The Ninth Gate Page #15

The office is thick with smoke and illumined by a fiery glow.

CORSO pauses in the doorway, shielding his face from the heat

with one hand, and surveys the scene.

BARONESS KESSLER and her wheelchair have come to rest in the

midst of a bonfire of books and papers. CORSO can just make out

her copy of 'The Nine Gates' on top. The flames are already

engulfing it.

CORSO takes a last look, then dashes through the smoke to the

door and exits.

80. KESSLER BUILDING: CORRIDOR, LOBBY, LANDING INT/DAY

With smoke billowing after him, CORSO dashes along the corridor,

through the lobby, which is deserted, and out onto the landing.

81. KESSLER BUILDING: LANDING, STAIRS, HALLWAY INT/DAY

On the landing CORSO bumps into the SECRETARY, who has just

emerged from the elevator. She gives a little shriek and drops a

paper bag. Half a dozen oranges go bouncing ahead of CORSO as he

races down the stairs.

In the hallway he almost upends the CONCIERGE, who's wielding a

broom in her curlers. Leaping aside with a startled yell, she

speeds him on his way with some choice imprecations, then peers

up the stairwell: the upper stories are already wreathed in

smoke, and sundry TENANTS have debauched onto the landings. The

SECRETARY comes pelting down the stairs, screaming at the top of

her lungs.

82. SMALL PARIS SQUARE EXT/DAY

CORSO douses his head in the basin of a fountain, shakes off the

drips and massages his face. Then he leans against the basin and

looks around. He's all alone in the little square.

He takes out a crumpled cigarette and inserts it between his lips

with dripping fingers, gropes for his lighter, and vainly tries

to light it. Wearily, he removes the cigarette from his lips and

tosses it away. All at once, he spots a huge Great Dane watching

him from the mouth of an alleyway. CORSO and the Great Dane stare

at each other.

Then the silence is broken by a fire engine's siren, faint at

first but growing louder.

83. RIVERSIDE STREET CORNER EXT/DAY

CORSO reaches an intersection and looks around the corner.

The Kessler building is ablaze. Tongues of flame and clouds of

smoke are issuing from the windows of the upper stories. Fire

engines and squad cars are drawn up outside, FIREMEN are

directing their hoses onto the flames, GENDARMES cordoning off

the street and keeping curious SPECTATORS at bay.

84. PARIS STREET, HOTEL LOBBY EXT/INTIDAY

CORSO, looking wrung out, crosses the street and makes for the

hotel entrance.

He's just going through the revolving doors into the lobby when

THE GIRL appears on the inside. Hooking her arm through his, she

steers him around and back outside again in one continuous

movement. As she does so:

THE GIRL (mutters): Just keep going.

Still firmly gripping his arm, she Propels him out onto the

sidewalk.

CORSO (baffled):
What are you playing at?

THE GIRL:
See those men talking with your friend Gruber?

CORSO turns to look. inside the lobby, TWO MEN IN TRENCHCOATS are

standing at the reception desk in conversation with GRUBER.

THE GIRL (cont.): Police.

At that moment, GRUBER looks past them at CORSO. He briefly locks

eyes with him but shows no sign of recognition.

CORSO:
Sh*t.

He turns and walks off with THE GIRL at his side.

85. PHONE BOOTH EXT/INT/DAY

CORSO is in the act of entering a glass phone booth.

THE GIRL:
You look better without that old bag and coat of yours.

They didn't do anything for you.

CORSO shuts the door in her face. He picks up the receiver,

inserts a coin, punches out a number. THE GIRL pulls a funny face

at him through the glass. CORSO's only response is to turn away

and cup his hand around the receiver.

CORSO (into phone): Gruber? it's me, Corso. Can you talk?

GRUBER (V.0):
No, sir.

CORSO:
But you can listen?

GRUBER (V.O.):
Certainly, sir.

CORSO:
I'd like you to do something for me.

From outside we see. THE GIRL, arms folded, casually watching

him.

86. PARIS BRASSERIE INT/DAY

GRUBER enters a brasserie crowded with lunchtime CUSTOMERS. He's

looking distinctly Prussian in spite of the civilian overcoat

over his uniform. He spots CORSO at the far end of the bar with

THE GIRL beside him. She's sucking up some colorful beverage

through a straw. GRUBER acknowledges her presence with a formal

nod.

CORSO:
You don't have it?

GRUBER:
There was nothing in the place you described, sir. I'm

sorry.

CORSO:
Goddamit!

He turns to THE GIRL.

CORSO (cont.):
I suppose you didn't take it?

THE GIRL:
You still don't trust me, do you?

GRUBER clears his throat.

GRUBER:
I think I may have the answer, sir. Someone visited your

room earlier on, while my young colleague was on duty: your wife.

CORSO:
My wife? I.don't have any wife.

GRUBER:
That's what I told him .

CORSO:
Could he describe her?

GRUBER (nods):
Thirtyish, blond, dishy.

CORSO Liana...

GRUBER:
Which reminds me, sir: the lady and gentleman you

mentioned - they're staying at the Hotel Crillon, Suite 236-238.

CORSO:
Good for you, Gruber. Thanks a lot.

GRUBER:
Always glad to be of service, Mr. Corso.

CORSO:
I owe you one for those cops, too.

GRUBER:
Ah yes, sir. Interpol.

CORSO:
Interpol! What exactly did they want?

GRUBER:
They expressed an interest in your whereabouts.

CORSO:
And? What did you tell them?

GRUBER:
That you were out.

CORSO:
Anything else?

GRUBER:
They asked if I knew whether you had recently visited

Portugal.

CORSO:
And?

GRUBER:
I said that our guests do not make a habit of providing

us with their itineraries.

CORSO extracts a 500 franc bill from his billfold and slips it

into GRUBER's hand. GRUBER acknowledges this largesse with a

gracious inclination of the head.

CORSO:
For what it's worth, Gruber: I don't know what they think

I've done, but I'm innocent.

GRUBER (impassively): Naturally, Mr. Corso. All our guests are.

87. HOTEL CRILLON: FORECOURT EXT/DAY

We OPEN on the luxury hotel's facade, which bears the inscription

'HOTEL DE CRILLON', then PAN DOWN to the entrance and the

forecourt, which is accessible from the main road but separated

from it by a long, narrow island with a cab rank at one end.

A hive of activity: HOTEL GUESTS come and go, the DOORMAN, a

majestic figure in his gold-braided uniform, deferentially closes

the door of a departing Rolls, a BELLHOP backs a guest's car into

a gap in the already overcrowded forecourt.

A cab drives up to the entrance. The DOORMAN opens the door,

CORSO and THE GIRL get out. CORSO turns to pay the CABBY, the

DOORMAN twitches an eyebrow at THE GIRL's jeans and sneakers.

CORSO and THE GIRL enter.

88. HOTEL CRILLON: OUTER LOBBY, MAIN LOBBY INT/DAY

Visible beyond the outer lobby, which has elevators on one side

and stairs on the other., is the palatial main lobby, with its

floor and walls of honey-colored marble. That, too, is buzzing

with activity.

Rate this script:4.0 / 1 vote