Catch Me If You Can (film)

CATCH ME IF YOU CAN

Written by

Jeff Nathanson

1 INT. - GAME SHOW SET. - DAY 1

BLACK AND WHITE FOOTAGE FROM 1978

MUSIC UP: A simple GAME SHOW SET -- one long desk-that houses four "CELEBRITY PANELISTS," a small pulpit with attached microphone for the host, BUD COLLYER, who walks through the curtain to         the delight of the audience. Bud bows and waves to the celebrities -- ORSON BEAN, KITTY CARLISLE, TOM POSTON, and PEGGY CASS.

BUD COLLYER Hello, panel, and welcome everyone to another exciting day on "To Tell         The Truth." Let's get the show started.

THE CURTAIN STARTS TO RISE BRIGHT LIGHTS SHINE on the faces of THREE MEN who walk toward center stage. All thre n wear identical AIRLINE PILOT UNIFORMS, each with m; c ng blue blazers and caps. (cont' d)         Gentleman, please state your names.

PILOT #1 My name is Frank Abagnale Jr. THE PILOT IN THE MIDDLE steps forward.

PILOT #2 My name is Frank Abagnale Jr. THE THIRD PILOT does the same.

PILOT #3 My name is Frank Abagnale Jr. Bud smiles, grabs a piece of paper.

BUD COLLYER Panel, listen to this one. (he starts to read) My name is Frank Abagnale Jr, and some people consider me the worlds greatest imposter.

(CONTINUED) Debbie Zane -

2.

1 CONTINUED: 1 As Bud reads, the CAMERA SLOWLY PANS the faces of the three

PILOTS. BUD COLLYER (cont'd)

(READING) From 1964 to 1966 I successfully impersonated an airline pilot for Pan Am Airlines, and flew over two million miles for free. During that time I was also the Chief Resident Pediatrician at a Georgia hospital, the Assistant Attorney General for the state of Louisiana, and a         Professor of American History at a          prestigious University in France. By         the time I was caught and sentenced to prison, I had cashed over six million dollars in fraudulent checks in 26 foreign countries and all fifty states, and I did it all before my          18th birthday. To this day, I am the only teenager ever to have been placed on the FBI' s most wanted list. My name is a Abagna l e Jr.         Warm applause as the THREE MEN walk behind a desk that faces the pa They all sit down at exactly the same time.

BUD COLLY (cont'd ) Okay, panel, you have ork cut out for you. Kitty Carl, you have the first question.

KITTY CARLISLE Imposter number one, how many years were you in prison?

PILOT #1 I served two years in France, and five years in Atlanta, Georgia.

KITTY CARLISLE Imposter number two, I find all this very fascinating. Who was it that finally caught you?

SLOWLY PUSH IN ON THE PILOT IN THE MIDDLE -- A thin smile across his lips as he faces the panel -- his manicured hands out in front of him on the desk -- his back

(CONTINUED) Debbie Zane - 5

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1 CONTINUED: (2) 1 straight in his chair -- his cap pulled slightly forward on          his head -- the way pilots like to wear them.

2 EXT. - PAPIGONE MAXIMUM SECURITY PRISON. - MARSEILLE - NIGHT 2

SUPER: MARSEILLE, FRANCE DECEMBER 25, 1967 A heavy rain falls on JOE SHAPE, 40's, who wears a black hat and holds a black umbrella as he bangs on the window of a         small GUARDHOUSE in front of a LARGE GATED PRISON. Joe is         sneezing as he holds up an IDENTIFICATION CARD TO THE GUARD.

JOE SHAPE Joe Shaye, FBI.

3 INT. - PAPIGONE PRISON WARDEN'S OFFICE. - DAY 3

Joe is walking down a long corridor inside the prison, struggling to close his umbrella as he faces WARDEN GARREN and TWO GUARDS.

JOE SHAPE I have orders see a prisoner named Abagnale, t e his statement and solicit a c n ^ n so I can prepare for tomorrow' tladition. Joe takes a roll of CASH out of h` ocket, casually slips the money to the Warden.

JOE SHAPE If I give you another twenty, will you turn up the heat in here?

4 INT. - PAPIGONE PRISON - FRANK'S CELL/CORRIDOR. - DAY 4

Warden Garren is leading Joe down a small, isolated corridor just off the main floor. They pass CEMENT DOORS with metal SLIDE HOLES and numbers taped to the front. There are no         bars or windows in this area, and complete silence. Garren stops at the last cell and opens the SLIDE HOLE.

WARDEN GARREN Don't pass him anything through the

HOLE- Garren walks off, and Joe immediately starts to smile, looking around for a long BEAT as he stares at the cell door.

(CONTINUED) Debbie Zane -

4.

4 CONTINUED: 4

JOE SHAYE Yoohoo. Hello? Is the lady of the house at home? Joe tries to control his excitement as he kneels down and looks through the metal slide hole.

THROUGH THE HOLE

5 INT. - PAPIGONE PRISON - FRANK'S CELL. - NIGHT 5

WE SEE FRANK ABAGNALE JR., his face partially hidden in the dim cell, which gets its only light from a hanging bulb. Frank is lying on the cement floor, his back up against the far wall. He wears only a pair of underwear and clutches a         torn blanket.

JOE SHAYE Jesus, Frank, you look terrible. I         heard about French prisons, but this is positively barbaric. WE HEAR a sound come fr)dthe cell, and then heavy coughing.         JO,E YE (cont ' d)          That doesn' t o d(rr4ood. I have a         little cold my          Help me.

JOE SHAYE Help you? Yes, I'll help you, Frank.

N         Why do you think I've been fighting to have you extradited. Why do you think I came to take you home? Do         you know that 21 other countries want'you in their prisons? I saw the list -- Egypt was on there. Who the hell goes to Egypt to write bad checks?

FRANK I'm sick... please...

JOE SHAYE Don't worry, Frank, you just have to         make it through one more night. And then tomorrow I'll help you onto a         plane, clean you up, and put you in          a cell for the next twenty-five years.

(CONTINUED) Debbie Zane - 5

S.

5 CONTINUED: 5

INSIDE THE CELL

CLOSE ON FRANK ABAGNALE JR. His face covered by a beard and matted black hair. Frank closes his eyes and starts to cough.

FRANK Help me, please. I can't breathe...

OUTSIDE THE CELL Joe listens to Frank, who is coughing so hard he starts to         choke.

FRANK (CONT'D)         Can't... breathe...

JOE SHAYE Don't start this shit, Frank.

FRANK Can't ...Can't         Joe looks through the slot i e11 door, but can only see faint images of Frank rol the floor holding his

THROAT- JOE SHAYE (cont'd)         Frank, what's happening? Damn it, just calm down! Somebody help me!!

SMASH CUT

6 INT. - PAPIGONE PRISON - FRANK'S CELL/CORRIDOR. 6

THE CELL DOOR IS THROWN OPEN Frank is being dragged across the floor by Warden Garren and a second GUARD, each holding an arm as they drag Frank's         emaciated six-foot frame through the halls. Joe Shaye jogs behind the guards.

JOE SHAYE He's not breathing. I think he         stopped breathing! Debbie Zane -

6.

7 INT. - PAPIGONE PRISON INFIRMARY. - DAY 7

A small, empty room with four empty hospital beds. Frank is         lifted onto one of the beds, his legs and arms flailing out to the sides, kicking a thin curtain out from the wall.

JOE SHAYE What's happening to him? Garren and the Guard quickly move toward a sink, where they start to wash their hands. JOE SHAYE (cont'd)         What are you doing?

ASSISTANT WARDEN GARREN Washing off the lice.

JOE SHAYE- He can't breath. You have to call a         doctor.

STANT WARDEN GARREN The doctor p fnl'sf in the morning. You can't just t him die. I have orders from the Embassy! This man is going t tradited to the United State am holding you responsible if ant happens! Suddenly Garren looks past Shaye -- eyeing the curtain that partially encloses Frank's bed. Garren slowly moves toward the curtain, pushes it open.

FRANK IS GONE

CLOSE ON GARREN drawing his gun and sprinting out the open door of the infirmary, yelling in French for the Guard to follow. Joe Shaye stands motionless, staring down in horror at the empty bed. JOE SHAYE (cont'd)          Oh, shit.. .Frank!

8 INT. - PRISON. - CONTINUOUS 8

The prison ALARM has sent every prisoner to the front of          their cells, where they see Frank stumbling through the prison --

(CONTINUED) Debbie Zane - 5

7.

8 CONTINUED: 8 a thin smile on his lips as he tries to move his starved legs toward the main door. As Frank makes his way past a row of cheering prisoners, he         trips and falls, his body too weak to run as he starts to          crawl across the prison floor. Joe and Garren easily catch up to him, Garren quickly kneeling down and holding his gun against Frank's head --cocking the weapon. Frank stops crawling, rolls over on his back and smiles up at Joe Shaye.

FRANK Okay, Joe...let's go home.

9 INT. - NEW ROCHELLE ROTARY CLUB. - BANQUET ROOM. - NIGHT 9

SUPER: NEW ROCHELLE. NEW JERSEY 1964 A smoke filled oak dining room packed with CLUB MEMBERS -- HUNDREDS OF MIDDLE AGED WHITE MEN wearing black suits and holding long cigars as they drink from brandy glasses. FRANK ABAGNALE, 15, a BUCKLEY PRIVATE SCHOOL BLUE BLAZER AND WHITE PANT with his mother, PAULA, 33, at         a center table near themes Paula is a stunning blonde dressed in diamonds and and since she's the only woman in the room -- she's getti t of attention. CLUB PRESIDENT JACK WRIGHT takes rophone at the front of         the stage.

JACK WRIGHT The New Rochelle Rotary Club has a         history that goes back to 1859. In         all those years, we have only inducted a handful of deserving men as lifetime members, an honor that has seen 187 names enshrined on the wall of honor. Tonight, we make it 188. So please stand, as I present my good friend, Frank William Abagnale. Applause all around as FRANK ABAGNALE SR. steps up to the MICROPHONE. He is handsome and impeccable groomed -- wearing a black suit and holding onto his plaque with two hands.

FRANK SR.         Two little mice fell in a bucket of          cream. The first mouse quickly gave up and drowned, but the second mouse wouldn't quit. He struggled so hard,

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9 CONTINUED: 9 FRANK SR. (cont'd)         that he eventually churned that cream into butter -- and crawled out. Gentleman, as of this moment, I am         that second mouse. Laughter from the men in the room as Frank continues. FRANK SR. (cont'd)         I stand here today humbled by the presence of Mayor Allen, and our club President, Jack Wright. But most of all, I am honored to see my         loving wife, Paula, and my son, Frank Jr., sitting in the front-row. I'm         just a business man, a working stiff -- but tonight you have made me royalty. And for this, I am eternally grateful. The men applaud as Frank Sr. smiles down at his wife and son, giving them a wink as he raises the plaque in the air.

10 EXT. - FRANK'S HOUSE. -/W ROCHELLE. - DAY 10

A tree lined, picture ce of suburbia, with large homes splashed with snow, Ca n the driveways and kids sledding in the street.

11 EXT. - FRANK'S HOUSE CHRISTMA4ER2MF, - DAY 11

DEAN MARTIN is singing EVERYBOD SOMEBODY on the radio, as Frank Sr. hammers his PLAQUE i the wall. in the middle of the DEN, Frank is dancing with his mother, who is holding a glass of wine as she dances.

PAULA You're a better dancer than your father, Frankie. The girls don't         know what they're in for.

FRANK SR.         Paula, show him the dance you were doing when we met.

PAULA Who can remember?

FRANK SR.         The people in that little French Village were so happy to see Americans, that they decided to put on a show for us.

(CONTINUED) Debbie Zane - 5

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11 CONTINUED: 11

FRANK I know the story, Dad.

FRANK SR.         So they cram two hundred soldiers into this tiny social hall, and the first person to walk on stage is         your mother. And she starts to         dance... Paula steps away from Frank, and she starts to dance a ballet, smiling as she tries to remember the steps. FRANK SR. (cont'd)         It had been months since we had even seen a woman, and here's this blonde angel on stage -- and the men are literally holding their breath. And I turned to my buddies, and I said..

FRANK (imitating his father) I will not lea France without her. Paula spins around, accide1 49, ILLS HER GLASS OF WINE --

PAULA Oh, shit, the rug! I b relieve I          did that. Frankie, run /get a         towel... As Frank runs off, Paula drops to her knees and scrubs the stain with the hem of her dress.

PAULA (CONT'D)         This will never come out. She looks up at her husband.

PAULA (CONT'D)         Whenever I dance for you, I get in          trouble.

12 INT. - FRANK'S HOUSE. - MORNING 12

Frank is asleep in his bedroom. His father walks in carrying a plate of scrambled eggs.

(CONTINUED) Debbie Zane -

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12 CONTINUED: 12

FRANK SR. Wake up, Frank... it's eight-thirty. Frank opens his eyes, stares at his father.

FRANK I overslept. Mom's gonna kill me.

FRANK SR. It's okay. You don't have to go to         school today.

FRANK Is it snowing?

FRANK SR. Do you own a black suit?

FRANK A black suit? Why?

FRANK SR.         We have a vermportant meeting in          the city.

13 EXT. - MEN'S SHOP. - 13

THE WHITE CADILLAC is park ont of A MEN'S CLOTHING STORE -- Frank Sr. banging o tme lass door, trying to get someone's attention. plï¿½y( l

FRANK SR. Ma'am, open the door. Just open up, please, it's important. THE DOOR OPENS A CRACK AND DARCY, 40's, low cut blouse, a         bagel in her hand, stares at Frank Sr.

DARCY we don't open for half an hour.

FRANK SR. What's your name, ma'am?

DARCY Darcy.

FRANK SR. Darcy, that's a pretty name. I'm in         a bit of fix -- I need a suit for my          kid. This is my son, Frank, he needs

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13 CONTINUED: 13 FRANK SR. (cont'd)          a black suit. There was a death in          the family, my father, eighty-five years old, a war hero, there's a          funeral this afternoon -- a military funeral -- planes flying overhead, twenty-one gun salute. Frank needs to borrow a suit for a couple of         hours.

DARCY I'm sorry. We don't loan suits, and we're not open. As she closes the door, Frank Sr. takes a small GOLD NECKLACE OUT OF HIS POCKET, holds it up to the glass.

FRANK SR. Is this yours, Darcy? I just found it in the parking lot? Darcy stares at the necklace through the door.

14 EXT. - NEW YORK CITY. - DAB O 14

The Cadillac is parked somewh Frank, now wearing a BLACK SUIT a         his father gets out of the car andclimbs into the back seat

FRANK SR. Slide over. You're gonna take me to         Chase Manhattan Bank. Just head up         to seventy-second and Madison, pull up to the front and park next to the fire hydrant. Frank looks back at his father.

FRANK Dad...I don't know how to drive.

15 EXT/INT. - CADILLAC. - DAY 15

Frank is driving through Manhattan, his father in the back seat screaming directions as he teaches him to drive. They are both laughing as Frank speeds through the city.

(CONTINUED)

DEBBIE ZANE

12.

15 CONTINUED: 15

FRANK SR.          A little more gas -- now slip it           into second. That's good, more clutch, now pull into this lane here -- slowly!

THE CADILLAC SWERVES HARD, ALMOST HITTING A CAB -- CARS

HONKING AND SLAMMING ON THEIR BRAKES AS FRANK SR. STICKS HIS

HEAD OUT THE WINDOW. FRANK SR. (cont'd)          (yelling out the window) Don't honk at us you son of a bitch -- I'm teaching my kid to drive! You're          doing fine, Frank, just pick a lane and slip it into third -- about one- o'clock -- push it hard.

< A         Frank slips it into third. FRANK SR_ (cont'd)         Perfect! Now you got it! Look at          you, Frank, t is your town -- you're goin s aight up Broadway!

16 INT. - CHASE MANHATTAN. 16

1          EMPLOYEES ARE HELPING CUST RS the hushed silence of the MASSIVE BANK. Suddenly all ey to the street, where A

CHAUFFEUR IN A BLACK SUIT AND OPENING THE BACK DOOR

OF A WHITE CADILLAC THAT IS P T TO A FIRE HYDRANT.

17 EXT. - CHASE MANHATTAN BANK. - DAY 17

Frank Sr. steps out of the Cadillac, gives his son a wink.

FRANK SR. Okay. Stop grinning. When I get inside you go back to the front seat and wait. Even if a cop comes and writes you a ticket, you don't move the car, understood?

FRANK Dad... is this really gonna help?

FRANK SR.         You know why the Yankees always win, Frank?

FRANK They have Mickey Mantle?

(CONTINUED) Debbie Zane - 5

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17 CONTINUED: 17

FRANK SR. No. It's because the other teams can't stop staring at those damn pinstripes. Frank Sr. steps out from the Cadillac, grabs his briefcase. FRANK SR. (cont'd)         Watch this, Frank. The manager of         Chase Manhattan bank is about to          open the door for your father. As Frank Sr. casually walks toward the doors of Chase Manhattan, the MANAGER rushes through the bank to open the doors for him.

18 INT. - LOAN DEPARTMENT. - CHASE MANHATTAN BANK. - DAY 18

Frank Sr. is sitting across from a LOAN OFFICER, who is          looking over his file.

LOAN OFFICER You've owned stationery store for how man rs?

LOAN OF         Mr. Abagnale, we don' `)1y loan          money to people who hav resolved          business with the I.R.S..

FRANK SR. That's just a misunderstanding. I         hired the wrong guy to do my books, a mistake anyone could make. I         wouldn't even consider that if I          were you.

LOAN OFFICER You want me to ignore the fact that the government is demanding two years back taxes?

FRANK SR.         My store is a landmark in New Rochelle. I have customers all over New Jersey.

(CONTINUED) Debbie Zane -

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18 CONTINUED: 18

LOAN OFFICER Sir, you're not a customer of Chase Manhattan. We don't know you. I'm         sure you're bank in New Rochelle...

FRANK SR. My bank went out of business. Banks like this put them out of business. Frank Sr. leans in, lowers his voice. FRANK SR. (cont'd)          Now I know I made a mistake, I admit that. But these people want blood -- they want my store -- they've         threatened to put me in jail. This is America, right, I'm not a criminal. I'm a medal of honor winner, a         lifetime member of the New Rochelle Rotary Club. All I'm asking you to         do is help me beat these guys.

LFRX OFFICER This is not estion of winning and losing. It, question of risk. I'm very sort

FRAN You're the largest ion the world. Where's the fucking

19 EXT. - USED CAR LOT. - DAY 19

A SALESMAN is handing Frank Sr. A CHECK and a set of KEYS.

SALESMAN The Impala is parked right over there. Frank and his father glance toward an OLD, DENTED CHEVY IMPALA at the back of the lot.

SALESMAN (CONT'D)         it was great doing business with you. THE SALESMAN gets in the CADILLAC and drives it toward the front of the car lot. Frank Sr. looks down at the CHECK in         his hand.

FRANK SR. Come on, Frank. Let's go return the suit. Debbie 7 ana - S

15.

20 EXT. - FRANK'S HOUSE. - DAY 20

A MOVING TRUCK IS DRIVING AWAY FROM THE HOUSE. The Chevy Impala is packed with boxes as it slowly pulls out of the driveway, passing the SOLD SIGN on the front lawn as it         follows the moving truck through the neighborhood.

21 EXT. - EASTCHESTER TRAIN STATION. - DUSK 21

A CARGO TRAIN shoots through the rain as it pulls into a run down station that is flanked by the dilapidated APARTMENT BUILDINGS AND TENEMENT HOUSES that make up the town of

EASTCHESTER, NEW JERSEY.

22 INT. - EASTCHESTER APARTMENT - NIGHT 22

A TWO BEDROOM APARTMENT with cracks in the ceiling that seem to grow with each passing train. There are MOVING BOXES STACKED AGAINST THE WALLS, and a dining room table that seems to take up half the apartment. Frank is in the kitchen making dinner as his father walks in         from work -- his suit wX kled, his briefcase in hand.

J P         ank laughs with him.

FRANK (CONT'D)         I'm making pancakes.

FRANK SR.         We're not gonna eat pancakes for dinner on my son's sixteenth birthday. Frank turns to his father. FRANK SR. (cont'd)         Why are you looking at me like that? You thought I forgot? Frank opens his BRIEFCASE, takes out a CHECKBOOK FROM CHASE MANHATTAN BANK. He walks over and hands it to Frank.

(CONTINUED) Debbie Zane -

16.

22 CONTINUED: 22 FRANK SR. (cont'd)         I opened a checking account in your name. I put twenty-five dollars in         the account so you can buy whatever you want. Don't tell you mother. Frank slowly opens the CHECKBOOK, sees his name at the top of the first check.

FRANK But they turned down your loan?

FRANK SR. Yeah. They all turned me down.

