Cold War Confidential
FADE IN:
INT./EXT. CHELSEA NEW YORK GALLERY - DUSK
Price cards from the Eastern European exhibit, 'The Art of Perestroika' are turned, twirled and exhumed.
Revealing a pandora's box of decreasing size RUSSIAN DOLLS, a GALLERY ATTENDANT pushes a 'CLOSED' dealer's card.
As she whispers "sold", V.F. TINNER, a handsome young man, opens the gallery doors to summer's windy possibilities.
CUT TO:
INT. DOWNTOWN NEW YORK TRANSIT - DUSK
The bus is empty: Latino secretaries, punkish students, fat businessmen.
Missing the upper rail, TINNER, watches his gallery brochure sail: THE ART OF PERESTROIKA.
Someone accidentally pushes Tinner's face to the window.
A couple of girls put out hand-made jewellery: delicately painted compacts, lipstick cases, wind-blown earrings and insignia rings.
TINNER (V.O.)
High school art ambition.
Manhattan rent.
On the street the bus misses stopping at various Village spots, a
bar - "Downtown Beirut", "Fat Ray's Costume".
A group of striking workers hesitates, cat-calling a sexy woman.
An old Chinese man makes peace over a kite.
TINNER (V.O) (CONT'D)
I was recruited to the CIA
mid-nineties. Immigrant stock
to Soviet Counter
Intelligence.
A homeless man trips to a curb.
Tinner blinks at his lack of reflection, looks to his package of Russian dolls.
He wears brown plaid - unassuming wire-rim glasses.
His body is lean.
On the gallery program Tinner underlines, "Happenings - Abstract Expression - American Counterculture."
A black cat causes a fender bender.
TINNER (V.O.) (CONT'D)
In 1991 Soviet Union
collapsed.
Tinner forces his way through the bus.
TINNER
Could I get a transfer?
The Haitian driver wipes his brow.
CUT TO:
EXT. BUS NEW YORK'S EAST VILLAGE - DUSK
Slumming middle-class kids, artists, the homeless, a mass of tired people coming from work.
Tinner pushes himself from the bus.
His beeper falls to the gutter.
Beside a small glass bottle of what looks like multi-colored sequins, the digital display blinks, 'CHECK MESSAGE.'
DISSOLVE TO:
EXT. NEW YORK CIA INTERROGATION ROOM - DUSK
A homeless man loses something in a garbage.
The stars and stripes of the U.S. flag die in low wind.
Perched on a security wall, a bluebird tumbles to a ledge.
A subtitle dissolves under the bird: NY CIA.
CUT TO:
INT. NEW YORK CIA INTERROGATION ROOM - DUSK
The camera moves down legs - a young beautiful woman.
The woman picks up a fallen placard, 'SVETLANA FEDENKO.'
She's sophisticated with a tattoo that reveals her as untypical CIA.
The ceiling fan starts spinning.
A silver handgun on the table stops rocking.
Words are etched in Cyrillic.
A bullet and a shoulder holster are next to the gun.
A subtitle under the Cyrillic: 'Gun.'
The man facing Svetlana, SPECIAL AGENT STAMLEY, is well-muscled, tough, with a stonecutter's face.
Except for unrhythmic tapping of his foot, he is docile.
Rows of files are thrown about.
A photo is plastered against the wall next to a map of Haiti.
Svetlana is unhooked from a lie detector.
Her hand drops an unlit cigarette.
Svetlana speaks with a discernable Slavic accent.
SVETLANA
So?
Stamley flips a tape recorder back and forth.
It takes a couple tries.
He blinks at the Luger's lightly rolling bullet.
SVETLANA
Problem?
STAMLEY
Curious?
SVETLANA
Nature. . .
Svetlana tries to remain still.
Her lips reveal a coy smile.
SVETLANA
The department. . .
STAMLEY
(cutting in)
This isn't a test.
Svetlana presses her lip.
Stamley's voice is geared to intimidate.
It's questionable whether its working.
STAMLEY
You're on the bed. . . .
SVETLANA
Which street?
A timid interruption.
STAMLEY
Excuse me?
SVETLANA
Which street?
STAMLEY
Does it matter?
SVETLANA
You don't specify?
STAMLEY
St. Marks -- The deal.
SVETLANA
Drugs?
STAMLEY
The dope.
SVETLANA
Gotcha.
STAMLEY
Sure?
Stamley's patience wears.
SVETLANA
Where you're coming from. . .
STAMLEY
You note the deal.
Stamley fails to note the position of Svetlana's hand.
Svetlana's pinky makes not quite the lightest movement.
On the next finger she misses a ring.
SVETLANA
Is this hypothetical, Stamley?
Stamley picks up the pace.
STAMLEY
The deal.
Svetlana's upper lip does not quiver.
SVETLANA
I don't understand.
The lie detector needle twitches.
STAMLEY
Show me the money, Svetlana?
Svetlana's pinky moves.
Stamley goes for the gun.
Svetlana is faster.
SVETLANA
Here.
She fires directly into the lie detector.
Stamley refuses to dive through the chair in front of him.
Svetlana climbs through the window.
Halfway through, she turns.
She blasts the hell out of Stamley.
Faint but steady, Stamley's eyes' blink.
Moving diligently from garbage to ground, Svetlana puts a run in her stocking.
Stamley takes note.
DISSOLVE TO:
INT. EAST VILLAGE TENEMENT - NIGHT
Tinner blinks, wipes his eye.
He places his tweed over his shoulder accidentally dropping it.
He sits at the stairs along his mazelike hallway and opens his package while a fat African American earth mother passes with groceries.
At the end of the corridor a couple boys play cops and robbers.
Tinner lingers at an open door holding his package.
A voluptuous, petticoated Latino woman squeezes water from a rag.
A poster behind her comes unglued.
Poster: 'VIVA CUBA, VIVA CASTRO'.
CUT TO:
EXT./INT. TINNER'S APARTMENT - NIGHT
Tinner has trouble unlocking his door.
He walks in, flips a fan, the refrigerator swings.
In the distance, the answering machine misses beeps.
TINNER (V.O.)
This was that summer. Not even
a rat. My old partner, used
to say, 'Flushing 'em to the
street.' But I'm from the
Midwest - arid plain, wheat
fields, Midwest farmers'
daughter.
Tinner goes to his CD.
He puts on Willie Nelson.
Willie croons, 'You Were Always on My Mind.'
Next to the player is a library of Soviet avant garde art books and a few named works: MARX AND ENGELS READER, BERKELEY IN THE SIXTIES, ACTIVISM IN AMERICA.'
Above these, a Haitian voodoo veve flag of 'ERZULIE FRIEDA', goddess of unrequited love.
Tinner strips halfway to his undershirt and sets up his Russian dolls in front of him.
He pours himself three drinks - two different glasses, three scoops of gliding ice cubes - overfill second glass.
From the library, Tinner dries a HIGH SCHOOL YEAR BOOK that's gotten iced and then opens it.
HIGH SCHOOL YEAR BOOK
Tinner is pictured younger and in various Midwest high school activities (art, drama, track) near a striking young girl, GAIL ANN.
