Topkapi Page #5

Synopsis: A small-time con-man with passport problems gets mixed up with a gang of world-class jewelry thieves plotting to rob the Topkapi museum in Istanbul. Turkish intelligence, suspecting arms smuggling, gets involved, and under pressure the con-man rises to heights he'd never dreamed of.
Director(s): Jules Dassin
Production: United Artists
  Won 1 Oscar. Another 3 wins & 4 nominations.
 
IMDB:
7.1
Rotten Tomatoes:
90%
UNRATED
Year:
1964
120 min
357 Views


This is your chance.

You can do it.

It won't be so difficult.

You won't be on the edge of the roof.

- Yes, but can I do it?

- You can.

All right. I'll do it.

- But what about Turkish Security?

- What about Turkish Security?

They don't know about the museum.

They think you're terrorists.

Who thinks so?

Who? Who?

It's your own fault.

Why'd you get me to do your dirty work?

Why'd you get me

to bring the arms into the country?

They found the arms at the border,

and they let you in the country?

Then you must be working for them.

The time has come for us

to leave this beautiful country.

Cedric, who is going to let you out?

Who, indeed?

They lett the arms in the car, didn't they?

Yes.

And when do they think we'll move?

Not till Tuesday.

But they're gonna

pick you up on Saturday.

Saturday.

That gives us a little time, doesn't it?

Time for what? We can't go forwards,

we can't go back. We're trapped.

- We're finished.

- Who says we are finished?

- Just a minute.

- Quiet, Hans.

When Walter fights in a corner,

that's when he fights at his best.

One thing is sure -

the gun, the grenades -

they stay in the car.

We cannot touch them, ever.

How can you shoot

at the searchlight without a rifle?

How can you get away from

the guards without the grenades?

The searchlight and the guards.

The searchlight and the guards.

The searchlight and the guards.

There must be a solution.

Searchlight.

I wonder.

Cedric.

Cedric.

The guards.

Elizabeth.

Elizabeth, laugh.

- What's so funny?

- Laugh!

I have news for you.

Maybe it's even better.

God bless the Turkish Security. Cedric.

- You want to see me laugh?

- No.

I want you to take Elizabeth fishing.

- What are you doing?

- I'm being a lighthouse.

- Did you get in?

- We did.

Good. Tell me.

It was too easy.

The poor man was so lonely.

And we did get that invitation

to go back tonight.

- Good!

- To do what? Hmm? Guess.

Something no Turk can resist.

- Must I guess?

- Wrong. Tavli.

I have been invited to play tavli!

Giulio, come here.

Put your hand on the table.

Now, spread your fingers.

Turn my hand.

This is the way the beam revolves.

Two great wheels, their cogs

interlocked, turning each other so.

Now, try again.

You see, when I do this, it's slower.

- How much can you reduce the speed?

- Almost by half.

The beam comes around every 21

seconds. You can slow it down to 40.

You gain about 18 or 19 seconds,

Giulio. Is that enough?

Good work, Cedric.

I never liked that gun.

It upset the artist in me.

Picasso!

- Did you talk to Josef?

- He's ready, willing, and very amused.

Now, there is just one more little change.

We go tonight.

I'm getting dizzy.

Now, litt it up.

- What is it?

- Don't worry.

Not even Hans could do it.

It's like litting 200 pounds with one hand.

Oh.

Oh!

That dropped on the museum floor

and we are cooked.

- Cooked?

- Nothing to worry about.

You just concentrate on the $10,000.

- Again?

- I'm nervous.

To the attention of Major Ali Tufan.

I, Arthur Simpson,

herewith regretfully resign

from the Turkish Security services.

Now, be sure not to lose them.

Do you want them

to follow us to the museum?

Are they coming up

on the roof with us?

We are not going to the museum yet.

First we're going to the wrestling stadium.

- Wrestling, at this time of day?

- It's a big annual event.

There's a carnival, too.

It goes on all day until 8.30pm.

By which time, Arthur,

you'll be tired, happy, and rich!

Rich!

Psst!

