BETWEEN HEAVEN AND HELL

by Charles Deemer

OPTIONED VERSION: August, 1998
Optioned by Never A Dull Moment Productions

Rewritten as Earthly Desires

Rewriting with a producer


Note: not in proper format for submission
                  

FADE IN:

EXT. PARK - DAY

Strollers, alone and in couples, move leisurely through the park in the 
afternoon.  It's a pretty day in late Spring. Among the strollers are 
MAUREEN, 20s, and JACOB BRUSSMAN, 40s.  

Maureen wears attire more appropriate for a cocktail party than a stroll 
in the park.  Jacob wears a business suit.

Observing them from some distance is SAM HAWKINS, 30s, a private 
detective.  He is snapping photographs of them together.

Over this we hear:

BERTRAND
(V.O.)
I went to the Garden of Love.
And saw what I never had seen:
A Chapel was built in the midst,
Where I used to play on the green.

And the gates of this Chapel were shut,
And "Thou shalt not" writ over the door;
So I turn'd to the Garden of Love,
That so many sweet flowers bore.

Maureen and Jacob continue moving through the park.  They look 
comfortable with one another, talking softly, smiling, looking 
like lovers.

Hawkins continues following them and snapping photos.

INT. UNIVERSITY - SEMINAR CLASSROOM - DAY

At the end of a conference table sits PROFESSOR BERTRAND HODGEWORTH, 
50 today, academic, shy except when he is in front of his students. 
He wears his customary white shirt and a plain tie. 

He continues the poem as ten or twelve seminar students around the 
table listen.

BERTRAND
And I saw it was filled with graves,
And tombstones where flowers should be:
And Priests in black gowns, were walking their rounds,
And binding with briars, my joys & desires.

As if on cue, the bell rings.  

BERTRAND
More William Blake next time, ladies and gentlemen.

Before anyone leaves, ZALE CONSTANTINO, 20s, rises to his feet.  He 
raises his arms in a pre-arranged signal.

Suddenly everyone sings happy birthday to the professor, concluding 
"Happy birthday, Prof. Hodgeworth, happy birthday to you!"

The students applaud.  Bertrand is stunned.  

ZALE
Happy birthday, professor.

BERTRAND
Was this your idea, Mr. Constantino?

ZALE
A group decision.

BERTRAND
Thank you.  I'm quite touched.  And very surprised.

BILL, 20s, the class clown, asks a question.
  
BILL
Does this mean we get more time on our term papers?

Everyone laughs.

BERTRAND
Absolutely not.

EXT. PARK - DAY

Maureen and Jacob have moved under some trees and are kissing.  

A long, deep kiss, which Hawkins gets on film.

INT. UNIVERSITY - FACULTY LOUNGE - DAY

Bertrand enters the faculty lounge and pours himself a cup of coffee.  
Sitting at a table is his colleague, JOE MILTON, 40s.

BERTRAND
My Blake students sang happy birthday to me.

JOE
I didn't know it was your birthday.  What are you, 55ish?

BERTRAND
50.

JOE
Sorry.

EXT. PARK - DAY

Strolling again, Maureen and Jacob are met by NICOLE, 20s, a striking 
woman. Like Maureen, she is dressed for a party.  She and Maureen talk 
energetically about something.  

Finally Maureen hands Nicole a slip of paper from her purse, and Nicole 
moves off.  Nicole can't move without looking sexy.

And, of course, Hawkins, keeping his distance, is taking pictures of 
everything.

INT. UNIVERSITY - HODGEWORTH'S OFFICE - DAY

Bertrand is listening to JENNIFER, a pretty, undergraduate coed, 
without really hearing her.  The coed reads from a book of Blake's 
poetry. 

As she reads, Bertrand stares at her.  He imagines her naked.

JENNIFER
"Children of the future Age 
Reading this indignant page,  
Know that in a former time 
Love! sweet Love! was thought a crime."  That is so incredibly 
beautiful.  I think it's the most awesome thing I've ever read.

Silence.  The coed is waiting for a response.

Bertrand snaps out of his fantasy and suddenly looks at his watch. 

BERTRAND
I'm sorry, I have to go.  I'm showing my house.

JENNIFER
You're moving?

BERTRAND
Subletting.  I'm going on sabbatical.

JENNIFER
Really?  Where are you going?

Bertrand stands up.

BERTRAND
London.

The girl stands up.

JENNIFER
Can I talk to you tomorrow?  I'm really excited about Blake's social 
consciousness.

BERTRAND
See you tomorrow then.

JENNIFER
Thank you so much!

EXT. UNIVERSITY - CAMPUS - DAY

Bertrand is moving across campus when Zale joins him.

ZALE
We surprised you, didn't we?

BERTRAND
Totally.  It was your idea, wasn't it?  No one else needs the brownie 
points.

ZALE
You think my paper will be late again, but it's almost done. 

BERTRAND
The final's only two weeks away.  I'm worried about you.

ZALE
I always finish with a sprint.  I'll be fine.

BERTRAND
I hope so.

Bertrand takes a turn, leaving Zale alone.  The student watches him go.

EXT. UNIVERSITY - STREET - DAY

Hawkins sits in a car parked along a street near campus as Zale 
approaches.  
Zale climbs into the car.

INT. HAWKINS' CAR - DAY

Hawkins hands Zale a manilla envelope.

Zale opens it.

INSERT: PHOTOGRAPHS

The photographs Zale took in the park.

Zale flips through them.  He lingers on the deep kiss.

HAWKINS (O.C.)
Name's Jacob Brussman, CEO at Atlantis Tech.  Worth a bundle.

BACK TO SCENE

Zale stuffs the photos back into the envelope.

HAWKINS
So are we done here? 

ZALE
Keep following her.

HAWKINS
You need more than this, you're a blind man.

Zale hands Hawks a business envelope.

ZALE
You get your money.  Quit complaining.

HAWKINS
No complaints.

ZALE
And see what you can find out about him.  Is he married or what?

HAWKINS
You're the boss.

EXT. HODGEWORTH'S HOUSE - DAY

Bertrand's compact car pulls into the driveway.  He gets out and heads 
for the porch.

Waiting for him there are ALLEN and JESSIE SIMMS, a couple in their 
30s with a dated, bohemian look.

BERTRAND
Sorry I'm late.  I had a student conference.

INT. HODGEWORTH'S HOUSE - DEN - DAY

Bertrand has been leading a tour of the house, and they enter a large 
den.

BERTRAND
This is where I actually live most of the time.

ALLEN
This is really a great house.

Jessie sees this as a sign.  She takes her husband's arm.

ALLEN (CONT'D)
How soon can we move in?

BERTRAND
I catch my plane on the 23rd.

ALLEN
Great.  Okay with you?

JESSIE
Of course it is!

She embraces her husband.

Bertrand looks at them without emotion.

INT. HODGEWORTH'S HOUSE - KITCHEN - NIGHT

Hodgeworth is stirring a pot of soup when the doorbell rings.  He 
looks up as if he is hearing things.

EXT. HODGEWORTH'S HOUSE - PORCH - NIGHT

The porch light is off.

Waiting is Nicole, still dressed sexily for a night on the town.

The porch light comes on.

The door opens.

INT. HODGEWORTH'S HOUSE - NIGHT

Bertrand stares at Nicole as if he's seeing things.  There's an 
awkward silence.

NICOLE
Happy birthday!

BERTRAND
Pardon me?

NICOLE
Happy birthday!  I'll sing if you like.

BERTRAND
Who are you?

NICOLE
I'm your present.

BERTRAND
What are you talking about?

NICOLE
If you let me in, I'll explain.

BERTRAND
You want to come in?

NICOLE
Yes, that's the idea.

BERTRAND
I don't understand.

NICOLE
Can I come in, please?  I'm a dam ready to burst here.

She lets herself in, moving past the professor.

NICOLE (CONT'D)
Down the hallway?

BERTRAND
What?

NICOLE
Your can!

BERTRAND
You want to use the bathroom?

NICOLE
I'm busting a gut here!

She starts wiggling off toward the hallway.

NICOLE (CONT'D)
It's gotta be down the hall, right?

BERTRAND

Yes.  On the left.

And she's gone.

Bertrand stares at her exit like he's just seen a ghost.

INT. LIVING ROOM - NIGHT

Bertrand is sitting on the divan when Nicole enters.

NICOLE
You don't know how close I came to peeing myself.  Not very romantic, 
is it?  Unless you're kinky.

Bertrand stands up and steps toward the door.  

When Nicole doesn't follow him, he stops and turns.

BERTRAND
Was there something else?

NICOLE
I'm your birthday present.

BERTRAND
How did you know it's my birthday?

NICOLE
Because I'm your present.  Pre-paid for the whole night.  Get the 
picture?

BERTRAND
You want to spend the night?

NICOLE
Bingo.

BERTRAND
Pre-paid by whom?

NICOLE
Whom!  I'm with an educated guy here.  They told me you're a professor.

BERTRAND
Who told you?

NICOLE
It's a secret.  A surprise, I guess it is. I think you're supposed 
to find out later.  Look, this doesn't have to turn into anything you 
don't want to happen, okay?  The night's paid for, so as far as I'm 
concerned we can do whatever you want to do.  We don't even have to 
have sex. 

BERTRAND
Have sex?

NICOLE
You've heard of it?

Bertrand clears his throat.  This is beyond his comprehension.

BERTRAND
Would you like a drink?

NICOLE
I'd love one.

INT. DEN - NIGHT

Bertrand hands Nicole a drink.  She is curled up on the divan.  He 
takes a 
distant chair.

NICOLE
Happy birthday.

BERTRAND
Thank you.

NICOLE
How old?

BERTRAND
Fifty.

NICOLE
Really?  You don't look it.

BERTRAND
I'm told I look 55.

NICOLE
Who said that?  I'd've guessed early-forties, tops.

Nicole moves to the entertainment center in the den.

NICOLE
What kind of music do you like?

BERTRAND
Brahms.  Tchaikovsky.

NICOLE
You got anything that swings?  You like to dance?

BERTRAND
I don't dance.

Nicole turns and smiles at him.

NICOLE
Well, professor, what do you like to do?  We have a long night ahead 
of us.

Bertrand stands up.

BERTRAND
I think you should go.

NICOLE
And if I don't want to go?

BERTRAND
Why wouldn't you want a night off, so to speak?

NICOLE
Maybe I like you.  Maybe I have a personal code that says if I get 
paid to do something, I do it.  Maybe I have reasons I can't go home 
tonight.

BERTRAND
You do this every night?

NICOLE
No, as a matter of fact.  I don't have a pimp either.  I'm very 
selective about my clients.  

Nicole moves teasingly forward.

NICOLE
I'm saving for law school.

BERTRAND
What?

NICOLE
You say that a lot. 

Nicole, standing right in front of the professor, starts unbuttoning 
her top.

BERTRAND
What are you doing?

She doesn't answer him.  She slowly undresses right before his eyes.

Bertrand is breathing heavily, hugely nervous.

BERTRAND
Why are you doing this?

Nicole's tone is soft, caring, kind.

NICOLE
What are you afraid of?  Has it been that long?

BERTRAND
I'm afraid so.  My wife died five years ago.

Nicole takes his head in her hands.  Slowly, she bends forward to 
kiss him softly on the lips.

It's a long, gentle kiss.  Bertrand isn't kissing back.

Nicole breaks it.

NICOLE
I found the bedroom.

She takes his hand and leads him toward the doorway.

Bertrand follows, silent, finally under her spell.

INT. BEDROOM - NIGHT

Nicole leads Bertrand into his bedroom.

NICOLE
Do you want the light on or off.

BERTRAND
Off.

She guides him through the darkness to the bed.

INT. ANOTHER BEDROOM - NIGHT

In the darkness, we don't know where we are yet.  But we hear the 
sounds of lovemaking, coming primarily from a woman, until a man 
explodes with a 
grunt.

The lights come on.

Maureen has just turned on the beside lamp.  Rolling off of her, 
collapsing, is Jacob, the man who was with her in the park.

The bedside phone rings.  

Maureen stares at it a moment, then answers.

MAUREEN
Hello?

EXT. STREET - PAY PHONE - NIGHT

Zale stands at a pay phone.

ZALE
I want to come over.

INTERCUT PHONE CONVERSATION

Maureen rolls toward the side of the bed, getting as much privacy 
as she can, and speaks quietly.

MAUREEN
No, you can't.

ZALE
Why not?

MAUREEN
I was almost asleep.

ZALE
Are you with someone?

MAUREEN
You have no right to ask me that, Zale.

ZALE
I'll be right over.

MAUREEN
No!

EXT. STREET - PAY PHONE - NIGHT

Too late.  Zale has hung up and hurries now toward his car.

INT. MAUREEN'S BEDROOM - NIGHT

Maureen hangs up.

MAUREEN
Honey, I'm going to have to ask you to go.

