THE KILLING ANGLE" FADE IN: EXT. FRENCHMAN'S BLUFF HOTEL - ST. THOMAS -- DAY An American territory, St. Thomas is a Caribbean paradise where the language is English and the currency is US dollars. The most luxurious hotel on the island is on Frenchman's Bluff, 500 rooms, 9 suites, two pools, on a bluff overlooking the beach. INT. HOTEL SECURITY OFFICE -- DAY A bank of video monitors: various views of the hotel. The center screen shows a wide angle of the HOTEL LOBBY, tourists coming and going past an antique clock. LOU PARKER, the hotel's Security Chief, watches the monitors. Parker has the smooth, easy moves of an ex-athlete. Equally at home sipping cocktails with royalty or breaking up brawls. On the opposite side of the room, security assistant KENNY watches another monitor bank. Parker's shadow. Parker turns when cute, wholesome barmaid MARY SAYLES enters, hands a to-go coffee to Kenny, sets another next to Parker. PARKER Who's tending bar? MARY It's on automatic. ON THE VIDEO SCREEN Glamorous ex-movie star, GOLDY ZELAGGIO, barks orders to a BELLBOY, treating him like a slave. The monitors are without sound, and Goldy's wild gestures seem almost comic. PARKER (O.S.) Goldy Zelaggio, movie star, did some stuff with Nicholson in the seventies. MARY (O.S.) Mmmm, Michael Hayes. Every woman's dream. Too bad he's married. Did you see "Lethal Response"? America's favorite action movie star MICHAEL HAYES drops his bags at the front desk, shows the Clerk his famous smile. 2. PARKER Is that the one where he plays the tough, honest cop who doesn't play by the rules? MARY (grins - studies Parker) I don't know how you can sit here all day and watch these people. PARKER I'm looking for clues. MARY To what? PARKER What makes them special. Parker takes a sip of coffee and looks at Mary. PARKER When I was on Senator Simons' detail, we'd play golf together, go to the opera, play poker on the plane... But I was never an equal, never a friend. MARY You really want politicians as friends? PARKER Simons and his wife depended on me to protect them... and order their wine. Couldn't tell a Burgundy from a Bordeaux. MARY (touches his shoulder) You don't need them. Parker notices something on the lobby monitor. ON THE VIDEO SCREEN EDDY DeSOUZA, a long haired scuzzy-looking rock & roller in a calf-length rain coat, shoves fans back and enters the lobby. When he gestures to the Bellboy carrying his luggage, his lapel opens to expose a holstered 357 Magnum. Parker sees the gun, jumps up. PARKER Kenny, call the cops. NOW. Kenny grabs the phone, hits the speed-dial number. Parker checks the action on his gun on the way out. 3. INT. HOTEL LOBBY -- DAY Parker corners DeSouza before he can get to the front desk. PARKER Excuse me, sir. DESOUZA What the fuck you want? PARKER I'm with Hotel Security. DESOUZA I haven't even trashed the room yet. PARKER Could you come to the Security Office? DESOUZA You gonna search me for stolen towels? DeSouza tries to push past him. Parker blocks him, pulls out his ID folder. PARKER Maybe you don't believe me. DeSouza takes the ID folder, slips on a pair of glasses from his raincoat pocket, reads, slaps the ID back at Parker. DESOUZA Swell. You're a real-life hotel detective. Probably went to night school and everything. I'm impressed. DeSouza tries to walk away... But Parker catches him. DeSouza bats him away. DESOUZA Look, I'm a guest of the fucking hotel. Now get your hands off me. PARKER I'm a little concerned about your gun. DESOUZA Don't be. It's licensed. Police sirens outside the hotel. Kenny enters the lobby, hand on his gun. Parker gestures for him to hold his position. Play it cool. 4. PARKER Let me suggest that you keep it in the hotel safe during your stay. DESOUZA Thanks for the suggestion. But since I'm a guest and you're just an employee, I'll do whatever I want. Lt. BOB NOLAN pushes to where DeSouza and Parker face off, flashes his St. Thomas Police ID. NOLAN Little trouble, Lou? PARKER False alarm. DeSouza grins at Parker, continues to the front desk. Kenny fades back to the security office. NOLAN What was that all about? PARKER The guy has a gun. NOLAN Registered? PARKER There's something about a guy wandering around my lobby with a gun that bothers me, Nolan. I don't know what it is. NOLAN Instinct, buddy. DeSouza and a pair of BELLBOYS enter the elevator. As the elevator doors begin to close, DeSouza gives Parker a wave. PARKER Who the hell does he think he is? NOLAN You don't know? Parker shakes his head, Nolan puts a hand on his shoulder. NOLAN Eddy DeSouza. Plays guitar for the Pagan Babies. My daughter has all his CDs. Big poster of him over her bed. Frankly, he scares the shit out of me. 5. PARKER Me, too. Parker and Nolan slap hands - they're best friends. NOLAN Hasta. Nolan leaves. Parker sees the most beautiful woman in the world. TANIA LEHMAN is tall, sexy, and seductive... an ex-fashion model who has become more beautiful with age. Dressed in a tight white dress, translucent in the backlit doorway. Parker watches her cross the lobby to the front desk. AT THE FRONT DESK Tania treats the CLERK to a smile. TANIA Tania and Charles Lehman. We have reservations. CLERK Let me find the card. The Clerk turns to the computer. Parker and Tania trade smiles. PARKER Lou Parker, hotel security. TANIA Is there a problem? PARKER Not at all. I like to introduce myself to all of the guests. TANIA Tania Lehman. Pleased to meet you. They shake hands, a charge of sexuality flows between them. PARKER If you have any difficulty during your stay, don't be afraid to call. Tania slowly lets go of his hand, gives him a sexy smile. TANIA What if it's late? 6. PARKER I have an apartment here at the hotel. I'm available twenty four hours. TANIA I'll keep that in mind. A hand grabs Tania's shoulder. CHARLES LEHMAN, a slick looking CEO of a Savings And Loan chain, in the Keating mold. Coal black eyes and dangerous edge, he's like a mob trigger man in a tailored suit. TANIA Charles, this is Mr. Parker, with hotel security. My husband Charles. They don't shake hands. Parker knows who he is. PARKER I was just telling your wife, if you have any problems, I can be reached by calling the hotel front desk. LEHMAN I take care of my own problems. Lehman takes the mag-stripe room keys from Tania. LEHMAN Come on. When he realizes his luggage has been left on the floor behind him, Lehman turns to a Bellhop and bellows: LEHMAN Boy! Lehman, Tania, two BELLHOPS enter the elevator. Before the elevator doors close, Tania and Parker share another smile. Lehman doesn't notice. INT. HOTEL SECURITY OFFICE -- DAY ON A VIDEO SCREEN (labeled 14th floor) Elevator doors open on the 14th floor. Lehman, Tania, and the Bellboys move down the hall. THE CAMERA PANS AWAY, another camera spots them at room 14-B (the "Barracuda Suite" - all the suites are named after fish). Lehman slides the mag-key into the lock, opens the door. 7. THE DOOR TO ROOM 14-B CLOSES, and HARRY FERGUSON, elegant British airline and music mogul, exits his suite, passing 14- B, to the elevator. Harry twirls his silver and black walking stick, gives it a couple of bounces on the carpet. ON ANOTHER VIDEO MONITOR (labeled lobby) W.T. BURNETT, a beefy FBI Agent with close cut hair flips his ID. The Clerk seems uncomfortable with their conversation. THE CAMERA PANS AWAY, picks up the doors as PRINCE AHMED YEHMANI and his BODYGUARDS enter, trailing a half dozen Bellboys. Yehmani, in traditional robes and jewelry, crosses to front desk, as Burnett ends his conversation with the Clerk. The three BODYGUARDS wear suits and turbans. The elevator doors open and Hayes steps out, gives a big smile to some tourists, playing the star as he crosses to the lounge. ON ANOTHER VIDEO MONITOR (labeled lounge) Hayes takes a seat at the bar and order a drink from Mary, who tries not to act star struck. Parker smiles at Mary's reaction to the movie star. CAMERA PANS to a plain looking girl sitting alone in a booth sipping an oversized rum drink, chain smoking menthol cigarettes. JENNIFER HILL grinds out her cigarette. Abrupt movements and cold eyes contrast her peaches-and-cream complexion. She scoops up her purse, leaves the bar. Passing the security camera, a glitter of light on the 32 caliber auto in her purse. OTHER VIDEO MONITORS SHOW Empty shots of every floor of the hotel, then back to... THE VIDEO MONITOR (labeled 14th floor) Faded star Goldy Zelaggio exits the elevator, heads to her room. IN THE HALLWAY, Goldy passes Eddy DeSouza. Rock and roller DeSouza passes 14-B on his way to the elevator. THE DOOR TO 14-B opens, Lehman and Tania head to the elevator. Tania's dress hugs every curve of her body as if it were sprayed on. She is the sexiest woman on earth. Parker watches the video monitor, mesmerized by Tania. He has fallen, and fallen hard. 8. THE VIDEO MONITOR The elevator doors close over Tania, Lehman, and DeSouza. INT. HOTEL BAR -- NIGHT. A video security camera mounted on the wall. Show tunes with a slightly Calypso bent in the background, courtesy of the dreadlocked piano player, SAM. Drowning out the music with a Discman, FBI Agent Burnett sits in a back booth. British airline owner Harry Ferguson at the bar. MARY Gin and lime, no tonic, no ice? FERGUSON Correct. Mary prepares the drink. Ferguson taps his walking stick on the floor, looks around. MARY Here you go. FERGUSON Put it on my ticket. Room 14-C. Ferguson lifts his drink and saunters to a booth. Parker takes a seat at the bar. PARKER How 'bout a beer? MARY Long day? (brings him a beer) I get off in an hour. We could go dancing? Her hand touches him when she gives him his change. PARKER I'm tired. MARY We could see a movie. PARKER I'm just going to go to bed. Mary gives him a sexy look. Parker moves his hand from hers. 9. PARKER Anybody interesting? MARY You tell me. Guy with the cane? She points out the customers, Parker identifies them. PARKER Harry Ferguson. Owns a record company and an airline. You may have seen him on TV. He does these crazy stunts to promote the airline. Acrobatic stuff. MARY You wouldn't guess it from the way he acts: Total Brit Snob. PARKER Fourteenth floor. Celebrity central. A cocktail waitress, BARBARA, circulates through the room, hovering around movie star Michael Hayes' booth. MARY You know about the movie stars, already. Can't keep Barb away from Hayes. Wonder why he didn't bring his wife along? PARKER Maybe he's just visiting his money. MARY Twenty million a film, that's a lot to visit. Who's the guy in the robe? Sheik Ahmed Yehmani sits near the center of the room, drinking scotch as he reads the Wall Street Journal. Bodyguards nearby. MARY He's gone through half a bottle of Laphroig 24. Barb calls him "Mr. Hands". He already hit on her. Says he's got a skin mag behind his paper. PARKER Prince Ahmed Yehmani. Fourteen. His bodyguards are in an adjoining room. All three of them. (Mary looks at him, amazed) I have flash cards. MARY How'd you miss Eddy DeSouza? 10. PARKER Didn't buy the rock and roll set. MARY Here's a strange one: Girl by the piano? Jennifer, near the piano, sips an amazing colossal fruit drink. PARKER Nobody. Some small town secretary on a package vacation. MARY She signs for her drinks. (Parker frowns) She's in the Albacore, 14-A. PARKER How can she afford it? MARY Maybe she inherited from a rich uncle. PARKER Maybe she's a hooker. MARY Look at her. She could be my sister. Mousey Jennifer DOES look enough like Mary to be her sister. Barbara signals from the far end of the bar with a drink order. MARY Hayes must want another drink. Mary leaves. Parker spins the barstool, sees Tania enter. Silhouetted in the doorway, Tania's dress is translucent. Parker watches her every move as she walks towards him. Tania takes the space next to him, gives him a sexy smile. TANIA Did you just get off? PARKER Excuse me? TANIA Did you just get off work? PARKER Yes. Can I buy you a drink? 11. TANIA Buying me things is my husband's job. Let me buy YOU a drink. PARKER Sure. Tania signals to Mary. TANIA I'd like a Perrier with a twist of lime, and... (sees Parker's beer) A Red Stripe. Mary nods, her expression could start a new ice age. PARKER I shouldn't be drinking with customers. Especially married ones. TANIA Give in to temptation... I do. Mary brings their drinks. MARY How would you like to pay for that? Jealousy in every word. Parker fears a cat fight. TANIA Room 14-B. Tania dismisses Mary, who reluctantly leaves. TANIA Where were we? PARKER Talking about temptation. TANIA I always give in. PARKER What tempts you? TANIA A midnight swim. Moonlight, crashing surf. PARKER Yeah, and the beaches aren't as crowded. 