FRANK So why open a bank account with them?

FRANK SR.. Because one day you'll want something from these people -- a house, a car -- they have all the money. There's a         hundred check ere, Frank, which means from i day on -- you're in

THEIR LITTL

23 EXT. - MONROE HIGH SCHOO MORNING 23

O FLL\ THE IMPALA pulls up to the f the local public High School. Frank wears his BLUE WHITE PANTS as he          gets out of the car and smiles r mother. Paula wears an          OLD FUR COAT over her pajamas.

I

PAULA See that, it's just a school. No         different than Buckley. Frank reaches through the window of the car, takes the CIGARETTE out of his mother's mouth.

FRANK You promised you were going to quit.

PAULA Frankie, you don't have to wear the uniform here. Why don't you take the jacket off?

FRANK I'm used to it. Debbie Zane - 5

17.

24 INT. - MONROE HIGH SCHOOL. - DAY 24

Frank walks through the crowded halls looking lost as he         holds a CLASS SCHEDULE. He gets odd looks and stares from the kids around him.

25 INT. - CLASSROOM. - DAY 25

Frank walks into a packed classroom, the STUDENTS turning to         stare as he checks his schedule.

FRANK Is this Ms. Glasser's sixth period French? Some of the students laugh, most just turn back to their friends as Frank nervously adjusts his tie. A GIRL in the front row stares at Frank.

STUDENT Are you the sub? Frank looks around for `ï¿½ teacher, then slowly starts to

NOD_ Frank walks toward the blac writes his name on the board -- MR. ABAGNALE. HE S ACK OF AN ERASER against the board to get the students a n.

FRANK (CONT'D)

I         Listen up, class. My name is Mr.         Abagnale and I'll be your substitute today. Would somebody please tell me         where you left off in your text book?

GIRL Chapter seven.

FRANK Open your books to chapter eight, read quietly to yourselves. The classroom door swings open, and a frail, confused TEACHER walks in and motions to Frank.

TEACHER Are you subbing for Roberta?

(CONTINUED) Debbie Zane -

18.

25 CONTINUED: 25

FRANK Yes.

TEACHER They sent for me -- they said they needed a sub. I rushed over here from Dixon.

FRANK I always sub for Roberta.

TEACHER I'll never come to Monroe again. You tell them not to call me! The WOMAN storms out, and Frank turns back to the students.

FRANK I suggest you start reading people.

26 INT. - PRINCIPAL'S OFFICE. - MONROE HIGH SCHOOL - DAY 26

PRINCIPAL EVANS AND VIARINCIPAL BROWN are standing in          front of Frank Sr. an la, who sit in two small chairs facing the Principal' been coming to schqï¿½ï¿½ not?

VICE-PRIN ROWN Mr. and Mrs. Abagnale, ï¿½1ï¿½ is not a         question of your son's attendance.

PRINCIPAL EVANS For the past week Frank has been teaching Ms. Glasser's French class.

PAULA He what?

PRINCIPAL EVANS Your son has been pretending to be a         substitute teacher, lecturing the students, giving out homework.

VICE-PRINCIPAL BROWN Ms. Glasser has been ill, and there was some confusion with the real sub -- we're still not sure what happened.

(CONTINUED) Debbie Zane - 5

19.

26 CONTINUED: 26

PRINCIPAL EVANS Your son held a teacher-parent conference yesterday. He was planning a class field trip to a French bread factory in Trenton. Do you see the problem we have? Frank Sr. and Paula seem a bit confused.

PAULA This is our fault, Principal Evans. Frank had been at Buckley since he         was a little boy. We had to take him out for personal reasons, away from his friends -- you know how kids are. He's all alone here.

FRANK SR. He's not alone. He has us.

27 EXT. - PRINCIPAL'S OFFICE. - SAME TIME 27

Frank is sitting outsid' he Principal's office wearing his coat and tie, waiting oI his parents to come out. He watches as a FOOTBALL PLAYER hands- SCHOOL ADMINISTRATOR a note.

FO IL PLAYER I have a note fr try om. I need to          miss sixth period she's taking me to the doctor.

N

SCHOOL ADMI I"RATOR         Thank you, Roger.          As the Football player walks off, Frank leans over to look          at the note. The Administrator catches him looking.

FRANK It's a fake.

SCHOOL ADMINISTRATOR Excuse me?

FRANK There's no crease in the paper.

SCHOOL ADMINISTRATOR I don't understand.

(CONTINUED) Debbie Zane -

20.

27 CONTINUED: 27

FRANK When your mom hands you a note to         miss school, you put it in your pocket. And if it was in his pocket, where's the crease?

28 INT. - PRINCIPAL'S OFFICE. - DAY 28

Frank Sr. lights a cigarette as he stands up to leave.

FRANK SR. Excuse me. I have to go to work.

PRINCIPAL EVANS Sir, we have no choice but to suspend Frank for one week, and transfer him out of French and into German.

FRANK SR. You're not suspending anyone. if you go after my son I'll go before the school board and ask them who's         minding the ste at Monroe High. I'll ask my4bbd friend Tom Walsh how it's po s' or a little kid to teach a Fr n ajZa, t ss for an entire week without tP incipal of the school knowing a i%- I might even mention the f t my son doesn't speak Frenc 29 INT. - MONROE HIGH SCHOOL. -DAY w/ 29 Frank closes his locker, sees FOUR CHEERLEADERS standing in         front of him. The leader of the group, JOANNA, steps forward.

JOANNA Are you that transfer from Buckley? Frank looks a bit confused as he stares at the girls.

FRANK Yes.

JOANNA My name is Joanna Carlson, and I was wondering if you were going to the Junior Prom?

FRANK No. I don't have a date yet. My name is Frank Abagnale.

(CONTINUED)

21.

29 CONTINUED: 29

JOANNA Frank, do you think you could buy my' friends and I some beer before the dance? All the other guys are afraid to try.

FRANK I'm only sixteen. How could I buy you beer?

JOANNA If you're old enough to teach French, you're old enough to buy beer.

30 INT. - FRANK'S APARTMENT. - DAY 30

Frank walks in from school, throws his books on n-a chair and opens the refrigerator. The radio is on and there's a bottle of wine on the counter.

FRANK Mom, I'm home. Nobody answers, and Fk'"slowly walks toward the back bedroom         door, which is closed.          Frank's about to knock when thï¿½t b om door suddenly opens,          and Paula walks out with JACK W - the Rotary Club          President -- who wears a tailored ck suit. Paula wears a          dress and holds a tray of food.

PAULA That's all there is, two bedrooms, but we're getting used to it. Frankie, you remember Dad's friend Jack Wright from the club, he came by looking for your father -- I was giving him a tour of the apartment.

JACK WRIGHT Very spacious, Paula.

FRANK Dad's at work. Frank stares at Jack, who walks over and picks up his HAT off the chair.

(CONTINUED) Debbie Zane -

22.

30 CONTINUED: 30

JACK WRIGHT You look more like your old man every day. Thanks for the sandwich, Paula. I'll see ya later.

FRANK Wait. Frank walks to the couch, picks up a small ROTARY PIN that is lying on the cushions. He holds it up to Jack.

JACK WRIGHT Thank you, Frank. That's the President's pin. I'd be in big trouble if I lost that. Jack clips the pin to his jacket, turns and walks out the door.

PAULA Are you hungry, Frankie? I'll make you a sandwich. Paula walks into the )Efien, opens the refrigerator and         starts making a sandw          PAWcont ' d)          Jack wanted to t ob ness with your father. He sa' we should sue the government, a 's not legal what they're do us. Why aren't you saying anyth Frank stares at his mother, who continues to make his sandwich.

PAULA (CONT'D)         You're not going to tell him, are you? Paula walks over to her son, her hands shaking as she hands him a sandwich.

FRANK No.

PAULA That'sright. There's nothing to         tell.I'mgoing outfor a few hours, visitsomeold friends from the tennis club.Andwhen I get home we'll all

(MORE)

(CONTINUED) Debbie Zane. 5

23.

30 CONTINUED: (2) 30 PAULA (cont' d)         have dinner together, right? But your won't say anything, because it's         just stupid, isn't it? Paula lights a cigarette, walks toward the door.

PAULA (CONT'D)         Do you need some money, Frankie, a          few dollars to buy some record albums? Here, take five dollars. Paula holds out five dollars, and Frank walks toward her, reaches up and takes the cigarette out of her mouth.

FRANK You promised you were going to quit.

31 EXT. - ABAGNALE STATIONERS. - NEW ROCHELLE. - DAY 31

A large stationery store sits right in the middle of the upscale neighborhood of New Rochelle.

32 INT. - STATIONERY STO A DAY 32

Frank is working behindvt" nter of his father's store,          gently placing a SILVER cross a velvet display pad. A           WOMAN stares down at the p 0

FRANK This is a 925 sterlihkï¿½ ï¿½er Waldmann ballpoint pen V a two- color twist action top. Just turn it

0.         like this -- the ink changes from black to blue. Nine dollars.

WOMAN They have them in the city for six. As the woman walks out of the store, Frank Sr. comes running out of his office, which doubles as the stockroom. He holds a letter in his hand.

FRANK SR. It's over. I did it, Frank. The sons of bitches have called off the dogs -- read it and weep. I beat the United States government. Take a look at         that. Frank Sr. hands Frank a letter.

(CONTINUED) Debbie Zane -

24.

32 CONTINUED: 32 FRANK SR. (cont'd)          See what it says -- the I.R.S is          backing off. They're gonna take their money and run -- no charges filed, no further investigations into this matter. They thought they could get me, and I sent Uncle Sam running for the hills.

FRANK Does this mean we can move home?

FRANK SR.         We're gonna move back here, Frank, get a new house, a new car --

FRANK A red Cadillac with white interior.

FRANK SR.         It's gonna take a little time, but we're gonna get it all back --every fur coat, eve goddamn piece of          silver! Com o help me lock up. We're going tg4 brace! 33 INT. - VILLAGE INN BAR. ='rEASTCHESTER. - DAY 33 Frank follows his father int ILLAGE INN BAR, a          neighborhood dive that is ful 'lway workers coming off the night shift. Frank and his are greeted with cold stares from a handful of REGULARS are drinking and watching a mounted black and white TV.

NEWSCASTER (V.0. ON TV) The Warren Commission has concluded their investigation into the assassination of President Kennedy, and has found that Lee Harvey Oswald acted alone, with no evidence of         conspiracy, domestic or foreign.

FRANK SR.         (to the bartender) Bring us a couple of beers and two shots of Canadian.

BARTENDER I need to see the kid's I.D..

(CONTINUED) Debbie Zane - 5

25.

33 CONTINUED: 33

FRANK SR.         This kid is the head salesman in my          company. He's twenty-two and he's         making five bills a week, so just bring the drinks and mind your business. Frank and his father sit at a small table in the middle of         the bar. Frank looks uncomfortable as his father lights a         cigar.

FRANK Maybe I should wait in the car.

FRANK SR. Are you afraid of these men? Look at         the way, they sit, the way they dress, the way they drink. What are they, railway men? Cargo loaders? Those men haven't earned the right to judge us. I beat Uncle Sam, what have they ever done? The WAITRESS brings o the drinks, and Frank Sr. quickly downs both shots. He ak DIME out of his pocket and sets it on the table. FRANSR. %cont d)         Frank, I wa nt you that dime          and go put it in th u x. Pick          something loud. We're ating.          Frank glances to the bar, where the MEN are quietly watching          the-TV. The JUKEBOX is directly under the television.          FRANK SR. (cont'd)          You know who I like? Lesley Gore.

FRANK Dad... they're watching TV.

FRANK SR. Yes. But in a moment they'll be         listening to Lesley Gore. We're gonna teach the drunks to mind their manners.

FRANK I think they know I'm not eighteen.

FRANK SR. People only know what you tell them.

(CONTINUED) Debbie Zane -

26.

33 CONTINUED: (2) 33 Frank Sr. picks up the dime and holds it up to. his son. FRANK SR. (cont'd)         Take the dime, son. Just take the dime and walk over there like you just closed a big deal. Walk over there like you got a roll of twenties right next to your pecker. Frank gets out of his chair and nervously faces his Father. FRANK SR. (cont'd)         And don't forget to smile while you're          shoving it down their throats. Frank holds his father's dime as he slowly walks toward the JUKEBOX. THE MEN AT THE BAR see him coming, slowly turn on         their stools.

MAN #1 Don't play that thing, kid. Frank nervously stands alt " ukebox. Some of the men have         gotten off their stools drinks in hand.

MAN #2 We asked you not to', kid. The President is abou Gd ke a         speech. Frank looks toward his father, who sits back in his chair, smoking and smiling. Frank's hand shakes as he reaches out, drops the dime into the jukebox.

MAN #1 We're not gonna tell you again. Step away from the jukebox.

FRANK SR. Why you bothering the kid? You got a         problem, come bother me. Frank watches as TWO DRUNKS walk toward his father. They both hold PITCHERS OF BEER in their hands. FRANK SR. (cont'd)         Hit the button, Frank. You hit that goddamn button!

(CONTINUED) Debbie Zane - 5

27.

33 CONTINUED: (3) 33 As Frank reaches out and hits the button, the men start to         pour their beers over his father's head. FranWSr. does nothing to stop them, the smile never leaving his face as he         screams at his son. FRANK SR. (cont'd)         That's right, Frank! Who are they! Who are they! THE JUKEBOX springs to life, and WE HEAR LESLEY GORE singing "IT'S MY PARTY." The men continue to pour their beers over Frank Sr.'s head, the entire bar screaming with laughter. FRANK SR. (cont'd)         Bus drivers! Security guards! Fry cooks! Now they understand! They can't win, Frank, they can't beat me!

34 INT. - EASTCHESTER COURTHOUSE. - DAY 34

A LARGE COURTROOM -- ONLY FIVE PEOPLE INSIDE. On one side of          the room WE SEE FRANK S wearing a white suit that doesn't           quite fit -- a notice stain on the shirt. His weathered black briefcase is on"t k in front of him.          Paula is on the other si the courtroom, wearing a blue           church dress and holding a li% cigarette in her hand.           Paula and Frank Sr. sit with lawyers facing JUDGE           LARKIN, who is examining the E for the first time.

JUDGE LARKI Would the boy step forward and state his name for the record. Frank is seated in the middle of the courtroom -- a backpack on the floor at his feet. Frank slowly walks toward the bench.

FRANK Frank William Abagnale Jr.

JUDGE LARKIN Frank, the court apologizes for pulling you out of school this morning. Are you aware of the fact that your parents have filed for divorce? Frank glances at his mother, then slowly shakes his head "no."

(CONTINUED) Debbie Zane -

28.

34 CONTINUED: 34 JUDGE LARKIN (cont'd)         Again, I apologize. This is a custody hearing to determine who you are going to live with after the divorce. Your mother and father are leaving this decision up to you. For the record, I would like to praise both parents for showing such confidence in their son, who they believe will make the best decision for himself and his family. Frank stares straight ahead, his breathing forced as he stares at Judge Larkin. JUDGE LARKIN (cont'd)         Okay, Frank, I'm going to ask you a          difficult question. Who's it going to be, your mother or your father? Frank looks to his father, then turns and stares at his mother for a long BEAT. Can I have it?

35 EXT. - EASTCHESTER. - DAY \Z:ï¿½/O 35

town, of sheer desperation on s hif ace as h e runs pas t dil aï¿½ d shops and abandoned buildings -- racing a train that lowing pulling into the Eastchester station. fi

36 INT. - EASTCHESTER TRAIN STATION. - DAY. 36

Frank runs up to the ticket window at the TRAIN STATION.

FRANK One ticket to Grand Central, please.

TICKET CLERK Three dollars and fifty cents.

FRANK Can I write you a check?

37 INT. - PAPIGONE PRISON. - MARSEILLE. - NIGHT 37

THE CELL DOOR IS PULLED OPEN, and Frank slowly walks out and faces Joe Shaye, who is holding a pair of HANDCUFFS and standing with FBI AGENTS EARL AMDURSKY and TOM FOX- All three

(CONTINUED) Debbie Zane - 5

29.

37 CONTINUED: 37 AGENTS get a glimpse inside the cell -- and they all quickly turn away.

JOE SHAYE Frank, this is Agent Amdursky and Agent Fox. They'll be helping with the extradition. Joe puts the handcuffs on Frank, who can barely stay on his feet as he slowly turns to Warden Garren.

FRANK Your wife is sleeping with one of         the guards. Just thought you should know.

38 INT. - HOTEL ROOM. - FRANCE. - NIGHT 38

Joe Shaye, Amdursky and Fox are all watching Frank as he          sits naked in a bathtub, his handcuffs still on as he tries to shave his beard.

39 INT. - HOTEL ROOM. - FF5?% - NIGHT 39

Frank has one hand 4N Ll to a chair, and both legs SHACKLED to the corner ed. He's eating a sandwich and drinking a glass of s Joe Shaye sits across from him.

JOE SHA Just sit back and get table. We leave for the airpor nine hours.

FRANK I want to call my father.

JOE SHAYE You can call him when we get to New York? I apologize for the room -- it's the only place the agency could afford.

FRANK Don't worry, Joe. I've stayed in         worse.

40 EXT. - TIMES SQUARE HOTEL. - NIGHT 40

Frank wears blue pajamas as he's THROWN OUT OF A DILAPIDATED TIMES SQUARE HOTEL ROOM BY THE NIGHT MANAGER, who is dragging him toward the door.

(CONTINUED) Debbie Zane -

30.

40 CONTINUED: 40

SUPER: OCTOBER. 1964

MANAGER I don't want to hear your story. That's two checks that bounced, do         you know how much trouble I'm in?

FRANK The bank made a mistake, Andy, I'll         write you a check right now! Please, it's midnight, I have no place to         go. The Manager pushes Frank into the cage elevator.

MANAGER You're a goddamn kid. You should be         in school.

41 INT. - NEW YORK HOTEL ROOM. - NIGHT 41

A decrepit Times Square hotel room. Frank sits up in bed staring down at his NEW RSEY DRIVER'S LICENSE -- which is          a simple I.D. CARD wi picture. Frank uses a pen to change the date of birth fro lf o 1938. 42 INT. - NEW YORK SAVINGS BTKf - DAY 42

O          Frank holds a BLACK BRIEFCAS st ands in front of a           FEMALE BANK TELLER holding a HATTAN CHECK.

FRANK My boss sent me to Brooklyn, then Queens, now he wants me in Long Island and I'm short train fare. It's my         first week -- I don't think I'm cut out to be a salesman.

ASHLEY I'm sorry, but we're not allowed to         cash checks from other banks. How would we know if they were any good?

FRANK What's your name?

ASHLEY Ashley.

(CONTINUED) Debbie Zane - 5

31.

42 CONTINUED: 42

FRANK You do me this favor, Ashley, and I'll give you this sterling silver Waldmann pen. It's German. What do         you say? Frank takes the PEN out of his pocket.

ASHLEY I feel so bad. I'm really not supposed to take the check. How about if I         just loan you a few dollars myself? Ashley takes some money out of her own pocket.

FRANK That's okay, Ashley. I'll find my         way to Chase Manhattan.

43 EXT. - BANK. - DAY 43

As Frank walks out of the bank, he watches A PILOT AND TWO FLIGHT ATTENDANTS step of a cab right in front of him. They are all laughing A s hey head for the revolving doors of the MAYFAIR HOTEL. Frank watches as the PIL IPS THE DOORMAN A FIVE DOLLAR

BILL. 44 INT. - MAYFAIR HOTEL. - MORNING, N\ v- 44 Frank follows the Pilot into the 'air, seesthe hotel MANAGER rushing over to greet him. The entirelobby seems to         be focussed on the Pilot, with BELLMEN runningover to carry 0; his bags -- the FLIGHT ATTENDANTS following his every move. Frank turns to an aging BELLMAN.

FRANK Excuse me, do you know that pilot?

BELLMAN He's just one of those airline jerks. Just because you fly at thirty thousand feet, doesn't make you God. Frank watches as the Pilot walks into the elevator, the Flight Attendants by his side.

FRANK (V.0.) Dear Dad...I've decided to become an         airline pilot. I've applied at all

(MORE)

(CONTINUED) Debbie Zane -

32.

44 CONTINUED: 44 FRANK (V.O.) (cont'd)         the big airlines, and have several promising interviews lined up.

45 EXT. - PAY PHONE. - NEW YORK. - DAY 45

A packed street corner in the center of New York. Frank is         eating a hot dog as he talks on a PAY PHONE.

PAN AM OPERATOR (V.O.) Pan Am, how may I help you?

FRANK I'd like to speak to someone about a         uniform.

PAN AM OPERATOR Hold for purchasing. Frank turns and looks directly behind him, where WE SEE the FIFTY STORIES OF THE PAN AN BUILDING standing tall in the middle of the city.

