. TESS Do you have a bathroom? OWNER Straight back, on the left. It’s unisex. TESS Thank you. Tess scurries to the back. OWNER (to Tess, a caveat) It’s unisex! Tess flies past the bathroom and heads for the back door. She pushes through it and runs right into Power Twin No. 2. CUT TO: 3 EXT. HOUSE -- DAY 3 A nice place on the eastern seaboard. We hear the faint sound of a phone ring. “Clowns Can’t Sleep” 4. 4 INT. HOUSE -- DAY 4 Danny Ocean picks up the receiver, checks the caller ID. He smiles and answers: DANNY Miguel Diaz speaking. Almost immediately, his expression clouds. He looks at his watch. DANNY (cont’d) 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. He hangs up the phone and runs out of the house. He doesn’t take anything with him. 5 EXT. HOUSE -- DAY 5 Danny runs out of the house and down the street, leaving his car in the driveway. 6 INT. CAR -- DAY 6 Tess, floral arrangement in her lap, sits in the car with Benedict. BENEDICT The Baldwins. TESS What about them? BENEDICT We had dinner with them three years ago. You talked about your parent’s anniversary. She says nothing. BENEDICT (cont’d) I’m getting married next month. TESS So am I. (CONTINUED) “Clowns Can’t Sleep” 5. 6 CONTINUED: 6 A beat. BENEDICT Well, I hope Danny is as good as he thinks he is. A bouquet toss in prison can get pretty ugly. 7 INT. BANK VAULT -- DAY 7 Danny takes a safe deposit box out of a wall, He opens the box, revealing a CELL PHONE and some CASH. 8 EXT. TRAIN STATION (NOT A BIG ONE) -- DAY 8 Danny boards a train. 9 INT. AMTRAK TRAIN -- DAY 9 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. REUBEN (over) I really think you’re being too sensitive. She’s crazy about you. I can tell. 10 INT. SPA -- DAY 10 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. REUBEN Joyce, she’s ninety-two. I’m all she has left. (beat) The wheelchair thing was an accident, she’s having some trouble with the joystick. I’ll adjust it. (beat) I told you, when her mouth hangs open like that, that means she’s happy. (beat) I am. When are you coming over? (beat) (MORE) (CONTINUED) “Clowns Can’t Sleep” 6. 10 CONTINUED: 10 REUBEN (cont’d) You’re tired because you work too much. You don’t have to work all the time. Don’t you want to take a break? Those trays look so heavy. (beat) Of course. How could you ask that? (beat) Because when I heard you laugh, all my problems disappeared. 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. 11 INT. AMTRAK TRAIN -- DAY 11 Reuben is handed a bloody mary by the porter, who then continues on, bringing a glass of white wine to THE AMAZING YEN. 12 INT. POOL -- DAY 12 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. 13 INT. AMTRAK TRAIN -- DAY 13 Yen sets his magazine down and heads for the bathroom, where TURK and VIRGIL MALLOY are waiting in line. TURK The opening doesn’t work. VIRGIL Duh. TURK She shouldn’t have the same dream as Franklin. He’s the antagonist. (CONTINUED) “Clowns Can’t Sleep” 7. 13 CONTINUED: 13 VIRGIL It was your idea. TURK No it wasn’t. VIRGIL Well, it wasn’t mine. It couldn’t be; it’s too stupid. TURK Why do you do that? why do you have to get personal? VIRGIL It’s not personal, it’s a fact. 14 INT. YOGA STUDIO -- DAY 14 VIRGIL and TURK MALLOY, in GTX lycra yoga gear lead a class (mostly female) through the vinyassa. The studio is mirrored on three sides. TURK It’s personal. You don’t argue logically. You attack. (to the class) Bring the right foot back even with the left, buttocks raised high.... (to Virgil) ...you have to have reasons, to support your argument... (to the class) ...flattening the back so the body forms a triangle. VIRGIL I can’t listen to you anymore. It makes me physically sick. 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. TURK 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. (CONTINUED) “Clowns Can’t Sleep” 8. 14 CONTINUED: 14 Virgil steps on the guy’s back and leans down to whisper in his ear. VIRGIL This a serious class. No pigs allowed. Okay? GUY Sorry. TURK Virge. Virgil stands up. Benedict and the Power Twins are standing right behind him. His expression changes as he sees them in the mirror. 15 INT. AMTRAK TRAIN -- DAY 15 The Malloys and Yen are still waiting for the bathroom. TURK You’re hallucinating. VIRGIL Yeah, whatever, OJ. Finally, the lock OPENS and RUSTY RYAN exits. We follow him to his seat, where he puts on a pair of headphones. 16 TIGHT SHOT 16 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. RUSTY You are kidding me. “Clowns Can’t Sleep” 9. 17 INT. RUSTY’S CAR -- DAY 17 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. RUSTY 736.18 degrees Fahrenheit, Felix. I watched it. FELIX (TELEPHONE V.O.) Rusty. What do you want from me? Rusty turns a corner, then glances in his rearview again. RUSTY I want what I paid for. FELIX And that’s what I sent. RUSTY 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 isn’t. Rusty makes another turn. A few seconds later, the Cadillac turns behind him. FELIX (TELEPHONE V.O.) Well, I didn’t know you were going to liquefy it. Rusty pulls to a stop light. The Cadillac pulls up three cars behind him. RUSTY 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 doesn’t work, says to Christo, “Well, you should have told me you were going to wrap the coast of Australia”? (CONTINUED) 18 19 “Clowns Can’t Sleep” 10. CONTINUED: 17 FELIX Who’s Christo? Rusty looks to the heavens. RUSTY Felix, you’re in a shame spiral. Have your assistant lose my number. Rusty snaps his phone shut. My god. RUSTY (cont’d) 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. RUSTY (contd) How long you gonna give us? INT. AMTRAK TRAIN -- DAY 18 Rusty continues to listen to his headset. We pan over to see FRANK CATTON seated opposite him. INT. RITZ CARLTON HOTEL, NEW YORK -- DAY 19 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. BENEDICT Four weeks. FRANK 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 shouldn’t have said. It’s not fair, it’s not just, and it aint’ cool. A long beat. Benedict stares back at him. FRANK (cont’d) Did you hear what I just said? (CONTINUED) 19 CONTINUED: “Clowns Can’t Sleep” 19 11. BENEDICT I heard what you said, Frank. Didyou hear what I said? Frank looks at Benedict and the Power Twins. 20. INT. AMTRAK TRAIN -- DAY 20 Frank takes us to Livingston. 21 INT. STAGE -- NIGHT 21 Livingston performs a stand-up routine. LIVINGSTON How many people here tonight werestupid enough to have children? A few people raise their hands. LIVINGSTON (cont’d) Wow. No, seriously, that’s great. Ihave a child. A daughter. She’sfive. They get to you, right? Am Iright? 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 itjust breaks my heart.’ People aren’t sure what to make of this. LIVINGSTON (cont’d) I’m Livingston Dell. Thanks forlistening. See you at ten. Livingston strides off stage as we see that he is at theBellagio, in the lounge. Benedict and the Power Twins arewaiting for him. Somehow he isn’t surprised. LIVINGSTON (cont’d) (to Benedict) I appreciate you letting me finishmy run. You’ve been very patient. BENEDICT What can I say? You’re a funny guy. “Clowns Can’t Sleep” 12. 22 INT. AMTRAK TRAIN -- DAY 22 Livingston takes us to Saul Bloom, reading the Racing Form. 23 INT. THE WASPIEST IMAGINABLE MEN’S CLUB -- DAY 23 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. SAUL 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. The person with him nods. SAUL (cont’d) Yes. When I look into a horse’s eyes, I can tell: This one’s a winner. A jacketed WAITER appears, holding a tray. WAITER Excuse me, Mr. Bloom? SAUL Yes? WAITER There appears to be a problem with your card. 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. SAUL You take Visa? WAITER I was acting on instructions from your business manager. SAUL My business manager? (CONTINUED) “Clowns Can’t Sleep” 13. 23 CONTINUED: 23 WAITER Mr. Benedict. 24 INT. AMTRAK TRAIN -- DAY 24 Saul leads us to Basher. 25 INT. RECORDING STUDIO -- NIGHT 25 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. 26 INT. RECORDING BOOTH -- MOMENTS LATER 26 Basher is leaning over a thick legal document, and Benedict is leaning over him. The music has been turned off. BENEDICT 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. 27 INT. AMTRAK TRAIN -- DAY 27 Basher takes us to Linus. 28 INT. CAR -- DAY 28 Linus looking from the front seat to the back, talking to Benedict. LINUS 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. He turns forward, thinking. Then after a beat, he turns back to Benedict. (CONTINUED) “Clowns Can’t Sleep” 14. 28 CONTINUED: 28 LINUS (cont’d) 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. Benedict nods. Linus turns forward and exhales, relieved. 29 INT. AMTRAK TRAIN -- DAY 29 Linus takes us back to Danny. The train hurtles onward. CUT TO: 30 ABSOLUTE BEDLAM 30 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. 31 MOMENTS LATER 31 Total silence. Everyone just stares at Danny, waiting for an answer. DANNY How many can’t make the deadline? Everyone raises their hands except Reuben. REUBEN (off their looks) So I’m smarter than those schmucks on Wall Street. Whose fault is that? Fair enough. DANNY How many think if they run, they’ll be found? (CONTINUED) “Clowns Can’t Sleep” 15. 31 CONTINUED: 31 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. DANNY (cont’d) Well, the only other- RUSTY We’re on the five o’clock. DANNY Good. A beat. DANNY (cont’d) Where? RUSTY Amsterdam. Danny steps back. DANNY AMSTERDAM!? 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: DANNY (cont’d) I’M TELLING YOU THIS IS A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! The guys exchange glances. Danny walks over to them and sighs. CUT TO: “Clowns Can’t Sleep” 16. 32 INT. AIRPORT TERMINAL -- TICKETING AREA 32 Livingston hands his passport to a KLM AGENT. LIVINGSTON Flight 144 to Amsterdam. JUMP CUT TO the agent handing Livingston his boarding pass. KLM AGENT You’re in seat 43J. Enjoy your flight. LIVINGSTON Uh...there must be some mistake. I mean...unless...is your first class section in the back of the plane? The agent looks back at him, confused. KLM AGENT No. JUMP CUT TO the agent handing Linus his boarding pass: KLM AGENT (cont’d) 32E. CUT TO the agent handing Virgil and Turk their tickets. KLM AGENT (contd) 41C and D. JUMP CUT TO the agent handing Saul his boarding pass: KLM AGENT (cont’d) 55K. SAUL Fifty-five K? There’s a fifty-five K? KLM AGENT We’ve increased capacity by employing advanced design technology. SAUL You made the seats smaller. Can you just say that? You made the seats smaller. (CONTINUED) “Clowns Can’t Sleep” 17. 32 CONTINUED: 32 JUMP CUT to show Frank: FRANK 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- The desk agent looks back at him skeptically. KLM AGENT 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. FRANK Now, listen: Don’t make me get black. 33 INT. SECURITY AREA 33 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. DANNY Reuben. REUBEN I wanted to wish you luck. And listen: I want to do something for you. Reuben hands Danny an envelope. DANNY What’s this? (CONTINUED) “Clowns Can’t Sleep” 18. 33 CONTINUED: 33 REUBEN 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. RUSTY That’s very touching, Reuben. REUBEN It’s the least I could do. I love you guys. Enjoy. Yen says something in Chinese. REUBEN (cont’d) No, thank you. 34 INT. 747 -- NIGHT 34 Yen sits in First Class, playing an in-seat video. Virgil and Turk kneel on either side, watching his progress. VIRGIL Nice. TURK Great anticipation. FLIGHT ATTENDANT Gentlemen, you’ll have to go back to your seats now. Reluctantly, they do. We follow them back to coach, where they pass Linus, talking to himself. LINUS Ground level. First floor. Day one. Planning stages. (beat) Planning stages. We move on to find Livingston, who grabs Turk by the arm. LIVINGSTON How’d he get that seat? TURK What seat? (CONTINUED) “Clowns Can’t Sleep” 19. 34 CONTINUED: 34 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: RUSTY Call me an elitist asshole, call me a bourgeois clown, call me anything you want, but ’economy’ is bullshit. DANNY Oh, I don’t know...it’s not that ba- 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. LINUS Hey. You guys have a minute? DANNY Sure, Linus. RUSTY What’s on your mind? LINUS 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.... Danny and Rusty exchange a look...then look back at Linus. DANNY RUSTY Uh-huh. Right. (CONTINUED) “Clowns Can’t Sleep” 20. 