In the Drama Club picture Gail Ann is dressed as a peasant girl.
Tinner is a proletarian suitor from Fiddler on the Roof.
Tinner falters before another entry.
The caption reads,
"GONE IN BODY, IN SPIRIT NOT FORGOTTEN. GAIL ANN VLADA. Cancer took our friend, January 15, 1989".
Next to her picture is A.E.Houseman's poem, 'TO AN ATHLETE DYING YOUNG'.
Tinner Reads (V.O):
The Time you won your town the race,
we chaired you through the market place;
man and boy stood cheering by,
and home we brought you shoulder-high.
And round that early-laurelled head,
will flock to gaze the strengthless dead,
and find unwithered on its curls,
the garland briefer than a girl's.
Embedded beside the picture is a couple polaroids - a younger
Tinner next to Gail Ann in her hospital bed.
PHOTO 1: she looks ravaged. The effects of chemo-therapy affecting a loss of hair and weight.
PHOTO 2: she wears a kerchief to cover hair loss.
BACK TO SCENE
Tinner closes the book.
He has trouble lighting a cigarette, stares blankly at the message
machine.
The phone rings.
Tinner hesitates in picking up.
TINNER
Yeah?
OPERATOR (V.O.)
There's a Lieutenant Harriman
on the line?
TINNER
No.
A pause followed by a husky male voice.
HARRIMAN (V.O.)
Goddamn redneck. Tinner?
TINNER
You gotta call collect,
Harriman?
HARRIMAN (V.0.)
We gotta job.
TINNER
Don't want it.
HARRIMAN (V.O.)
You listen to messages?
Pause.
HARRIMAN (V.O.)
Stamley got shot.
TINNER
Dead?
HARRIMAN
He might not last.
TINNER
Gimme an hour.
Tinner pauses holding the receiver and pressing 'erase' on the
message machine to erase the previous eight messages.
CUT TO:
EXT./INT. NY - CIA HALL OF JUSTICE - NIGHT
A modest greystone building.
A business-like Tinner strides down a long corridor dropping and spilling the contents of his brief-case.
SPECIAL OPERATIONS CHIEF HAROLD HARRIMAN grumbles at the hallway's
end.
TINNER
What happened?
They continue together down the hallway.
HARRIMAN
Stamley's partner.
TINNER
The KGB woman?
The officer-manned security door in front of Tinner is slow to
open.
HARRIMAN
Former.
The men delay then walk through.
TINNER (V.O.)
When the Anti-Soviet unit was
dissolved, I took the buyout.
My old partner, Stamley, and
Harriman, took lateral
transfers. Lateral.
CUT TO:
INT. CIA SECURITY HALLWAY - NIGHT
The men walk along the building's inner sanctum.
HARRIMAN
Department paid money for
these KGB's.
TINNER
Enough?
HARRIMAN
We had 'em check-marked.
TINNER
Ink?
HARRIMAN
Jeezus, Stamley was trained.
TINNER (V.O.)
Or did I trust him with my
life more years than I should
have?
CUT TO:
INT. INSPECTOR HARRIMAN'S OFFICE - NIGHT
Harriman is in his sixties with traces of a Chino-Haitian or Siberian/Germanic exotic ancestry. The scar in his neck and lazy eye say danger - suited freak. The Ph.D. from NYU and stacks of books and files on the wall behind him say something else.
On the wall are shelves of thick black binders.
They unindexically read,
"SOVIET UNION MARCH '79 - JANUARY '80 - CLOSED".
The files stop at JULY, 1992.
Among the folders are a few Haitian voodoo artifacts along with the open book 'The Divine Horseman' by Maya Deren.
Harriman hands Tinner a set of folders.
He has trouble lighting a cigarette.
Shot just left of Harriman's bulging crotch.
TINNER (V.O.)
Harriman's got prostate.
Before I quit, he handed me a
cigarette - "Light up son.
Tinner puts Harriman's pack of cigarettes back on the table.
TINNER
Russians?
Four video monitors are on Harriman's desk.
Harriman delays in placing three videotapes into monitors.
Five tapes behind him are marked and key-latched - CONFIDENTIAL.
Tinner looks away from the videotapes.
Harriman fiddles with tracking.
HARRIMAN
Four Russians, three women -
one keeper.
Harriman falters in handing Tinner a folder with a picture of a
young handsome Slav, VLADIMIR SHEVCHENKO.
VIDEO MONITORS
Each video lights a Slavic woman, of various ages and styles.
MARINA - fifties, sophisticated, conservative.
KATYA - twenties, club babe, Village.
SVETLANA - thirties, savvy midtown.
In the videos the women are variously robed.
They work on well-heeled men.
HARRIMAN
When the Union collapsed,
these KGB sold out - Hong
Kong, France, South America.
Interested only in what
brought 'em.
TINNER
Which was?
HARRIMAN
Money.
TINNER
The American Way.
Tinner tips the stack of videos.
TINNER
Senator?
An older, middle-aged man in boxers straddles Svetlana.
HARRIMAN
We hired these women. They're
trained. Our files,
apparently.
TINNER
They were looking. . .
HARRIMAN
We don't know. The whole
Stamley interview was supposed
to be. . .
A hearty pause.
HARRIMAN (CONT'D)
Standard. Former Soviet
Union's collapsed. Officially,
there are no Commies. . .Cuba,
Red China.
TINNER
Other people?
HARRIMAN
We're trying to keep this
quiet. Have any idea how many
former Commies reside in New
York?
Harriman goes away from the monitor.
He pulls another stack of videos from their cases.
HARRIMAN
You got an appointment at the
Russian embassy tomorrow.Study
these.
Harriman piles a folder.
TINNER
Did the embassy give the
reference for the woman who
shot Stamley?
HARRIMAN
I hired her.
Tinner looks unquestionably at his old boss.
From the massive library of closed black reports behind him a picture falls. Harriman reaches away from it.
HARRIMAN (CONT'D)
Ring 'em in quietly - live.
Tinner moves his finger away from a single folder.
TINNER
Which one gave it to Stamley?
Harriman puts the folder back to a stack and opens it.
On a profile sheet of Svetlana Fedenko, Tinner's eyes have trouble blurring an address, 'Brighton Beach Hotel, Brooklyn'.
TINNER
Money.
Harriman nods.
TINNER
Me and Stamley didn' get
along. . .
Harriman makes no motion.
Tinner begins to mess materials.
HARRIMAN
That height thing?
Tinner puts back one of the folders and videos.
TINNER
(leaving)
Out of control.
Harriman looks down from his work to the back fire-escape.
CUT TO:
INT. CIA HALL OF JUSTICE HALLWAY - NIGHT
Tinner pauses up the hallway glancing at markers of American justice:
A portrait of the Pilgrims' Plymouth landing divides the hall.
TINNER (V.O.)
America - opportunity - even
former Commies. What if the
press got wind "Supposed
Guardians High-Priced Commie
Thugs?
A blind woman statuette holds scales which perceptibly move.
CUT TO:
EXT./INT. VOLYA HOTEL LOUNGE - NIGHT
A Marlene Dietrich Blue Angel type torch singer, MARINA, gyrates spread eagle, stressing a ribbed chair.