12. TANIA No need for uncomfortable swim wear. (sips) My husband doesn't like the beach. Hates the water, the sand, the birds. He's here on business. PARKER And you're here for pleasure? TANIA Maybe. Tania sees Lehman enter the lounge. TANIA Excuse me. Grabs her drink, leaves, pretending she doesn't know Parker. PARKER WATCHES THE BACK-BAR MIRROR: Tania kisses Lehman, who guides them to an empty booth. Tania defers entirely to her husband, as if she's his slave. MARY I'd be careful if I were you. PARKER Huh? MARY You're playing with fire. PARKER Think she's hot stuff? MARY Her husband's already made the rounds. Bribed the maids, desk clerk, girls on the switchboard to keep tabs on his wife. PARKER What's he paying? MARY Hundred dollars to anyone who can provide the name or names of any man she becomes "overly friendly" with. PARKER Rich husbands have ways of making sure their wives are faithful... And ways of punishing them if they're not. 13. MARY Punishing the lovers, too. Mary leaves, Parker catches Lehman kissing Tania in the mirror. INT. PARKER'S APARTMENT -- NIGHT Parker is asleep when the phone rings. PARKER Parker. Yeah? Okay, Kenny, tell her I'll be right up. Hangs up, rolls out of bed and starts dressing. More of a hotel room than a home... walls covered with autographed photos of Parker and VIPs: the flash cards. On the dresser - an old high school track & field trophy. INT. SUITE 14-H -- NIGHT Parker, suit and tie, tries to calm a panicked Goldy Zelaggio, sheer robe over new lingerie. She gestures wildly. GOLDY Somebody was outside my door... PARKER Miss Zelaggio, this is restricted floor. The only way to get up here is with a specially coded mag-key. Without it, the elevator only goes to twelve. GOLDY I know what I heard. PARKER Of course, ma'am. I'm just trying to explain that it couldn't be someone off the street. There are only nine suites on this floor, and all are -- GOLDY It was that degenerate next door. I can hear his orgies through the walls. PARKER Ma'am, the walls are sound-proof -- GOLDY Am I to understand that you are refusing to follow up on my complaint, Mr.... 14. PARKER I'll have a talk with Mr. Hayes. Goldy smiles, pulls her robe tighter. INT. END OF THE HOTEL HALLWAY -- NIGHT Parker can hear music under the door to 14-I. He knocks. Handsome Michael Hayes opens the door in his underwear, a joint in his hand. He looks over Parker, frowns. HAYES You're not room service. PARKER Sorry to disturb you, Mr. Hayes. I'm with hotel security. Miss Zelaggio thinks you may have been listening at her door. HAYES Listening to what? PARKER I honestly don't know, sir. HAYES That dried up old bitch would do anything to get back in the spotlight. Her fifteen minutes are long past. Behind Hayes, Parker can see a ISLAND BOY in his underwear on the sofa, drinking an airline bottle of vodka. PARKER Sorry to disturb you, sir. Hayes blows smoke, closes the door. Parker turns, catches Goldy looking out her door before she eases it closed. Parker passes Tania and Lehman on his way back to the elevator. She gives him a sexy smile while Lehman opens the door. EXT. ROTHSCHILD MARKET SQUARE -- DAY Colorful, exotic. Street MERCHANTS hawk their wares. One tosses him a piece of fruit, Parker tosses back a quarter. TANIA Mr. Parker? Tania appears from a crowd of TOURISTS, joins him. 15. PARKER Mrs. Lehman. Enjoying your vacation? TANIA Charles is here on business. They walk along the street to the hotel. TANIA God, this feels great. She pirouettes, skirt flaring. Parker tries not to notice. TANIA Most of the time, I'm sitting in some hotel room, somewhere, waiting for Charles to come back from his meeting. PARKER That where he is now? In a meeting? TANIA Of course. PARKER This is going to sound like a line, but haven't I seen you before? TANIA I was a model, runway mostly. Did a couple of music videos, some TV walk- ons; but I didn't have what it takes. (smiles) So, I decided to get married before my looks faded. There was Charles. Rich and powerful and aggressive. PARKER Happily ever after. TANIA (ignores that) Your turn. How does a smart guy like you get to be a hotel detective? PARKER I used to be with the Secret Service. TANIA The guys who guard the President? PARKER Never worked the White House. I had protective duty on Senator Simon. 16. TANIA Why did you quit? PARKER I made a mistake. TANIA You killed somebody? PARKER No. Worse. Much worse. TANIA You slept with his wife? PARKER Caught the Senator doing something he shouldn't have been doing. Reported it. TANIA Sounds like you were a hero. PARKER Instead of firing the Senator, they fired me. "Allowed me to resign". A friend of mine works on the police force down here, set me up with a job. TANIA Sounds like we're both in St. Thomas due to our mistakes. Banished to this island hell, looking for some way to escape. Parker laughs, they enter the hotel. ACROSS THE STREET Agent Burnett watches them, listening to his Discman. INT. HOTEL SECURITY OFFICE -- DAY Parker studies the video monitors, looking for clues. ON THE 14th FLOOR VIDEO SCREEN: Tania enters her room. Rock and roller Eddy DeSouza leaves his room with an ENTOURAGE and a couple of GROUPIES, weaving to the elevator. Brit Harry Ferguson enters camera range, twirls his silver and black walking stick, gives it a couple of bounces on the carpet. 17. Michael Hayes races to catch the elevator. DeSouza waves at him as the doors close. Hayes punches the button like a lunatic, completely losing his temper. Pounds on the doors. Goldy Zelaggio leaves her room, sees Hayes going berserk on the closed elevator doors, ducks back inside her room. EXT. FRENCHMAN'S BLUFF HOTEL - ST. THOMAS Water washes across the sand. INT. THE ELEVATOR -- DAY The doors close behind Tania. PARKER Going down? TANIA Why not? They are alone in the mirror-walled elevator. Sexual tension so thick you couldn't cut it with a chainsaw. Suddenly, their lips are drawn together as if magnetized. A fiery, passionate, kiss. She hits the "STOP" button. THE ELEVATOR STOPS MOVING MID-FLOOR. TANIA (whispers) I'm not wearing any panties. Parker lifts her skirt, reflected a dozen times. Parker's hand moves under her skirt. The kiss is out of control. TANIA Yes. Yes. Tania's hand accidentally hits the "STOP" button. THE ELEVATOR BEGINS MOVING. Parker starts to pull away. TANIA Not yet. She presses his hand back under her skirt. A hot, fiery kiss. 18. Parker looks at the floor indicator... .......................counting down to the lobby... ..................................... they haven't much time. TANIA Midnight. On the beach. She pushes him away, smooths her skirt... BING! The elevator reaches the lobby and the doors open. Rock and roller Eddy DeSouza steps into the elevator. Tania ignores Parker, steps into the lobby. Parker starts out, DeSouza grabs his arm. DESOUZA You should be more careful. PARKER Excuse me? DESOUZA You heard me. Parker exits the elevator. EXT. HOTEL LOBBY -- DAY Parker wipes a finger over his lips. It comes away red with lipstick. INT. HOTEL SECURITY OFFICE -- DAY Kenny watches the monitors, finishes a to-go cup of coffee. When Parker enters, Mary looks up from the monitors. MARY Brought you some coffee. PARKER Thanks. MARY It's cold, now. Where were you? PARKER I had to check something out on the sixth floor. 19. Mary looks down at the monitor she was watching. THE MONITOR is labeled: "6th Floor". MARY Right. She leaves the office without another word. Parker takes a sip of cold coffee, looks at the monitors. INT. HOTEL BAR -- NIGHT Parker sips his drink. Mary ignores him at the opposite end of the bar. EXT. BEACH NEAR HOTEL -- NIGHT The beach at midnight. Full moon glowing overhead and waves crashing the shore. Parker moves closer to the surf, finds Tania's beach towel, handbag, and clothes. Squats, looks out at the water... Tania explodes from the water, glistening in the moonlight. Parker strips to his briefs, runs to the water. Tania and Parker frolic in the water, splashing, laughing. TANIA Come on! They run along the edge of the surf, waves crashing into them. A big wave knocks them to the sand. Their bodies melt together in passion. Lips and legs entwined, as the surf breaks over them. TANIA I want to know all about you. How does one get to be a Secret Service Agent? PARKER Usual way. They scouted me in college. Sounded like a good job, better than going back home and working for Shell Oil. My dad put in twenty years there. TANIA My pops worked the Ford Rouge line. We're both blue collar kids. 20. PARKER Got to college on a track & field scholarship. The last time I was somebody. My big skill - I could run. Ran fast enough to get out of town and down here to paradise. She kisses him. TANIA My husband must never know about this. This investigation, the scandal... I've never seen him like this before. PARKER Afraid he'll be a cellblock celebrity? TANIA I'm serious. He'll kill you if he finds out... He's powerful enough to get away with it. Parker kisses her again. Passion increases, they begin making love. ON A DUNE NEAR THE HOTEL A figure watches Parker and Tania. When he puts on his glasses, we see the figure's face. Eddy DeSouza, the rock and roller. INT. DOWNSTAIRS HOTEL HALLWAY -- NIGHT Parker, shirt, jeans, and wet hair, enters his apartment. INT. PARKER'S APARTMENT -- NIGHT In the dark living room, the glowing ember of a cigarette. Someone is sitting in his chair. MAN Close the door. Parker closes the door, flips on the light. PARKER Well. Look who's sitting in my chair. Agent Burnett snubs his cigarette out, gun aimed at Parker. PARKER I don't believe we've been introduced. 21. BURNETT (flips open his ID) Wally Burnett, F.B.I. PARKER Well, Burnett, I've had a long day, so why don't you just lower the gun, okay? BURNETT I don't think so. PARKER What do you want? BURNETT I saw you with Tania Lehman today... PARKER (evasive) Yeah? BURNETT At Rothschild market. Having quite a little conversation. Like old friends. Parker's holstered gun hangs on a hat rack on the other side of the room. He begins easing over to it. PARKER I talk to a lot of the guests. BURNETT Lay off this one. You know who her husband is? PARKER (steps closer to the gun) Charles Lehman, CEO of Bank Of Commerce Savings And Loan. Over two hundred million dollars in unsecured loans to offshore dummy corporations, right? BURNETT We used to have a witness... But he died mysteriously. Single car accident. PARKER Sounds like you don't have a case. BURNETT Lehman's under court order to remain within the United States and its Territories... But I think he's getting ready to split to St. Maarten. 22. PARKER Probably has the two hundred million waiting for him in a bank over there. Parker dives... .............grabs his gun... ............................rolls to his feet... ............................................aims at the chair. Which is empty. A gun barrel presses against Parker's neck. BURNETT Nice moves, but I saw 'em coming from a mile away. Burnett cocks the gun. BURNETT Do I have to shoot you? Parker's gun bounces on the carpet. PARKER Guess I'm out of practice. BURNETT Keep it that way. And stay away from Lehman and his wife. That's Bureau business. Wouldn't want to have to arrest you for interfering. Burnett keeps the gun on Parker, backs to the door. BURNETT (nods to the VIP photos) No Steve Tyler? No Tommy Lee? No Trent Reznor? Got something against music? The door closes over Burnett before Parker can answer. Parker retrieves his gun and sits down on the chair. His hands are shaking. INT. PARKER'S APARTMENT -- LATER Parker lifts the old high school track & field trophy from the dresser. Most of the gold plating has worn off... on both the trophy and Parker. He glances at himself in the mirror. When he sets the trophy down, his hands are still shaking. 23. INT. HOTEL SECURITY OFFICE -- DAY Parker's hands shake as he studies on the video monitors. PARKER Kenny. Why don't you walk the floors for a couple of hours? KENNY You sure about this? Parker nods. Kenny reluctantly leaves his monitors. ON THE LOBBY VIDEO SCREEN: Charles Lehman, with a briefcase, crosses the lobby, exits the hotel. Five paces behind him is FBI Agent W.T.Burnett. INT. HOTEL HALLWAY -- DAY Parker opens the Maid Closet, pulls out a set of sheets. INT. FREIGHT ELEVATOR -- DAY Parker, bed sheets in hand, rides to the 14th floor. VIDEO MONITOR: 14TH FLOOR HALLWAY Parker exits the service room, goes to room 14-B. Knocks twice on the door. As the video camera pans away, the door opens, Parker enters. INT. SUITE 14-B -- DAY Parker closes the door. Tania disrobes on her way to the bedroom. TANIA There's champagne in the refrigerator. Parker grabs the bottle of Clicqout and a pair of flutes. IN THE BEDROOM Tania waits in bed, naked. Parker sets the flutes down. Parker holds the bottle, Tania tears the foil off the cork with her teeth. Uses her thumbs to pop the cork. POP! Champagne spews over the bed. 24. Tania gulps some before it can stain the sheets. Parker pours two glasses, hands Tania one. TANIA To temptation. Glasses clink, then they drink. Both flutes end up on the nightstand as Parker jumps in bed. Tongues glide over warm flesh. Champagne poured on breasts, thighs, legs, then licked off. AFTERWARDS: They lay beside each other, sipping champagne. PARKER Must be nice. Showing up at a crowded restaurant without reservations and getting a prime table... TANIA You brought sheets? PARKER Your husband bribed all of the maids and bellboys to spy on you. TANIA He expects me to be faithful, while he cheats with his lover. Flaunting it. I look at another man, he slaps me. PARKER He's got to catch you first. TANIA Sometimes, I wish he would just die. Have a heart attack... PARKER Any chance of that? TANIA He's in perfect health. Four million in life insurance and I'll probably never see a cent of it. PARKER Divorce him. TANIA He'd never allow it. Even if he did, I signed a pre-nup. 25. LATER: They are making the bed with clean sheets. Parker in his suit, Tania in a silk slip that hugs every curve. TANIA Did you know he has a tattoo? PARKER You're kidding. TANIA A big, ugly rattlesnake on his right arm. Got it in the Navy. (beat) I begged him to have it removed, but he refuses. Says it's his power symbol. Parker grabs the soiled sheets. Tania pulls him into her arms. They kiss passionately. TANIA Something to tide you over. (smiles) Come back tomorrow, I'll order another bottle of champagne. Parker leaves. INT. SERVICE ROOM/FREIGHT ELEVATOR Parker drops the soiled sheets down the linen chute. Enters the freight elevator. Going down. INT. HOTEL SECURITY OFFICE -- DAY Kenny is at his post. Parker watches the video monitors, but can't keep his mind on his work. He keeps thinking about Tania. ON A VIDEO MONITOR Lehman and Mary... No, mousey Jenny enter the lobby together, then split up. Lehman heads to the bar, Jenny to the elevators. ANOTHER MONITOR Jenny exits the elevator, walks down the 14th floor hallway, passing Eddy DeSouza who's talking to a woman. 