"CATCH ME IF YOU CAN" (2002)

CATCH ME IF YOU CAN

Written by

Jeff Nathanson

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 THREEMEN 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.

Debbie Zane -

As Bud reads, the CAMERA SLOWLY PANS the faces of the three

(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 Generalfor 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.

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

Debbie Zane - 5

3-

straight in his chair -- his cap pulled slightly forward on his head -- the way pilots like to wear them.

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.

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?

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.

Debbie Zane -

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

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.

Debbie Zane - 5

S.

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...

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-

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 -

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?

JOE SHAYE-

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

FRANK IS GONE

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

Debbie Zane - 5

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.

SUPER: NEW ROCHELLE. NEW JERSEY 1964 A smoke filled oak diningroom 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.

(MORE)

Debbie Zane -

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

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.

PAULA

Who can remember?

Debbie Zane - 5

FRANK

I know the story, Dad.

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.

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

Debbie Zane -

FRANK

I overslept. Mom's gonna kill me.

FRANK

Is it snowing?

FRANK

A black suit? Why?

THE WHITE CADILLAC is park ont of AMEN'S CLOTHING STORE -- Frank Sr. banging o tme lass door, trying to get someone's attention. pl�y( l

DARCY

we don't open for half an hour.

DARCY

Darcy.

(MORE)

Debbie Zane - 5

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.

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

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

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.

DEBBIE ZANE

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

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

< 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!

EMPLOYEES ARE HELPING CUST RS the hushed silence of the MASSIVE BANK. Suddenly all ey tothe 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.

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

FRANK

Dad... is this really gonna help?

FRANK

They have Mickey Mantle?

Debbie Zane - 5

13-

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.

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..

LOAN OFFICER

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

Debbie Zane -

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...

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

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.

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.

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.

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.

Debbie Zane -

FRANK

But they turned down your loan?

FRANK

So why open a bank account with them?

THEIR LITTL

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

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.

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?

Debbie Zane -

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.

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.

Debbie Zane - 5

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 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.

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.

Debbie Zane -

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?

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

PRINCIPAL EVANS

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

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.

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.

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.

Debbie Zane -

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)

Debbie Zane . 5

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.

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

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

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.

Debbie Zane -

FRANK

Does this mean we can move home?

FRANK

A red Cadillac with white interior.

BARTENDER

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

Debbie Zane - 5

FRANK

Maybe I should wait in the car.

FRANK

Dad... they're watching TV.

FRANK

I think they know I'm not eighteen.

Debbie Zane -

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 drinksin 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.

Debbie Zane - 5

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!

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."

Debbie Zane -

Frank looks to his father, then turns and stares at his mother for a long BEAT. Can I have it?

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

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?

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

Debbie Zane - 5

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.

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.

Frank has one hand 4N Ll to a chair, and both legs SHACKLED to the corner ed. He's eatinga 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.

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.

Debbie Zane -

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.

A decrepit Times Square hotel room. Franksits 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.

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 LongIsland 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.

Debbie Zane - 5

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.

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

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.

(MORE)

Debbie Zane -

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

FRANK

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

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.

FRANK

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

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.

Debbie Zane - 5

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.

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?

FRANK

It feels great.

ROSS

It's gonna be $164 dollars.

FRANK

No problem. I'll write you a check.

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 -

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.

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 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.

An episode of THE RIFLEMAN is on the black and white TV in the hotel room. A ROOM SERVICECART 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.

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

Debbie Zane - 5

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?

(MORE)

Debbie Zane -

DETECTIVE #1

I'm sorry, Sir. We didn't know.

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

FRANK

Do you rent twriters?

I

typist up to give you a lesson.

CLOSE ON

PAN AMERICAN WORLD AIRWAYS EMPLOYEE NUMBER 15415

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

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.

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?

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

Debbie Zane -

FRANK

I give them away at Christmas to needy children.

CLOSE ON

A HOTEL BATHTUB FILLED WITH MODEL AIRPLANES THAT ARE SOAKING

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

FRANK

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

MANAGER

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?

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:

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 -

Frank is running out of the airport.

Frank enters building.

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

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.

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.

Debbie Zane - 5

FRANK

Yes, Sir.

MULLIGAN

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

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)

Debbie Zane -!