She ends a Russian version of 'Always on My Mind.'
Subtitles read:
MARINA SUBTITLES
Maybe I never told you,
Maybe I never took the time.
You were always on my mind,
You were always on my mind.
Unshaven Russian men pinch svelte Russian women.
Drunks falter in their indulgence.
An ample American waitress spills a vodka order.
CUT TO:
EXT. VOLYA HOTEL ENTRANCE - NIGHT
An electrical storm brews.
Russians hug each other in doorways to avoid the building downpour.
Tinner rides past a series of Brooklyn signs and landmarks.
The signs are being changed to Russian.
He stops at the entrance to the old Brooklyn 'CONEY ISLAND' hotel.
The Russian Cyrillic-lettered sign now reads, VOLYA.
TINNER (V.O.)
Russian immigrants to Brooklyn
liberated the name - Little
St. Brighton.
A clean laundry sheet flies onto a broken laundry line.
CUT TO:
INT. VOLYA HOTEL LOUNGE - NIGHT
Tinner slips near the previous Vodka spill.
Because his attention gravitates to blossoming Russian romance, he misses various Communist era markers:
Hammer and sickle ashtrays.
Soviet heroic era statuette chachke.
Tacky icons - Brezhnev and Stalin.
Soviet general uniforms displayed as artifacts.
Nadia Komanich and Sputnik photos.
An announcer in a tacky pink tuxedo shirt, IVAN SHTEFF, argues with a Ukrainian Cossack dancing duo.
The drop-dead gorgeous older blonde singer, Marina, lets an accordion drop.
She finishes a 'Hopak'.
Tinner misses hailing the newly shaven bartender, LEVKO.
Two Cossack dancers miss clashing sabres.
TINNER
Vodka.
One of the Cossacks' sabres flies just short of the crowd.
The bartender argues with a young woman who drops a vacuum cleaner.
Tinner picks up his picture of Svetlana.
TINNER
Familiar?
The woman tears a corner of the photo.
Tinner flashes his ID and speaks words which are inaudible due to the act's accompanying accordion.
She nervously grabs a pen from Tinner.
#4D is now written on the back of the piece.
CUT TO:
INT. VOLYA HOTEL CORRIDOR - NIGHT
The hallway has graffiti scrawled in Russian.
Tinner has trouble finding door #4D.
He pauses, listens, hesitates in knocking.
No answer.
The only sound is the cocktail lounge's distant accordion.
Tinner takes out his American Express.
Breaking the card in process, he expedites entry.
One hand near his gun, he opens the door.
CUT TO:
INT. SVETLANA'S ROOM - NIGHT
As a hunter gauging signs, Tinner steps in.
He looks past the shower.
Wet soap in a puddle.
A pillow stands on the floor.
Tinner looks in front of it.
He pulls it back into its case.
SLOW MOTION: Feathers fly.
From a faucet, water squeezes out drops.
A window frame is half broken.
Tinner runs five fingers over a TV, switches it down.
The Yankees strike out.
CUT TO:
EXT. FIRE ESCAPE - NIGHT
Oblivious to the cloudburst, the previous Blue Angel woman, Marina, shivers outside the room's window fire-escape.
She is being soaked.
CUT BACK TO:
INT. SVETLANA'S ROOM - NIGHT
The bed.
There's a broken lipstick - a strange insignia underneath it.
Tinner collapses it.
A bulb hangs from the ceiling.
Tinner undoes the bulb, climbs on the bed.
He counts water droplets from the room's window.
The window gives off strange reflections on the hardwood floor.
Tinner opens and closes the window and finds a fire escape.
HEIGHT PHOBIA.
He jumps onto the bed, takes the smallest Russian doll figurine out of his coat pocket but then again notices squiggly shadows.
He forcibly removes the double-pane window.
It contains a series of MICROFICHE.
Tinner removes them.
A curious collection.
CUT BACK TO:
EXT. STREET BELOW - NIGHT
Svetlana pulls herself against a corner of brick wall in shadow.
She stares up at Tinner.
Svetlana puts away her luger.
Another woman weighs down her hand onto the gun's barrel.
A GUNSHOT.
DISSOLVE TO:
EXT. RUSSIAN EMBASSY - MORNING
The ostentatious New York Russian Embassy building is a remnant of the Soviet Union's former glory.
Shaved and better-dressed, Tinner drops a suitcase which he carries with him.
As he limps up stairs, he shakes his head at the building's Cold War architecture.
CUT TO:
INT. RUSSIAN EMBASSY - MORNING
The interior is lavish - red carpet, baroque chandelier, ornate mirror, the hint of a not-quite-forgotten Communist past.
Tinner enters.
A nasty SECURITY GUARD balances precariously on top of a desk.
TINNER
I have an appointment with the
consulate - V.F. Tinner.
SECURITY GUARD
(Slavic Accent)
List.
TINNER
Check.
SECURITY GUARD
Seat.
Tinner turns.
He tries ignoring a large Soviet heroic era bust - Stalin.
The bust highlights a wooden alcove.
TINNER (V.O.)
More things change, Stamley
used to say, more they. . .
Tinner fondles the wooden alcove.
NADIYA (s.o.)
You like our. . .?
Tinner turns.
TINNER
Alcove?
INSTANT ATTRACTION.
NADIYA NATASHA, a striking young Slavic secretary.
She wears black, high heels and secretarial glasses.
The glasses fail to conceal a burgeoning sexuality.
NADIYA
Historic artifact.
TINNER
Soviet Heroic artifact.
NADIYA
Are you a historian, Mr.
Tinner?
Nadiya puts out her hand.
Does she expect him to kiss it or shake?
CUT TO:
INT. SOVIET EMBASSY HALLWAY - MORNING
The pair continue down the hallway through a set of security doors.
TINNER
That bust?
NADIYA
We're putting together an
exhibit.
TINNER
The Soviet period.
NADIYA
Very good, Mr. Tinner, I'm
Nadiya Natasha, Consulate
Kropotkin's secretary.
Nadiya buzzes a higher level security door.
They walk past an empty plush oak room with large open windows.
TINNER
In a manner.
They pause at a map, globe and glass-cabineted Soviet flag, all
suggestive of the Soviet Union's former glory.
NADIYA
Then you understand misfortune
befallen my country?
TINNER
As any westerner.
Nadiya has trouble opening a final door.
CUT TO:
INT. SOVIET CONSULAR GENERAL OFFICE - MORNING
An old suited man, CONSULATE GENERAL EFRAIM KROPOTKIN, stands from behind a plush oak desk.
He looks like he could have been a major general.
A couple similar Haitian voodoo artifacts to ones in Harriman's office unobtrusively adorn the room.
Kropotkin fixes the lock on a window - Central Park.
NADIYA
Mr. Tinner, Dr. Efraim
Kropotkin.
DR. KROPOTKIN
Used to be the best view of
Manhattan, Mr. Tinner.
Tinner refuses to approach the window.
Kropotkin withdraws his hand.
KROPOTKIN (CONT'D)
Mr. Tinner?
Kropotkin is a dignitary with the aristocratic flavor of a bygone
era.