HASING SUPERVISOR (V.O.) Purchasing.

F         Yes. My name is illiams, and I'm a co-ilot basp of San Francisco. I flew a into New York last night, and ving for Paris in three hours.

PURCHASING SUPERVISOR (V.O.) How can we help you?

FRANK I sent my uniform out to be cleaned through the hotel...

PURCHASING SUPERVISOR (V.O.) Let me guess. They lost the uniform. Happens all the time.

46 EXT. - NEW YORK STREET. - DAY 46

As the telephone conversation continues, WE SEE Frank running down a busy street, a big smile on his face as he cuts in         and out of an endless stream of people.

(CONTINUED) Debbie Zane - 5

33.

46 CONTINUED: 46

PURCHASING SUPERVISOR (V.0.) Go down to the Well-Built Uniform Company at Ninth and Broadway -- they're our uniform supplier. I'll         tell Mister Ross you're coming. Frank sprints through the doors of the WELL-BUILT UNIFORM

COMPANY.

47 INT. - WELL-BUILT UNIFORM COMPANY. - DAY 47

Frank poses in front of a full length mirror wearing a brand new PAN AM UNIFORM. MISTER ROSS kneels in front of him, cuffing his pants. In the B.G., WE SEE rows and rows of         uniforms waiting to be shipped.

ROSS What's your rank?

FRANK I'm a co-pilot.

Z         Right seat. look too yo ng ï¿½e a pilot. Ross places a single GOLD BAR'ï¿½bp `# lapel of Frank's jacket.

ROSS How does that feel?

0

FRANK It feels great.

ROSS It's gonna be $164 dollars.

FRANK No problem. I'll write you a check.

48 EXT. - NEW YORK. - DAY 48

Frank walks down Broadway in his new uniform, enjoying the obvious glances he is getting from men and women who pass by. He sees a little boy pointing at him, and he gives the boy a playful salute. Frank can't help but smile as he drops his briefcase in the nearest trash can, then turns and walks into a bank. Debbie Zane -

34.

49 INT. - BANK OF NEW YORK. - DAY 49

A FEMALE BANK TELLER is sneaking glances at Frank as she counts out his money on the counter.

BANK TELLER That's eighty, ninety, one hundred dollars. You have yourself a great time in Paris.

50 INT. - MAYFAIR HOTEL LOBBY. - NEW YORK CITY. - DAY 50

A busy, upscale business hotel in the heart of the city. Frank stands in uniform at the front desk.

FRANK I'm flying out to Paris in the C.         morning. Okay if I write you a check for the room?

FRONT DESK CLERK No problem, Sir.         I was also Sao if you could cash a person for me. I've         got a date wit Cï¿½ ute little hostess this evening.

FRONT DB'Uï¿½,C K         For airline personnel O h checks up to three hundred dol

I

FRANK I won't need that much. Let's make it two-fifty.

51 INT. - MAYFAIR HOTEL ROOM. - NEW YORK. - NIGHT 51

An episode of THE RIFLEMAN is on the black and white TV in         the hotel room. A ROOM SERVICE CART sits next to the bed, piled high with half-eaten plates of french fries, hamburgers, and slices of apple pie. As Frank sleeps on the king sized bed, the PILOT'S UNIFORM lies next to him on top of the sheets.

52 EXT. - ABAGNALE STATIONERS. - NEW ROCHELLE. - DAY 52

Frank Sr. gets off the bus in front of his store. He is         wearing his black suit and holding a briefcase as he starts

(CONTINUED) Debbie Zane - 5

35.

52 CONTINUED: 52 to unlock the front door to the store. TWO POLICE DETECTIVES walk up behind him.

DETECTIVE #1 Frank Abagnale? Frank turns around, stares at the TWO COPS as they show him their BADGES.

FRANK What is this? The IRS said no charges would filed.

DETECTIVE #2 Sir, we'd like to talk to you about a checking account at Chase Manhattan bank. The account is four thousand dollars overdrawn, and checks are bouncing every day.

DETECTIVE #1 The account is in your son's name, and he was re ted as a runaway in

H MARC

DETECTI Do you know where you Abagnale?

FRANK SR.         You guys are looking for the wrong person.

DETECTIVE #2 And how do you know that? Has Frank been in contact with you?

FRANK SR.         if I tell you where he is, will you promise not to tell his mother? The two Detectives nod. FRANK SR. (cont'd)         (lowering his voice) Frank made up a fake I.D and enlisted in the Marine Corps -- he's over in

(MORE)

(CONTINUED) Debbie Zane -

36.

52 CONTINUED: (2) 52 FRANK SR. (cont'd)         Vietnam right now. Somebody must have stolen his bank book, because he's half way around the world crawling through the jungle and fighting the fucking communists. So         don't come to my place of business and call my boy a criminal, because that kid has more guts than either of you will ever know.

DETECTIVE #1 I'm sorry, Sir. We didn't know.

FRANK SR. It's okay. Nobody knows.

53 INT. - PLAZA HOTEL. - NEW YORK. - DAY 53

Frank walks up to the front desk of the PLAZA HOTEL.

FRANK Do you rent twriters?

F ESK CLERK Of course, M ms. Would you like electric m ual?

FRONT DESK K         You should try it. I'll send our

I         typist up to give you a lesson.

54 INT. - PLAZA HOTEL SUITE. - NIGHT 54

CLOSE ON

A BLANK COUNTER CHECK The ELECTRIC STRIKING BALL of the typewriter is going over the same words again and again, making them appear PRINTED. The top of the phony check reads:

PAN AMERICAN WORLD AIRWAYS EMPLOYEE NUMBER 15415

PAY TO THE ORDER OF FRANK WILLIAMS $513.12 Debbie Zane - 5

37.

55 INT. - PLAZA HOTEL BATHROOM. - DAY 55

Frank kneels over the bathtub, looking down at a PLASTIC 707 MODEL AIRPLANE. The small plane is soaking in the tub, floating up-side-down in a pool of bubbles.

CLOSE ON

THE WING OF THE MODEL PLANE_ The PAN AM LOGO is on the wing. WE WATCH as a TWEEZER lifts the corner of the logo right off the plastic, carefully slipping it off the wing so that the words PAN AMERICAN WORLD AIRWAYS hang in mid-air.

ON FRANK meticulously placing the LOGO on top of the check he has just made. The words stick to the paper, and he quickly takes the check and places it in the middle of a hotel BIBLE. He         sticks the bible under his bed, the way a kid breaks in a          new baseball glove.

56 INT. - CHASE MA.NHATTAW/BANK _ - DAY 56

Frank is still in uniform " s 0 walks past two MALE TELLERS          and deliberately approac YOUNG FEMALE TELLER-

CN

FRANK I was wondering if ?bk `ï¿½ptad cash this payroll check f         Frank takesthecheck out ofa phony PAN AM ENVELOPEand

M ; hands it totheTELLER.ThePAN AM LOGO on the check is         crooked andoffcenter,thetype blurred and almostillegible.

FRANK (CONT'D)         You have beautiful eyes. The TELLER smiles at Frank, barely glances at the check as         she opens her CASH DRAWER.

TELLER How would you like it?

57 INT. - NEW YORK HOBBY SHOP. - DAY 57

A small HOBBY SHOP in Times Square. Frank sets FIFTEEN BOXES of PAN AM MODEL AIRPLANES on the counter.

HOBBY SHOP OWNER That's a lot of planes.

(CONTINUED) Debbie Zane -

38.

57 CONTINUED: 57

FRANK I give them away at Christmas to         needy children.

58 INT. - PLAZA HOTEL SUITE. - NIGHT 58

CLOSE ON

A HOTEL BATHTUB FILLED WITH MODEL AIRPLANES THAT ARE SOAKING

IN WARM WATER. Frank sits at a desk, pulls a CHECK from the carriage of an         electric typewriter. The check is perfectly centered, the Pan Am logo straight, the lines and words looking thick and heavy -- as if they were printed. Frank takes the check and sets it on the hotel bed, where FIVE HUNDRED FRESHLY MADE CHECKS are sitting in neatly stacked piles.

59 INT. -PLAZA HOTEL. - MORNING 59

Frank walks downstairs his uniform, CHECK IN HAND. The HOTEL MANAGER rushes a to greet him.

E'. What can I do ou, Mr. Williams.

FRANK I'm headed out to S morning and I need a little s money.

MANAGER

0         I'm sorry, Sir, we won't have any cash until the banks open in a hour. But I'm sure they can cash your check at the airport.

FRANK The airport? They cash checks at          the airport?

60 INT. - LA GUARDIA AIRPORT. - MORNING. 60

Frank wears his pilot's uniform as he walks through the crowded airport holding a thick wad of cash. As he stuffs the money into his pockets, he walks toward a sign that reads:

AIRLINE PERSONNEL ONLY. Debbie Zane - 5

39.

61 INT. - PERSONNEL AREA. - LA GUARDIA. - DAY 61

A giant warehouse filled with PILOTS, CO-PILOTS, FLIGHT ATTENDANTS, and BAGGAGE HANDLERS. There is a CAFETERIA, NEWSSTAND, AIRLINE SHOP, and SHOE SHINE BOOTH. Frank sits down in one of the SHOE SHINE CHAIRS, two TWA PILOTS next to him. He stares at their I.D. BADGES, which are laminated pictures clipped to the front of their jackets.

FRANK Morning. The TWO PILOTS turn and look at Frank.

TWA PILOT Morning. You mind if I ask you a         question?

FRANK Sure.

PILOT I see you hfe"d11 the time, and I         was wonderi g Pan Am is doing          out here at L ah_ubia? Pan Am doesn't          fly into La Gu          Frank stares at the Pilot, hag==(,d/,idea what to say.

TWA PILOT You working charters?

FRANK Yeah. Charters. I'm headed out to         Kennedy in a few minutes.

TWA PILOT I figured as much. What kind of         equipment you on? Frank thinks for a long BEAT, has no idea what to say.

FRANK General Electric.

TWA PILOT #2 General Electric? What the hell do         you fly, washing machines? Debbie Zane -

40.

62 EXT. - LA GUARDIA. - DAY 62

Frank is running out of the airport.

FRANK (V.O.) Dear Dad. I have been accepted to         Pan Am's flight school, and will be          starting my training immediately. I         am sending you a picture of me in my          uniform, so that you can show it to          mom, and let her know that I am a          pilot for the greatest airline in          the world.

63 EXT. - PAN AM BUILDING. - DAY 63

Frank enters building.

64 INT. - PAN AM BUILDING - RECEPTION AREA - DAY 64

The massive CORPORATE OFFICES of PAN AM, which look out over the Manhattan. Frank, dressed like a student and wearing a         backpack, gets out of televator and walks up to a

RECEPTIONIST. I'm Frank Black'cr#4m Monroe High School. I have a opdIntment with Mister Mulligan.

RECEPTION Go on in, Frank. He' s w i4 ng for you. Frank hesitates as he walks toward a door marked, PAUL

MULLIGAN, DIRECTOR OF AIRLINE SECURITY.

65 INT. - MULLIGAN'S OFFICE. - DAY 65

PAUL MULLIGAN, 70's, a small, rock of a man, stands behind a

WALL OF PICTURES, MILITARY MEDALS, PAN AM ACHIEVEMENT AWARDS, and EMPLOYEE OF THE YEAR CERTIFICATES that are neatly displayed on the wall behind him.

MULLIGAN Frank, I'm Paul Mulligan, head of         security for Pan American World Airways. I understand you're writing a report about Pan Am, and you'd         like to speak to a real live pilot.

(CONTINUED) Debbie Zane - 5

41.

65 CONTINUED: 65

FRANK Yes, Sir.

MULLIGAN Well you're in luck, son. Because I         was one of the best.

66 INT. - PAN AM BUILDING. - DAY 66

Frank is following Paul Mulligan through a large GALLERY which shows the history of PAN AM in black and white pictures and detailed PLASTIC MODELS.

FRANK What does it mean when one pilot says to another pilot, "what kind of         equipment are you on?"

MULLIGAN He's asking what kind of plane they're         flying. DC-10, 707, 727. What about a D. badges I've seen pilots wear. e

MU G         A pilot is requi of          things with him at          airline personnel b e          similar to this Pan AA          wearing, and his FAA li          Mulligan pulls an old FAA LICENSE out of his wallet.

FRANK Do you think I could make a copy of         this license to put in my report?

MULLIGAN You can have it, Frank. It expired five years ago.

FRANK What about your I.D. badge? Do you have an extra one I could borrow?

MULLIGAN I'm afraid I can't help you there. These badges are special ordered from Polaroid. The only way to get

(MORE)

(CONTINUED) Debbie Zane -!

42.

66 CONTINUED: 66

MULLIGAN (CONT'D)         one is to become a real live pilot for Pan Am.

67 INT. - POLAROID CORPORATE OFFICES. - NEW YORK. - DAY 67

A LARGE OFFICE IN NEW YORK CITY. A POLAROID SALESMAN has opened a SAMPLE BOOK and is showing off page after page of

LAMINATED I.D. BADGES. FRANK wears a suit and tie as he sits across from the salesman examining the book.

FRANK Caribbean Air will be expanding our routes next year to include most of         the East coast. I'm thinking we'll         need several thousand badges.

POLAROID SALESMAN As you can see, we make the I.D.         badges for almost every major airline.

POLAROI That's Pan Am. Would o' Qke the brochure on that one?

FRANK My boss wanted me to bring back an         actual I.D. badge, not a brochure.

POLAROID SALESMAN That's no problem, Mister Anderson. We make all the badges right here with this equipment. The Salesman motions to a large CAMERA AND LAMINATOR. POLAROID SALESMAN (cont'd)         I can make you one in a few seconds.

FRANK I have an idea. Why don't you use me         as the subject. Debbie Zane - 5

43.         l f 68 INT - KENNEDY AIRPORT. - DAY 68 Frank is walking through KENNEDY AIRPORT, his authentic PAN AM I.D. BADGE secured to the front of his uniform. He walks up to an EASTERN AIRLINES ticket counter and smiles at the

TICKET AGENT.

FRANK Hello. I'm a Pan Am co-pilot and I'd         like to fly on your two-thirty to          Miami.

EASTERN TICKET AGENT You want to dead-head to Miami?

FRANK Yes. Dead-head. Frank hands the AGENT his I.D. BADGE and Mulligan's FAA license, which has been cropped at the top where Mulligan's         name used to be. She barely glances at either-

ERN TICKET AGENT You' re in lyk""Sir. The jump seat is open. The Ticket Agent starts to la ,ï¿½ï¿½Y}cï¿½i Frank laughs with her.

69 INT_ - EASTERN 707. - DAY 69 MARCI, a cute 27-year-old EASTERN STEWARDESS with short blonde hair and glasses, stands at the front of the plane smiling at Frank -- who holds out his pink boarding slip.

MARCI Are you my dead-head?

70 INT. - COCKPIT. - 707. - DAY 70

Frank is led into the cockpit by Marci, trying not to react to the intensity of the tiny space. He immediately looks around for the jump-seat -- or any seat -- but sees nothing.

MARCI Frank, this is Captain Oliver. That's         John Paxton, the Co-Pilot, this is          Ron Vega, flight engineer.

(CONTINUED) Debbie Zane -!

44.

70 CONTINUED: 70

FRANK Frank Williams, Pan Am. Thanks for giving me a lift.

CAPTAIN OLIVER Go ahead and take a seat, Frank, we're about to push. Frank continues to search for the JUMP SEAT, the panic starting to show on his face as Marci reaches her hand around to the back of the cockpit door and pulls down the small

METAL SEAT_

MARCI There you go. Would you like a drink after take-off? Frank quickly sits in the jump-seat, his hands shaking as he         tries to strap himself in.

FRANK A glass of milk, please.

71 EXT. - KENNEDY AIRPORT'RMWAY. - DAY. 71

72 INT. - EASTERN COCKPIT. - 72

CLOSE ON FRANK -- inside the -- his hands gripping the sides of the JUMP-SEAT, his nd face clenched into a silent scream as the plane lift f, banking left as it         shoots out over Manhattan. Frank is staring out the cockpit window in disbelief, the way all kids do the first time they ride in a plane.

73 INT. - EASTERN 707. - LATER IN FLIGHT 73

Frank walks through the COCKPIT DOOR, sees Marci preparing drinks at the beverage station.

MARCI Hello, dead-head. Enjoying your free ride?

FRANK Marci, did you drop this? Frank takes a SMALL GOLD NECKLACE out of his jacket pocket.

(CONTINUED) Debbie Zane - 5

45.

73 CONTINUED: 73

7 FRANK (CONT'D)          Must have slipped right off your neck.

74 INT. - FRANK'S HOTEL ROOM. - MIAMI. - NIGHT 74

Frank is lying on top of Marci -- losing his virginity -- not moving -- just staring down at her with a bizarre look on his face. The lights are low, the radio is on.

FRANK Are all hostesses as nice as you?

MA.RCI Stewardess. You know we like to be         called stewardess now. Why are you stopping?

FRANK I want to tell you something, Marci. This is by far the best date I've         ever been on.

75 INT. - AIRPORT. - DAY 75

Frank walks toward a COUNTER with a big smile on          his face.

U O

FRANK Is the jump-seat op no '1 j. ur four o'clock to Dallas?

76 INT. - DALLAS BANK. - DAY 76

0         Frank is wearing his pilot's uniform as he walks up to LUCY, the pretty ASSISTANT MANAGER of a small Dallas bank.

LUCY Welcome to Dallas National Bank, how may I help you?

FRANK What's your name, Ma'am?

LUCY Lucy Rogers. I'm the Assistant Manager.

FRANK Lucy, my name is Frank Williams, and I'm a co-pilot for Pan Am. I'd like

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76 CONTINUED: 76

FRANK (CONT'D)         to cash this check and then take you to dinner.

77 INT. - DALLAS HOTEL ROOM. - NIGHT 77

Frank is dancing with LUCY, who is laughing uncontrollably as he twirls her around the room.

LUCY Okay, enough! I'm gonna be sick. I         have to get home and get some sleep.

FRANK It's only midnight.

LUCY One of my tellers got married last night, and I'm gonna be short handed all week.

FRANK What if I cane nd helped you out down at the

L         Now why would ffaij Am Pilot want to          work in my stupi Frank twirls Lucy, dipping he3JAn,; Y middle of the room.

FRANK To be close to you.

78 INT. - DALLAS NATIONAL BANK. - DAY 78

Frank is standing with Lucy behind the counter of the bank, watching as she feeds a stack of CHECKS into a MICKER ENCODING

MACHINE.

LUCY We feed the checks through the micker machine, and the magic eye reads the micker ink and then sorts the checks by numbers.

FRANK What numbers?

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47.

78 CONTINUED: 78

LUCY See the numbers on the bottom of the` checks. Those are called routing numbers.

FRANK Where do the checks get routed to?

LUCY Well, I'm not exactly sure. Nobody ever asked before.

79 INT. - NEW YORK PUBLIC LIBRARY. - DAY 79

Frank wears his pilots uniform as he sits across from a group of HIGH SCHOOL STUDENTS who are writing term papers. As the students talk and laugh at their desks, Frank leans over to         them.

FRANK would you keep it down, please? The students immediatel uiet down as Frank turns a page in         his book -- THE HISTO BANKING IN AMERICA. He is reading a chapter called - - T E, NKS OF THE U.S. FEDERAL RESERVE

80 INT. - NEW JERSEY AUCTIO 80

A SIGN READS: FORECLOSURE AU

BANS WE SEE rows of desks, chairs, cou and cash drawers -- everything you could possibly find at a bank. The AUCTIONEER stands in front of a room filled with BANKERS and BUSINESSMEN in dark suits.

AUCTIONEER Our next item up for bid is also fromtheJersey National foreclosure. Thisisa micker encoder, a machine usedtoencode bank checks. Do I         haveanopening bid? In the audience, Frank, dressed in a suit, smiles as he raises his paddle.

FRANK Five dollars. Debbie Zane - 5

48.

81 EXT. - VILLAGE INN BAR. - EASTCHESTER, NEW JERSEY. - DAY 81

The parking lot is packed with cars. A light snow is falling as FRANK SR. walks out of the bar and buttons his jacket.

FRANK Happy birthday, Dad. Frank turns to face his son, who is standing in front of a         RED CADILLAC that still has the sticker in the window. The two men stare at each other for a long BEAT, and then embrace in the middle of the lot.

FRANK SR. Jesus, look at you? My son the birdman. That is some uniform, Frank.

FRANK I bought you a Cadillac. Frank motions to the car, holds up the keys. K (cont' d)         ission. She goes s an hour. It         btj speedometer. Frank Sr.

FRANK S         She's beautiful. Only\ï¿½ @ï¿½nna get myself another white on r already ordered it. You keep that one, Frank,

I         maybe one day we'll race to Atlantic City.

