Oceans 12 Rough Draft 1

8/2/2019 Oceans 12 Rough Draft 1

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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 reaches

in and pulls the tulip from the ground. We then cut to:

1A A BASKET of tulips, carried by hand to a truck, where it 1Ais loaded with hundreds of other baskets. The door of thetruck is SHUT and we cut to:

1B The door of the truck OPENING to reveal that the tulips 1Bare 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 we

were following disappear into a maze of synchronizedactivity.

1C The cart arrives in the AUCTION ROOM, which is 1Cconstructed 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 1Dsorting 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 transatlantic

flight, they sit nestled in the cargo hold.

1F The tulips are unloaded from the plane, driven across an 1Fairport tarmac and loaded onto another plane.

1G The tulips are unloaded from the plane and loaded onto a 1Gtruck. 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 them

through the rear of the store to the display area up front.We stay on the tulips as we hear the following conversation:

CUSTOMERWow. How do they do that?

(CONTINUED)


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OWNERIts an accident. It means theflower developed a virus earlyin the bulb stage. The flawscreate the unusual coloring.

CUSTOMERCan you arrange something for me

with those?

OWNEROf course. What kind of price rangeare you looking for?

Now we SEE the customer: TESS.

TESSWell, its for my parentsanniversary. They dont know Imcoming. I just want it to bebeautiful. Can you just do whateveryou think looks best?

OWNERIll need a few minutes.

TESSTake your time, please. And thankyou.

The Owner moves toward a corner of the store where theflowers are arranged. Tess walks around, looking at the restof the store.

Tess looks out the window. A black sedan is pulling up at thecurb.

OWNERThat should be some surprise.

TESSWhich?

OWNERFor your parents.

TESSOh. Yes. I hope so.

One of the POWER TWINS gets out of the drivers side door andcrosses in front of the car. Tess starts moving away from the

window.

(CONTINUED)

Clowns Cant Sleep 2.


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2 CONTINUED: (2) 2

OWNERWhich one is it?

TESSIm sorry?

OWNERAnniversary.

TESSOh. Fortieth

OWNERWow. Okay. I think I have an idea.Something classic.

The Power Twin opens the rear passenger side door, revealingTERRY BENEDICT.

Tess turns away from the window.

TESSDo you have a bathroom?

OWNERStraight back, on the left. Itsunisex.

TESSThank you.

Tess scurries to the back.

OWNER(to Tess, a caveat)

Its unisex!

Tess flies past the bathroom and heads for the back door. Shepushes 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 soundof a phone ring.



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4 INT. HOUSE -- DAY 4

Danny Ocean picks up the receiver, checks the caller ID. Hesmiles and answers:

DANNYMiguel Diaz speaking.

Almost immediately, his expression clouds. He looks at hiswatch.

DANNY (contd)Tess, Tess. Its okay. You remember

what we talked about, if thishappened? All right. Call me intwenty-four hours on that number.

He hangs up the phone and runs out of the house. He doesnttake anything with him.

5 EXT. HOUSE -- DAY 5

Danny runs out of the house and down the street, leaving hiscar in the driveway.

6 INT. CAR -- DAY 6

Tess, floral arrangement in her lap, sits in the car with

Benedict.

BENEDICTThe Baldwins.

TESSWhat about them?

BENEDICTWe had dinner with them three yearsago. You talked about your parentsanniversary.

She says nothing.

BENEDICT (contd)Im getting married next month.

TESSSo am I.

(CONTINUED)



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A beat.

BENEDICTWell, I hope Danny is as good as hethinks 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 thebox, 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 sittingnext to the window. We continue to pan and find REUBENTISHKOFF seated next to a group of male commuters.

REUBEN(over)

I really think youre being toosensitive. Shes crazy about you. Ican tell.

10 INT. SPA -- DAY 10

REUBEN lies in a mud bath, his face covered with a driedexfoliating mask treatment. There is a cigar in one handand a cellphone in the other. His eyes are closed to the sun.

REUBENJoyce, shes ninety-two. Im allshe has left.

(beat)The wheelchair thing was an

accident, shes having some troublewith the joystick. Ill adjust it.

(beat)I told you, when her mouth hangsopen like that, that means sheshappy.

(beat)I am. When are you coming over?

(beat)(MORE)

(CONTINUED)



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REUBEN (contd)Youre tired because you work too

much. You dont have to work allthe time. Dont you want to take abreak? 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 Reubens face, and Reuben squints openone eye. There, with the sun like an aura behind his head, isTERRY BENEDICT.


Reuben is handed a bloody mary by the porter, who thencontinues on, bringing a glass of white wine to THE AMAZINGYEN.

12 INT. POOL -- DAY 12

Yen swims a strong, steady freestyle. Pull back to revealthat he is swimming in a 9 by 5 Endless Pool in his 15thfloor Shanghai apartment.

A HAND MOVES INTO FRAME and turns off the water current. Yen

immediately slams into the end of his jacuzzi-sized pool. Helifts his head out of the water to SEE the POWER TWINSstanding poolside.

He spits out a stream of invective, in Chinese. The PowerTwins look at each other.


Yen sets his magazine down and heads for the bathroom, whereTURK and VIRGIL MALLOY are waiting in line.

TURKThe opening doesnt work.

VIRGILDuh.

TURKShe shouldnt have the same dreamas Franklin. Hes the antagonist.

(CONTINUED)



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VIRGILIt was your idea.

TURKNo it wasnt.

VIRGILWell, it wasnt mine. It couldntbe; its too stupid.

TURKWhy do you do that? why do you haveto get personal?

VIRGILIts not personal, its 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 mirroredon three sides.

TURKIts personal. You dont arguelogically. You attack.

(to the class)Bring the right foot back even withthe left, buttocks raised high....

(to Virgil)...you have to have reasons, tosupport your argument...

(to the class)...flattening the back so the bodyforms a triangle.

VIRGILI cant listen to you anymore. It

makes me physically sick.

Turk looks to him, but also sees a GUY in the class staringat all of the women raising their buttocks high. He

indicates this to Virgil, who goes over to the guy.

TURKRelax the crown of the head towardthe floor. Draw the hips away fromthe hands, len--gthening the spine.

And press the heels toward the floor.

(CONTINUED)



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Virgil steps on the guys back and leans down to whisper inhis ear.

VIRGILThis a serious class. No pigs

allowed. Okay?

GUYSorry.

TURKVirge.

Virgil stands up. Benedict and the Power Twins are standingright behind him. His expression changes as he sees them inthe mirror.


The Malloys and Yen are still waiting for the bathroom.

TURKYoure hallucinating.

VIRGILYeah, whatever, OJ.

Finally, the lock OPENS and RUSTY RYAN exits. We follow himto his seat, where he puts on a pair of headphones.

16 TIGHT SHOT 16

Of molten metal bubbling in a small iron cask, a jewelerscask. MOVE to REVEAL a GARAGE filled mostly with cars in somestate of restoration

FIND RUSTY as he painstakingly works on a new piece that isjust BELOW FRAME. Whatever it is, it is clearly getting tohim. He shakes his head; its not right. Its just not goodenough. Rusty glances at the digital thermometer attached tothe cask of molten metal. It reads: 736.18 degrees.

RUSTYYou are kidding me.



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17 INT. RUSTYS CAR -- DAY 17

Rusty glances in his rearview as he drives through the citytalking on his cell phone. Hes keeping an eye on a whiteCadillac that seem to be following him.

RUSTY736.18 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.

RUSTYI want what I paid for.

FELIXAnd thats what I sent.

RUSTYNo, Felix, no. I paid for pure. Andif my workshop were on top of MountEverest it would be pure. But Imat sea level, Felix, and at sealevel it should liquefy at 736.95.If its pure, that is. Which thisisnt.

Rusty makes another turn. A few seconds later, the Cadillacturns behind him.

FELIX (TELEPHONE V.O.)Well, I didnt know you were goingto liquefy it.

Rusty pulls to a stop light. The Cadillac pulls up three carsbehind him.

RUSTYLet me ask you something: WhenChristo calls his cotton supplier

and asks for 100% cotton cloth, doyou think his supplier sends him98% cotton and 2% polyester and

when that doesnt work, says toChristo, Well, you should havetold me you were going to wrap thecoast of Australia?

(CONTINUED)



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FELIXWhos Christo?

Rusty looks to the heavens.

RUSTYFelix, youre in a shame spiral.Have your assistant lose my number.

Rusty snaps his phone shut.

RUSTY (contd)My god.

Rusty looks into the rear view mirror and then slows the carto 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?


Rusty continues to listen to his headset. We pan over to seeFRANK CATTON seated opposite him.

19 INT. RITZ CARLTON HOTEL, NEW YORK -- DAY 19

The penthouse apartment. It takes the entire floor and has a360 degree view. Right now, all of the furniture inside of itis being taken away by movers. Frank enters frame.

BENEDICTFour weeks.