JACOB
No problem.

He gets up to get dressed.

JACOB (CONT'D)
Tomorrow afternoon, around two?

MAUREEN
I need to check my schedule.  Call me tomorrow morning.

EXT. MAUREEN'S HOUSE - NIGHT

Jacob comes out and gets into his car.

Down the street, Hawkins is sitting in his car, watching.

INT. HAWKINS' CAR - NIGHT

The detective writes down something in a small notebook.

EXT. MAUREEN'S HOUSE - STREET - NIGHT

Jacob's car moves away, and Hawkins gives him half a block before 
pulling out to follow.

After a moment, Zale's car pulls in front of the house and parks.

INT. ZALE'S CAR - NIGHT

Zale opens up the glove compartment. He picks up the photograph of 
the deep kiss between Maureen and Jacob - and under the photo is a 
handgun.

INT. HODGEWORTH'S HOUSE - BEDROOM - NIGHT

The light is on.  

Bertrand sits up in bed.  He looks almost radiant.

Nicole returns from the bathroom.

NICOLE
How do you feel?

BERTRAND
I don't know the right words to describe it.  Maybe they haven't 
entered the language yet.

NICOLE
I bet you feel even better the next time.  You'll last longer.

BERTRAND
I might die if we do that again.

NICOLE
I bet you don't.

She playfully snuggles into bed beside him. 

INT. MAUREEN'S HOUSE - LIVING ROOM - NIGHT

Zale has entered and now slaps Maureen across the face.  She falls 
to the floor.

Zale stares down at her.  He shows her the photograph of the deep 
kiss, then rips it up into small pieces.  The pieces fall on Maureen 
like snow.

ZALE
Don't you understand how much I love you?

EXT. HODGEWORTH'S HOUSE - DAY

The morning paper is delivered onto the porch.

INT. HODGEWORTH'S HOUSE - BEDROOM - DAY

Bertrand wakes in an empty bed.  He looks around, looking as if he 
is trying to hang on to a dream he's coming out of.

He gets up and puts on his robe.

INT. KITCHEN - DAY

Bertrand enters to find Nicole at the stove.  She's wearing one of his 
white shirts over her underwear.

NICOLE
Don't you own any shirts with color in them?

BERTRAND
What're you doing?

NICOLE
Making breakfast.  An omelette okay?

BERTRAND
Of course.

NICOLE
Coffee's made.  

She catches him staring at her.

NICOLE (CONT'D)
Hasn't a woman ever made you breakfast before?

BERTRAND
Not in a very long while.

NICOLE
What time do you have to be at school?

BERTRAND
Ten or about.  Why?

NICOLE
Good, we don't have to hurry.  Morning's are my favorite time. 

INT. DEN - DAY

Bertrand and Nicole sit on the floor, using a coffee table for their 
breakfast.  They have finished eating.

Nicole gets up and gathers the plates.

NICOLE
If you want to do it before I go, now's the time.

She sees the reaction on Bertrand's face.

NICOLE
I said something wrong?

BERTRAND
You make it sound so ... I don't know.  Mechanical.

NICOLE
I'm sorry.  It's my job, you know?

BERTRAND
I understand.

NICOLE
I hurt your feelings.

She bends down and kisses the top of his head.

NICOLE (CONT'D)
I've had fun, I really have.

BERTRAND
Will I see you again?

NICOLE
Well, that's up to you.

BERTRAND
I'd like to.

NICOLE
I'll leave you my card.

BERTRAND
You have a business card?

NICOLE
Bertie, don't get judgmental on me here.

BERTRAND
I told you I don't like "Bertie."

NICOLE
I'm getting dressed.  I'll leave my card on the dresser.

She exits with the breakfast dishes.

Bertrand watches her go.  He bites his lip, as if wanting to take 
back everything he's said.

INSERT: NICOLE'S CARD

The business card reads:

                        NICOLE
             Mature companionship for adults
                       232-LOVE

INT. HODGEWORTH'S OFFICE - DAY

Bertrand sits at his office desk, staring at the card.  

Memory of last night washes over him.

INT. BEDROOM - NIGHT (FLASHBACK)

They are making love, Nicole on top, Bertrand reaching up and fondling 
her breasts.

His expression shows deep ecstasy mixed with something close to fear.  
Clearly he is feeling things he hasn't felt in a very long time - 
and perhaps never.

INT. HODGEWORTH'S OFFICE - DAY

Bertrand's memory is interrupted by a knock.

The professor turns to the door as Joe steps into the office.

JOE
How was the birthday?

Bertrand quickly sticks Nicole's card into a pocket.

BERTRAND
It was fine.

JOE
You're not still mad at me, are you?

BERTRAND
For what?

JOE
Saying you were 55.

BERTRAND
Of course not.

JOE
I just got a phone call.  They're giving me the Hobson Award.  

BERTRAND
Congratulations.

JOE
I can't believe they didn't give it to you.

BERTRAND
You're younger, it will do you more good.

JOE
All you've done for this University, Bertrand - I feel bad it's not you.

BERTRAND
Don't worry about it.

But Bertrand is worrying about it.

INT. MAUREEN'S HOUSE - DAY

Nicole lets herself into Maureen's house, which they share.

NICOLE
Mo, it's me!

She heads for the kitchen.

INT. MAUREEN'S HOUSE - KITCHEN - DAY

Nicole enters to find Maureen at the sink, her back turned.

NICOLE
The guy was the sweetest man.  I gave him a time he'll never forget.
Maureen turns, and Nicole reacts in shock:  one side of Maureen's 
face is swollen and bruised.

NICOLE
Oh God, not again.

Nicole steps forward to embrace her roommate.

INT. MAUREEN'S HOUSE - COFFEE BAR - DAY

They sit at a coffee bar, sipping tea.

MAUREEN
I wish we could just quit and leave town.

NICOLE
We don't have to be greedy.  Why can't we quit today?

MAUREEN
Jacob's putting pressure on me. 

NICOLE
We can't just sit around and let Zale use you as a punching bag.

MAUREEN
We can't go to the police either.

NICOLE
Maybe if Zale gets a taste of his own medicine.  I have a client 
who could help us with that.

MAUREEN
I thought we'd reached an understanding.  Zale phoned first.  I 
even let him in myself.

The phone rings.  No one moves for a moment.  

Then Nicole picks up the receiver.

INT. HODGEWORTH'S OFFICE - DAY

Bertrand is making the call.

INTERCUT PHONE CONVERSATION

NICOLE
Hello?

BERTRAND
I'd like to speak to Nicole, please.

NICOLE
This is she.  Who's this?

BERTRAND
Bertrand.

NICOLE
Who?

BERTRAND
"Bertie."

NICOLE
Professor!  I wasn't expecting to hear from you so soon.

She raises her eyebrows at Maureen, who has been watching her 
carefully.

BERTRAND
I want to see you again.

NICOLE
You know my rates.  Want to make an appointment?

BERTRAND
Yes.  I mean, what does it cost, what would you charge for, you know, 
getting a cup of coffee or something?

NICOLE
You want to pay me to have a cup of coffee with you?

She shakes her head, "unbelievable," at Maureen.

BERTRAND
I don't know what the procedure is.

NICOLE
Is that all you want?  Coffee?

BERTRAND
Yes.

He starts to say something else but stops himself.

NICOLE
Tell you what:  I'll be near the University later this afternoon.  
We could meet around three.

Bertrand pauses, thinking.

NICOLE (CONT'D)
Professor?

BERTRAND
Three would be good.

NICOLE
Where's a good place to meet then?

INT. UNIVERSITY - SEMINAR CLASSROOM - DAY

Students enter the classroom to find a notice written in large block 
letters on the chalkboard:

                 CLASS CANCELLED

BILL
Anybody ever hear of Hodgeworth canceling a class before?

No one has.

Zale rushes in, thinking he's late.

ZALE
What's going on?

BILL
No class.

ZALE
You're kidding me.

Bill points out the message on the board.

ZALE (CONT'D)
She must've really done a number on him.

Bill grins.

INT. COFFEE SHOP - DAY

Bertrand and Nicole are sitting at a corner table.

BERTRAND
I'm been teaching for over twenty years, and it's my first sabbatical 
since I wrote my book.  

NICOLE
You wrote a book, how exciting!  What's it called?

BERTRAND
Just an academic book.

NICOLE
Called?

BERTRAND
"Between Heaven and Hell."

NICOLE
I like the title.

BERTRAND
It's about William Blake.

NICOLE
The name rings a bell.

BERTRAND
A very early romantic poet.  A mystic.  And a rebel.

NICOLE
I can see you with the romantic and mystic part.  Not so much the 
rebel. When do you leave for London?

BERTRAND
In two weeks, right after finals.

NICOLE
Send me a postcard?

BERTRAND
Of course.  I'll need an address.

NICOLE
Right, you will.  The thing is, I never give out my address to clients.

BERTRAND
I'm not exactly a client.  You were my birthday present.

NICOLE
It's still my policy.

BERTRAND
What do you think I'll do with it that's so terrible?

NICOLE
I'm not sure.  Nothing, I guess.

She quickly scribbles her address on a napkin and hands it to him.

NICOLE (CONT'D)
I want scenery, not a picture of Shakespeare.

EXT. COFFEE SHOP - DAY

Bertrand and Nicole come out of the coffee shop together.

Nicole offers her hand, and Bertrand shakes it.

NICOLE
I'm sure you'll have a wonderful trip.

BERTRAND
Nicole, I was thinking maybe I'd call you before I leave.

NICOLE
That would be fine.  Always give me as much notice as you can, though.

BERTRAND
You must be very busy.

NICOLE
Give me a call, Bertie.  Maybe we can catch a movie first.

She starts off down the street.  

BERTRAND

Nicole!

She turns.

BERTRAND (CONT'D)
Thanks for having coffee with me.

Nicole blows him a kiss.

NICOLE
Buy yourself a shirt with some color in it!

She turns and goes.

Bertrand can't take his eyes off her.  He watches her until she 
disappears.

INT. UNIVERSITY BUILDING - HALLWAY - DAY

Bertrand approaches his office to find Jennifer sitting in the 
hallway outside his door.

BERTRAND
Sorry I'm late.

JENNIFER
That's okay.

She gets to her feet.

INT. HODGEWORTH'S OFFICE - DAY

Once again, Bertrand sits at his desk listening to the girl but 
barely hearing her.

JENNIFER
But sometimes he really loses me.  Like this other thing he said, 
let me 
find it.  Here it is.  "Prisons are build with bricks of law, brothels 
with stones of religion."  I'm not sure I understand that.

But Bertrand doesn't respond to the question.  Though looking at 
Jennifer, in his mind's eye he sees himself making love to Nicole - 
or more precisely, Nicole making love to him.

JENNIFER
Professor Hodgeworth?

BERTRAND
Yes?

JENNIFER
Is he saying churches somehow are responsible for there being 
prostitution in the world?  How can that be?

BERTRAND
Blake is saying that what we would be inclined to do naturally often 
is restricted by the institutions of society.  So society by nature 
is hypocritical.  It censors our natural instincts.

JENNIFER
But it has to be that way, doesn't it?  Or we'd all be back in the 
jungle again?

BERTRAND
Blake wrote, "The road of excess leads to the palace of wisdom."

The phone rings.

BERTRAND
We'll talk about it in class.

Getting the hint, Jennifer gets up to leave.  She smiles at him 
flirtatiously on her way out.

Bertrand picks up the phone.

BERTRAND
Hello?...Well, yes, I suppose that would be all right.

EXT. HODGEWORTH'S HOUSE - DAY

A U-haul truck is parked in the driveway.

Allen and a GEORGE, a male friend, are unloading the truck, putting 
furniture into Hodgeworth's garage.

INT. HODGEWORTH'S HOUSE - KITCHEN - DAY

Bertrand sits at a small kitchen table, sipping tea.  On the table is 
the napkin with Nicole's address.  He stares at it, lost in thought.

EX. HODGEWORTH'S HOUSE - DAY

Hodgeworth comes out of the house.

BERTRAND
Would you close the garage door when you're done?  I have to leave.

ALLEN
Shouldn't we lock it?

BERTRAND
It locks automatically.

ALLEN
Great.  I really do appreciate this.

Bertrand is already walking to his car.

INT. MEN'S CLOTHING STORE - DAY

Bertrand stands before a mirror, modeling a light blue dress shirt.  A 
CLERK stands nearby.  

Bertrand nods, yes, he'll take it.

EXT. MAUREEN'S HOUSE - DAY

Hawkins is parked down the street from the house.  

INT. HAWKINS' CAR - DAY

The detective sits behind the wheel, waiting.

Movement in the rearview mirror catches his eye.

EXT. MAUREEN'S HOUSE - DAY

Bertrand slowly cruises by the house.  

He pulls to the curb, about a quarter block in front of Hawkins' car.

Bertrand stares out at the house and takes a deep breath.