FRANK I went by the store today. Since when do you close on a Friday?

FRANK SR. I had to close the store for awhile. It's all about timing, Frank, the goddamn government knows that. They hit you when you're down, and I wasn't         gonna let them take it from me. So I         just shut the doors myself, called their bluff.

FRANK I can get you money, whatever you need. We can buy ten stores.

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49.

81 CONTINUED: 81

FRANK SR. No. It's better this way. I'm laying' low for awhile, letting them have their fun. It's just a stationery store -- sooner or later they'll         forget about me.

FRANK Have you talked to Mom?

FRANK SR. She's so stubborn, your mother. But I won't let her go without a fight. I've been fighting for her since the day we met.

FRANK Out of all those soldiers, you were the one that took her home.

FRANK SR. That's right. Two hundred men were sitting in th' little social hall watching he d ce. What was the name of tha d I/ ..il lage? Montpelier.

FRANK S         I didn't speak a word six weeks later she was A WOMAN PULLS UP IN AN OLD FORD AND HONKS FOR FRANK SR.. She smiles and waves at him through the window, and he waves back. FRANK SR. (cont'd)         Shit. I have to go, Frank.

FRANK I was hoping I could buy you a steak.

FRANK SR. Jesus, tonight is no good. That's my         friend, Darlene. She's cooking me         dinner for my birthday. She used to         be the pastry chef at Elaines. Why don't you come home with us?

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50.

81 CONTINUED: (2) 81

FRANK No, I should probably get out to the airport. I'm flying the red eye tonight.

FRANK SR. Where are you going?

FRANK Dad, I'm serious about what I said. I can get you money --whatever you need.

FRANK SR. Just tell me where you're going. I bet it's someplace warm.

FRANK Yeah. Hawaii.

FRANK SR. Hawaii. My son is going to Hawaii tonight. The x t of us really are suckers.

82 INT. - FBI OFFICES. - WASHIN, DAY 82

SUPER: FBI BUILDING, WASHINGTON

CLOSE ON         A SLIDE PROJECTOR -- the circular tray turning clockwise as          an AGENT JOE SHAYE stands at the front of the room addressing

FIVE FBI AGENTS.

JOE SHAYE John Doe 2172 is a paperhanger who started on the East Coast. During the last few weeks 2172 has developed a new form of check fraud, which I'm         calling "the float". Next slide. The slide doesn't change. JOE SHAYE (cont'd)         Next slide, please.

(CONTINUED) Debbie Zane - 5

51.

82 CONTINUED: 82

FBI AGENT The remote thing is broken. You'll have to do it by hand. Joe reaches in and turns the slide. JOE SHAYE (cont'd)         What he's doing is opening checking accounts all over the country, then changing the micker ink routing numbers on the bottom of those checks.

CLOSE ON         THE FACES OF THE FIVE FBI AGENTS, looking bored as they all listen to Joe, having no idea what he's talking about. Some of the agents are yawning, while other are doodling at their desks. JOE SHAYE (cont'd)         This is a map of the 12 branches of          the U.S. Federal Reserve. The optical scanners at t bank read the numbers on the bott a check -- then ship the ch c}ï¿½ï¿½ï¿½f,? to the

CORRESPONDING

SPEC___ Joe, for those of         with bank fraud, wo          telling us what the h          talking about?

III

JOE SHAYE The East Coast branches are numbered seven through twelve, the midwest four, five, and six...

SPECIAL AGENT WILKES You mean to say that those numbers on the bottom of a check actually mean something?

JOE SHAYE Yes. And if you change a number one to a number nine -- a check cashed in New York won't be sent to the East Coast Reserve -- but will be re- routed all the way to California. The bank won't know the check has bounced for two weeks, which means

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52.

82 CONTINUED: (2) 82 JOE SHAYE (cont'd)          this guy can stay in one place -- rob the same banks over and over. The AGENTS literally scratch their heads, trying to follow.

SPECIAL AGENT WILKES And this is why you called for an         emergency briefing? Because of a         couple of bounced checks? Laughter from the other Agents as Joe tries to smile.

JOE SHAYE Sean, I was hoping to get-some back- up on this.

SPECIAL AGENT WILKES You want my wife to help you? She's         the one who balances the checkbook at home?

83 INT. - RENTAL CAR. - LO GELES. - DAY 83

SUPER: HOLLYWOOD, CAL FOR - JULY, 1964

FBI AGENTS AMDURSKY AND Hollywood. Fox sits in the

AMDURSÏ¿½ .I'm wearing a red nd high heels, running through park and chasing these two Puerto Rican's         with a suitcase filled with marijuana and I reach for my radio to call for back-up, but the radio is stuck in         my bra... Joe turns up the volume on the radio, keeps his eyes on the road as he drives.

AMDURSKY (CONT'D)         That's a funny story. People always laugh at that story.

JOE SHAYE Let me ask you something, Amdursky. if you had so much fun working undercover, why did you transfer into bank fraud?

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53.

83 CONTINUED: 83

AGENT AMDURSKY I didn't transfer. I was demoted. (off Joe's look) Demoted is the wrong word. It was more like-punished. I screwed up         in the field.

JOE SHAYE What about you, Mr. Fox? Did you fuck up in the field and get punished?

FOX No. I've never worked in the field before. I was in the L.A. public relations office, but we were shut down after the riots.

JOE SHAYE That's just great. I ask for backup, they drag the bottom of the Pacific.

AMDURSKY Can I ask you mething, Joe? How come you're o erious all the time?

JOE SHAYE Does it bother you, Mr. Fox?

0.

FOX A little, I guess.

JOE SHAYE Would you guys like to hear me tell a joke?

AGENT AMDURSKY Yeah. We'd love to hear a joke from you.

JOE SHAYE Knock Knock.

AGENT AMDURSKY Who's there?

(CONTINUED) Debbie Zane -

54.

83 CONTINUED: (2) 83

JOE SHAYE Go fuck yourselves.

84 INT. - TROPICANA MOTEL. - HOLLYWOOD. - DAY 84

The unmarked FBI SEDAN pulls up to TWO STORY MOTEL on the SUNSET STRIP. Joe, Amdursky and Fox walk into the motel office, all in black suits and sunglasses.

85 INT. - TROPICANA MOTEL.- LOS ANGELES. - DAY 85

Joe approaches the front desk of the motel, where the OWNER stands in front of a fan.

MOTEL OWNER He's been here two weeks, written lots of checks. The one that bounced was for twenty dollars, and he took care of it right away.

JOE SHAYE Nobody is goin to blame you. The bank called u He's probably not the man we' oking for.

ER         I don't want m-ï¿½Y u Comers harassed. He took care of ' o '

JOE SHA Do you have any of th 1 ( ys he's         written you?

MOTEL OWNER He gave me one yesterday. The owner takes a check out of the register, hands it to         Joe. Joe stares at the check for a BEAT, slowly starts to         smile.

JOE SHAYE I don't believe it. You guys stay here, watch the front.

AMDURSKY Stay here? This guy's a check forger, a goddamn paperhanger. He doesn't         even carry a gun.

FOX Why can't we go with you, Joe?

(CONTINUED) Debbie Zane - 5

55.

85 CONTINUED: 85

JOE SHAYE Just be quiet and watch the front. And if you're good, I'll take you both for ice cream when we're         finished.

86 EXT. - TROPICANA MOTEL. - LOS ANGELES. - DAY 86

Joe Shaye walks through the busy pool area of the motel, passing a few FLIGHT ATTENDANTS who are sitting by the tiny pool. Joe makes his way up the main stairwell.

87 INT. TROPICANA MOTEL - HALLWAY. - DAY 87

Joe walks through a fire door with his gun leading the way.

CLOSE ON

ROOM 212 at the end of the second floor hallway, the DO NOT DISTURB SIGN hanging off the door. Joe slowly makes his way down the hall, passing a MAID wh 's about to scream -- until he shows her his badge and vio y motions for her to hide inside a         room. Joe creeps along the walYh s gun straight out, his face covered in sweat. He free Jow he hears a door creak, his breathing labored as the s of ROOM 212 slowly swings open and Frank walks into the ly u He wears a dark brown suit and holds a black suitcase

JOE SHAYE

FI         Freeze! FBI! Don't you move! Put your hands on your head or I'll shoot you! Frank slowly turns to face Joe. The two men stare at each other for a BEAT_

FRANK Relax, buddy, you're late. My name is Johnson, Secret Service. Our boy just tried to climb out the window -- my partner has him cuffed in the alley downstairs.

JOE SHAYE Secret Service? What are you talking about? Keep your hands in the air.

(CONTINUED) Debbie Zane -

56.

87 CONTINUED: 87

FRANK You think the FBI are the only ones tracking this guy. We've been following a paper trail for months, almost had him in New York. Would you mind taking that gun out of my         face, it makes me nervous.

JOE SHAYE Let me see some identification.

FRANK Here. Take my whole wallet. Frank throws his wallet to Joe, who catches it with his free hand, but doesn't open it.

FRANK (CONT'D)         You want my gun, too? Come over here and take my gun! Frank opens his jacket, but not wide enough for Joe to see that he's not armed.

F (CONT'D)         Are you gonna e that weapon? We're supposed a on the same team. Joe hesitates, then slowly louW6Xs`J`3,. gun and holsters it.

JOE SHAYE I'm sorry. I got a little carried away. I didn't expect Secret Service on this.

FRANK Counterfeiting is our thing.

JOE SHAYE I know. I know. I just wasn't         expecting...

FRANK Don't worry about it. (showing him the briefcase) This is his typewriter. I'm gonna go         lock it in my trunk. Do me a favor and guard his room for a minute. Frank starts moving toward the back stairwell.

(CONTINUED) Debbie Zane - 5

57.

87 CONTINUED: (2) 87

FRANK (CONT'D)         And yell down to my partner in the alley -- tell him I'm on my way. Frank starts to walk down back stairwell. He looks back at         Joe, who stands at the front of room 212.

FRANK (CONT'D)         What's your name, anyway?

JOE SHAYE Joe Shaye.

FRANK Tough luck, Joe. Five minutes earlier and you would have landed yourself a         pretty good collar. Frank starts walking down the stairs.

JOE SHAYE Wait. ,ï¿½4back to Joe. Frank stops, slowly ty

(CONT' D)         Your wallet.

FRANK Hang onto it for a pu`%, I trust you.

88 EXT. - TROPICANA MOTEL. - LOS ANGELES. - DAY 88

0         Frank walks downstairs, opens the EMERGENCY EXIT that leads to a back alley. He looks both ways, then starts to run toward

HOLLYWOOD BOULEVARD.

89 EXT. - ROOM 212. - MINUTES LATER. 89

Joe Shaye is guarding the entrance of room 212. He's standing tall, almost at attention. After a BEAT he looks down at the wallet in his hand, his mind starting to consider a single horrible thought.

90 INT. - FBI OFFICES. - WASHINGTON. - DAY 90

Joe Shaye is sitting in the office of Special Agent Wilkes, the office window facing out on the Washington Monument.

(CONTINUED) Debbie Zane -

58.

9 0 CONTINUED : 90

SPECIAL AGENT WILKES I've cleared Amdursky and Fox in         this John Doe thing.

JOE SHAYE Thanks, Sean. It was my call all the way.

SPECIAL AGENT WILKES Sometimes we all get a little lost out there. No shame in being rusty. You want to talk about it?

JOE SHAYE Not really. I made a mistake.

SPECIAL AGENT WILKES Forget about it. There are hundreds of John Doe's out there.

JOE SHAYE Yeah, but I'm gonna get this one. The worst thi a paperhanger can do         is show is I saw him, I heard his voice -- r s nothing for him to hide beiin (nï¿½

SPECT-ALOA T WILKES Just be careful, J u've got 12- years in, nobody bo r u down on          the first floor. You ally wrote the book on bank d, and that's good enough to make you F-4 { some day. There's no reason to put yourself in this type of position.

JOE SHAYE what position is that?

SPECIAL AGENT WILKES The position of being humiliated. Joe stares at Wilkes, slowly stands and heads for the door. He's about to leave when he turns and looks back at Wilkes.

JOE SHAYE Hey, Sean, you want to hear a joke?

SPECIAL AGENT WILKES Sure.

(CONTINUED) Debbie Zane - 5

59-

90 CONTINUED: (2) 90

JOE SHAYE Knock knock.

91 INT. - WALDORF ASTORIA HOTEL. - NEW YORK. - NIGHT 91

A ROOM SERVICE WAITER opens a metal lid on a serving tray, revealing a huge steak and french fries.

FRANK Do you have any ketchup, Richard?

WAITER It's in the little bowl, Mr. Williams.

FRANK Thanks. Here ya go. Keep the change. Frank takes a crumpled fifty dollar bill out of his pocket, hands it to the waiter.

WAITER Thank you very much, Mr. Williams. you want some`5'v

WAIT O         I would, but my sh' over. I'm         going home to my ki thank you for asking, Mr. Willi d merry Christmas.

FRANK Merry Christmas.

92 INT. - FBI FINGERPRINT LAB. - WASHINGTON D.C. - NIGHT 92

CLOSE ON A FINGERPRINT UNDER A MICROSCOPE -- WE SEE ONE PRINT

AFTER ANOTHER.

JOE SHAYE is looking through a giant PRINT BOOK -- tediously searching for a match. Joe is alone in the fingerprint lab, where a         pathetic looking Christmas tree sits in the corner of the room. The phone rings, and Joe quickly answers.

JOE SHAYE (ON PHONE) This is Shaye. Merry Christmas.

INTERCUT WITH SC. 93

(CONTINUED) Debbie Zane -

60.

92 CONTINUED: 92

FRANK Hello, Joe.

JOE SHAYE Who is this?

FRANK Johnson, Secret Service. Joe sits up at his desk, grabs a pencil and paper.

JOE SHAYE John Doe 2172?

FRANK I've been trying to track you down for a couple of hours. Did you know that most people in the FBI have no         idea who you are or what you do?

JOE SHAYE What do you want? happened out li'n>Zo ngeles.

JOE Fuck you. Don't yo ize to me. I'm the one that's Rn t you in         jail.

FRANK Joe, do you always work on Christmas Eve? Joe looks around the room before he answers.

JOE SHAYE I volunteered, so that men with families could go home early.

FRANK You were wearing a wedding ring in         L.A.. I thought maybe you had a         family?

JOE SHAYE No. I've never been married.

FRANK How come?

(CONTINUED) Debbie Zane - 5

61.

92 CONTINUED: (2) 92

JOE SHAYE You want to talk to me, let's talk face to face.

FRANK Okay. I'm at the Waldorf Astoria in         Manhattan. Suite 3113. Joe starts to write this down, then suddenly stops himself.

JOE SHAYE You think you're gonna get me again, don't you? You'd love for me to send twenty agents out on Christmas Eve to barge into that hotel, break down doors so you can make a fool out of         me again?

FRANK Joe, I'm sorry if I made a fool out of you.

J SHAYS Goddamn it, o t you feel sorry for me. The tru h knew it was you. Maybe I didn 1 {he trigger, but I knew.

FRANK People only know wh r,y` iV tell them.

JOE SHAYE Then tell me something. How did you know I wouldn't look in the wallet?

FRANK The same reason the Yankees always win. Nobody can keep their eyes off the pinstripes.

JOE SHAYE The Yankees win because they have Mickey Mantle.

FRANK I have to go. I'm catching a flight in two hours. Merry Christmas, Joe.

JOE SHAYE You didn't call to apologize, did you John Doe?

(CONTINUED) Debbie Zane -

62.

92 CONTINUED: (3) 92

7 FRANK What do you mean?

JOE SHAYE You've got no one else to call. Joe hangs up the phone. He cups his hands to his face, then stares at a picture of his WIFE AND DAUGHTER -- which sits on the desk in front of him.

93 INT. - WALDORF ASTORIA HOTEL. - ROOM 93

Frank slowly hangs up the phone. He walks over to the chair in the room, picks up his Pilot's Cap and puts it on.

94 INT. - LAS VEGAS SAVINGS AND LOAN. - DAY 94

Frank stands across from a NEW ACCOUNTS MANAGER at a LAS

VEGAS BANK.

NEW ACCOUNTS MANAGER You account balance will be three hundred dolls Mr. Williams. And these are y r emporary checks.

NEW AC         Just take a deposit counter, then fill in         ou wish to the amounty

FRANK I don't need to fill in my account number?

NEW ACCOUNTS MANAGER At Nevada Savings and Loan, we treat our customers by name instead of by         number. Frank walks over and stares at the deposit slips. He grabs A         THICK STACK and shoves them into his coat.

95 INT. - CAESAR'S PALACE HOTEL. - NIGHT 95

CLOSE ON

A DEPOSIT SLIP AS IT'S FED INTO THE MICKER MACHINE.

(CONTINUED) Debbie Zane - 5

63.

95 CONTINUED: 95 When the deposit slips comes through the other side, WE SEE a NINE DIGIT ACCOUNT NUMBER printed on the bottom. Frank sits on the edge of his Las Vegas hotel room -- HUNDREDS OF

DEPOSIT SLIPS COVERING THE BED.

96 INT. - NEVADA SAVINGS AND LOAN. - DAY 96

Frank walks into the bank, casually switches his stack of         deposit slips with the ones on display.

97 INT. - FBI OFFICES. - WASHINGTON D.C. - DAY 97

Joe Shaye uses a slide projector as he files a report in         front of TEN AGENTS.

JOE SHAYE I'm calling it "The Switch." Next slide. The slide doesn't change. JOE SHAYE (cont'd)

JOE HITS

JOE SHAYEï¿½?ï¿½ CO)         John Doe 2172 took two red and          fifty deposit slips from Nevada          Savings and encoded his account number          on the bottom of each one.

SPECIAL AGENT WILKES Wait a second, Joe. Those slips don't         even have his name on them.

JOE SHAYE The bank scanners read the micker ink before they read pen ink. So         even though those deposit slips are filled out correctly, each person who made a deposit that day was actually putting money into his account.

SPECIAL AGENT WILKES How much did he get?

(CONTINUED) Debbie Zane -!

64.

97 CONTINUED: 97

JOE SHAYE Forty-six thousand, four hundred and' twelve dollars. It was the second largest bank robbery in the history of Las Vegas.

98 INT. - PAN AM BUILDING COMMISSARY. - DAY 98

Paul Mulligan sits across from Frank eating lunch. Frank is          dressed in school clothes and holding a notebook.

FRANK What's the fuel consumption of a 707 in flight?

MULLIGAN Kid, I'm really not in the mood for this today. That damn Skywayman is         driving me crazy. There was another article.

FRANK Who's The Sk an? Mulligan hands Frank _ f the NEW YORK TIMES.

UG         Some nut flying posing as a Pan Am         has devoted a weekl Frank stares down at the TIMES, h yes wide as he stares at the headline: SKYWAYMAN VISITS WASHINGTON: ELUSIVE PHONY

STILL FLYING THE FRIENDLY SKIES.

FRANK The Skywayman...

MULLIGAN I keep telling them it's not my         problem. He doesn't fly on Pan Am         planes -- he flies on everybody else. The damn paper is in love with this clown -- they call him the James Bond of the sky.

FRANK Did you say James Bond? Debbie Zane - 5

65.

99 INT. - MOVIE THEATER. - NIGHT 99

Frank is sitting in a movie theater watching GOLDFINGER, his eyes glued to the screen. He's eating a box of popcorn, a         big smile on his face as he stares up at SEAN CONNERY.

100 INT_ - CLOTHING STORE. - DAY 100 Frank is wearing a three button black suit with a sweater vest and narrow black tie. He's looking at himself in a full length mirror, with a SALESMAN standing behind him.

FRANK And you're sure this is the suit?

SALESMAN Positive. That'.s the same.one he         wore in the movie.

FRANK Okay. I'll take three.

S SMAN Now all you a is one of those little Fore gny-ï¿½ts cars he drives.

101         The lab is packed with AGENT re searching for a          fingerprint match. Joe Shaye i s head from a microscope, rubs his eyes.

FOX Joe, I got something! Joe rushes over to Agent Fox, who is holding up TWO SETS OF

FINGERPRINTS.

FOX (CONT'D)         I was looking through the wanted criminal file, and there it was! Look at that! Joe takes the file from Fox and opens it.

JOE SHAYE The Skywayman. Holy shit, a perfect match.

(CONTINUED) Debbie Zane -

66.

101 CONTINUED: 101

AMDURSKY They describe The Skywayman as a          thirty-year-old -- dark hair --six- feet -- same fucking guy!

JOE SHAYE It doesn't make any sense. A thirty- year-old has to register for the draft, which means his prints have to be here.