FRANKWe stole that money fair andsquare. You bought people off tofind me. You took advantage duringan economic downturn, and made them

say some shit they shouldnt havesaid. Its not fair, its not just,and it aint cool.

A long beat. Benedict stares back at him.

FRANK (contd)Did you hear what I just said?

(CONTINUED)



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BENEDICTI 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 (contd)Wow. No, seriously, thats great. Ihave a child. A daughter. Shesfive. They get to you, right? Am Iright? Like emotionally. I mean,sometimes shell turn to me withher little face and her littleshiny eyes, and shell say, Daddy,

please stop hitting me, and itjust breaks my heart.

People arent sure what to make of this.

LIVINGSTON (contd)Im 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 are

waiting for him. Somehow he isnt surprised.

LIVINGSTON (contd)(to Benedict)

I appreciate you letting me finishmy run. Youve been very patient.

BENEDICTWhat can I say? Youre a funny guy.



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Livingston takes us to Saul Bloom, reading the Racing Form.

23 INT. THE WASPIEST IMAGINABLE MENS CLUB -- DAY 23

All dark wood and oriental rugs. MOVE across a row of oilpaintings that flatter stodgy club members from the 1800s tothe present. Land on Saul, sitting in window light that

mimics the aforementioned portraits.

SAULWhat it is about horses? I ask you.Is it the strength? The beauty? Thefearlessness? The grace? Of course.But theres something else.Something in the eyes.

The person with him nods.

SAUL (contd)Yes. When I look into a horseseyes, I can tell: This ones a

winner.

A jacketed WAITER appears, holding a tray.

WAITERExcuse me, Mr. Bloom?

SAULYes?

WAITERThere appears to be a problem withyour card.

The waiter tips the tray to reveal Sauls credit card, whichhas been CUT INTO TINY PIECES. Without missing a beat, hereaches for his wallet.

SAUL

You take Visa?

WAITERI was acting on instructions fromyour business manager.

SAULMy business manager?

(CONTINUED)



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23 CONTINUED: 23

WAITERMr. Benedict.


Saul leads us to Basher.

25 INT. RECORDING STUDIO -- NIGHT 25

Basher is putting the finishing touches on a song. A producerand engineer sit behind a huge mixing console. Its good--Bashers really got something going here.

26 INT. RECORDING BOOTH -- MOMENTS LATER 26

Basher is leaning over a thick legal document, and Benedictis leaning over him. The music has been turned off.

BENEDICTLook at it this way...Eugene....ifthe album goes platinum itll cover

what you owe. And if the second onegoes gold, that should cover theinterest.


Basher takes us to Linus.

28 INT. CAR -- DAY 28

Linus looking from the front seat to the back, talking toBenedict.

LINUSIm responsible for myself. I have

my own life and my own plans. Ivenever asked for anything but a fair

shake. We make a deal, I stick tothe deal.

He turns forward, thinking. Then after a beat, he turns backto Benedict.

(CONTINUED)



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LINUS (contd)I just need to be absolutely clearthat we have an understanding: Ifyou contact my father, Ill kill

myself, and youll never get the

rest of your money.

Benedict nods. Linus turns forward and exhales, relieved.


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 atDanny. 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, whos looking out the

window serenely, letting Danny flounder.

31 MOMENTS LATER 31

Total silence. Everyone just stares at Danny, waiting for ananswer.

DANNYHow many cant make the deadline?

Everyone raises their hands except Reuben.

REUBEN(off their looks)

So Im smarter than those schmucks

on Wall Street. Whose fault is that?

Fair enough.

DANNYHow many think if they run, theyllbe found?

(CONTINUED)



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Everyone raises their hands. Including Reuben. Danny gets up,walks over to Rusty.

The rest of the guys shrug and begin talking amongstthemselves.

After a long beat.

DANNY (contd)Well, the only other--

RUSTYWere on the five oclock.

DANNYGood.

A beat.

DANNY (contd)Where?

RUSTYAmsterdam.

Danny steps back.

DANNYAMSTERDAM!?

Dannys tone draws everyones attention. Noticing this, Dannyand Rusty move into a nearby dilapidated office doorway.

The guys go back to talking, mostly about what they weredoing when they were found. This rises steadily in volumeuntil the din is obliterated by a LOUD VOICE:

DANNY (contd)IM TELLING YOU THIS IS A DEATHSENTENCE!

RUSTYFINE, THEN STAY HERE!

The guys exchange glances. Danny walks over to them andsighs.

CUT TO:



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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 AGENTYoure in seat 43J. Enjoy yourflight.

LIVINGSTONUh...there must be some mistake. I

mean...unless...is your first classsection in the back of the plane?

The agent looks back at him, confused.

KLM AGENTNo.

JUMP CUT TO the agent handing Linus his boarding pass:

KLM AGENT (contd)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 (contd)55K.

SAULFifty-five K? Theres a fifty-fiveK?

KLM AGENT

Weve increased capacity byemploying advanced designtechnology.

SAULYou made the seats smaller. Can youjust say that? You made the seatssmaller.

(CONTINUED)



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JUMP CUT to show Frank:

FRANKSee, youre not hearing me. WhatIm trying to tell you is the

reservations agent made a mistakewhen she issued the ticket, becauseon the rare occasions that I flycommercially, I always book a first-class ticket with no restrictions--

The desk agent looks back at him skeptically.

KLM AGENTShe may have, air, but this is theonly ticket available to you onthis flight. I need you to step

aside so I can take care of thenext customer.

FRANKNow, listen: Dont make me getblack.

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 ofhis body. Three more guys pick through his luggage: they

squeeze toothpaste from his Sensodyne tube, sniff his hairproducts, unroll his tighty-whitey briefs....

PAN to REVEAL that Basher is getting the exact sametreatment, right next to him. They exchange looks.

REVERSE ANGLE: the rest of the group stands sipping icedlattes from Starbucks and watching the show. Reuben walks up.

DANNYReuben.

REUBEN

I wanted to wish you luck. Andlisten: I want to do somethingfor you.

Reuben hands Danny an envelope.

DANNYWhats this?

(CONTINUED)



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REUBENTake it. Take it. This is theleast I can do. Ive got a friend

who owns the Bellagio of Amsterdamand Ive made reservations for all

of you there. Its all taken careof.

RUSTYThats very touching, Reuben.

REUBENIts the least I could do. I loveyou guys. Enjoy.

Yen says something in Chinese.

REUBEN (contd)No, thank you.

34 INT. 747 -- NIGHT 34

Yen sits in First Class, playing an in-seat video. Virgil andTurk kneel on either side, watching his progress.

VIRGILNice.

TURK

Great anticipation.

FLIGHT ATTENDANTGentlemen, youll have to go backto your seats now.

Reluctantly, they do. We follow them back to coach, wherethey pass Linus, talking to himself.

LINUSGround level. First floor. Day one.Planning stages.

(beat)

Planning stages.

We move on to find Livingston, who grabs Turk by the arm.

LIVINGSTONHowd he get that seat?

TURKWhat seat?

(CONTINUED)



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34 CONTINUED: 34

Turk moves on, taking us past a sleeping Saul and landing onDanny and Rusty, who watch a movie with fixed expressions. Areverse angle shows us that the video screen is twenty rowsaway--it is impossible to discern any detail at all. Rustytakes his headphones off and exhales. Danny notices this and

does the same. After a beat:

RUSTYCall me an elitist asshole, call mea bourgeois clown, call me anythingyou want, but economy isbullshit.

DANNYOh, I dont know...its not that ba-

The guy in front of Danny moves his seat back suddenly andspills Dannys drink all over Dannys lap.

Linus approaches Danny and Rusty.

LINUSHey. You guys have a minute?

DANNYSure, Linus.

RUSTYWhats on your mind?

LINUSWell, I know this may not be theexact right time to bring this up,but Ive been thinkingabout...well, about where I want tobe in five years, career-wise, andIve decided I really want to be

more than just a role-player. Ireally see myself as kind of anidea man, like you guys. I mean, Iknow you do your part and youre inthe trenches with us and all, butits really your show, and like I

said, five years from now, I wantto be running my own show....

Danny and Rusty exchange a look...then look back at Linus.

DANNY RUSTYUh-huh. Right.

(CONTINUED)



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34 CONTINUED: (2) 34

LINUSSo if theres any opportunity for

me to be involved in the, you know,planning stages of things, I wouldreally appreciate it. I really feel

like Im ready for moreresponsibility and that I couldreally make a contribution.

Rusty turns to Danny.

RUSTYAre you thinking what Im thinking?

DANNYEvelyn.

RUSTY(to Linus)

Were negotiating the terms withher tomorrow. You feel up totaking the lead?

LINUSAre you serious?

DANNYAbsolutely.

LINUS

This isnt some gag?

RUSTYNo gag.

LINUSWow. Yeah. That would be awesome.

DANNYOkay, then.

LINUSMan. I wasnt sure if I should say

anything. Now Im glad I did.

DANNYSo are we.

RUSTYWere here to listen.