MULLIGAN (CONT'D)

one is to become a real live pilot for Pan Am.

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

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

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.

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-

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?

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.

Debbie Zane -!

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.

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.

Frank walks through the COCKPIT DOOR, sees Marcipreparing

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.

Debbie Zane - 5

7 FRANK (CONT'D)

Must have slipped right off your neck.

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?

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.

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?

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)

Debbie Zane -

46-

FRANK (CONT'D)

to cash this check and then take you to dinner.

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.

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?

Debbie Zane - 5

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.

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

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

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

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

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

Debbie Zane - 5

FRANK

Have you talked to Mom?

FRANK

Out of all those soldiers, you were

the one that took her home.

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.

Debbie Zane -

FRANK

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

FRANK

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

FRANK

Yeah. Hawaii.

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.

Debbie Zane - 5

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 otherare 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...

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)

Debbie Zane -

JOE SHAYE

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

SUPER: HOLLYWOOD, CAL FOR- JULY, 1964

AMDURSÏ¿½

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?

Debbie Zane - 5

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?

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?

Debbie Zane -

JOE SHAYE

Go fuck yourselves.

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.

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?

Debbie Zane - 5

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.

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.

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 menstare 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.

Debbie Zane -

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.

Debbie Zane - 5

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.

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

HOLLYWOOD BOULEVARD.

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.

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

Debbie Zane -

9 0 CONTINUED : 90

JOE SHAYE

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

JOE SHAYE

Not really. I made a mistake.

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�

JOE SHAYE

what position is that?

JOE SHAYE

Hey, Sean, you want to hear a joke?

Debbie Zane - 5

59-

JOE SHAYE

Knock knock.

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.

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.

INTERCUT WITH SC. 93

Debbie Zane -

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?

Debbie Zane - 5

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?

Debbie Zane -

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.

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.

Frank stands across from a NEW ACCOUNTS MANAGER at a LAS

VEGAS BANK.

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?

CLOSE ON

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

Debbie Zane - 5

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.

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

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.

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.

Debbie Zane -!

JOE SHAYE

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

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

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.

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.

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.

Debbie Zane -

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.

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 Amdurskyand 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-

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.

Debbie Zane - 5

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.

Debbie Zane -'

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.

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.

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.

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.

(MORE)

Debbie Zane - 5

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

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.

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.

Debbie Zane -

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!

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.

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.

nohhic 7mno - s

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.

Debbie Zane - f

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?

Debbie Zane - 5

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

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.

Debbie Zane -

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?

Twenty people are partying in the living room.

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.

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 topractice medicine in the state of Georgia for up to one year. And now let me be the first to say, welcome to Marietta General.

Frank is standing in front of thethirty 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.

Debbie Zane - 5-

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.

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

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

DR. KILDARE on TV.

Debbie Zane -

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.

Debbie Zane - 5

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?

Frank nervously paces i d,� he elevator, taking deep breaths as he tries to calm d

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?

Debbie Zane -

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

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

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.

Brenda is running through the halls holding the letter.

Debbie Zane - 5

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!

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.

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.

Debbie Zane -'

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.

FRANK

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

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

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.

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!

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.

Debbie Zane -

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.

Debbie Zane - 5

FRANK

I'm not teasing.

BRENDA

You would go home with me to New Orleans?

FRANK

We can leave right now, never come back.

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.

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.

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.

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

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 andbows 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.

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

Debbie Zane - 5

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?

Debbie Zane -

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?

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

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.

Debbie Zane - 5

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?

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 -

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

the defendant is lying!

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?

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

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.

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

BRENDA

Why do you have to go?

Debbie Zane -'.

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.

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

ROOM.

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

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.

FRANK

About twenty thousand checks a year.

FRANK

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

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

tlahhia Tana . 5

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.

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.

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.

DIRECTOR MARSH

Who?

Debbie Zane -

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.

Debbie Zane - 5

DIRECTOR MARSH

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

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

Dad, I am a lawyer.

Debbie Zane -'.

FRANK

Has Mom seen you dressed like that?

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

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 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.

r,, hhin 7rnn _ r+

95_

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--

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.

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

INTERCUT WITH

Debbie Zane -

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-

Debbie Zane - 5

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.

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.

at Frank for a BEAT before he continues through the chaos.

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 -

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.

Debbie Zane - 5

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.

