The Tourist
MINUTES LATER
Frank pokes through the cupboards. Stocked with fine olives, tins of expensive smoked fish, viands, stewed fruit from orchards in France.
He opens the icebox. Inside is frozen meat and fish. He pulls out one package of frozen orange steaks – it is labelled “BARRACUDA, CAUGHT ANTIGUA, 8/07”.
FRANK He goes Barracuda fishing?
Cara has poured herself a glass of wine.
CARA He goes Marlin fishing. You catch the Barracudas by accident.
Frank looks at the steak…
INT. DINING AREA, PEARCE’S “SAFE HOUSE” – LATER
CLOSE ON THE FISH — now seasoned, grilled and surrounded by whipped sweet potatoes, beets and almonds.
Frank places a plate before Cara who sits with her wine at Pearce’s oak table. She looks appreciatively at her plate.
CARA And she left you for a cook?
Frank smiles and pours himself a glass of wine. Cara takes a bite.
CARA (CONT’D) Mmmmm! That’s decadent.
FRANK With these ingredients, it’s not hard.
Frank savors a bite of his meal.
FRANK (CONT’D) You know something? Food tastes better after you’ve been shot at.
Cara laughs. She clinks his glass.
CARA I’m glad I decided to come back for you, Frank Taylor.
They watch one another eat for several moments.
FRANK Can I ask you a question.
She sets down her fork. Leans back.
FRANK (CONT’D) What’s it like? Being a criminal?
CARA (scoffs) I’m not a criminal.
FRANK You carry a gun, you consort with people being chased by killers… I hate to break it to you, but–
CARA Okay, I’m a criminal.
She takes a big gulp of wine. Moves over to the sofa.
CARA (CONT’D) I didn’t mean for things to turn out like this. I always lived by a certain code. But then… I broke it.
She lapses into silence. Frank comes and sits beside her.
FRANK For Alexander Pearce?
She doesn’t answer. Which is an answer.
FRANK (CONT’D) What’s he like?
A beat.
CARA He’s the most interesting man I’ve ever known. When I first met him, I wasn’t expecting that. He took me by surprise.
She shifts deeper into the leather cushions as if reliving a memory of sensual pleasure.
CARA (CONT’D) If I’d been prepared, I might not have loved him. But I wasn’t. So I did.
She frowns into her empty wine glass. Frank slides a little closer.
FRANK (soft) I don’t regret it, you know.
CARA Regret what?
FRANK Kissing you.
He looks into her eyes. They are sitting very close on the sofa. The lights are low. The mood is romantic…
Frank puts an arm over her shoulders and leans in for a kiss–
Cara stands abruptly.
CARA What are you doing?
He looks up at her, questioningly.
FRANK I thought…
CARA You thought what? That I saw you on the train and my heart stopped? That all my life I’ve been waiting for a math teacher from the Midwest to sweep me off my feet?
Frank doesn’t respond.
CARA (CONT’D) I picked you because of your height. Do you understand?
He does. His humiliation complete, he rises with as much dignity as he can muster and carries the plates into the kitchen.
Cara looks after him… exasperated yet already sorry for being so blunt. She is about to say something when…
Her CELL PHONE RINGS. A special ring.
She answers right away.
EXT. PIAZZA SAN MARCO – EVENING
The ENGLISHMAN strolls the Piazza San Marco. FOLLOW HIM from behind as he speaks into his phone.
THE ENGLISHMAN Have you been reading the newspaper?
IN THE SAFE HOUSE
Cara narrows her focus. She walks away from Frank, stealing away into the bedroom. Her heart is beating.
CARA Yes… there was nothing there today. Is… is it you? Alexa–
THE ENGLISHMAN No names. Not on the phone.
INT. INTERPOL FIELD HQ, VENICE – EVENING
The WAVE PATTERNS of the man’s voice shimmer on a computer monitor. Goyal and Ackerman stand watching, hanging on every word.
THE ENGLISHMAN (V.O.) (from the speakers) It’s been a busier weekend than I expected.
ACKERMAN Place him. Place him!
A HORN-RIMMED AIDE zeroes in on a MAP screen.
The screen gives him a map of VENICE. Then zooms into a map of the SAN MARCO district…
INT. BEDROOM, “SAFE HOUSE” – CONTINUOUS
Cara holds one finger in her ear, listening intently.