TINNER
I'll get to the point, Major
Kropotkin.
Kropotkin frowns.
He is recognized in his former military capacity.
Nadiya goes to a samovar.
The tinkle of fine bone china.
TINNER
Elite KGB women units. . .
KROPOTKIN
Existed?
Tinner notes delicate china.
TINNER
(winks at Nadiya)
Some historians believe so.
KROPOTKIN
Indulge me, Mr. Tinner.
Nadiya cuts a thin lemon rind.
TINNER
We seem to have hired a few
strays.
As Tinner ponders his smallest doll figurine, Nadiya pours tea
into cups.
TINNER (CONT'D)
Your secretary?
Nadiya turns with the set.
NADIYA
Sugar?
TINNER
(to Nadiya)
American?
Nadiya takes two lumps from a teacup.
KROPOTKIN
Would she work here, Mr.
Tinner?
Nadiya does not hesitate in pouring.
TINNER
Little accent.
NADIYA
Brooklyn.
Tinner looks to Nadiya's shoes, nylons and slip and then taps his
little doll.
TINNER
Italian, French, Victoria's
Secret?
NADIYA
Your underlying point.
TINNER
Russian, English, probably
French?
KROPOTKIN
Are you wondering whether my
secretary is a linguist,
Mr.Tinner?
Tinner looks away from the ring on Nadiya's wedding finger.
TINNER
You go home to your husband .
. .
KROPOTKIN
(annoyed)
She's not married.
NADIYA
(blushing)
Then you are asking for a
date, Mr. Tinner?
Tinner takes his ring finger away from the teacup's lip to his
doll.
Nadiya picks up his drift..
NADIYA
Unwanted suitors.
TINNER
Here?. . .
NADIYA
The Soviet...
She catches herself.
TINNER
Former.
NADIYA
Former. . . I meant Russia.
Is Nadiya flustered?
Tinner turns to Kropotkin.
He begins to pack folders.
TINNER
Last question, Nadiya. You
know these women on a first
name basis?
NADIYA
I need to step out.
Nadiya leaves.
TINNER
Former KGB?
KROPOTKIN
I'm impressed, Mr. Tinner.
TINNER
Major.
Tinner closes the folder of former KGB's.
He takes them from the table.
KROPOTKIN
(intrigued)
Samovar?
TINNER
Earlier.
KROPOTKIN
But she's good?
TINNER
Professional!
Kropotkin orders the photos of the six KGB agents that Tinner has
shuffled.
He arranges them in some strange game of solitaire around the
doll.
KROPOTKIN
You blame us?
TINNER
For thinking my government
could change ideology through
dollars?
CUT TO:
INT. DOWNTOWN SOHO GALLERY - MORNING
VLADIMIR SHEVCHENKO stops among a happening demonstration of
abstract black splatter paintings.
He is a menacing, carved-out young Slav, sculpted - Soviet Heroic
era statue.
There is something not quite evolved in his physiognomy.
Next to the splatter paintings are two Jackson Pollock style action paintings being accomplished in red, white and blue, 'America the Beautiful' and 'The American Dream' - splattered stars and stripes.
Vladimir does not appear interested.
He retapes an article back into the newspaper.
The artist working in the gallery takes care to make a path around him.
A Downtown Haitian cat-like vixen is attracted.
SVETLANA enters.
The following dialogue takes place in Russian.
Subtitles are superimposed.
VLADIMIR (S.T.)
Ve Deestale Mekrofeesh?
You get the microfiche?
SVETLANA (S.T.)
Khtoys deestav tam pered mene.
Someone got there before me.
VLADIMIR (S.T.).
Vash droog?
Your partner?
SVETLANA (S.T.)
Mertvey.
Dead.
VLADIMIR (S.T.)
Ne doomayoo.
Not quite.
Vladimir hands Svetlana The New York Times article.
The Byline and part of the article which Vladimir previously
browsed reads,
"OFFICER SURVIVES MAFIA-STYLE HIT"
"Special investigations Officer, W.P. Stamley, was taken to Beth Israel Hospital today after taking several bullets to the chest. He is in critical but stable condition".
CUT TO:
INT. SOVIET CONSULAR GENERAL OFFICE - MORNING
Tinner and Kropotkin conclude their discussion.
Kropotkin stops playing with files.
KROPOTKIN
Former KGB women.
TINNER
Best way to an American man.
KROPOTKIN
Since the Union's fall, we've
had no contact with these
people.
Kropotkin lingers in handing the photos back.
Tinner finishes gathering his things.
He sits back down and puts away his doll.
TINNER
Major Kropotkin.
Kropotkin moves towards the desk.
DISSOLVE TO:
INT. SOVIET EMBASSY HALLWAY - MORNING
Nadiya hesitates to escort Tinner out.
NADIYA
Commerce, our mutual goal now,
Mr. Tinner? Transition to a
market economy.
She stops typing at a desk.
TINNER
Ms. Natasha?
They walk separately down the hallway.
CUT TO:
INT. SOVIET EMBASSY ENTRANCE - MORNING
Nadiya and Tinner pause before the embassy doorway.
NADIYA
Union collapsed, loyalties
switched. Rest your mind, I
didn't recognize the others.
TINNER
Simple switch, Ms. Natasha?
Nadiya has trouble flipping a security switch to open the doorway.
NATASHA
Good day, Mr. Tinner.
CUT TO:
EXT. SOVIET EMBASSY ENTRANCE - MORNING
Tinner descends stairs.
Nadiya calls out after him.
NATASHA
I, too, a remnant, Mr. Tinner?
Noting remnants of Cold War architecture, Tinner trips.
TINNER
Well maintained, Nadiya.
DISSOLVE TO:
EXT./INT. EAST VILLAGE BAR "DOWNTOWN BEIRUT" - DUSK
FAT RAY and his black transvestite designer partner, COLOR BOX, finish off the day with happy hour.
Fat Ray unbuttons a subtle Hawaiian shirt.
He has trouble lighting a Cuban cigar.
Color Box is well-dolled out in transvestite splendor.
The female bartender takes away another round.
FAT RAY
You know why I never score?
COLOR BOX
(checking himself with compact)
Tell me, sweetie?
FAT RAY
People say I'm fat.
COLOR BOX
Work it, Ray.
FAT RAY
Beautiful girls come by. In my
lap. I don' use opportunities.
KATYA walks in.
The youngest of the three KGB women.
Thigh highs, tube top, Red Army major's cap - sexy East Village chic.
COLOR BOX
Look what the cat dragged in,
Ray. One of our customers.
Fat Ray licks back greasy hair and lasciviously fingers his shirt.
CUT TO:
INT. HOSPITAL HALLWAY- NIGHT
From the back, a man limps down a sterile hospital hallway.
A cute mulatto woman in a nurse's uniform tries not to notice the man's leg.
It is Tinner and a CUTE NURSE.
Tinner checks the microfiches he had found in Svetlana's apartment.
They now reside in his breast coat pocket.
The cute young nurse frowns, points to a clock visiting hours sign and then looks away from Stamley's room.