34 CONTINUED: (2) 34 LINUS 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. Rusty turns to Danny. RUSTY Are you thinking what I’m thinking? DANNY Evelyn. RUSTY (to Linus) We’re negotiating the terms with her tomorrow. You feel up to taking the lead? LINUS Are you serious? DANNY Absolutely. LINUS This isn’t some gag? RUSTY No gag. LINUS Wow. Yeah. That would be awesome. DANNY Okay, then. LINUS Man. I wasn’t sure if I should say anything. Now I’m glad I did. DANNY So are we. RUSTY We’re here to listen. (CONTINUED) “Clowns Can’t Sleep” 21. 34 CONTINUED: (3) 34 LINUS Great. Thanks. Really. You won’t regret this. Linus leaves. Danny and Rusty put their headphones back on. Now they look content. Basher and Frank watch Linus go. BASHER Tom. SAUL He can be a Tom? BASHER Anybody can be a Tom. SAUL You gotta make your own opportunities. This ain’t a rehearsal. BASHER Tom. Saul chews his economy class trail mix. SAUL Boy, you’re tough. BASHER Stop calling me ”boy”. Saul stops chewing. They look at each other. CUT TO: 35 EXT. AMSTERDAM -- DAY 35 Establishing shots of the city. 36 EXT. RED LIGHT DISTRICT -- DAY 36 The group makes their way down a damp cobblestone street. They stop in front of a window and look up. REVERSE ANGLE (CONTINUED) 36 37 “Clowns Can’t Sleep” 22. CONTINUED: 36 They have stopped in front of a narrow townhouse that hasbeen converted to a hotel. The sign says ”Bellagio ofAmsterdam.” INT. BELLAGIO OF AMSTERDAM -- DAY 37 A single room with 12 bunks in it. Their noses are wrinkled up because the place stinks. LIVINGSTON How could he lie to us like that? RUSTY The sign said ’the Bellagio of Amsterdam’. Everyone looks at each other and turns to leave. LINUS (?) Wait a minute. That’s it? DANNY Yeah. LINUS 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 shouldn’t go deeper into debt and spend money we don’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 isn’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. A long beat. CUT TO: EXT. AMSTERDAM’S FINEST FIVE-STAR HOTEL Four black mercedes skid to a stop outside Amsterdam’s finest five-star hotel. (CONTINUED) “Clowns Can’t Sleep” 23. 38 CONTINUED: 38 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. 39 EXT. CONVENIENCE STORE, UNITED STATES -- DAY 39 Tess enters and buys a phone card. 40 EXT. PHONE BOOTH -- DAY 40 Tess talks to Danny. Across the street, a BLACK SEDAN is parked. TESS What are you doing in Amsterdam? DANNY (PHONE V.O) Only what I have to do to get Benedict off our backs. TESS Be careful, Danny. Please. DANNY How’s work? TESS It’s the same. I’m distracted. DANNY I’m sorry. TESS It’s not your fault. DANNY (TELEPHONE V.O.) I keep trying to figure out what I did wrong. How did he find us? Tess can’t bring herself to tell Danny the truth, that it was entirely her fault. TESS Danny, don’t keep thinking about it. DANNY (TELEPHONE V.O.) I did something wrong. He should never have found us. (CONTINUED) “Clowns Can’t Sleep” 24. 40 CONTINUED: 40 TESS I’ll call you tomorrow. I love you. DANNY I love you. 41 INT. AMSTERDAM HOTEL SUITE -- NIGHT 41 Danny hangs up the phone and site. CUT TO: 42 INT. HOTEL -- NIGHT 42 In other rooms, the guys get themselves settled in. Each takes a step toward personalizing their suite. 43 EXT. AMSTERDAM COFFEE HOUSE -- DAY 43 Danny and Rusty lead an obviously eager Linus towards a coffee house. RUSTY She’ll try and use her looks to distract you. Don’t let her. DANNY Be polite, but firm. LINUS Right. RUSTY Don’t get soft on us. Don’t make too many concessions. LINUS I won’t. Danny and Rusty nod. Okay. 44 INT. COFFEE HOUSE -- CLOSE ON EVELYN. 44 Who is obviously a MAN IN DRAG. Linus looks to Danny and Rusty but they give him nothing. (CONTINUED) “Clowns Can’t Sleep” 25. 44 CONTINUED: 44 EVELYN The onset of summer is like a woman who owns too many shoes. She/He looks to Linus, who looks to Danny and Rusty. DANNY (bailing Linus out) If animals were capable of flattery, the World Bank would be open until 8pm. EVELYN When I was four years old, I saw my mother kill a spider with a tea cozy. Again, the Evelyn looks to Linus, who has nothing to say. RUSTY 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. Evelyn nods and looks to Linus, as do Danny and Rusty. He furrows his brow, then speaks: LINUS 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. Danny and Rusty stare at Linus like he’s nuts, like he’s just cracked. Evelyn’s entire expression changes. EVELYN Your young friend has a great deal to learn about respect. She/He puts his/her drink down and walks to another part of the establishment. DANNY Linus...why don’t you wait outside. Rusty and Danny follow Evelyn and quietly console him/her. “Clowns Can’t Sleep” 26. 45 EXT. COFFEE HOUSE -- AFTERWARD -- DAY 45 Linus cools his heels. Danny and Rusty emerge from inside. DANNY Is that your idea of making a contribution? RUSTY Her terms were scandalous. And we were lucky to get them after what you said. DANNY The deal was this close to being blown. LINUS “Deal?” What “deal?” Danny and Rusty just look at him. LINUS (cont’d) I know what you guys are doing. Danny and Rusty exhange looks. What? LINUS (cont’d) Look. That...person had too many cupcakes. They just keep staring at him. LINUS (cont’d) I was playing along. RUSTY “Playing along!” DANNY You called her mother a whore. RUSTY A really cheap one. LINUS Guys, I’m not falling for this. I’m not.... But Danny and Rusty aren’t laughing. They look pissed. Seriously pissed. (CONTINUED) “Clowns Can’t Sleep” 27. 45 CONTINUED: 45 LINUS (cont’d) I mean... Danny and Rusty just look at him. Linus squirms. LINUS (cont’d) I called her mother a whore? 46 INT. AMSTERDAM HOTEL SUITE -- NIGHT 46 Danny and Rusty explain the job to the group. RUSTY It’s a privately owned home. But don’t let that fool you. It’s extremely well-protected. A photo of a four-story canal house is displayed on a flat screen connected to Livingston’s computer. SAUL What are we after? DANNY A document. A very old, very valuable document. A photo labeled “The Vanderspeigle Getuigschrift” is displayed on screen. VIRGIL What is it? RUSTY A stock certificate. DANNY 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. TURK What’s our cut? RUSTY 2.7 million after expenses. A beat. Turk seems confused... (CONTINUED) “Clowns Can’t Sleep” 28. 46 CONTINUED: 46 TURK Each? VIRGIL Who negotiated this? Danny and Rusty look at Linus, LINUS Thanks. LIVINGSTON What do we know so far? DANNY There’s a dummy key pad by the front door. (points to a diagram) 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. FRANK That’s not good news, that’s really good news. VIRGIL We just wait until he leaves. DANNY Yeah, well...that’s the bad news. RUSTY He doesn’t. Frank flinches. Doesn’t like what he’s hearing. DANNY He’s agoraphobic. 47 AMSTERDAM PLANNING MONTAGE 47 Shots of their mark, Vanderspeigle, being an agoraphobic weirdo. LIVINGSTON So he’s never been out of his house? Ever? (CONTINUED) “Clowns Can’t Sleep” 29. 47 CONTINUED 47 RUSTY (V.O.) Not once since he moved in ten years ago. SAUL (V.O.) Doesn’t this guy believe in fresh air? RUSTY (V.O.) Cracks his windows at night...that’s about it. When Vanderspeigle cracks his window we see that locking pins fall into place to prevent the window from opening more than a few inches. LIVINGSTON (V.O.) Can we tap into the system from the outside through the phone lines? RUSTY (V.O.) Negative. It’s a closed-loop system with two redundant servers locked into titanium cases in the guy’s bedroom. 47A We SEE the servers in Vanderspeigle’s bedroom. 47A BASHER (V.O.) Could we use a remote device to trigger the panel? DANNY (V.O.) It’s hard-wired and shielded. 48 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 48 TURK Guys, am I missing something here? We know his damn code, right? You’re telling me with that much information we can’t find a way into this freak’s house? Frank flinches again. He seem to be reacting to the term “freak.” TURK Can’t we just get a telephone repair truck... “Clowns Can’t Sleep” 30. 49 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 49 TURK (V.O.) ...put the basket up and use a telescoping rod through the open window to tap out the guy’s code? Turk’s idea plays out as it is in his MIND’S EYE, until: RUSTY (V.O.) The street in front of the house is blocked off to vehicles. DANNY (V.O.) And it’s covered by five independently-wired surveillance cameras.... RUSTY (V.O.) Monitored 24-hours a day by a security company. We SEE the security arrangements they describe. 50 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 50 SAUL God, this guy really is a freak. BASHER Crazy freak. Frank reacts again to the term “freak.” It really bothers him. Danny notices. DANNY Something wrong? FRANK Just...don’t call the guy a freak, okay? Everyone turns and looks at Frank like he’s a freak. FRANK (cont’d) What? The entire room is staring at him. (CONTINUED) “Clowns Can’t Sleep” 31. 50 CONTINUED: 50 FRANK (cont’d) What?! I mean, am I the only one here who feels funny about stealing from a...a...handicapped guy? Danny looks to one side of the room...then the other. DANNY Yeah. The rest of the room agrees. Matter closed. Everyone just turns back to what they’re doing. DANNY (cont’d) Okay, so we know what we can’t do... Frank stews. DANNY (cont’d) Time to think outside the box, guys. A beat. Everyone thinks. Then: LINUS Okay, here’s something...I’ve got an idea...suppose we- RUSTY No. LINUS Well, but how- RUSTY There’s a Goldmann Grid over the enitre surface. Linus looks at him. RUSTY (cont’d) Is that what you were thinking about? Linus nods. DANNY (sudden idea) But.... (CONTINUED) “Clowns Can’t Sleep” 32. 50 CONTINUED: (2) 50 RUSTY --Well, that’s different. Especially if we- Rusty makes a circular motion with his finger and then stops it with his other hand. DANNY Right. LINUS What? RUSTY (quick aside to Linus) A Schuman Special. (then to Livingston) Livingston- LIVINGSTON Absolutely. I mean, I’d need a day to- RUSTY You’ll have three. Basher? BASHER No worries. RUSTY Virgil, Turk. VIRGIL. Just gotta get the gear. TURK Sweden. RUSTY Yen? Yen says something in Chinese. RUSTY (cont’d) What, and give up show business? Saul- SAUL I know, I know. I’ll be bored. You’ll be fine. (CONTINUED) “Clowns Can’t Sleep” 33. 50 CONTINUED: (3) 50 RUSTY Clock’s running. Everyone gets up and leaves. Within seconds, Linus is alone, standing in the middle of the room. LINUS What’s a Schuman Special? 51 INT. HOTEL SUITE -- THE PLANNING SESSION -- NIGHT 51 Livingston uses a mock up of the alarm panel as a visual aid. LIVINGSTON (to Basher) Your shot has to hit directly above the keypad. 52 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 52 We see Basher rehearsing the shot. He can’t get a clear shot of the target. In fact, he can’t see it. He turns to Saul. BASHER Let me see the specs. 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”. BASHER How tall is the surface of this roof? SAUL About 87 feet. BASHER How tall exactly? 53 INT. HOTEL SUITE -- DAY 53 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. (CONTINUED) “Clowns Can’t Sleep” 34. 53 CONTINUED: 53 RUSTY You’re not going to believe this. DANNY Try me. RUSTY We don’t have line-of-sight. DANNY What? RUSTY 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. Linus enters, out of breath. Seeing everyone, he goes to Danny and Rusty. LINUS Can I talk to you guys for a second? They nod and allow Linus to pull them into the corner. Linus looks over at the group and then turns to ’them. LINUS Listen, I’ve done a little research on the Schuman Special, and uh...we don’t have line of sight for the shot. DANNY What? RUSTY Jesus. This’ll kill us. DANNY (to Linus) Listen: Don’t say anything. If you’re ever going to run your own crew, you’ve got to remember to never show weakness. RUSTY It’s like blood in the water for these guys. (CONTINUED) 53 CONTINUED: (2) “Clowns Can’t Sleep” 53 35. DANNY If they think you’re slipping, youwon’t even see it coming. Linus swallows. RUSTY But hey--thanks. Linus nods and goes back to the group. RUSTY (to Danny) I need some air. 54 EXT. CANAL -- DUSK 54 Rusty and Danny walk along the adjacent road. DANNY The Swinging Priest? RUSTY Not enough time. DANNY Crazy Larry. RUSTY Too many variables. DANNY Robinov’s Revenge? RUSTY Too many obstacles. DANNY The Soft Shoulder. RUSTY Not enough people. DANNY Baker’s Dozen. RUSTY We’d need a woman. DANNY Hell in a Handbasket. (CONTINUED) “Clowns Can’t Sleep” 36. 