FOX Maybe there's a reason he didn't         register. He could have a wooden leg for all we know. Maybe he was born in Peru and he's not an American

CITIZEN-

JOE SHAYE Maybe he's not thirty. Somebody call New York, get a list of juvenile runaways from the NYPD. 102 EXT. - PAULA ABAGNALE'S HOME. `e_ VMIGL ISLAND. - MORNING 102 TEN FBI AGENTS have surrounded a 4 /STORY HOME IN LONG ISLAND. Joe Shaye, wearing a black hat and black overcoat, is knocking on the door with Amdursky and Fox. Paula answers with a cigarette in her hand.

JOE SHAYE Good morning, ma'am, we're the FBI Agents who called.

PAULA Yes. I've been waiting. I hope you're         all hungry. I made biscuits-

103 INT. - PAULA'S HOME. - LONG ISLAND. - MORNING 103

Paula sits on the living room couch pouring three cups of         coffee. There is a tray of BISCUITS on the table in front of         her.

PAULA My husband is a lawyer.

(CONTINUED) Debbie Zane - 5

67.

103 CONTINUED: 103 Paula motions to a FRAMED PICTURE of Jack Wright. PAULA (cont' d)         He advised me not to speak to you. So I'd appreciate it if you didn't         mention this to him.

JOE SHAYE Of course, Ma'am. Do you have a         current address for your ex-husband, Frank Abagnale?

PAULA No. He moves around a lot these days. How are those biscuits?

AMDURS KY         Very good.

JOE SHAYE Ma'am, you filed a police report last year for a juvenile runaway named Frank Ana1e, Jr.

PAULA He's forging checks? That's why you're         here?

(LAUGHING) Half the kids his age are on dope, throwing rocks at police, and you're         scaring me to death because my son is forging checks?

JOE SHAYE What he's doing is a federal offense.

PAULA (CONT'D)         A young boy has to eat, has to have a place to sleep. What do you want him to do? His father can't help him. Paula gets off the couch and grabs her purse.

(CONTINUED) Debbie Zane -'

68.

103 CONTINUED: (2) 103

PAULA (CONT'D)         I'm working part-time now at the Church. Just tell me how much he         owes and I'll pay you back. Paula takes out her CHECKBOOK.

JOE SHAYE So far it's about two million dollars.

104 INT. - DALLAS BANK - DALLAS. - DAY 104

LUCY, one of the BANK TELLERS we met earlier, sits in her office. Joe Shaye and the other agents open up the BUCKLEY SCHOOL HIGH SCHOOL YEARBOOK. On a page marked, SOPHOMORES, Joe points to tiny black and white picture of Frank wearing a coat and tie.

LUCY Yes, Sir, that's him. But I didn't         know he was sixteen! I swear to God I didn't know! Joe gets out of the cy, -61oses the door on Lucy and smiles at Amdursky and Fox. We got him. 105 EXT. - JFK AIRPORT. - DAY v til "_ 105         Frank is wearing his James Bond s1'/as she pulls up to the          airport in a German sports car. He parks the car and jumps          out of the convertible, leaving the keys in the ignition.

106 INT. - JFK AIRPORT. - DAY 106

Frank is walking through the airport, eyeing several UNIFORMED COPS who are scattered throughout the terminal, all holding the yearbook picture of FRANK. Frank sees FOUR UNDERCOVER COPS walking toward him, then sees TWO DETECTIVES checking the identification of a PAN AM PILOT. Frank nervously steps into the NEWSSTAND, hides behind a         magazine rack as he slowly reaches up and takes off his Pilot's cap and sunglasses.

FRANK (V.O.) Dear Dad. I'm no longer an airline pilot for Pan Am. I'm now an FBI Agent working undercover for the

(MORE)

(CONTINUED) Debbie Zane - 5

69.

106 CONTINUED: 106 FRANK (V.O.) (cont'd)         United States government. How are you? Please get in touch with Joanna Carlson at Monroe High School, and tell her that I won't be able to go         to the Junior Prom with her. Frank is staring at the cover of PLAYBOY MAGAZINE. He smiles as he reads the headline: RIVER BEND -- THE BEST SINGLES

COMPLEX IN AMERICA

107 EXT. - RIVER BEND APARTMENT COMPLEX. - ATLANTA. - DAY 107

SUPER: ATLANTA, GEORGIA AUGUST 1964 A sprawling APARTMENT COMPLEX that lines a picturesque golf course. There are two swimming pools, tennis courts, but most of all -- WOMEN. Everywhere you look, there are women walking the grounds, swimming, playing tennis. Frank is carrying the MICKER BANK MACHINE into his apartment, passing TWO WOMEN in bikinis.

FRANK \1ï¿½ (0) This is a micker encodifi achine. It's what banks use to print numbers on checks. I collect them.

WOMAN #2 Very cool. Where's the party tonight?

FRANK I'm doing fondue at my place.

108 INT. - FRANK'S APARTMENT. - NIGHT 108

CLOSE ON         A bubbling FONDUE POT with skewers lining the rim. The apartment is packed with men and women who are drinking, smoking pot, and eating fondue.

R.B.WOMAN #1 Frank, this is great fondue.

(CONTINUED) Debbie Zane -

70.

108 CONTINUED: 108

FRANK Thanks. Did you see my new phonograph system? It's reel-to-reel, the best sound system you can buy. Frank motions to the phonograph system in the living room, with giant speakers against the walls.

R.B. WOMAN #2 I still want to see that bedroom of         yours. I hear you have thirty suits.

FRANK Thirty-one. Come on, everyone, I'll         show you my closet!

109 INT. - FRANK'S BEDROOM. - NIGHT 109

Frank is standing in front of the master walk-in closet. His bed is round, -and there are mirrors on the ceiling.

FRANK Okay, you guyeady? Frank throws open his"c doors, revealing FOUR ROWS of         SUITS, all different st all arranged by color.

R. B. 0#1 Whoa, look all tho

ï¿½1ï¿½ FRANK ï¿½ no         Some of those Manhattan le suits were three hundred dollars. And those shoes are Stacy-Adams slip-ons.

R.B. MAN #2 I didn't know the FBI .paid so well. A drunk WOMEN comes running into the bedroom.

R.B. WOMAN #3 Come quick. Lance just fell into the conversation pit.

110 INT. - MARIETTA GENERAL HOSPITAL. - ATLANTA. - NIGHT 110

Frank walks through the hospital, looking into rooms, smiling at patients. He walks toward a RECEPTION DESK, sees a YOUNG DOCTOR yelling at BRENDA STRONG, 17, a thin, awkward looking candy striper with her hair in a bun and braces on her bottom teeth.

(CONTINUED) nohhic 7mno - s

71.

110 CONTINUED: 110

YOUNG DOCTOR These bottles need to be labeled when you pick them up. Do you realize what would happen if they got mixed up -- do you understand how dangerous this is? Don't stand there crying, just nod your head and tell me you won't do it again! Brenda nods her head, quickly walks away from the Doctor and sits behind the RECEPTION DESK. She buries her head and starts to write a letter, her body still sobbing as Frank walks up         to her.

FRANK Are you okay? Brenda looks up at Frank, her eyes and nose puffy from crying. She covers her mouth when she talks.

BRENDA i He told me to ck up the blood, so         I did. He nev told me to label it. Brenda.

FRANK Brenda, I wouldn't worr-out it. These Doctors don't know everything.

BRENDA It's my first week. I think they'.re         going to fire me.

FRANK No. Nobody will fire you. I'll bet you're good at your job.

BRENDA No, I'm not.

FRANK I'll bet if I asked you to check the status of my friend, Lance Applebaum, you could do that in a second. He         hurt his foot tonight. Brenda grabs a chart, starts to read it out loud.

(CONTINUED) Debbie Zane - f

72.

110 CONTINUED: (2) 110

BRENDA Mr. Applebaum fractured his ankle. Doctor Ashland is treating him in         exam seven.

FRANK See that. No problem. Brenda smiles, covering her mouth.

BRENDA This is the emergency chart. See the blue star, that means the patient has been diagnosed. After he's         treated, we put a red circle here.

FRANK How do you like those braces? Brenda looks embarrassed as she stares at Frank.

BRENDA I guess they',okay.

FRANK Mine were bottoms. I h 'e(E hhem. I         still have my mouth qua

BRENDA You have really nice teeth.

FRANK And you have a pretty smile. Brenda tries not to smile, shaking her head and covering her face.

FRANK (CONT'D)         I'm serious. I think those braces look really good on you. Brenda starts to blush as she continues to write her letter.

FRANK (CONT'D)         What are you writing?

(CONTINUED) Debbie Zane - 5

73.

110 CONTINUED: (3) 110

BRENDA A letter to Ringo.

FRANK What does it say?

BRENDA I can't tell you. I'm embarrassed.

FRANK Come on. What does it say?

BRENDA It says I love him. Pretty stupid, right. Ringo Starr is never going to         read my letter. Frank stares at Brenda, starts to smile as she puts her letter in a drawer.

FRANK Brenda, do you know if they're hiring here at the h ital?

C O

111 INT. - JOHN GRANGER'S OFFICE. - TAL. - DAY.

Frank is sitting across from JOHN GRANGER, 60's, the HOSPITAL ADMINISTRATOR, who is reading over a RESUME.

GRANGER Harvard Medical School, top of your class, Children's Hospital of Los Angeles, Peace Corps volunteer in         North Africa. A pretty impressive resume, Doctor Connors? Why do you want to work here?

FRANK I came to Atlanta to relax, to get away from my practice for a year. But to be honest, I'm a little bored out at River Bend.

(CONTINUED) Debbie Zane -

74.

111 CONTINUED: ILL

GRANGER Unfortunately, the only thing I need is an emergency room supervisor for my midnight to eight shift, someone to baby-sit six interns and thirty nurses. But I doubt you'd be         interested in that.

FRANK Would I get to pick my own nurses?

112 INT. - FRANK'S APARTMENT. - RIVER BEND. - NIGHT 112

Twenty people are partying in the living room.

113 INT. - FRANK'S BEDROOM. 113

Frank is lying on his bed making a phony MEDICAL SCHOOL DIPLOMA. He's using a HARVARD BROCHURE to guide him as he         carefully places the STICK-ON letters on the aged paper. A         WOMAN walks into the bedroom.

114 INT. - CONFERENCE ROOM. - DAB ^ 114

Frank is sitting in front of DO GER and FIVE DOCTORS, all of whom are looking over FRAM ' FILE, which consists of         the fake HARVARD MEDICAL SCHOOL DIPLOMA -- fake letters of          recommendation from CHILDREN'S HOSPITAL OF LOS ANGELES, and a fake CALIFORNIA MEDICAL LICENSE.

DOCTOR GRANGER Doctor Connors, here is your temporary license, which allows you to practice medicine in the state of Georgia for up to one year. And now let me be         the first to say, welcome to Marietta General.

115 EXT. - HOSPITAL. - NIGHT 115

Frank is standing in front of the thirty CANDY STRIPERS, NURSES and INTERNS who will be working under him during the night shift. He wears Doctor's whites, holds a clipboard as         he takes roll.

(CONTINUED) Debbie Zane - 5-

75.

115 CONTINUED: 115

FRANK Brenda Strong? He smiles at Brenda, who covers her mouth as she smiles back.

BRENDA Here.

FRANK Doctor Paul Ashland.

DOCTOR ASHLAND Sir... will you be taking role every night?

FRANK Yes. And if you're going to be late, I suggest you bring a note.

116 INT. - HOSPITAL CORRIDOR. - NIGHT 116

Frank walks down along hospital corridor holding his clipboard, passing sever"',, NURSES in the hall.

V

(FLIRTING         Good evening, tJr Connors.

FRANK Button your shirt, M         can see you bra strap. i is s a         hospital, not a sororit

117 INT. - FRANK'S APARTMENT. - NIGHT.

ON A BLACK AND WHITE TV, DR. KILDARE approaches a hospital bed.

DR. KILDARE (ON TV) Any change in the patient, Doctor Marks?

DOCTOR MARKS (ON TV) Doctor Kildare, I think we should try the shock therapy before it's         too late. Frank sits alone in his apartment eating popcorn and watching DR. KILDARE on TV.

DOCTOR KILDARE (ON TV) Doctor White, do you concur?

(CONTINUED) Debbie Zane -

76.

117 CONTINUED: 117

DOCTOR WHITE (ON TV) Yes. I concur.

118 EXT. - FRANK'S OFFICE. - HOSPITAL. - NIGHT. 118

The name on the office door reads FRANK CONNORS, M.D.. Frank sits at his desk in front of a brand new IBM ELECTRIC TYPEWRITER. He is making COUNTERFEIT CHECKS for himself as         Brenda walks in holding a clipboard.

BRENDA Doctor Connors, you need to sign these. Brenda walks in and hands him the clipboard. Frank starts to         scribble on the charts, the way Doctor's scribble out prescriptions.

BRENDA (CONT'D)         Do you notice anything different about me, Doctor Connors?

F         You got your ï¿½e ff! Let me see. Frank moves toward her, st dkA her bottom teeth.

BRENDA I kept trying to show '4 ) l night.

FRANK Did it hurt when they took them off? Mine felt so weird after.

BRENDA' I keep rubbing my tongue over them. I can't stop. It's so slippery.

FRANK It feels good, doesn't it?

BRENDA Yes_ It feels incredible. Frank leans toward Brenda, gently starts to kiss her. As the passion increases WE HEAR the HOSPITAL P.A. SYSTEM.

(CONTINUED) Debbie Zane - 5

77.

118 CONTINUED: 118

P.A. OPERATOR Doctor Connors, please come to         Emergency. Doctor Connors to         Emergency. Frank continues to kiss Brenda.

BRENDA Shouldn't you go?

FRANK There's a staff Doctor in the emergency ward.

BRENDA What if he's in surgery?

FRANK Do you really think I have to go?

119 INT. - HOSPITAL ELEVATOR. - DAY 119

Frank nervously paces i d,ï¿½ he elevator, taking deep breaths as he tries to calm d

120           The elevator doors open, a3W Pr slowly walks into the EMERGENCY WARD, where Nurses rushing toward a closed curtain.

EMERGENCY N         In here, Doctor Connors. Frank walks toward a closed curtain, stands in front of a         bed and forces himself to look-'He sees a blood splattered sheet and three young INTERNS standing over the leg of an

ELEVEN-YEAR-OLD BOY.

FRANK Well, what do we have here?

DOCTOR ASHLAND Bicycle accident. A fracture of the tibia, about five inches below the patella. Frank stares at the boy's face, trying not to look at the open wound.

FRANK Doctor Hollis, do you concur?

(CONTINUED) Debbie Zane -

78.

120 CONTINUED: 120

DOCTOR HOLLIS Concur with what, Sir?

FRANK What Doctor Ashland just said.

DOCTOR HOLLIS

(CONFUSED) Well, it was a bicycle accident. The boy told us.

FRANK So you concur?

DOCTOR HOLLIS"         Well, I'm not sure we can...

DOCTOR ASHLAND I think we should take an x-ray, then stitch him up and put him in a         walking cast.

K         Very good, cb?6r Ashland. You don't         seem to hav Tm4x a ed for me. Carry on.

DOCTOR HO         I blew it, didn't I? Wh idn't I          concur? I panicked!

I

121 INT. - HOSPITAL MEN'S ROOM. - NIGHT. 121

Frank walks into the MEN'S ROOM, steps into an empty stall and immediately starts to throw up.

122 INT. - FRANK'S APARTMENT. - RIVER BEND. - NIGHT 122

Frank is writing a letter at his electric typewriter. He         pulls it out and reads it over, then takes out a pen and signs the name RINGO STARR.

123 INT. - HOSPITAL. - NIGHT 123

Brenda is running through the halls holding the letter.

(CONTINUED) Debbie Zane - 5

79.

123 CONTINUED: 123

BRENDA He wrote me back. Ringo wrote me         back! Doctor Connors, come quick! I         got a letter from Ringo Starr, he          signed his name and said I was his biggest fan!

124 INT. - HOSPITAL CAFETERIA. - NIGHT 124

Frank is sitting across from Brenda in the cafeteria.

BRENDA I bought you a present. Brenda hands him wrapped present.

BRENDA (CONT'D)         Open it. Frank quickly opens the box, takes out a TINY GOLD DOCTOR'S

CADECUS.

(CONT'D)         doctors wearing r          left yours back ld plated.

BRENDA Now when you're walki nd the hospital, you'll feel l"the real         thing.          She pins the Cadecus on his lapel, and Frank can't help but          smile.

FRANK Brenda, I want to go away with you. I'll take you anywhere you want to         go.

BRENDA I haven't really been anywhere.

FRANK Just name the place, and we can go. Africa, Egypt, it doesn't matter.

BRENDA Can we go to Liverpool.

(CONTINUED) Debbie Zane -'

80.

124 CONTINUED: 124

FRANK Where's Liverpool?

BRENDA It's where the Beatles are from in         Europe.

FRANK Okay. We'll go to Liverpool.

BRENDA You're joking, right. We're not really going to Liverpool, are we?

FRANK Brenda, how would you like to be         head nurse at the hospital? is

BRENDA But I'm not a nurse. I'm a candy striper.

K         We'll get y nurses uniform. Nobody will know the rence. I'll make the announcem`L:dri

V

BRE They'll laugh at m k, please don't make me the h e. Promise me you won't do that, t even give a shot.

4

FRANK Just think about it, Brenda. You and I could run this hospital one day.

125 EXT. - FRANK SR.'S EASTCHESTER APARTMENT. - DAY 125

Joe Shaye is eating a slice of pizza as he talks with the LANDLORD of the apartment building.

JOE SHAYE I just need to go inside and take a         quick look around?

LANDLORD He's at work, so search all you want. But if you find any money in there, it belongs to me. Debbie Zane - 5

81.

126 INT. - FRANK SR'S EASTCHESTER APARTMENT. - DAY 126

Joe Shaye is walking through the two bedroom apartment. There's a bed pushed against the wall, stacks of drafting paper, envelopes, and other STATIONERY SUPPLIES lying around the room. WE SEE a black and white picture of Paula and Frank Sr. sitting on the front of a U.S. ARMY TANK. Joe takes Frank Sr.'s black briefcase off the shelf and flips it open. He reaches inside and pulls out a stack of POSTCARDS -- all sent by Frank to his father. Joe smiles as he flips over the postcard, stares down at a picture of CLARK GABLE and

VIVIAN LEIGH.

127 EXTINT. - EASTCHESTER PHONE BOOTH. - DAY 127

Joe is inside a phone booth, dropping dimes into the slot and holding the POSTCARD.

JOE SHAYE He's in Atlan Sean! No, I'm not coming back o ashington. I'm going straight to G and I'll meet the team they hit, I'm out of          dimes. Sean, w 3, I'm out of dimes! 128 INT. - FRANK'S APARTMENT. - Rc JEND. - NIGHT. 128         Frank and Brenda are lying in bbï¿½t(c.ï¿½ther, staring at each          other in the ceiling mirrors.

FRANK It's okay. You don't have to cry.

BRENDA I'm sorry, I just can't do this.

FRANK Brenda, it's okay. I don't care about you being a virgin. I can wait.

BRENDA I want to sleep with you. I really do. Brenda sits up, starts getting dressed.

(CONTINUED) Debbie Zane -

82.

128 CONTINUED: 128

BRENDA (CONT'D)         I haven't told you the truth. I'm         not a virgin. I had an abortion two years ago. My parents found out and kicked me out of the house. Brenda covers her face with a pillow, starts to cry.

BRENDA (CONT'D)         I had an abortion, and they said I          wasn't their daughter anymore.

FRANK It's okay.

BRENDA Then a few months ago they apologized and said I was their daughter, but I         couldn't come home for awhile. I'm         so sorry, Frank, please don't be          mad.

BREN 10 I ask them all the but they won't let me come h M Y Da d'         a lawyer, and he and this contract. He calls it a al         agreement.

FRANK What if you were engaged to a doctor, would that change anything? Brenda removes the pillow from her face, stares at Frank.

BRENDA What?

FRANK What if I went to your parents, spoke to your father and asked his permission to marry you?

BRENDA Don't tease me, Frank.

(CONTINUED) Debbie Zane - 5

83.

128 CONTINUED: (2) 128

FRANK I'm not teasing.

BRENDA You would go home with me to New Orleans?

FRANK We can leave right now, never come back.

129 INT. - RIVER BEND APARTMENT COMPLEX. - ATLANTA. - NIGHT 129

TEN FBI AGENTS burst through the doors of Frank's apartment. Joe Shaye is out front, leading the men inside with his guns drawn.

FBI AGENT We're clear. It's empty. There's a fondue pot in the kitchen, bean bag chairs in the living room. Joe walks over to the wall -- stares at the framed HARVARD MEDICAL OkHOOL DIPLOMA.

130 EXT. - MARIETTA HOSPITAL/ï¿½7;NIGHT 130

TEN POLICE CARS, sirens ï¿½' n g, pull up to the front of the hospital. JOE SHAYE and hi Gn %ump out of sedan, sprint into the hospital.