THE ENGLISHMAN (V.O.) There’s a recipe in a Tuscan cookbook there I need. Would you look it up for me?
CARA Do we really need another “recipe?”
THE ENGLISHMAN I want to make sure our guests are surprised.
EXT. PIAZZA SAN MARCO – EVENING
The Englishman passes the Lagoon to his left, and enters an enormous courtyard, the Arco Foscari. He looks down at his watch…
THE ENGLISHMAN You’re a brave and loyal girl. I’m in awe of you.
INT. INTERPOL FIELD HQ, VENICE – EVENING
The computer map hones in on the PIAZZA SAN MARCO…
ACKERMAN Go! Go! Go!
Goyal is already out the door and Ackerman grabs his Kevlar vest and follows, racing down the steps…
INT. BEDROOM, “SAFE HOUSE” – CONTINUOUS
Cara folds her arms as she listens.
CARA That’s because you leave everything up to me.
She pouts, only partially joking.
CARA (CONT’D) I’m fine by the way, in case you were concerned about me.
THE ENGLISHMAN (playful) My only concern is for those who cross you, my love.
EXT. PIAZZA SAN MARCO – EVENING
At last The Englishman arrives before the lower colonnade of the DOGE’S PALACE, the seat of medieval Venetian civic government. It is a wonder of Gothic architecture with spires piercing the blue sky.
He gazes up at it for a moment.
THE ENGLISHMAN You may not believe it, but every step of this miserable game is taken in the hope of earning your trust and ever-lasting regard. I mean that.
The Englishman is at the Ponte del Suspiri– the “Bridge of Sighs.”
INT. BEDROOM, “SAFE HOUSE” – EVENING
Cara’s expression softens.
CARA You have a talent for saying the right thing. (to herself) You always did.
OUTSIDE THE BEDROOM DOOR
Frank listens to the end of Cara’s conversation, his forehead creased with concern.
EXT. PIAZZA SAN MARCO, CAFE – NIGHT
The Englishman closes his phone and disappears into the crowd.
INT. BEDROOM, “SAFE HOUSE” – NIGHT
Cara speaks urgently.
CARA Wait–
The line is dead.
EXT. PONTE DEL SUSPIRI – SECONDS LATER
A silent caravan of three black SUV’s – a strange sight in Venice – pull up in perimeter around the Bridge of Sighs and skids to a stop.
Ackerman and the others leap out, looking around. Then Ackerman sees it:
The Englishman’s CELL PHONE, sitting on the cobblestones.
They approach. Goyal kneels to pick it up with a plastic bag.
GOYAL We should check for prints. Maybe he forgot to wipe it down…
ACKERMAN I doubt it.
Ackerman looks around.
INT. BEDROOM, “SAFE HOUSE” – NIGHT
Holding her now unimportant phone in her hand, Cara draws herself up and walks into the
SITTING AREA
Frank lies asleep on the couch.
Cara walks to the kitchen and retrieves the Tuscan Cookbook. Thinking herself unobserved, she opens it.
A PAGE has been turned down. A recipe for LAMB.
Cara pulls out her red, felt-tipped pen. She finds a sentence in the recipe with a single pen dot beside it.
Tapping her pen under letters on the page, Cara works out the code, memorizes the contents of the message and closes the book.
ON FRANK
His eyes are open.
EXT. VENICE – MORNING
Establishing shots of the city as it comes to life in the winter time.
Boats are pushed out into the canals…
Trash is hosed from the cobblestone streets…
Tables and chairs are set out at sidewalk cafes, waiting for the tourists to come…
INT. SITTING ROOM, “SAFE HOUSE” – MORNING
With an unfamiliar gentleness, Cara approaches Frank sleeping on the sofa and touches his shoulder.
CARA Frank… I have to go.
He opens his eyes and looks at her.
CARA (CONT’D) Don’t go out. All you need is here. In four or five days everything will be resolved…
FRANK Resolved?
CARA It will all be over. I’ll give you the all clear and you can go back to your life. This will be a great adventure you can look back on.
FRANK When will I see you again?
CARA Never.
She looks at him evenly; one last glance between two people from two completely different worlds.
CARA (CONT’D) Good-bye, Frank.
She leaves.
INT. RUN DOWN PALAZZO, HALL – DAY
She has started down the stairs when Frank appears on the landing. He leans over the balustrade.