DISSOLVE TO:
INT. STAMLEY'S ROOM - NIGHT
Hooked to all manner of machines, Stamley lies in a hospital bed staring glumly at a couple of the Russian dolls Tinner has set up in front of him.
He is the kind of tough, overweight, cynical New Yorker able to weather the storm - a forever complaining survivor.
Tinner has trouble with his lighter.
STAMLEY
Special Agent Svetlana.
Shoulda' known. Worse than
you. . .and you were pretty
crummy.
Tinner throws his polished oxfords off Stamley's bed.
TINNER
Never shot you in the chest,
Stamley.
He walks over to play with one of Stamley's life support machines.
TINNER (CONT'D)
Ever been to the Russian
embassy?
STAMLEY
Not on my A list. I thought
you were through.
TINNER
Cat came back. What did you
stumble onto?
STAMLEY
Do I know?
Stamley starts to cough.
TINNER
About microfiche?
STAMLEY
From the library?
TINNER
Yeah.
STAMLEY
(angry)
I'm dying? Aren't you supposed
to bring flowers, candy, 'get
well soon'? . .
Tinner gets up to go.
TINNER
Easy, partner. You'll survive.
Next time I might even get the
chance.
STAMLEY
Fat chance, Tinner.
DISSOLVE TO:
INT. NEW YORK PUBLIC LIBRARY - NIGHT
Tinner hesitates in the academic green soothing lights of the oak panelled New York Public.
It's his first time.
WIDEN VIEW
The late night NY library crowd (i.e. transient professors, sex starved schoolgirls, old writers).
TINNER (V.O.)
Stamley didn't know what he'd
stumbled on. Wasn't sure about
Harriman. This was my lead.
A sexy middle-aged LIBRARIAN WOMAN studies Tinner's incompetence.
He has trouble finding, sitting and then fiddling with a microfiche machine.
LIBRARIAN WOMAN
Permettez vous?
TINNER
Be my guest.
LIBRARIAN WOMAN
You have microfiche?
Tinner fumbles in his suitjacket and pulls out his doll.
He hesitates with his stack.
The librarian looks surprised.
LIBRARIAN WOMAN
Usually, it's one.
She has trouble placing one in the machine.
TINNER
I brought them from home.
The librarian doesn't believe him.
Tinner examines microfiche.
The librarian gets up.
Whatever it is, it's in Russian.
TINNER
How's your Russian?
The librarian smiles curiously at Tinner.
She's seen stranger things.
WIDEN VIEW AGAIN
Educated bums, schizoid homeless, degenerate students and Tinner reading about GEDE, God of Sex, Death and Transformation in a book called "THE SACRED ARTS OF HAITIAN VOODOO".
TINNER (V.O)
People don't generally write
Russian here. And Kropotkin
and the consulate? I got the
feeling he was out of date.
Unlikely KGB would spy on
their own embassy.
CUT TO:
INT./EXT. CIA HALL OF JUSTICE - NIGHT
Old Chief Harold Harriman tapes together a yellow 'Postit' message pad sticky in the exact same shape as Vladimir's previous "Stamley" article.
The paper reads,
"BETH ISRAEL VISITING HOURS 2.00-11.00 P.M.
STAMLEY RM. 13H4."
Harriman taps his watch which has curiously stopped
He opens a set of Russian immigration records: 1991-1995.
In front of him he unfolds a list which reads,
KATYA
MARINA
VLADIMIR
SVETLANA
Under this he has struck in a big '?' and left of this is a squiggled out - 'PROSTATE CANCER???!'.
On the other side of the paper is a pencil sketch of the voodoo
Loa Goddess, "Erzulie Frieda", the exact same one that hangs in
Tinner's room.
Harriman turns off his office lights, loosens his tie, puts away
his briefcase.
To the security guard's annoyance, he walks hurriedly out of the building not signing out.
CUT TO:
INT. HOSPITAL STAMLEY'S ROOM - NIGHT
Vladimir and Svetlana enter Stamley's room.
Svetlana contemplates her gun within a bunch of flowers.
Stamley opens his eyes first focusing on the dolls' Tinner had
previously brought then the pair - his worst nightmare realized.
STAMLEY
Shit.
Vladimir stops to look over the life support.
VLADIMIR
Hearty American policeman,
survives.
STAMLEY
What did I do to you,
Svetlana?
SVETLANA
Everything.
Vladimir replugs one of Stamley's life support tubes.
VLADIMIR
Where's the microfiche?
STAMLEY
I thought this was drug money?
Wasn't it a drug deal?
SVETLANA
I jeopardize life for dollars,
Stamley?
Vladimir releases one of the support tubes.
The mechanism is locked.
VLADIMIR
Who took microfiche?
Stamley begins to fade.
STAMLEY
Tinner.
VLADIMIR
Tinner?
STAMLEY
My former partner. They use
guys like him to dispose of
people like you.
VLADIMIR
Where do we find him?
They stop threatening the life support.
STAMLEY
He finds you.
Vladimir hooks a support tube and looks over one of the dolls.
STAMLEY (CONT'D)
I don't know.
Stamley struggles to remain live.
STAMLEY (CONT'D)
He paid a visit to your
embassy this afternoon -
Krototsky?
VLADIMIR
Kropotkin?
STAMLEY
The support?
SVETLANA
Did Tinner give Kropotkin the
microfiche?
STAMLEY
I don't know.
SVETLANA
Who else?
STAMLEY
The Chief, Harriman.
CUT TO:
INT. TINNER'S APARTMENT NIGHT
Tinner's refrigerator swings open.
He spills out his ritual drinks.
Tinner looks away from the message machine to his veve flag of 'Erzulie Frieda".
Blinking.
He bumps into his table, notices his high school yearbook move.
He releases the message button.
MESSAGE ONE
Mr. Tinner? We met at the
embassy - Nadiya Natasha. I
will be at Le Bar Bat on 12th
at 10:00.
Tinner looks away from his watch.
Ten to ten.
MESSAGE TWO
(Vladimir's Voice)
You have things that belong to
us, Mr. Tinner.
DISSOLVE TO:
INT. LE BAR BAT - NIGHT
Typical low light swank Manhattan bar.
Beautiful people fill the room.
Nadiya sits at the bar, dressed to kill.
A couple well-heeled black men template their approaches.
Tinner enters.
TINNER
You wanted to talk?
NADIYA
I wasn't completely honest.
The embassy.
TINNER
Not a place noted for
sincerity.
NADIYA
I told you before. I
don't know much but.
. .
TINNER
Yes?
NADIYA
Kropotkin doesn't.
The bartender passes.
TINNER
Drink?
She nods.
TINNER
Scotch.
NADIYA
White Zombie.
TINNER
Two.
NADIYA
After the Union's fall, the
KGB split.
TINNER
Yeah. (Pause) One group for
dissolution. A splinter
convinced the fall was
temporary.
NADIYA
You know?
TINNER
I spend my nights with Russian
librarians.
Nadiya looks desperately at Tinner.
TINNER
What do you know about
microfiche?
A quizzical look continues.
NADIYA
What do you mean?
TINNER
Lists? People who emigrated,
loyalty pledges, e-mail
addresses. . .
NADIYA
Such lists.
