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.