FRANK Is he worth it?
CARA Get back inside.
She has stopped mid-flight.
FRANK You’re going to risk everything for him. Would he do the same for you?
She is quite straightforward in her response.
CARA It doesn’t matter. I love him.
FRANK He doesn’t deserve it.
She shakes her head.
CARA None of this is your business anymore. Now get back inside Frank!
Just as she raises her voice a door opens below them in the hall, and an old man comes out. He looks up at Cara.
OLD MAN Signorina.
This is exactly what she did not want. But she controls her annoyance, nods in greeting and continues towards the front door.
CARA (to the neighbor) Mi dispiace, Signor.
The Old Neighbor nods as Cara walks out the door.
He admires Cara’s shapely form as she crosses the cobblestone streets and disappears into the alley.
He glances back up at Frank and whistles appreciatively. Frank turns and goes back inside.
INT. INTERPOL FIELD HQ, VENICE – DAY
Ackerman sits in an office chair, gently revolving. Jones, Goyal and Jean Luc are there as well.
ACKERMAN Why do women find these con men so appealing?
Jones is the only woman nearby…
JONES Don’t look at me. I married my personal trainer. (sotto Jean Luc) She’s twenty-six.
Jean Luc can’t tell if she’s serious.
ACKERMAN How did Pearce seduce that beautiful woman? Was it his charm? His looks?
GOYAL Looks change.
Ackerman sips from his ten thousandth cup of espresso.
ACKERMAN Maybe it’s because if he adores himself and spends every moment gratifying his desires, so then can she.
He looks around to see if the others like this theory.
ACKERMAN (CONT’D) She can become a child again. Who wouldn’t want that?
There is a bitterness in Ackerman’s tone that reveals he is personally hurt by this.
Goyal’s Blackberry makes a beep.
GOYAL She’s on the move. Time to go.
Ackerman pushes himself wearily to his feet.
ACKERMAN By all means. Let’s follow the children.
INT. KITCHEN, “SAFE HOUSE” – DAY
Paging through the cookbook, Frank locates the page. He smiles in recognition at the familiar CODE pattern of red dots. He pulls out a PEN…
INT. BATHROOM, “SAFE HOUSE” – DAY
Frank examines a sleek, tiny electric razor that resembles a lollipop. Turning it on, he applies it. Pleased, he keeps shaving.
Getting out of the shower, Frank enjoys the soft Frette towels.
INT. MASTER BEDROOM, “SAFE HOUSE” – DAY
In the closets are dozens of flawless, custom-tailored suits.
Flipping through the rack like a discerning shopper, Frank arrives at a suit that catches his fancy. Elegant and simple.
Frank struggles to close Alexander Pearce’s pants around his lightly padded mid-section… a little too tight.
Frank is irritated to discover he’s not quite as trim as Pearce.
ON THE BEDROOM FLOOR
Frank engages himself in a spontaneous program of CALISTHENICS. He struggles through a batch of push-ups, then sit ups.
Frank flosses his teeth. Then he backs up, taking in his outfit. The lines of the suit highlight his frame.
He likes what he sees.
INT. DEMIDOV’S HOTEL ROOM – DAY
Demidov is getting dressed. It’s an elaborate ritual: carefully pressed pants, ironed shirt, starched collar, etc.
His two BODYGUARDS stand nervously at attention, watching him.
DEMIDOV When I was a young man, times were very hard. When an opportunity presented itself, you took it.
He pats talcum powder on himself. The men remain stone- faced.
DEMIDOV (CONT’D) I was twelve years old when Gregor asked me if I was ready for a man’s job. He was the top chelovek in our housing block. So I said yes. He gave me a crowbar and told me to go bash in the skull of another boy who had stolen something from him.
He points at his platinum cufflinks on a bedside table and snaps his fingers. Scarface hands them to him.
DEMIDOV (CONT’D) Now it just so happened this boy was a friend of mine. I did not want to do this terrible thing. But when you come from the streets, you have no choice.
He carefully knots his tie in the mirror.
DEMIDOV (CONT’D) I worked very hard for years to get past that life. So I would not have to do these terrible things. So I would have a choice…
He turns and smiles at his THICK-NECKED bodyguard. He gestures toward the man’s holstered pistol —
DEMIDOV (CONT’D) I have people like you to do these things for me…
He holds out his hand; THICK NECK hands him the pistol.