26. Due to the angle, we can't see the woman's face... but it looks a lot like Tania. Parker doesn't notice. His eyes are closed in memory of his afternoon of passion. INT. HOTEL BAR -- NIGHT Parker opens his eyes, takes a sip of Red Stripe. AT THE ENTRANCE Lehman and Tania enter. She is dressed to kill. EVERY MAN turns to watch her walk from doorway to back booth. Every MAN except Parker. Parker doesn't want anyone to think they're having an affair. But he looks out of place. The only man NOT looking at the beautiful woman. Tania and Lehman settle in a back booth. Parker glances in the back bar mirror at them... And sees Lehman heading RIGHT TOWARDS HIM! Lehman stops next to Parker, flags Mary. Mary ignores Parker completely, takes Lehman's order. LEHMAN Martell Cordon Bleu, and a split of Clicqout gold. Mary leaves, Lehman looks at Parker. LEHMAN Mr. Parker, isn't it? PARKER Yes. LEHMAN My wife and I are have a drink, why don't you join us? PARKER I really couldn't. 27. LEHMAN You're not on duty, are you? PARKER Just got off. Instantly regrets his phraseology. PARKER It's against company policy to drink with the guests. LEHMAN I'm sure they'll forgive you this one time. If not, I'll pull a few strings. See that you keep your job, and your superior is fired. PARKER (laughs) While you're at it, get me a raise. Mary returns with the drinks. Parker follows Lehman to the booth. AT THE BOOTH Parker sits on the end, not wanting to get too close to Tania. The air is filled with tension. LEHMAN You've met my wife, right? PARKER When you checked in. LEHMAN Beautiful, isn't she? PARKER Yes, she is. TANIA My name is Tania, guys. The conversation is thick with tension... Does Lehman suspect? LEHMAN You know Mr. Parker, I feel safe when you're around. (shark smile) I know that no harm will come to my wife, that no strange man will try to make a pass at her. (MORE) 28. LEHMAN (CONT'D) Because you're here to protect her. PARKER I do my best. Lehman puts his hand on Tania's. LEHMAN You know, Tania was born the day we met. She didn't have a life before that. At least, not the same sort of life she has now. (Tania is uncomfortable) When we met, she was shaking her ass on MTV to earn a living. Can you believe that? She probably screwed every heavy metal band in Los Angeles. Would YOU call that a life? Parker doesn't answer. LEHMAN But now things are different. (shark smile) She's been reborn. Now she's the sophisticated wife of a prominent banker. Lehman strokes her hand, watching Tania squirm. Parker spots Burnett, at a table alone, watching. PARKER If you'll excuse me? I have to work in the morning. LEHMAN Of course. Parker moves to his feet. LEHMAN And Parker? Take good care of my wife. I'm putting her in your hands. Parker nods uncomfortably, and leaves the bar. Agent Burnett watches him go. EXT. BEACH NEAR HOTEL -- NIGHT Parker walks along the crashing surf, thinking about Tania. Passing the place they made love. 29. EXT. FORT CHRISTIAN -- NIGHT Parker walks past the 1672 fortress, glances at the clocktower for the time - 1:23 am. Then sees a familiar silhouette: Tania? Having a conversation with a blonde woman: Goldy? Tania turns in his direction and Parker ducks into the shadows. He watches Tania talk to the blonde woman... Then the blonde woman kisses Tania full on the lips! SLAP! Tania slaps her, bolts across the grounds. Parker sees that it's NOT Goldy. It's rocker Eddy DeSouza. DeSouza touches the hand-print on his face, gives a wolf-laugh. EXT. FRENCHMAN'S BLUFF HOTEL - ST. THOMAS -- NIGHT A SECURITY CAMERA pans towards Parker, as he enters the hotel. INT. HOTEL SECURITY OFFICE -- DAY ON THE LOBBY VIDEO SCREEN: Lehman leaves the hotel, with Burnett following close behind. INT. HOTEL HALLWAY -- DAY Parker opens the Maid Closet, pulls out a set of sheets. INT. 14TH FLOOR HALLWAY -- DAY Parker, sheets in hand, slides his pass key into room 14-B. The indicator turns green, Parker enters. INT. SUITE 14-B -- DAY A bottle of champagne chilling in an ice bucket. Parker sets the sheets down, grabbing the Clicqout. IN THE BEDROOM Parker pops the cork on the champagne. It ricochets under the bed. THE BED - sheet pulled over Tania's face, only her feet exposed. PARKER Champagne's ready. 30. No response. PARKER (laughs) Are we playing hide and go seek? Peek- a-boo? Parker tickles a foot. The toenails are painted with red polish. No laughter from under the sheet. He pours champagne into the flutes, sets the bottle down. PARKER What's the matter? Have a rough night? No answer. Parker takes a sip, sets his flute down, grabs the sheet. Gives it a yank. PARKER Peek-a-boo! Feathers flutter. The sheet pulls down to expose: CHARLES LEHMAN, face blown completely off by a shotgun blast, covered with feathers. The only way Parker knows it's Lehman is the Rattlesnake tattoo on his right arm. Lehman is naked... and very dead. A pillow with a blast hole on his crotch. Parker runs to the bathroom, vomits up his champagne. His finger prints are all over the room. Feathers flutter around the corpse. IN THE BEDROOM Parker sits at the foot of the bed, next to Lehman's feet. He scans the room for clues. ON THE CARPET are some strange indentations: three one inch diameter circles next to each other. The kind of mark a walking stick might make. ON TOP OF THE DRESSER: A lowball glass, empty except for a twist of lime. Parker lifts the glass, traces of clear liquid at the bottom. He sniffs the liquid. PARKER Not gin. Could be water. Vodka. 31. Sets the glass down and opens a couple of drawers. The first drawer contains Lehman's clothing. Drawer number two contains a sizable collection of lingerie. Parker pulls out a sexy teddy. He can smell Tania's odor on it. Replaces the teddy and moves to the next drawer. Empty, except for a brochure from the St. Maarten's National Bank. The bank's phone number is circled in red ink. Lehman's two hundred million. Pockets the brochure, closes the drawers, looks at Lehman. A cigarette smolders in an ash tray on the night stand. A menthol cigarette with two green bands, snubbed out. Next to the ash tray is a matchbook from the Hotel Bar. Seven matches have been torn out, striking surface scarred. AT THE BASE OF THE NIGHT STAND Parker spots a hank of blonde hair. PARKER Goldy's shade. Parker uses his handkerchief to search Lehman's clothes, thrown over a chair. In the coat pocket, Lehman's key to room 14-B and his wallet. Only one other key - Tania's. PARKER Crap. He opens the closet, pushes all of the clothes to one side. He wraps Lehman's corpse and the pillow in the bloody sheets. Has to pick up a hundred feathers... some bloody. He drags the bundle to the closet and hides it inside. Parker wipes away fingerprints from the closet door. Parker notices blood stains on the mattress, flips it before re-making the bed with the fresh sheets. He sees something glittering from under the bed. A pair of glasses. 32. Somebody begins knocking on the front door VOICE Mister Lehman? Trapped in a room with a dead man. The walls start to close in on him. More knocking. VOICE Mr. Lehman? It's Maid Service. Where can he hide? WE HEAR A KEY SLIDING THROUGH THE FRONT DOOR LOCK. We speed dolly through the luxury suite from Parker to the front door as it opens. MAID Mr. Lehman? Maid service. A uniformed MAID enter the living room of 14-B... IN THE BEDROOM Parker looks for a place to hide. The only spot is in the closet with Lehman's corpse... IN THE LIVING ROOM The Maid pushes her cart in, grabs sheets for the bedroom. IN THE BEDROOM Parker can find no place to hide. IN THE HALL The Maid moves to the bedroom with the sheets. IN THE BEDROOM Parker is trapped... Then he spots the bathroom door. As the Maid enters the bedroom, the bathroom door eases shut. 33. IN THE BATHROOM Parker squeezes against the bathroom door. The Maid sings a Calypso tune as she makes the bed only a few feet away. In the cramped bathroom, the walls REALLY begin closing in. IN THE BEDROOM The Maid pulls up the mattress to tuck in the bottom sheet. A rorschach of blood shows on the bottom of the mattress. The Maid tucks in the bottom sheet, but doesn't notice it. IN THE BATHROOM Parker holds his breath. IN THE BEDROOM The Maid finishes making the bed, cleans up the room. She empties waste baskets and ash trays, vacuums up all of the feathers, destroying evidence. IN THE BATHROOM Parker waits for the Maid to finish and leave. IN THE BEDROOM The Maid begins a quick dust wipe of the tables and dresser... destroying any finger prints. IN THE BATHROOM Parker gets a twitchy cramp in his hand from holding so still. IN THE BEDROOM The Maid takes a final look around, gathers up dirty sheets, and leaves. IN THE BATHROOM Parker hears her singing moving away. He flexes his cramped hand, opens the bathroom door. IN THE BEDROOM Parker steps out of the bathroom... Spots the Maid returning from her cart in the mirror! 34. Ducks back into the bathroom, no time to close the door! The Maid carrying towels, wash cloths, soap and shampoo, walks right up to the bathroom door... IN THE BATHROOM Parker looks through the pebbled glass shower at the door. He sees a wet towel at his feet. Quickly tosses it out of the shower, closes the door. The Maid enters the bathroom! Parker watches the Maid replace used towels with clean ones. Calypso song counting the towels as she grabs them. MAID And he said, ONE TWO THREE hand towels, ONE TWO THREE wash rags, ONE TWO... Can't find the other Bath Towel. She looks around, spotting it next to the shower door. MAID Ahhh! There you hide from me? IN THE SHOWER Parker holds his breath. The Maid walks RIGHT TOWARDS HIM! She gets CLOSER... And CLOSER... Then bends down and scoops up the bath towel. MAID THREE bath towels. One two three. One two three. The Maid replaces toilet paper, scoops up the towels, leaves. INT. HOTEL HALLWAY -- DAY The Maid pushes her cart out of 14-B, moving down to 14-C. WHEN THE MAID ENTERS 14-C, Parker slides into the hallway. He's alone. Parker creeps to the elevator, presses the DOWN button. 35. INT. THE ELEVATOR -- DAY The doors close over Parker. Parker tries to relax, but he's too keyed up. Someone has framed him for murder. Probably Tania. He looks at his reflection in the elevator's mirrored wall. Are those the eyes of a killer? Surrounded by his image. The image of a fool. The mag card slot dissects the elevator controls. No one can get onto the fourteenth floor unless they have a VIP mag card. He runs his finger over the mag card slot. INT. HOTEL LOBBY -- DAY Parker at the front desk. PARKER Can you give me a print out of all of our fourteenth floor guests? The Clerk moves to the computer terminal, punches in commands. Tears off the print out and hands it to Parker. CLERK Here you go, Lou. (quietly) There's a problem with Miss Zelaggio's credit cards. Can you talk to her? Parker nods, looks at the print out. JENNIFER HILL .................... Room 14-A CHARLES AND TANIA LEHMAN ......... Room 14-B HARRY FERGUSON ................... Room 14-C AHMED YEHMANI .................... Room 14-D YEHMANI'S BODYGUARDS ............. Room 14-E EDWARD DeSOUZA................... Room 14-F W.T. BURNETT ..................... Room 14-G GOLDY ZELAGGIO ................... Room 14-H MICHAEL HAYES..................... Room 14-I INT. HOTEL SECURITY OFFICE -- DAY Parker sets the list of suspects next to the video monitors, turns to the computer keyboard. 36. He punches in "Image Search", "Front Desk" and a time window. ON THE VIDEO MONITOR Images of the guests who have checked in over the past few days from the security camera behind the front desk. When Parker comes to a 14th floor guests, he hits Save... Recording the image onto the hard drive. Within a few minutes, he has photos of all his suspects. PARKER Okay, Charley, when was the last time we saw you alive? Uses the mouse to POINT to Charles Lehman's picture. Punches in "IMAGE SEARCH" and a time frame: 30 minutes before discovering the body, until the time he discovered the body. THE MONITOR WHIRRS THROUGH IMAGES. Stops as Charles Lehman exits the hotel, followed by Burnett. Time code tells us EXACTLY when this image occurs: 1:37 PM. THE VIDEO WHIRRS AGAIN. Shows Lehman entering fifteen minutes later, WITHOUT Burnett. Various cameras in the lobby show him entering the elevator. The 14th floor camera shows Lehman entering his room. Parker notes the time that Lehman enters his room (2:06), uses the mouse to POINT to Tania's picture. Punches "Image Search" for a time frame from 1:30 to 2:30. THE MONITOR WHIRRS, stopping at Tania entering 14-B at 1:35. IT WHIRRS AGAIN, showing Tania entering the lounge at 2:27. Writes "No alibi" next to Tania's name on the print out. Parker doesn't see what's happening currently on the... LIVE SECURITY MONITORS (lobby) Agent Burnett enters the lobby, asks the Clerk something. ON THE VIDEO MONITOR Parker moves the pointer to Michael Hayes' picture, punches in "Image Search" and the times. 37. THE MONITOR STOPS WHIRRING in the lobby at 1:43. Parker studies the screen, can't find Hayes. Plays the segment of tape several times before noticing the OLD MAN in glasses - Hayes in disguise - breezes past a pair of PAPARAZZI. IT WHIRRS AGAIN... then says SEARCH END. PARKER Still outside the hotel. Parker writes "out of the hotel" next to Hayes' name. He moves the pointer to Eddy DeSouza's picture, punches in "Image Search" and the times. THE MONITOR STOPS WHIRRING in the lounge. Rock & Roller DeSouza drains a lowball glass of bourbon, looks at his watch impatiently. Time code reads 1:57. ANOTHER CAMERA picks up DeSouza exiting the elevator on the l4th floor with a half finished Bourbon/rocks. At 2:03 the camera pans away and loses him. No other images of DeSouza are recorded. Parker writes "No Alibi" next to DeSouza's name. Points to mousey Jenny Hill, and does an Image Search. THE MONITOR SHOWS Jenny coming in from the beach at 1:49. Crossing the lobby to the elevator. WHIRR... 14th floor: mousey Jenny leaves her room at 2:27, enters the elevator, dressed for lunch, puffing on a menthol cigarette. Parker writes "In her room" next to Jenny's name. Parker points to Sheik Ahmed Yehmani, does an Image Search. THE MONITOR WHIRRS to Yehmani entering a room on the third floor with a WOMAN (maybe a hooker). Time is 1:35. PARKER Where are his bodyguards? WHIRR... Yehmani enters the elevator on the third floor at 1:55. 38. PARKER That was quick. Yehmani exits the elevator in the lobby at 2:28. PARKER Lost for thirty minutes on the elevator. Writes "No Alibi" next to Yehmani's name, doesn't notice... LIVE SECURITY MONITOR (lobby) Agent Burnett flips open his ID, questioning Yehmani. Looking for Charles Lehman... THE VIDEO MONITOR Parker moves the pointer to Brit Harry Ferguson. THE MONITOR WHIRRS... Lobby: Ferguson taps his cane, enters the elevator at 1:49. WHIRR... At 2:30 Ferguson leaves his room on the 14th floor, passing the Maid as she approaches room 14-B. Parker writes "In his room" next to Ferguson's name. Moves the pointer to faded star Goldy Zelaggio. THE MONITOR WHIRRS... Stops in the hotel bar, where Goldy sips her glass of white wine. Time is 2:27. PARKER Why didn't the cameras pick you up? "No Alibi" next to Goldy and moves the pointer to W.T.Burnett. THE MONITOR WHIRRS... Stops at 1:37 when Burnett follows Lehman out of the hotel. WHIRRS... Agent Burnett enters the lobby, asks the Clerk something. Time: 3:17. "Out of the hotel" next to Burnett, not noticing... LIVE SECURITY MONITOR (lounge) Burnett enters the Hotel Bar at 3:19... 39. INT. HOTEL BAR -- DAY Agent Burnett flips open his ID at Mary, impatient. Agitated. BURNETT I'm looking for a guest, Charles Lehman. Have you seen him? At the bar, Goldy sips her glass of white wine, smiles. INT. HOTEL SECURITY OFFICE -- DAY The photos of 14th floor guests. All suspects. PARKER Maybe the cameras picked up something else I can ID you with? Parker punches in "14th Floor: Camera One", 2:00 to 2:30. ON THE MONITOR Lehman enters his room, pans away. Pans the empty hall, showing a BLUR at the Service elevators. Parker freezes the frame. It's a figure, but he can't tell who it is. Maybe a man, maybe a woman. PARKER Who are you? Parker hits play. The camera pans the empty hall, shows the Maid outside room 14-D at 2:12. At 2:14, the camera pans away from the door to 14-B... Which is CLOSING! Continues panning... But all we see of the figure from 14-B is long blonde hair. Freezes the frame, studying it. PARKER Goldy Zelaggio. Parker punches in "14th Floor: Camera Two" and sets the times. ON THE MONITOR A DIFFERENT ANGLE of the 14th floor. 