131 INT. - HOSPITAL. - NIGHT "Y (Q) 131

Joe Shaye is leading an army of cops down a hallway, holding ;I the Harvard Diploma in his hand. They make their way to the front of a door marked: FRANK CONNORS, M.D..

JOE SHAYE Okay. Kick it in. The Agents kick down the door, and Joe Shaye walks into the office, stares at an electric typewriter that is humming on         the desk.

132 EXT. - BRENDA'S PARENTS' HOUSE. - NEW ORLEANS. - NIGHT 132

A WHITE CADILLAC is parked in the driveway of a large, two story house. Debbie Zane -

84.

133 INT. - BRENDA'S PARENTS' HOUSE. - NIGHT 133

Frank, dressed in a plain white suit, sits at the dinner table with Brenda and her parents, ROBERT and CAROL STRONG. The house is old and warm, the table jammed with food.

ROBERT Doctor Connors, are you a Lutheran?

FRANK Yes, Sir. I'm a Lutheran.

CAROL Have you been to New Orleans before, Doctor?

FRANK No, Ma'am. This is my first time. And please, call me Frank.

ROBERT Frank, would you like to say grace? Frank stares at Brend ah her parents, who bow their heads. He hesitates for a B T, WE SEE that he has no idea how to say grace. ROBETc `'''c d)         Unless you're not i V able.          Brenda peeks at Frank, who close 2 )eyes and bows his head.

FRANK Two little mice fell in a bucket of         cream. The first mouse gave up and drowned, but the second mouse struggled so hard that he churned that cream into butter -- and he         walked out. Amen. They all lift their heads, clearly impressed. Robert turns to Frank and smiles.

CAROL Amen. That was beautiful. Frank turns to Brenda, gives her a wink.

134 INT. - BRENDA'S PARENTS' HOUSE. - LIBRARY. - NIGHT 134

Frank stands next to Robert in the library, the two men sipping brandy as they stare at some paintings on the walls.

(CONTINUED) Debbie Zane - 5

85.

134 CONTINUED: 134

FRANK Who is this?

ROBERT President Johnson.

FRANK Right. That's very good, Sir.

ROBERT It's just a hobby. Every Sunday night I go into the garage, pretend I'm an         artist. Sometimes I stay in there for hours, hiding from the world, making a fool out of myself.

FRANK No, Sir. You are an artist.

ROBERT What about you, Frank? Where do you go when you need to hide?

ROBERT Have you decided whic want to work at here in

A

FRANK To be honest, I've been thinking about getting back into law.

ROBERT What do you mean? Are you a lawyer or a doctor?

FRANK Before I went to medical school I         passed the bar in California. I         practiced law for a year, then decided to try my hand at pediatrics.

ROBERT A doctor and a lawyer. I'd say Brenda hit the jackpot. Where did you go to         law school?

(CONTINUED) Debbie Zane -

86.

134 CONTINUED: (2) 134

FRANK Berkeley.

ROBERT Berkeley. Well, now she's hit the Irish Sweepstakes. Would you be         interested in coming to work for an          old man who barely made his way through Stanford. My office is         desperate for Assistant Prosecutors.

FRANK You would give me a job?

ROBERT If you're going to marry Brenda, it's the least I can do.

FRANK What would I have to do to take the bar here in New Orleans?

135 INT. - STATE BAR EXAMINE OFFICE. - NEW ORLEANS. - DAY 135

CLOSE ON          BERKELEY TRANSCRIPTS, co e e with Berkeley Logo and stationery. Frank hands m th oc ents to a WOMAN sitting behind a desk, who hands him WUISIANA BAR EXAM.

BAR EXAMI Good luck, Mister Conno 136 INT. - AIR FRANCE PLANE. - DAY 136 it

SUPER: DECEMBER 26. 1967. AIR FRANCE FLIGHT 676. Joe Shaye is sitting next to a handcuffed Frank at the back of the plane. Amdursky and Fox are sitting across from them.

JOE SHAYE Look at that. They show movies on         planes now. What's next? Frank and Joe stare at a small MOVIE SCREEN thirty rows in         front of them.

FRANK Are you gonna eat that eclair?

JOE SHAYE Yeah. I'm gonna eat it later.

(CONTINUED) Debbie Zane - 5

87.

136 CONTINUED: 136

FRANK Do you want to split it?

JOE SHAYE No. Joe moves his eclair away from Frank. JOE SHAYE (cont'd)         You know what I could never figure out, Frank? How you cheated on the bar exam in Louisiana.

FRANK What's the difference?

JOE SHAYE Did you have somebody else take the test for you?

FRANK I'm going to prison for a long time, Joe? What's t)1 difference?

137 INT. - LOUISIANA DISTRICT ATTORNE OFFICE - DAY 137

III Frank wears a new TAN SUIT and holds a TAN BRIEFCASE as he         walks through the busy law office with Brenda's father.

ROBERT You'll be working under Phillip Rigby in corporate law, handling small claims made against the state, trespass-to-try-title suits, most of         it won't get past a pre-trial motion. Frank looks down at his desk, picks up the nameplate which reads: FRANK CONNORS, ASSISTANT PROSECUTOR.

ROBERT (CONT'D)         Why don't you settle in, organize your desk. We're having lunch with the District Attorney and Governor Davey at twelve-thirty. Debbie Zane -

88.

138 INT. - BRENDA'S PARENTS' HOUSE. - NIGHT 138

Frank, Brenda, Robert and Carol are eating popcorn and watching an episode of PERRY MASON on a black and white TV.

RAYMOND BURR (ON TV) But if you were at your office on         the day of the murder, Mr. Darius, then how could you know your wife had left the gate open? Your honor, ladies and gentleman of the jury, this is irrefutable evidence that the defendant is lying!

139 INT. - NEW ORLEANS COURTROOM. - DAY 139

Frank stands in a small, empty courtroom, presenting a case before a JUDGE AT A PRE-TRIAL HEARING.

FRANK I have four letters in my hand that were sent to the defendant's         apartment, ea one warning him that his buildin to be sprayed with insecticide, at he should cover his belonging o honor, ladies and gentleman t e jury, this is         irrefutable evid e tat the defendant is lying

JUDGE Mister Connors, this is reliminary hearing. There's no defendant, no         jury, it's just me. What the hell is         wrong with you?

140 INT. - NEW ORLEANS COURTROOM CORRIDOR. - DAY 140

Frank walks out of the courtroom, where Robert is waiting for him.

ROBERT Well? Frank starts to smile.

FRANK Case dismissed! Frank shakes Robert's hand, and Robert pulls him close and "' gives him a hug.         Debbie Zane - 5

89.

141 EXT. - NEW ORLEANS GARDEN DISTRICT. - DAY 141

Frank is covering Brenda's eyes with his hands as he slowly walks her toward the front door of a LARGE HOUSE.

FRANK Okay. Reach your hand out and feel that. What do you think it is? Brenda reaches out and touches a DOORKNOB.

BRENDA What is it, Frank?

FRANK It's our front door. I made an offer today. Frank removes his hands, and Brenda looks up at the giant, six bedroom house that sits on a cul-de-sac.

FRANK (CONT'D)         What do you t)k?

BRENDA It's so big. Are you h e(Q can         afford it?

FRANK We're gonna have it all, Brenda.

BRENDA But where will we get the money for a house like this?

FRANK The same place everyone gets it. The bank.

142 EXT. - FRANK'S CADILLAC. -- NIGHT. 142

Frank is parked in front of the airport. He turns to Brenda and gives her a kiss.

BRENDA Why do you have to go?

(CONTINUED) Debbie Zane -'.

90.

142 CONTINUED: 142

FRANK I agreed to speak at this medical conference six months ago. Your father understands. Frank grabs his briefcase and gets out of the car.

BRENDA Why can't I go with you?

FRANK Next time. I promise.

143 INT. - AIRPORT. - NIGHT 143

Frank walks into the airport, immediately goes to the MEN'S

ROOM.

144 INT. - AIRPORT MEN'S ROOM. - NIGHT 144

Frank opens his briefcase, pulls out his PILOT'S UNIFORM.

145 INT. - PRINTING SUPPLY P. - NEW JERSEY. - DAY 145

Frank wears a black s a PAN AM pin on the lapel. He          stands with the OWNER o e?RINT SHOP.

FRAN As I stated on the Pan Am has been unhappy for so t about the quality of their expe cks. we're looking for a new m to handle the printing.

PRINT SHOP OWNER How large would the order be?

FRANK About twenty thousand checks a year.

PRINT SHOP OWNER Oh, God, I want that account. What do I have to do to get it?

FRANK For starters, why don't you show me         how you make your checks.

146 INT. - NEW YORK OFFICE BUILDING. - DAY 146

TWO DELIVERY MEN are carrying an I-TEK camera into a small office, where Frank is setting up a large PASTE-UP BOARD.

(CONTINUED) tlahhia Tana. 5

91.

146 CONTINUED: 146

FRANK Just put it anywhere. They set the camera down, AND WE SLOWLY PULL BACK, see that Frank has turned this office into his own print shop-

DELIVERY MAN This stuff is heavy. What kind of         business you in?

FRANK I make checks for Pan Am. Frank motions out the window, where WE SEE THE PAN AM BUILDING directly across the street.

147 INT. - FRANK'S NEW YORK OFFICE. - LATE 147

Frank is working at the paste-up board, making a 16-by-24 inch copy of a PAN AM EXPENSE CHECK. WE WATCH AS he takes the check and places it directly under the lens of the I-TEK C RA.

M         The PLATE ENGRAVING i fib around the drum of the small

PRINTING PRESS-

CLOSE ON         A PAPER CUTER SLICING the edg no<`'A newly printed PAN AM

EXPENSE CHECK.

148 INT. - FBI BUILDING. - WASHINGTON D.C. 148

SUPER: NOVEMBER, 1965 A large, smoked filled conference room, the drapes closed to         block the afternoon sun. JOE SHAYE holds one of Frank's new checks as he stands before FBI DIRECTOR MARSH, who sits at         the head of a long table. Deputy Director Deevers handles the introductions.

SPECIAL AGENT WILKES Sir, I've called this briefing to         update you on the Frank Abagnale situation.

DIRECTOR MARSH Who?

(CONTINUED) Debbie Zane -

92.

148 CONTINUED: 148

7

SPECIAL AGENT WILKES The Skywayman. Agent Shaye from bank fraud has been the point man on this case, and I'll let him fill you in. Joe walks to the front of the room, stands in front of a

SLIDE PROJECTOR.

JOE SHAYE Director Marsh, Frank Abagnale is no         longer forging checks. He's moved on to counterfeiting, making his own Pan Am expense checks from scratch. Next slide. The slide changes. JOE SHAYE (cont'd)         The amounts have increased to almost one thousand dollars per check, and the quality, as you can see, is         virtually flawless.

CTOR MARSH How much ha' glen so far?

JOE' E         Our latest estim of about three and a half million s. He's now the most successful bber in         the history of the Un ates. DIRECTOR MARSH is holding one of Frank's checks, running his hands along the printed blue and white surface.

DIRECTOR MARSH And how close are you to getting him?

JOE SHAYE Sir, with your help I feel an arrest could come at any time. We believe he could be in New Orleans.

DIRECTOR MARSH I'll give you thirty more agents and I'll bump him up to the ten most wanted list.

(CONTINUED) Debbie Zane - 5

93.

148 CONTINUED: (2) 148

SPECIAL AGENT WILKES Sir, he's only seventeen-years-old. We've never put a child on the ten most wanted list before. What are we         gonna tell the President?

DIRECTOR MARSH The President keeps his money in a         bank. We'll tell him he's fair game like the rest of us.

149 INT. - VILLAGE INN BAR. - AFTERNOON 149

Frank walks into the bar wearing a black suit. He sees his father sitting in the corner wearing a POSTAL UNIFORM and drinking a beer. The place is filled with the afternoon regulars, all watching TV. Frank walks up to his Dad and sets a DIME in front of him.

FRANK How about a little music, Dad?

FRANK SR. I took a job. A government job. You see what I'm doing? Do you have a         good lawyer?

FRANK Dad, I am a lawyer.

FRANK SR. Look at this letter. (handing Frank a letter) They kicked me out. They took away my membership at the Rotary Club. They accused me of terrible things, made up a list of lies just to keep me out. I'm gonna sue them, a lifetime membership is what I have. I have the plaque, the letters of         congratulations.

(CONTINUED) Debbie Zane -'.

94.

149 CONTINUED: 149

FRANK Has Mom seen you dressed like that?

FRANK SR.         Your mother doesn't know what she wants.

FRANK We'll go out together and get you a         suit. A new black suit. One of those Manhattan Eagle three button black pearls.

FRANK SR. Those are nice. We'll have a drink first.

FRANK Dad, I'm getting married in two weeks- I'm buying a sixty thousand dollar house, a new Cadillac. I'm getting it all back, everything they took from us. I wa you and Mom to come to the wedd' g ogether.

FRANK You have to ask herd o ve to         fight for her. Prom is Q u won't         let her see you dressed a this.

FRANK SR.         She won't come, because she just had a baby. Frank stares at his father for a long BEAT. FRANK SR. (cont'd)         A little girl. She had a little girl.

150 INT. - MIDWAY AIRLINES COCKPIT. - NIGHT 150

Frank is clearly upset as he sits in the jump-seat, lost in         thought. The PILOT gets out of his seat, turns back to Frank.

PILOT Were leveled off. You mind taking her for a minute, I need to use the bathroom.

(CONTINUED) r,, hhin 7rnn _ r+

95_

150 CONTINUED: 150 Frank stares at the empty seat as the Pilot moves past him.

FRANK Wait. What are you doing?

PILOT I need five minutes. I'd do it for you. The Pilot walks out of the cockpit, and Frank turns to the

CO-PILOT.

FRANK He left.

CO-PILOT He's got an ulcer. Frank gets out of the JUMP-SEAT, walks over and sits in the PILOT'S SEAT. He looks at the instruments, the WHEEL moving on it's own in front of him. Frank stares out the front wirï¿½r2>;s w' p the cockpit -- the blackness in front of him - - hi starting to shake as          he slowly reaches up and puts his ds on the wheel --

14

FRANK Okay. Shut it off. The Auto-Pilot flips the switch, and Frank holds on for dear life as he flies the plane into the darkness.

151 INT. - JOE SHAYE'S OFFICE. - NIGHT 151

Joe is sleeping in the chair in his office. The phone rings, and he quickly answers.

JOE SHAYE (ON PHONE) This is Shaye.

INTERCUT WITH Debbie Zane -

96.         l f 152 INT. AIRPORT. - NIGHT 152

FRANK Hello, Joe. Merry Christmas. Joe grabs a pad and pencil.

JOE SHAYE I thought you might call. Where are you?

FRANK I don't know, exactly. An airport somewhere.

JOE SHAYE What do you want, Doctor Connors?

FRANK Joe, I haven't been Doctor Connors for months now.

SHAYE Fuck you. I' fitting here in my         office on C r -Eve, so just tell me what o

FRAN It's over. I want ver now. I'm getting married.' ï¿½Vttling down.

JOE SHAYE You've stolen four million dollars. t         You think we're just gonna call it a          wedding present? This isn't something you get to walk away from, Frank.

FRANK I want to call a truce

JOE SHAYE There is no truce. You will be caught, and you will go to prison. Where did you think this was going?

FRANK Please, leave me alone, Joe. I don't         want to do it anymore. Don't make me         do it anymore-

(CONTINUED) Debbie Zane - 5

97.

152 CONTINUED: 152

JOE SHAYE I'm close aren't I? You're scared because I'm getting close. How close am I?

FRANK Will you stop chasing me?

JOE SHAYE I can't stop. This is my job.

FRANK It's okay, Joe. I just thought I'd         ask.

153 INT. - NEW ORLEANS BALLROOM. - FRENCH QUARTER. - NIGHT 153

MARDI GRAS is in full swing. A crush of people walking down BOURBON STREET. Joe Shaye is         pushing through the crowd of people, Amdursky and Fox next to him as he makes his way into the crowd. Joe motions behind hiWM'fere TWENTY AGENTS quickly split up         and start walking thr ugh Quarter.

CLOSE ON FRANK Standing on a HOTEL BALCONY aft ourbon Street, wearing a         MASK and watching the FBI AG EIS hey move through the French Quarter. JOE SHAYE turns and looks up at the balcony, staring right at Frank for a BEAT before he continues through the chaos.

154 INT. - HOTEL BALLROOM. - DAY 154

An ENGAGEMENT PARTY is going on - - A HUNDRED PEOPLE IN          ELABORATE COSTUMES AND GOWNS. Brenda, dressed in a mask and corset, is standing with some girlfriends -- showing them her engagement ring. Frank takes off his mask, and WE SEE the fear in his eyes-as he walks over to Brenda.

FRANK Come with me. Debbie Zane -

98.

155 INT. - COAT ROOM. - NEW ORLEANS HOTEL BALLROOM.. - NIGHT 155

Frank pulls Brenda into the COAT ROOM. They are surrounded by fur coats, expensive black overcoats, a row of black hats. Brenda kisses him.

BRENDA Frank, can you believe this party is         for us?

FRANK We have to leave, Brenda. You love me, right? I mean, you would love me         no matter what?

BRENDA Of course.

FRANK If I was poor, or sick, or if T' had a different name. A name means n i g, right? My         name is Frank Co ï¿½s. That's who I         am with you. We al secrets. Sometimes when I tr 1 use the name Frank Williams t rï¿½ my secret.

BRENDA Frank Williams?

FRANK It means nothing -- Frank Williams, Frank Black -- when I'm with you, I'm Frank Connors -- that's all that matters.

BRENDA Why are you saying this?

FRANK Brenda, I don't want to lie anymore. I'm not a doctor. I never went to         medical school. Brenda smiles, thinks he's joking.

(CONTINUED) Debbie Zane - 5

99.

155 CONTINUED: 155

FRANK (CONT'D)         And I'm not a lawyer or a Harvard graduate or a Lutheran. I ran away from home a year and a half ago when I was sixteen.

BRENDA Stop teasing me, Frank. You're Frank Connors, right? You're Frank Connors and you're 28-years-old. Why would you lie to me? Brenda turns to Frank, trying not to get upset.

BRENDA (CONT'D)         Frank, what's your name? I want you to tell me your name.

FRANK We'll go to Liverpool. We can live there, Brenda, you and I can live wherever we want. I have money, enough for the rest our lives. But you're         gonna have ust me. Do you trust me? Do you 1ov, I love you.

FRANK No matter what. Even ave to         live in Liverpool, or I a          different name -- you'll still love

II         me?

BRENDA

(UPSET) I love you, Frank. I love you.

FRANK But we'll never tell anyone the truth. You can't tell you parents.

BRENDA No. We won't tell anyone. And we'll         go away. I don't care if I ever see my parents again. I just want to be         with you.

FRANK We'll leave tonight.

(CONTINUED) Debbie Zane -

100.

155 CONTINUED: (2) 155

BRENDA But the wedding is next month. It's         all planned. We can leave right after the reception, just like a honeymoon.

FRANK No, we have to leave today. I'll         pick you up at your parents house in          two hours.

BRENDA Two hours?

FRANK We'll get married in Liverpool. Would you like that?

BRENDA Yes. I love you, Frank. But please, before we go -- tell me your name.

156 INT. - FRANK'S APARTMENT. - NEW ORLEANS. - NIGHT 156

Frank is packing a su e with HUNDRED DOLLAR BILLS. He is          trying to get the sui close, sitting on top of it -- the money spilling out s.

157          A heavy rain is falling as Fr es toward Brenda's           parents' house. As he turns ont street, HE SEES FIVE PATROL CARS parked in front of th use. Neighbors have lined the street, and TWO STATE TROOPERS are guarding the front of the house with SHOTGUNS. FRANK stops the car, stares in stunned disbelief at the police in front of the house. Sirens are wailing in the distance as Frank puts his head on         the steering wheel and closes his eyes.

158 INT. - BRENDA'S PARENTS' HOUSE. - NIGHT. 158

Robert and Carol are sitting in the living room with Brenda, holding her in their arms as two POLICE OFFICERS stand across from them. Brenda is crying, holding her cat as Joe Shaye kneels in front of her.

JOE SHAYE Hello, Brenda. My name is Joe Shaye, and I'm with the FBI.

(CONTINUED) Debbie Zane - 5

101.

158 CONTINUED: 158 Brenda keeps her face buried in her father's shirt. JOE SHAYE (cont'd)         That's a pretty cat. What's his name?

BRENDA Ringo.

JOE SHAYE I know this is all a bit scary, but I need you to tell me where Frank is         going. A lot of people are looking for him out there, and the last thing we want is for Frank to get hurt. And I swear to you, Brenda, if you tell me where he's going -- I'll         keep him safe.