DEMIDOV (CONT’D) Except that you don’t!
Suddenly Demidov pistol whips the man across the face!
Blood explodes from THICK NECK’s nose. He falls down to one knee, clutching his face in pain.
Scarface looks on in fear. Demidov calms himself almost as quickly as he lost his temper. He drops the gun on the carpet and steps back in disgust.
DEMIDOV (CONT’D) If you did your job properly, I wouldn’t have to get my hands dirty, you piece of shit.
He turns and walks into the bathroom to wash his hands.
EXT. CIPRIANI HOTEL – DAY
Heels clicking on the cobblestones, Cara strides quickly along the Palazzo Vendramin en route to the Cipriani. She checks her watch. Then walks faster.
She passes a smallish transporto via cargo (supply boat) floating in the lagoon beside the Palazzo.
Cara approaches the poolside hotel restaurant.
INT. CIPRIANI HOTEL – DAY
From a second story SUITE of rooms, The ENGLISHMAN peers through the curtains. He sees Cara seat herself at a TABLE between the pool and the lagoon.
His eyes settle on the transporto. Workers step on and off, carrying fresh linens into the hotel.
He leaves the window.
INT. TRANSPORTO – DAY
There is a small cabin on the deck.
Inside the cabin, Ackerman, Goyal, a videographer, a signals surveillance officer and a coordinating tactics officer huddle.
Ackerman stares out the tinted window.
ACKERMAN’S POV – he can just see Cara sitting at the table.
EXT. CIPRIANI HOTEL, POOLSIDE RESTAURANT – DAY
Fanning herself with a newspaper, Cara discreetly evaluates the men in her sight lines. Venetian civic leaders chatting by the bar, tourists reading maps…
Over her sunglasses she catches sight of a pair of YOUNG LOVERS drunk in each other’s grasp in the pool.
She turns away.
INT. TRANSPORTO – DAY
Squinting, Ackerman evaluates his placements.
– A WAITER, idling at his bussing station, his eyes roaming the palazzo.
– A VAPORETTO CAPTAIN, who quietly turns away requests for a ride into St. Marks Square, his finger to his ear.
– An OLDER COUPLE sitting a few seats away from Cara.
And an AGENTE DI POLIZIA (police patrolman) loud and jovial, joking with passersby, while quietly checking his earpiece.
He speaks into the air.
AGENTE DI POLIZIA (V.O.) (from the speakers) Eh, we do not know any further…characteristics?
ACKERMAN (pressing a button) You know what we know.
EXT. CIPRIANI HOTEL, POOLSIDE RESTAURANT – DAY
The VIDEO CAMERA swivels to follow a MAN, elegantly dressed, with trim hair who swiftly approaches Cara’s table…
Standing up, Ackerman holds his hand up.
ACKERMAN (into the speaker) Hold…wait for my signal…
Cara glances up from her menu as she senses the elegant man approaching.
The WAITER walks quickly toward Cara’s table…
The elegant man is FRANK.
Ackerman stares at the monitor with Frank’s face on it. He’s quietly furious.
ACKERMAN What is that fool doing in the middle of my operation?
Cara stares slack-jawed at Frank.
He has given himself a complete make-over. New haircut. Pearce’s suit fits him well.
He looks terrific. Cara notices before quickly recovering her composure.
FRANK Time for Alexander and me to meet face to face.
CARA (quietly) I don’t know what you’re talking about. Please go, I’d like to have a quiet coffee.
Frank sits at the table with Cara and eats a CASHEW.
Ackerman barks whispered orders into the speaker:
ACKERMAN (frustrated) Move off. Move off.
The UNDERCOVER WAITER quickly moves away from Cara’s table.
Ackerman stares at the monitor which captures Cara’s angry expression.
ACKERMAN (CONT’D) (talking to the screen) Get rid of him!
AT THE POOLSIDE RESTAURANT
Defiantly, Frank pulls his chair in closer to Cara. He signals to a different THIN WAITER.
FRANK (to the waiter) Caffe, per favore?
Frank turns back to Cara, who calls out–
CARA Cameriere! No caffe for signor!
FRANK (contradicting her) With milk!
She stares at him.
CARA Do you want to be dead?
FRANK Not particularly, but I’m tired of being afraid. I’ve been running around like a frightened mouse long enough and I’ve decided I’m finished.