40. At 2:03 the Maid leaves room 14-F. At 2:10 it picks up a shadow near room 14-B. Parker stops the tape. PARKER Tania's exit? Can't tell from the tape. It's just a shadow on the wall. He continues running camera two's tape. At 2:13, a blur with a puff of smoke near room 14-A. PARKER Jenny returning from the beach? At 2:14 the camera pans towards 14-B... And we see the figure again! But only the TIPS OF THE SHOES from this angle. Parker hits pause, studying the shoes. Polished, dark, leather. PARKER Ferguson's shoes? Notices a third object in the far left of the frame... Harry's walking stick? It's hard to tell. LIVE SECURITY MONITORS (lobby) On the bank of security monitors we follow Burnett from the Hotel Bar across the Lobby to the elevators. Going up. INT. THE ELEVATOR -- DAY Burnett runs his card through the mag card slot. Presses 14. Headed up to Lehman's room. INT. HOTEL SECURITY OFFICE -- DAY Parker doesn't realize Burnett is on his way to discover the body, punches in "14th Floor: Camera Three", and the times. ON THE MONITOR A DIFFERENT ANGLE, a different pan speed. At 2:03: DeSouza exits the elevator with a glass of bourbon and ice. 41. At 2:07: The door to room 14-C swings closed in the background. No one around the door. At 2:14: The camera BARELY picks up the figure leaving room 14-B. All we can see is the edge of their back. It looks like they are wearing a robe. Parker freezes the frame and studies it. It looks like Yehmani's robe. INT. HOTEL HALLWAY -- DAY Agent Burnett strides out of the elevator to room 14-B... INT. HOTEL SECURITY OFFICE -- DAY Parker punches in "14th Floor: Camera Four", the time frame. ON THE MONITOR ANOTHER ANGLE shows the hallway. The Maid enters room 14-C at 2:03. A flickering shadow at 2:07. At 2:14 the camera pans... Showing a BIG CLOSE UP of the KILLER'S LEFT HAND. PARKER HITS THE PAUSE BUTTON Studies the hand. Not a very feminine hand, but not masculine either. PARKER Michael Hayes' hand? Hits a few buttons, puts ALL FOUR IMAGES on his screen at the same time, recording them on the computer's hard drive. ON THE MONITOR 1) Goldy Zelaggio's Hair. 2) Harry Ferguson's Shoes. 3) Michael Hayes' Hand. 4) Ahmed Yehmani's Robes. PARKER Goldy Zelaggio's hair. Harry Ferguson's shoes. Ahmed Yehmani's robes. Michael Hayes' Hand. (MORE) 42. PARKER (CONT'D) (beat) Crap. It's video Rashomon. Every monitor in the room shows each one of the images. PARKER Four cameras, four angles.... Four different killers. He puts all four images split screen on the main monitor. Accidentally takes the images off pause. SPLIT SCREEN as four views continue past 2:14. CAMERA ONE Shows Jenny leaving her room at 2:27 and the Maid enter room 14-B at 2:30. CAMERA TWO Shows the Maid entering room 14-D at 2:21 and Ferguson leaving his room at 2:30. CAMERA THREE Shows the Maid leaving room 14-D at 2:29. CAMERA FOUR Shows Parker exiting the service elevator at 2:17, carrying an arm load of sheets. The camera pans, following him PERFECTLY as he uses his mag card to enter 14-B. The door closes, the camera pans away. PARKER Crap. Parker EJECTS tape number 14/4. Parker turns to the bank of monitors, and sees... LIVE SECURITY MONITOR (14th floor) Burnett at room 14-B. He pounds on the door. Getting no answer, he pounds again. PARKER Crap... Parker drops the tape on the counter, bolts out of the office. 43. INT. 14TH FLOOR HALLWAY -- DAY Burnett is about to break down the door to 14-B, when Parker steps out of the elevator. PARKER Can I help you with something? BURNETT Mr. Lehman isn't answering his door. PARKER Maybe he's not in. BURNETT There's an easy way to find out. (smiles) You've got a pass key don't you? Burnett holds out his hand. PARKER I don't think that's a good idea. BURNETT I don't care what you think. (no smile) If Lehman has skipped the country, he's in violation of federal law. That gives me probable cause. PARKER What if he's just sitting in the bar, having a drink? BURNETT Just give me the key. Parker reluctantly hands Burnett the mag card. Burnett runs the mag card through the lock. When he gets the green light, he enters room 14-B. Parker remains in the hall. He KNOWS what's inside 14-B. BURNETT Come on. You can be my witness. Parker enters room 14-B. The door closes behind them. 44. INT. SUITE 14-B -- DAY Parker stands in the living room, while Burnett does a search. PARKER I don't think we should be in here. What if Lehman comes back? BURNETT Do you think that's likely? PARKER I'm not supposed to be in his room... Unless it's an emergency. BURNETT Don't worry. You're not going to lose your job. Burnett continues searching. Parker is nervous, leans against the desk. BURNETT Don't leave any stray fingerprints. Parker realizes he has left fingerprints throughout the suite. PARKER This isn't a crime scene. BURNETT We don't know that. Parker grabs the ice bucket... covering it with fresh prints. PARKER Empty champagne bucket. Ice still cold. Is it a clue? BURNETT You're getting prints on it. PARKER Lehman did his swindling in Colorado. How can this help or hurt your case? Burnett gives him a cold look, enters the bedroom. Parker remains in the living room... Panic rising. BURNETT (O.S.) Look what we have here? 45. Parker's curiosity gets the best of him. IN THE BEDROOM Burnett is on his hands and knees looking under the bed. PARKER What... What is it? BURNETT Not what I expected. PARKER Blood? Burnett pulls something from under the bed, moves to his feet. BURNETT Evidence of criminal activity. PARKER Should I call the police? BURNETT It's only Adultery. Holds up the champagne cork, so Parker can see it. BURNETT Looks like Mrs. Lehman was having a little Afternoon Delight. Wonder who the lucky man is? PARKER How do you know it's Mrs. Lehman? BURNETT Because Mr. Lehman's extra-curricular is in a room at the end of the hall. And 'he doesn't drink champagne. PARKER Who is it? BURNETT None of your business. Burnett pockets the champagne cork, continues his search. Parker tries not to panic as Burnett enters the bathroom. BURNETT (O.S.) The maid's been here. 46. Burnett exits the bathroom, looks at Parker. BURNETT Let's check the closet. See if he took any extra clothes with him. The walls close in on Parker. Burnett ambles across the room to the closet. Tension builds. Burnett slides open the closet door. WHAM! Lehman's corpse falls to the floor at Burnett's feet. PARKER Oh, my God... BURNETT Looks like Lehman wasn't in the bar, after all. Parker grabs the phone, dials an outside line. Burnett slams his hand on the hang up bar. BURNETT What are you doing? PARKER Calling the police. BURNETT This is MY case. PARKER Yeah, and it's MY hotel. I say we call the police. Or did you want to dump the body in the ice machine at the end of the hall until the rest of your FBI goons get here from Washington? Burnett takes his hand from the hang up bar. Parker dials the police. INT. SUITE 14-B -- LATER FLASH! The CRIME SCENE PHOTOGRAPHER takes a photo of Lehman's corpse. The room is crawling with POLICE TECHNICIANS. They draw crime scene sketches, dust the room for prints, and vacuum up fibers from the carpet. 47. Lt. Bob Nolan looks from Parker to Tania Lehman. NOLAN Well, ma'am? TANIA Yes. It's Charles. (fighting tears) It's... It's his tattoo. And his wedding band and his... his body. A POLICEMAN puts a sheet over what's left of Lehman's face. NOLAN I'm sorry for your loss, Mrs. Lehman. Tania nods, her eyes red with tears. Nolan nods to Parker, who guides Tania out of the bedroom. NOLAN Tag it and bag it. The Policeman fills out a toe tag. Burnett glares at Nolan (no kid gloves for VIPs). BURNETT You didn't have to do that. I could have IDed him. NOLAN It's got to be next of kin. BURNETT You make it sound like it's your case. NOLAN Murder isn't a Federal crime. Burnett pops a cork and presses Nolan up against the wall. BURNETT This man was under my surveillance. He was part of an FBI investigation. Whoever killed him wanted that investigation stopped. (lets go) That MAKES IT my case. (smiles) If you want to take it up with Washington, fine with me. But until then, you keep the fuck out of my way. (smooths Nolan's suit) Do we have an understanding on this? 48. Nolan pulls away from Burnett, turns to his men. NOLAN Let's pack it up, gentlemen. It's now officially an FBI case. Fourteenth floor gives me nosebleeds anyway. (to Burnett) Hope you brought your fingerprint kit. Nolan and Burnett stare each other down as Technicians close their kits and leave. Lehman's body is zipped into a bag and removed from the room. INT. HOTEL HALLWAY -- DAY Nolan, Burnett, and Parker stand outside suite 14-B. Nolan slaps an official police seal over the door. NOLAN That'll keep the evidence safe until your crew comes from Washington. Nolan gives Parker a nod, leaves. Parker turns to Burnett. PARKER I'll get Mrs. Lehman into a new room. BURNETT Have a bellboy take care of that. (gestures) We've got more important things to do. PARKER Like what? BURNETT Those video cameras... Burnett points from one camera to the other... Finding all four cameras. BURNETT The killer's fifteen minutes of fame. INT. HOTEL SECURITY OFFICE -- DAY PARKER They're hotel property. 49. BURNETT I'll give you a receipt. Between Parker and Burnett is the desk... And tape #14/4, showing Parker entering room 14-B. Parker ignores the tape, turns to the bank of video decks. PARKER You know, I used to be on the job. BURNETT What happened? You're too young to retire. Need twenty years before FERS kicks in. PARKER Maybe expense accounts are more liberal in the Bureau, but no one in the Service would have let me stay on the 14th floor. BURNETT Let's make a deal: I'll worry about my expense account and you worry about handing over the evidence. Ejects tape 14/1, hands it to Burnett. Ejects tape 14/2, hands it to Burnett. Ejects tape 14/3, hands it to Burnett. BURNETT Where's the fourth tape? PARKER What do you mean? BURNETT Four cameras, four tapes. PARKER Deck 14/4 is broken. Parker hits the eject button on 14/4, nothing happens. He opens the flap with his fingers, exposing emptiness. PARKER See? No tape. Burnett sets the three tapes on the desk... next to tape 14/4. Takes a closer look at the empty deck. BURNETT How convenient. 50. PARKER I didn't plan the malfunction. It happens sometimes. Parker KNOWS Burnett suspects him. BURNETT Fine. Burnett scoops all four cassettes off the desk. BURNETT I'll take a look at these. See if we can identify the killer. Parker sees tape 14/4 on the bottom of Burnett's pile. BURNETT Have a bellboy bring a couple of VCRs up to my room. Also a dozen blank tapes and some, what do you call those things? Jumper cables. PARKER Dubbing cables. BURNETT Right. You didn't make any copies of these, did you? PARKER No. BURNETT Tamper with them in any way? PARKER You saw me take them out of the machine. Burnett turns to leave. PARKER Agent Burnett? BURNETT Yeah? PARKER You picked up an extra tape. BURNETT Did I? He examines the four tapes, separating tape 14/4. 51. BURNETT So I did. Burnett examines tape 14/4. PARKER Must have picked it up by mistake. BURNETT Right. (examines it) This tape's from the broken machine. PARKER It's blank. Burnett notes that it's 75% recorded. BURNETT Of course it is. He hands the tape to Parker. PARKER Just leave it on the desk. Burnett sets the tape on the desk, walks to the door. BURNETT Don't forget to send that equipment up to my room. Anybody tries to tamper with evidence, I'll have a back up. Burnett leaves. PARKER Crap. Parker drops tape 14/4 in his desk's bottom drawer, locks it. Puts the key in his pocket, finds the St. Maarten's National Bank brochure. The phone number is circled in red ink. Parker dials the phone. PARKER Hello. This is Wallace Burnett with the Federal Bureau Of Investigation. (listens) Can you tell me if a Charles Lehman has an account with you? (listens) No? 52. Parker is confused. PARKER How about a Tania Lehman? (listens) No? Well, thank you for your cooperation. Parker hangs up, stuffs the brochure back in his pocket, passes Kenny on his way out the door. PARKER There's been a killing on celeb central. Kenny doesn't ask who - a look of disappointment at Parker. PARKER Focus on that floor - make sure no one messes with the police seal on 14-B. INT. HOTEL BAR -- DAY Parker spots Ahmed Yehmani: sipping scotch, Penthouse hidden behind a newspaper... Bodyguards nearby. PARKER Mr. Yehmani? Lou Parker, hotel security. YEHMANI Yes? PARKER You may have noticed police activity at the hotel today. YEHMANI Yes. What happened? PARKER One of our guests was killed. YEHMANI Yes? Who? PARKER Charles Lehman. Yehmani laughs, sets down his paper. YEHMANI Let Allah be praised. PARKER What do you mean by that? 53. YEHMANI I lost a considerable amount of money in his savings and loan. Wouldn't have stayed here, had I known Lehman was a guest... But the best hotel on the islands. What choice did I have? PARKER We're trying to establish time of death. When did you last see him? YEHMANI This afternoon. PARKER Between two and two thirty? YEHMANI Before. I had an appointment at one thirty. PARKER After that? YEHMANI I've been here in the bar. (grabs his paper) I hope I have been of some help. Blocks out Parker with the newspaper, dismissing him. Parker spots Goldy Zelaggio at a table, sipping white wine. PARKER Miss Zelaggio? GOLDY Who's it to? She grabs a pen, ready to sign an autograph. PARKER Lou Parker, Hotel Security. I was in your room a few nights ago. Sets her pen down, focuses on Parker. PARKER When did you last see Charles Lehman? GOLDY Twenty years ago. (sips) I was born the day he left. 54. PARKER You two used to be... involved? GOLDY Charles was only self-involved. He was my date to the Oscars twenty three years ago. The year I lost to Fonda. PARKER He was staying down the hall from you. GOLDY Didn't know that. PARKER This afternoon, about two fifteen, somebody shot him. Where were you? Takes a sip of her white wine. Smiles. GOLDY You mean: Was I in the library with the monkey wrench? Or was that Colonel Mustard? PARKER Where were you at two fifteen? GOLDY You'll have to roll the dice to