INT. HAWKINS' CAR - DAY

Hawkins waits for the man to get out of the car - but he doesn't.  

The detective scribbles something to himself in his small notebook.

EXT. MAUREEN'S HOUSE - EVENING

Both cars are still parked along the street.

Both Bertrand and Hawkins sit behind the wheel, watching and waiting.

INT. BERTRAND"S CAR - EVENING

The professor looks very nervous.  His breath comes in short gasps.
He is wearing the light blue dress shirt and, as always, a plain tie.

INT. HAWKINS' CAR - NIGHT

The detective sees headlights in the rearview mirror.  Now what?

EXT. MAUREEN'S HOUSE - NIGHT

A cab pulls up in front of the house and beeps its horn.

Nicole and Maureen come out and climb into the back of the cab.  
They are dressed to the nines.

The taxi moves off down the street.

Right away, Hawkins' car pulls out behind the cab to follow.

INT. HAWKINS' CAR - NIGHT

As Hawkins passes the professor's car, he turns to get a better glimpse 
of the man sitting behind the wheel.

EXT. MAUREEN'S HOUSE - NIGHT

For a brief moment, Bertrand and Hawkins look at one another as their 
eyes lock and then quickly release.

Bertrand is confused by the appearance of Hawkins and their brief 
eye contact.  At first he starts the car anyway, preparing to follow.

Then, just as suddenly, he turns the engine off.  He sits behind the 
wheel, thinking.

He gets out of the car.  He crosses the street.

Bertrand looks one way and then the other, making sure no one is 
watching him.  He moves to the side of the house.

Peering into a window, he sees the livingroom lit by a small table 
lamp.  He moves on.

The next window looks into a bedroom.  Now Bertrand lingers.  He sees 
some undergarments spread out on the bed.

Suddenly a car distracts him.  He looks to the street.

Headlights swing his way, and Bertrand ducks.  He hears a car pulling 
into the driveway on the other side of the house.

Bertrand cautiously moves toward the front corner of the house.

Getting out of the car is Zale.  He approaches the front porch, 
carrying a bouquet of flowers.

Bertrand sees who it is.  He ducks back.

Zale rings the doorbell.  Waits.  Rings again.

Bertrand peeks around the corner.  Pulls back.

Zale rings a final time.  Then he kicks the door.  He turns and tosses 
the flowers out onto the lawn.  He is swearing under his breath.

Bertrand leans against the house, looking confused, stressed.

Zale retrieves the flowers on the lawn and moves back to the porch.

The professor is watching, peeking around the corner.

Zale carefully leans the flowers against the front door.  Then he 
turns and walks quickly back to his car.

Bertrand watches him.

The car backs up out of the driveway and disappears down the street.

Bertrand comes out from around the house and goes to the porch.  He 
looks down at the flowers.

He sees a note.  He reads it.

INSERT: THE NOTE

"Maureen, I have to talk to you as soon as possible.  Beware of 
Brussman!  He's out to hurt you.  You have to believe me.  I love 
you.  Z."

BACK TO SCENE

Bertrand returns the note.

He slowly crosses the street and gets into his car.

EXT. SUBURBAN NEIGHBORHOOD - HOUSE - NIGHT

Nicole and Maureen get out of the cab and walk quickly to the front 
door.

INT. HOUSE - LIVING ROOM - NIGHT

Nicole and Maureen sit on a divan.  Across plush carpet sits 
DANNY, 40s, a body builder type wearing a tight, black T-shirt.

DANNY
Sounds just like a fucking college kid.

NICOLE
He's also a spoiled rich kid.  His dad is some Greek tycoon or something.

MAUREEN
He's used to getting what he wants.

DANNY
And now he wants you.  So how bad you want me to scare him?

The women look at one another - they don't have a clue.

DANNY (CONT'D)

Let me put it this way.  You want any bones broken or not?

Maureen defers to Nicole to answer.

NICOLE
I guess we want to make sure he gets the message.

INT. HODGEWORTH'S OFFICE - DAY

Bertrand is going through his bookcase, selecting books to take with 
him to London.  

There's a KNOCK and he turns to find Zale.  He's carrying a term paper 
bound in a paper folder.

ZALE
I had my paper ready to turn in yesterday.  Were you sick?

BERTRAND
Something came up.  Thank you.

Zale lingers in the doorway.

ZALE
Then we have class today?

BERTRAND
Of course.

Zale hands the term paper to Bertrand.

ZALE
I think you'll like it.

BERTRAND
I hope so.

Still the student lingers.  Finally:

ZALE
Did you like your present?

BERTRAND
Then it was you.

Zale nods and grins.

ZALE
Did you like her?

BERTRAND
I take it you're a regular client of hers.  

ZALE
No, I go for her roommate.  Her name's Maureen.  She's giving up the 
business so we can get married.

BERTRAND
Very interesting.  Her profession doesn't bother you then?

ZALE
She's quitting it. 

Bertrand turns and selects another book.  But Zale still lingers.

BERTRAND (CONT'D)
Was there something else?

ZALE
Will you be reading my paper soon?

BERTRAND
I'll try to read it tonight.

ZALE
I'd like to get it back as soon as I can to send home to my father.  
He likes to keep up with my progress.

BERTRAND
I'll do my best.

INT. UNIVERSITY - HALLWAY - DAY

Bertrand moves down the hallway and stops at an open door.

BERTRAND
You have a minute?

Joe is working at his desk.

JOE
Come in.

INT. JOE'S OFFICE - DAY

Bertrand takes a chair near the desk.  Joe swings the swivel chair 
around to face him.

JOE
What can I do you for?

BERTRAND
I wonder if I'm doing the right thing.

JOE
How so?

BERTRAND
Going to London.

JOE
Are you serious?  You want to give up your sabbatical?

BERTRAND
Not give it up.  Just stay home.

JOE
I thought you were going to research a new book.

BERTRAND
Do you know how long my first book has been out of print?  Sometimes 
I wonder what the point is.

JOE
You're upset about the Hobson Award, aren't you?  I don't blame you.

BERTRAND
It can be a thankless profession.

JOE
What would you do at home?

BERTRAND
Maybe write a novel.

JOE
Really?

BERTRAND
I've been thinking about it for a long time.

JOE
I had no idea.

INT. HODGEWORTH'S HOUSE - NIGHT

Bertrand is dialing a number, reading it from Nicole's card.

INT. MAUREEN'S HOUSE - NIGHT

Nicole answers the phone.  She is alone.

NICOLE
Hello?

INT. HODGEWORTH'S HOUSE - NIGHT

BERTRAND
I want to make an appointment.

INT. HODGEWORTH'S HOUSE - BEDROOM - NIGHT

Nicole and Bertrand are making love - or more correctly, she is making 
love to him.  

She's still the aggressor, and he is a willing victim under her skilled 
lovemaking.

INT. DEN - NIGHT

Bertrand brings two brandies into the den.  Nicole is looking at 
Bertrand's book.

NICOLE
I found your book!

BERTRAND
It's been out of print for years.

Nicole reads from a page she has opened.

NICOLE
"Without Contraries there is no progression.  Attraction and Repulsion, 
Reason and Energy, Love and Hate, are necesary to Human existence."  
That's pretty good.

BERTRAND
That's not my writing.  It's William Blake.

NICOLE
May I borrow this?

BERTRAND
You'll find it boring, I think.

NICOLE
I could take that as an insult.  Like it's all above me.

BERTRAND
I'm sorry.  I didn't mean it that way.

NICOLE
Seriously, I'd like to read it.

BERTRAND
You can have it.  I have dozens of them.

She closes the book.

BERTRAND
I've decided not to go to London.

NICOLE
You're not serious.

BERTRAND
I have no passion to do research any more.  I want to work on 
something more personal.  I can do that very well at home.  I also 
want to see you as often as I can.  

NICOLE
That's your decision, Bertie.

BERTRAND
I'd like to arrange some sort of schedule, if that's possible.

NICOLE
Several of my clients do that.

Bertrand looks at her without joy.  He could be making funeral 
arrangements.

EXT. HODGEWORTH'S HOUSE - DAY

Bertrand is hauling the stored furniture out of the garage.  He is 
working alone, which he shouldn't be doing.  He can barely manage 
the heavier items.

A car peels into the driveway and skids to a stop.  A furious Allen 
climbs out.

ALLEN
I'm going to sue you for breach of contract!

BERTRAND
I didn't know my plans would change.  I thought you were bringing a 
truck.

ALLEN
It's on its way.  Believe me, you haven't heard the end of this.

Bertrand turns and starts back for another piece of furniture.

ALLEN (CONT'D)
Don't touch a goddamn thing!  You have no right to move private 
property.

Bertrand looks at him and nods.  He starts back for the house. xxx

ALLEN
There will be reprisals here!

Bertrand quietly enters the house.

INT. HODGEWORTH'S HOUSE - DAY

Bertrand stands at the window, watching the truck being loaded.  
Allen is getting help from several of his BUDDIES, including 
George from earlier.

EXT. HODGEWORTH'S HOUSE - DAY

The truck is loaded, its rear door secured.

ALLEN
Can you believe this shit?

Allen gets in his car, and George gets into the passenger's seat.  
The other guys get into the rental truck.

INT. HODGEWORTH'S HOUSE - DAY

Bertrand is watching from behind the curtains.  He's relieved to 
see them go.

He goes to the phone and dials a number from memory.

EXT. PARK - DAY

Bertrand is waiting for someone in the park.  He is wearing his 
new blue shirt and a plain tie.

He suddenly lights up.  In the distance, Nicole approaches.

Bertrand waves and starts walking toward her.  By the time they meet, 
he has an uncharacteristic grin on his face.

BERTRAND
Thanks for coming.  I know you're busy.

NICOLE
Actually I was going to call you. What can you tell me about 
Zale Constantino? 

BERTRAND
He's one of my students.  I owe him for meeting you.

NICOLE
He's been stalking the woman I share a house with.

BERTRAND
Maureen?

NICOLE
Yes.  How did you know?

BERTRAND
He told me he's in love with her and that she's quitting the 
business so they can get married.

NICOLE
That's his fantasy.  I was wondering if you could talk to him.  
Explain that what he wants is impossible.

BERTRAND
She can't tell him herself? 

NICOLE
He doesn't believe her. Aren't there college girls he can get 
interested in? 

BERTRAND
Love is never rational, is it?

NICOLE
I'm not sure I know.

BERTRAND
You've never been in love?

NICOLE
We can always get someone to rough him up, Bertie.  I was hoping 
to avoid that.

BERTRAND
Rough him up?

NICOLE
It's up to you.  

She kisses him on the cheek.

NICOLE (CONT'D)
I like the shirt.  The tie needs help.  Maybe we can go shopping 
for you sometime.

She starts moving off.

NICOLE
Give me a call.

BERTRAND
I thought maybe we could see a movie this afternoon.

NICOLE
I'm booked up today.  You have to give me more notice.

Bertrand watches her go, looking puzzled, wondering what the hell 
just happened.

EXT. ZALE'S CONDO - DAY

Zale parks in front of his condo and gets out.

Down the street, Danny sits in a car and watches.  

As soon as Zale is inside, Danny gets out and crosses the street.

INT. ZALE'S CONDO - DAY
The door buzzer is ringing.

Zale opens the door and Danny quickly comes in.  He grabs Zale by 
the throat.

EXT. HODGEWORTH'S HOUSE - STREET - DAY

A car slowly cruises by the professor's house.

INT. CAR - DAY

George is driving.  Allen sits in the passenger seat.

ALLEN
I don't know what the hell to do.  We never signed anything.

GEORGE
Chalk it up to experience.

ALLEN
I'd really like to get even here.  Just to feel better, you know?  
He's such a prick.

The car passes by.

INT. HODGEWORTH'S HOUSE - DEN - DAY

Hodgeworth sits in his favorite chair, a book in his lap.

He stares into space, thinking.

Suddenly he gets up, sudden energy and determination moving him to 
the phone.  

He grabs the phone book and starts searching for something.

EXT. HODGEWORTH'S HOUSE - STREET - DAY

Allen and George are approaching the house again when Bertrand's 
car backs into the street and moves off.

INT. CAR - DAY

Allen recognizes the professor's car.

ALLEN
Follow him.

GEORGE
Why?

ALLEN
I don't know yet.

EXT. ZALE'S CONDO - DAY
Bertrand parks on the street in front of the condo.  He gets out.

Down the street, the car with Allen and George slows down.

Bertrand goes to the door and rings the buzzer.  Nothing.  He starts 
to ring again when he notices that the door is cracked open.

He gently pushes on the door.  It opens.  He calls inside:

BERTRAND
Mr. Constantino?...Zale?

He steps inside.

INT. ZALE'S CONDO - DAY

Bertrand slowly moves into the living room.

BERTRAND
Anybody here?
Then he sees legs sticking out from behind the divan.  He gasps 
and instinctively turns to go.