54 CONTINUED: 54 RUSTY Can’t train the cat that quickly. DANNY I can’t have my wife watch me hauled off in handcuffs again. RUSTY It’s always about you, isn’t it? DANNY This like running toward a cliff. Speaking of which, how’s Isabel? RUSTY I have no idea what you’re talking about. DANNY You get the tattoo removed? RUSTY Given its location, my doctor advised against it. Rusty stops walking. Danny continues, then notices he is alone. He turns back to Rusty. DANNY What are you doing? RUSTY We’re here. DANNY Oh. As Danny and Rusty enter the hotel, Rusty trips on the steps. DANNY Nice. 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. 55 THE GROUP STARES INTO CAMERA 55 SAUL You want to do what? (CONTINUED) 55 CONTINUED: “Clowns Can’t Sleep” 55 37. REVERSE to REVEAL Rusty and Danny. RUSTY Tilt it. Raise it slightly. SAUL The whole house? RUSTY It’s only a few inches. BASHER Then I’ll have line-of-sight. FRANK We can’t tilt a whole house. VIRGIL They did it with the Leaning Towerof Pisa. Exactly. RUSTY SAUL It took three hundred guys twoyears to do that. You’re crazy. Nobody’s ever done anything likethis. RUSTY Not true. Palowski did it in ‘64 in Venice and ‘73 in Istanbul. Really? SAUL LIVINGSTON And he only had a crew of six. RUSTY There are thirty pylons. We cutthem, insert the jacks, and crank. BASHER For nineteen hours. Here’s the order in which they have to bedone. “Clowns Can’t Sleep” 38. 56 EXT. VANDERSPEIGLE’S HOUSE -- NIGHT 56 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- 57 INT. BARGE HULL 57 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. LIVINGSTON So, Basher approached me about being on a crew. FRANK When? LIVINGSTON Yesterday. Frank thinks about that. Yen pops his head out from a small tube and says something in Chinese. Frank shrugs...doesn’t understand. Yen tries again.... This time he enunciates very clearly and talks very loudly (like Americans do when foreigners don’t understand English). 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. 58 INT. UNDER VANDERSPEIGLE’S HOUSE - NIGHT 58 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. (CONTINUED) “Clowns Can’t Sleep” 39. 58 CONTINUED: 58 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 RUSTY The good news is, after the first twelve hours, I stopped being able to smell anything. DANNY Took a few more for me. RUSTY This water was stagnant six hundred years ago. 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. VIRGIL There’s no reason for him not to. He would go to the cops. TURK Okay, so he goes to the cops. VIRGIL Then they arrest Dominique. TURK. Right. VIRGIL Then we have no story. TURK Right. LINUS She steals the money from Mr. Mulroney. They turn to look at Linus, sawing nearby. TURK What? VIRGIL Why would she? (CONTINUED) “Clowns Can’t Sleep” 40. 58 CONTINUED: (2) 58 LINUS To pay Franklin to keep quiet. Turk and Virgil think about that. Linus keeps sawing. TURK That’s good. 59 INT. APARTMENT ACROSS FROM VANDERSPEIGLE’S HOUSE -- NIGHT 59 Basher and Saul sit in big cushiony chairs. SAUL Counterfeiting? Me? (beat) I have to tell you, it’s not something I condone. It’s cheating. BASHER It is cheating. SAUL There’s no subtlety to it. BASHER It’s kind of embarrassing. SAUL No one I know... BASHER I can’t imagine anything like that. 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. SAUL Not bad. BASHER Bolivia. SAUL Diego’s people? BASHER Yeah. (CONTINUED) 60 61 62 “Clowns Can’t Sleep” 41. CONTINUED: 59 SAUL Well. Congratulations. BASHER I told him about you. SAUL 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. INT. APARTMENT -- NIGHT 60 Frank sits watching TV. Livingston enters with groceries. FRANK Jay Leno called. LIVINGSTON When are you gonna stop with that tired “white people can’t be funny stuff”? It’s so old, Frank, really. Do you want some orange juice? I got the good kind. Just then they are interrupted by Danny’s voice on a walkie talkie. DANNY (V.O.) Augie One, this is Condor. UNDER VANDERSPEIGLE’S HOUSE 61 Rusty turns to Danny. LIVINGSTON (V.O.) This is Augie One; Go Condor. INT. APARTMENT -- NIGHT 62 DANNY (V.O.) We’re fully cranked here. Let’s go to phase two. Livingston and Frank look at each other. (CONTINUED) “Clowns Can’t Sleep” 42. 62 CONTINUED: 62 FRANK Bring that orange juice. 63 EXT. ROOF -- NIGHT 63 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. SAUL This is Gatsby. We’re green here. Basher aims. The INSTANT he fires the shot we CUT TO: 64 INT. EUROPOL HEADQUARTERS -- THE HAGUE -- DAY 64 A MALE SECRETARY (HESS) rushes through Europol’s extraordinary Richard Meier-designed headquarters. 65 INT. AUDITORIUM -- DAY 65 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. ISABEL 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. (CONTINUED) “Clowns Can’t Sleep” 43. 65 CONTINUED: 65 The secretary enters the auditorium and walks toward the podium. ISABEL For example: Anecdotal evidence suggest these people are personally insufferable. The Higher-Ups look at each other; what did she just say? ISABEL 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. Many in the audience are now looking to each other, wondering if this is appropriate. ISABEL 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. 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. ISABEL (cont’d) (amplified by the lectern mic) WHAT? 66 INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY 66 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 can’t hear. Then he pulls out some PHOTOS. Isabel leafs through them. (CONTINUED) “Clowns Can’t Sleep” 44. 66 CONTINUED: 66 ISABEL That’s impossible! 67 EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY 67 Isabel arrives and is greeted by PAUL, a lead detective working the Vanderspeigle theft for the Amsterdam police department. PAUL Thanks for coming. We can really use your help on this one. 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. ISABEL I hope the scene hasn’t been contaminated. Isabel walks away. Moments later, she enters the house with the lead detective. 68 INT. VANDERSPEIGLE HOUSE - DAY 68 As soon as she’s inside she’s all business. ISABEL No forced entry. PAUL Not that we can find. 69 UPSTAIRS -- VANDERSPEIGLE’S HOME OFFICE 69 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. PAUL (nods) We can’t figure out how they disabled the alarm. We thought maybe they tried to short it out somehow. (CONTINUED) “Clowns Can’t Sleep” 45. 69 CONTINUED: 69 ISABEL No, that would have triggered the system. Isabel goes to the alarm pad. Pulls the face plate off, examines the inside. ISABEL (cont’d) And damaged the circuits. PAM Well, then I don’t know how they got in. ISABEL They had to have known the code. She moves on to look in the mark’s BEDROOM. PAUL (calls to her) 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. 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. ISABEL There are other ways to get the code. (to herself) Closed loop. Redundant servers. Titanium encasement. Not bad. The lead detective enters the bedroom. PAUL Like what? Again, Isabel is inside her own mind. She’s really just answering the detective’s questions out of courtesy. (CONTINUED) “Clowns Can’t Sleep” 46. 69 CONTINUED: (2) 69 ISABEL Uh...well, they probably set up in a house across the canal and watched him type the code in through a pair of binoculars. 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. PAUL (calling to Isabel in the bedroom) Actually, I don’t know about that. Isabel re-enters the office. PAUL (cont’d) Unless he had a habit of typing in the code like this- 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. PAUL (cont’d) --then his body would block the view from across the canal. ISABEL That’s why they probably set up over there- She points out an adjacent window on another wall. ISABEL (cont’d) --And used the mirror. 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. ISABEL (cont’d) I’m guessing they’d need a fifteen hundred millimeter lens to get a clear shot but- 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. (CONTINUED) “Clowns Can’t Sleep” 47. 69 CONTINUED: (3) 69 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. 70 MIND’S EYE (ISABEL) -- THE NIGHT BEFORE 70 A black-clad thief (LINUS) uses a paint brush to touch up the wall above the alarm keypad. 71 BACK TO SCENE -- THE CRIME SCENE 71 The lead detective watches Isabel intently. PAUL What is it? 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 isn’t plaster at all. It’s spackle. PAUL (cont’d) What is that? Isabel cooks her head again. 72 MIND’S EYE (ISABEL) -- THE NIGHT BEFORE 72 THUNK! A crossbow bolt hits the wall above the alarm panel. 73 BACK TO SCENE -- THE CRIME SCENE 73 ISABEL It’s where the crossbow bolt hit. PAUL A crossbow bolt? ISABEL Ever heard of Franz Schuman? PAUL No. (CONTINUED) “Clowns Can’t Sleep” 48. 73 CONTINUED: 73 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. ISABEL They would have fired from that roof. Through this open window. Isabel kneels down, checks the line-of-sight to make sure she’s correct. PAUL From that roof, through this window? Nobody could make a shot like that. ISABEL Not a cop, anyway. PAUL What’s that supposed to mean? ISABEL Sorry. Your friend downstairs put me in a bad mood. PAUL He’s an idiot. You shouldn’t let him bother you. ISABEL Yes. You’re right. 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.” ISABEL (cont’d) But these man are exceptionally good. Even when they make mistakes. 74 MIND’S EYE (ISABEL) -- THE NIGHT BEFORE 74 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. (CONTINUED) 75 76 77 “Clowns Can’t Sleep” 49. CONTINUED: 74 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 75 Isabel writes: “Livingston Dell?“ Underneath Basher’s name in her notebook. MIND’S EYE (ISABEL) -- THE NIGHT BEFORE 76 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 77 Isabel nods her head. There’s a slight smile on her face. The smile of admiration, respect in another’s skills. ISABEL When did he get up and notice the certificate was gone? PAUL The alarm woke him at 4:2O am. ISABEL But the alarm would have been- She stops. And smiles to herself. ISABEL (cont’d) Oh... Oh, I know what happened. PAUL What? Isabel quickly glances around the room. Her eye lands on the floor near the false bookcase. (CONTINUED) 78 79 CONTINUED: “Clowns Can’t Sleep” 77 50. On some dark lines in the crevices where the floor boards meet. She kneels down for a closer look. ISABEL There was someone else. PAUL Someone else. MIND’S EYE (ISABEL) -- THE NIGHT BEFORE 78 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. ISABEL (V.O.) Oh, I wish I could’ve have seen that. INT. VANDERSPEIGLE OFFICE - NIGHT 79 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 (and the attached wires) 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. ISABEL (V.O.) That must have really been something. Suddenly: DANNY Wait! Wait! Shhhh! 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? (CONTINUED) “Clowns Can’t Sleep” 51. 79 CONTINUED: 79 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 isn’t showing it. Danny approaches him. This exchange is whispered with a great amount of drama at very close range. DINNER JACKET Can I help you? DANNY Yeah. What the hell are you doing? DINNER JACKET I am getting here first. Just then, Frank and Yen arrive. The Frenchman looks them over. RUSTY This is our score. DINNER JACKET I am here before you. FRANK (joining) We let you in the house! Somehow you got in after we hit the code but before we got to the door. DINNER JACKET 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? DANNY No. RUSTY We don’t. DINNER JACKET Yes, I know you don’t. Because I saw, the whole thing from that chair. I knew you were around, but I had my own plan. Yen says something in Chinese. (CONTINUED) “Clowns Can’t Sleep” 52. 79 CONTINUED: (2) 79 DINNER JACKET There’s really no need for that. Danny wants to raise his voice, but he can’t. Vanderspeigle is snoring twenty feet away. DANNY Listen, we have to come to some arrangement. LINUS We’ve incurred some very serious costs here. Danny and Rusty look at him. LINUS Well, we have. The Malloys arrive. DINNER JACKET Every second I am becoming more outnumbered. VIRGIL (whispering, re: Dinner Jacket) Who’s this? FRANK He said he got here first. VIRGIL That’s bullshit. RUSTY Hey. Mouth. VIRGIL This is our goddamned job! He sounds as angry as a guy who’s whispering can sound. LIVINGSTON If the situation were reversed- DINNER JACKET But the situation is not reversed. The situation is that I am here first, without any help from you. (CONTINUED) “Clowns Can’t Sleep” 53. 