Frank pulls out a Gitane cigarette. He lights it, smoking while he talks.
FRANK (CONT’D) When I first saw the name I got scared: “Alexander Pearce.” He even sounds like some super cool master criminal with Russian enemies and the beautiful girlfriend… he probably works out. He might own a pizza shop on the side for all I know.
Frank frowns at the cigarette.
FRANK (CONT’D) These are disgusting.
INT. TRANSPORTO – DAY
Goyal is seated at the communication station.
ON THE MONITOR – Frank is settled in opposite Cara.
GOYAL He’s not going anywhere.
Ackerman peers directly out the window, as if he’s going to see something different.
ACKERMAN Put Lipetti in. Tell him to play it like he’s dealing with a rowdy guest– escort him out.
EXT. CIPRIANI HOTEL, POOLSIDE RESTAURANT – DAY
Cara looks all around. No sign of any suitor approaching.
CLOSE ON: the hands of the THIN WAITER, who sprinkles pepper carefully, presumably onto a dish. He then platters the dish and lifts it over his shoulder.
CARA Frank, you have no idea what you’re sticking your nose into.
FRANK Probably not. But I’m doing it anyway. Alexander Pearce nearly got me killed. It was his idea, right?
FRANK (CONT’D) He told you to pick out some random sap on the train to take a bullet for him, didn’t he?
Frank works himself up, drawing courage from his anger.
FRANK (CONT’D) Well I’m not playing the role anymore. I’m going to confront him. He’s supposed to meet you here, isn’t he? I’m going to tell him exactly what I think of him.
CARA Wonderful. Another macho idiot. (to the waiter) Conto, per favore!
Frank leans in.
FRANK What’s the lure, Cara? Obviously not his character. Is it the money? The luxury? What’s any of that worth if you’re getting shot at and you could go to jail?
CARA I’m leaving Frank.
FRANK He’s smooth, right? He probably has mistresses in every European city, too.
CARA It’s really a shame you’ve scared him off–
She tosses some Euros on the table.
CARA (CONT’D) The two of you make a nice couple.
The THIN WAITER arrives with a PLATTER. He sets it down in front of Cara.
The UNDERCOVER WAITER now moves toward the table with a grim expression…
The THIN WAITER removes the platter. Cara looks down.
Spelled out in SALT and PEPPER on the plate is the following:
“MY VILLA. TONIGHT. 8PM.”
Cara no sooner reads it than the Thin Waiter, who we now see is THE ENGLISHMAN…
…BLOWS on the platter, scattering the salt and pepper granules to the wind.
FRANK What the hell?
As Frank looks up.
The Englishman has already turned away, but the Undercover Waiter is moving quickly toward Cara’s table.
The Undercover Waiter picks up speed, changing course slightly. WE SEE he’s after The Englishman who is about to enter the restaurant kitchen…
Then FRANK steps in front of The Undercover Waiter, mistaking him for Pearce.
FRANK (CONT’D) Is this him?
CARA Frank!
INT. TRANSPORTO – DAY
Ackerman slaps the cabin table.
ACKERMAN Abort! Abort, goddammit!
THE POOLSIDE RESTAURANT
The Undercover Waiter tries to move past Frank.
FRANK You hide out poolside and send your girlfriend and a total stranger to face the murderers who are after you? Not much of a tough guy, are you?
Frank SHOVES him back.
FRANK (CONT’D) Where I come from, we don’t treat women like that!
Frank grabs the Undercover Waiter’s collar with unaccustomed strength.
Cara quietly picks up her bag and leaves the restaurant. She walks as fast as she can without being noticed toward the Palazzo Vendramin.
In the midst of his scuffle, Frank looks around and realizes she’s gone.
The Undercover Waiter’s earpiece falls out in the melee… Frank sees it and hesitates. Maybe this guy isn’t Pearce.
INT. TRANSPORTO – DAY
Getting up from his seat in the cabin, Ackerman gestures for the captain of the transporto to leave the dock.
ON THE MONITOR: Frank looks around and sees Cara: fifty feet away. Walking with purpose.
ACKERMAN That goddamn fool.
Ackerman rubs his face and squats down, frustrated beyond measure.
GOYAL What do we do with him?
ACKERMAN Throw him in the lagoon.