Debbie Zane -

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 parentshouse 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.

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.

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 frontof 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.

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.

Debbie Zane - 5

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.

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.

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)

Debbie Zane -

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.

Frank walks into the HALL OF

FRANK

Excuse me. Where do you p the death records?

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.

Frank walks up to a window at MIAMI CITY HALLand smiles at the WOMAN behind the counter.

FRANK

Hello. I'd like to get a copy of my birth certificate, please.

Debbie Zane - 5

FRANK

The name is Frank Taylor. I was born December 3, 1938, in Tampa.

Frank walks up to the window at the passport office.

FRANK (CONT'D)

I'd like to get a passport, please.

FRANK

Never.

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.

Frank wears his pilots uniform and carries a black briefcase as he walks past a group of students who are protesting the war.

Three hundred students, ALL FEMALE, sit on the bleachers of a gymnasium staring up at MR. HENDRICKS, the DIRECTOR OF

STUDENT PLACEMENT.

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.

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.

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?

Debbie Zane - 5

JUDY

When I hear the word abroad, I think of crossing the ocean and traveling to distant lands.

FRANK

Thank you.

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.

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.

Miami Police Officers are spread out in front of the airport, looking bored as they drink coffee and pace back and forth.

Debbie Zane -

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.

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.

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

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!

Debbie Zane - 5

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!

Joe Shaye is running through the airport, sprinting past Frank and the college girls as he makes his way outside.

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.

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.

Debbie Zane -

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.

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?

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

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.

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.

Debbie Zane -

Frank stares at the picture, then hands the picture back to Monique.

FRANK

Everyone says that.

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.

The family is eating dir 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.

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

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.

CLOSE ON A PROFESSIONAL PRINTING PRESS, 90 FEET LONG, TEN

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.

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)

Debbie Zane -

PAPPA (CONT'D)

never when it's cold, then we roll the cylinder brakes until they catch...

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.

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.

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.

Joe, Wilkes, Amdursky and Fox are facing Director Marsh, a stack of checks on the desk in front of him.

Debbie Zane - 5

JOE SHAYE

Singapore. Australia. South America:' Egypt. He's also hit almost every major bank in Europe.

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.

JOE SHAYE

He's making real checks, Sir. These are so perfect, Pan Am cashed them all.

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!

JOE SHAYE

Paris.

Debbie Zane -

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!

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.

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.

Oliver is on the phone, nervously sitting behind Joe's desk.

Debbie Zane - 5

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.

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.

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

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.

CLOSE ON

DETECTIVE JULIEN -- standing in the middle of Paris, looking down an endless row of massive banks.

Debbie Zane - 5

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.

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.

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.

A packed courtroom. Frank's hands and legs are shackled. He stands before a JUDGE who is reading his sentence.

Debbie Zane -

204 CONTINUED:

FRENCH JUDGE

(IN FRENCH)

Frank William Abagnale Jr., I sentence you to two years in Papigone prison.

A cell door closes.

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

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.

Joe Shaye checks his watch as a FLIGHT ATTENDANT walks past him and smiles.

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.

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.

All of the passengers remain seated as Joe, Amdursky and Fox stand in the aisle.

Debbie Zane -

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.

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...

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.

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)

Debbie Zane - 5

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.

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 -

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 stronglythat you be kept in an isolation cell for the entirety of that sentence.

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.

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?

Debbie Zane - 5

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.

DEBBIE ZANE

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. Lookat 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.

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.

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.

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.

Debbie Zane - 5

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.

JOE SHAYE

Frank, this is FBI Director Marsh. He wanted to meet you.

FRANK

At four in the morning? 1 1

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.

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.

Debbie Zane -

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.

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.

Debbie Zane - 5

FRANK

Call me Frank.

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 ofthe hall.

FRANK

Morning, Joe. Frank turns and stares at a door marked FRAUD. He casually walks inside.

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

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.

Debbie Zane -

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.

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.

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.

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.

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.

Debbie Zane -

JOE SHAYE

That's a nice uniform, Frank. Here, let me get your check. Joe grabs the check from Frank, puts some moneyon 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.

Debbie Zane -

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.

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.

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)

Debbie Zane -

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...

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.

Debbie Zane -:

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.

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.

Debbie Zane - 5

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 TOTHIS 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 -