But he turns back, then slowly steps toward the body on the floor.

It's Zale, on his back, lying in a pool of blood.  There's a pistol 
beside him.  It's the same pistol that was in the glove compartment 
of his car.

Bertrand's mouth opens as if to scream but no sound comes.  He looks 
pale.

He starts stepping backwards away from the body.

EXT. ZALE'S CONDO - DAY

The car with Allen and George has double-parked down the street 
when Bertrand comes rushing out of the condo.  

The professor trots to his car, starts the engine and races off, 
laying rubber.

INT. CAR - DAY

Allen and George have witnessed this.

ALLEN
What the hell is he in such a big hurry about?

EXT. STREET - DAY
Bertrand's car continues to speed down the street, with the other 
car now following.

They continue several blocks when Bertrand suddenly pulls into a 
gas station, where there's a pay phone outside.

Allen and George slow down to watch.

EXT. PAY PHONE - DAY
Bertrand gets out and goes into the phone booth.  He drops in a 
coin and dials 911.

BERTRAND
There's been a terrible...you need to send a police officer to 
617 Adams St....Please, this is an emergency!...

He abruptly hangs up.  He is sweating.

INT. CAR (ALLEN, GEORGE) - DAY

They've been watching from inside the car.

GEORGE
He's sure shook up about something.

EXT. STREET - DAY
Bertrand pulls back into the street.  Allen and George start 
following again.

A few more blocks and Bertrand races through a yellow light.  
Allen and George are forced to stop.

INT. CAR - DAY

ALLEN
Shit!

EXT. STREET - DAY

Bertrand speeds off down the street without them.

EXT. MAUREEN'S HOUSE - DAY

Bertrand slowly cruises by the house.  He sees no evidence of life 
inside.

EXT. ANOTHER PAY PHONE - DAY

Bertrand is dialing a number at another pay phone.

INT. MAUREEN'S HOUSE - DAY

Nicole picks up the phone.

NICOLE
Hello?

INTERCUT PHONE CONVERSATION

BERTRAND
I need to see you.

NICOLE
This is a bad time.  I have a date in an hour.

BERTRAND
It's urgent.

NICOLE
You sound terrible.  What is it?

BERTRAND
I'm only a few blocks away.  I'll be right there.

NICOLE
Bertie, I'd rather you--...

But he's already hung up.

INT. MAUREEN'S HOUSE - DAY

Nicole lets Bertrand in.

NICOLE
I don't want you to get in the habit of coming here.

BERTRAND
Zale is dead.

She studies him, as if waiting for the reversal, the joke.

BERTRAND (CONT'D)
I went over to talk to him.  He was on the floor...he'd been shot.  

NICOLE
My God.

BERTRAND
I called the police and came here.

NICOLE
Let me fix you a drink.

He'll follow her to a portable bar, where she starts mixing 
two drinks.

BERTRAND
You said you could have him "roughed up."

She stops and stares at him.

NICOLE
You think I had something to do with this?

BERTRAND
No, of course not.  That's not what I meant.

NICOLE
What did you mean?

BERTRAND
I don't know.  I've...I've never seen a dead person before.

She mixes the drinks and hands him one.

NICOLE (CONT'D)
You said you called the police.

BERTRAND
Yes.

NICOLE
That's all you can be expected to do.

BERTRAND
They'll want to talk to me.  I never gave them my name.

NICOLE
They can trace the call.

BERTRAND
I was at a pay phone.

NICOLE
Then they have no way of finding you.  You don't have to get 
involved.

BERTRAND
I don't know what to do.  I'm not thinking straight.

NICOLE
Do nothing.

BERTRAND
Don't I have an obligation...?

NICOLE
You reported it.  What else can you be expected to do?

Bertrand drinks.  He's still shook up.

NICOLE (CONT'D)
Excuse me a moment.

BERTRAND
Where are you going?

NICOLE
I'm going to cancel my date.  You look like you need company.

Bertrand nods.  Nicole leaves to make a phone call.

Bertrand goes to the bar and refills his glass.

INT. MAUREEN'S HOUSE - NICOLE'S BEDROOM - NIGHT

Bertrand and Nicole are making love.

Unlike before, when Nicole was the sexual aggressor, Bertrand is 
making love to her with passion and energy.  

Nicole, seeing a side of him she's not seen before, is melting 
under his advances.

INT. MAUREEN'S HOUSE - LIVING ROOM - NIGHT

Bertrand and Nicole are cuddled together on the divan when 
Maureen enters.  

NICOLE
I need to talk to her.

She kisses Bertrand on the cheek and gets up.  She goes to where 
Maureen is standing in the foyer.

Bertrand can see them talking in hushed tones.  Then Nicole 
comes back into the living room.

BERTRAND
Is everything all right?

NICOLE
She's upset.  I think it'd be best if you left.

BERTRAND
Of course.

EXT. MAUREEN'S HOUSE - NIGHT

Bertrand comes out and gets into his car. 

Down the street, Hawkins is parked, watching the house.

INT. HODGEWORTH'S CAR - NIGHT

He settles in behind the wheel.  

He looks at the house and sees Maureen looking at him from behind 
the curtains.  As soon as he sees her, she moves out of sight.

Bertrand starts the engine.

EXT. MAUREEN'S HOUSE - NIGHT

Hawkins watches Bertrand drive down the street.  He scribbles 
himself a note.

INT. UNIVERSITY - HODGEWORTH'S OFFICE - DAY

Bertrand is reading the morning paper.

INSERT: NEWSPAPER ARTICLE

about Zale's body being discovered.  The headline reads: 
"College student found dead" with a smaller headline below this: 
"Suicide or Foul Play?"

BACK TO SCENE

Bertrand continues reading the article when there's a tap on the door.  
He turns to find Bill.

BILL
I can't believe it.

INT. MAUREEN'S HOUSE - DAY

Danny has just been let in by Nicole.  He's carrying the newspaper.

DANNY
I don't like this shit at all.  I never did nothing but slap him 
around.

NICOLE
I never thought otherwise.

DANNY
So what the hell is this about?

NICOLE
I have no idea.

INT. UNIVERSITY - HODGEWORTH'S OFFICE - DAY

Bill sits in the office.

BILL
No way it was suicide.  Zale wasn't the type.

BERTRAND
Why would anyone kill him?

BILL
I have an idea.  He may have owed money for drugs.

BERTRAND
He was doing drugs?

BILL
Zale would try anything once, and if he liked it, try it again.

BERTRAND
I had the impression he had lots of money.  

BILL
He was spending it like it was water.

INT. MAUREEN'S HOUSE - COFFEE BAR - DAY

Maureen, in her robe, has joined Nicole and Danny at the coffee bar.

NICOLE
I don't expect any of us to be questioned.  So we play it very low key.

MAUREEN
There's a problem, Nicole.  Zale had my card.

NICOLE
I forgot.  Shit.

DANNY
Big deal.  He's just a customer.

NICOLE
But now the police will be on to us.  Everything will change.

INT. UNIVERSITY BUILDING - HALLWAY - DAY

Bertrand goes down the hallway to Joe's office.  He steps into 
the doorway.

BERTRAND
Can I buy you coffee?

INT. COFFEE SHOT - DAY

Bertrand and Joe sit at a corner table in a University coffee shop.

BERTRAND
Joe, I know more about this than I've let anyone know.  I went over 
there yesterday and found the body.

JOE
What?  

BERTRAND
I called the police - but anonymously.

JOE
Why anonymously?

BERTRAND
I'm not sure.  I didn't want to get involved.  I knew Zale was going 
to be "roughed up," whatever that means, if he didn't stop stalking 
this young woman he was interested in.

JOE
What the hell did you get yourself involved in?  Does this have 
anything to do with canceling London?

BERTRAND
In a way, yes, it does.  I met this woman.

JOE
What woman?

BERTRAND
She's a professional.  If you know what I mean.

JOE
My God, Bertrand....You said he was going to be roughed up.  By whom?

BERTRAND
I don't know.  Someone the woman knew.  The thing is, the woman Zale 
was stalking and the woman I've gotten involved with - well, they 
live together.  That's why I didn't want to identify myself to the 
police.  

JOE
I can't believe I'm hearing this.  Tell me more about this hooker 
you're interested in.

BERTRAND
Zale bought me a night with her for my birthday.  I like her, Joe.

JOE
Zale bought ...?  Holy Christ, Bertrand, what the hell's gotten into 
you?

BERTRAND
I like her a lot.

INT. HODGEWORTH'S HOUSE - DEN - DAY

Bertrand is reading term papers.

The door bell rings.  

Bertrand moves to a front window and sees a police car parked outside.

The door bell rings again.  Bertrand goes to the door and opens it.  
A POLICE OFFICER waits on the porch.

POLICE OFFICER
Prof. Bertrand Hodgeworth?

BERTRAND
Yes.

POLICE OFFICER
I'd like to ask you a few questions about Zale Constantino.

BERTRAND
Of course.

EXT. HODGEWORTH'S HOUSE - DAY

Bertrand is walking the police officer to his car.

POLICE OFFICER
To be honest, I was hoping you might've considered him suicidal.

BERTRAND
Why?

POLICE OFFICER
We could've wrapped it up.  Thank you for your time.

Bertrand watches the police officer get into his car. 

INT. HODGEWORTH'S HOUSE - DAY

Bertrand is on the phone.  

We hear RING, RING, RING...

No one answers, and he hangs up.

INT. HODGEWORTH'S HOUSE - NIGHT

Bertrand is in his robe.  Again, he is on the phone.

RING.  RING.

A recorded operator's voice answers.

RECORDED VOICE
The number you dialed is no longer in service.

EXT. MAUREEN'S HOUSE - NIGHT

Bertrand pulls in front of the house and stops.  He gets out and 
goes to the door.

He rings the buzzer.  Nothing.

He knocks.  Nothing.

He moves to the front window and peeks inside.  

He steps off the porch and moves around to the side of the house.  
He sees a small light at one window and goes to it.

Bertrand peeks inside the window, which is Nicole's bedroom.

INT. NICOLE'S BEDROOM - NIGHT

Nicole and Danny are having intercourse, Danny on top and grunting 
like an animal.

EXT. MAUREEN'S HOUSE - NIGHT

Bertrand steps back, unable to watch.  

He strides quickly to his car and gets in.

INT. HODGEWORTH'S CAR - NIGHT

Bertrand sits behind the wheel, staring into the night.

A car is approaching down the street.  Bertrand ducks out of sight.

EXT. MAUREEN'S HOUSE - NIGHT

A cab stops in front of the house, and Maureen gets out.

INT. HODGEWORTH'S CAR - NIGHT

Bertrand watches her go into the house.

EXT. MAUREEN'S HOUSE - NIGHT

Hawkins' car pulls to the curb and parks.  

The detective watches the house.

EXT. MAUREEN'S HOUSE - LATER - NIGHT

Danny comes out, goes to his car, and starts the engine.

INT. HODGEWORTH'S CAR - NIGHT
The sound of the engine wakes Bertrand, who has been dozing.  He sees 
Danny drive off.

EXT. MAUREEN'S HOUSE - NIGHT

Bertrand gets out and trots to the front door.  He pushes the buzzer 
and knocks.

From his car down the street, Hawkins watches with increased interest.  
He takes a few pictures.

No reply.  Bertrand knocks louder.

BERTRAND
Nicole!  I know you're in there.

He pounds on the door.

He is about ready to pound again when the door opens.  It's Maureen.

MAUREEN
Jesus Christ, wake up the neighborhood, why don't you?

BERTRAND
I need to see Nicole.

INT. MAUREEN'S HOUSE - LIVING ROOM - NIGHT

Bertrand is waiting when Nicole enters.  She's dressed to go out.

NICOLE
What the hell are you doing here?

BERTRAND
I tried calling.  Your phone was disconnected.

NICOLE
I'm sorry, I forgot to give you the new number.  We change it every 
few months.

BERTRAND
I thought you were running out.

NICOLE
Thanks for the vote of confidence.

BERTRAND
The police came by.

NICOLE
You were his teacher.  Of course, they'd want to talk to you.

BERTRAND
He just asked a few questions.  If I'd said Zale was suicidal, 
that would've been the end of it.

NICOLE
Then they don't know what happened.

BERTRAND
No.

NICOLE
Bertie, I'm working tonight. I've got to call a cab.

BERTRAND
I'll drive you where you want to go.  No strings attached.

INT. HODGEWORTH'S CAR - NIGHT

Nicole is in the passenger seat.

NICOLE
The next left and stop in front of the hotel.

EXT. CITY - NIGHT

Bertrand follows her instructions.

INT. HODGEWORTH'S CAR - NIGHT

Nicole opens the door.

BERTRAND
Can you come over when you're done for the night?

NICOLE
I don't think so.

BERTRAND
I want to pay, I mean.  You could spend the night.  I know how much 
it costs.