79 CONTINUED: (3) 79 Livingston arrives, soaking wet like everyone else. DINNER JACKET So as much as I would-- Basher and Saul arrive. DINNER JACKET Jesus, how many of you are there? DANNY Just give us the stock certificate. Whatever else you took out of that safe...it’s yours. Dinner Jacket stops. Thinks for a moment. Then: DINNER JACKET No. But: I leave you with something. He hands Danny a business card. DINNER JACKET My attorney. In case Evelyn’s employer tries anything...well, anything. Dinner Jacket smiles, then pulls a tiny electronic device out of his shirt pocket. He presses a button. And the alarm blares to life. 80 BACK TO SCENE -- THE CRIME SCENE 80 Paul stares at Isabel. PAUL Are you sure? ISABEL I’m sure there’s another scenario that would fit these physical details, but I don’t know what it is. PAUL Where should we start? Isabel takes out her PDA, writes something on her keypad, and hits a few buttons. A second later, Paul’s BEEPER goes off. (CONTINUED) “Clowns Can’t Sleep” 54. 80 CONTINUED: 80 ISABEL You can start by picking that guy up. 81 INT. AMSTERDAM HOTEL SUITE -- DAY 81 The group sits around looking depressed. VIRGIL Who the hell was that guy? FRANK It’s going to get out, you know. People are going to find out. BASHER Somebody must know this bloke’s name. LIVINGSTON The question is who trained him. He got into that place alone. DANNY He says. FRANK I believed him. SAUL (unsettled) You think he’s better than us? FRANK I’m not saying anything, but the man was sitting there, waiting for us. LINUS Do you think the cops even know who this guys is? RUSTY Please. That guy’s never even seen a cop. TURK Maybe he works with the cops. (CONTINUED) “Clowns Can’t Sleep” 55. 81 CONTINUED: 81 SAUL You don’t work with the cops unless you absolutely have to. And not even then. BASHER Either way, he’s got to have a name. LIVINGSTON It can’t be that hard to find out who this guy is. Like I said, somebody trained him. Who trains the best? DANNY LeMarc. (to Rusty) Right? RUSTY If he’s not dead. LINUS Who’s LeMarc? Stunned silence from the guys. They won’t even respond. Yen says something. 82 EXT. POLICE HEADQUARTERS -- DAY 82 Isabel arrives. 83 INT. POLICE HEADQUARTERS -- DAY 83 Isabel is waiting to be processed. Eventually, she is directed down a hallway. 84 INT. INTERROGATION ANTEROOM -- DAY 84 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. (CONTINUED) “Clowns Can’t Sleep” 56. 84 CONTINUED: 84 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. ONDERDONK Fucking stone. DAVENPECK I’m not quitting. ONDERDONK Who said quitting. I’m tired. ISABEL Can I speak to him? The two detectives look at each other. DAVENPECK Who are you? Isabel produces a signed document. They look at it, shrug, and give it back. DAVENPECK Apparently, you can do whatever you want with him. ONDERDONK Are you moving him? ISABEL Oh no. I just need to speak with him. To get some information. DAVENPECK We’ve been on him for six hours. ONDERDONK With our best stuff. DAVENPECK Our best stuff. In mind terms, we’ve been torturing this guy. ISABEL I’m sure. I only need a moment, then I’ll be out of your way. (CONTINUED) “Clowns Can’t Sleep” 57. 84 CONTINUED: (2) 84 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. 85 INT. AMSTERDAM HOTEL SUITE -- NIGHT 85 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. DANNY (INTO PHONE) It’s not a problem, it’s a hiccup. It won’t affect our schedule that much. I want to talk about you, not the job. How are you doing? KNOCK-KNOCK-KNOCK. Something about it doesn’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 isn’t a stranger. DANNY Tess, I’ve got to call you back. He hangs up. KNOCK-KNOCK-KNOCK. Rusty indicates for Danny to get it. DANNY Coming. Danny opens the door to reveal ISABEL. She looks at Danny. He looks back at her. They don’t say a word. Danny motions for her to come in. (CONTINUED) “Clowns Can’t Sleep” 58. 85 CONTINUED: 85 RUSTY (still glued to the TV) Who is it? ISABEL (to Rusty) Hello, Robert. Rusty spins to see Isabel. RUSTY Isabel. He crosses to her. STAY with the group for a moment. LINUS “Robert?“ Is that his real name? Virgil and Turk shrug. LINUS How does she know that? LIVINGSTON Ex-girlfriend. BASHER & SAUL Fiancee. 86 ANGLE ON RUSTY AND ISABEL 86 The entire group is watching them. RUSTY It’s great to see you. ISABEL Is it? Because you’ve been seeing a lot of me lately. She hands a surveillance photo to Rusty. ISABEL You were sitting in a Mercedes outside my apartment on Wednesday night. She hands Rusty another photo. (These are the photos Hess the male secretary showed her at Europol HQ that we couldn’t see.) (CONTINUED) “Clowns Can’t Sleep” 59. 86 CONTINUED: 86 ISABEL You were hiding in the bushes when I had lunch yesterday at Trattoria Bella. She hands him a third photo. Looks at the fourth. ISABEL This one...I’m not even sure where this one was taken, but I like it a lot. Very Ron Gallela. 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. ISABEL I mean, if I didn’t know better I’d think you all came here to steal the Vanderspeigle Getuigschrift, also known as the world’s first stock certificate. (to the group as a whole) You must have been so proud of yourselves. A Schuman Special. It’s been awhile. (smiles at Basher) That was a very handsome crossbow shot, Eugene. Basher winces at the sound of his real name. The group stares back at her. Can’t believe this is happening. ISABEL And the Palowski...whose idea was that? She knows it was Rusty. RUSTY We didn’t steal anything. ISABEL Oh...I know you didn’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? (CONTINUED) “Clowns Can’t Sleep” 60. 86 CONTINUED: (2) 86 BASHER (to Isabel) At least we saw him in the flesh. You’ll never see this guy your whole life. ISABEL So you know who he is? DANNY Of course we know who he is. ISABEL Well, then. I’ll see you when you see him. To get your certificate back. 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. LIVINGSTON (to Rusty, re: the photo) Who’s hat is that? SAUL How did she-- That was- DANNY (to Rusty) This is what I was talking about. This is exactly what I was talking- RUSTY --I was just checking up on her. I knew she didn’t want to see me. I was being polite. TURK Where did she learn all that stuff? The Palowski stuff. DANNY Her father. VIRGIL He was a cop? RUSTY Thief. (CONTINUED) “Clowns Can’t Sleep” 61. 86 CONTINUED: (3) 86 LINUS Was he good? DANNY Very. FRANK Great. VIRGIL What’s the big deal? She’s just some brilliant, pissed-off ex- girlfriend who’s dad taught her every trick in the book. SAUL & BASHER Fiancee. TURK But did you see that display of emotion, handing out those pictures? VIRGIL Totally unprofessional. RUSTY She’s passionate. VIRGIL She’s unbalanced. RUSTY Her job is very stressful. SAUL She could reduce her stress by leaving us alone. DANNY We’ve got to slow her down. Everyone agrees. DANNY But first: We find our French friend and introduce ourselves. FUNKY TRANSITION TO: “Clowns Can’t Sleep” 62. 87 INT. EUROPOL HEADQUARTERS -- DAY 87 Isabel is talking to her superior. ISABEL’S BOSS Twenty-four hours. You know that. ISABEL I don’t have twenty-four hours. They’re there now. They’ll lead meto him. ISABEL’S BOSS You also know that you can go now, if you don’t take your secretary. When there’s liability, I need adocument. She nods. 88 INT. EUROPOL HEADQUARTERS HALLWAY -- DAY 88 Isabel exits. HESS He said we can’t leave until tomorrow because of liabilityissues and he needs a document. ISABEL Yes. HESS Thanks for trying. ISABEL Let’s share a car. HESS That would be nice. Thank you. ISABEL I can’t believe they won’t make anexception. (beat) I’ve got to find out who this otherguy is. CUT TO: “Clowns Can’t Sleep” 63. 89 INT. MONTE CARLO CASINO -- NIGHT 89 Dinner Jacket (AKA FRANCOIS TOULOUR) wins a huge blackjack bet. The crowd reacts enthusiastically. A beautiful woman stands near him. 90 INT. MONTE CARLO CASINO -- NIGHT 90 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. ANOTHER BEAUTIFUL WOMAN Fantastic. BASHER (V.O.) He did his first big job in 1989. Bundesbank, Berlin. DANNY (V.O.) The fifteen million dollar one the day the Berlin wall fell? BASHER (V.O.) He was nineteen years old. 91 INTERCUT -- INT./EXT. MONTE CARLO CASINO -- NIGHT 91 FOLLOW Toulour (in a different tuxedo, with a different beautiful woman) as he exits the casino. 92 EXT. MONTE CARLO CASINO -- NIGHT 92 When we PICK HIM UP on the exterior he is in another tuxedo with another woman. ANOTHER BEAUTIFUL WOMAN Where do you want to go this weekend? BASHER (V.O.) 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. (MORE) (CONTINUED) “Clowns Can’t Sleep” 64. 92 CONTINUED: 92 BASHER (V.O.) (cont’d) Prado museum. Madrid ’93.... The Picasso. Estimated value- SAUL (V.O.) Hang on a second! He-- All of them?! LIVINGSTON (V.O.) He’s not done. DANNY (V.O.) Wait -- Prado Museum, the Picasso - that was Moretti. 93 INTERCUT -- EXT. MONTE CARLO -- NIGHT 93 Toulour rockets his turbocharged Bentley into a tunnel. 94 EXT. MONTE CARLO TUNNEL - NIGHT 94 PICK HIM UP as he exits the tunnel in a new car, wearing a new tux, with a new woman. BASHER (V.O.) He in Moretti. It’s one of his aliases. RUSTY (V.O.) Anything else? BASHER (V.O.) UDC bank in Geneva, ‘94. Nineteen million in bearer bonds. The Louvre --’95 and twice in ’96. Yen (in V.O.) says something in Chinese. BASHER (V.O.) He left a Post-It note on the Mona Lisa that said “Bitch set me up.” LIVINGSTON (V.O.) Tell them about Saint Tropez. BASHER (V.O.) 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. Couldn’t remember a thing. (CONTINUED) “Clowns Can’t Sleep” 65. 94 CONTINUED: 94 SAUL (V.O.) How do you hide a two hundred footyacht?! BASHER (V.O.) If the King knows, he’s nottelling. He received it back amonth later. 95 INTERCUT -- EXT. COTE D’AZURE -- NIGHT 95 Toulour. Another car. Another tux. Another beautiful woman. He pilots his convertible Maserati at high speedalong the windy road. ANOTHER BEAUTIFUL WOMAN How far is your house, Baron? TOULOUR Twenty minutes by helicopter. TURK (V.O.) One guy did all those jobs? VIRGIL (V.O.) How’d he get all those aliases? BASHER (V.O.) Until a month ago Interpol wereconvinced that the heists were the work of twelve different people. But not any more. LIVINGSTON (V.O.) The French national police justgave him a nickname. “Le Renard Nuit” -- The Night Fox. 96 INT. HOTEL SUITE -- DAY 96 Danny rolls his eyes. BASHER Scotland Yard said he’s the new LeMarc. RUSTY Scotland Yard never saw LeMarc. “Clowns Can’t Sleep” 66. 97 INTERCUT -- EXT. PRIVATE HELIPORT -- NIGHT 97 A helicopter lands on a massive Lake Como estate. Toulour gets out. New clothes. New woman. DANNY (V.O.) Personal information? LINUS (V.O.) 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. SAUL (V.O.) Taxes over here are brutal. People don’t realize. LINUS (V.O.) 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 doesn’t appear to live there. 98 INTERCUT -- EXT. / INT. TOULOUR’S HOUSE -- NIGHT 98 Toulour, in new clothes, with yet another woman, unlocks several locks and disarms two alarms. The woman can’t believe all the security he has. ANOTHER BEAUTIFUL WOMAN What do you have in there, the Mona Lisa? TOULOUR (as if) Please. ANOTHER BEAUTIFUL WOMAN (doesn’t miss a beat) You know what? I don’t like that painting either. I don’t like anything Van Gogh did. (CONTINUED) “Clowns Can’t Sleep” 67. 98 CONTINUED: 98 Toulour smiles and lets her in. LINUS (V.O.) He’s an avid golfer, pro-level tennis player, and inveterate gambler. But apparently his favorite pastime is.... Linus trails off. 99 BACK TO THE HOTEL 99 DANNY What? RUSTY Spit it out, Linus. 100 INTERCUT -- INT. TOULOUR’S VILLA -- NIGHT 100 A tableau shot looking into the bedroom. ANOTHER BEAUTIFUL WOMAN joins Toulour in his bedroom. 101 INT. AMSTERDAM HOTEL SUITE -- DAY 101 LINUS He’s rarely alone. I think it’s a compulsion. I have a list of names here...it was just the first week. DANNY All right, moving on, is there anything else we need to know about this guy before we- BASHER Did we forget to mention he’s a Viscount? DANNY A what? LIVINGSTON Viscount. As in nobility. (CONTINUED) “Clowns Can’t Sleep” 68. 