BRENDA You promise?

J SHAPE Yes. I prom" e Just tell me where         he's going.           Liverpool.

159 INT. - NEW ORLEANS AIRPORT. 159

Frank is walking through an airpo /He rushes over to a TWA TICKET COUNTER that is closing down for the night.

FRANK Are there any more flights tonight?

TICKET AGENT I'm sorry, Sir, there's nothing until morning. This airport shuts down at         eleven.

160 INT. - FBI OFFICES. - MIAMI. - DAY 160

Joe Shaye stands in front of TWENTY FBI AGENTS, pacing.

JOE SHAYE We have to stop him before he leaves the country. I want everyone we have inside Miami International. He's         used that airport before, he knows

(MORE)

(CONTINUED) Debbie Zane -

102.

160 CONTINUED: 160 JOE SHAYE (cont'd)         the layout. One way or another, he'll         end up there.

FOX He doesn't have a passport, Joe.

JOE SHAYE In the last six months he's gone to         Harvard and Berkeley -- I'm betting he can get a passport.

AMDURSKY I already talked to the Miami police, they've offered fifty uniformed cops in two shifts of twenty-five.

FOX Joe, with our guys that's almost a         hundred men in one airport. Don't         you think we should spread it around.

SHAYE No. Miami i h'ff exit point. Now all we have to o tch him.

161 INT. - HALL OF RECORDS. " I I - DAY 161

0         Frank walks into the HALL OF

FRANK Excuse me. Where do you p the death records?

162 INT. - STATE DEATH RECORDS ARCHIVE ROOM. - DAY 162

Frank is looking through a thick book. All of the entries are for 1938, and Frank is quickly scanning pages. He stops when he sees the following entry.

FRANK TAYLOR BORN DEC. 3. 1938. DIED DEC. 8 1938.

AGE -- FIVE DAYS. MOTHER'S MAIDEN NAME - PENNER.

163 INT. - BIRTH CERTIFICATE OFFICES. - CITY HALL. 163

Frank walks up to a window at MIAMI CITY HALL and smiles at         the WOMAN behind the counter.

FRANK Hello. I'd like to get a copy of my         birth certificate, please.

(CONTINUED) Debbie Zane - 5

103.

163 CONTINUED: 163

CITY HALL WOMAN I'll need your name, date of birth, mother's maiden name and the county and hospital you were born in_

FRANK The name is Frank Taylor. I was born December 3, 1938, in Tampa.

164 INT. - PASSPORT OFFICE. - FEDERAL BUILDING. - MIAMI. 164

Frank walks up to the window at the passport office.

FRANK (CONT'D)         I'd like to get a passport, please.

PASSPORT EMPLOYEE 11. Have you ever had a passport before?

FRANK Never.

P PORT EMPLOYEE I'll need a 0 0 of your birth certificate.

F \\ /, I brought it wit h=- ï¿½Siï¿½ Frank takes the birth certifi ed' of his pocket and sets it on the counter.

FRANK (CONT'D)         Will this take long. I'm trying to         catch a flight.

165 INT. - FONTAINEBLEAU HOTEL. - MIAMI. - DAY 165

A NEW PASSPORT sits on a desk in the plush, PENTHOUSE SUITE of the FONTAINEBLEAU HOTEL. Frank stands at the window looking out at a perfect Miami sunset as he talks on the phone.

FRANK (ON PHONE) This is Frank Taylor, and I'm letting all the universities in the area know that Pan Am will be initiating a new recruiting program this year. I'll be stopping by your campus tomorrow morning. Debbie Zane - 'â€¢

104.

166 EXT. - UNIVERSITY OF MIAMI. - DAY 166

Frank wears his pilots uniform and carries a black briefcase as he walks past a group of students who are protesting the war.

167 INT. - GYMNASIUM. - UNIVERSITY OF MIAMI. - DAY 167

Three hundred students, ALL FEMALE, sit on the bleachers of         a gymnasium staring up at MR. HENDRICKS, the DIRECTOR OF

STUDENT PLACEMENT.

MR. HENDRICKS Ladies, quiet down, please. As you all know, Pan Am has sent 'a pilot here to interview prospective stewardesses for a new Summer internship program. This is Captain Taylor, and he'll be talking to you today. Frank stands in front of the girls, who suddenly get very quiet.

F          Thank you all ing. At the end of the day Ill icking eight young ladies to of Pan Am's          first "future stew ' flight           crew program. Thes Ai girls          will accompany me on onth           public relations tour o rope this          Summer, where they will learn first          hand what it takes to be a Pan Am          stewardess.

168 EXT. - MIAMI INTERNATIONAL AIRPORT. - DAY 168

WE SEE FBI AGENTS, UNIFORMED COPS, UNDERCOVER COPS and local detectives all taking their positions in and around the airport. it looks like they're preparing for war, and Joe Shaye is in the middle of it all.

169 INT. - INTERVIEW ROOM. - UNIVERSITY OF MIAMI. - DAY 169

Frank sits behind a desk holding a notebook as he INTERVIEWS a young FEMALE STUDENT.

FRANK Judy, what does the word "abroad" mean to you?

(CONTINUED) Debbie Zane - 5

105.

169 CONTINUED: 169

JUDY When I hear the word abroad, I think of crossing the ocean and traveling to distant lands.

FRANK Thank you.

170 INT. - INTERVIEW ROOM. - LATE 170

Frank has drawn a picture of an AIRPLANE ON A CHALKBOARD. He         is pointing to various sections of the plane.

FRANK And what's this, Monica?

MONICA The wing.

FRANK Very good- And this? The tail. Excellent.

171 INT. - GYMNASIUM. - DAY 171

This is the moment of truth. Al ` - We0birls are standing, and Frank is reading from a list.

FRANK Debra Jo McMillian. DEBRA JO comes screaming out from the sea of girls, hugging friends and crying as if she had just won the Ms. America Pageant.

FRANK (CONT'D)         Heather Shack. HEATHER SHACK screams and rushes into Debra Jo's arms, the two girls screaming as Frank continues to announce the winners.

172 EXT. - MIAMI INTERNATIONAL AIRPORT. - DAY 172

Miami Police Officers are spread out in front of the airport, looking bored as they drink coffee and pace back and forth.

(CONTINUED) Debbie Zane -

106.

172 CONTINUED: 172 A STATION WAGON pulls up to the front of the airport, and TWO COPS WATCH as EIGHT BEAUTIFUL COLLEGE GIRLS walk out, all dressed as flight attendants, all holding luggage. The cops never even glance at Frank, who stands in the middle of the girls as they walk into the airport.

173 INT_ - MIAMI INTERNATIONAL AIRPORT. - DAY 173 Frank walks through the packed terminal surrounded by the EIGHT GIRLS, all walking in stride, their hair and make-up perfect, every man in the airport turning to stare. Frank and the girls walk past TWO FBI AGENTS, who can't help but smile at the girls -- who in turn smile back.

FBI AGENT #1' Did you see that blonde in front?

FBI AGENT #2 I should've been a pilot.

174 INT. - MIAMI AIRPORT COE SHOP. - DAY 174

Joe Shaye is sitting '1n FEE SHOP that looks down over the entire INTERNATIONA R 1AL. HE HEARS an announcement over the airport P.A. sy

P.A. O (V.0.) Will Mr. Joe Shaye k a white courtesy phone. Mr. J e, please pick up a white courtes one. in the distance, JOE watches as the eight girls walk toward him. He hesitates for a BEAT, then walks to the back of the restaurant and finds a WHITE PHONE.

JOE SHAYE This is Shaye.

INTERCUT WITH

175 INT. - MIAMI AIRPORT TICKETING AREA. - DAY 175

AMDURSKY Joe, you're walkie talkie wasn't         working. There's a guy in a Pan Am         uniform sitting in a white Cadillac in front of terminal J!

(CONTINUED) Debbie Zane - 5

107.

175 CONTINUED: 175

JOE SHAYE That's the charter terminal. Can you' see his face?

AMDURSKY He's got his Pilot's cap on. I think it's him!

176 INT. - AIRPORT. - DAY 176

Joe Shaye is running through the airport, sprinting past Frank and the college girls as he makes his way outside.

177 EXT. - MIAMI AIRPORT - WHITE CADILLAC. - DAY 177

FORTY FBI AGENTS and MIAMI POLICE OFFICERS slowly approach the white Cadillac. Joe Shaye has his gun drawn.

JOE SHAYE Frank, get out of the car! Put your hands on the hood! There's no place to run, so just make it easy on         yourself! The car door opens, aMd YEAR-OLD kid gets out of the car, his hands shaking s e(jtares at Joe -- the pilot's         cap falling off his head.

KID Don't shoot me ! I ' m\Â§ ,s` ' ,driver! A man paid me a hundr ars to         wear this uniform and p someone up at the airport!

II

JOE SHAYE who are you picking up?

KID Joe Shaye. Joe lowers his gun, immediately turns back toward theairport -- watches as a BRITISH AIRWAYS JET takes off and flies overhead, banking left and sailing out over the ocean.

178 INT. - JOE SHAYE'S OFFICE. - WASHINGTON D.C. - DAY 178

Snow is falling outside Joe's office window, which overlooks a parking lot. Joe sits at his desk staring down at some COUNTERFEIT CHECKS. A SECRETARY WALKS in and hands him an         envelope.

(CONTINUED) Debbie Zane -

108.

178 CONTINUED: 178

SECRETARY This just came for you, Sir. Who do         you know in Liverpool? Joe takes the envelope and slowly opens it. He pulls out a         stack of BLACK AND WHITE PHOTOGRAPHS, all of which show the EIGHT COLLEGE GIRLS in various locations. There are shots of         them on the SPANISH STEPS IN ROME, at the EIFFEL TOWER, in          front of BUCKINGHAM PALACE, and in front of SCOTLAND YARD. A POSTCARD OF THE MONA LISA is inside the envelope, with the words "WISH YOU WERE HERE" written across the back.

179 EXT. - MONTPELIER FRANCE. - DAY 179

The vineyards of Montpelier stretch across the Bas Languedoc valley, where tourists drive through on their way to the Mediterranean. Frank is eating an ice cream as he walks down the main street, the shops and restaurants open and busy for the summer. Frank stops a DELIVERY BOY on a bicycle.

FRANK Excuse me. Do u know where the Lavalier fa lives?

180 EXT. - LAVALIER HOME. 180

Frank is knocking on the dbe Oo the main house of a small vineyard. MONIQUE LAVALIER, answers the front door holding a baby.

FRANK Hello. Do you speak English? Monique nods.

FRANK (CONT'D)         My name is Frank. My mother is Paula Lavalier. I was hoping to find my         family. Monique takes Frank by the hand, starts to smile.

MONIQUE I am Monique, your aunt. Monique hugs him, kisses his cheeks.

MONIQUE (CONT'D)

(IN FRENCH) Pappa! Paula's boy is here! Debbie Zane - 5

109.

181 INT. - LAVALIER HOME. - DINNER TABLE. - LATE 181

The entire family is sitting around the dinner table, staring at Frank as he takes a sip of wine.

FRANK It's very good wine. The family starts to laugh at him.

FRANK (CONT'D)         What?

MARCEL The wine here is shit. This valley only grows shit wine. It is used for stretching.

FRANK What's stretching?

MONIQUE They send our ne by truck to the famous vine r of Bordeaux and Burgundy, a d mix it with the good wine to r (he people.

PAPP The Americans thi only the best. But drinking the shit fro Everyone laughs hysterically, and Frank joins in, the family laughing together as they eat Sunday dinner.

182 INT. - LAVALIER HOME. - NIGHT. 182

Frank is sitting in the living room staring at a photo album. He sees the old picture of his mother and father sitting on         the American tank.

MONIQUE Here. Your mother sent me this to me         a few months ago. Monique hands Frank a color photograph. Frank looks at the picture, sees Paula standing with Jack Wright, holding a         BABY in her arms.

MONIQUE (CONT'D)         You look like your new sister.

(CONTINUED) Debbie Zane -

110.

182 CONTINUED: 182 Frank stares at the picture, then hands the picture back to         Monique.

FRANK Everyone says that.

183 INT. - UNIVERSITY OF MONTPELIER. - DAY 183

Frank walks into a large classroom filled with COLLEGE FRESHMAN. He turns and writes his name on the blackboard:

MR. WAGNER.

FRANK My name is Frank Wagner, and I'll be         teaching the Summer session of          American History, the same course I          taught at Yale last year. Why don't         you all open your books to chapter one, read quietly to yourselves.

184 INT. - LAVALIER HOUSE. - NIGHT 184

The family is eating di r together, and Frank looks surprised as Pappa La r brings a birthday cake out from the kitchen. As every nS is to sing-.. F o.)          Dear Dad. I'm re ad %ow, living a           quiet life in a sm lage in           France. I hope you g well,           and you're not mad at running          away.          Frank blows out the candles on the cake.          FRANK (V.0.) (cont'd)          Yesterday was my 19th birthday, and          when I blew out the candles I wished          that we could all be together, the          three of us living in our old house          in New Rochelle.

185 EXT. - LAVALIER HOUSE. - DAY 185

Frank is working in the garden, surrounded by roses. Monique walks out of the house.

MONIQUE I have to pick Pappa up, his car is         dead. Come with me, Frank, you can see where he works? Debbie Zane - 5

186 EXT. - WAREHOUSE. - OUTSKIRTS OF TOWN. - DAY 186

Frank and Monique pull up to the front of a large warehouse.

FRANK What is this place?

MONIQUE The family business.

FRANK I thought the family business was wine?

MONIQUE No. Paper.

187 INT. - PRINT SHOP. - DAY 187

CLOSE ON A PROFESSIONAL PRINTING PRESS, 90 FEET LONG, TEN

FEET WIDE. The giant machine fills warehouse. SIX MEN work in the massive press room, t r afening THUMP of the machine shaking the walls as it strugYle, it out 10 COLOR PAGES a minute. WE SEE samples of their ning the walls -- FRENCH

NEWSPAPERS, COLOR POSTER RTISEMENTS.

CLOSE ON FRANK staring up at the giant PRINTIN his body limp, h is          face cold. Pappa Lavalier, shift and smoking, walks toward him with a big smile.

PAPPA What do you think?

FRANK I've read books about these machines. But I've never seen one.

PAPPA You want me to show you how it works?

FRANK Yes.

PAPPA For color printing we set the back gears, then put the plates in up- side-down, pour the ink in last,

(MORE)

(CONTINUED) Debbie Zane -

112.

187 CONTINUED: 187

PAPPA (CONT'D)         never when it's cold, then we roll the cylinder brakes until they catch...

CLOSE ON FRANK Lost in his own world, his mind racing as he stares at every part of the machine -- his eyes cold with excitement and dread.

188 INT. - PRINTING ROOM. - NIGHT 188

The PRINTING PRESS is thumping and grinding, the lights low, the press room empty except for Frank, who stands at one end of the machine, his shirt off, working like a man obsessed as he operates the massive press by himself -- THOUSANDS OF

PERFECT BLUE AND WHITE PAN AM CHECKS SLIDING OFF THE PAPER

ROLLS AND DROPPING TO THE FLOOR.

189 INT. - LAVALIER HOUSE. - MONTPELIER. - NIGHT 189

Frank reaches into the k of the closet and pulls out his PILOT'S UNIFORM. As h s ps on the jacket, Monique walks in         and turns on the light. i ees his suitcase on the bed.

FRANK I don't know.

190 INT. - FBI OFFICE. - WASHINGTON.

Joe Shaye is sitting in his office trying to use an electric pencil sharpener, which is broken. As Joe pulls out a half- eaten pencil, Fox and Amdursky walk in holding an envelope, big smiles on their faces.

AMDURSKY Joe...he cashed a check in Madrid.

191 INT. - FBI OFFICES. - WASHINGTON D.C. - DAY 191

Joe, Wilkes, Amdursky and Fox are facing Director Marsh, a         stack of checks on the desk in front of him.

(CONTINUED) Debbie Zane - 5

113.

191 CONTINUED: 191

JOE SHAYE Singapore. Australia. South America:' Egypt. He's also hit almost every major bank in Europe.

FBI DIRECTOR MARSH How many checks?

SPECIAL AGENT WILKES Thousands.

FBI DIRECTOR MARSH Why wasn't I called?

JOE SHAYE Nobody was called, Sir. The banks didn't know what was happening until last week. We think he's been on the run for five months.

FBI DIRECTOR MARSH That's impossible. Pan Am would have called us. They didn't c         forging -- and counterfeiting.

JOE SHAYE He's making real checks, Sir. These are so perfect, Pan Am cashed them all.

FBI DIRECTOR MARSH where is he?

JOE SHAYE The last check was cashed in Paris a         week ago. He'll stay there another week before he moves on. We have to         go now, Sir, today!

FBI DIRECTOR MARSH Go where?

JOE SHAYE Paris.

(CONTINUED) Debbie Zane -

114.

191 CONTINUED: (2) 191

FBI DIRECTOR MARSH I'm sorry, Joe. If we couldn't catch' him here, we're not gonna catch him there.

192 INT. - JOE SHAYE'S OFFICE. - NIGHT 192

Joe paces in his office, holding the phone and talking much too loud, his voice echoing through the hallways.

JOE SHAYE English. Do you speak English? I'm         an American FBI Agent. Hello? Shit! Joe slams down the phone, walks out'of his office. JOE SHAYE (cont'd)          Does anyone here speak French. I          need someone who speaks French!

193 INT. - FBI CONFERENCE ROOM. - DAY 193

Amdursky and Fox walk i the conference room with OLIVER, a heavy set man who 1 terrified as they sit him down next to Joe. JOE SHAYE Jp         Agent Luc, I need you t anslate for me.

FOX He's not an agent, Joe. He's a waiter at the restaurant around the corner.

194 INT. - FRENCH POLICE STATION. - DAY 194

POLICE DETECTIVE JULIEN, 40's, sits at his desk doing a         crossword puzzle in the middle of a busy French police station. His phone rings, and he answers.

DETECTIVE JULIEN Julien.

195 INT. - JOE SHAYE'S OFFICE. - DAY 195

Oliver is on the phone, nervously sitting behind Joe's desk.

(CONTINUED) Debbie Zane - 5

115.

195 CONTINUED: 195

JOE SHAYE Who answered the phone? What's his name.

OLIVER His name is Detective Julien. He         works in the vice squad in Paris

JOE SHAYE That's fine. Tell him I have a         proposition for him. Tell him the FBI has a proposition for him. Oliver translates as Joe paces in front of him.

OLIVER Okay. What's the proposition?

JOE SHAYE Ask him if he'd like to catch the greatest bank robber the world has ever known.

196

CLOSE ON         DETECTIVE JULIEN sitting al--h!ts riï¿½esk, his expression suddenly changing as he glances aroun tation. He quickly puts the crossword puzzle away and rips into the phone. Abagnale.

197 EXT. - PARIS. - DAY

Frank steps out of the lobby doors or a hotel, walks toward a waiting limousine. A DRIVER opens the door for him -- a         YOUNG KID that wears a black suit and hat.

FRENCH CHAUFFEUR Where to, Mister Wagner?

FRANK Let's go for a drive. I need some supplies. The limo drives off. Debbie Zane - 5

116.

198 EXT. - PARIS STREETS 198

JOE SHAYE (V.0.) When he gets to a new city he starts out slow, hitting the banks on the outskirts of town. At first it's         small checks in small banks that pose little or no threat. WE HEAR OLIVER'S TRANSLATION behind Joe's voice. JOE SHAYE (V.O.) (cont'd)         Then he starts moving in, circling the city like a mother hawk, picking off every little bank he can find -- slowly inching his way toward the center of the city.

199 INT. - STATIONARY STORE. - PARIS. - DAY 199

Frank stands at the counter of a stationery store, looking into a glass case filled with expensive pens.

JOE SHA ï¿½1 There's always one ba 's bigger and richer than all the ers. This is what he came for, and he'll watch it for days. He'll know if they add a security-guard, or bring in a new teller. And if he sees anything out of place, a new cleaning man, a window shade that's up instead of down, he'll move on to the next one. That's         the luxury of having the entire world as your mark.

200 EXT. - PARIS STREET. - DAY 200

CLOSE ON         DETECTIVE JULIEN -- standing in the middle of Paris, looking down an endless row of massive banks.

(CONTINUED) Debbie Zane - 5

117.

200 CONTINUED: 200

JOE SHAYE (V.O.) He'll make his move right before lunch, when everyone's mind is on         food and the lines are short. And he         likes to stand out -- draw attention to himself.

201 EXT. - BANK OF PARIS. - DAY 201

A massive bank in the middle of the city. WE SEE Frank's         limo pulling up to the curb, and Frank waiting for the driver to open the door before he gets out.

JOE SHAYE (V.0.) The more people see him, the more invisible he becomes.