TINNER
What if I said you haven't
been in Brooklyn since
thirteen and your name's....
Nadiya sheds a tear.
NADIYA
I'd call you 'liar'.
Nadiya takes out a compact, fixes her mascara.
TINNER
Okay, I apologize.
Tinner wipes her tear.
NADIYA
My application for citizenship
I'm a believer in market
reform.....
Her compact has the same strange insignia as the ring.
Tinner turns to the bartender.
CUT TO:
EXT. NEW YORK GARBAGE-FILLED STREET - NIGHT
Tinner kicks garbage walking down a wind blown New York backlane.
An old black suit, top hat, sunglasses and cane carrying man
crosses his path. He is a representation of the Voodoo God, GEDE,
and unobtrusively carries a plastic Darth Vader Doll.
TINNER
(voice-over)
How much Kropotkin knew. I
wasn't exactly sure. Embassy
chiefs, KGB divisions? Do
Commie's wear Victoria's
Secret?
Nadiya is gone.
CUT TO:
EXT. DOWNTOWN BEIRUT BACKLANE - NIGHT
Fat Ray stands in the backlane's semidarkness.
Katya pulls him against a fire-escape.
She takes his Cuban cigar from his lips.
Techno blares.
Katya begins on Fat Ray's pants.
FAT RAY
Safe?
KATYA
Relax, strong American.
Fat Ray is calm.
Katya slaps him
She pushes up his arms.
Ray's hands clasp the fire-escape behind him.
Katya casts away the Cuban cigar igniting a garbage fire.
Ray turns.
Katya places a set of handcuffs on him.
His hands are cuffed against the rail.
FAT RAY
Kinky.
Katya stretches.
She pulls Fat Ray's wallet from his high riding trousers.
Fat Ray still doesn't realize he is being robbed.
Katya begins to leave.
FAT RAY
We were a go for a hot night?
KATYA
We are. I go. You have hot
night.
Katya exits taking out Fat Ray's I.D., Social Security, credit cards and money.
She dumps his wallet to the burning can.
Against Fat Ray's pathetic shadow, flames decrease.
CUT TO:
EXT. TINNER'S EAST VILLAGE STUDIO STREET POV - NIGHT
The starry-filled night.
At a table near his window, Tinner enters and drops a stack of documents next to his patiently waiting dolls.
A cat falls from his balcony.
Soaking her plants with water, The Latina woman in the apartment beside him almost breaks a flower stem.
The two youngsters seen earlier catch each other along apartment stoop ledge.
A homeless addict gets up from the street.
Tinner misses hitting his message machine:
MESSAGE ONE
Tinner, Harriman. They hit
Stamley again. Keeps muttering
'microfiche'.
DISSOLVE TO:
INT. TINNER'S STUDIO APARTMENT - NIGHT
Tinner jumps from the top of a table full of folders given to him by Harriman.
He has the folder of Special Agent 'Marina Khoklova' open.
She is a striking older Russian beauty.
The folder gives a wealth of detail regarding her education, skills and abilities.
Tinner puts away a broken magnifying glass.
He lays it on Marina's photo - MAGNIFICATION.
TINNER (V.O.)
Ever get that feeling you have
seen someone, witnessed being.
Then the unconscious-"Access
denied."
Tinner gets up from the desk.
He closes the fridge.
Places a broken jug of ice tea against his forehead.
He places the jug opposite the window and looks through distorted reflections.
There is a darkened cracked mirror across from him.
Next to that, a small unobtrusive picture of him and Gail Ann in happier days.
Tinner places his hands slowly through the open window.
On the street, two wigged West Village transvestites have trouble plastering signs to a wall.
One drops a ghetto blaster which blasts out a techno dub - Pet Shop Boys 'Always on My Mind.'
The sign reads,
"WIGSTOCK: LEAVE THE PARTY IN UNION SQUARE."
Tinner turns to the window.
His height phobia acts up.
He recovers with a realization.
TINNER
Wig.
CUT TO:
INT. COCKTAIL LOUNGE HOTEL VOLYA - DAY
Tinner cannot get the attention of Levko, the bartender from the Lounge he was in the previous evening.
Everything is darkened for day cleaning.
A few diehard daytime drinkers.
Paying Tinner little attention Levko throws away a table trashed
from the previous evening.
TINNER
Singing like Dietrich in the
Blue Angel. She was wearing a
wig.
Tinner tries to show Levko the picture from the CIA folder.
LEVKO
I don't care for cinema.
Levko speaks with a thick Slavic accent.
LEVKO (CONT'D)
You know how many people
without green card?
TINNER
You get a name, address.
LEVKO
Ivan Shteff.
TINNER
Who?
LEVKO
You see him. Last night.
Manager.
TINNER
The MC in the pink tux?
CUT TO:
INT. VOLYA HOTEL - MANAGER'S OFFICE
IVAN SHTEFF stretches unshaven and blowing out a vacuum hose. He is in the same pink tuxedo shirt from last night.
A young, scared, half-dressed Russian woman is on her knees at an outlet unplugging the vacuum cleaner's electric cord in and out.
TINNER
I'm not Immigration and
Naturalization.
IVAN SHTEFF
Who works legally?
Both Ivan Shteff and the young woman remain convinced of Tinner's
credibility.
They confer in Russian and eye Tinner unsuspiciously.
TINNER
(shouting above vacuum)
I saw her working the
stage.I'm a special
investigator.
IVAN SHTEFF
Lots of people work stage.
The vacuum's electric cord comes untangled.
Ivan Shteff stops arguing with the young woman in Russian.
TINNER
(more angry)
This was a blond.
IVAN SHTEFF
Blond-haired Slav?
Tinner spots the wig in a pile of clothing.
TINNER
Wearing a wig.
Ivan Shteff grabs the property back.
A tag is sucked into the vacuum hose.
It reads 'Fat Ray's Costume Rental - 496 Broome NY, NY.'
IVAN SHTEFF
Performers wear wigs.
TINNER
Thanks for your Slavic
hospitality.
CUT TO:
EXT./INT. FAT RAY'S COSTUME RENTAL AND WIGSHOP.
In his undershirt, Fat Ray snuffs out a Cuban cigar.
His face is now chapped and one of his arms bandaged.
His big black transvestite helper, Color Box sits looking for silver buttons for a gold-sequined nightdress beside two zombie dolls.
A couple of transvestites debate about clothes in the corner.
TINNER
One of my friends rented a
wig.
Fat Ray stresses himself applying burn ointment to his face and
arms.
FAT RAY
What do you want me to do?
TINNER
I want to make payment.
FAT RAY
Number?
TINNER
437 and it was blond.
Fat Ray rummages through the receipts.
COLOR BOX
The girl or the wig?
Beginning to loudly whistle like a stuck pork pig Ray finds the
receipt.
FAT RAY
Whoohooh. Your friend?
Fat Ray hides the receipt from Color Box which he has already
recognized.
TINNER
How much?
Ray backs away from Tinner.
From behind, Color Box tries to put the muscle on Tinner.
The pair begin to throw him out of the shop.
FAT RAY
Tell Firestarter Russki call
girl I want my I.D.
TINNER
Firestarter?