(CONTINUED)



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LINUSGreat. Thanks. Really. You wontregret this.

Linus leaves. Danny and Rusty put their headphones back on.

Now they look content.

Basher and Frank watch Linus go.

BASHERTom.

SAULHe can be a Tom?

BASHERAnybody can be a Tom.

SAULYou gotta make your ownopportunities. This aint arehearsal.

BASHERTom.

Saul chews his economy class trail mix.

SAULBoy, youre tough.

BASHERStop 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)



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36 CONTINUED: 36

They have stopped in front of a narrow townhouse that hasbeen converted to a hotel. The sign says Bellagio of

Amsterdam.

37 INT. BELLAGIO OF AMSTERDAM -- DAY 37

A single room with 12 bunks in it. Their noses are wrinkledup because the place stinks.

LIVINGSTONHow could he lie to us like that?

RUSTYThe sign said the Bellagio of

Amsterdam.

Everyone looks at each other and turns to leave.

LINUS (?)Wait a minute. Thats it?

DANNYYeah.

LINUSLook, you guys no frills, no perks,run-and-gun, all that stuff, and Isaid no problem because I believedyou were right that we shouldnt go

deeper into debt and spend money wedont have. I mean, am I the onlyone who thinks this might actuallybe a good thing? That we could usea little humility? That maybe we

were a little too pleased andimpressed with ourselves after theBenedict job? Okay, I grant youthat maybe this isnt what wedeserve, but maybe its what weneed. We can do this. No, I take itback: We have to do this.

A long beat.

CUT TO:

38 EXT. AMSTERDAMS FINEST FIVE-STAR HOTEL 38

Four black mercedes skid to a stop outside Amsterdams finestfive-star hotel.

(CONTINUED)



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38 CONTINUED: 38

Everyone emerges with big smiles on their faces. Everyoneexcept Linus. He scowls, yanks his bag back from the hoteldoorman 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 isparked.

TESSWhat are you doing in Amsterdam?

DANNY (PHONE V.O)Only what I have to do to getBenedict off our backs.

TESSBe careful, Danny. Please.

DANNYHows work?

TESSIts the same. Im distracted.

DANNYIm sorry.

TESSIts not your fault.

DANNY (TELEPHONE V.O.)I keep trying to figure out what Idid wrong. How did he find us?

Tess cant bring herself to tell Danny the truth, that it wasentirely her fault.

TESSDanny, dont keep thinking aboutit.

DANNY (TELEPHONE V.O.)I did something wrong. He shouldnever have found us.

(CONTINUED)



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40 CONTINUED: 40

TESSIll call you tomorrow. I love you.

DANNYI 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. Eachtakes a step toward personalizing their suite.

43 EXT. AMSTERDAM COFFEE HOUSE -- DAY 43

Danny and Rusty lead an obviously eager Linus towards acoffee house.

RUSTYShell try and use her looks todistract you. Dont let her.

DANNY

Be polite, but firm.

LINUSRight.

RUSTYDont get soft on us. Dont maketoo many concessions.

LINUSI wont.

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)



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44 CONTINUED: 44

EVELYNThe 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 offlattery, the World Bank would beopen until 8pm.

EVELYNWhen 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.

RUSTYA doctor who specializes in skindiseases will dream that he hasfallen asleep in front of thetelevision. Later he will wake upin front of the television but notremember his dream.

Evelyn nods and looks to Linus, as do Danny and Rusty. Hefurrows his brow, then speaks:

LINUS

O let the sun beat down upon myface, stars to fill my dreams. Iam a traveler of both time andspace, to be where I have been.

Danny and Rusty stare at Linus like hes nuts, like hes justcracked. Evelyns entire expression changes.

EVELYNYour young friend has a great dealto learn about respect.

She/He puts his/her drink down and walks to another part of

the establishment.

DANNYLinus...why dont you wait outside.

Rusty and Danny follow Evelyn and quietly console him/her.



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45 EXT. COFFEE HOUSE -- AFTERWARD -- DAY 45

Linus cools his heels. Danny and Rusty emerge from inside.

DANNY

Is that your idea of making acontribution?

RUSTYHer terms were scandalous. And we

were lucky to get them after whatyou said.

DANNYThe deal was this close to beingblown.

LINUSDeal? What deal?

Danny and Rusty just look at him.

LINUS (contd)I know what you guys are doing.

Danny and Rusty exhange looks. What?

LINUS (contd)Look. That...person had too manycupcakes.

They just keep staring at him.

LINUS (contd)I was playing along.

RUSTYPlaying along!

DANNYYou called her mother a whore.

RUSTY

A really cheap one.

LINUSGuys, Im not falling for this.Im not....

But Danny and Rusty arent laughing. They look pissed.Seriously pissed.

(CONTINUED)



27/132

45 CONTINUED: 45

LINUS (contd)I mean...

Danny and Rusty just look at him. Linus squirms.

LINUS (contd)I called her mother a whore?


Danny and Rusty explain the job to the group.

RUSTYIts a privately owned home. Butdont let that fool you. Itsextremely well-protected.

A photo of a four-story canal house is displayed on a flatscreen connected to Livingstons computer.

SAULWhat are we after?

DANNYA document. A very old, veryvaluable document.

A photo labeled The Vanderspeigle Getuigschrift isdisplayed on screen.

VIRGILWhat is it?

RUSTYA stock certificate.

DANNYThe first one ever issued, from thefirst corporation on the planet.The Dutch East India TradingCompany. Its the only one of itskind and its worth a boat-load.

TURKWhats our cut?

RUSTY2.7 million after expenses.

A beat. Turk seems confused...

(CONTINUED)



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46 CONTINUED: 46

TURKEach?

VIRGILWho negotiated this?

Danny and Rusty look at Linus,

LINUSThanks.

LIVINGSTONWhat do we know so far?

DANNYTheres a dummy key pad by thefront door.

(points to a diagram)But the alarm is really controlledby the keypad in Mr.Vanderspeigles second flooroffice. Now, heres good news: wealready know the systems mastercode. Evelyn gave it to us.

FRANKThats not good news, thats reallygood news.

VIRGIL

We just wait until he leaves.

DANNYYeah, well...thats the bad news.

RUSTYHe doesnt.

Frank flinches. Doesnt like what hes hearing.

DANNYHes agoraphobic.

47 AMSTERDAM PLANNING MONTAGE 47

Shots of their mark, Vanderspeigle, being an agoraphobicweirdo.

LIVINGSTONSo hes never been out of hishouse? Ever?

(CONTINUED)



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47 CONTINUED 47

RUSTY (V.O.)Not once since he moved in tenyears ago.

SAUL (V.O.)

Doesnt this guy believe in freshair?

RUSTY (V.O.)Cracks his windows atnight...thats about it.

When Vanderspeigle cracks his window we see that locking pinsfall into place to prevent the window from opening more thana few inches.

LIVINGSTON (V.O.)Can we tap into the system from theoutside through the phone lines?

RUSTY (V.O.)Negative. Its a closed-loopsystem with two redundant serverslocked into titanium cases in theguys bedroom.

47A We SEE the servers in Vanderspeigles bedroom. 47A

BASHER (V.O.)Could we use a remote device to

trigger the panel?

DANNY (V.O.)Its hard-wired and shielded.

48 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 48

TURKGuys, am I missing something here?We know his damn code, right?Youre telling me with that muchinformation we cant find a way

into this freaks house?

Frank flinches again. He seem to be reacting to the termfreak.

TURKCant we just get a telephonerepair truck...



30/132

49 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 49

TURK (V.O.)...put the basket up and use atelescoping rod through the open

window to tap out the guys code?

Turks idea plays out as it is in his MINDS EYE, until:

RUSTY (V.O.)The street in front of the house isblocked off to vehicles.

DANNY (V.O.)And its covered by fiveindependently-wired surveillancecameras....

RUSTY (V.O.)Monitored 24-hours a day by asecurity company.

We SEE the security arrangements they describe.

50 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 50

SAULGod, this guy really is a freak.

BASHERCrazy freak.

Frank reacts again to the term freak. It really bothershim. Danny notices.

DANNYSomething wrong?

FRANKJust...dont call the guy a freak,okay?

Everyone turns and looks at Frank like hes a freak.

FRANK (contd)What?

The entire room is staring at him.

(CONTINUED)



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50 CONTINUED: 50

FRANK (contd)What?! I mean, am I the only onehere who feels funny about stealingfrom a...a...handicapped guy?

Danny looks to one side of the room...then the other.

DANNYYeah.

The rest of the room agrees. Matter closed. Everyone justturns back to what theyre doing.

DANNY (contd)Okay, so we know what we cantdo...

Frank stews.

DANNY (contd)Time to think outside the box,guys.

A beat. Everyone thinks. Then:

LINUSOkay, heres something...Ive gotan idea...suppose we--

RUSTY

No.

LINUSWell, but how--

RUSTYTheres a Goldmann Grid over theenitre surface.

Linus looks at him.