NICOLE
I won't be through til almost three.

BERTRAND
Will you be hungry?

NICOLE
Well, if you're cooking, make it two-thirty.

She smiles and gets out.

INT. HODGEWORTH'S HOUSE - BEDROOM - NIGHT

An ALARM CLOCK goes off in the dark bedroom.

Bertrand switches on the bedside lamp.  A clock reveals that it's 
one-thirty in the morning.

INT. KITCHEN - NIGHT

Bertrand is mixing eggs for an omelette.  

INT. DINING ROOM - NIGHT

He's setting the table with his best ware.  Clearly he's trying 
to make an impression.  

Candles are the finishing touch.

INT. KITCHEN - LATER - NIGHT

Bertrand is dishing up breakfast.

He calls into the dining room.

BERTRAND
No peeking!

INT. DINING ROOM - NIGHT

He comes into the dining room with two plates.

Nicole has her eyes shut, and he puts one plate in front of her.

BERTRAND
Okay.

She opens her eyes.

BERTRAND
I hope you're hungry.

NICOLE
Famished.  You do good work.

BERTRAND
I try to.

Nicole takes a bite.

NICOLE
Umm, wonderful!  Maybe I'm going to have to give you a discount 
tonight.

BERTRAND
Doesn't matter.  You're worth every penny.

NICOLE
Your mood has certainly changed.

BERTRAND
Talking to the police was a relief.  I should've told them who I was 
in the first place. It's no crime to find the body.  It just shook 
me up.   

EXT. HODGEWORTH'S HOUSE - DAY

A police car pulls up outside.  TWO OFFICERS get out and go to the 
door.

One rings the doorbell.
INT. KITCHEN - DAY

Nicole is making coffee.  She's only partially dressed.  

She hears the doorbell.
INT. LIVING ROOM - DAY

Nicole enters and carefully goes to the window, peeking to see who 
is on the porch.

Seeing police, she rushes out of the room.

INT. BEDROOM - DAY

Nicole hurries in.  Bertrand is reading in bed.

NICOLE
The police are at your door.

She quickly starts to dress.

BERTRAND
What are you worried about?

NICOLE
What I do is against the law, remember?

BERTRAND
I'll take care of it.

EXT. PORCH - DAY

An officer knocks loudly on the door, which quickly opens.  
Bertrand is wearing his robe.

BERTRAND
Good morning.

POLICE OFFICER
Mr. Hodgeworth?

BERTRAND
Yes.

POLICE OFFICER
We need you to come down to the station with us.

BERTRAND
What for?

POLICE OFFICER
We can arrest you if necessary, sir.  You'd better get dressed.

INT. POLICE STATION - INTERROGATION ROOM - DAY

Bertrand is being questioned by HAMILTON, 40s, a veteran on the force.  
Other officers look on.

HAMILTON
Let me see if I have this right, professor.  You went over to Mr. 
Constantino's apartment in order to ask him about a paper he had turned 
in to you.  You found him dead.  You left the scene and called from a 
pay phone to report the body, but didn't identify yourself.  Is that 
your statement?

BERTRAND
Yes.


HAMILTON
You know a Mr. Allen Summers?
BERTRAND
Why yes - he was going to lease my house while I was in London.

HAMILTON
He changed his mind?

BERTRAND
No, I changed mine.  He was very angry about that.

HAMILTON
Maybe that explains why he was following you.  He says he saw you go 
to the condo, and when you came out you looked very upset.

BERTRAND
Of course I was upset!  I've never seen a dead body before.

HAMILTON
Mr. Summers came to us because he thought maybe you had some kind 
of accident in there.  Did you and Constantino have an argument?

BERTRAND
He was already dead when I got there.

HAMILTON
Does the name Nicole Love mean anything to you?

Bertrand is silent.

HAMILTON (CONT'D)
Reason I ask, her business card was in Constantino's wallet with your 
name  scribbled on the back.

BERTRAND
I'm afraid I don't know her.

EXT. POLICE STATION - DAY

Bertrand comes out of the police station and starts walking down the 
street.

INT. POLICE STATION - FRONT DOOR - DAY

Hamilton and another OFFICER watch the professor move down the sidewalk.

HAMILTON
I think he's clean.  I still want you to be his shadow for a few days.

EXT. HODGEWORTH'S HOUSE - DEN - NIGHT
Bertrand is stretched out on the divan, reading and grading papers.

He picks up Zale's paper, which is bound by a folder.

INSERT: TITLE

The title of Zale's paper is

                    WILLIAM BLAKE'S FUNERAL:
                      IN HEAVEN OR HELL?
                              by
                    Zale G. Constantino III

BACK TO SCENE

Bertrand fiddles with the paper in his hand, as if curiosity and 
practicality are wrestling for his attention - to read the paper or 
not?

Then he feels something strange.

His fingers feel something out of place on the report cover.  His 
thumb and forefinger press to make sure.

Bertrand opens the back inside cover of the paper.

Tape covers something up.  Bertrand carefully dislodges the tape 
and underneath is:

A key.

EXT. MAUREEN'S HOUSE - NIGHT

Bertrand pulls up and parks.  

Cruising behind him, an UNDERCOVER POLICEMAN parks.

Parked on the street, Hawkins watches both. 

INT. HAWKINS' CAR - NIGHT

Hawkins recognizes the undercover policeman.  He starts the engine.

EXT. MAUREEN'S HOUSE - NIGHT

Hawkins pulls away.  The undercover policeman watches him go.

Then he turns his attention to watching the house.

INT. MAUREEN'S HOUSE - DINING ROOM - NIGHT

Bertrand sits with Nicole and Maureen at the dining room table.  
Nicole is looking at the key.

BERTRAND
I didn't know if it was important or not.

Nicole holds the key.

NICOLE
Have you told the police?

BERTRAND
No.  I came straight here.  It's all very peculiar, isn't it?

NICOLE
Yes, it is.

MAUREEN
May I see it?

Nicole hands it to her.

MAUREEN (CONT'D)
Zale mentioned having a locker once.

NICOLE
Maybe that's the key.

BERTRAND
A locker where?

MAUREEN
He didn't say.

BERTRAND
Is there a way to find out?

NICOLE
Bertie, are you sure you should be getting involved in this?

BERTRAND
You're right, I shouldn't be. 

NICOLE
I think we should give the key to the police.

BERTRAND
Would they believe me, that he taped it onto the cover of his term 
paper?

NICOLE
Probably not.

MAUREEN
We could mail it to them.

NICOLE
That would work.  Bertie?

BERTRAND
Why not?

MAUREEN
I have a client in an hour.  I could mail it on my way.

EXT. MAUREEN'S HOUSE - NIGHT

Nicole is seeing Bertrand off.

BERTRAND
After I turn in my grades, I'd like to take a trip with you.

NICOLE
Bertie...

BERTRAND
For a few days.  I can pay for them.

NICOLE
You can't afford me.

BERTRAND
That's my concern, not yours.  Have you ever been to Ruby Island?

NICOLE
Not recently. We'll talk about it later, okay?

She kisses him on the cheek and goes back inside.

Bertrand walks to his car.

Down the street, the undercover policeman is watching every move.

Bertrand's car pulls out.  The undercover car gives it a half-block 
head start, then follows behind.

INT. MAUREEN'S HOUSE - NIGHT

Nicole enters to find Maureen waiting for her.

MAUREEN
I can't believe Zale stole the key.

NICOLE
It gave him leverage.

MAUREEN
Is the professor going to be a problem?

NICOLE
He's as innocent as a baby.  Our problem is Jacob.

MAUREEN
I have an idea.  It's pretty far-out.

NICOLE
Those can be the best kind.

INT. HODGEWORTH'S HOUSE - NIGHT

Bertrand enters his house and turns on the light.

INT. DEN - NIGHT

The professor enters the den - and finds Hawkins waiting for him.

HAWKINS
I let myself in.  I hope you don't mind.

BERTRAND
I most certainly do mind.  Do you leave voluntarily or do I call 
the police?

HAWKINS
You sound braver than you look.

BERTRAND
Who are you?

HAWKINS
We have a connection, professor.  Zale Constantino.  

BERTRAND
What about him?

HAWKINS
May I have a drink?  I've shown admirable restraint not helping myself.

BERTRAND
I'm showing restraint not calling the police.

HAWKINS
I don't think you want to get involved more than you already are.  
I'll take Scotch if you have it.

Bertrand moves to the bar and will fix them both drinks.

BERTRAND
I'm not involved at all.  He was my student.  Nothing more.

HAWKINS
I know you both frequented the same house for what your University 
president might call "illicit activity."  Getting your rocks off, in 
other words.

BERTRAND
How do you know that?

HAWKINS
I have photographs, professor.  So let's quit pretending.  You're 
a client of one or both of the two lovely young entrepreneurs at the 
house in question, and as far as I'm concerned, that's your business.  
I'm here to talk about your student.  Ex-student. 

BERTRAND
What do you want from me?

HAWKINS
I'm not sure.  Maybe nothing.

BERTRAND
Where does that leave us?

HAWKINS
Feeling each other out.  Sometimes two heads are better than one.  
I can tell you what I know, you can tell me what you know.

BERTRAND
I already told you, I don't know anything.

EXT. MAUREEN'S HOUSE - NIGHT

A car pulls up and Jacob gets out, going to the door.

He rings the bell.  The door opens and Maureen comes out. 

They get into Jacob's car, which pulls away.

INT. HODGEWORTH'S HOUSE - DEN - NIGHT

Bertrand and Hawkins are in the den, sipping drinks.

HAWKINS
The woman's being romanced by Jacob Brussman, the high tech CEO.  
I say "romanced" deliberately.  I think he's more than a client. 
I think he's a plant.

BERTRAND
I'm not sure what you mean.

HAWKINS
He works for the police.  At least I followed him to police 
headquarters right after he had a rendezvous with her.  He's 
probably getting evidence for a bust.

BERTRAND
What does this have to do with Zale's death?

HAWKINS
I told the kid what I knew.  Sometimes a little knowledge is a 
dangerous thing.

BERTRAND
I remember something.  Zale brought flowers to her, with a note 
of apology.  He said Brussman was out to hurt her.

HAWKINS
So Zale told at least one person he was on to him.  He might have 
told one person too many.

EXT. CITY - STREET - NIGHT

Jacob's car drives in light traffic.

INT. CAR - NIGHT

Jacob turns to Maureen beside him.

JACOB
You're sure this is what you want to do?

MAUREEN
Positive.  The sooner I'm out of here, the better.

She slides closer beside him and kisses him on the neck.

EXT. HODGEWORTH'S HOUSE - NIGHT

Bertrand is seeing Hawkins out.

BERTRAND
If I think of something else, I'll be in touch.

HAWKINS
Likewise, I'm sure.

Hawkins heads for his car.

INT. HODGEWORTH'S HOUSE - NIGHT

Bertrand enters to a ringing telephone.  He picks it up.

BERTRAND
Hello?...I was just going to call you....I'll be right there.

INT. COCKTAIL LOUNGE - NIGHT

Bertrand sits down at a corner table across from Nicole.

BERTRAND
You sounded terrible on the phone.

NICOLE
Bertie, I need your help.  Only I'm afraid when you hear what I 
have to say, you'll walk out and never want to see me again.

BERTRAND
I wouldn't do that.

NICOLE
I shouldn't be talking like this with a client.

BERTRAND
Sometimes I feel like more than a client.  I have news, too.  
I think the police are on to you.

NICOLE
How?

BERTRAND
Jacob is a plant.

NICOLE
Who told you that?

BERTRAND
A detective to me.  Zale hired him to follow Jacob and Maureen.  
Jacob's been gathering evidence to bust you.

NICOLE
Actually it doesn't surprise me.

She reaches across the table and takes his hand.

NICOLE
Don't judge me until you hear everything I have to say.  I want you 
to promise me.

BERTRAND
I promise.

NICOLE
Maureen and I went into this together to make a lot of money in a hurry.  
And we have.  A lot.

BERTRAND
Business is that good?

NICOLE
We've been involved in more than you know.  More than I'm going to 
tell you.  Trust me, we have quite a bankroll saved up.

BERTRAND
What's this have to do with me?

NICOLE
I think Maureen cut a deal with Jacob to turn on me, testify against me, 
to save her own skin.  I think part of their deal is that she's going 
to get to keep some of the money.

Nicole opens her purse and takes out a passport.  She puts it on the 
table in front of Bertrand.

NICOLE
Open it.

Bertrand does: the passport belongs to Maureen.

NICOLE (CONT'D)
I found it tonight.  Why would she get a passport unless she's leaving 
the country?  They're moving really quickly, Bertie. They're together 
right now, maybe planning her escape.

Their eyes lock for a moment.

BERTRAND
What do you want me to do?

EXT. TRAIN STATION - NIGHT

Jacob's car pulls into a short-term parking space at the train station.  
Jacob and Maureen get out.

