The Ninth Gate Page #9

The shadows are lengthening. FARGAS reverently turns the pages of

each book In turn, caresses the yellowing paper with his

fingertips.

FARGAS (cont.):
Look at this imperfection In the fourth line here

- the damaged S. The same type, the same impression.

He turns both copies of 'The Nine Gates' over to reveal their

backboards.

FARGAS (cont.):
You see? If it weren't for this slight

discoloration on the back of my copy, one couldn't tell them

apart.

CORSO:
If it's all right with you, I'd like to stay awhile and

study them in detail.

FARGAS (eyes him keenly): What are you looking for, Mr. Corso?

CORSO:
I wish I knew.

FARGAS looks suddenly grave.

FARGAS:
Some books are dangerous. Not to be opened with impunity.

CORSO (with equal gravity): Very true.

41. QUINTA FARGAS: DRAWING ROOM INT/DUSK

A fire is burning on the hearth. FARGAS, seated at a window, is

practicing the violin. He repeats the same short piece over and

over again, occasionally pausing to take a sip of brandy.

CORSO Is sitting at a table with both copies of 'The Nine Gates'

open in front of him at the engraving of THE KNIGHT WITH A FINGER

TO HIS LIPS. CORSO compares the two copies with the aid of his

magnifying glass. They look identical.

CORSO turns over several pages in each book until he comes to THE

HERMIT WITH THE KEYS, DOG, AND LANTERN. He compares the two

copies. Again, no apparent difference.

He proceeds to a third engraving: A WAYFARER APPROACHING A BRIDGE

WITH TWO GATE TOWERS AND AN ANGELIC ARCHER IN THE CLOUDS

OVERHEAD. Another seemingly identical pair. Then he stops short

and returns to the second engraving. it looks the same, but...

Then he spots it: in Balkan's copy the keys are In the Hermit's

right hand, in Fargas's copy In his left!

Fascinated by this discovery, CORSO peers closely at each

signature In turn. Balkan's reads 'A.T.', Fargas's... 'L.F.'

CORSO turns to an engraving of A JESTER OUTSIDE A MAZE WITH TWO

ENTRANCES. Comparison of the two copies reveals that in Fargas's

copy one of the doorways is open; in Balkan's it's bricked up.

The signatures, too, vary: 'A.T.' in one, 'L.F.' in the other.

CORSO (excitedly, under his breath): Now we're getting somewhere

...

An old-fashioned telephone bell starts ringing in the bowels of

the house. CORSO looks up.

FARGAS doesn't hear the bell immediately. He plays on for a bar

or two, then pauses and listens with his head cocked. The

telephone continues to ring. His chair scrapes the floorboards as

he gets to his feet. He puts the violin down and limps out.

42. QUINTA FARGAS: DRAWING ROOM INT/NIGHT

CORSO's open notebook now displays a chart consisting of two

horizontal rows of nine boxes. One row is marked 'BALKAN', the

other 'FARGAS'.

CORSO is busy filling In the boxes with either 'A.T.' or 'L.F.'

FARGAS reappears. He gives CORSO a friendly nod, returns to the

window and launches Into the same old piece on his violin.

CORSO has now filled in all the boxes. He studies them for a

moment, then rings all the 'L.F.'s in red.

43. QUINTA FARGAS: GATEWAY, ROAD EXT/NIGHT

Under an owl's vigilant gaze, CORSO shuts the gate. His breath Is

visible as steam In the chilly night air. After a last backward

look at the statue-bordered driveway and the neglected garden, he

turns up his overcoat collar, settles his bag on his shoulder,

and sets off down the road toward the lights of Sintra, which are

visible in the distance. His footsteps re-echo from the wall that

bounds the Fargas property.

Then it happens:
he hasn't gone far when two headlights snap on

behind him. Simultaneously, the car starts up and takes off with

a squeal of tires.

CORSO spins around. He stands there transfixed for a moment, then

dodges behind a projecting buttress as the car hurtles past,

missing him by a whisker.

The car, a big dark sedan, skids to a halt some twenty yards

away. The driver' s door opens and A TALL MAN gets out. He

momentarily hesitates when he sees CORSO still on his feet.

Just then we hear a motor vehicle - a noisy one - rounding the

next bend. The TALL MAN is captured by a beam of light. CORSO has

seen him before:
it's the MUSTACHE.

The MUSTACHE decides to beat it. He dives back Into the car and

takes off fast.

CORSO, trembling with shock, watches the tail lights recede and

disappear. The sound of the approaching vehicle increases in

volume. CORSO turns to stare at it.

Wobbling unsteadily along the road comes a lone PEASANT astride a

ramshackle motorbike with a blown exhaust. The PEASANT honks as

he goes by. CORSO retrieves his bag from the roadside.

44. SINTRA HOTEL EXT/NIGHT

CORSO enters a small hotel.

45. SINTRA HOTEL: RECEPTION, LOUNGE INT/NIGHT

CORSO, still looking pretty rocky, collects his key from the

reception desk and sets off In the direction of the elevator.

Visible in the background Is the hotel lounge. TWO ELDERLY FEMALE

TOURISTS, possibly retired English schoolmarms, are quietly

conversing at one table while AN OVERWEIGHT GERMAN COUPLE sip

cocktails at another.

CORSO, idly scanning the lounge as he makes for the elevator,

stops short:
a pair of legs In jeans and white sneakers are

jutting from an inglenook fireplace in the far corner. He goes

over to investigate.

THE GIRL Is snuggled up In an armchair with a book on her lap. He

hesitates for a moment. She looks up.

CORSO:
Hi. You didn't say you were bound for Sintra.

THE GIRL:
Neither did you.

CORSO:
What are you doing here?

THE GIRL Reading.

CORSO:
I can see that.

THE GIRL:
And bumping into people unexpectedly.

CORSO:
Unexpectedly is right.

THE GIRL:
Are you on a business trip? (indicates his shoulder

bag) Is that why you always carry that thing around?

CORSO doesn't answer, adjusts his glasses. inquiringly at her

book.

THE GIRL hands it to him. We see the title: 'The Devil in Love'

by Jacques Cazotte.

CORSO:
You like Gothic novels?

THE GIRL:
I like books. I never travel without one.

CORSO:
Been traveling long?

THE GIRL:
Ages.

CORSO eyes her, intrigued. She uttered the word in the simple,

natural way that characterizes all her behavior.

CORSO:
You said you were a student?

THE GIRL:
Did I? (shrugs) So I am. In a way.

CORSO shakes his head and smiles. He's getting nowhere fast.

THE HOTEL PORTER appears at his elbow.

HOTEL PORTER:
Excuse me, senhor. Phone call.

CORSO (surprised): For me? Are you sure?

HOTEL PORTER:
Sim, senhor.

He withdraws. CORSO turns back to THE GIRL.

CORSO:
Well, sorry I disturbed you.

He hands back the book and turns to go.

46. SINTRA HOTEL: PHONE BOOTH INT/NIGHT

CORSO picks up the receiver with a puzzled frown. He gestures

CORSO:
Yes?

BALKAN (V.O.):
Mr. Corso?

CORSO (startled): Balkan? How did you find me?

BALKAN (V.O.):
Made any progress?

CORSO:
Progress? You could call it that.

BALKAN (V.O.):
Well?

CORSO:
I've examined the Fargas copy. it's authentic. At least it

looks that way. Like yours. But there are discrepancies.

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