RUSTY (contd)Is that what you were thinking

about?

Linus nods.

DANNY(sudden idea)

But....

(CONTINUED)



32/132


RUSTY--Well, thats different.Especially if we--

Rusty makes a circular motion with his finger and then stops

it with his other hand.

DANNYRight.

LINUSWhat?

RUSTY(quick aside to Linus)

A Schuman Special.(then to Livingston)

Livingston--

LIVINGSTONAbsolutely. I mean, Id need a dayto--

RUSTYYoull have three. Basher?

BASHERNo worries.

RUSTY

Virgil, Turk.

VIRGIL.Just gotta get the gear.

TURKSweden.

RUSTYYen?


RUSTY (contd)What, and give up show business?Saul--

SAULI know, I know. Ill be bored.Youll be fine.

(CONTINUED)



33/132


RUSTYClocks running.

Everyone gets up and leaves. Within seconds, Linus is alone,standing in the middle of the room.

LINUSWhats 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 abovethe keypad.

52 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 52

We see Basher rehearsing the shot. He cant get a clear shotof the target. In fact, he cant see it. He turns to Saul.

BASHERLet 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.

Its 4 10.

BASHERHow tall is the surface of thisroof?

SAULAbout 87 feet.

BASHERHow tall exactly?

53 INT. HOTEL SUITE -- DAY 53

Danny looks at a diagram of the safe theyll have to crackwhen they get inside Vanderspeigles house, the safe thatcontains the Vanderspeigle Getuigschrift. Everyone butLinus and Rusty are here.

But then Rusty comes in.

(CONTINUED)



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53 CONTINUED: 53

RUSTYYoure not going to believe this.

DANNYTry me.

RUSTYWe dont have line-of-sight.

DANNYWhat?

RUSTYWe tried everywhere. Some places

were only three or four inchesoff...but...theres no straightshot. Even with Basher. Its

literally impossible.

Linus enters, out of breath. Seeing everyone, he goes toDanny and Rusty.

LINUSCan I talk to you guys for a second?

They nod and allow Linus to pull them into the corner. Linuslooks over at the group and then turns to them.

LINUSListen, Ive done a little research

on the Schuman Special, and uh...wedont have line of sight for theshot.

DANNYWhat?

RUSTYJesus. Thisll kill us.

DANNY(to Linus)

Listen: Dont say anything. If

youre ever going to run your owncrew, youve got to remember tonever show weakness.

RUSTYIts like blood in the water forthese guys.

(CONTINUED)



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54 CONTINUED: 54

RUSTYCant train the cat that quickly.

DANNYI cant have my wife watch me

hauled off in handcuffs again.

RUSTYIts always about you, isnt it?

DANNYThis like running toward a cliff.Speaking of which, hows Isabel?

RUSTYI have no idea what youre talkingabout.

DANNYYou get the tattoo removed?

RUSTYGiven its location, my doctoradvised against it.

Rusty stops walking. Danny continues, then notices he isalone. He turns back to Rusty.

DANNYWhat are you doing?

RUSTYWere here.

DANNYOh.

As Danny and Rusty enter the hotel, Rusty trips on the steps.

DANNYNice.

Rusty bends down to look at the step. He notices that one

tile on the edge of the stop has lost some mortar. He touchesthe tile and watches the lip rise up and down, up and down,as though its cantilevered.

55 THE GROUP STARES INTO CAMERA 55

SAULYou want to do what?

(CONTINUED)



37/132

55 CONTINUED: 55

REVERSE to REVEAL Rusty and Danny.

RUSTYTilt it. Raise it slightly.

SAULThe whole house?

RUSTYIts only a few inches.

BASHERThen Ill have line-of-sight.

FRANKWe cant tilt a whole house.

VIRGILThey did it with the Leaning Towerof Pisa.

RUSTYExactly.

SAULIt took three hundred guys twoyears to do that. Youre crazy.Nobodys ever done anything likethis.

RUSTYNot true. Palowski did it in 64in Venice and 73 in Istanbul.

SAULReally?

LIVINGSTONAnd he only had a crew of six.

RUSTYThere are thirty pylons. We cutthem, insert the jacks, and crank.

BASHERFor nineteen hours. Heres theorder in which they have to bedone.



38/132

56 EXT. VANDERSPEIGLES HOUSE -- NIGHT 56

It is pouring rain. From across the canal, we MOVE towardsVanderspeigles house, favoring a barge moored just outfront. 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 ofindustrial water pumps. Theyre grimy and covered in sweat.Rain drips through the deck above them.

LIVINGSTONSo, Basher approached me aboutbeing on a crew.

FRANKWhen?

LIVINGSTONYesterday.

Frank thinks about that.

Yen pops his head out from a small tube and says something inChinese.

Frank shrugs...doesnt understand. Yen tries again.... This

time he enunciates very clearly and talks very loudly (likeAmericans do when foreigners dont understand English).

Frank nods, starts turning the handle of the water pump inthe opposite direction. Yen climbs down out of the tube.Then he climbs back up the tube. He picks up a jack in thecorner. Climbs back in the tube.

58 INT. UNDER VANDERSPEIGLES HOUSE - NIGHT 58

We FOLLOW him as he climbs through the tube and emergesunderneath Vanderspeigles house, inside its foundation.

The thirty pylons extend from the base of the house into theinto the swamp it sits atop of. There is little spacebetween the swamp level and the house. Runoff from the rainoutside drips everywhere.

(CONTINUED)



39/132

58 CONTINUED: 58

FIND Danny and Rusty struggling to place a hand-cranked jackinto a freshly cut space in one of the timber pylons. Theyare covered in muck and grime

RUSTY

The good news is, after the firsttwelve hours, I stopped being ableto smell anything.

DANNYTook a few more for me.

RUSTYThis water was stagnant six hundredyears ago.

FIND the Malloys, thirty feet away, using a fancy underwatersaw to cut a space in another pylon. Because the cutting istaking place underwater it is extremely quiet.

VIRGILTheres no reason for him not to.He would go to the cops.

TURKOkay, so he goes to the cops.

VIRGILThen they arrest Dominique.

TURK.Right.

VIRGILThen we have no story.

TURKRight.

LINUSShe steals the money from Mr.Mulroney.

They turn to look at Linus, sawing nearby.

TURKWhat?

VIRGILWhy would she?

(CONTINUED)



40/132


LINUSTo pay Franklin to keep quiet.

Turk and Virgil think about that. Linus keeps sawing.

TURKThats good.

59 INT. APARTMENT ACROSS FROM VANDERSPEIGLES HOUSE -- NIGHT 59

Basher and Saul sit in big cushiony chairs.

SAULCounterfeiting? Me?

(beat)I have to tell you, its not

something I condone. Its cheating.

BASHERIt is cheating.

SAULTheres no subtlety to it.

BASHERIts kind of embarrassing.

SAULNo one I know...

BASHERI cant imagine anything like that.

A long beat. Then each of them reach into their jackets andproduce $20 bills. They exchange and examine the billsclosely by eye. Satisfied, they trade them again and returnthem to their coat pockets.

SAULNot bad.

BASHER

Bolivia.

SAULDiegos people?

BASHERYeah.

(CONTINUED)



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59 CONTINUED: 59

SAULWell. Congratulations.

BASHERI told him about you.

SAULIm too old. Thats dangerous. Mystuff is cheap compared to that.Its just me and my gal, you know.What youre talking about isorganized. But thanks, anyway.

60 INT. APARTMENT -- NIGHT 60

Frank sits watching TV. Livingston enters with groceries.

FRANKJay Leno called.

LIVINGSTONWhen are you gonna stop with thattired white people cant be funnystuff? Its so old, Frank, really.Do you want some orange juice? Igot the good kind.

Just then they are interrupted by Dannys voice on a walkie-talkie.

DANNY (V.O.)Augie One, this is Condor.

61 UNDER VANDERSPEIGLES HOUSE 61

Rusty turns to Danny.

LIVINGSTON (V.O.)This is Augie One; Go Condor.

62 INT. APARTMENT -- NIGHT 62

DANNY (V.O.)Were fully cranked here. Lets goto phase two.

Livingston and Frank look at each other.

(CONTINUED)



42/132

62 CONTINUED: 62

FRANKBring that orange juice.

63 EXT. ROOF -- NIGHT 63

Basher sets up his gear again. This time, when he raises thecrossbow to check his shot, HE CAN SEE THE KEYPAD. Justbarely.

He steadies himself. Saul knows that hes ready to take theshot. He speaks into a walkie talkie.

SAULThis is Gatsby. Were 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 Europolsextraordinary 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 ofseated HIGHER-UP TYPES. Shes nervous.

ISABELLets discuss, briefly and tobegin, with the category ofthieves, as distinguished fromthe larger category of what mightbe termed hardened criminals.The highest level, masterthieves, if you will, is a verysmall world. Between six and tenhigh-level crews are operating in

Europe at any given time.Worldwide, no more than twenty. The

most famous, Gaspar LeMarc, iseither dead or retired, and theexpectation is that no one willreplace him. The good news is thetrend is toward their extinction.