INT. TRAIN STATION - NIGHT

They enter and walk briskly to an area of lockers. 

Maureen walks straight to a locker, inserts the key and opens the door.  
She takes out an athletic bag.  Jacob reaches out for the bag but 
Maureen keeps hold of it.

They turn and move away as quickly as they entered.

EXT. MAUREEN'S HOUSE - NIGHT

Jacob's car pulls up outside the house.

INT. CAR - NIGHT

Maureen reaches for the door handle and with her other clutches the 
athletic bag, which is on the seat between them.

MAUREEN
Give me a few minutes.

JACOB
Leave this.

He puts his hand on the athletic bag.

MAUREEN
You have to trust me, Jacob.

JACOB
I could say the same thing about you.

MAUREEN
If I lose this, I lose everything. You still have your company.  So 
who's more at risk here?

Jacob releases his grip and smiles.

JACOB
Of course I trust you.

He bends toward her, and they kiss.

EXT. MAUREEN'S HOUSE - NIGHT

Maureen gets out of the car and goes to the door.

INT. MAUREEN'S HOUSE - NIGHT 

Maureen comes in and flips on a light in the foyer.  Carrying the bag, 
she moves toward a hallway.

INT. MAUREEN'S HOUSE - BEDROOM - NIGHT

She comes into her bedroom, turning on the light.  She tosses the bag 
onto the bed.

She goes to a closet and takes out a packed suitcase.  She puts it on 
the bed next to the athletic bag.

Then Maureen goes to a chest and opens a drawer.  She reaches under 
some folded things.

She stops.  She can't find what she's looking for.

She goes through the things more aggressively, tossing some out onto 
the floor.  Nothing.

She goes through all the drawers, still not finding what she wants.

A moment of panic.  Leaving the athletic bag on the bed, she hurries 
out of the room.

As soon as she's gone, Bertrand steps out of a second closet.  He 
goes quickly to the bed and grabs the athletic bag.

But now what?  He moves cautiously toward the door.

INT. MAUREEN'S HOUSE - LIVING ROOM - NIGHT

Maureen is going through a desk, still looking for something.  Her 
movements are sudden, increasingly tense and panicked.

Behind her, we see Bertrand appear in a hallway, then duck back out 
of sight.

Maureen stops.  Something important is missing - and it must have 
been taken. 

Maureen moves quickly to the front door.

Behind her, Bertrand moves through the hallway for the rear of the house.

EXT. MAUREEN'S HOUSE - FRONT - NIGHT

Maureen comes out, hurrying to the car.

EXT. MAUREEN'S HOUSE - BACK - NIGHT

Bertrand comes out carrying the athletic bag.  He moves across the 
rear lawn, heading for a driveway that leads to the adjacent street.

INT. JACOB'S CAR - NIGHT

Maureen gets in.

MAUREEN
My passport's missing.

JACOB
Where's the bag?

They exchange a troubled glance.  Both move for the door at the same 
time.

INT. HODGEWORTH'S CAR - NIGHT

Hodgeworth's car is parked on the adjacent street.  He gets in behind 
the wheel.

INT. HODGEWORTH'S CAR - NIGHT

Nicole is in the passenger seat.  

Bertrand hands her the athletic bag.  He puts the key in the ignition.

BERTRAND
Where to?

NICOLE
Your place might not be safe.  You have anything against the Hilton?

INT. MAUREEN'S HOUSE - BEDROOM - NIGHT

Maureen and Jacob stand in the bedroom, staring at the empty bed.

JACOB
She was here.

MAUREEN
She couldn't have been.

JACOB
Who else could it be?  She could've been in a closet.  You check all 
the closets?

MAUREEN
No.

INT. HILTON - BEDROOM - NIGHT

Bertrand and Nicole are making love.  Once again, Bertrand is a fire 
of erotic energy, a transformed man from his earlier reserve.

INT. HILTON - BEDROOM - LATER - NIGHT

Nicole is asleep.

Bertrand is awake, staring at the ceiling.  He turns to Nicole.  
She breathes deeply.

Bertrand gets out of bed, careful not to wake her.  He goes across 
the room.

The athletic bag rests on a chair.  He turns to make sure Nicole is 
still sleeping.  Then he carefully opens the bag.

Money.  Bundles of hundred dollar bills. More money than he has ever 
seen before.  He stares at it a long time.

Nicole makes a sound in her sleep.  Bertrand turns in panic.  Her 
breathing gets steady again.

He once again stares down at the money.  He's thinking.

EXT. HILTON HOTEL - DAY

Nicole comes out, carrying the athletic bag.  She hails a cab.

INT. HILTON - BEDROOM - DAY

Bertrand stirs.  He wakes up enough to understand he is alone in bed.  
He sits up.

BERTRAND
Nicole?

INT. HILTON - MAIN ROOM - DAY

He comes into the main room of the suite.  There's no sign of Nicole.

EXT. HILTON - DAY

Bertrand comes out of the hotel.

INT. HODGEWORTH'S HOUSE - DAY

The professor opens the door and enters his house.  The phone is ringing.

Bertrand stares at it a moment before picking up.

BERTRAND
Hello?

EXT. STREET - PHONE BOOTH - DAY

Nicole stands at a phone booth on a city street.

NICOLE
Good, you're there.

INTERCUT PHONE CONVERSATION

NICOLE
When they said you'd checked out, I was worried.

Bertrand is silent.

NICOLE
Bertie?

BERTRAND
You're the one who checked out.  To be honest, I'm surprised to hear 
from you.

NICOLE
You always think I'm flying the coop.  You have to trust me, Bertie.  

BERTRAND
I know what's in the bag, Nicole.  I opened it while you were sleeping.  

NICOLE
I all but told you what was in it.  Bertie, if I was running out on 
you, why would I be calling?

BERTRAND
That's what I'm asking myself.

NICOLE
Because I still need your help.

BERTRAND
I shouldn't get involved in this.

NICOLE
I know.  That's why I don't want to tell you the gruesome details.  
I want you to trust me for a few days.  Can you do that?

BERTRAND
I'm not sure.

NICOLE
You want to be with me, don't you?

He doesn't reply.

NICOLE (CONT'D)
We could take that trip to Ruby Island.  I'll pay for everything.

BERTRAND
Money isn't the issue.

NICOLE
I need to hide out for a few days.  It'd be a hell of a lot more fun 
with you around.

BERTRAND
I have a final exam to give.

NICOLE
Can't someone else give it for you?

EXT. FERRY DOCK - DAY

Cars line up to board a ferry.  Among them is Hodgeworth's car.

INT. HODGEWORTH'S CAR - DAY

Nicole sits close to Bertrand, like a teenager with her beau.  She 
plays with the nape of his neck.

Bertrand stares ahead, a million miles away.

EXT. UNIVERSITY - STREET - DAY

Jacob's car parks, and Jacob and Maureen get out.

INT. UNIVERSITY BUILDING - HALLWAY - DAY

Jacob and Maureen move down a hallway.  Finally they come to an open 
door.

Joe sits at his office desk.

JACOB
Excuse me.  We're looking for Prof. Hodgeworth's office.

JOE
His office is five or six doors down.  But he called in sick.

JACOB
Thank you.

They still move down to Hodgeworth's office.  Jennifer, the co-ed 
from before, is sitting in the hallway outside.

JACOB (CONT'D)
Are you waiting for Prof. Hodgeworth?

JENNIFER
He's late for his office hours.

JACOB
He called in sick.

JENNIFER
Do you know what's wrong with him?

JACOB
Sorry.

They move back down the hallway.  As they approach Joe's office, he 
comes out to meet them.

JOE
May I ask what your business with Prof. Hodgeworth is?

JACOB
You can ask, but that doesn't mean I'll tell you.

JOE
I'm worried about him.  I was wondering if he's in some kind of trouble.

Jacob, seeing an opportunity, will wing it now.

JACOB
Well, yes, it definitely is about a matter that demands his immediate 
attention.

JOE
What kind of matter?

JACOB
A financial matter.  That's all I can tell you.  We stopped by his house.  
Did he mention being in a hospital?

JOE
No.  You're not police or something, are you?

JACOB
Actually I'm his lawyer.

He offers his hand.

JACOB (CONT'D)
Stan Reilly.  My assistant, Miss Denver.

MAUREEN
Hello.

JACOB
This is a pressing legal matter, which is why I'm so troubled that 
I can't find him.

JOE
He's not ill.  He asked me to give his final exam for him, so he could 
get a head start on vacation.

JACOB
Do you know where he's going?

JOE
Can you tell me what kind of trouble he's in?  I get the impression 
it's something serious.

JACOB
Not as serious as it will be if I don't find him.

JOE
He said he was catching the ferry to Ruby Island today.

EXT. FERRY - DAY

The ferry is crossing to an island in the distance.  The sun is bright, 
and a mild sea wind blows.

Bertrand and Nicole stand at a railing, looking out across the sea.

NICOLE
A penny for your thoughts.

BERTRAND
This must be what an addiction is like.

NICOLE
I'm not sure I understand.

BERTRAND
I've become addicted to you.

NICOLE
I'm flattered.

BERTRAND
I have no logical reason to be here - except that it lets me be with 
you, with the possibility of making love to you, and I seem to have 
no will power to say no to that.

NICOLE
Does that have to be a bad thing?

BERTRAND
I don't' know what it is.  I've never felt this way before.  I frighten 
myself.

NICOLE
Maybe I've just tapped something that was there all along.

BERTRAND
I can't stop thinking about you.  I close my eyes, and I see you.  I 
smell you.  I feel your skin.

Nicole reaches up and turns his face to her.  They kiss.

EXT. RUBY ISLAND - STREET - DAY

The outdoor market on Ruby Island.  

Vegetable bins line the sidewalk, which is packed by tourists.  Among 
the tourists, we see Allen and Jessie, the couple who wanted to rent 
Bertrand's house.

Musicians and other entertainers perform at every corner to a large 
crowd.

Bertrand and Nicole are watching a JUGGLER do his routine.  He has four 
balls in the air at once.

They smile and applaud, then continue on their way, walking hand-in-hand.

They move from the vegetable market into open stalls of clothing, 
jewelry and other wares.  Bertrand sees a pair of earrings he likes 
and has Nicole try them on.  He buys them.

Passing by, but not noticing Bertrand, are Allen and Jessie.

At another stall, Nicole buys Bertrand a loud tie.

INT. HOTEL ROOM - BALCONY - EVENING

Bertrand and Nicole sip wine from their balcony overlooking the busy 
street below.  Bertrand is wearing a bright shirt and the new tie, 
looking pretty hip for a change.

NICOLE
God, it's wonderful here.

She moves to the small table on the balcony.

NICOLE (CONT'D)
Bertie?  Can we talk?

He joins her at the table.  He takes the bottle from an ice bucket 
and refills their glasses.

NICOLE
Thank you.  To a very special couple of days.

They clink glasses.

NICOLE
You said you feel addicted to me.  I want that to be a good thing, 
not something that makes you do things against your better judgment.

BERTRAND
We don't have to talk about this.

NICOLE
I know.  I'm not telling you more than I want you to know, believe me.  
I just appreciate what you're doing.

BERTRAND
May I ask you something?

NICOLE
Of course.

BERTRAND
Do you really plan to go to law school?

NICOLE
Yes.  It's been a dream of mine for a long time.  But I never imagined 
I could afford it until I put two and two together - and got five.

BERTRAND
I don't understand what you mean.

NICOLE
I was a poor high school girl from a broken home, Bertie.  How could I 
pay for college when most of the time I didn't even know how to put food 
on the table?  I had no talent to speak of, except my brain.  That's 
when I met Maureen.  I was working as a waitress after graduating from 
high school, and so was she.  She also couldn't afford college.  
Maureen has a much better head for business than I do.  When she came 
up with the plan, I thought she was crazy.  I didn't think she was 
immoral or anything like that.  I just didn't think it would work.  
I assumed we'd be arrested, I'd turn to drugs, all the stuff you read 
about prostitution.  It didn't occur to me that I could sell my body 
with all the rational planning that any business owner puts into 
marketing a product.  And, of course, what I'm selling has been in 
high demand since the beginning of time.  No product has a more stable 
economic history.

A silence.

NICOLE (CONT'D)
Poor Bertie doesn't know how to compute this.  You disapprove.

BERTRAND
I don't know how I feel.  

NICOLE
As soon as things cool down a little, I'm leaving the country for 
a while.  I'm glad I'm spending my last days with you, Bertie. You're 
very comfortable to be around.

She leans forward and kisses him.  And again.  Finally he starts 
kissing back.

EXT. ISLAND - FERRY DOCK - DAY

Jacob's car pulls off the ferry.  Maureen is sitting beside him.

Several cars back, Hawkins' car follows.

EXT. SIDEWALK CAFE - DAY

Bertrand and Nicole are having a late breakfast.