101 CONTINUED: 101 DANNY (cannot take it anymore) Last time I checked titles like that went out with a little number I like to call the French Revolution- BASHER Spain. DANNY What? BASHER His title. It’s Spanish. Mother’s cousin. 102 INTERCUT -- INT. TOULOUR’S BEDROOM -- DAWN 102 Toulour crawls out of bad. Wonders who the woman next to him is. 103 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAY 103 DANNY 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 doesn’t matter. 104 INTERCUT -- INT. TOULOUR’S HALLWAY -- DAWN 104 Toulour comes downstairs in his bathrobe. 105 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAWN 105 DANNY There’s something he cares about. There’s something he can’t live without. 106 INTERCUT -- INT. TOULOUR’S HOUSE -- DAWN 106 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. (CONTINUED) “Clowns Can’t Sleep” 69. 106 CONTINUED: 106 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. 107 EXT. TOULOUR’S VILLA -- DAY 107 Toulour in playing a hard-fought game of tennis. His opponent (EDMUND) 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. EDMUNDS Are you on steroids? Toulour laughs. EDMUND Let’s try again. Give me five games this time. TOULOUR You are worse than Sampras. You should be paying me. A BUTLER arrives. BUTLER (in French) Pardon me, sir. He hands Toulour two business cards. One says “Daniel Ocean,” the other “Rusty Ryan.” BUTLER (in French) Two gentlemen. They say they met you in Amsterdam last week. TOULOUR (in French) Put them on the veranda and get them a drink. I’ll be right up. 108 EXT. VERANDA -- DAY 108 Danny and Rusty look out over Lake Como. Toulour arrives. TOULOUR (to Danny) Rusty. (MORE) (CONTINUED) 108 CONTINUED: TOULOUR (cont’d) (to Rusty) Danny. “Clowns Can’t Sleep” 108 70. DANNY Other way around. TOULOUR Are you sure? Usually I’m so goodat that. Edmund arrives, carrying his tennis bag. TOULOUR This is Edmund. Edmund. Danny. Rusty. He calls by their wrong names again. DANNY Nice to meet you. Edmund. (making conversation) You a tennis pro? Rusty takes a sip of ice tea. EDMUND Actually, no, I’m the King ofMorocco. Danny and Rusty nod, their smiles frozen. 109 INT. VILLA -- DAY 109 Toulour shows Danny and Rusty his art. TOULOUR Sadly, I can’t show you my favoritepainting of all -- a Degas thatused to hang right there -- becauseit was stolen recently. DANNY That’s awful. RUSTY The criminal element is everywherethese days. Toulour nods. DANNY Listen, Francois- (CONTINUED) “Clowns Can’t Sleep” 71. 109 CONTINUED: 109 TOULOUR Please. Call me Baron. DANNY We came here for the Vanderspeigle certificate- TOULOUR That’s not for sale. DANNY Your Degas is worth three times that. You want your painting back, you’re going to have to trade. TOULOUR You actually expect me to believe that you are in possession of my Degas? You are living in a...in a bubble. Toulour looks at them and walks away. CUT TO: 110 INT. LAKE COMO HOTEL SUITE -- DAY 110 Rusty and Danny stand with the rest of the group. BASHER He used the word “amateur“? Rusty and Danny nod reluctantly. VIRGIL You said we could show him the painting right, to prove that we had it. DANNY Yes. RUSTY He still wouldn’t trade. Yen says something. FRANK We need to teach him a lesson. (CONTINUED) 110 CONTINUED: “Clowns Can’t Sleep” 110 72. TURK Absolutely. DANNY All right, let’s stay calm. We don’t need to over-react here. He said some disrespectful things, that’s true. But why antagonizethis guy? Why get into somethingwith him? He’s young and he’sfilthy rich, and he’s got time onhis hands. We don’t want to become his Betty noir. We can just fencehis painting and earn a lot morethan we would have from the certificate. BASHER It’s about reputation. You said so yourself. We have to get thatcertificate to Evelyn’s buyer or- DANNY We’ll make enough selling the Degasto pay off her buyer- FRANK Then why did you make that tripdown there in the first place, ifyou didn’t want to get intosomething? Saul? DANNY SAUL Turn his name over to Isabel. In exchange for getting off our backs. Tough one to swallow. SAUL Short of that...the onlyappropriate response is to stealhis next job right out from underhim. Just like he did to us. TURK We don’t even know our next job. DANNY We got ten million in that closet. (CONTINUED) “Clowns Can’t Sleep” 73. 110 CONTINUED: (2) 110 Danny points at the closet in the room. DANNY I cash in the Degas, take a moment to think about our next move. Toulour isn’t going anywhere. You guys are hyping him too much, you’re letting him get inside your head. 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. 111 INT. PARIS BUILDING -- DAY 111 We see a SMALL, SECURE BOX being transported to a heavily secured truck. 112 EXT. PARIS BUILDING -- DAY 112 The truck exits the building and drives down a street with security MOTORCYCLES surrounding it. 113 EXT. PARIS FREEWAY -- DAY 113 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. 114 INT. CAR -- DAY 114 Isabel and Hess heading into Paris. ISABEL 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. (MORE) (CONTINUED) “Clowns Can’t Sleep” 74. 114 CONTINUED: 114 ISABEL (cont’d) 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? Hess gives her a look as though she should know better. HESS Without their signatures, you can’t do anything. You can’t pull the suspects over, you can’t do surveillance on them, you’re not even allowed to contact them. They’re real sticklers about sovereignty issues here. 115 INT. PARIS BUREAUCRAT’S OFFICE -- DAY 115 The Bureaucrat looks at Isabel. All of her. INSPECTOR Isabel, I couldn’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. 116 INT. SEDAN -- DAY 116 Isabel sits in the back with Hess. HESS Foucquet’s at eight-thirty. Apparently their’s a private room. Better bring your kevlar. (to the driver) Don’t stop for that. 117 EXT. PARIS STREET--DAY 117 The driver accelerates through a yellow/red light, almost hitting DANNY AND TOULOUR Who deftly avoid getting crushed. (CONTINUED) “Clowns Can’t Sleep” 75. 117 CONTINUED: 117 DANNY That’s not how I want to go. TOULOUR No. They walk on. TOULOUR Very theatrical of you...asking to meet here. Like we’re spies meeting to do an exchange. DANNY Why are you doing this to us? TOULOUR Doing what? DANNY This is a game for you. For us it’s survival. Are you that bored? I mean... TOULOUR No. I wouldn’t do that. No... The truth is...I made a bet. Or maybe a better word is a “wager”. DANNY What kind of wager? 118 EXT. PARIS CAPE -- DAY 118 Danny and Toulour sit across from each other. The bottom quarter of the Eifel tower is visible in the background. TOULOUR 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 didn’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. (beat) (MORE) (CONTINUED) 118 CONTINUED: “Clowns Can’t Sleep” TOULOUR (cont’d) You know, the Benedict job madewaves, even all the way over here. 16.3 million dollars. That’s a lot of money. 118 76. 163. DANNY TOULOUR Sorry. 163. Before you were found. 119 INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY 119 TOULOUR Yes, 163 million is a lot of money. It attracts attention. So, in a way, you brought this problem withme on yourselves. You’re victims of your own success. DANNY Here’s what I’m going to do. Youtell me the name of your mentor. I’ll call him up and I’ll tell himthat you’re the greatest thief inthe world...that I accept that tobe true.... And in return...youleave us alone, let us go about ourbusiness. How about that? TOULOUR He said you’d probably saysomething like that -- but he saidyou’d probably have your fingerscrossed when you said it. Danny frowns, pulls his hand out of his pocket. TOULOUR (CONT’D) So in this situation -- for the purposes of my wager -- wordsaren’t good enough. I have to prove this on the ground. DANNY This mentor of yours...was he agood thief in his day? TOULOUR Who, LeMarc? (CONTINUED) 119 CONTINUED: “Clowns Can’t Sleep” 119 77. Danny swallows. Yeah. Him. DANNY 120 INT. PARIS HOTEL ROOM -- DAY Angle on the group -- they’re slack-jawed. LIVINGSTON Who? Yen says something. RUSTY I thought so too. SAUL LeMarc. The LeMarc. Danny nods. SAUL God hates me. He hates all of us. FRANK Hell, this could go on forever. DANNY No. It’s going to be settled by onemore job. A single object. SAUL Whatever it is, let’s just let himhave it. DANNY We can’t. LIVINGSTON Because of pride? DANNY Because we beat him, he’ll pay Benedict off. A stunned beat. FRANK (new lease on life) Now we’re talking. 120 (CONTINUED) 120 CONTINUED: “Clowns Can’t Sleep” 120 78. BASHER One score, for the whole thing? LIVINGSTON What do we have to do? I mean, is it a fair bet or is it like...the Coronation Egg or something? Danny points. That’s it. That’s the one. SAUL He wants us to steal the Coronation Egg! BASHER That’s just... that’s...what isthat? SAUL The Holy Grail. RUSTY Carl Faberge, the greatestgoldsmith in history, constructedthe Coronation Egg in 1896 for thewedding of Czar Nicholas andAlexandra. Every world class thiefin the last 108 years has tried tosteal it. No one has even come close. SAUL That’s because it’s cursed. What? LINUS SAUL It’s un-stealable. DANNY It’s the only thing in LeMarc’sentire career that he went after but failed to get. He tried three times. A long beat of silence.... DANNY We get the egg and we’re free. (CONTINUED) 121 122 “Clowns Can’t Sleep” 79. CONTINUED: (2) 120 BASHER That’s great, except we can’t get it. SAUL It’s not possible. DANNY Then we go to jail. A beat... VIRGIL Well...where is it now? EXT. ROME, ITALY PRIVATE AIRPORT -- DAY 121 The SMALL, SECURE BOX is being taken off a plane. Another motorcade forms and escorts the vehicle into the city. EXT. STREETS OF ROME -- DAY 122 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. ISABEL I’m going to need surveillance on both hotels, phone taps, room bugs, people in the lobby and by every exit. CARABINIERI OFFICER Yes, absolutely. ISABEL If I had to guess I’d say I’ll need at least 25 people, a dozen vehicles...and an on-call air unit. CARABINIERI OFFICER Yes, absolutely. ISABEL 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. (MORE) (CONTINUED) “Clowns Can’t Sleep” 80. 122 CONTINUED: 122 ISABEL (cont’d) 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? CARABINIERI OFFICER Yes, absolutely. ISABEL Okay. Good. Now what time am I meeting Captain Giordano? A beat... CARABINIERI OFFICER (tentative) Yes... ISABEL No, what time? Another beat... CARABINIERI OFFICER Yes...absolutely... Isabel looks right at him. ISABEL I see...so...you’ve spoken with the Pope and he’s okay with autographing my breasts? Hess turns around. CARABINIERI OFFICER Yes, absolutely. Isabel sighs loudly and sinks back into her seat. 123 EXT. STREETS OF ROME -- DAY 123 The motorcade arrives at the Museum of Modern Art. We follow armored car and continue on to find Danny walking up the front steps. “Clowns Can’t Sleep” 81. 124 INT. MUSEUM OF MODERN ART -- DAY 124 Angle on Livingston as he subtly nods at something in the distance. Danny is standing next to him. DANNY What am I looking at? LIVINGSTON A TR354 infra red motion detection system. It’s the gold standard. DANNY Saul and Linus back yet? LIVINGSTON No. DANNY No? LIVINGSTON And I can’t find Rusty. 125 INT. MUSEUM -- ELSEWHERE 125 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. FRANK What? Yen says something in Chinese, again. FRANK Well, I don’t know, but that’s one nasty lock. Danny approaches. DANNY Seen Rusty? FRANK We thought he was with you. (CONTINUED) “Clowns Can’t Sleep” 82. 125 CONTINUED: 125 Danny moves off. 126 INT. MUSEUM -- ELSEWHERE 126 Basher is being questioned by Danny. BASHER Not since we first got here. About an hour ago. Danny moves away. BASHER (cont’d) (to Danny’s back) And where’s Saul and Linus? 