(CONTINUED)



43/132

65 CONTINUED: 65

The secretary enters the auditorium and walks toward thepodium.

ISABELFor example: Anecdotal evidence

suggest these people are personallyinsufferable.

The Higher-Ups look at each other; what did she just say?

ISABELTheir egos demand constant praise,and they embellish their exploitsto anyone who will listen. Theytell their own stories endlessly,provided of course, they aretalking to a fellow thief or anintimate.

Many in the audience are now looking to each other, wonderingif this is appropriate.

ISABELThose who interact with them on apersonal level are relegated topositions of total servitude, withno chance for growth or freedom.Their lives are treated assecondary. Many of them suffer fromdepression. Its a crime for which

there is no law, and yet causesuntold damage.

One of the Higher-Ups convinces the other to say something,but by now Hess the Male Secretary has reached Isabel andinterrupts her by whispering into her ear. She balances.

ISABEL (contd)(amplified by the lecternmic)

WHAT?

66 INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY 66

Isabel and Hess walk briskly through the ultra-modernhallway. He briefs her as they walk in a hushed voice. Thensomething he says stops her in her tracks.

Hess continues to explain something we cant hear. Then hepulls out some PHOTOS. Isabel leafs through them.

(CONTINUED)



44/132

66 CONTINUED: 66

ISABELThats impossible!

67 EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY 67

Isabel arrives and is greeted by PAUL, a lead detectiveworking the Vanderspeigle theft for the Amsterdam policedepartment.

PAULThanks for coming. We can reallyuse your help on this one.

His partner looks over at Isabel, who is wearing a skirt andpretty damn good shoes. The guy checks out her legs and looksaway.

ISABELI hope the scene hasnt beencontaminated.

Isabel walks away. Moments later, she enters the house withthe lead detective.

68 INT. VANDERSPEIGLE HOUSE - DAY 68

As soon as shes inside shes all business.

ISABELNo forced entry.

PAULNot that we can find.

69 UPSTAIRS -- VANDERSPEIGLES HOME OFFICE 69

Isabel looks around Vanderspeigles home office. Behind afake bookcase is a small room which contains the safe. Inthe other direction is Vanderspeigles bedroom.

PAUL(nods)

We cant figure out how theydisabled the alarm. We thought

maybe they tried to short it outsomehow.

(CONTINUED)



45/132

69 CONTINUED: 69

ISABELNo, that would have triggered thesystem.

Isabel goes to the alarm pad. Pulls the face plate off,

examines the inside.

ISABEL (contd)And damaged the circuits.

PAMWell, then I dont know how theygot in.

ISABELThey had to have known the code.

She moves on to look in the marks BEDROOM.

PAUL(calls to her)

We considered that, but the markswears that nobody in the worldknew the code except him. Heprogrammed the last seven steps ofthe system himself. He set it andnever left the house again. When hedies, well probably have tophysically cut all the power linesto the house to get it off line.

Isabel examines the computer brain of the alarm system whichwas locked inside a titanium case in Vanderspeigles bedroomcloset. She answers the detective almost as an afterthought.

ISABELThere are other ways to get thecode.

(to herself)Closed loop. Redundant servers.Titanium encasement. Not bad.

The lead detective enters the bedroom.

PAULLike what?

Again, Isabel is inside her own mind. Shes really justanswering the detectives questions out of courtesy.

(CONTINUED)



46/132


ISABELUh...well, they probably set up ina house across the canal and

watched him type the code inthrough a pair of binoculars.

We GO WITH HIM as he walks back into the office. He standsat the alarm panel and pretends to type in the code. Hetwists around and looks out the window behind him.

PAUL(calling to Isabel in thebedroom)

Actually, I dont know about that.

Isabel re-enters the office.

PAUL (contd)Unless he had a habit of typing inthe code like this--

He stands to the side of the panel and reaches over to typein the numbers. Its an obviously unnatural position. Thenhe moves in front of the panel and types in the code as onenormally would.

PAUL (contd)--then his body would block theview from across the canal.

ISABELThats why they probably set upover there--

She points out an adjacent window on another wall.

ISABEL (contd)--And used the mirror.

She points at a small mirror on the opposite wall. Thedetective bends down so his eye is at the level of thekeypad, then he looks in the mirror. He can see directlyacross the canal into another house.

ISABEL (contd)Im guessing theyd need a fifteenhundred millimeter lens to get aclear shot but--

But Isabels already moved on. Something has caught herattention just above the alarm panel: a patch of paint thatis shinier than the paint that surrounds it.

(CONTINUED)



47/132


Isabel puts her finger to her tongue to wet it, then touchesthe shiny area. When she pulls her finger away there ispaint on it.

Isabel cocks her head.

70 MINDS EYE (ISABEL) -- THE NIGHT BEFORE 70

A black-clad thief (LINUS) uses a paint brush to touch up thewall above the alarm keypad.

71 BACK TO SCENE -- THE CRIME SCENE 71

The lead detective watches Isabel intently.

PAULWhat is it?

Isabel uses the blunt end of a letter opener fromVanderspeigles desk to gently dig at the wall under thepaint. The plaster there is soft and wet. In fact it isntplaster at all. Its spackle.

PAUL (contd)What is that?

Isabel cooks her head again.


THUNK! A crossbow bolt hits the wall above the alarm panel.


ISABELIts where the crossbow bolt hit.

PAULA crossbow bolt?

ISABELEver heard of Franz Schuman?

PAULNo.

(CONTINUED)



48/132

73 CONTINUED: 73

Isabel is at the window. The one that Vanderspeigle leavescracked open every night. Isabel looks across the canal atthe apartment where Basher and Saul were playing cards.

ISABEL

They would have fired from thatroof. Through this open window.

Isabel kneels down, checks the line-of-sight to make sureshes correct.

PAULFrom that roof, through this

window? Nobody could make a shotlike that.

ISABELNot a cop, anyway.

PAULWhats that supposed to mean?

ISABELSorry. Your friend downstairs put

me in a bad mood.

PAULHes an idiot. You shouldnt lethim bother you.

ISABELYes. Youre right.

Isabel pulls out a notepad and writes the name: EugeneBasher Tarr. There are two names above Bashers in herlittle book: Robert Ryan and Danny Ocean.

ISABEL (contd)But these man are exceptionallygood. Even when they make mistakes.


A bolt flies through Vanderspeigles open window and hits thewall above the alarm pad. Two thin wires are attached to atiny wheel, which is attached to the back of the bolt. The

wires run back to the window of the apartment across thecanal.

Inside that apartment: the wires end in another tiny wheelwhich is mounted on a large tripod for stability.

(CONTINUED)



49/132

74 CONTINUED: 74

In effect the group now has a mini-clothesline runningbetween the alarm pad and the apartment across the canal.

Livingston attaches a device designed to fit directly overthe number pad of Vanderspeigles keypad to the clotheslinethat runs across the canal.


Isabel writes: Livingston Dell? Underneath Bashers name inher notebook.


Livingstons device is shuttled across the canal, throughVanderspeigles cracked window and right to the alarm panel.Magnets on the side of the device cause it to snap into placeover the top of the keypad. Livingston then types a six-digit code into a remote keypad. His keypunches are mimickedby the remote device. Vanderspeigles alarm shuts off.

Downstairs: From inside we see the front door lock picked.The door swings open.


Isabel nods her head. Theres a slight smile on her face.The smile of admiration, respect in anothers skills.

ISABELWhen did he get up and notice thecertificate was gone?

PAULThe alarm woke him at 4:2O am.

ISABELBut the alarm would have been--

She stops. And smiles to herself.

ISABEL (contd)Oh... Oh, I know what happened.

PAULWhat?

Isabel quickly glances around the room. Her eye lands on thefloor near the false bookcase.

(CONTINUED)



50/132

77 CONTINUED: 77

On some dark lines in the crevices where the floor boardsmeet. She kneels down for a closer look.

ISABELThere was someone else.

PAULSomeone else.


Danny and Rusty come through the front door. They arefollowed by Linus. All of them are soaking wet from 24 hoursin the swamp under the house, and the last few minutes in thepouring rain outside the front door. The group silentlyslips up the stairs.

ISABEL (V.O.)Oh, I wish I couldve have seenthat.

79 INT. VANDERSPEIGLE OFFICE - NIGHT 79

They enter Vanderspeigles office. You can hear him snoringin the other room. Danny and Rusty quickly, carefully removethe 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 overthe spackle.

Danny and Rusty turn to see that Linus is finished. Theyhand-signal each other like Special Forces guys do, then movetowards the bookcase on the adjacent wall.

ISABEL (V.O.)That must have really beensomething.

Suddenly:

DANNYWait! Wait! Shhhh!

Everyone freezes. Danny puts his hand up to his ear to tryto listen for the sound he thought he heard. We hear thefaint sound of somebody singing to themselves.