EXT. PALAZZO VENDRAMIN – DAY
Frank brushes past tables, hits the street and RUNS down the Palazzo, toward Cara.
FRANK Cara!
Cara says nothing. She just shoots Frank an angry glance and climbs onto A VAPORETTO (water taxi).
Frank runs to the edge of the water as it motors away.
Suddenly he feels the presence of somebody behind him. TWO of ACKERMAN’S MEN are right there.
They pin his arms forcefully.
AGENT Ok Signor… you can come with us now.
Frank looks at the two big men on either side of him. Then at Cara disappearing over the water. The fight drains out of him and he doesn’t resist.
INT. INTERROGATION ROOM – DAY
Frank sits alone in the sparsely furnished, windowless room. A table, two chairs. A large mirror on the wall.
Frank straightens his slightly disheveled suit, as if he’s been dumped here without ceremony.
He glances in the mirror periodically, suspicious.
The door opens and Ackerman enters. He pulls up one of the chairs and gestures for Frank to do the same.
ACKERMAN Please…
He looks Frank up and down.
ACKERMAN (CONT’D) Nice suit.
FRANK It’s borrowed.
ACKERMAN It’s a good fit.
FRANK Unfortunately.
Ackerman reaches into his breast pocket and takes out his INTERPOL credentials. Tosses them on the table for Frank to see.
FRANK (CONT’D) Police… better than the alternative I suppose.
Ackerman smiles. Frank remains defiant. He jerks his head toward the mirror confidently.
FRANK (CONT’D) Who’s watching from behind there?
Ackerman looks over at the mirror, taken off guard by the question. He stands and goes to the mirror — lifts it off its hooks and sets it on the floor.
Nothing but plain wall underneath. Ackerman sits back down. Frank is a little bit chastened.
ACKERMAN You have a vivid imagination.
FRANK I haven’t needed it lately.
Ackerman smiles.
FRANK (CONT’D) You’re in for a disappointment. I’m not Alexander Pearce.
ACKERMAN I know that.
Frank looks up.
FRANK Since when?
ACKERMAN Since the beginning.
Frank stares at him blankly…
FRANK How…?
ACKERMAN Come. I want to show you something Frank.
INT. INTERPOL FIELD HQ, VENICE – DAY
Ackerman leads Frank through the maze of desks and police. Various members of the task force follow their progress… Jean Luc, Jones, etc.
They arrive at a central INTEL area where Goyal sits in front of several computer monitors.
He looks up as Ackerman and Frank arrive.
ACKERMAN (to Goyal) Pull up the CID Academy graduating class for 2002.
Goyal raises an eyebrow, but does as he’s told. A few moments later a photo of POLICE RECRUITS in uniform comes up on screen.
ACKERMAN (CONT’D) Take a good look.
Frank peers at the screen. He spots the instructor– Ackerman seven years younger.
FRANK You?
ACKERMAN Take a look at the second row.
INSERT CLOSE UP on the screen.
Frank examines the second row. One of the young women is… CARA MASON. Her hair is pulled back. She looks more the determined police cadet than the sexy siren… but it’s definitely her.
FRANK Cara…
He is dumbfounded.
ACKERMAN We’ve been watching you this entire time.
FRANK (dawning) You saw those men try to kill me and you didn’t intervene?
ACKERMAN I’m trying to apprehend a major criminal. I’m not a babysitter.
Frank grows angry.
FRANK I want to speak with somebody at the American Embassy. I’m going to tell them that you and your undercover officer knowingly and recklessly endangered the life of an American citizen! Let’s see what my government has to say about that!
Jones clears her throat from a chair across the room.
JONES We’re aware of the situation, Mr. Taylor. But we take a long view of these things… fortunately you are unhurt…
Frank is incredulous.
FRANK Then I’ll go to the press. I’ll tell the entire story to the New York Times.
ACKERMAN (quietly) No. I don’t think you’ll do that.
FRANK Why not?
ACKERMAN Because I don’t think you want to see Cara’s entire career destroyed.
Frank falls silent. Ackerman puts an arm around his shoulder and leads him away from the others.
ACKERMAN (CONT’D) Espresso?
EXT. INTERPOL FIELD HQ, VENICE – DAY
Frank stands on a balcony overlooking a waterway. Ackerman emerges with two cups of espresso. Hands one to Frank.