127 INT. ROME HOTEL ROOM -- DAY 127 Isabel enters her room. Suddenly she spins and draws her pistol. Her gun ends up in Rusty’s face. ISABEL Jesus, Robert. I could’ve killed you. He shrugs. A long beat as she takes a look at him. RUSTY I’m older. ISABEL I hope so. What are you doing in my room? RUSTY I thought maybe we could get some coffee. ISABEL No, thanks. RUSTY Okay, how about a two week trip to Zanzibar? ISABEL Please don’t. (CONTINUED) 127 CONTINUED: “Clowns Can’t Sleep” 127 83. RUSTY Fine, coffee then. Whatever you say. Isabel gives an exasperated sigh. ISABEL Why do I want to have coffee withyou? RUSTY How should I know? sorry about your mom. Isable nods. RUSTY (cont’d) She was a real... ISABEL She hated you. RUSTY Well, she was nice enough to hideit from me. Some people can’t evendo that. ISABEL She hated everybody. Rusty nods. He remembers. ISABEL You’ll never get it by the way. Get what? RUSTY ISABEL You’ll think you’ve got it, you’ll be so close that you’ll be able totaste it and then this guy, theNight Fox or whoever he is, willjust take it -- right out of your hand -- just like he did inAmsterdam. He’s as good as LeMarc. RUSTY It’s not possible. ISABEL You’re in a bubble. (CONTINUED) “Clowns Can’t Sleep” 84. 127 CONTINUED: (2) 127 Rusty looks at her. 128 INT. ROME WAREHOUSE -- DAY 128 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. LIVINGSTON (IN THE BACKGROUND) No, that won’t work either. The IR will pick it up before you even get close. This is depressing to everyone. FRANK Look, if we’re having this much trouble, and we’ve got ten guys Toulour must be pulling his hair out. 129 INTERCUT -- EXT. POOLSIDE -- DAY 129 Toulour lies in a lounge chair. 130 BACK TO SCENE -- INT. ROME WAREHOUSE -- DAY 130 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. RUSTY Would you call that bubble-shaped? DANNY What? Rusty shrugs it off. RUSTY She pulled a gun on me. He sits. (CONTINUED) “Clowns Can’t Sleep” 85. 130 CONTINUED: 130 RUSTY (cont’d) She won’t back off. FRANK Are you back on? RUSTY I’m selling. She ain’t buying. DANNY More importantly, what kind of reception is the Italian Police giving her? 131 INT. ROME POLICE HEADQUARTERS -- DAY 131 A SUBORDINATE OFFICER leads Isabel down a hallway. SUBORDINATE OFFICER Captain Giordano is handling an urgent interrogation. He’ll be up as soon as it is completed. Please wait in here. 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. CAPTAIN GIORDANO (SUBTITLED) Naples sucks! They’re a joke! The only decent player they have is Pasqualli -- and he’s a pussy. ITALIAN COP 1 (SUBTITLED) Pasqualli runs circles around Bologna’s backfield every time. ITALIAN COP 2 (SUBTITLED) Pasqualli could single-handedly- Isabel turns to the officer who escorted her in. ISABEL What are they talking about? (CONTINUED) “Clowns Can’t Sleep” 86. 131 CONTINUED: 131 SUBORDINATE OFFICER It’s an internal matter, Madame. Isabel and Hess look at each other. 132 EXT. COURTYARD -- DAY 132 The Captain continues to argue. Those involved in the discussion are being brought lunch. 133 INT. CAPTAIN GIORDANO’S OFFICE -- DAY 133 Isabel’s sitting on the couch now, her eye lids drooping. Hess checks his PDA. ITALIAN COP 3 (O.S., SUBTITLED) --and her friends could trounce NapIes! The clock on the wall reads 2:20 PM. Isabel’s been here two and a half hours. 134 INT. ROME WAREHOUSE -- DAY 134 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. LIVINGSTON Damn-it. 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. RUSTY All right, okay. Let’s not be defeatists.... What about that mirror trick that Akimbo tried at the- LIVINGSTON --There’s no mirror thin enough to avoid tripping the lasers. (CONTINUED) “Clowns Can’t Sleep” 87. 134 CONTINUED: 134 In the foreground, Danny on the walkie-talkie. DANNY What’s he doing now? VIRGIL (RADIO V.O.) 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. TURK (RADIO V.O.) Wow. What are those? VIRGIL (RADIO V.O.) Jimmy Chu. TURK (RADIO V.O.) I’ve never seen that color. DANNY (into walkie) Okay, take it easy over there. Saul and Linus enter. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. SAUL We gave ’em the shake. Caught ’em napping. 135 INT. CAPTAIN GIORDANO’S OFFICE -- DAY 135 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. SUBORDINATE OFFICER (doing the introductions) Captain Giordano, Rome Police Special Investigations. Isabel Lahiri, Europol, Major Theft Task Force. (CONTINUED) 135 136 “Clowns Can’t Sleep” 88. CONTINUED: 135 The Captain nods. Isabel looks over at Hess, who is still asleep. MOMENTS LATER 136 Isabel and the Captain are alone now. Giordano is looking right into her eyes, with laser focus. There isn’t even a hint of lasciviousness about him. He’s all business. ISABEL ...reason to believe these men... (lays out photos of Danny, Rusty, and Toulour) ...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. CAPTAIN GIORDANO Yes, absolutely. ISABEL And I’ll need substantial resources from your department. Can I count on that? CAPTAIN GIORDANO Yes, absolutely. Isabel stops. Starts to wonder. ISABEL So, Captain, what do you think of my skirt? He smiles and looks at her. CAPTAIN GIORDANO I think it’s very beautiful. Why, don’t you like it? EXT. ROME CAFE -- DAY 137 Danny and Toulour. A waiter brings them coffee, Danny SPOONS in a lot of sugar, then stirs. (CONTINUED) 137 CONTINUED: “Clowns Can’t Sleep” 137 89. TOULOUR I don’t usually call for a seconddate. For you I make an exception. Thanks. DANNY TOULOUR I think it’s good that we talk. Yousee, you should stop following me. You’re wasting your time. I’m goingto let you go first and get caught. Then they will increase thesecurity even more, and then I willsteal the Egg. Then Lemarc can makehis decision. DANNY You sound confident. TOULOUR Confident? This is a very Americanword. I am arrogant. There’s adifference. DANNY Doesn’t matter if you’re that good. Are you that good? TOULOUR I can move objects with my mind. Danny just looks at him. TOULOUR You don’t believe it? Do you? DANNY TOULOUR Are you done stirring your sugar? Danny stops, lifts the spoon. It’s completely BENT. DANNY That’s fantastic. (starts to go) Listen, I appreciate the call, and, best of luck. (CONTINUED) “Clowns Can’t Sleep” 90. 137 CONTINUED: (2) 137 TOULOUR Danny. I’m serious. Sit down, please. Danny site down and looks at him. DANNY You’re telekinetic, is that what you’re telling me? TOULOUR 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? Danny just looks at him. 138 INT. CAPTAIN GIORDANO’S OFFICE -- DAY 138 CAPTAIN GIORDANO 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 don’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- ISABEL Next week! CAPTAIN GIORDANO --when he returns from vacation. Isabel slumps back into her chair. Stares up to the heavens. 139 INT. POLICE HEADQUARTERS IN ROME, HALLWAY -- DAY 139 Isabel and Hess walk. (CONTINUED) 140 141 142 “Clowns Can’t Sleep” 91. CONTINUED: 139 HESS He said he has to get approval fromsomeone else and they’re on sickleave. ISABEL Vacation. HESS Sorry I fell asleep. ISABEL We both did. I’m exhausted. EXT. CAFE JUST OFF PIAZZA NAVONA -- DAY 140 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 TRANSITION TO: ISABEL’S FLASHBACK 141 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. INT. POLICE HEADQUARTERS (STILL IN FLASHBACK) 142 Isabel shows her Europol identification to a detective. ISABEL Hi, this isn’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? (CONTINUED) “Clowns Can’t Sleep” 92. 142 CONTINUED: 142 ITALIAN DETECTIVE I know the case, yes. Unfortunately, we didn’t catch him. ISABEL Oh... 143 EXT. CAFE JUST OFF PIAZZA NAVONA - DAY (STILL FLASHBACK) 143 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. Can’t believe it. The brazenness. The audacity of this guy. Rusty doesn’t seem to have a care in the world as he chats easily with the waiter, in Italian. Finally, Isabel just can’t help herself. She gets up and walks over to Rusty’s table. ISABEL Excuse me... RUSTY Yes. ISABEL Um...Did I...? I think I saw you...yesterday. RUSTY Oh yeah? ISABEL The police were chasing you. RUSTY You sure your eyes aren’t broken? ISABEL I’m quite sure it was you. RUSTY Well, then I’m not gonna argue. Can I buy you a coffee? “Clowns Can’t Sleep” 93. 144 EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY 144 We transition back to the cafe. Isabel’s phone rings. ISABEL Hello. RUSTY We’ve got to stop meeting like this. She turns. He’s sitting at the table behind her. 145 EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY - LATER 145 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. ISABEL What are they talking about all the time?! RUSTY Soccer. (translating) He doesn’t like Naples....thinks they’re a bunch of...sissies. (turns to Isabel) Can I ask you a question? (off Isabel’s nod) Will you come to Zanzibar with me on Friday? ISABEL Stop it. 146 INT. ROME WAREHOUSE -- DAY 146 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. LIVINGSTON We did it! It works! (CONTINUED) “Clowns Can’t Sleep” 94. 146 CONTINUED: 146 DANNY What, what happened? 147 INT. ORNATE HALLWAY -- DAY 147 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. 148 INT. ORNATE OFFICE OUTER OFFICE -- DAY 148 The National Police Officer blows through, passing Hess. 149 INT. ORNATE OFFICE -- DAY 149 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. 150 INT. CAPTAIN GIORDANO’S OFFICE -- DAY 150 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. CAPTAIN GIORDANO What’s that? ISABEL An order signed by Commander Andriotti instructing you to “provide any and all support that Agent Lahiri requests, whenever she requests it.” He looks at it. CAPTAIN GIORDANO It’s good, yes. Okay. He looks at her. CAPTAIN GIORDANO That’s a very nice blouse you wear today. “Clowns Can’t Sleep” 95. 151 INT. MUSEUM --DAY 151 Linus and the Malloys walk through the museum. LINUS When Dominique goes back with Thomas to check the trunk, the money shouldn’t be in the briefcase. Franklin should have double-crossed them. VIRGIL That could be a great moment, when he’s on the ground. TURK And you think Thomas is going to get blown up. VIRGIL Hey. They look. A large group of Security people are talking to some NEW TECHNICIANS and ISABEL. ISABEL 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. 152 INT. ROME WAREHOUSE -- DAY 152 The guys look glum. LINUS 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- Danny plats up his hand to stop him. (CONTINUED) “Clowns Can’t Sleep” 96. 152 CONTINUED: 152 LINUS I don’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. RUSTY When she was twelve her mother told her that her dad got arrested doing a job in Russia and died in jail. (beat) So I wouldn’t count on much sympathy. BASHER “This time it’s personal”. Danny looks to Rusty, who nods. 153 EXT. MUSEUM OF MODERN ART -- DAY 153 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. ISABEL What do you want? RUSTY (V.O.) Ever heard of overkill? ISABEL I don’t even think Toulour can get it now. RUSTY If he gets it, we’ll let you arrest us. If we get it, you come away with me to Zanzibar- ISABEL What is your obsession with Zanzibar?! RUSTY Do you want to make the bet or not? (CONTINUED) 153 154 155 156 “Clowns Can’t Sleep” 97. CONTINUED: 153 ISABEL I’m hanging up. Stop calling me. INT. HOTEL LOBBY -- DAY 154 Isabel crosses to the elevators. INT. ISABEL’S HOTEL ROOM -- DAY 155 She enters. Shuts the door behind her. Then, instantly, starts balling. INT. ROME WAREHOUSE -- DAY 156 Danny and Rusty stand with Livingston. LIVINGSTON 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... DANNY “Someone he knows. Someone he trusts....” “Someone he knows....” RUSTY What about someone he doesn’t know but trusts? DANNY For instance? RUSTY I’m talking about you know who, who looks an awful lot like you know who... Everyone looks at Danny. (CONTINUED) “Clowns Can’t Sleep” 98. 156 CONTINUED: 156 DANNY She might. It’s not going to be easy getting her over here. 157 EXT. DEPARTMENT STORE -- DAY 157 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. 158 INT. DEPARTMENT STORE -- DAY 158 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. 159 INT. LADIES ROOM -- DAY 159 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. BRUISER Hiya, Tess. Just climb on through. Try not to look down too much. 160 EXT. DEPARTMENT STORE -- DAY 160 Four stories above an alleyway. Tess climbs out the ladies room window into the cherry picker basket, with Bruiser’s help. 161 EXT. STREET LEVEL -- A MINUTE LATER 161 Tess climbs into a taxi cab. Reuben -- in an anachronistic taxi driver’s uniform -- is driving. REUBEN There’s make-up in the bag there. And some photos. Do the best you can. “Clowns Can’t Sleep” 99. 