find out. Play the game. (camera smile) Here. Hands him an autographed napkin, shoos him away. EXT. THE 99 STEPS -- EVENING A staircase street built by the Danes in the 1700s to connect Blackbeard's Castle to the residential area in the hills above. Parker joins Nolan at the top of the stairs, looking down over the Castle and city of Charlotte Amalie. Pulls a couple of Red Stripe beers from a hotel bag, hands one to Nolan. NOLAN Why not meet at the hotel bar? PARKER This is private. Off the record, okay? 55. NOLAN (sips beer, shrugs) What record? PARKER (goes down a few steps) What would happen in I got into a jam? NOLAN How bad? PARKER Worst there is. NOLAN (stops - disappointed) Shit, Lou. I always thought some jealous husband would kill you... Never thought you'd beat him to it. PARKER I didn't kill Lehman. NOLAN But you were fucking his wife? No answer from Parker, who continues down the steps. NOLAN Why the hell do you have to go after the rich bitches? Aren't there enough horny businesswomen and tourist girls in that place to keep your wick wet? (spins Parker around) What the hell were you thinking? PARKER Nolan -- NOLAN You social climbing? That it? Trying to fuck your way to fame and fortune? See how the other half loves? PARKER Agent Burnett is going to -- NOLAN I can't do anything about the FBI guy. He's a fucking bulldozer. I'm not going to stand in his way. 56. PARKER It's not his jurisdiction, it shouldn't be his case. Look, if it were your case -- NOLAN Lou, I'm not going to lose my fucking job for you. You got yourself into this one. I wasn't screwing the dead guy's wife. It's not my problem. PARKER You're supposed to be my friend. NOLAN That means I take the bullet for you? No fucking way. You did something stupid and you want me to bail you out -- PARKER That's what friends are supposed to do. NOLAN Who the hell bailed you out when you got bounced from the Service and needed a job? When you needed money to move down here? With that crazy woman last year? PARKER Nolan -- NOLAN When's it my turn to get bailed out? Why is it always me doing for you? PARKER I really need your help -- Nolan starts to the base of the steps, Parker catches up. NOLAN I'm just a regular working guy, Lou. I have no idea what I can do for you. You've got fourteenth floor problems. PARKER Please... NOLAN Your picture will be on the front page. You're gonna be a somebody, Lou. PARKER You want me to get down on my knees? What the hell do you want me to do? 57. NOLAN Can't you get one of your celebrity pals to recommend a good lawyer? PARKER You're the only one I've got. This FBI guy is going to start putting stuff together... then he's going to arrest me. NOLAN He's a Fed, I'm just a dumb island cop. Not what Parker wanted to hear. He grabs Nolan, pleading, angry. PARKER I'm sorry I'm such a fuck up, okay? I'm sorry you had to carry me all these years. Now will you fucking help me? NOLAN There's a limit to what I can do for my friends. You wanna get away with murder, you're on your own. Thanks for the beer. Nolan tosses his empty in a trash can at the bottom of the steps, cuts through the Castle grounds to the city... Leaving Parker alone. INT. PARKER'S APARTMENT -- NIGHT Parker takes off his coat and tie. It's been a long day. A noise from the bedroom. Someone is in his apartment. PARKER Hello? Silence and darkness from the bedroom. Moving into a defensive stance, he creeps into his bedroom. IN THE BEDROOM Shadows stretch out in the darkness. Parker's eyes aren't accustomed to the dark. He feels his way inside. WHAM! Somebody grabs him, pressing him against the wall. 58. Parker tries to fight. The ASSAILANT SLAMS him against the wall. Kicks his legs apart. Holds him tight. PARKER Take it easy. I'm unarmed. Spread-eagle against the wall, Parker awaits his fate. PARKER What do you want? The Assailant moves closer to Parker... And kisses him. TANIA Who were you expecting? PARKER What are you doing here? She switches on the lights. Tania is in a peek-a-boo teddy, stockings, a sheer wrap. TANIA The police sealed my room. Thought I could stay with you. She drops the sheer wrap, running her hands over him. Unbuttoning his shirt. PARKER I arranged for you to have room 1318. All your luggage has been moved. Should have checked at the front desk. TANIA I'll check tomorrow morning. She kisses him, pressing him back against the bed. Parker pushes her away roughly. PARKER Your husband isn't even cold yet. TANIA So, it's okay for us to sleep together when Charles was alive, but now that he's dead it's wrong? PARKER You should consider appearances. 59. TANIA I don't care about appearances. I care about US. I care about ME. I'm alone. More alone than I've ever been. (admits) I need somebody. PARKER We're both under a lot of pressure. Tania makes the move, and they kiss. They end up in bed. Parker wondering if he's making love with a killer. AFTERWARDS: Tania kisses his chest. PARKER Where were you today between two and two thirty? TANIA What do you mean? PARKER Do you have an alibi for time of your husband's murder? TANIA You don't trust me? Is that it? (angry) You'll make love with me, put yourself inside of me, but you won't trust me. PARKER It's just... TANIA You think I killed him, don't you? PARKER It doesn't matter what I think. (a lie) The police are going to be asking the same questions, I just want to make sure you have an alibi. (does she?) Agent Burnett's ideas of mourning may not be as liberal as mine. TANIA That's Burnett's problem. 60. Silence stretches, as if she's daring Parker to continue. PARKER You'd tell me, wouldn't you? TANIA Tell you what? PARKER Tell me if you killed him. TANIA Then you'd have to tell Burnett, right? PARKER Yes. TANIA Then I didn't do it. I was in the hotel bar from two to two thirty. PARKER Is that the truth? TANIA Would you rather I lie? PARKER I don't want Burnett to think you and I conspired to murder your husband... TANIA Would you have? PARKER What? TANIA Would you have murdered Charles for me? Would you have taken your pistol... She strokes him, adding tons of innuendo to "pistol". TANIA ...And blown his head off? PARKER No. TANIA That's not very flattering. She gives him a kiss, rolls over to go to sleep. 61. Parker lays in the dark, unable to sleep. Is she involved in her husband's murder? The celebrity photos look down on him from the walls. Judging. On the dresser: his high school track & field trophy glitters. EXT. FRENCHMAN'S BLUFF HOTEL - ST. THOMAS -- MORNING The hotel glitters in the sun. INT. HOTEL SECURITY OFFICE -- DAY Parker studies the suspects. ON THE MONITOR 1) Goldy Zelaggio's Hair. 2) Harry Ferguson's Shoes. 3) Michael Hayes' Hand. 4) Ahmed Yehmani's Robes. The office door opens, Parker clicks off the monitor... leaving his face reflected in the screen - maybe he IS the killer. MARY Brought you coffee. Where's Kenny? PARKER I have him walking the floors. Parker takes the coffee, stops her before she can leave. PARKER I need your help. MARY (sarcastic) Really? PARKER Did you see Tania Lehman at any time between two and two thirty yesterday? MARY Working on her alibi? PARKER Wondering if she has one. MARY She came in at two thirty. Barb had just come back from lunch. 62. PARKER What about the other 14th floor guests? MARY Isn't this Nolan's job? Or that FBI guy's? PARKER I'm going to handle it. MARY You can't just go up there and play Secret Service agent... Those people are celebrities. They come here for their privacy. They don't want you poking around in their lives. PARKER I can be discrete. MARY You think because you have a key that takes you all the way up to the 14th floor you're one of them? Parker touches her arm, reaching out to her for help. PARKER Mare, when I found Lehman, laying there dead, I got sick... Mary pulls away from his touch. PARKER Sick with fear. I'd wished him dead, and I got my wish. When I first saw him laying there, I felt relieved. He couldn't find out about Tania and me... She backs to the door, afraid - was he involved in the murder? MARY You were there? Busted. Parker back-pedals. He needs all the friends he can get. PARKER Burnett and I discovered the body. (she's still afraid) I wanted him dead, I admit that, but I wouldn't kill anyone... MARY I don't know what you'd do to be up there. 63. She leaves Parker alone - looking at his reflection on the monitor. INT. HOTEL BAR -- DAY Harry Ferguson sips his vodka and lime, no tonic, no ice. PARKER Mister Ferguson.... FERGUSON Harry. Everyone calls me Harry. PARKER Lou Parker. Hotel Security. It's about the... disturbance... yesterday. FERGUSON Poor Charlie. PARKER You knew him? FERGUSON We were friends. His bank loaned expansion money to my airline. Now we fly nonstop from Los Angeles to London. PARKER I'm trying to find out who the last person to see him alive was... FERGUSON Anything to help. PARKER Did you see him between two and two thirty? FERGUSON Let me think. (pretends to think) Between two and two thirty? (smiles) I believe I was napping in my room. PARKER He was right down the hall from you. You hear any gunshots? FERGUSON Not that I recall. (smiles) Poor Charlie. Always knew he would go violently. (MORE) 64. FERGUSON (CONT'D) Wasn't much good at making friends. I was probably the only one. PARKER I'm sure you were a great friend. Hurled as an insult as Parker leaves, frustrated. EXT. BEACH NEAR HOTEL -- DAY Parker grabs a disguised man leaving the hotel - Michael Hayes. PARKER Mr. Hayes. Lou Parker, hotel security. Can I ask you a couple of questions? HAYES About what? PARKER There was a murder in the hotel yesterday. HAYES And? PARKER On the fourteenth floor. Only eight people have access to that floor... HAYES What are you trying to say? PARKER I just want to know where you were yesterday between two and two thirty. HAYES You're an employee here, right? (Parker nods) So the hotel pays your salary. Parker nods... anger surfacing. HAYES Where do you think the hotel gets the money to pay you? From guests like me. So I'm really your boss, right? PARKER What's your point? 65. HAYES Just so you know where you stand. Parker considers this... Then punches Hayes in the face, knocking the movie star down. PARKER Who the hell do you think you are? Hits him in the face again, hurts his hand in the process. PARKER Son of a bitch. Ouch. Ouch. Ouch. Parker shakes his hand, cradles it. He storms away, leaves Hayes alone on the sand. INT. HOTEL BAR -- DAY Sheik Ahmed Yehmani has the newspaper ripped out of his hands, exposing the Penthouse magazine beneath. PARKER Want to give me the name of your alibi? YEHMANI Surely this is a police matter? PARKER The hotel has a policy about hookers. (does that translate?) Prostitutes. Whores. Putas. Harlots. YEHMANI Yes, I understand. (studies him) Mr. Parker, do you know what it's like to be loved? Yes, I think you do. I was born a Prince. I did not asked to be born this. I had no choice. There was no time that I was not a Prince. PARKER The hooker on the third floor? YEHMANI Women do not love me for who I am, but for what I am... a wealthy Prince. Parker studies his robes - the same as on the security video? PARKER Hookers are above all that? 66. YEHMANI Yes, these women may only want to make love with me for my money, but they are honest about it. To them, I am like any other man. I am a job. (gathers his newspaper) Even if I had killed Charles, I am immune from prosecution in your country. Parker tries to stare him down, the newspaper gets in the way. Parker passes mousey Jennifer near the piano - stinking drunk. AT GOLDY'S BOOTH Goldy sips white wine, paper and pen shoved in front of her. PARKER Rolled the dice and came up with your bill. They've cancelled all your cards. Not arrogant, not impatient, not superior... she's afraid. Parker studies her hair - same as on the security video? GOLDY I asked Charlie for a personal loan, and he laughed in my face, asked me about my earning potential... (looks at the bill) When I took him to the Academy Awards he was nobody. Just some hot shot banker with too much charisma... (gulps wine) Being seen with me made him. PARKER He was born the day you met. GOLDY I lost the Oscar, started losing jobs, losing money, losing my mind... Like Charlie and I traded places. He became somebody and I became... What am I Mr. Parker? What do they call me behind my back? A has-been? Or worse? Parker is embarrassed. He's pushed too hard and broken her. GOLDY (studies the bill) Can someone help me with my bags? I don't think I can carry them myself. Parker gently takes the bill from her, leaves her alone. 67. AT THE BAR Harry Ferguson taps his cane while waiting for Mary to make his vodka and lime, no tonic, no ice. PARKER Mr. Ferguson... FERGUSON Harry. Everyone calls me Harry. My, my. You're looking the worse for wear. PARKER Lehman's only friend. FERGUSON Charlie was a white-hot flame, a beacon in the darkness, a guiding light... He burned everyone who got too close. Ferguson taps the cane. Parker grabs it from his hands. PARKER Tell me about him. Not the guy on TV, not the embezzler, the man underneath. Parker studies the tip of the cane. Did it make the marks on Lehman's floor? Is it the object on the security tape? FERGUSON Do you think I like walking on the wings of airplanes? Putting my head in the foul smelling mouths of tigers? PARKER What you do in your private life is none of my business. FERGUSON Neither Charlie nor I wanted to be public figures, we just wanted to make some money. But everyone loves a tale of success. The rich are famous whether or not we want it. PARKER Lehman was afraid of Robin Leach knocking on his door? FERGUSON Charlie was afraid of being famous in prison. Stripped of power and prestige. Every convict would know his name. He would have done anything to stay out of prison... Even have himself killed. 68. Ferguson takes his cane from Parker, crosses to his booth. Leaving Parker at the bar with Mary, relationship strained. MARY Get your confession? PARKER Everybody has an angle. Barracudas fighting over a scrap of meat. Feeding off each other. Maybe they all killed him? (looks for DeSouza) What about the rock and roller? MARY Haven't seen him. But he'd be at the top of MY suspect list. PARKER Why? MARY Your girlfriend was in all his videos. One of the rungs on her climb to the top. PARKER When was the last time you saw him? MARY Left yesterday at two. Some important meeting. Forgot to sign his tab... PARKER Think he took his gun to this meeting? MARY Wouldn't surprise me. INT. THE ELEVATOR -- DAY Parker enters the mirrored elevator - and there's Michael Hayes. Doors close, trapping them. PARKER Got a question for you... What are you doing at the end of the hall? Shouldn't you be in the room right off the elevator? The primo room instead of the long walk? Parker reaches towards him... Hayes tries not to flinch. Parker pushes the floor button. 