Danny and Rusty quickly realize its coming from behind thebookcase. What the hell?

(CONTINUED)



51/132

79 CONTINUED: 79

They yank open the false bookcase to reveal a handsomeFrenchman who has just finished cleaning out the contents ofVanderspeigles safe.

Danny and Rusty stare at him. He turns around and seesthem, but if hes bothered in the slightest he sure isntshowing it. Danny approaches him. This exchange is whispered

with a great amount of drama at very close range.

DINNER JACKETCan I help you?

DANNYYeah. What the hell are you doing?

DINNER JACKETI am getting here first.

Just then, Frank and Yen arrive. The Frenchman looks themover.

RUSTYThis is our score.

DINNER JACKETI am here before you.

FRANK(joining)

We let you in the house! Somehowyou got in after we hit the code

but before we got to the door.

DINNER JACKETThats thirty seconds. How could Iknow which exact thirty seconds Ihad? Unless I knew you plan. CouldI have known your plan? Do you havea snitch in your group?

DANNYNo.

RUSTY

We dont.

DINNER JACKETYes, I know you dont. Because Isaw, the whole thing from thatchair. I knew you were around,but I had my own plan.


(CONTINUED)



52/132


DINNER JACKETTheres really no need for that.

Danny wants to raise his voice, but he cant. Vanderspeigleis snoring twenty feet away.

DANNYListen, we have to come to somearrangement.

LINUSWeve incurred some very seriouscosts here.

Danny and Rusty look at him.

LINUSWell, we have.

The Malloys arrive.

DINNER JACKETEvery second I am becoming moreoutnumbered.

VIRGIL(whispering, re: DinnerJacket)

Whos this?

FRANKHe said he got here first.

VIRGILThats bullshit.

RUSTYHey. Mouth.

VIRGILThis is our goddamned job!

He sounds as angry as a guy whos whispering can sound.

LIVINGSTONIf the situation were reversed--

DINNER JACKETBut the situation is not reversed.The situation is that I am herefirst, without any help from you.

(CONTINUED)



53/132


Livingston arrives, soaking wet like everyone else.

DINNER JACKETSo as much as I would--

Basher and Saul arrive.

DINNER JACKETJesus, how many of you are there?

DANNYJust give us the stock certificate.Whatever else you took out of thatsafe...its yours.

Dinner Jacket stops. Thinks for a moment. Then:

DINNER JACKETNo. But: I leave you withsomething.

He hands Danny a business card.

DINNER JACKETMy attorney. In case Evelynsemployer tries anything...well,anything.

Dinner Jacket smiles, then pulls a tiny electronic device outof his shirt pocket. He presses a button.

And the alarm blares to life.


Paul stares at Isabel.

PAULAre you sure?

ISABELIm sure theres another scenario

that would fit these physicaldetails, but I dont know what itis.

PAULWhere should we start?

Isabel takes out her PDA, writes something on her keypad, andhits a few buttons. A second later, Pauls BEEPER goes off.

(CONTINUED)



54/132

80 CONTINUED: 80

ISABELYou can start by picking that guyup.

81 INT. AMSTERDAM HOTEL SUITE -- DAY 81

The group sits around looking depressed.

VIRGILWho the hell was that guy?

FRANKIts going to get out, you know.People are going to find out.

BASHER

Somebody must know this blokesname.

LIVINGSTONThe question is who trained him. Hegot into that place alone.

DANNYHe says.

FRANKI believed him.

SAUL(unsettled)You think hes better than us?

FRANKIm not saying anything, but the

man was sitting there, waiting forus.

LINUSDo you think the cops even know whothis guys is?

RUSTYPlease. That guys never even seena cop.

TURKMaybe he works with the cops.

(CONTINUED)



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81 CONTINUED: 81

SAULYou dont work with the cops unlessyou absolutely have to. And noteven then.

BASHEREither way, hes got to have a name.

LIVINGSTONIt cant be that hard to find out

who this guy is. Like I said,somebody trained him. Who trainsthe best?

DANNYLeMarc.

(to Rusty)Right?

RUSTYIf hes not dead.

LINUSWhos LeMarc?

Stunned silence from the guys. They wont 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 isdirected down a hallway.

84 INT. INTERROGATION ANTEROOM -- DAY 84

We LOOK through a one-way mirror into the interrogation roomwhere detectives Onderdonk and Devenpeck are trying the badcop / bad cop routine on Evelyn.

Isabel walks INTO FRAME and watches: Onderdonk slams his fiston the table. Davenpeck shouts in Evelyns face. Evelynjust laughs.

(CONTINUED)



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84 CONTINUED: 84

Isabel shakes her head.

Frustrated and more exhausted than their detainee, the twodetectives leave the interrogation room for the ante-room

where Isabel is.

ONDERDONKFucking stone.

DAVENPECKIm not quitting.

ONDERDONKWho said quitting. Im tired.

ISABELCan I speak to him?

The two detectives look at each other.

DAVENPECKWho are you?

Isabel produces a signed document. They look at it, shrug,and give it back.

DAVENPECKApparently, you can do whatever youwant with him.

ONDERDONKAre you moving him?

ISABELOh no. I just need to speak withhim. To get some information.

DAVENPECKWeve been on him for six hours.

ONDERDONKWith our best stuff.

DAVENPECKOur best stuff. In mind terms,

weve been torturing this guy.

ISABELIm sure. I only need a moment,then Ill be out of your way.

(CONTINUED)



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They shrug. Isabel goes into the room with Evelyn. We STAYWITH 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.

Evelyns face freezes. He/she looks at Isabel, scared. Thenhe/she starts to weep. Uncontrollably.... Tears stream downhis/her face.

Isabel hands Evelyn a sheet of paper and he/she begins towrite.

Onderdonk and Davenpeck are dumbfounded. Isabel turnsaround so shes facing them.


The entire group, minus Danny, sits around glumly watchingCNN International on the flat screen.

Danny is on his cell phone on the other side of the room.

DANNY (INTO PHONE)Its not a problem, its a hiccup.It wont affect our schedule that

much. I want to talk about you, notthe job. How are you doing?

KNOCK-KNOCK-KNOCK. Something about it doesnt sound familiar.Danny moves into the big roam.

Rusty is at the door, looking through the peep-hole. Rustyputs his head down. Clearly it isnt a stranger.

DANNYTess, Ive got to call you back.

He hangs up. KNOCK-KNOCK-KNOCK. Rusty indicates for Danny toget it.

DANNYComing.

Danny opens the door to reveal ISABEL. She looks at Danny.He looks back at her. They dont say a word. Danny motionsfor her to come in.

(CONTINUED)



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85 CONTINUED: 85

RUSTY(still glued to the TV)

Who is it?

ISABEL

(to Rusty)Hello, Robert.

Rusty spins to see Isabel.

RUSTYIsabel.

He crosses to her. STAY with the group for a moment.

LINUSRobert? Is that his real name?

Virgil and Turk shrug.

LINUSHow does she know that?

LIVINGSTONEx-girlfriend.

BASHER & SAULFiancee.

86 ANGLE ON RUSTY AND ISABEL 86

The entire group is watching them.

RUSTYIts great to see you.

ISABELIs it? Because youve been seeing alot of me lately.

She hands a surveillance photo to Rusty.

ISABELYou were sitting in a Mercedesoutside my apartment on Wednesdaynight.

She hands Rusty another photo. (These are the photos Hess themale secretary showed her at Europol HQ that we couldntsee.)

(CONTINUED)



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86 CONTINUED: 86

ISABELYou were hiding in the bushes whenI had lunch yesterday at TrattoriaBella.

She hands him a third photo. Looks at the fourth.

ISABELThis one...Im not even sure wherethis one was taken, but I like it alot. Very Ron Gallela.

She hands this photo to Danny. Its a picture of Rusty, witha dorky look on his face, peering out from behind a mailboxhes using as cover while he spies on Isabel.

ISABELI mean, if I didnt know better Idthink you all came here to stealthe Vanderspeigle Getuigschrift,also known as the worlds firststock certificate.

(to the group as a whole)You must have been so proud ofyourselves. A Schuman Special. Itsbeen awhile.

(smiles at Basher)That was a very handsome crossbowshot, Eugene.

Basher winces at the sound of his real name. The groupstares back at her. Cant believe this is happening.

ISABELAnd the Palowski...whose idea was that?

She knows it was Rusty.

RUSTYWe didnt steal anything.

ISABELOh...I know you didnt. Somebody

beat you to it. One man. No crew.No back up. Tell me something --just so I can get the full picturein my head -- was he wearing atuxedo? A white dinner jacket?

(CONTINUED)



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BASHER(to Isabel)

At least we saw him in the flesh.Youll never see this guy your

whole life.

ISABELSo you know who he is?

DANNYOf course we know who he is.

ISABELWell, then. Ill see you when yousee him. To get your certificateback.

She takes the photo of Rusty peeking from behind the mailboxfrom Dannys hand.