COLOR BOX
(singing)
That's right.
FAT RAY
Burning working stiffs at
Downtown Beirut.
TINNER
Downtown. . .
COLOR BOX
Call girl friend? Long black
hair, Russki accent.
FAT RAY
On second, pally. . .
Fat Ray pushes against one of Tinner's pockets..
FAT RAY
This is?
Tinner reverses the lock, throws Color Box, takes out his gun.
TINNER
A gun.
FAT RAY
Hey, wait a minute. You're not
one of her sick little
friends. You're a cop.
Tinner turns to leave.
TINNER
Got me, pally.
FAT RAY
Stick her in the clink, Sarge.
COLOR BOX
Throw away the firelatch,
Chief.
FAT RAY
Sick puppy.
COLOR BOX
Second that.
FAT RAY
In court.
TINNER
Thanks - girls.
Tinner walks out of the wig shop to the street.
CUT TO:
EXT. EAST VILLAGE STREET TELEPHONE.
Tinner walks up the street before spying the bar, 'Downtown Beirut'.
Across the street is a broken pay telephone.
He walks to the pay telephone, sets up his doll on top of it and dials.
TELEPHONE ALCOVE
NADIYA (V.O.)
Hello?
TINNER
When a woman plays hard to get
in Russia . . .?
NADIYA (V.O.)
Mr. Tinner?
TINNER
A Midwest girl . . .
NADIYA (V.O.)
Where are you?
Tinner tries not to notice a scantily-dressed young woman enter
the bar.
TINNER
Downtown Beirut mean anything?
NADIYA (V.O.)
No.
Tinner puts away his picture of Katya.
TINNER
How 'bout dinner?
NADIYA (V.O.)
Not an option.
TINNER
Let me give you some time.
NADIYA (V.O.)
Tinner?
Tinner lingers with the phone and begins towards Downtown Beirut.
CUT TO:
EXT./INT. RUSSIAN TEA ROOM - NIGHT
Accidentally dropping the evening's paper, Kropotkin stands from his seat at his regular table
Marina spots him crouching near a table.
She makes her move.
She is an older sophisticated European woman, who moves with a
Deneuvesque assurance.
MARINA
Let me help.
KROPOTKIN
Not at all, Mademoiselle.
Kropotkin appears unmoved by Marina's beauty.
MARINA
Russian?
Kropotkin looks from his paper.
KROPOTKIN
(flustered)
St. Petersburg. (Pause) Have
we met?
MARINA
Marina Vladimirovich.
KROPOTKIN
J. F. Kropotkin.
MARINA
The pleasure is mine.
KROPOTKIN
I recognize your face but . .
.?
Marina messes her hair.
MARINA
An older Russian woman.
KROPOTKIN
It's lucky.
MARINA
In the stars.
CUT TO:
EXT./INT. DOWNTOWN BEIRUT
The bar has more than a few biker patrons and a different bartender from the previous night.
Katya stops gyrating opposite the back jukebox and pooltable.
As Tinner enters, Katya lasciviously looks away from his crotch.
Her tee-shirt reads "Havana Pussy Kat, Join the Revolution".
She is dressed up in East Village chic - thigh highs, mini.
The FEMALE BARTENDER passes.
FEMALE BARTENDER
Refill?
In his dialogue, Tinner awkwardly impersonates a nervous Southern
businessman.
TINNER
Red dog. Double vodka and
ma'am, little boy's room?
The bartender refuses to point to a sign which reads 'BLEED YOUR
LIZARD'.
Katya misses slamming a couple of coins into the jukebox.
Tinner hesitates before going over to the men's room, closely passing the crouching Katya.
DISSOLVE
Tinner exits the men's room.
Katya now sits in Tinner's seat.
As Tinner returns, Katya gets up.
She replaces a pin-like ring through her lips and moves away from the slot.
The bartender lingers with Tinner's drink.
The jukebox plays Van Morrison's 'Crazy Love.'
Tinner puts down a pool cue next to Katya and sets up his doll on the table's edge.
TINNER
I know what you're thinking.
Katya runs her leg along his pool cue.
Tinner sinks his shot.
Seductively, Katya misaligns another and then examines his doll.
Tinner misses the shot.
She pulls off his jacket.
TINNER
English Tweed. Sweaty, prone
to mold, but as my father told
me, never out a place.
Tinner tries to hail the bartender to refill his chaser.
KATYA
Looking for someone?
Katya speaks with a thick Russian accent.
She checks out Tinner with her strange insignaied compact.
TINNER
Red dog in front. . . Second
round coming.
KATYA
Good time with me?
TINNER
Be an idea.
KATYA
You have money?
TINNER
A little money, ma'am?
Katya pushes on Tinner's tie - come hither.
Tinner polishes off the round and picks up his doll.
TINNER
(to bartender)
After my heart.
They exit the building and bump a backlane fire-escape.
Katya winks at Tinner.
A section of escape rail, burnt and soldered, creaks and rises a few feet upwards
Tilt to the stars.
CUT TO:
EXT. RUSSIAN TEA ROOM - NIGHT
Tilt down from the stars to the Russian Tea Room street exit.
Kropotkin misses hailing a taxi.
KROPOTKIN
Shakespeare said 'star
crossed'. . .
MARINA
Evening.
KROPOTKIN
Could I interest you?
MARINA
I was hoping.
DISSOLVE TO:
EXT. UPPER EAST SIDE APARTMENT BUILDING - NIGHT
Marina and Kropotkin exit a taxi and enter the building.
MARINA
You live well?
KROPOTKIN
When a man is lonely, how
well?
Kropotkin tries not to notice Marina's ring.
MARINA
I am widowed.
KROPOTKIN
I see.
CUT TO:
EXT/INT. KATYA'S EAST VILLAGE PENTHOUSE LOFT
The room is a young Russian club kid's fantasy den of sexual innuendo and subtle Communist era markers.
In a corner a bed and mirror collapse next to a candle-lit voodoo type shrine with all manner of Hans Belmer type-dolls, shiny bottles and objects.
A large window and balcony looks out on downtown Manhattan.
Katya has trouble figuring out how to unbuckle Tinner's pants.
TINNER
Ma'am, you are not one to
waste time.
CUT TO:
INT. KROPOTKIN'S UPPER EAST SIDE APARTMENT - NIGHT
The apartment is decorated with various art pieces from the Soviet
avantgarde (i.e. Malevich, Larionov, Chagall) intermixed with the
artists from Haitian modernism and
KROPOTKIN
Your jacket.
MARINA
A gracious Russian gentleman.
Kropotkin takes off a broken LP of the Veryovka Choir from an old
high-fi.
KROPOTKIN
I have my albums, an exhibit,
the embassy.
Marina examines an older Byzantine icon of the virgin which
uncannily resembles both herself and Tinner's previous 'Erzulie
Frieda' veve flag.
MARINA
Exciting.
KROPOTKIN
Not as in the old days. You
see, I was major general.
Times have changed.
MARINA
Have they?
Marina admires a New York Burliuk and Archipenko statuette.
KROPOTKIN
Vadko, Boorko, we're home.
Two large, none too friendly, GERMAN SHEPHERDS.