69. HAYES Privacy. I need the privacy to search. (confesses) I don't know who I am anymore. PARKER Everybody knows who you are. HAYES They think I'm the tough cop or the crusading reporter or the fireman... PARKER In front of the camera. HAYES I'm always in front of the camera. When I'm not working, I'm Michael Hayes the movie star. Wife and kids, great sense of humor. That's a role I play. It's not really me. It used to be me... Maybe. Parker studies Hayes' hand - the same as on the security video? HAYES I was one person, then I was two people, now I'm nobody. I can't find my self. PARKER (touches his shoulder) Good luck. Elevator doors open and Parker steps off. He's stripped away the celebrity to expose the needy, frightened, folks beneath. INT. HOTEL SECURITY OFFICE -- DAY Kenny is off. Parker looks at the four views of the killer. ON THE MONITOR 1) Goldy Zelaggio's Hair. 2) Harry Ferguson's Shoes. 3) Michael Hayes' Hand. 4) Ahmed Yehmani's Robes. Parker isolates the ROBES, punches "Image Search". The "Robes" go to half screen. Images whirr past until a TWO SIMILAR images pop up. Parker hits PLAY. The FIRST image pans until we see: Ahmed Yehmani in his robes. 70. Parker PLAYS the SECOND match. The camera pans to show Eddy DeSouza in his rain coat. PARKER Wait a minute... He isolates the "HAIR" and does an image match. Two similar images: Goldy Zelaggio blonde tresses. Eddy DeSouza's long rocker locks. Parker isolates the "SHOES" and the images whirr... Two similar matches: One image PLAYS into Harry Ferguson in brown leather shoes twirling his walking stick. The second image PLAYS into... Eddy DeSouza's boots. ON THE MONITOR 1) Eddy DeSouza's Hair. 2) Eddy DeSouza's Shoes. 3) Eddy DeSouza's Hand. 4) Eddy DeSouza's Rain Coat. PARKER Eddy DeSouza. Parker notices something, brings the "Shoes" image full screen. The tip of the walking stick in the far left corner. PARKER A shotgun barrel? He blows the "walking stick" up to full screen. It DOES look like a shotgun barrel. Parker notices something on the security monitors: ON THE MONITOR Eddy DeSouza, long hair, rain coat, boots, leaves his room. Parker makes sure his gun is loaded and leaves. INT. HOTEL LOBBY -- DAY Parker steps into the elevator. 71. INT. THE ELEVATOR -- DAY The doors closed behind Parker... Jenny Hill shoves a 32 caliber automatic into his back. JENNY You killed him, didn't you? Parker raises his hands. PARKER Take it easy, okay? JENNY You and that bitch wife of his. Parker looks at her reflection in the mirror walled elevator. PARKER Just lower the gun. We'll talk... JENNY Why don't I just kill you? The way you killed Charlie? PARKER I didn't kill Lehman. JENNY I KNOW you did. I have proof. PARKER There's no proof... (is there?) JENNY (pokes him with gun) You were screwing that slut every afternoon. Changing the sheets so Charlie wouldn't find out. PARKER Where'd you hear that? JENNY I SAW you. I saw you leaving her room afterwards. After the murder? PARKER When? 72. JENNY The day before yesterday. Parker relaxes... Then flips into action. Knocking the gun up and grabbing Jenny's wrists. They struggle, the gun between them. BLAM! A bullet flies past Parker's face, SHATTERS a mirrored wall. Glass flies. Jenny muscles the gun around, aiming it at Parker's eye. Her trigger finger tightens. Parker pushes the barrel away from his face. She pushes it back, gets ready to fire. THEY STRUGGLE in the elevator, gun between them. Aiming from Parker's face to Jenny's and back. BLAM! Parker drops, the bullet skims over his head. Twisting, he pulls Jenny down, wrestles the gun away. Parker keeps the gun aimed down at her. Jenny begins crying. JENNY I don't know what to do. Charlie was everything. How am I going to pay my room bill? How am I going to buy my food? Without Charlie... I'm nothing. She reaches out for Parker. He steps away... she's pathetic. JENNY I wanted to know what made him special. Why he gets his way, and I never get mine. Why we run from our lives to be near him. Why people do what he says, but never do what I say. Why he's somebody, and I'm... (locks eyes with Parker) You know what I mean. PARKER No I don't. (Yes he does) Like looking into a mirror and really seeing himself for the first time. Her life on the fringe of VIPs is just like his. 73. JENNY Why did you have to kill him? She grabs for the gun. PARKER No. I'm going to keep this safe for you. Go to your room. Try to get some sleep. INT. 14TH FLOOR HALLWAY -- DAY Parker pockets the gun, waits until Jenny is in her room before using his pass card to enter 14-F. INT. SUITE 14-F -- DAY Parker searches Eddy DeSouza's room for the shotgun. The rocker might return at any time. IN THE BATHROOM Parker checks the shower. Empty. Opens cabinet doors. Checks under the sink. Nothing. On the counter is a large black bag. Unzips the large bag. Inside: make up. Everything from face powder to red finger nail polish. IN THE BED ROOM Checks the waste basket. Empty and unused. Moves to the closet. INSIDE THE CLOSET Parker searches DeSouza's bags. Lots of weird clothes. A bag contains promo CDs for all the Pagan Babies albums. Covers show a bare chested DeSouza holding rattle snakes. PARKER John Tesh watch out. At the bottom of the bag are a couple of video cassettes. 74. Puts the cassettes back, but pockets one. A suitcase contains two EMPTY pistol cases, a cleaning kit, an NRA newsletter, a box of ammo. Another case contains a bag of DeSouza's blond hair. PARKER Saving up to join the Hair Club. IN THE BEDROOM Parker opens drawers and cabinets. Nothing more interesting than a studded leather jock strap. He looks under the bed, sees nothing, almost turns away. Parker crawls under the bed, looks at the box springs. Comes out with a shotgun case. HE OPENS THE CASE and there it is: A Remington 870 Marine Magnum. Chrome and black monster with a cut down barrel, designed for military use. He smells the barrel. PARKER Fired recently. Parker carefully replaces the shotgun and case under the bed. INT. HOTEL SECURITY OFFICE -- DAY Mary enters with two to-go cups of coffee, ends up in the center of a stand off between Kenny and Agent Burnett. BURNETT Perfect timing. (takes one of the coffees) Could you tell this kid who I am? KENNY He wants to search Parker's desk. BURNETT Hey, I just had nineteen months of investigation fucked up beyond belief because some asshole popped my perp. Somebody's gotta pay. If it's not Lehman, it's the asshole who popped him. 75. MARY What does that have to do with us? BURNETT You got four cameras in that hallway. Parker gave me three tapes, put the fourth someplace safe for me. I just want to pick it up. Is that too much to ask? MARY He's not here? BURNETT Been looking all over for him. Seems to have disappeared. (smiles) Could you help me? MARY What does it look like? KENNY Mary... BURNETT It's labeled 14-slash-4. Mary helps Burnett search Parker's desk. Kenny watches, unhappy. While looking for the tape Burnett flips through address books. Reads Parker's mail. Examines Parker's check book. Rocking on. THE BOTTOM DRAWER is locked. BURNETT It's probably in here. The evidence. (smiles) Locked it for safe keeping... He gives the drawer another yank. Nothing. Mary opens the top drawer, feels the underside of the desktop. KENNY Mary... She pulls out a key, taped to the bottom of the drawer. KENNY We should wait for Parker to get back. Burnett tries to take the key. 76. MARY I'll open it. She unlocks the drawer... betraying Parker. Mary pulls out a tape labeled 14/4, hands it to Burnett. Burnett goes to the VCR. BURNETT Let's take a look. He pops in the tape and hits PLAY. Mary and Kenny watch. ON THE MONITOR The camera pans across the 14th floor. Service Elevator doors open. Parker steps out, arms piled with sheets. Camera pans, following perfectly, as he walks down the hall to Room 14-B, pulls out his passkey, enters the room. MARY Oh my God. BURNETT Looks like Parker knew who the killer was all along. Mary bolts out, frightened. Burnett smiles, pockets the tape. Kenny closes the door after Burnett leaves. INT. HOTEL LOBBY -- DAY Parker asks the Desk Clerk. PARKER Have you seen Mr. DeSouza from 14-F? CLERK No, sir. PARKER If he comes in, give me a call. The Desk Clerk nods. Parker crosses to the elevators. AFTER PARKER IS GONE, Mary runs to the front desk, frightened. 77. MARY Have you seen Lou? CLERK Missed him by a minute. MARY Where did he go? CLERK The elevator. (beat) He was looking for a guest... Mary bolts to the elevators before he can say more. AT THE ELEVATORS Mary grabs Goldy as she exits the elevators. MARY Have you seen Mr. Parker from Hotel Security? GOLDY He's already talked to me... Mary lets go, looks from elevator indicator to indicator. All elevators are moving. All stop at different floors. Which one is Parker on? Mary jumps inside the elevator before the doors close. A MOMENT LATER Burnett shows, gun in hand. Looks from elevator to elevator. When an elevator's doors open, Burnett shoves a COUPLE aside, gets on. BURNETT FBI business. He flashes his gun instead of badge. The elevator doors close. INT. THE ELEVATOR -- DAY Burnett looks at his reflection, broken a thousand times from Jenny's bullets. 78. BURNETT Seven years bad luck. INT. DOWNSTAIRS HOTEL HALLWAY -- DAY Ballrooms and Conference Rooms. Parker opens every door, searching for DeSouza. PARKER DeSouza? Opens a door. Janitor closet. No DeSouza. Another door. Conference Room. Enters. INT. CONFERENCE ROOM -- DAY Parker looks around the room. Empty. INT. DOWNSTAIRS HOTEL HALLWAY -- DAY Parker backs out... ..................a hand grabs his shoulder... ...........................................spinning him around. Caught! PARKER Look... I can explain... Parker raises his hands, turns to face... MARY Burnett got into your desk. (evasive) He found the other tape. He knows you killed Lehman. PARKER How do you... MARY You've got to hide. FOOTSTEPS in from around the corner of the hall. 79. Mary and Parker look at each other, panic rising. AT THE OTHER END OF THE HALL Burnett, gun ready, strides down the hall to the corner. IN FRONT OF THE CONFERENCE ROOM Mary pulls Parker into the Conference Room. Parker shakes his head, pulls her TOWARDS the corner. TOWARDS Burnett. Panic! AT THE OTHER END OF THE HALL Burnett gets to the corner. Turns. Heads RIGHT AT PARKER AND MARY! NEAR THE CONFERENCE ROOM Parker pulls Mary into the Janitor's Closet. Shuts the door, SECONDS before Burnett turns the corner. INT. JANITORS CLOSET -- DAY Parker and Mary squeezed tightly together. Burnett's footsteps echo around them. The footsteps stop. Right outside the door! BURNETT Parker? Anybody there? Parker and Mary hold their breath. Faces inches away. Still holding hands from running. Burnett's footsteps resume. Headed back to the elevators. INT. DOWNSTAIRS HOTEL HALLWAY -- DAY Burnett steps onto an elevator. INT. JANITORS CLOSET -- DAY Parker and Mary hear the elevator grind into service. PARKER Thanks. 80. Mary kisses him. Parker hesitates, kisses back. MARY Ouch. She finds the source of discomfort: The Rock Video tape. Parker pulls it from her hands. PARKER Eddy DeSouza. He's been hiding in his room since Lehman was killed. Avoiding his public. Now he's disappeared. And he had a shotgun hidden under his bed -- INT. CONFERENCE ROOM -- DAY A conference room with a video projector and screen. PARKER -- I think it's the murder weapon. Parker pops the tape into the projector, cuts the lights. THE MUSIC VIDEO A pre-title sequence shows the gala Hollywood premier. Spot lights and limousines. A male and female EXTRA! team gives the play by play. EXTRA MAN You can feel the excitement from the crowd as the Pagan Babies arrive in their custom limousine. EXTRA WOMAN There's Stix, the drummer, his date, star of "Rodeo Drive", Heather VanKamp. EXTRA MAN Earlier in the evening, a herd of goats was ushered into the theater to... EXTRA WOMAN There's the snake-man himself, Eddy DeSouza, with his girlfriend... Parker hits the pause button. Freezing DeSouza and Tania on the screen. Arms linked, bodies close. 81. PARKER Tania Lehman. FLASH! The lights are turned on. BURNETT We're looking at video tapes? That's good! Want to make it a double feature? Burnett holds up tape 14/4. Parker takes a step. Burnett's gun stops him from taking another. PARKER I can explain that. BURNETT Can you? I'd like to hear that. I think it'd be entertaining. Not as good as The Pagan Babies, but since you aren't a music fan... Burnett pops out the Rock Video, tosses it to Mary, plays 14/4. ON THE SCREEN Parker enters room 14-B carrying an armload of sheets. Burnett hits pause, freezing Parker at the door. BURNETT (aiming his gun) Helping the maid? PARKER I was sleeping with Lehman's wife. Mary looks away from Parker. PARKER I went to the room. Thought he was gone. Thought she was waiting for me. BURNETT But Lehman was there, right? (points gun) And you killed him. PARKER He was already dead. Face blown off. In the bed... Jesus. 82. BURNETT Why didn't you call the police? PARKER Nolan would arrest me on the spot. My fingerprints were all over the room. I've got motive, means, and opportunity. BURNETT (laughs) So... You did kill him. PARKER Listen: He was dead when I got there. BURNETT What'd he do? Kill himself? PARKER It's the truth. Burnett points to the screen. Parker entering room 14-B. BURNETT That's the truth. You killed Charles Lehman. This was my big fucking case. The one that was gonna bump me up to GS-15 so that I could retire in style. You fucked it up. PARKER I used to be on the job, just like you -- BURNETT You're some broke dick who got canned from government guard duty and popped your girlfriend's sleaze-bag husband. You and me got nothing in common. PARKER Just give me a day, okay? Twenty four hours. I'll find the real killer. BURNETT (laughs) You're the real killer. Burnett pops out the tape, pockets it. PARKER No. Eddy DeSouza. He's on all four tapes coming out of the room. 83. BURNETT I've seen the other three tapes. You're the only one coming out of that room. Parker looks around for support from Mary, she's gone. INT. HOTEL LOBBY -- DAY Parker hands Burnett his passport and photo ID. The antique lobby clock strikes three. BURNETT You got three hours. Get your affairs in order, tell your friends goodbye, whatever. (slaps him with passport) Get anywhere near an airplane you're dead. You're on the airport hot sheet. Burnett gets right in Parker's face. BURNETT I'm personally gonna see that you get the death penalty for fucking up my investigation. You with me on this? PARKER I didn't... Burnett lets him go, enters the elevator, ignoring him. INT. PARKER'S APARTMENT -- DAY A suitcase on the bed. Parker pulls clothes from a drawer, tosses them into the case. Stops. The VIP photos stare down at him from the walls. Accusing him. Parker explodes, tearing the photos from the walls. Smashing them. Destroying them. Ends up near his dresser, grabs his old track and field trophy. Sits down on the edge of the bed, studying the trophy. INT. HOTEL SECURITY OFFICE -- DAY Parker studies the four images. ON THE MONITOR 84. 