202 INT. - BANK OF PARIS. - DAY 202

Frank walks into the bank, takes out a leather case and opens it, revealing a checkbook. He takes his Waldmann pen from his pocket, smiles at a female TELLER. Hello. I need sh this. My wife and I are goi o(orway this         afternoon.          Frank turns the check over a tees L.          check to the teller, but she s take 1 it.

FRANK (CONT         Is there something wrong?          The bank teller is shaking and staring at Frank. He slowly          turns around, sees DETECTIVE JULIEN standing behind him with          his gun drawn.

203 INT. - FBI CONFERENCE ROOM. - NIGHT 203

Joe, Amdursky, and Fox are all half asleep, waiting in the FBI CONFERENCE ROOM. The clock on the wall reads 3 a.m. -- and the phone finally rings. Before he even picks it up, Joe Shaye starts to smile.

204 INT. - FRENCH COURTROOM. - DAY 204

A packed courtroom. Frank's hands and legs are shackled. He         stands before a JUDGE who is reading his sentence.

(CONTINUED) Debbie Zane -

118.

204 CONTINUED:

204

FRENCH JUDGE

(IN FRENCH) Frank William Abagnale Jr., I sentence you to two years in Papigone prison.

205 INT. - PAPIGONE PRISON. - PARIS. - DAY 205

A cell door closes.

206 INT. - AIR FRANCE AIRPLANE FLIGHT 676. - DAY 206

Frank and Joe Shaye are sitting next to each other in the back of the plane. Through the window Frank can see the skyline of Manhattan. Amdursky and Fox are smoking in the aisle.

FRANK Joe, you have to let me call my father when we land- I want to talk to him before he sees me on television.

JOE SHAYE Your father i ead, Frank. I'm sorry. Frank turns to Joe. JOu i (cont' d)         He committed su 0ï¿½.cL didn't want to be the one to t

FRANK Suicide. No. That's imps 'ibl

JOE SHAYE They found him inside his car, the motor running, the garage door shut.

FRANK who are they to think that? Who are they to say something like that?!

JOE SHAYE It's okay, Frank.

FRANK Joe, I'm gonna be sick! I have to         use the bathroom. Joe quickly takes off Frank's handcuffs, and he jumps from his seat and runs into the bathroom. Joe stands in the aisle with Amdursky and Fox. Debbie Zane - 5

119.

207 INT. - AIR FRANCE PLANE BATHROOM. - MOMENTS LATER. 207'

Frank is on his knees, tears running down his face as he         uses the METAL TIP OF A FORK to unscrew a hard plastic plate above the toilet. The screws come free, and Frank is able to         pull the entire TOILET UNIT away from the wall. He makes his way into a tiny crawispace, then pulls the toilet back against the wall.

208 EXT. - AIR FRANCE PLANE MAIN CABIN. - MINUTES LATER. 208

Joe Shaye checks his watch as a FLIGHT ATTENDANT walks past him and smiles.

AIR FRANCE STEWARDESS You'll have to take your seat, Sir. We're about to land. Joe knocks on the bathroom door.

JOE SHAYE Frank.

(CONT' D)         Frank! Come on;''rMnk, open the door! Damn it...Frank! O

JOE SHAYE

1.4         Break it down. Amdursky starts kicking at the bathroom door, slamming his heel against the metal release. The door breaks free, and the three men stares in disbelief at the EMPTY BATHROOM.

209 EXT. - AIR FRANCE PLANE/KENNEDY AIRPORT RUNWAY.-MOMENTS 209

LATER. The plane has landed and stopped short on the runway. WE SEE Frank crawling through a HATCH near the landing gear. He         drops fifteen feet to the ground below, starts running across the runway.

210 INT. - AIR FRANCE PLANE MAIN CABIN. - MOMENTS LATER 210

All of the passengers remain seated as Joe, Amdursky and Fox stand in the aisle.

(CONTINUED) Debbie Zane -

120.

210 CONTINUED: 210

JOE SHAYS Look under every seat, in every bathroom. Check it all again, even the cockpit! As Joe starts moving through the plane, something outside the window catches his eye.

211 EXT. - KENNEDY AIRPORT TARMAC. - DAY 211

He sees Frank sprinting across the tarmac, making his way toward the terminal.

' 212 INT. - AIR FRANCE PLANE MAIN CABIN. - DAY 212

JOE SHAYE God in heaven...

213 INT. - LONG ISLAND CHURCH. - MORNING. 213

A CHURCH CHOIR is singing COME HOME JESUS, Paula sitting in          the front row in a pale blue dress and snow white hat. As          the song ends, Paula se Frank enter the large, empty church. He is dazed and off b a e, his body still weak from prison. Mom... Frank stumbles down the cent e, dropping to his knees and fainting before he reach= h ter.

214 INT. - CHURCH OFFICE. - DAY. 214

FI         Frank opens his eyes, sees his mother standing at the window in a PRIEST'S PRIVATE OFFICE -- a cigarette in her hand, a         row of collection plates on the desk in front of her...

PAULA You want a sip of water? Paula hands Frank some water. He sits up and stares at his mother.

FRANK Why didn't you help him?

PAULA I did help him. Near the end I sent him money, did you know that?

(MORE)

(CONTINUED) Debbie Zane - 5

121.

214 CONTINUED: 214

PAULA (CONT'D)         I paid his rent. I was a kid when we         met, Frankie. I didn't even speak English -- I didn't even know his last name.

FRANK Then why did you marry him?

PAULA Because he got me pregnant. I was seventeen, and I was told I was going to marry him. They put me on a plane, and said I was the luckiest girl in         the world.

FRANK What about the baby?

PAULA The baby died an hour after it was born. The Doctor's knew as soon as         he came out. Paula lights a fresh

CONT'D)         It was a boy. T telling me          I should hold him, didn't want          to. I was scared he ie in my          arms, so I said no. C imagine          that, Frank, I didn't to hold          my own son?          Frank walks toward his mother and takes the cigarette out of          her mouth.

FRANK You promised. He doesn't look back at her as he walks out the door.

215 EXT. - CHURCH. - DAY 215

Frank looks dazed as he walks out of the small Church- As he         makes his way down the steps, FOUR BLACK VANS speed up next to him, TWO TEAMS OF FBI AGENTS jumping out and grabbing him, throwing him to the ground as he rolls over without a         fight, his body limp as he stares up at Joe Shaye. Debbie Zane -

122.

216 INT. - COURTROOM. - DAY 216

Frank stands before a JUDGE who is sentencing him.

JUDGE Taking into account your refusal to         give back the money, your history of          bold escape and your complete lack of respect for the uniform of the law, I have no choice but to sentence you to eighteen years in Atlanta's         maximum security prison in Dixon county, and recommend strongly that you be kept in an isolation cell for the entirety of that sentence.

217 INT. - MAXIMUM SECURITY PRISON - ATLANTA 217.

Frank stands in front of his cell in the isolation wing of         the prison. There are no bars, no windows, just square, individual cell boxes. Frank walks into his cell, the door closing behind him. 218 INT. - PRISON VISITINc/RSM. - DAY 218 Frank is wearing his pr1s f psuit as he's led into the visitor's room and place n a chair that faces bulletproof glass. Joe Shaye is sittin Qrdl4,s from him. They both pick up their phones.

JOE SHAYE Merry Christmas, Frank.

T         Frank doesn't answer him. JOE SHAYE (cont'd)         I got some cigarettes here.

FRANK I don't smoke. An awkward moment as Joe puts the cigarettes on the floor.

JOE SHAYE They say the first year inside is         the hardest.

FRANK You caught me. What do you want?

(CONTINUED) Debbie Zane - 5

123.

218 CONTINUED: 218

JOE SHAYE I don't know. Maybe this was a bad idea. I'll go. As Joe starts to put the phone down.

FRANK You're still wearing a wedding ring.

JOE SHAYE Yeah. The truth is, I'm divorced- I have a daughter who's nine.

FRANK What's her name?

JOE SHP_YE Vanessa. She lives in Chicago with her mother. I don't see her much. Frank stares at Joe for a BEAT. I'm on my way el tJe airport. I'm         tracking a paper ge who's working his way through Miï¿½t This guy is driving us crazy.

FRANK Do you have any of the checks?

FL         Joe hesitates, then opens his briefcase and takes out a CHECK. He holds it against the glass.

JOE SHAYE This is a counterfeit from Great Lakes Savings and Loan. You can see that he's using a...

FRANK It's a teller at the bank.

JOE SHAYE What?

FRANK It's a teller.

(CONTINUED)

DEBBIE ZANE

124.

218 CONTINUED: (2) 218

JOE SHAYE How do you know?

FRANK Every bank uses hand stamps for the dates. They get used over and over, so they're always worn down, and the numbers are always cracking -- the sixes and nines go first. Look at         the date on that check -- the ink is          worn flat, the nines and sixes are cracking -- that's the stamp of a         teller, Joe. Looks like you got yourself an inside job.

219 INT. - PRISON. - NIGHT 219

Frank is lying in his cell, staring into the darkness.

FRANK Eastern flight 794 you are clear to          taxi on runway_two-zero-four. That's          a big thank y, and goodbye, Newark. Ladies and eman, we are leveled off here at't five thousand feet. The sm gns have been turned off for of you in a          designated smoki My name is           Captain Frank Will so just sit back, relax, an the flight to Milan.

220 INT. - JAIL CELL. - ATLANTA PRISON. - NIGHT 220

The prison is locked down, the lights out for the night. Joe Shaye and Director Marsh are passing rows of dark cells as they make their way through the prison.

221 INT. - INTERROGATION ROOM. - NIGHT 221

Frank is sitting across from Joe and Director Marsh, a glass of milk in front of him. TWO GUARDS stand behind him with rifles. Frank is 23-years-old, but still has the boyish face of a teenager.

FRANK Joe, one of these days you should get yourself a new jacket. What is         that material? Frank touches Joe's jacket.

(CONTINUED) Debbie Zane - 5

125.

221 CONTINUED: 221

JOE SHAYE Cashmere.

FRANK That isn't cashmere -- look at the lining. It's some kind of polyester. You should see my tailor in New York.

FBI DIRECTOR MARSH Can we do this, please?

JOE SHAYE Frank, this is FBI Director Marsh. He wanted to meet you.

FRANK At four in the morning? 1 1

FBI DIRECTOR MARSH Mr. Abagnale, you've served five years of an eighteen year sentence

F K         That's righ ve years, two months.

TOR MARSH I'd like you tcY o k at something for me, tell me UO ï¿½%u think. Director Marsh takes an enveldi j of a briefcase, slides it over to Frank. Frank opens t lope and pulls out a         PAYROLL CHECK. He holds the check is hand, never looks at it.

I;

FRANK It's a fake.

FBI DIRECTOR MARSH How do you know? You haven't looked at it.

FRANK There's no perforated edge, which means this check was hand cut, not fed. The paper is double bonded, much too heavy for a check. The ink is raised against my fingers instead of flat. Frank brings the check to his nose, sniffs it.

(CONTINUED) Debbie Zane -

126.

221 CONTINUED: (2) 221 FRANK (cont' d)         This doesn't smell like micker. It's'         probably drafting ink, the kind you buy at a stationery store. Joe and Director Marsh exchange a look.

FBI DIRECTOR MARSH Frank, would you be interested in         working with the FBI's fraud and counterfeiting unit?

FRANK I already have a job here. I deliver the mail.

JOE SHAYE No, Frank. We'd get you out.

FRANK Why are you saying this, Joe? You caught me, isn't that enough? Why can't you lea ' me alone?

ECTOR MARSH Frank, we ha wer to take you out of prison. be placed in         the custody of t where you'd          serve the remainde ur sentence as an employee of t al         government.

FRANK Whose custody?

JOE SHAYE Mine.

222 INT. - FBI FIELD OFFICE. - DALLAS, TEXAS. - DAY 222

SUPER: MARCH 29 1973 Frank wears a brand new black suit as he walks into the massive FBI BUILDING. He approaches a SECURITY GUARD.

FRANK I'm Frank Abagnale. I'm supposed to         start work here today.

SECURITY GUARD First floor, Mr. Abagnale.

(CONTINUED) Debbie Zane - 5

127.

222 CONTINUED: 222

FRANK Call me Frank.

223 INT. - FBI BUILDING. - THIRD FLOOR. - DAY 223

Frank makes his way down a long hallway, passing other young men in dark suits who have come out of their offices to see him pass. Frank sees Joe Shaye standing at the end of the hall.

FRANK Morning, Joe. Frank turns and stares at a door marked FRAUD. He casually walks inside.

224 INT. - FRANK'S FBI OFFICE. - DAY 224,

A stack of files sit on Frank's desk. There are hundreds of         CHECKS, MUG SHOTS, PILES OF COUNTERFEIT MONEY. Frank looks out the window of his office, stares out at the DALLAS

SKYLINE. Look at me,

225 INT. - APARTMENT. - DALLAS H DAY. 225

O         Frank walks through the door ny, run down apartment. Joe Shaye stands at the door.

FRANK I'd rather stay in a hotel.

JOE SHAYE That's not possible. Frank opens the drapes and looks out at a POLICE STATION that sits across the street from his apartment.

FRANK One of the men gave me a check today. It was for nine dollars.

JOE SHAYS That's right. The FBI is paying you prison wages. Joe turns to walk out the door.

(CONTINUED) Debbie Zane -

128.

225 CONTINUED: 225

FRANK Tomorrow's Christmas Eve. Would it         be okay if I went to work with you?

JOE SHAYE Tomorrow night I'm flying to Chicago to see my daughter. But I'll be back at work on Monday.

FRANK Joe. . .what do I do until Monday?

JOE SHP_YE I can't help you there, kid.

226 INT. - FBI OFFICES. - DAY 226

Frank sits alone eating a sandwich, looking through a BOOK OF MUG SHOTS. He stops when he sees his own MUG SHOT, the black and white picture staring up at him. Frank carefully rips the mug shot out of the book and puts it in his pocket.

227          Frank is walking the stre' s carrying a small bag of          groceries as he makes his Oh e. Something in a STORE WINDOW catches his eye, and F ,tands frozen on the corner, looking across at a WINDOW DI

CLOSE ON

THE WINDOW OF A COSTUME SHOP. There are several MANNEQUINS dressed in different costumes. Frank slowly approaches the window, stares at a mannequin wearing an AIRLINE PILOT'S UNIFORM.

228 EXT. - DALLAS AIRPORT. - NIGHT 228

Frank gets out of a taxi wearing the PILOT'S UNIFORM. He         pulls his cap down tight as he makes his way into the busy airport.

229 INT. - DALLAS AIRPORT COFFEE SHOP. - NIGHT 229

Frank sits alone at the airport coffee shop eating a hamburger and reading a COMIC BOOK. Joe Shaye walks into the restaurant and sits next to him.

(CONTINUED) Debbie Zane -

129.

229 CONTINUED: 229

JOE SHAYE That's a nice uniform, Frank. Here, let me get your check. Joe grabs the check from Frank, puts some money on the table. JOE SHAYE (cont'd)         Did you know I was recruited by the FBI while I was still in law school? The government said I was the best the country had to offer, top of my         class -- and they chased me until I          said yes.

FRANK I'm sorry, Joe.

JOE SHAYE I spent four years arranging your release. I convinced the Attorney General of the United States that you wouldn't run. Frank gets out of his fir, walks out of the restaurant. Joe follows him throw h, irport. JO' : E (cont' d)          You go back to E pe rï¿½pd you'll die in Papigone. You run here in the states and w 1 d you back to Atlanta for f' ars.

FRANK I never asked for your help.

JOE SHAYE Please, Frank, you leave and I'm         finished. I got you out, I convinced them to let you out.

FRANK Why did you do it?

JOE SHAYE You're just a kid.

FRANK I'm not your kid. I'm not your son. I'm nothing to you. And you're nothing to me. Frank walks toward the AMERICAN AIRLINES ticket counter.

(CONTINUED) Debbie Zane -

130.

229 CONTINUED: (2) 229

JOE SHAYE I'm gonna let you fly tonight. I         won't even try and stop you, because I know you'll be back on Monday.

FRANK Why would I come back?

JOE SHAYE Because nobody is chasing you. Frank stares at Joe for a long BEAT.

FRANK Two mice fell in a bucket of cream. The first mouse gave up and drowned, but the second mouse struggled so         hard he churned that cream into butter and he crawled out.

JOE SHAYE Which one are you, Frank? Frank turns to the gin? ar the TICKET COUNTER.

1Ï¿½V Hello, Amanda, ï¿½ ï¿½ s s ï¿½Jh e jump-seat open on the ten-thirt Â® N,wYork? Joe watches as Frank walks thk oor marked CREW ONLY, casually making his way toward D une.

230 INT. - JOE SHAYE'S OFFICE. - DAY 230 4

Joe sits at his desk drinking coffee. He checks his watch, then calls out to his SECRETARY.

JOE SHAYE is Abagnale in yet?

SECRETARY No.

231 INT. - FBI OFFICE CONFERENCE ROOM. - DAY 231

Joe Shaye is using the slide projector and standing in front of TEN AGENTS, including Special Agent Wilkes.

JOE SHAYE Good morning. I've called this emergency briefing to discuss a check

(MORE)

(CONTINUED) Debbie Zane -

131.

231 CONTINUED: 231 JOE SHAYE (cont'd)         fraud and counterfeiter who's been hitting banks all over Arizona.

SPECIAL AGENT WILKES Just tell us how much he's gotten, Joe?

JOE SHAYE Don't ask. The briefing room door opens, and Frank walks in. Joe spots him in the darkness. JOE SHAYE (cont'd)         Good. You're here. The two men stare at each other for a BEAT. JOE SHAYE (cont'd)         At this time I'd like my point man on this to fill you in. Frank, are you ready to Ake over?

FRANK (         John Doe 6116 is a pa ; er who           started in Phoenix, usz at I          call a double deposit forgery system.          Next slide. What he's doing is opening          two accounts at the same bank under          two different names...

232 INT. - AIRPLANE. - DAY 232

Frank and Joe are sitting next to each other on a plane, both holding magazines and eating nuts. Joe is wearing a         brand new BLACK SUIT. There are several other agents on the plane, including Amdursky and Fox.

FRANK Joe, do you guys always fly coach?

JOE SHAYE Yeah.

(CONTINUED) Debbie Zane -:

132.

232 CONTINUED: 232

FRANK You want me to talk to someone? See if I can get us bumped to first class?

JOE SHAYS Just relax. We'll be there in two hours. Frank looks out the window.

FRP.NK         I've never been to Arizona.

JOE SHAYE It's hot. Let's just hope-we catch this guy fast.

FRANK Joe, you ever seen the Grand Canyon?

JOE SHAYE No.

K         You think i w e time we can take a quick ?( (-o JOE SHAYE (cont'd)         I feel a little silly in this suit.

FRANK It looks good. You just have to get used to it.

JOE SHAYE How much did you say it cost?

FRANK Eight hundred dollars.

JOE SHAYE Where did you get eight hundred dollars?

FRANK Credit card.

(CONTINUED) Debbie Zane - 5

133.

232 CONTINUED: (2) 232

JOE SHAYE Somebody gave you a credit card? That's a horrifying thought. The two men sit in silence for a BEAT, staring down at their magazines, lost in thought. JOE SHAYE (cont'd)         Can I ask you something, Frank?

FRANK Sure.

JOE SHAYE How did you pass the bar exam in         Louisiana?

FRANK I studied every night for two weeks.

JOE SHAYE Is that the truth? Frank turns to the wipf'or?, slowly starts to smile as he looks out at the clouds. FRANK ABAGNALE JR. HAS BEEN Qf MOR 25 YEARS. HE HAS THREE TEENAGE SONS, AND LIVES r V LIFE IN TULSA, OKLAHOMA.

SINCE HIS RELEASE FROM PRISON IN Z, FRANK HAS HELPED THE

FBI CAPTURE SOME OF THE WORLDS MOST ALLUSIVE CHECK FORGERS

AND COUNTERFEITERS. FRANK HAS ALSO DEVELOPED MANY OF THE

SECURITY FEATURES THAT BANKS USE TO PREVENT CHECK FRAUD.

HE HOLDS SEVERAL PATENTS ON THESE FEATURES, AND TO THIS DAY

FRANK MAKES A ROYALTY ON ALMOST EVERY CHECK WRITTEN IN THE

UNITED STATES.

THOSE CHECK ROYALTIES PAY FRANK ABAGNALE MILLIONS OF DOLLARS

A YEAR.

TITLE CARD #2

JOE SHAYE RETIRED IN 1986, HAVING BEEN AWARDED THREE

DISTINGUISHED SERVICE AWARDS FROM THE FBI.

FRANK ABAGNALE HAS FOUR.

THEY REMAIN CLOSE FRIENDS TO THIS DAY. Debbie Zane -