The Ninth Gate Page #3

Reposing on the lectern is a black book adorned with a gold

pentagram. CORSO opens it at the title page, which displays the

title in Latin and a pictorial engraving.

CORSO (not looking at BALKAN) 'The Nine Gates of the Kingdom of

Shadows...

BALKAN:
You're familiar with it?

CORSO:
Sure. Venice, 1623. The author and printer was Aristide

Torchia, burned by the Holy Inquisition, together with all his

works. Only three copies survived.

BALKAN One.

CORSO:
The catalogs list three copies surviving in private

ownership:
the Fargas, the Kessler, and the Telfer.

BALKAN:
True. You've done your homework, but you're wrong

nonetheless. According to all the sources I myself have

consulted, only one is authentic. The author confessed under

torture that he'd hidden one copy. Only one.

CORSO:
Well, three are known.

BALKAN:
That's the trouble.

CORSO resumes his inspection of the book.

CORSO:
Where did you get it?

BALKAN:
I bought it from Telfer.

CORSO (surprised): Telfer?

BALKAN (looking out the window): Yes, he finally sold it to me.

The day before he killed himself.

CORSO:
Good timing.

BALKAN ignores this. CORSO turns the pages with care. He lingers

over AN ENGRAVING OF A KNIGHT IN ARMOR RIDING TOWARD A CASTLE

WITH A FINGER TO HIS LIPS as though enjoining the reader to

silence. Below it is a caption. BALKAN draws closer and reads

over CORSO's shoulder:

BALKAN:
Nemo pervenit qui non legitime certaverit.

CORSO:
You only succeed if you fight by the rules?

BALKAN:
More or less. Ever heard of the 'Delomelanicon'?

CORSO:
Heard of it, yes. A myth, isn't it? Some horrific book

reputed to have been written by Satan himself.

BALKAN:
No myth. That book existed. Torchia actually acquired it.

He returns to the window overlooking the sheer drop. Gazing down,

he goes on:

BALKAN (cont.):
The engravings you're now admiring were adapted

by Torchia from the 'Delomelanicon'. They're a form of satanic

riddle. Correctly interpreted with the aid of the original text

and sufficient inside information, they're reputed to conjure up

the Prince of Darkness in person.

CORSO:
You don't say.

He continues to turn the pages.

BALKAN:
Are you a religious man, Corso? I mean, do you believe in

the supernatural?

CORSO:
I believe in my percentage. I also believe that books grow

old and decay like the rest of us... Don't you get dizzy,

standing there?

BALKAN continues to stare down at the nocturnal cityscape. CORSO

changes tack.

CORSO (cont.):
What the hell do you want from me, Balkan?

BALKAN leaves the window and confronts him.

BALKAN:
I want you to go to Europe and play the detective. The

other two copies are in Portugal and France. You must find some

way of comparing them with mine: every page, every engraving, the

binding - everything. I'm convinced that only one can be

authentic, and I want to know which one it is.

CORSO:
Could be an expensive trip.

BALKAN takes a folded check from his pocket and hands it to

CORSO, who slips it into his breast pocket unexamined.

BALKAN:
That's to get you started. Spend what you need.

CORSO:
What if I find your copy's a forgery?

BALKAN stares at him coldly for a moment.

BALKAN:
It's quite on the cards.

CORSO seems mildly surprised. He looks at the book again,

'listens' to the quality of the paper by putting his ear to the

pages and riffling them with his thumb.

CORSO:
Really? It doesn't appear to be. Even the paper sounds

kosher.

BALKAN:
Even so. There may be something wrong with it.

CORSO continues to examine the book. He smiles ironically.

CORSO:
You mean the Devil won't show up?

He shuts the book and replaces it on the lectern.

BALKAN:
Don't be flippant. (quotes) 'There are more things in

heaven and earth than are dreamt of in your philosophy.'

CORSO:
Hamlet believed in ghosts, not demons.

BALKAN:
If all three copies turn out to be bogus or incomplete,

your work will be done. If one of them proves to be genuine, on

the other hand, I'll finance you further.

CORSO stares at him, then unfolds the check and glances at the

amount - a substantial sum, from the way he raises his eyebrows.

BALKAN (cont.):
1 shall want you to get it for me at all costs,

never mind how.

CORSO:
Never mind how sounds illegal.

BALKAN:
It wouldn't be the first time you've done something

illegal.

CORSO:
Not that illegal.

BALKAN:
Hence the size of the check. Do a good job, and I'll

double it.

He picks up 'The Nine Gates' and holds it out. After a moment's

hesitation, CORSO replaces the check in his pocket and takes the

book.

BALKAN (cont.):
Be careful, Corso.

CORSO:
What do you mean? (indicates the book) With this?

BALKAN:
Just be careful.

13. CORSO'S APARTMENT INT/NIGHT

A diminutive kitchenette. CORSO, one hand wrapped around a

Scotch, uses the other to remove a TV dinner from the freezer

compartment of his refrigerator and insert it in a microwave. He

shuts the door, sets the timer, and strolls out into the living

room.

A bleak bachelor pad: no pictures, ornaments or photographs, just

books on every available shelf and surface. Against one wall, a

desk with a computer on it. On the floor beside the desk, CORSO's

shabby canvas bag. On the desk itself, 'The Nine Gates'.

CORSO goes over to the desk. He stares down at the book for a

long moment, meditatively sipping his Scotch. Then, without

putting his glass down, he opens the book one-handed and idly

turns a few pages, pauses at THE ENGRAVING OF THE KNIGHT IN ARMOR

RIDING TOWARD THE CASTLE.

We slowly MOVE IN until the screen is filled with an INSERT of

the knight with his finger enigmatically raised to his lips.

14. TELFER HOUSE: SITTING ROOM, LIBRARY INT/DAY

CORSO, canvas bag on shoulder, is standing in the middle of a

luxuriously furnished sitting room. The decor, which includes a

smiling portrait of Andrew Telfer, is extremely opulent.

CORSO is looking up at the portrait when the door opens. He turns

to see LIANA TELFER on the threshold with a business card in her

hand. His appreciation of her looks is evident.

LIANA (whose photoportralt we saw in Scene 1) is a very sexy,

thirtyish blonde with milky skin and a figure whose generous

curves are far from concealed by her ultra chic black costume.

She gives CORSO the once-over, then enters, closing the door

behind her.

CORSO:
Mrs. Telfer? (gestures at the business card) Bob Corso.

Sorry to trouble you at a time like this.

LIANA comes over and sits down on a sofa, simultaneously

motioning CORSO into the armchair that faces it over a coffee

table. She puts his card down, crosses her lovely legs, and

waits.

CORSO sits down with his beg between his feet. Opening it, he

produces 'The Nine Gates'. LIANA involuntarily stiffens at sight

of it.

CORSO (cont.):
It would be very helpful, ma'am, if you could tell

me what you know about this book.

He holds it out. After a momentary pause, LIANA slowly reaches

for the book, opens it at random, turns a page or two. She speaks

with a slight French accent.

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