1) Goldy Zelaggio's Hair. 2) Michael Hayes' Hand. 3) Ahmed Yehmani's robes. 4) Harry Ferguson's shoes. Parker looks at the "live" monitors, panning each floor. A) Jenny Hill sits alone in the bar, crying. B) Ahmed Yehmani on the 3rd Floor hall with his (hooker) Woman. C) Harry Ferguson tapping and twirling his cane in the lobby. D) Mary serving drinks at the bar. E) Goldy Zelaggio signing an autograph on the beach. F) Tania Lehman in a microkini sips a cold drink by the pool. G) Michael Hayes, in disguise, slipping past the Paparazzi. H) Wally Burnett strolls down the 14th floor, oozing menace. PARKER No sign of DeSouza. ON THE MONITOR Burnett checks his watch, smiles... INT. 14TH FLOOR HALLWAY -- DAY ...knocks a tattoo on door 14-G, uses a mag card to open it. INT. SUITE 14-G -- DAY Burnett enters, closes the door. A MAN (unseen) sits on the sofa. MAN Think he knows? BURNETT He was watching Best Of The Pagan Babies when I caught him. MAN You should have arrested him... BURNETT You worry too much. The guy's an idiot. Nobody. Some blue collar asshole with a plastic badge. He doesn't know shit. (laughs) Thinks he sees you on the security tapes. MAN Why isn't he in jail... 85. BURNETT I've seen all four tapes. The only one coming out of that room is Lou Parker. Open and shut... And he knows it. Looks at his watch. BURNETT I gave him three hours. (laughs) If he's smart he's halfway to Grand Caymans by now. When I told him we'd be watching the airport, you could see the little wheels turning - thinking about all those boats out there... (smiles) I'll drop off the security tapes with that island cop on our way out of town. I still get to be the hero... The Man sits forward. BURNETT What'd I be doing with killer in my room? Long blond hair, calf length rain coat, cowboy boots. Eddy DeSouza. MAN/DESOUZA Getting ready to collect a third of two hundred million dollars? A knock at the door. Burnett grabs his gun, answers it. Tania enters in her microkini. Crosses to DeSouza. Gives him a passionate kiss. TANIA Welcome back. MAN/DESOUZA Mmmmm. I like that welcome. TANIA There's more. (licks her lips) But business before pleasure. Turns to Burnett, her voice cooling. TANIA Something to report, Agent Burnett? 86. BURNETT I don't answer to you. TANIA You're forgetting who's... DeSouza cuts her off before they start pummeling each other. MAN/DESOUZA Hey! It's not polite to fight. I need you to tolerate each other until we get this thing settled, okay? BURNETT By tomorrow they'll have the hotel dick in custody -- TANIA Meanwhile, we're off spending the two hundred million Lehman embezzled. MAN/DESOUZA Speaking of which.... (pulls out a passbook) The boat ready? TANIA Of course. MAN/DESOUZA When I come back, we'll be two hundred million dollars richer. DeSouza exits. The door closes: Burnett and Tania are all over each other. TANIA Thought he'd never leave. BURNETT Does he know? TANIA He doesn't even suspect. Burnett undresses Tania. They make love on the sofa where DeSouza was sitting. INT. HOTEL LOBBY -- DAY DeSouza leaves the lobby. The video camera pans, following his image. 87. EXT. BEACH NEAR HOTEL -- DAY DeSouza walks across the beach. Tapping the bank passbook against his palm. EXT. BOAT RENTALS -- DAY DeSouza smiles at a BOAT MAN in a wildly colored outfit. MAN/DESOUZA You have a boat for me? BOAT MAN For the DeSouza man? Sure thing, mon. Boat Man hands DeSouza keys, leads him to a boat on the sand. MAN/DESOUZA Here. Keep the change. DeSouza hands him a wad of hundred dollar bills. BOAT MAN You're a good man. DeSouza climbs into the boat. The Boat Man pushes him into the Caribbean. BOAT MAN Cool runnings, Mister DeSouza. DeSouza starts the power skiff's outboard engine. EXT. THE CARIBBEAN -- DAY The power skiff zooms across the water. Heading to the Island of St. Maarten. INT. HOTEL SECURITY OFFICE -- DAY ON THE MONITOR 1) Goldy Zelaggio's Hair. 2) Michael Hayes' Hand. 3) Ahmed Yehmani's robes. 4) Harry Ferguson's shoes. Parker studies the four images. Wondering. The door opens behind him! It's only Kenny. 88. INT. SUITE 14-G -- DAY Heavy metal blasts from the CD player. Tania's bare skin contrasts with Burnett's clothes, as they make love on the sofa. Throw pillows in disarray. TANIA I was thinking... BURNETT I'll bet you were. TANIA Why split the money three ways, when we could spit it two? BURNETT (plays dumb) What are you saying? TANIA When he comes back from the bank... BURNETT Yeah? TANIA We kill him. Burnett doesn't miss a stroke. BURNETT How do we do it? Tania pulls the gun from his holster. Will she shoot him? TANIA I have a question... BURNETT Shoot. TANIA What do I need you for? Burnett takes the gun from her. BURNETT To kill your lover. TANIA I can do that myself. 89. BURNETT Isn't it more fun to do it together? Burnett uses the gun for frottage, rubbing it over her. The gun touches her nipples, her navel, lower, lower still. She shudders at the dangerous turn on. Burnett returns the gun to the holster, they continue. Animal passion to the heavy metal music. AFTERWARDS: Side by side, sweat glistening. TANIA How do we do it? BURNETT After he comes back... TANIA ...with the money. BURNETT Right. Tell him you want to celebrate. Get him into bed. (laughs) I come in with the shotgun and blast him. TANIA I've heard this before... BURNETT Worked with Lehman, it'll work with Eddy. Tania's hand is VERY close to the holstered gun. TANIA Sounds like I'm doing all the work. BURNETT Think you can do it alone? (laughs) Get him into bed, then pull the shotgun on him? Remember, he's gonna have his fucking 357 magnum... You going to take that away from him? TANIA I can be very disarming. BURNETT I'll bet. 90. She pulls the holstered gun, flips a pillow in front of it and presses the gun barrel to Burnett's head. TANIA I took your pistol, I can take his. Burnett takes the pillow from her, puts it behind his head. BURNETT We've gotta use the shotgun. (looks at the pistol) Can't break our perfect frame. Burnett gently pulls the pistol away, returns it to the holster. BURNETT When we're done, I'll hide the shotgun in the hotel dick's room. Let the island cop find it. More evidence. (laughs) He'll go down. He'll go down bigtime. TANIA I like a man who goes down. Burnett pulls up his pants, looks at his watch. BURNETT Better make sure he's escaped. Flight is evidence of guilt, you know. INT. HOTEL LOBBY -- EVENING The antique clock says quarter after four as Lehman passes. INT. HOTEL SECURITY OFFICE -- EVENING Time is running out. ON THE MONITOR 1) Harry Ferguson's Shoes. 2) Michael Hayes' Hand. 3) Ahmed Yehmani's Robes. 4) Goldy Zelaggio's Hair. Kenny looks over Parker's shoulder at the four images. KENNY It's nobody. It's sure as hell not evidence that'll stand up in court. 91. PARKER Think I should call Nolan, turn myself in? Beg for mercy and hope they find DeSouza before he destroys the evidence? KENNY Either that or rabbit. Mary enters with three cups of coffee, distributes them. PARKER Who's at the bar? MARY It's on automatic. She moves behind Parker, rubs his shoulders. He welcomes her touch. PARKER Kenny thinks I should run. (looks at monitors) What if it's not DeSouza? MARY You mean - What if it's Harry Ferguson? Or Goldy Zelaggio? Or Ahmed Yehmani? Or even Michael Hayes? She points at each one of the images. PARKER Am I focusing on DeSouza because I don't know who he is... MARY And he owns a shotgun and was screwing the victim's wife and is the only one who could be all four of these people. Parker smiles. Mary moves in, and they kiss. A friendly kiss. But also a pretty good kiss. KENNY I think maybe I'll walk the floors. Kenny slips out, leaving them alone together. They kiss again. Lingering. MARY DeSouza hasn't ordered from room service. Hasn't been in the restaurant. 92. PARKER I've seen him in the halls... But he wasn't in his room. MARY Someone's hiding him? They kiss again. Parker nods to the Monitor. PARKER One of these four? MARY I don't think so. (kisses him) How come this never happened before? PARKER A murder in the hotel? MARY You know what I mean. PARKER Too busy running. Chasing something that doesn't matter. They kiss. Parker pulls away, looking at the monitor. PARKER You think Tania is the second suspect? MARY Yes. PARKER You think she's hiding him in her room? MARY They used to live together. Mary pops the Pagan Babies Tape into the VCR. ON THE MONITOR The Pagan Babies damage the eardrums of America's youth while Tania dances, wearing a sprayed on dress. When Tania licks DeSouza's naked chest, Parker looks away. That's when Mary notices it. 93. MARY Wait a minute. She hits PAUSE, rewinds, trying to find the image. Finds it, PAUSEs again. MARY Lou? Parker looks. ON THE MONITOR Eddy DeSouza's right arm. A tattoo of a rattle snake. BAM! BAM! BAM! BAM! Parker spins. The knocking stops and Burnett enters. Gun drawn, handcuffs in hand. BURNETT Louis Parker, you are under arrest for the murder of Charles Lehman. I'll let Lt. Nolan read you your rights... PARKER I didn't kill him. BURNETT That's what everyone says. PARKER Look at the screen. There's your killer. Parker points to the monitor. PARKER Eddy DeSouza. (four images) Look! Look! Look! Look! BURNETT Know what I see? Some hair, a pair of shoes, a coat, and some guy's hand. (laughs) I don't see Eddy DeSouza. 94. PARKER It's him. Coming from Lehman's room right after the murder. Burnett grabs Parker's wrist, snapping on the cuffs. PARKER He disappeared after the murder. No one's seen him. Listen to me Burnett! MARY I'll get a lawyer. Bernie Ohls or somebody good. We'll get you out. Burnett gets ready to click on the other cuff. PARKER Tania Lehman used to be DeSouza's lover. I've got it on video tape. They came up with this plan to kill her husband, and set me up to take the fall.... Before he can click on the cuff, Parker swings into action. Kicks Burnett away. Burnett comes up with his gun. Aims at Parker's face. Finger squeezes the trigger. Parker kicks the gun into the air. BANG! It blasts a hole in the ceiling. Kicks again. Knocks the gun from Burnett's hand. BURNETT Son of a bitch. The gun lands in the corner. Burnett swings at Parker, connects with his jaw. Parker reels. Gets his balance. Swings at Burnett. WHAM! Hits the FBI Agent's shoulder. Parker and Burnett trade punches. Burnett is stronger. Mary grabs Burnett. He slaps her aside. She sprawls onto the floor. 95. Hitting hard. BURNETT Resisting arrest isn't gonna look good. PARKER Neither is arresting the wrong man. They punch back and forth. Slamming fists into each other. Handcuffs dangle from Parker's left wrist. Parker blocks one punch, takes another. Burnett pummels him. WHAM! SLAM! WHAM! Mary looks for an opening. The two men slam away at each other. Burnett moves in for the kill. Parker spins, kicks the FBI Agent's feet out from under him. Burnett hits the floor. Parker stands over him: The winner of the fight. PARKER I didn't kill Lehman. Why would I lie? Why would I stick around? DeSouza's the one who ran. (isn't it obvious?) He's the one that's guilty.... Burnett begins laughing. Laughing like a lunatic. PARKER What? Parker sees why: Burnett has found his fallen gun. He aims at Parker, moves to his feet. Ready to kill. BURNETT I think you got shot trying to escape. PARKER Take it easy. 96. Parker tries a step backwards. PARKER I'm not a threat. Burnett's trigger finger tightens. He's going to kill Parker. BURNETT I know that. BAM! Mary tackles Burnett. Squeezing her arms around him, pinning the gun to his side. Holding tight as Burnett tries to buck her off. MARY Run! Run! Parker runs, handcuffs dangling from his wrist. Burnett tosses Mary aside and gives chase. INT. HOTEL LOBBY -- EVENING Parker races across the lobby. AT THE ELEVATOR BANKS Every car is in use. He keeps running. At the end of the lobby, a door marked "FIRE STAIRS". Parker slams open the door, starts climbing. INT. FIRE STAIRS -- EVENING Parker races up the stairs, footsteps echoing. Makes the second landing before the door BLASTS open and Burnett chases. BURNETT No escape, Parker! Parker gets to the 3rd floor door. No handle. A mag reader and a fire alarm warning. BLAM! Burnett shoots through the stairs at Parker. 97. The bullet takes a divot out of the wall near Parker's head. Parker keeps climbing. BURNETT How high you gonna climb? All the way up to fourteen? Parker scrambles up the stairs. Burnett's footsteps echo behind him. BURNETT Then where you going to go? BLAM! BLAM! Bullets blast the staircase near Parker's head. Sparking. Ricocheting through the enclosed stairway. BURNETT You're going DOWN Parker. Parker keeps climbing, passing door after door. None with door handles. He's trapped. BLAM! BLAM! More bullets spark close to Parker's head. BURNETT All the way down. To the street. Burnett chases Parker up the stairs. Past the 10th floor. Past the 11th floor. Past the 12th floor. Parker pulls out his magnetic pass key. BURNETT Where you belong. Burnett is only a flight beneath him... and gaining! AT THE 14th LANDING Parker samurai swipes his mag key through the slot. BZZP! The door pops open. The fire alarm goes off. 98. INT. 14TH FLOOR HALLWAY -- EVENING Doors begin snapping open. Guests clog the hall as the fire alarm blares. Panic. Parker closes the door, sealing out Burnett. Weaves through the crowded hallway. Ahmed Yehmani and mousey Jenny burst out of a room, half dressed, followed by the trio of bodyguards. YEHMANI Has the fire department been called? PARKER It's a false alarm. YEHMANI What do you mean? Parker breaks away, weaves through the crowded hall, passing a panicked Goldy Zelaggio in brand new lingerie. GOLDY I need to get out of here. I'm not going to die up here... Goldy Zelaggio opens the fire door. She exits. Burnett enters. Fifty feet of panicked people between Parker and Burnett. Burnett can't shoot in the crowd. BURNETT FBI Agent Burnett, let me through. Move to the side. Let me through. Yehmani, Jenny and the Guards block Burnett's view of Parker. BURNETT Please move to the side... Parker gets to room 14-G... ...................pulls back the Police Seal... ....................................uses his mag card to enter. Closes the door quickly behind him. Burnett pushes Yehmani aside, raises his gun to fire... Parker is gone. 99. Disappeared in the panicked crowd. INT. SUITE 14-G -- EVENING Parker leans against the door. Safe. The fire alarm shuts off, leaving silence. Click. The sound of a gun cocking? A cylinder prods Parker's back. PARKER Take it easy, I'm unarmed. TANIA So that isn't a pistol in your pocket. Parker spins... ............grabs the gun by the barrel... ......................snatches the weapon out of Tania's hands. Only it isn't a gun - it's a bottle of Clicquot champagne. TANIA Can you help me with the cork? PARKER (removes foil & cage) The weapon of choice. Pop! Tania (in lingerie) holds out two champagne flutes, catching the flow. Hands one to Parker. TANIA To temptation. (glasses clink) PARKER Question: How did you get Lehman to put the money in DeSouza's name? TANIA (leads him into the bedroom) It was easier than you think. PARKER Eddy DeSouza. (laughs) You like 'em wild, don't you? Unpredictable. Dangerous. 