FANDOM



                               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





                        3-
                        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,
                        (MORE)
                        (CONTINUED)
         Debbie Zane -





         8.
                        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





         9.
                        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 -





         10.
                        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.
         pl�y( 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
                        (MORE)
                        (CONTINUED)
          Debbie Zane - 5





         11.
                        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





                        13-
                        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 -





         14.
                        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 `� 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 schq�� not?
                         VICE-PRIN ROWN
         Mr. and Mrs. Abagnale, �1� 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 th�t 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 sterlihk� �er
          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:�/O 35
          town, of sheer desperation
          on s hif ace as h e runs pas t dil a� 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 �e a pilot.
         Ross places a single GOLD BAR'�bp `# 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 C� ute little hostess
         this evening.
         FRONT DB'U�,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 `�ptad 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 ,��Y}c�i 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
                        (MORE)
                        (CONTINUED)
         Debbie Zane -





                        46-
                        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?
                        (CONTINUED)
         Debbie Zane - 5





         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\� @�nna 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.
                        (CONTINUED)
         Debbie Zane - 5





         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?
                        (CONTINUED)
         Debbie Zane -





         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}���f,? 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
                        (MORE)
                        (CONTINUED)
         Debbie Zane -





         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?
                        (CONTINUED)
         Debbie Zane - 5





         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-�Y 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.
         ,�4back 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 (n�
          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 SHAYE�?� 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-�ts 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 \1� (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
          �1�
         FRANK � 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 �e 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,� 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 bb�t(c.�ther, 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/�7;NIGHT 130
          TEN POLICE CARS, sirens �' 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 wir�r2>;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.' �Vttling
         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 �s. That's who I
         am with you. We al secrets.
         Sometimes when I tr 1 use the
         name Frank Williams t r� 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=- �Si�
         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 - '•





         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\§ ,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 ri�esk, 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 �1
         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 0�.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 Mi�t 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 �%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 r�pd 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, � � s s �Jh e jump-seat open
          on the ten-thirt ® 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 -
Community content is available under CC-BY-SA unless otherwise noted.