She walks out. The group is frozen. Livingston is stilllooking at the pictures of Rusty following Isabel.

LIVINGSTON(to Rusty, re: the photo)

Whos hat is that?

SAULHow 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. Iknew she didnt want to see me. I

was being polite.

TURKWhere did she learn all that stuff?The Palowski stuff.

DANNYHer father.

VIRGILHe was a cop?

RUSTYThief.

(CONTINUED)



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LINUSWas he good?

DANNYVery.

FRANKGreat.

VIRGILWhats the big deal? Shes justsome brilliant, pissed-off ex-girlfriend whos dad taught herevery trick in the book.

SAUL & BASHERFiancee.

TURKBut did you see that display ofemotion, handing out thosepictures?

VIRGILTotally unprofessional.

RUSTYShes passionate.

VIRGIL

Shes unbalanced.

RUSTYHer job is very stressful.

SAULShe could reduce her stress byleaving us alone.

DANNYWeve got to slow her down.

Everyone agrees.

DANNYBut first: We find our Frenchfriend and introduce ourselves.

FUNKY TRANSITIONTO:



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87 INT. EUROPOL HEADQUARTERS -- DAY 87

Isabel is talking to her superior.

ISABELS BOSS

Twenty-four hours. You know that.

ISABELI dont have twenty-four hours.Theyre there now. Theyll lead meto him.

ISABELS BOSSYou also know that you can go now,if you dont take your secretary.When theres liability, I need adocument.

She nods.

88 INT. EUROPOL HEADQUARTERS HALLWAY -- DAY 88

Isabel exits.

HESSHe said we cant leave untiltomorrow because of liabilityissues and he needs a document.

ISABELYes.

HESSThanks for trying.

ISABELLets share a car.

HESSThat would be nice. Thank you.

ISABEL

I cant believe they wont make anexception.

(beat)Ive got to find out who this otherguy is.

CUT TO:



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89 INT. MONTE CARLO CASINO -- NIGHT 89

Dinner Jacket (AKA FRANCOIS TOULOUR) wins a huge blackjackbet. The crowd reacts enthusiastically. A beautiful womanstands near him.

90 INT. MONTE CARLO CASINO -- NIGHT 90

The crowd around the blackjack table erupts as Toulour wineanother massive bet. Note: The same dealer pays him off.The same crowd is watching. But Toulour is dressed in adifferent tuxedo, and a different women is standing by hisside.

ANOTHER BEAUTIFUL WOMANFantastic.

BASHER (V.O.)He did his first big job in 1989.Bundesbank, Berlin.

DANNY (V.O.)The fifteen million dollar one theday 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 differentbeautiful 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 tuxedowith another woman.

ANOTHER BEAUTIFUL WOMANWhere do you want to go this

weekend?

BASHER (V.O.)Bank Faltier, Paris 190 and againin 91.... Total take twenty-one

million euros. Bank of Italy 92.Eighteen million. Danish Treasury,also 192. Twenty-two million.

(MORE)

(CONTINUED)



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92 CONTINUED: 92BASHER (V.O.) (contd)

Prado museum. Madrid 93.... ThePicasso. Estimated value--

SAUL (V.O.)Hang on a second! He-- All ofthem?!

LIVINGSTON (V.O.)Hes 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 anew tux, with a new woman.

BASHER (V.O.)He in Moretti. Its one of hisaliases.

RUSTY (V.O.)Anything else?

BASHER (V.O.)UDC bank in Geneva, 94. Nineteen

million in bearer bonds. TheLouvre --95 and twice in 96.

Yen (in V.O.) says something in Chinese.

BASHER (V.O.)He left a Post-It note on the MonaLisa that said Bitch set me up.

LIVINGSTON (V.O.)

Tell them about Saint Tropez.

BASHER (V.O.)In 2000, he stole the King ofMoroccos 230 foot yacht.Vanished into thin air. Crewsurfaced a few days later in a liferaft. Couldnt remember a thing.

(CONTINUED)



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94 CONTINUED: 94

SAUL (V.O.)How do you hide a two hundred footyacht?!

BASHER (V.O.)

If the King knows, hes nottelling. He received it back a

month later.

95 INTERCUT -- EXT. COTE DAZURE -- NIGHT 95

Toulour. Another car. Another tux. Another beautifulwoman. He pilots his convertible Maserati at high speedalong the windy road.

ANOTHER BEAUTIFUL WOMANHow far is your house, Baron?

TOULOURTwenty minutes by helicopter.

TURK (V.O.)One guy did all those jobs?

VIRGIL (V.O.)Howd he get all those aliases?

BASHER (V.O.)Until a month ago Interpol were

convinced that the heists were thework of twelve different people.But not any more.

LIVINGSTON (V.O.)The French national police justgave him a nickname. Le RenardNuit -- The Night Fox.

96 INT. HOTEL SUITE -- DAY 96

Danny rolls his eyes.

BASHERScotland Yard said hes the newLeMarc.

RUSTYScotland Yard never saw LeMarc.



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97 INTERCUT -- EXT. PRIVATE HELIPORT -- NIGHT 97

A helicopter lands on a massive Lake Como estate. Toulourgets out. New clothes. New woman.

DANNY (V.O.)Personal information?

LINUS (V.O.)Some say hes one of these guysthat thinks because he was born ina penthouse, he controls theelevator business. Others say heturned out okay when you considerhow rich his parents were.

SAUL (V.O.)Taxes over here are brutal. Peopledont realize.

LINUS (V.O.)Father was a big-timeindustrialist, got into thecellphone market on the groundfloor. Mother inherited. Had maidsas a child. Hes a public figure,people know who he is. Hes beenrumored to run for office in Spain,even though he doesnt appear tolive there.

98 INTERCUT -- EXT. / INT. TOULOURS HOUSE -- NIGHT 98

Toulour, in new clothes, with yet another woman, unlocksseveral locks and disarms two alarms. The woman cantbelieve all the security he has.

ANOTHER BEAUTIFUL WOMANWhat do you have in there, the MonaLisa?

TOULOUR

(as if)Please.

ANOTHER BEAUTIFUL WOMAN(doesnt miss a beat)

You know what? I dont like thatpainting either. I dont likeanything Van Gogh did.

(CONTINUED)



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98 CONTINUED: 98

Toulour smiles and lets her in.

LINUS (V.O.)Hes an avid golfer, pro-leveltennis player, and inveterate

gambler. But apparently hisfavorite pastime is....

Linus trails off.

99 BACK TO THE HOTEL 99

DANNYWhat?

RUSTYSpit it out, Linus.

100 INTERCUT -- INT. TOULOURS VILLA -- NIGHT 100

A tableau shot looking into the bedroom. ANOTHER BEAUTIFULWOMAN joins Toulour in his bedroom.

101 INT. AMSTERDAM HOTEL SUITE -- DAY 101

LINUSHes rarely alone. I think its a

compulsion. I have a list of nameshere...it was just the first week.

DANNYAll right, moving on, is thereanything else we need to know aboutthis guy before we--

BASHERDid we forget to mention hes aViscount?

DANNY

A what?

LIVINGSTONViscount. As in nobility.

(CONTINUED)



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101 CONTINUED: 101

DANNY(cannot take it anymore)

Last time I checked titles likethat went out with a little numberI like to call the French

Revolution--

BASHERSpain.

DANNYWhat?

BASHERHis title. Its Spanish. Motherscousin.

102 INTERCUT -- INT. TOULOURS BEDROOM -- DAWN 102

Toulour crawls out of bad. Wonders who the woman next to himis.

103 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAY 103

DANNYHe may be the greatest thief inEurope. He may have slept withhalf of the EU. He may be a

Casanova with the soul of astarving artist. It doesnt matter.

104 INTERCUT -- INT. TOULOURS HALLWAY -- DAWN 104

Toulour comes downstairs in his bathrobe.

105 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAWN 105

DANNYTheres something he cares about.

Theres something he cant livewithout.

106 INTERCUT -- INT. TOULOURS HOUSE -- DAWN 106

Toulour reaches the base of the stairs and stops dead in histracks. He looks ahead of him to a wall covered withpaintings. One painting is clearly missing.

(CONTINUED)



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106 CONTINUED: 106

All that remains are the dust/fade marks on the wall toindicate that it had been there.

He walks up to the wall and smiles -- certainly this will bean interesting day. Hes actually been cheered up by this.

107 EXT. TOULOURS VILLA -- DAY 107

Toulour in playing a hard-fought game of tennis. Hisopponent (EDMUND) bangs a great shot. Toulour gets there andsmacks it back. Edmund dives for the ball, just gets it backover the net. But Toulour is waiting and hits a kill shot.

EDMUNDSAre you on steroids?

Toulour laughs.

EDMUNDLets try again. Give me five gamesthis time.

TOULOURYou are worse than Sampras. Youshould be paying me.

A BUTLER arrives.

BUTLER(in French)

Pardon me, sir.