100. TANIA Like you. (smiles) We're the same. We both started with nothing. We're both from the gutter. PARKER I climbed out. TANIA I did what I had to do to survive. PARKER You became one of them. TANIA I had a choice between give and take. I took. Parker tosses his empty champagne flute, shattering it. PARKER I'm going to take you to jail. TANIA All the evidence points to you. PARKER Once Burnett finds out the money was in DeSouza's name, once he finds out DeSouza owns a shotgun, once he finds out you and DeSouza are partners... TANIA DeSouza isn't my partner. She sets down the champagne flute near the bed. The bed they made love on. The bed Lehman was killed on. TANIA Burnett is. Her gun is only inches away. TANIA He's going to arrest you for murder. There's no way you can stop him. She grabs a pillow from the bed, turns to Parker. TANIA It doesn't have to end this way. I'll take care of Burnett. The money will be OURS. All you have to do is say so. 101. Tania takes a sexy step towards him. TANIA We understand each other, Lou. Closer to Parker, pillow in her left hand. TANIA We both came from the same place. Sparks of attraction between them. TANIA We fought to get out of that gutter. To better ourselves. Closer still. Is her gun behind the pillow? TANIA You know what two hundred million dollars could buy us? She moves within kissing distance. Lips parting. TANIA What do you say? When he comes back, we kill him. Take the money. They almost kiss, but Parker pulls back. PARKER No. She raises the pillow to his chest. TANIA Why don't we "sleep on it"? Parker hears the hammer click on the gun behind the pillow! Grabs for the gun. They embrace and struggle for the gun. Falling on the bed in a parody of sex. Face to face. Inches from each other as the gun and pillow moves between them. Rolling on the bed. Aiming at Parker. Then at Tania. Then back to Parker. Finger squeezing the trigger... BANG! BANG! BANG! 102. Feathers blossom between them. Rain down on their bodies. Parker's face shows pain. Shock. Tania kisses him gently. TANIA Goodnight sweet prince. She rolls out of bed, gun still in hand. Fixes a stray bit of hair. She's the kind of woman a man would die for. Parker, shirt soaked with blood, watches her turn away. She takes a step. Takes another. Then drops dead. Parker gets to his feet. Checks himself for wounds. It's all her blood. Crosses to Tania. Grabs a blanket and pulls it over her, touching her face... PARKER Goodnight. (moment) ...Before fully covering her. A noise behind him. Parker turns slowly... Burnett aims his gun at Parker, enters the bedroom. Sees Tania's body. BURNETT Shit. He explodes - smashes the champagne bottle with his gun. Kicks aside anything between himself and Tania. BURNETT Shit! Shit! Shit! Shit! Shit! Doesn't touch her. Descends into a chair nearby, gun aimed at Parker. Two guys who were under the same woman's spell. BURNETT You were supposed to fucking run. Isn't that what you're good at? The way you ran to your super like a tattle tale when the Senator didn't live up to your VIP expectations? (MORE) 103. BURNETT (CONT'D) She said you even had a trophy in your room. PARKER High school track and field. BURNETT Why didn't you run? Parker shrugs. PARKER Put down the gun. It's over. BURNETT How do you figure? There's still two hundred million dollars out there. (glances at Tania) Now I just get a bigger cut. PARKER The cops'll be here any minute. I'll tell them everything. Burnett aims his gun at Parker. BURNETT That you killed Tania? You'll end up in jail. Two murders, plenty of evidence. Parker glances at the gun in Tania's dead hand. PARKER Nolan will believe my story. BURNETT No he won't. (laughs) You were killed trying to escape. Burnett aims at Parker, finger tightening on the trigger. Parker dives, grabs the gun from Tania's hand, rolls to his feet and pulls the trigger three times. Click! Click! Click! Out of shells! Burnett laughs. Parker throws the gun at Burnett's face. SLAM! Direct hit! 104. Burnett blocks the front door. No escape! Parker runs to the sliding glass balcony door. EXT. THE BALCONY -- EVENING Fourteen floors up. The next balcony is five feet away. Parker climbs onto the balcony railing. Prepares to jump to the next balcony. The beach is 500 feet below. Parker gets ready to jump. Burnett bursts onto the balcony. Yanks him off the railing. They trade punches. Trying to knock each other over the edge. PARKER I'm not the one who's seen all four angles. Who knows DeSouza -- Burnett slams Parker across the face with his gun. WHAM! BURNETT Your barmaid friend? Who's gonna believe her? She's nobody. Burnett quick aims at Parker. Pulls the trigger. BANG! Rips the shoulder of Parker's coat. Misses flesh. Parker grabs the gun barrel to press it away. SCREAMS, as the hot gun barrel burns his palms. BURNETT You're going down. Parker twists the gun around to aim at Burnett. Burnett kicks Parker in the groin with his knee. Parker lets go of the gun. Sprawling backwards into the balcony railing. Almost going over. Burnett aims the gun, ready to fire. 105. Parker swings his hand cuff like a chain. Clang! Connects with Burnett's head. BURNETT Son of a bitch. That hurt. Parker swings the cuff again. WOOSH! Burnett pulls back, and it misses. Parker swings the handcuff again, like a biker's chain. CLANG! Burnett blocks it with his gun. The gun barrel presses into Parker's forehead. Burnett gets ready to pull the trigger! Parker gives Burnett a hard push. Pushing him off balance. Pushing him over the rail. Burnett falls, gets off a couple of shots on the way down. A hundred and forty feet of screaming. BURNETT AHHHHHHHHHHHHHHHHHHHHHHHHHH! SPLAT! Burnett hits the beach. INT. SUITE 14-G -- EVENING Parker dials the police. PARKER Lt. Nolan, please. (listens) Bob? Lou. (listens) I'd like to report a couple of murders. (listens) Yeah. As in "more than one". (listens) Burnett can't handle it. (listens) Why? I threw him out of the hotel. (listens) Okay. Parker hangs up. 106. INT. SUITE 14-G -- LATER FLASH! A CRIME PHOTOGRAPHER photographs Tania's body. NOLAN So let me get this straight: You killed Mrs. Lehman? PARKER In self defense. NOLAN Then you killed Agent Burnett? PARKER Self defense again. NOLAN Three people killed, all in this room? PARKER Burnett started in this room, but he died way down there on the beach. NOLAN So, do Mrs. Lehman and Burnett's deaths close out the Charles Lehman murder? PARKER You'll probably have to reclassify Lehman's murder. NOLAN Self defense? PARKER Suicide. NOLAN Charles Lehman killed himself? Parker nods. THE PHOTOGRAPHER's bulb flashes again. EXT. BEACH NEAR HOTEL -- NIGHT DeSouza's boat pulls onto the sand. DeSouza tosses three heavy duffle bags off the boat. THUD! THUD! THUD! 107. Jumps onto the sand. Grabs the bags and drags them towards the hotel. Behind him, the skiff drifts away. DeSouza keeps dragging the heavy bags towards the hotel. Whistling one of The Pagan Babies greatest hits. Closer to the light of the hotel. Parker steps out of the shadows. Blocking him. PARKER Burnett and Tania aren't here to help you with your bags. MAN/DESOUZA They in jail? PARKER They're dead. MAN/DESOUZA Excellent. You've saved me the trouble. (smiles) They would have killed me if they had the chance. PARKER Can't trust anyone these days. MAN/DESOUZA Ain't that the truth. (curious) You're supposed to be halfway to Grand Cayman by now. What happened? PARKER Sorry I couldn't be your diversion. Guess I'm not the fugitive kind after all. Not interested in making headlines. DeSouza gestures to the duffle bags. MAN/DESOUZA Help me carry these and you can have one. PARKER Until you killed me. MAN/DESOUZA Take a chance. (MORE) 108. MAN/DESOUZA (CONT'D) (shrugs) If not, I'll have to kill you here. PARKER Funny thing, DeSouza: You're not wearing any toe nail polish. MAN/DESOUZA Forgot to put it on. PARKER But you remembered the wig. DeSouza laughs, pulls off his long blond hair. Exposing his true identity for the first time. Because, if you've been following the clues, you know that this man isn't Eddy DeSouza. It's really... Charles Lehman tosses the wig on the sand. LEHMAN I underestimated you, Parker. PARKER I underestimated myself. Parker aims his gun at Lehman. LEHMAN It was the perfect crime. (shark smile) If you kill yourself, people stop looking for you. Leaves plenty of time to spend the money. PARKER Nothing's perfect. As Parker tells the story, we SEE it unfold. EXT. LEHMAN'S COLORADO RANCH -- DAY PARKER (V.O.) You, Tania and Burnett figured it out. Lehman, Tania, Burnett drink together on the ranch front porch. 109. INT. ROCK CONCERT PARKER (V.O.) Tania rekindled an affair with ex- boyfriend Eddy DeSouza... DeSouza smiles as Tania rushes to him. They embrace. INT. 14TH FLOOR HALLWAY PARKER (V.O.) ...had him meet her here at the hotel. Tania and DeSouza talk in the hall, Jenny passes behind them. We saw this on page 25. EXT. FORT CHRISTIAN -- NIGHT PARKER (V.O.) Tania arranged to meet DeSouza in her room for some afternoon delight. Eddy DeSouza steals a kiss from Tania on page 29. INT. SUITE 14-B The lowball glass with lime twist is Tania's. (page 30) The menthol cigarette is DeSouza's. (page 31) So are the glasses, placed on the night stand. (page 31) PARKER (V.O.) After they made love, you came in and killed him. Tania leaves. Lehman blasts DeSouza with the shotgun. PARKER (V.O.) You had to use the shotgun, because you didn't look anything alike. EXT. BEACH NEAR HOTEL -- NIGHT PARKER Took a chance, there. (explains) The VIP rooms are sound proofed, but they aren't shotgun tested. 110. LEHMAN No chances. I played music at the same decibel reading. No complaints. Used a pillow to be on the safe side. INT. SUITE 14-B Lehman sets the shotgun down, pulls out a pair of scissors. PARKER (V.O.) You cut Eddy's hair to look like yours. A HANK OF BLOND HAIR falls under the bed as they cut DeSouza's hair. (page 31) INT. SUITE 14-F PARKER (V.O.) You hid the hair in DeSouza's room. The BAG OF HAIR in DeSouza's room. (page 74) INT. SUITE 14-B Lehman puts on DeSouza's clothes, becoming the dead man. PARKER (V.O.) Put on DeSouza's clothes, leaving yours behind to aid in identification. EXT. BEACH NEAR HOTEL -- NIGHT PARKER Where'd you get the wig? LEHMAN It was Tania's. INT. SUITE 14-B Lehman dresses as DeSouza, grabs the shotgun, leaves. PARKER (V.O.) DeSouza would be accused of the murder. He had motive, means, and opportunity. And after the crime, he disappeared. 111. EXT. BEACH NEAR HOTEL -- NIGHT PARKER Flight is evidence of guilt most places. INT. 14TH FLOOR HALLWAY Lehman (as DeSouza) walks down the hall. All four video cameras pan past him. Four different images. EXT. BEACH NEAR HOTEL -- NIGHT PARKER But you needed a delay. A suspect for the police, so DeSouza could get away. (smiles) That was my part in this little show. INT. SUITE 14-B Parker pulls back the sheet on DeSouza's corpse. PARKER (V.O.) Burnett and your wife IDed the body as yours, while you hid out where? Burnett's room? LEHMAN (V.O.) Right. PARKER (V.O.) For twelve hours, I was prime suspect. A fugitive the police would be chasing. Parker and Burnett discover the body. EXT. BEACH NEAR HOTEL -- NIGHT PARKER While you were collecting the money. LEHMAN Two hundred million. PARKER You never thought I'd figure it out. Lehman pulls DeSouza's 357 Magnum, aims at Parker. 112. LEHMAN So what do you want? A prize? (cocks gun) You're a stupid little nobody who got lucky, that's all. Lehman gets ready to fire. LEHMAN Thanks for the help. Couldn't have done it without you... Finger tightens on the trigger. INT. POLICE COMMUNICATIONS VAN -- NIGHT ON A VIDEO MONITOR Lehman gets ready to fire. Lt. BOB NOLAN watches the monitor, Mary standing behind him. Nolan grabs the microphone. NOLAN Go! Go! Go! ON THE MONITOR A SWAT TEAM comes out of the shadows. From under boats. From behind dressing cabanas. A dozen heavily armed men in body armor. EXT. BEACH NEAR HOTEL -- NIGHT THE SWAT TEAM aim their rifles at Lehman. Lehman is confused. LEHMAN Wait a minute. Wait a minute. He lowers the 357 Mag, as the SWAT Team surrounds him. PARKER That's twice you've underestimated me. You're about to become a cellblock celebrity. No cushy Club Fed for you. Killers go to general population. 113. They knock the gun from Lehman's hands and snap on the cuffs. LEHMAN Who do you think the jury will believe? Some blue collar rent-a-cop? A nobody? Or a Harvard Banker from a known family? Nolan and Mary cross the sand to them, slaps Parker's hand. Friends again. PARKER You get it? NOLAN Yeah. PARKER (to Lehman) You want to wave to the camera? (points) We have your confession on video tape. One camera. (holds up finger) One angle. (holds up finger) No Rashomon effect. (a different finger) NOLAN Charles Lehman, you are charged with murder and conspiracy to commit murder. You have the right to... Mary grabs Parker, leading him away from the police. MARY Come on. Nolan smiles, watches them walk away. Mary and Parker walk along the beach in the moonlight. When they are far away from the flashing of police lights, they kiss, waves crashing against the shore next to them. It's a kiss full of promise. FADE OUT