162 INT. THE POSHEST ROME HOTEL -- DAY 162 The HOTEL MANAGER comes to the front desk to answer a call. HOTEL MANAGER 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... He hangs up. Turns, elated, to his front desk staff. HOTEL MANAGER (SUBTITLED) Julia Roberts is coming to stay with us! 163 EXT. POSHEST ROME HOTEL -- DAY 163 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. PRESS Ms. Roberts! Ms. Roberts! Why did you come back to Rome so soon!! TESS I...uh... PRESS Was it to see Topher? TESS To see what? PRESS Topher Grace!! Your co-star!! Is that why you’re here?! TESS Oh. No. I came to -- to see the- (CONTINUED) “Clowns Can’t Sleep” 100. 163 CONTINUED: 163 PRESS Where’s Danny? TESS What? PRESS Danny, your husband!! TESS (looks to Reuben) Well, he’s not really- REUBEN Ms. Roberts is very tired!! Please let her through! Please! 164 INT. PRESIDENTIAL SUITE -- DAY 164 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. TESS I can’t do this. Danny goes to her. Kisses her. Hugs her. When he steps back he answers: DANNY Yes, you can. TESS I’m not an actress, Danny! And I don’t look like her! DANNY You do, Tess. You really do. I never told you that before, but it’s true. TESS Come on: my... She notions at her body, but we can’t tell what part. TESS And my... She motions at her body again; again it’s totally ambiguous what part. (CONTINUED) “Clowns Can’t Sleep” 101. 164 CONTINUED: 164 TESS And my ears. Anybody who sees my ears is going to know instantly. DANNY Nobody’s looking at your ears. TESS Yes, Danny, they are. They’re going to know. 165 INT. DISPLAY ROOM FOR EGG -- MUSEUM OF MODERN ART -- DAY 165 Isabel stands with the MUSEUM DIRECTOR. ISABEL When did that happen? MUSEUM DIRECTOR We just found out. I arranged a private showing for tomorrow morning before we open the show to the public. ISABEL I don’t understand, why do you have to disable any of the systems- MUSEUM DIRECTOR 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 can’t. ISABEL She’s an actress, Giovanni, not the Pope. MUSEUM DIRECTOR 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. Isabel gives an exasperated sigh. (CONTINUED) 165 166 CONTINUED: “Clowns Can’t Sleep” 165 102. ISABEL That’s exactly the sort of thing... INTERCUT -- INT. WAREHOUSE -- DAY 166 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. ISABEL (TELEVISION V.O.) ...that the people I’m after will exploit. (thinks) Okay, fine. You want to shut down half the electronic system, let me post eight cops in the room... 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. MUSEUM DIRECTOR (TELEVISION V.O.) Are you crazy? That’s worse than....you want me to treat her like a criminal? 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. MUSEUM DIRECTOR (TELEVISION V.O.) 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 can’t effect Julia in any way. Are we clear? “Clowns Can’t Sleep” 103. 168 INT. ROME BISTRO -- DAY 168 Toulour eats with a beautiful woman. Virgil sits six tables away, keeping an eye on him. Turk strolls in and sits with his brother. TURK Where is he? VIRGIL (points at Toulour) There. I took a look at the interrogation scene. TURK Why? VIRGIL ’Cause Linus said it was repetitive. TURK It clarifies everything. VIRGIL He said it’s too on the nose. TURK What’s he, the head of the studio? What’s he ever written? VIRGIL He’s just saying -- Oh, no- TURK What? VIRGIL It’s not him! 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. TURK What! How did you-- You moron! You said you were watching him the whole time! (CONTINUED) “Clowns Can’t Sleep” 104. 168 CONT1NUED: 168 VIRGIL I was! I mean, I used the bathroom once, but it was quick. You lost him yesterday! They sit for a minute. TURK Livingston said Frank said that Rusty said that Danny said Toulour said don’t ever bother following him. 169 INT. RUSTY’S HOTEL ROOM -- NIGHT 169 ON Rusty -- the blue light of an unseen television reflecting off his face. He walks onto the balcony. 170 WAVY TRANSITION TO FLASHBACK: 170 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. 171 INT. BEDROOM -- NIGHT 171 The lights are out here too. But Isabel’s still awake. Rusty enters the room. She doesn’t look at him RUSTY I’m sorry. ISABEL What happened? RUSTY I have to go. Right now. I have to leave the country. It could be a while. A month. Maybe more. Isabel turns to look at Rusty. She can barely see the outline of his face in the darkness. ISABEL What are you saying? What the hell are you saying? Where are you going? (CONTINUED) “Clowns Can’t Sleep” 105. 171 CONTINUED: 171 RUSTY I can’t tell you. Isabel stares at his dark face. ISABEL 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. RUSTY You knew what I was the day you met me, Isabel. ISABEL Robert... RUSTY We can talk about it when I get back. ISABEL No, Robert. I have to tell you something. RUSTY What is it? ISABEL I’m taking the job. I’m moving to Amsterdam. He doesn’t respond for a moment. RUSTY I can’t have this conversation right now. Please, Isabel. I have to get out of here. I love you. He kisses her then leaves. 172 EXT. APARTMENT -- NIGHT 172 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. “Clowns Can’t Sleep” 106. 173 BACK IN THE PRESENT DAY 173 Rusty is still on the balcony. There’s a knock at the door. He opens it to see Isabel. ISABEL You want to walk? 174 EXT. ROME -- NIGHT 174 Rusty and Isabel sit on the steps of the Campidoglio. ISABEL I know how you’re planning to do it. I know Julia’s visit is the key. RUSTY Who’s Julia? ISABEL (after a beat) LeMarc knew when to get out. He just quit...with his perfect record intact. Now he’s a legend. (exhorting) Don’t do this. RUSTY LeMarc quit because he was 75 years old, Isabel. He was tired. His doctor told him if he didn’t start taking it easy he was going to have another heart attack. You’re dramatizing it. ISABEL You don’t know why LeMarc retired, any better than I do. You have no idea. RUSTY Actually, I do. I know exactly why. ISABEL Really? How’s that? (CONTINUED) “Clowns Can’t Sleep” 107. 174 CONTINUED: 174 RUSTY He told me. ISABEL (skeptical as hell) You know LeMarc? RUSTY A little. ISABEL Since when? RUSTY Ten years ago. ISABEL For how long? RUSTY For six months. ISABEL You- She’s so mad she can hardly speak. ISABEL 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? RUSTY I couldn’t tell you, then. ISABEL Really awful. Isabel thinks. ISABEL Then why aren’t you as good as Toulour? Rusty shrugs. A beat. (CONTINUED) “Clowns Can’t Sleep” 108. 174 CONTINUED: (2) 174 ISABEL I don’t want to arrest you, Robert. I really don’t. But I will if you make me. I will if you go for that egg. Rusty goes silent, looks out at the lights of the city. ISABEL So many times, I waited. You can’t do that to a person. RUSTY Isabel- ISABEL I have to go. Isabel gets up...walks away fast. She’s barely holding herself together. Rusty watches her go. Several seconds, then: 175 FLASHBACK -- INT. APARTMENT BUILDING -- ROME -- DAY 175 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. 176 BACK TO SCENE -- EXT. ROME -- CAMPIDOGLIO -- NIGHT 176 Rusty is still watching Isabel, small now in the distance. She turns the corner out of sight. 177 EXT. MUSEUM OF MODERN ART -- DAWN 177 Isabel pulls up in her car. “Clowns Can’t Sleep” 109. 178 INT. MUSEUM OF MODERN ART -- DAWN 178 The Egg is being put into position. Isabel watches. 179 INT. HOTEL SUITE -- DAWN 179 Reuben is talking to Yen. Frank and Livingston get ready in the background. REUBEN You’re a photographer. Very exacting. You want things a certain way, but you never raise your voice. You’re uncompromising. Strong. FRANK Reuben, what are you doing? REUBEN 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. (to Yen) Am I right? Yen says something in Chinese. 180 INT. HOTEL SUITE -- DAWN 180 Danny and the Malloys are looking at Tess’s hair. TURK I say we do a Joey Heatherton, 1971. VIRGIL It’s the wrong color. Turk looks at his watch. TURK Damn. There’s a knock at the door. They let Tess check on it. She looks out the keyhole; (CONTINUED) “Clowns Can’t Sleep” 110. 180 CONTINUED: 180 It’s TOPHER GRACE. Tess looks back to the group and shrugs. TOPHER (off) Hello? He knocks again. The group scrambles and hides. Tess opens the door. TOPHER Hey! I got your room number from McCormick, I hope you don’t mind. He walks in and hugs her. She looks terrified. Topher disengages and looks around. TOPHER This is great. Do you have the adjoining room? TESS Uh, no. TOPHER Oh. Hey. I saw the rough cut of YOU ALWAYS, YOU NEVER. It’s so awesome. Congratulations. TESS Oh. Thank you. TOPHER 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. TESS Oh. TOPHER 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? TESS It was, uh... (CONTINUED) 180 CONTINUED: (2) “Clowns Can’t Sleep” 180 111. TOPHER You can tell me, I won’t tell a soul. Because if you say it’sinstinctual, I’m quitting rightnow. Seriously. The way you partedyour hair? That was so connected. And that scene with the matches? And when you find out who your realgrandmother is and run through therain and find her on the porch andtouch her face? Man, that was...yougotta tell Steven how much I lovedit. Okay. TESS TOPHER So what are you doing? TESS I’m, uh, getting ready to go out... TOPHER (laughs) I mean next. What movie are youdoing next? TESS I...I’m having trouble decidingwhat to do next. TOPHER Is Danny working? TESS Danny...Danny is...Danny is... TOPHER Oh, no. Is something wrong? Have you two... No, no... TESS TOPHER I’m so sorry. I’m so sorry. TESS No. we’re absolutely fine, he’sjust- (CONTINUED) “Clowns Can’t Sleep” 112. 180 CONTINUED: (3) 180 TOPHER I’ve got to stop asking people about their spouses, it’s like always a mistake- TESS No, really- TOPHER Listen, I won’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. TESS Thank you. He’s fine. Danny’s fine. He’s working. TOPHER Hey, cool, whatever. That’s what I’ll say. A beat. TOPHER So can I come look at that Egg with you? 181 INT. MUSEUM -- ENTRY HALL -- DAY 181 Reuben (dressed in a hip-hop outfit) and Linus (dressed like an agent) stand in front of some paparazzi. A crowd of museum employees also rubberneck. REUBEN 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. (indicating) 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. “Clowns Can’t Sleep” 113. 182 INT. SECURITY ROOM 182 Isabel, the Security Director, and Captain Giordano sit with four cops watching a bank of closed circuit screens. ISABEL I want to be on record as saying that you should have shut the entire museum down. Isabel keeps her eye on the tourists who circulate through the other wings of the museum. 183 INT. MUSEUM -- ENTRY HALL -- DAY 183 “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“. 184 INT. SECURITY ROOM 184 Isabel watches the security camera feeds. ISABEL There! Right there! Isabel points at a screen showing the museum’s other entrance. Rusty nonchalantly slips into the museum. 185 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 185 “Julia“ enters and walks up to the egg. Her entourage follows. TESS It’s so beautiful. My God. Topher looks at the egg- TOPHER Kinda small. He turns away to look a cute girl on the museum staff. (CONTINUED) 186 187 “Clowns Can’t Sleep” 114. CONTINUED: 185 TOPHER Hi. BACK ON “JULIA“ She leans in close to the egg. TESS I’m not going to set off any alarms? MUSEUM DIRECTOR No. No. Get as close as you like. Reuben pops his head in between them. REUBEN (obsequious) Julia -- unless you have any objections -- Wen and his crew set up for the publicity stills. INT. ANOTHER PART OF THE MUSEUM -- DAY 186 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. INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 187 Yen ENTERS FRAME -- dressed like a pretentious grunge rocker. He whispers Chinese into a bullhorn. Theoretically he’s speaking to his crew (Danny, Saul, and Livingston in lame disguises) 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.” (CONTINUED) “Clowns Can’t Sleep” 115. 187 CONTINUED: 187 REUBEN I was thinking maybe we could get you and Topher into some “You Always You Never“ hats and t-shirts for the shoot- TESS That’s stupid. REUBEN (instant reversal) So stupid! (turns to Linus as if it’s his idea) Idiot. (gingerly) Maybe we could put some posters in the background- TESS I don’t think we want to be so obvious- REUBEN I completely agree! (to Linus) Stop trying to turn this into some sort of stunt. 188 INT. OTHER PART OF MUSEUM 188 Isabel struts up to Rusty. ISABEL This isn’t going to work. RUSTY I don’t know what you’re talking about. 189 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 189 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. (CONTINUED) “Clowns Can’t Sleep” 116. 