ACKERMAN Women like Cara don’t come along very often.
FRANK In my case, they don’t come along at all.
ACKERMAN She’s the worst combination: stunning looks and a brilliant mind.
FRANK If she’s so smart, how did she get caught up with Pearce?
ACKERMAN It started out as a straightforward placement…
INT. DOGE’S PALACE – DAY [FLASHBACK]
Cara (younger) poses as an art student, sketching a SCULPTURE in the Anticollegio.
ACKERMAN (V.O.) …we ran her deep cover to build a case against Pearce. It took. He hired her as an assistant.
She turns her face and smiles at an UNSEEN MAN.
EXT. YACHT – DAY [FLASHBACK]
The wind blows in Cara’s hair. She sits on the top deck. A MAN’S HAND passes her a drink as he walks by. She smiles at him (again we do not see his face).
ACKERMAN (V.O.) Then she began missing drops. Omitting important details.
EXT. BALCONY – RESUME SCENE
Ackerman turns to Frank.
ACKERMAN She was no longer with us. She was with him.
Ackerman finishes his espresso.
ACKERMAN (CONT’D) She explains it now as the confusion of her new life outside the academy. That I misread her capacity for this kind of work.
FRANK Then why are you still using her?
ACKERMAN She’s all I have, Mr. Taylor.
Beat.
FRANK You think she’ll turn him in this time?
ACKERMAN I don’t know.
Goyal walks up behind Ackerman waiting patiently for a moment to interrupt him.
ACKERMAN (CONT’D) I do know however, that you are very smitten with her.
Frank looks back at him evenly.
FRANK It’s not just me, is it?
Ackerman acknowledges the point with the barest of nods.
Goyal signals that Ackerman has a phone call.
EXT. GRAND SALONE, VENICE – DAY
The principal apartment of a Venetian palazzo, looking out over the Grand Canal.
Cara holds her cell phone to her ear as she walks.
ACKERMAN (V.O.) Cara? Where have you been?
ACKERMAN on the phone at his office.
CARA Have you got him?
ACKERMAN You mean the idiot who ruined our operation?
CARA Have you got him?
Ackerman glances out the window at Frank.
ACKERMAN Yes.
Cara is relieved.
CARA It’s your own fault. We never should have endangered a civilian. You should have put an agent into place.
ACKERMAN There was no time. Besides Pearce is too smart for that; he would have spotted the agent a mile away.
CARA He didn’t spot me.
Ackerman smiles bitterly.
ACKERMAN Apparently he didn’t have to.
Cara doesn’t answer. Ackerman regrets the jibe. He steps into a HALLWAY where it’s quiet.
ACKERMAN (CONT’D) I’m sorry Cara. That was uncalled for.
ON HER FACE as she listens to him.
ACKERMAN (CONT’D) I’m on edge because of our failure today. If only the American hadn’t messed everything up… I felt sure Pearce would show up today.
CARA What makes you think he didn’t?
Ackerman’s face lights up…
INT. INTERPOL FIELD HQ, VENICE – DAY
Ackerman strides into the room, calling for attention.
ACKERMAN Okay everybody, listen up.
Jones, Quinn, Jean Luc and the rest of the team assemble. Goyal has Frank with him, dragging him around like a lost puppy dog…
ACKERMAN (CONT’D) We have a location and time for the next meet. Pearce’s villa. Eight o’clock. We have to move fast–
JONES Pearce’s own villa? Why would he risk going back there? He must know we’d be watching.
JEAN LUC Perhaps he’s nostalgic.
ACKERMAN I doubt that. Maybe there’s something of value still there. He left in a hurry after all.
JONES Call in a search team.
ACKERMAN We searched the place after the raid last year. If there’s anything hidden there, only Pearce knows where it is.
He picks up his coat.
ACKERMAN (CONT’D) We need to get agents in place all around the villa.
Frank speaks up unexpectedly.
FRANK If you’re all around his house, will he show up?
A dozen heads turn to look at him.
ACKERMAN If I needed your advice Mr. Taylor, I’d ask.
Frank shrinks down in his chair.
A beat. Ackerman turns back to the rest of the room.
ACKERMAN (CONT’D) Establish a wide perimeter. We’ll keep our distance and wire the entire villa for video surveillance.
The meeting breaks up. Everybody jumps into action.
ON QUINN as he slips out a side door.
