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.