189 CONTINUED: 189 Julia sees Topher’s expression -- he recognizes Danny from somewhere... JULIA Okay, thanks everybody. Thank you so much. She starts to walk out. Topher shrugs and follows her. 190 INT. MUSEUM HALLWAY -- DAY 190 Julia and her entourage barrel down the hallway. Topher catches up. TOPHER Hey, J Ro, why the quick exit? TESS I...uh, I have to take some pills. Aspirin. I get headaches. TOPHER Yeah, well, with everything thing you’ve been going through I can see how you’d need something. TESS They’re just aspirin. TOPHER Right. I’ve never taken aspirin in my life, ever. Can you believe that? TESS That’s amazing. TOPHER For me, it’s like a control thing. TESS Well, with aspirin...it’s very beneficial. TOPHER Oh, yeah. I’m sure. They are interrupted by the sound of PIERCING SIRENS and CLANGING BELLS -- all manner of alarms coming from the gallery containing the egg. (CONTINUED) 191 192 193 “Clowns Can’t Sleep” 117. CONTINUED: 190 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. Can’t move.... Her bodyguards (Frank and Basher ) grab her and move her quickly out of the area. EXT. ROME POLICE HEADQUARTERS -- DAY 191 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. INT. LOBBY -- DAY 192 Molly Starr steps inside with her posse. She pulls out her badge and hangs it around her neck. AGENT MOLLY STARR Who’s in charge? Isabel and Captain Giordano look at her and her team with obvious trepidation. ISABEL (tentative) I am. CAPTAIN GIORDANO (smelling trouble) She is. Molly gives a slight nod to one of her lackeys. He thrusts an official-looking paper at Isabel. INT. “OBSERVATION ”HALLWAY -- DAY 193 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... (CONTINUED) “Clowns Can’t Sleep” 118. 193 CONTINUED: 193 He’s nervously tapping his foot. Molly smiles sadistically. AGENT MOLLY STARR Oh, yeah... I’ll start with him. 194 INT. INTERROGATION ROOM -- DAY 194 Molly sits face-to-face with Linus. Isabel and Captain Giordano stand in the corner and observe. AGENT MOLLY STARR When people think of Italy they think of food, wine, the Renaissance. They don’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. Linus can’t look her in the eye. AGENT MOLLY STARR (cont’d) I’m the only hope you’ve got. LINUS What do you want? AGENT MOLLY STARR Testify against the others in the Benedict case. LINUS I can’t do that. AGENT MOLLY STARR 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. A long beat. AGENT MOLLY STARR Think about those prisons. Think about living there for twenty years, getting out when you’re fifty. What a catch you’ll be. “Clowns Can’t Sleep” 195 EXT. / INT. FBI SUV -- DAY Linus is bundled into the back of the SUV. in next to him. She motions to the driver. 196 EXT. POLICE STATION -- DAY 119. 195 Agent Starr gets They pull out. 196 Agent Starr’s SUV is followed by three other SUV’s and escorted by two Rome Police cars. 197 INT. FBI SUV -- DAY 197 Linus stares morosely at the headrest in front of him. A long, long beat...then he turns to Agent Starr: LINUS Did you tell Dad? Before “Agent Starr” answers the agent in the passenger seat turns around. It’s Clint Eastwood. CLINT Of course she did. We’re married, for God’s sake. 198 INT. HOTEL SUITE -- DAY 198 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. TESS Why didn’t you tell me? DANNY I couldn’t. TESS Why not? DANNY Because you’re not an actress. You wouldn’t have been so real. (CONTINUED) “Clowns Can’t Sleep” 120. 198 CONTINUED: 198 TESS I thought you were going to jail. DANNY I’m not going to jail. A beat. TESS So you don’t think I’m a good actress. DANNY You’re a terrible liar. TESS I’m a good liar. DANNY Where did Benedict find you? TESS He... DANNY At your parent’s house. TESS That was...okay, so I’m not a good liar. So what. You’re good enough for both of us. DANNY Exactly. 199 EXT. CIAMPINO AIRPORT -- DAY 199 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. ISABEL (eyes go wide) What the--Oh my God! (MORE) (CONTINUED) “Clowns Can’t Sleep” 121. 199 CONTINUED: 199 ISABEL (cont’d) (spins to Giordano) Call the tower! Don’t let that plane take off! Giordano stares blankly at her. But he doesn’t move. ISABEL (cont’d) Do something! Do you realize what’s happening?! Do you understand what’s going on?! CAPTAIN GIORDANO (deadpan) Yes, absolutely. Isabel blinks. It takes a second to hit her. Rusty approaches. RUSTY Guys. Get on there before they leave without you. Thanks. CAPTAIN GIORDANO (speaking like an American) Hey, no problem. Good seeing you, man. ANDRIOTTI Take care. See you back home. RUSTY Thanks, Scooter. Isabel is dumbstruck. 200 EXT. TOULOUR’S VILLA -- DAY 200 Toulour pulls up in a Ferrari. His butler gets the door for him. BUTLER How was Rome, air? Toulour answers by handing a small velvet bag to his butler (a bag just big enough to hold the coronation egg). TOULOUR Put this in the safe, would you? (CONTINUED) “Clowns Can’t Sleep” 122. 200 CONTINUED: 200 BUTLER Of course, sir. Your guests are on the veranda. TOULOUR Guests? 201 EXT. CIAMPINO AIRPORT -- DAY 201 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. ISABEL I hate you. RUSTY I love you. ISABEL This will ruin me. RUSTY No, it won’t. Not if you come to Zanzibar. ISABEL What is it with Zanzibar? RUSTY It’s where LeMarc is. Rusty points nearby at another private plane. The pilot has just opened the door and put the stairs down. RUSTY That one’s ours. We can be there in three hours. A beat. RUSTY Don’t you want to meet him? He wants to meet you. ISABEL You’re asking me to turn my back on my whole life. (CONTINUED) “Clowns Can’t Sleep” 123. 201 CONTINUED: 201 RUSTY Would you miss it? ISABEL I’m a cop. That’s who I am. RUSTY You’re only a cop because your father was a thief. ISABEL Who died in a Russian jail. RUSTY According to you mother. ISABEL What does that mean? RUSTY It means you should meet LeMarc. 202 EXT. VERANDA -- DAY 202 Toulour walks out to find Danny and Tess chomping on gourmet nuts and sipping his special reserve brandy. TOULOUR (to Danny) Let me guess, you decided you did want to give my lawyer a call. But you lost his card. Toulour holds out another card to Danny. DANNY No, nothing like that. We just came to collect our money. TOULOUR Not only did you fail, half of your crew got pinched! Your plan was not good. (to Tess) And you don’t look anything like Julia Roberts! I mean your... (motions ambiguously to her body) ...and your... (another ambiguous motion) ...and your ears. (CONTINUED) “Clowns Can’t Sleep” 124. 202 CONTINUED: 202 Toulour stops. Danny and Tess just look at him. Something about their demeanor is troubling. Namely, that they look completely untroubled. TOULOUR Oh, no. You stole it on the way to Rome didn’t you? I stole a replica. 203 EXT. PARIS BUILDING -- DAY 203 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. 204 EXT. PARIS STREET -- DAY 204 The BACKPACK KID passes another guy, a NORMAL-LOOKING GUY, who, after a beat, follows Backpack Kid. 205 INT. PARIS TRAIN STATION -- DAY 205 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. 206 INT. TRAIN -- DAY 206 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 (CONTINUED) “Clowns Can’t Sleep” 125. 206 CONTINUED: 206 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. LINUS (in French) He’s completely drunk. The BackPack Kid nods his head. Linus goes back to his book. We drop down to see HIS BACKPACK also beneath his feet. 207 INT. TRAIN STATION ROME, ITALY -- DAY 207 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. 208 INT. WAREHOUSE -- DAY 208 Linus and Saul approach the group. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. “Clowns Can’t Sleep” 126. 209 BACK TO TOULOUR ON VERANDA - DAY 209 TOULOUR But that means you knew what to steal before LeMarc proposed that I challenge you for it. That means... 210 INT. RUSTY’S GARAGE -- DAY 210 The image from the beginning of the film, with Rusty watching the boiling cask. He’s talking on the phone. RUSTY Gaspar, it’s Rusty. How are you? 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: DANNY I’M TELLING YOU IT’S A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! 211 BACK TO TOULOUR ON VERANDA - DAY 211 TOULOUR LeMarc told you. Of course. He looks deflated. It’s probably just occurring to him that he’s never lost before. He sits down. TOULOUR To teach me. He is silent. Tess indicates to Danny that they should leave. Danny nods, and they rise. (CONTINUED) “Clowns Can’t Sleep” 127. 211 CONTINUED: 211 DANNY Well, we’ll be in touch to make all the arrangements. TOULOUR No. Don’t go. Please. Toulour gets up. TOULOUR You are my guests. I will celebrate your victory. Besides, you may have noticed, I don’t like to be alone. 212 EXT. VERANDA -- LATER 212 They are toasting champagne. TOULOUR I am feeling more French by the minute. To my first depression. 213 INT. TAXI -- DAY 213 Saul and Basher ride to the airport. BASHER 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? SAUL Mmm. Yes. But I’m through evolving, I think. It’s too tiring. I feel pretty evolved. You know, considering. 214 INT. AIRPORT -- DAY 214 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. “Clowns Can’t Sleep” 128. 215 INT. AIRPLANE -- NIGHT 215 In First Class. Basher and Saul tip champagne glasses. Virgil, Turk, and Linus all crack open copies of their story to read. TURK I’ve got an idea for another Dominique story. VIRGIL Can we finish this one first? TURK Just let me tell it to you. VIRGIL No. TURK It’s like three sentences. VIRGIL I’m serious; you’re asking too much. 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. REUBEN May I look at that when you’re through with it? Yen says something. It would seem he is okay with that. Livingston speaks into his VOICE RECORDER. LIVINGSTON (trying to be dispassionate) 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. (beat, he chokes) But... (CONTINUED) 215 CONTINUED: “Clowns Can’t Sleep” 215 129. He begins to weep, quietly, but very quickly regains his composure. LIVINGSTON I’m Livingston Dell. Thanks forlistening. 216 EXT. VILLA -- NIGHT 216 Tess and Danny enjoy the sunrise. TESS When do you want to go back? DANNY Feel like traveling? TESS Yeah. Don’t you? Yeah. DANNY Toulour enters with THE LAST BEAUTIFUL WOMAN in tow. TOULOUR Tess. Danny. This is MonicaBellucci. And indeed it is. Hello. MONICA Hello. TESS & DANNY TOULOUR We’re thinking of taking a trip tothe states. Take a look around. We’d love to meet some of yourfriends while we’re there. Actually, one friend in particular. 217 EXT. SKY OVER ZANZIBAR -- DAY 217 We follow the Gulfstream jet. “Clowns Can’t Sleep” 130. 218 INT. JET -- DAY 218 Isabel looks out the window. Rusty watches her, She looks over at him, then back out the window. 219 EXT. BEACH HOUSE -- DAY 219 Stunning. Classic. Rusty and Isabel pull up. He takes her hand and leads her inside. 220 INT. BEACH HOUSE -- DAY 220 Rusty and Isabel walk through the house. RUSTY There he is. Rusty indicates the back porch. A figure sits in a lounge chair, reading a book. This is LEMARC. RUSTY (cont’d) Gaspar! ISABEL Gaspar? That was my fa- Isabel looks to the porch just as LE MARC, her father, turns to face her. She goes to him and they embrace. ISABEL (cont’d) Daddy. LeMarc looks to Rusty. Rusty salutes, makes a drinking gesture and heads for the kitchen. The sound of a jet takes us to 221 A GLOBE 221 As we rotate from Toulour’s villa to LAS VEGAS, NEVADA CUT TO: “Clowns Can’t Sleep” 131. 222 ESTABLISHING SHOTS 222 Of the Bellagio hotel. CUT TO 223 A RECEIPT 223 For a wire transfer of $ 191,507,067.37 into the account of TB ENTERPRISES. Description: “Repayment of personal loan”. 224 TERRY BENEDICT 224 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. REUBEN That’s the exact figure, I’m pretty sure. BENEDICT Yes. REUBEN So we’re clean? BENEDICT You want it in writing? REUBEN I’ll take your word. BENEDICT You’re clean. REUBEN These grudges, they’re awful. Nobody wine. BENEDICT As soon as someone retaliates, the situation is out of control. (CONTINUED) “Clowns Can’t Sleep” 132. 224 CONTINUED: 224 REUBEN This way, there’s no need for retaliation. Why would there be? BENEDICT There’s plenty for everyone. REUBEN More than plenty. It’s just a matter of sharing. BENEDICT Sharing is good. REUBEN It is. Waiter? Can I get sparkling water? It’s good for my acid reflux. WAITER (off) Of course. 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