It will all be this easy, Arthur.

Psst.

Search every corner of the villa.

Look everywhere

for a cigarette package.

How much longer are we staying here?

Until...

now.

Ah! Aaah!

You are all right, Arthur.

You are doing fine.

57, 58, 59, 60.

Now the alarm system is set

in every room of the museum.

There isn't a floor that can be touched.

- What do we do next?

- Nothing. Sit.

- Sit?

- Sit. Until dark.

Sit. What then?

Then we'll make our way to the Treasury.

- Where's that?

- Over there.

Huh?

In... in the dark?

It's impossible.

We have to make it in the dark.

There are guards.

Not with me. I'll fall, you see.

I get too dizzy.

Fool, it's easier in the dark.

I don't think you understand.

You won't get me across there in the dark.

- You will!

- You can kill me...

Shh!

You can kill me, I don't care.

I'm not going across in the dark.

No!

All right.

We'll go now.

This way. Move!

Come on!

Are you all right, Arthur?

Never... never better.

All right, Arthur. From now on,

it's all easy. Come!

There is the Treasury. The roof is

not very strong here, so one at a time.

First me, then you, then Giulio.

- It's down here.

- Will you be going through that window?

No. That would be too easy.

We can't reach the dagger through here.

Hm?

- That fair anything to do with us?

- A little bit, Arthur.

All right?

They leave in an hour.

It's going like clockwork.

That means the fair is ready to leave,

and Elizabeth and Cedric

are on their way to the lighthouse.

It will be dark soon.

All right, gentlemen,

it's time to undress.

- Good evening.

- Good evening.

- Are you ready?

- Ready.

Good!

- What's that?

- The guard house.

Oh, those smoke grenades -

they were intended to deal with that?

They were.

They'll see Giulio going down.

Elizabeth and Cedric

are taking care that they don't.

Lt'll be seconds until

Cedric gets to the light.

Put your weight against the wall.

Stop.

Brace yourself.

Go!

Argh!

Don't let my hand go! Shh, shh, shh.

Hold it. I've got it.

Pull!

Up!

Hold it!

- Hey!

- Oh!

You're not gonna leave me here,

are you? I don't fancy that hole.

No, Arthur, I wouldn't go

anywhere without you. Come on.

If I get this out,

it'll give you some support.

- Can we go soon?

- In about ten minutes.

But let's take Giulio with us...

and the dagger.

You are not going to lose your nerve?

It's not a question of losing my nerve.

I never had none.

Giulio's on the sill now.

I'll help you lower him down.

Can't he do anything by himself?

Let's go to work.

Stop!

Pull up.

You have to hold it by yourself now, OK?

Yes.

I'm going to let go now,

Arthur. Ready?

Ready.

Pull up!

He's got it, Arthur.

He's got it!

This is the last bit, Arthur.

Lower slowly.

Slowly!

I'll tell you when to stop.

Stop.

It's done.

The time has come

to ask you to sit here on the edge.

Where else?

Put your hands around this bit of hose,

think of $10,000, and hold on.

- Then you push me off the edge?

- I wouldn't do that.

- Major Tufan?

- Yes?

My name, sir, is Walter Harper.

This is Miss Lipp, Mr Page,

Mr Vecchi, Mr Fischer...

and this is Mr Simpson,

who's been driving us in a car

rented by Mr Plimpton in Greece.

And borrowed by us

while waiting for him.

Yes, dear.

What can I do for you,

gentlemen? Madam?

Something quite extraordinary

has happened,

I felt I should report

to someone in authority.

- What do you wish to report to me?

Rate this script:0.0 / 0 votes

Monja Danischewsky

Monja Danischewsky (28 April 1911—16 October 1994) was a producer, writer, and a worker who produced and wrote the famous film Topkapi and The Thomas Crown Affair with other people. more…

All Monja Danischewsky scripts | Monja Danischewsky Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Topkapi" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/topkapi_22102>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which film won the Academy Award for Best Picture in 2015?
    A Birdman
    B The Grand Budapest Hotel
    C The Imitation Game
    D Whiplash