Across the way, a WAITER leads Allen and Jessie to a table.  They sit 
down and pick up their menus.

JESSIE
Mary recommended the Eggs Benedict.

ALLEN
I'm in a cornbeef hash mood.

Looking across the way, he sees Bertrand.

ALLEN (CONT'D)
Jesus Christ.

JESSIE
What is it?

ALLEN
Hodgeworth is sitting across the way.  Don't turn around.  He's with 
someone young enough to be his daughter.

JESSIE
Then he must have been cleared.

ALLEN
Or he's on the run.  Maybe I should call the police.

JESSIE
You don't know he's on the run.

ALLEN
I know the police were interested in him.

JESSIE
And probably let him go.

ALLEN
What if he's just out on bail or something?  We don't know what's going 
on.  Better safe than sorry.

He gets up.

JESSIE
Allen, don't cause a scene.

ALLEN
I'm just going to make a phone call.

He moves off to find a phone.

EXT. ISLAND - STREET - DAY

Jacob's car is cruising the street.

INT. JACOB'S CAR - DAY
Jacob drives.  Maureen combs the sidewalk crowded with tourists.

MAUREEN
Talk about your needle in a haystack.

Jacob doesn't reply.

INT. HAWKINS' CAR - DAY

Hawkins is following Jacob and Maureen.

EXT. STREET - DAY

Jacob's car moves through a yellow light, and Hawkins has to stop.

INT. HAWKINS' CAR - DAY

He taps his fingers on the steering wheel.  He idly looks around.

And that's when he sees Bertrand and Nicole sitting at a table at 
the sidewalk cafe.

Across the street, a car pulls out of a parking place.

Hawkins maneuvers a U-turn to take it, ignoring the horns of protest 
that greet him.

EXT. STREET - DAY

Hawkins gets out.  A driver swears at him.

EXT. SIDEWALK CAFE - DAY

Bertrand and Nicole have started eating.

Across the way, Allen and Jessie have also started eating.  Allen can't 
take his eyes off Bertrand.

JESSIE
Don't let him ruin our vacation.

ALLEN
I'm still so goddamn mad over what he pulled.

JESSIE
I love the place we found.  I think losing his house was a blessing 
in disguise.  How's the hash?

ALLEN
Great.

But he doesn't look like it's great.  He looks like he'd rather go 
across the patio and bop the professor in the nose.

EXT. SIDEWALK CAFE - BERTRAND AND NICOLE - DAY

They are silently eating when Hawkins sits down in the chair between 
them.

HAWKINS
Surprise.

BERTRAND
What are you doing here?

HAWKINS
I don't believe we've met.

NICOLE
I'm Nicole.  And you are ...?

HAWKINS
Sam.

BERTRAND
He's the detective I was telling you about.

NICOLE
Really?  It must be fascinating work.

HAWKINS
Not nearly as fascinating as yours.

BERTRAND
I asked what you were doing here.

HAWKINS
I was led by the nose, so to speak.  If I didn't know better, I'd 
think Maureen and Brussman were looking for you two.

NICOLE
They're here?

HAWKINS
I ain't here for the bargains, lady.

Nicole suddenly gets up.  As she starts away, Bertrand follows - 
and Hawkins is right behind them.

EXT. SIDEWALK CAFE - DAY

Across the way, Allen sees this.

ALLEN
Shit.  I think they've been tipped off.

He stands up.

JESSIE
Allen!

But he joins the parade, leaving Jessie no choice but to become 
the caboose.

EXT. STREET - DAY

Nicole is walking as fast as she can, heading back to the hotel.  
Bertrand catches up with her.

BERTRAND
I don't think you can get a ferry til late this afternoon.

NICOLE
Shit.  

BERTRAND
I want to help.

NICOLE
Then figure out how to get me off this goddamn island.

They continue on.  Behind them comes Hawkins - and some ways behind him, 
Allen and Jessie.

INT. HOTEL ROOM - DAY

Nicole barges into the room, with Bertrand right behind her.

BERTRAND
Dye your hair.  Cut it.  

Nicole stares at him.

BERTRAND
They may not even find us.  We're registered under William Blake. 
Nicole, the island is filled with how many thousands of tourists now?  
They're looking for a needle in a haystack.  And besides, wouldn't the 
dock be the first place they'd check, to see who's leaving the island?

There's a knock on the door.  Nicole is tense.

BERTRAND (CONT'D)
It's probably Hawkins.  Shall I send him away?

NICOLE
Do you trust him?

BERTRAND
I barely know him.

She goes to the door.

NICOLE (CONT'D)
Who is it?

HAWKINS (O.C.)
Sam.

She opens the door, and Hawkins steps in.

HAWKINS (CONT'D)
The next ferry is this afternoon.

NICOLE
You're leaving so soon?

HAWKINS
I thought you were.

NICOLE
Not a chance.

Hawkins is puzzled by the remark.  He looks to Bertrand for an 
explanation but gets none.

EXT. HOTEL - STREET - DAY

Allen and Jessie are on the street outside the hotel.

ALLEN
Come on, let's get the police.

JESSIE
Can't you let it rest?

ALLEN
The asshole may be a murderer!

He storms off to find a phone, and Jessie hurries behind.

Jacob's car passes the hotel, cruising.

INT. CAR - DAY

There is visible stress in the car.

JACOB
How the fuck could you let the bag out of your sight?

MAUREEN
This is not entirely my fault.  I wanted to pick it up on the way to 
the airport.  If we'd've done that, I wouldn't have taken it into the 
house in the first place.

Jacob glares at her.  

Maureen turns away and continues looking out the window for them.

INT. HOTEL - FRONT DESK - DAY

Bertrand is talking to the DESK CLERK.

DESK CLERK
We can send up a hairdresser right away, sir.

BERTRAND
Thank you.

Hawkins is waiting behind, and Bertrand joins him.

HAWKINS
Time for a quick drink?

INT. HOTEL - BAR - DAY

They sit in a corner booth.  A WAITER is quickly there.

WAITER
Something to drink, gentlemen?

HAWKINS
Jack Daniels on the rocks.

BERTRAND
Nothing for me.

WAITER
Very good.

HAWKINS
On your good behavior?

BERTRAND
I want you to leave us alone.  We know nothing and have nothing that 
you want.

HAWKINS
Well, dumb me.  I figured you were too respectable to get involved.  
You're trying to protect her, aren't you?

BERTRAND
I'm not involved, and she's not involved.

HAWKINS
You're thinking with your dick here, professor.

Bertrand gets to his feet.

BERTRAND (CONT'D)
I mean it.  If I see you following us, I'll call the police.

HAWKINS
Right.  Just who you want to talk to.

Bertrand strides away as Hawkins watches.

EXT. ISLAND - STREET - DAY

Allen is talking to a POLICEMAN on the street.

POLICE OFFICER
Unless you want to make a formal complaint, sir, there's no reason 
for me to arrest him.

JESSIE
Allen, let it go.

POLICE OFFICER
She's right, sir.  Nothing comes up on the computer.

Allen looks disgusted at the situation.

INT. HOTEL ROOM - DAY

Bertrand sits in a chair with his eyes closed.

NICOLE (O.C.)
Just a minute more!

Nicole enters: and we barely recognize her, her hair is so different.  
She's also has "dressed down" to complete the disguise.

NICOLE
Open them.

Bertrand opens his eyes.  He stares at her.

NICOLE
Oh God ... you hate it.

BERTRAND
No.  I like it.

NICOLE
Really?

BERTRAND
You look like one of my students.

She kisses him.

INT. POLICE STATION - DAY

Hamilton is on the phone.  He calls a general question for the room.

HAMILTON
How far up the coast is Ruby Island?

POLICE OFFICER
Three, four hours.

Hamilton is back on the phone.

HAMILTON
I can leave in about an hour....Right.

He hangs up.

INT. MOTEL ROOM - DAY

Jacob also puts down the phone - and just in time.  Maureen comes in 
from the bathroom, a towel wrapped around her head after a shower.

MAUREEN
Find out anything?

JACOB
No luck.  Of course, he probably registered under a phony name.

INT. POLICE STATION - DAY

Hamilton is collecting some papers from his desk.

POLICE OFFICER
What's up?

HAMILTON
It was Brussman.  The professor took the girl to Ruby Island.  He 
thinks they'll lay low for a few days.  Tell me, how can a college 
teacher afford something like that?  

INT. MOTEL ROOM - BALCONY - DAY

Maureen and Jacob are on the balcony, sipping drinks.

MAUREEN
I noticed a convenience market down the block.  You need anything?

JACOB
Maybe another bottle of wine.  Doesn't look like there's anything we 
can do tonight.

She gets up and enters the room.

Jacob watches her through the sliding door.  When she's gone, he gets 
up quickly.

EXT. MOTEL - STREET - DAY

Maureen comes outside.  Suddenly her demeanor has changed, she looks 
like someone looking for an escape route.

She heads up the street on foot.

After a moment Jacob comes out.  He sees Maureen up the street and 
hurries off to follow her.

Maureen, meanwhile, comes to a corner where she spots a cab.  She is 
able to hail it.

Seeing this, Jacob stops dead in his tracks.  She got away. 

INT. CAB - DAY

Maureen is dialing a number on a cellular phone.

INT. HOTEL ROOM - DAY

Nicole is in the room, stretched out on the bed.  Through the sliding 
door we see Bertrand out on the deck.

A cell phone rings from Nicole's purse.  She races for it, answering 
as quickly as she can.

She checks to make sure Bertrand didn't hear it.  He didn't.

She answers softly.

NICOLE
Hello?

EXT. HOTEL ROOM - DECK - DAY

The sliding door opens, and Nicole steps out to join Bertrand.

NICOLE
Can I twist your arm for another favor? 

BERTRAND
What is it?

NICOLE
When we were in the market, I saw a purple scarf that I wish I'd bought.  
Remember me trying it on?

BERTRAND
I told you to buy it.

NICOLE
I should have.  Now I'm afraid to go out.

BERTRAND
I can use some fresh air.  I'll bring back dinner-to-go. 

NICOLE
You're a sweetheart.

EXT. FERRY - DAY

Hamilton is on the ferry deck, talking on his cellular phone.

HAMILTON
There's one thing in our favor: there's only one way off the island.

EXT. MOTEL ROOM - DAY

Jacob is on the phone.

JACOB
I'll see you soon then.

He hangs up.

EXT. ISLAND - MARKET - DAY

Bertrand is walking through the market area.

He finds the shop carrying the purple scarf and buys it.

On his way out, he suddenly faces Allen and Jessie.

ALLEN
Well, look who's here.  

JESSIE
Allen, let's go.

ALLEN
This will only take a second.

He swings and hits Bertrand squarely on the jaw.  Bertrand falls.

Jessie hustles her husband out of there.

A MAN passing by stoops to see how Bertrand is doing. He's not quite 
out, beginning to get his bearings.

INT. HOTEL ROOM - DAY

Nicole is packing.

EXT. HOTEL ROOM - DAY

She comes out carrying a suitcase. 

Out of a nearby doorway steps Maureen.

MAUREEN
Nicole.

They meet and quickly embrace.

MAUREEN (CONT'D)
There's a ferry in an hour.  

NICOLE
This way.  He left his car.

They move down the street to Bertrand's car.  It's locked, but the 
front window is cracked open.

Nicole sees a TEENAGE BOY walking down the street.  She approaches 
him sexily, and they talk.

EXT. STREET - LATER - DAY

The teenage boy successfully unlocks the door with a coat hanger.

NICOLE
Thank you so much.  I hate to trouble you some more - but I lost my 
keys.

EXT. FERRY DOCK - DAY

Hawkins stands along the ferry dock, gazing out at the ferry in the 
distance.  His car is parked nearby.

EXT. FERRY - AT SEA - DAY

On the ferry, Hamilton watches the approaching but still distant dock.

EXT. FERRY DOCK - DAY

Hawkins turns from the sea to notice Jacob pull up into the line of 
cars waiting for the ferry.  He stares at Jacob's car with a hard stare.

EXT. ISLAND - STREET - DAY

Bertrand's car moves down a street.

INT. BERTRAND'S CAR - DAY

Nicole is driving.

MAUREEN
I had no idea something like that was so easy.

NICOLE
Kids today can do anything.

INT. HOTEL ROOM - DAY

Bertrand comes into the room.  He carries a paper sack with food and 
the scarf.

He moves through the room, looking for Nicole.

The phone starts ringing.  He picks it up.

BERTRAND
Hello?

INTERCUT PHONE STATION
Hawkins is calling from a pay phone at the dock.

HAWKINS
This is Sam.  Jacob's here waiting for the ferry.  He's alone.

BERTRAND
Why would he be leaving?

HAWKINS
Beats me.  Maybe he's meeting somebody.  You best get out of there.

BERTRAND
Why are you telling me this?