He hands Toulour two business cards. One says DanielOcean, the other Rusty Ryan.

BUTLER(in French)

Two gentlemen. They say they metyou in Amsterdam last week.

TOULOUR(in French)

Put them on the veranda and getthem a drink. Ill be right up.

108 EXT. VERANDA -- DAY 108

Danny and Rusty look out over Lake Como. Toulour arrives.

TOULOUR(to Danny)

Rusty.(MORE)

(CONTINUED)



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108 CONTINUED: 108TOULOUR (contd)

(to Rusty)Danny.

DANNYOther way around.

TOULOURAre you sure? Usually Im so goodat that.

Edmund arrives, carrying his tennis bag.

TOULOURThis is Edmund. Edmund. Rusty.Danny.

He calls by their wrong names again.

DANNYNice to meet you. Edmund.

(making conversation)You a tennis pro?

Rusty takes a sip of ice tea.

EDMUNDActually, no, Im the King ofMorocco.

Danny and Rusty nod, their smiles frozen.

109 INT. VILLA -- DAY 109

Toulour shows Danny and Rusty his art.

TOULOURSadly, I cant show you my favoritepainting of all -- a Degas thatused to hang right there -- becauseit was stolen recently.

DANNYThats awful.

RUSTYThe criminal element is everywherethese days.

Toulour nods.

DANNYListen, Francois--

(CONTINUED)



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110 CONTINUED: 110

TURKAbsolutely.

DANNYAll right, lets stay calm.

We dont need to over-react here.He said some disrespectful things,thats true. But why antagonizethis guy? Why get into something

with him? Hes young and hesfilthy rich, and hes got time onhis hands. We dont want to becomehis Betty noir. We can just fencehis painting and earn a lot morethan we would have from thecertificate.

BASHERIts about reputation. You said soyourself. We have to get thatcertificate to Evelyns buyer or--

DANNYWell make enough selling the Degasto pay off her buyer--

FRANKThen why did you make that tripdown there in the first place, ifyou didnt want to get into

something?

DANNYSaul?

SAULTurn his name over to Isabel. Inexchange for getting off our backs.

Tough one to swallow.

SAULShort of that...the only

appropriate response is to stealhis next job right out from underhim. Just like he did to us.

TURKWe dont even know our next job.

DANNYWe got ten million in that closet.

(CONTINUED)



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Danny points at the closet in the room.

DANNYI cash in the Degas, take a momentto think about our next move.

Toulour isnt going anywhere. Youguys are hyping him too much,youre letting him get inside yourhead.

Everyone agrees.

Danny opens the closet.

Theres a picture frame in there, but NO PICTURE. Its beenstolen 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 heavilysecured truck.

112 EXT. PARIS BUILDING -- DAY 112

The truck exits the building and drives down a street withsecurity 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 malesecretary Hess exit a plane nearby.

114 INT. CAR -- DAY 114

Isabel and Hess heading into Paris.

ISABELWhy do I need to see all theseguys? When I tracked the Munchdown in Sweden I got all theapprovals I needed with one phonecall.

(MORE)

(CONTINUED)



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114 CONTINUED: 114ISABEL (contd)

With Lenins shaving kit theRussians brought me in and it tooka single signature and I got it atthe airport a minute after Iarrived. Whats so goddamnedspecial about the French?

Hess gives her a look as though she should know better.

HESSWithout their signatures, you cantdo anything. You cant pull thesuspects over, you cant dosurveillance on them, youre noteven allowed to contact them.Theyre real sticklers aboutsovereignty issues here.

115 INT. PARIS BUREAUCRATS OFFICE -- DAY 115

The Bureaucrat looks at Isabel. All of her.

INSPECTORIsabel, I couldnt possibly signthose documents in good conscience

without talking to you about thecase in detail. I realize youre ina hurry and my schedule for therest of the day is quite full, soperhaps, if youre interested in

being expedient, we could discussthe case...over dinner.

116 INT. SEDAN -- DAY 116

Isabel sits in the back with Hess.

HESSFoucquets at eight-thirty.

Apparently theirs a private room.Better bring your kevlar.

(to the driver)Dont stop for that.

117 EXT. PARIS STREET--DAY 117

The driver accelerates through a yellow/red light, almosthitting DANNY AND TOULOUR

Who deftly avoid getting crushed.

(CONTINUED)



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117 CONTINUED: 117

DANNYThats not how I want to go.

TOULOURNo.

They walk on.

TOULOURVery theatrical of you...asking to

meet here. Like were spiesmeeting to do an exchange.

DANNYWhy are you doing this to us?

TOULOURDoing what?

DANNYThis is a game for you. For us itssurvival. Are you that bored? I

mean...

TOULOURNo. I wouldnt do that. No... Thetruth is...I made a bet. Or maybe abetter word is a wager.

DANNY

What kind of wager?

118 EXT. PARIS CAPE -- DAY 118

Danny and Toulour sit across from each other. The bottomquarter of the Eifel tower is visible in the background.

TOULOURA gentlemens wager with a friendof mine -- my mentor. A few monthsago we were at his winter place inNicaragua and another guest

referred to me as the greatestthief in the world. I didntobject, obviously, but my mentorfell silent. Later I asked himabout it. He said if I really

wanted to say I was the bestthief...Id have to prove I wasbetter than the eleven of you.

(beat)(MORE)

(CONTINUED)



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118 CONTINUED: 118TOULOUR (contd)

You know, the Benedict job madewaves, even all the way over here.16.3 million dollars. Thats a lotof money.

DANNY

163.

TOULOURSorry. 163. Before you were found.

119 INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY 119

TOULOURYes, 163 million is a lot of money.It attracts attention. So, in a

way, you brought this problem withme on yourselves. Youre victimsof your own success.

DANNYHeres what Im going to do. Youtell me the name of your mentor.Ill call him up and Ill tell himthat youre 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?

TOULOURHe said youd probably saysomething like that -- but he saidyoud probably have your fingerscrossed when you said it.

Danny frowns, pulls his hand out of his pocket.

TOULOUR (CONTD)So in this situation -- for thepurposes of my wager -- wordsarent good enough. I have toprove this on the ground.

DANNYThis mentor of yours...was he agood thief in his day?

TOULOURWho, LeMarc?

(CONTINUED)



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119 CONTINUED: 119

Danny swallows.

DANNYYeah. Him.

120 INT. PARIS HOTEL ROOM -- DAY 120

Angle on the group -- theyre slack-jawed.

LIVINGSTONWho?

Yen says something.

RUSTYI thought so too.

SAULLeMarc. The LeMarc.

Danny nods.

SAULGod hates me. He hates all of us.

FRANKHell, this could go on forever.

DANNY

No. Its going to be settled by onemore job. A single object.

SAULWhatever it is, lets just let himhave it.

DANNYWe cant.

LIVINGSTONBecause of pride?

DANNYBecause we beat him, hell payBenedict off.

A stunned beat.

FRANK(new lease on life)

Now were talking.

(CONTINUED)



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120 CONTINUED: 120

BASHEROne score, for the whole thing?

LIVINGSTONWhat do we have to do? I mean, is

it a fair bet or is it like...theCoronation Egg or something?

Danny points. Thats it. Thats the one.

SAULHe wants us to steal the CoronationEgg!

BASHERThats just... thats...what isthat?

SAULThe Holy Grail.

RUSTYCarl Faberge, the greatestgoldsmith in history, constructedthe Coronation Egg in 1896 for the

wedding of Czar Nicholas andAlexandra. Every world class thiefin the last 108 years has tried tosteal it. No one has even comeclose.

SAULThats because its cursed.

LINUSWhat?

SAULIts un-stealable.

DANNYIts the only thing in LeMarcsentire career that he went after

but failed to get. He tried threetimes.

A long beat of silence....

DANNYWe get the egg and were free.

(CONTINUED)



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BASHERThats great, except we cant getit.

SAULIts not possible.

DANNYThen we go to jail.

A beat...

VIRGILWell...where is it now?

121 EXT. ROME, ITALY PRIVATE AIRPORT -- DAY 121

The SMALL, SECURE BOX is being taken off a plane. Anothermotorcade forms and escorts the vehicle into the city.

122 EXT. STREETS OF ROME -- DAY 122

The motorcade is completely stopped in traffic.

In a nearby sedan, Isabel sits next to an Italian CARABINIERILIAISON of same sort. Hess is in the front seat.

ISABEL

Im going to need surveillance onboth hotels, phone taps, room bugs,people in the lobby and by everyexit.

CARABINIERI OFFICERYes, absolutely.

ISABELIf I had to guess Id say Ill needat least 25 people, a dozenvehicles...and an on-call air unit.

CARABINIERI OFFICERYes, absolutely.

ISABELOkay, one more thing, and this iscrucial: these guys are extremely,sophisticated at avoidingelectronic surveillance, so wellneed real state of the art stuff.

(MORE)(CONTINUED)



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122 CONTINUED: 122

ISAB

Oceans 12 Rough Draft 1

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