Entrapment Page #13

INT. SAFEHOUSE - DAY

Mac works a monitoring device.

EXT. VILLAGE - DAY

Gin dials a number. High up in the box we notice a tiny

microphone.

VOICE:

Webber Insurance.

INT. MAC'S ROOM - DAY

We see him listening to the phone call.

GIN:

Hector Cruz.

INT. MAC'S ROOM - DAY

And we see his face, as he listens.

VOICE:

Connecting.

INT. WEBBER INSURANCE/EXT. VILLAGE - DAY - INTERCUT

Cruz comes on the line. There's an edge to his voice.

CRUZ:

I believe we agreed on a simple feedback

loop. You call me? Check in?

GIN:

This was my first chance. I can't exactly

use my cell phone.

CRUZ:

Field men who don't check in--they end up

pushing papers or pushing daisies.

GIN:

I got the message the first time.

CRUZ:

Make it up to me. Give me some news I can

use.

GIN:

He's got the Rembrandt.

CRUZ:

Bingo. We nail him right now.

GIN:

For what? Possession? He's onto something

big. After the Mask.

CRUZ:

He's a thief. He's always onto something

big.

GIN:

We parlay the Mask into some big job, roll

up MacDougal, his fences, everything....

CRUZ:

In Vegas they call that the slow

surrender of resolve to desperate hope.

You win a dollar, you lose five trying to

win another one.

GIN:

Do you want to sound smart on the office

tape or do you want to nail the bastard?

CRUZ:

(tough now)

Do I want to nail him? Every night I

dream of catching him and every morning I

wake up pissed off I haven't.

(and softer)

So listen to me. You've done a great job.

I never thought you'd get him, but you

did. I'll give you the raise we had to

put off.

GIN:

You're pulling me in?

CRUZ:

Just tell me where you are. I'll take

care of the rest.

GIN:

I'll send you a postcard.

She hangs up the phone. Cruz is not a man to trifle with, and

he hasn't finished.

CRUZ:

Gin? Gin?

He slowly sets down the phone, lost in thought. CUT TO: Mac,

another man not to be trifled with. He hangs up his own

phone, his face scary and dead as the line.

EXT. COUNTRYSIDE - DAY

On her bicycle, Gin passes a lonely country cottage. Suddenly

she stops and stares at the cottage. Inside, on the ledge of

the kitchen window, she sees a vase of beautiful roses. Ah

ha.

INT. SAFEHOUSE - DAY - MINUTES LATER

The shadows are lengthening as Gin enters the Safehouse.

There's an empty feeling.

GIN:

Mac?

She looks for him through the house, comes to a door that we

have never seen opened. It's half ajar. She opens it farther.

A cold breeze makes her shiver.

INT. SAFEHOUSE - STAIRWAY - DUSK

She climbs up a narrow curving stone staircase. It's shadowy,

scary. This romantic castle has suddenly become Gothic and

spooky.

EXT. SAFEHOUSE - BATTLEMENT - DUSK

She emerges on a battlement high above the loch.

GIN:

Mac?

There's no one there. The wind blows a chill into her bones.

Suddenly a hand grasps her shoulder! She starts in fear.

MAC:

Cold up here, isn't it?

We see his face, that matter of her phone call.

GIN:

Is anything wrong?

MAC:

Not a thing.

Mac opens a box. Inside is an ice bucket with a bottle of

champagne. His back to her, he pours them each a glass.

MAC:

(continuing)

To the Mask. To our...partnership.

He turns to face her, hands her a glass, looking at her like

a butterfly he is about to pin.

MAC:

(continuing)

Anything on your mind? Anything you need

to tell me?

He seems to know everything. Really spooked now, she shakes

her head.

MAC:

(continuing)

Come over her.

He leads her over to the battlements. Almost forces her to

look over the edge. It's a long way down.

MAC:

(continuing)

What would it be like to jump off? Would

you burst like a melon on the rocks, or

would you just fly away?

Her hand shakes as she drinks from the glass.

MAC:

(continuing)

Don't tell me you're scared--

She nods.

MAC:

(continuing)

Then how'd you do that Rembrandt?

GIN:

I had a lifeline.

MAC:

None now, though.

She shakes her head, shivers again.

GIN:

I'm cold.

His face is dark.

MAC:

(continuing)

I never come up here without dropping

something off.

She's right by the edge. He's behind her. Big, strong,

menacing. He takes her champagne glass. She wonders: does he

mean her?

He leans her over the battlement. There's a long beat. He

tosses first one glass, then the other, over the side. We

watch them break on the rocks below.

MAC:

(continuing)

Supposed to be good luck.

And he gives her his best smile.

INT. GIN'S ROOM - NIGHT

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