HAWKINS
I think you're in over your head, professor.  I hate to see an innocent 
man get hurt.  Is Nicole still there?

Bertrand doesn't reply.

HAWKINS (CONT'D)
I didn't think so.  They're leaving you holding the bag, professor.  
If you don't get the hell out of there, it's gonna work.

INT. HOTEL ROOM - DAY

Bertrand sets down the receiver.  He thinks a moment, then picks up 
the phone again.

EXT. ISLAND - STREET NEAR DOCK - DAY

Nicole pulls over to the side of the road.  A block ahead, we see 
the ferry dock and a line of cars waiting to board.

INT. BERTRAND'S CAR - DAY

MAUREEN
What are you doing?

NICOLE
Double-checking.  Wait here.

EXT. STREET - DAY

Nicole gets out and starts walking toward the dock.

EXT. HOTEL - DAY

Bertrand comes out.  He steps into a cab.

EXT. FERRY DOCK - DAY

Nicole carefully approaches the dock, scanning the line of cars.

And then she recognizes Jacob's car off to the side.  Jacob stands 
beside it, peering out at the approaching ferry.

Nicole turns and hurries away back toward the car.

INT. BERTRAND'S CAR - DAY

Nicole gets in.

NICOLE
Jacob's waiting for the ferry.

MAUREEN
Jesus.  What do we do now?

NICOLE
Or he may be waiting for someone.  If he doesn't board, we may be able 
to sneak on as passengers.

MAUREEN
In the meantime?

NICOLE
Sit tight.  But not here - he'll recognize the car.

INT. CAB - DAY

As the cab approaches the ferry, Bertrand recognizes his car parked 
along the road and sees Nicole and Maureen just getting out.

BERTRAND
Stop here!

EXT. STREET - DAY

Bertrand gets out of the cab - and faces Nicole.

BERTRAND
I think we should talk.

NICOLE
Jacob's at the dock.

BERTRAND
I passed a restaurant.  You drive.

INT. BERTRAND'S CAR - DAY

The teenage boy taught Nicole how to hot wire and start the car, which 
she does now.  Bertrand watches with great interest.

BERTRAND
A lady of so many talents.

EXT. STREET - DAY

Bertrand's car does a U-turn and heads back.

INT. RESTAURANT - DAY

The threesome sit at a table over coffee.

BERTRAND
I have just one question.  How really involved are you?  

MAUREEN
Nicole ...

BERTRAND
Did one of you kill Zale Constantino?  

The women stare at him.

BERTRAND (CONT'D)
Or did you conspire together?

NICOLE
We had nothing to do with it.

MAUREEN
Let him think what he wants.

NICOLE
Zale was working for us.  

BERTRAND
Which means he could provide evidence against you.

NICOLE
Bertie, I can't believe you think I'm capable of something like that.

BERTRAND
You were going to let me take the rap for everything.

NICOLE
You're innocent, Bertie.  I had to watch out for myself.

MAUREEN
He believes what he believes.  The question is, are you going to 
turn us in?

INTERCUT PHONE CONVERSATION

Hamilton on the ferry, Jacob on the dock.

HAMILTON
Like I said, they can't leave the island without coming to the dock.

JACOB
Well, they're not here yet.

HAMILTON
They will be.  Sooner or later.

Down the way, Hawkins watches Jacob.

INT. RESTAURANT - DAY

BERTRAND
(to Nicole)
You changed my life.  I can't ignore that.  You showed me a part of 
myself I've never encountered before.

MAUREEN
Like what?

BERTRAND
Sensuality, with a capital S - the way Blake might have spelled it.

MAUREEN
You're weird.  

BERTRAND
I could never turn you in.

NICOLE
Thank you.

Nicole reaches across the table and takes his hand.

MAUREEN
I still don't see how we're getting out of here.

EXT. FERRY DOCK - DAY

The ferry eases toward the pier, prior to letting the passengers 
disembark.

Jacob is waiting at a railing.  Hawkins joins him.

HAWKINS
Mr. Brussman.

JACOB
Do I know you?

HAWKINS
No.  But I feel like an old dog, I've been following you around for 
so long.

JACOB
And why have you been doing that?

HAWKINS
Zale Constantino hired me.

JACOB
That name means nothing to me.

HAWKINS
I think it does.

The ferry clunks to rest.  A ramp is lowered for the cars.

EXT. FERRY - DAY

Hamilton gets into his car.

EXT. FERRY DOCK - DAY

Jacob is moving away, but Hawkins follows behind.

Cars start coming off the ferry.

Hamilton's car eases down the ramp, and Jacob runs up to the passenger 
door and gets in.

Hawkins is watching everything.


INT. HAMILTON'S CAR - DAY
Jacob gestures at Hawkins.

JACOB
He's been following me.

HAMILTON
Sam Hawkins.  I'll be a son-of-a-bitch.

JACOB
You know him?

EXT. FERRY DOCK - DAY

Hamilton turns his car toward Hawkins and stops.  He gets out.

HAMILTON
Look what the cat drug in.

Jacob gets out.

HAWKINS
Captain, long time no see.

HAMILTON
My friend says you've been following him.

Hawkins grins.

HAWKINS
Would I do something like that?

Cars are getting ready to load onto the ferry.

HAMILTON
Seriously, what brings you out here?  Island life is a little high 
class for you, isn't it?

HAWKINS
Zale Constantino hired me to follow Mr. Brussman.  Who, I take it, 
is a plant.

HAMILTON
I hope it wasn't too obvious.

HAWKINS
You're asking if the ladies know?

HAMILTON
Ladies?

HAWKINS
Maybe not before I told them.

HAMILTON
Why the hell'd you do a thing like that?

HAWKINS
Makes life more interesting.  Tell me something.  You know who killed 
Constantino?  I don't think the women did.  I don't think the professor 
did.  I didn't. Who's that leave?

HAMILTON
The sonofabitch was too cocky for his own good.  We were trying to 
convince him to take a wire, and he got reckless and showed a gun.  

Cars are starting onto the ferry.

Suddenly there's a screech of tires as Bertrand's car peels into the 
loading area, then slams on the brakes.

Bertrand is behind the wheel, Nicole beside him, and Maureen in the 
back seat.

JACOB
It's Hodgeworth!

He jumps back into the car.  Instinctively, Hawkins climbs into the 
back seat behind him.

Bertrand backs up, then races forward again, making a U-turn to get 
out of there.

Hamilton jumps behind the wheel.

Bertrand's car speeds off from where it came.

Hamilton takes off after him.

INTERCUT CAR CHASE

Bertrand turns into an alley near the boat dock.  As the car turns 
behind a building, he slams on the brakes again.

Nicole and Maureen jump out of the car.  As Bertrand speeds away, 
they duck into a building.

Hamilton's car races by after Bertrand.

Nicole and Maureen come out, then start running to the ferry.

Bertrand is back on a public street.  Hamilton turns onto the street 
behind him.

Nicole and Maureen board the ferry as passengers.

Bertrand is driving recklessly through traffic.

Hamilton is keeping up, his siren now blaring.

A local police car sees what's happening and picks up the chase.

Bertrand approaches an intersection blocked by two police cars.  He 
skids to a stop.

Immediately Bertrand is out of his car, arms raised high.

Hamilton's car brodies still.  Everyone rushes out of the car.  

Hamilton draws his gun and races to Bertrand's car.  He peers inside 
a back window - and sees the car is empty.

He turns to Bertrand, who is still reaching for the sky.

HAMILTON
Where are they?

BERTRAND
Who?

HAMILTON
You know goddamn well who.

BERTRAND
I want to see a lawyer.

HAMILTON
Fuck your lawyer.

BERTRAND
I don't think you're supposed to say something like that to me.  

HAMILTON
I'm not, am I?

BERTRAND
I think I have rights here.  He'll tell you.

He nods toward Hawkins.  Hamilton turns to the detective.

HAWKINS
I just had a few drinks with the guy.  This is not my deal.

EXT. OTHER FERRY DOCK - DAY

The ferry is disembarking across the bay, and Nicole and Maureen 
walk off as passengers.  

They get into a cab.

EXT. HOTEL ROOM - DAY

Bertrand sits in a chair.

Hamilton and Jacob have been searching the room.  Hawkins looks on.

HAMILTON
Are they still on the island?

BERTRAND
I won't talk without seeing a lawyer.

HAMILTON
You know his angle?

HAWKINS
Full mast.  He's been thinking with his dick.

Hamilton waits for more.

HAWKINS (CONT'D)
He's got a thing for the cute one, Nicole.

HAMILTON
You're involved in this for a piece of ass?

BERTRAND
I won't talk without seeing a lawyer.

HAMILTON
All this to get laid.

Hamilton shakes his head in amazement.

HAMILTON (CONT'D)
What we know, Cupid, is these "ladies" have been setting up and 
blackmailing CEO's for almost six months now.  What I can't figure out 
is where the hell you fit in.  But I guess you're not going to help me 
out with that.

Bertrand just looks at him.

HAMILTON
Dick head.

Hamilton laughs at his own bad joke.

EXT. AIRPORT - DAY

A jetliner takes to the skies.

INT. JETLINER - DAY

The seat belt sign is turned off.

Nicole and Maureen sit together, Nicole at the window.  She reaches 
under the seat in front of her and takes out the athletic bag.  
She puts it on her lap.

Maureen moves closer, so they can speak softly.

MAUREEN
You count it?

NICOLE
Haven't had time.  

MAUREEN
Let's do it.  

NICOLE
Wait til it gets dark.

EXT. POLICE STATION - NIGHT

Bertrand and Joe come out of the police station.

BERTRAND
I appreciate this.

JOE
I'd say you'd do the same thing for me - but this is the most 
outlandish thing that's ever happened to either of us.

BERTRAND
I know.

JOE
You want to talk about it?

BERTRAND
No.  I want to go home.

JOE
That can be done.

They continue walking toward Joe's car.

JOE (CONT'D)
At least they didn't charge you.

BERTRAND
I haven't done anything.

JOE
Haven't-- ...? I'm biting my tongue here, Bertrand.  

BERTRAND
Nothing they can prove.

JOE
I don't understand any of this and never will.

INT. JETLINER - NIGHT

Nicole wakes from a nap.  The athletic bag is still in her lap.

She turns to Maureen.  She nods toward the bag.

Maureen moves closer as Nicole unzips the bag.

A layer of underwear is on top.  She removes it.

Under the clothing are bundles of hundred dollar bills. Nicole starts 
counting them as Maureen watches.

They exchange a quick smile.

One layer done, Maureen lifts a bundle to count the second layer.  

She lifts the second layer - and finds a book.

She turns to Maureen, a puzzled look on her face.

She pulls out the book: it is Bertrand's book on William Blake, 
"Between Heaven and Hell."  

Underneath and beside it is another of the professor's book.  
And another.

Under the first two layers of bills, the athletic bag is filled with 
copies of Bertrand's book.

NICOLE
The fucker double-crossed me.

MAUREEN
How do I know you're not pulling this yourself?

The women stare at each other.

INT. BERTRAND'S HOUSE - NIGHT

Bertrand is reaching behind a bookcase, bringing out bundles of 
one-hundred dollar bills and tossing them into a suitcase on the floor.

He has about five or six times as much money as he left the ladies.

EXT. ISLAND - HOTEL - DAY

Bertrand is in shorts and a bright tank top, sipping a drink on the 
deck of his hotel at Ruby Island.  

Tourists fill the marketplace below.

He calls into the room.

BERTRAND
Do you want to go shopping?

Jennifer, the pretty coed and his former student, comes out onto the 
neck, wearing a string bikini.

BERTRAND (CONT'D)
I want to buy you pretty things.

JENNIFER
I thought we were going for a swim.

BERTRAND
Those are not mutually exclusive options, my sweet.

He gets up and embraces her.

JENNIFER
I still can't believe I'm here with you.  

BERTRAND
It's so boring to spend money alone.

JENNIFER
If you hadn't won the lottery - would you ever have asked me out?

BERTRAND
No.

JENNIFER
Why?

BERTRAND
I couldn't afford you.  Besides, I had to wait til you stopped being 
my student.  I always suspected you liked me.  Now I know you do.

JENNIFER
You're very different out of class, that's for sure.

BERTRAND
I want to buy you naughty underthings.  Will you wear them?

JENNIFER
You dirty old man.  I'll wear them just for you.  Shall we go?

BERTRAND
I want to make love to you.

JENNIFER
You just did.

BERTRAND
"The road of excess leads to the palace of wisdom".  Remember the 
source?

JENNIFER
Blake's Proverbs of Hell.

BERTRAND
Perfect.

They kiss on the deck. Bertrand removes her top. 

Below their vantage point, tourists drift by.  Lovers hold hands.

In the distance, sand stretches to the ocean.  

Gulls ride a breeze.  

The sun is setting into a pink horizon.

FADE OUT.

Rewriting with a producer.