They purr with intuitive dog sense at Marina.
KROPOTKIN
(to dogs)
What's that?
Kropotkin gets down on his haunches.
He braces one of the dogs.
KROPOTKIN
You never told me how you
wound up here?
Kropotkin walks away from the liquor cabinet.
Marina turns to a Kandinsky.
MARINA
Our country, it's a shambles.
KROPOTKIN
You emigrated?
He begins to pour.
MARINA
With my son.
Kropotkin slightly overfills a glass.
KROPOTKIN
Nazdorovya.
CUT TO:
INT. EAST VILLAGE PENTHOUSE LOFT APARTMENT - DAY
Half-dressed, Katya takes Tinner's doll from his pocket and then turns away from Tinner.
She loads a gun.
KATYA
You're not the type.
TINNER
Ma'am, your friend. . .
KATYA
Friend?
Surprised, Tinner goes for the gun from Katya.
They wrestle.
The doll drops.
The gun clicks without going off.
TINNER
Marina Fedko.
Tinner now has the upper hand.
TINNER
She said you'd understand.
Katya entraps herself.
KATYA
Did she?
She runs out of the room.
TINNER
You'd be surprised what a guy
has to go through to hold a
woman with a Russian accent.
Tinner picks up his doll.
CUT TO:
EXT. APARTMENT HALLWAY - DAY
Katya scrambles down the hallway.
KATYA
Would I?
Tinner chases her down it.
TINNER
(yelling)
You're under arrest.
She squeezes out a window, up the fire escape.
CUT TO:
EXT. APARTMENT ROOF - DAY
Tinner trails Katya onto the roof holding the doll.
An old, traditionally-dressed Chinese man and young boy tangle a line from a Chinese kite.
Both dress reminiscent of the worker uniforms from Mao's Cultural Revolution.
Katya bumps past them.
Tinner arrives.
Katya is about to attempt a jump from one roof to the other.
TINNER
Stop.
Katya fails to cut through kite line.
SNAP.
TINNER (CONT'D)
Don't.
SLOW MOTION - Katya jumps.
The kite flies heavenwards.
Katya hangs by the opposite ledge.
KATYA
Help.
Tinner runs to the ledge.
His height fear makes him delay.
TINNER
(in a low tone)
Gail Ann?
Katya flies downwards.
OLD CHINESE MAN
(nudging little boy)
Call 911.
Tinner stands at the edge of the building refusing to stare at
what used to be Katya.
A crowd gathers below.
The Chinese kid runs past Tinner.
He bangs his small fist against Tinner.
While he picks up broken kite line, the old Chinese wiseman nods sadly at Tinner.
The distant kite sails up and away.
TINNER (V.O.)
Kid, kite, old man, sky that
day - simply because she was a
woman?
The old Chinese man on the roof looks half-curiously, half
fearfully at Tinner who still holds his doll.
Tinner pulls out his special identification.
TINNER
I'm a cop.
The two look down at the arriving police cars, developing crowd,
ambulance and sprawled body.
DISSOLVE TO:
EXT. STREET DEATH SCENE - DUSK
Tinner pushes from the scene of Katya's white-sheeted body.
Harriman faces away from him.
HARRIMAN
Goddamn, Tinner. Gotta bring
half the East Village?
TINNER
I'm done.
Shot of Harriman's crotch.
HARRIMAN
You know how much extra
paperwork? Quietly. Who taught
you at the academy?
TINNER
(to himself)
They don' come quietly.
Tinner starts to walk.
HARRIMAN
Tinner? Another woman might be
tied to this. Ring any bells?
TINNER
Chiming.
Harriman looks at him - calmly looking over the small strange
female voodoo doll that he holds in hand.
HARRIMAN
Goddamn Redneck.
CUT TO:
EXT./INT. TAXI - NIGHT
Tinner falls into the cab exhausted.
The cabbie falters before beginning to drive.
Svetlana Fedenko sits across from him.
She trains her gun on his head.
SVETLANA
You don't like Communists?
TINNER
Special agent Fedenko?
SVETLANA
Answer.
TINNER
Never gave it much. . .
SVETLANA
The October Revolution
occurred how long ago?
Svetlana cocks her gun.
TINNER
Eighty?
The taxi pulls into a back alley.
SVETLANA
Years older than you'll live.
Svetlana pulls the. . .
The cap-wearing cabbie turns, levels a luger at Svetlana's cranium and FIRES.
Releasing the cap, long hair falls.
NADIYA NATASHA.
DISSOLVE TO:
INT. TINNER'S APARTMENT - NIGHT
Nadiya stands on Tinner's futon stretching into space.
Tinner sits on a fruit crate away from her looking at his 'Erzulie Frieda' flag.
He is on the phone.
TINNER
Harriman please (He waits a
moment). Tell 'em more
paperwork. Lafayette and
Fifth. A taxi. Tell 'em I need
a couple days.
Tinner lingers with the phone.
NADIYA
After a couple days?
Tinner has trouble lighting a cigarette.
He pours himself and Nadiya drinks.
NADIYA (CONT'D)
More paperwork?
TINNER
Not with my name attached.
NADIYA
Tinner? You know about me?
Tinner's glance passes his small picture of Gail Ann.
The resemblance between the women is uncanny.
TINNER
Term memory is not my asset.
Scampering around, Tinner's cat aligns a few books on the shelf.
In the distance, sirens of NY's mean streets.
Nadiya goes to the books.
Tinner's high school yearbook opens.
Nadiya notices previous pictures of Tinner next to Gail Ann.
HIGHLIGHT RESEMBLANCE.
Nadiya opens the book's spine wider.
She looks out the window.
A homeless man awakens from a stairway.
A couple immigrant women garment workers struggle home.
NADIYA
Does that have to be? Tinner?
Tinner sleeps on the couch futon.
Nadiya takes off his shoes and covers him.
She lights a candle next to the dolls.
She strips and then touches his sleeping lips.
CUT TO:
INT. KROPOTKIN'S APARTMENT - MORNING
Beginning paperwork, Kropotkin stands in his study and looks over
one of his Haitian paintings.
Marina enters, sleepy-eyed with two cups of coffee.
She undoes a nightgown.
She has stayed the night.
KROPOTKIN
Morning, mademoiselle.
MARINA
Bon matin, monsieur. I called
my son and told him where his
mother's run. You don't mind?
Kropotkin blushes.
KROPOTKIN
Of course not. We all meet for
brunch later.
Marina places coffee to Kropotkin's lips.
She comes behind Kropotkin putting a fake choke hold on him
Kropotkin returns to his work, suspicious but content.
MARINA
He'll meet us here. What's
that?
KROPOTKIN
For the embassy.
MARINA
Are you angry?
KROPOTKIN
That you stayed?
MARINA
You think less of me?
KROPOTKIN
An old greying, overweight
Russian?
MARINA
How I like my men.
KROPOTKIN
Greying?
MARINA
Russian.
She goes to a bust of Lenin that is hidden in the bookcase.
MARINA
You were Communist?
KROPOTKIN
Was there choice?
MARINA
But. . . now?
Kropotkin looks down to his work.
KROPOTKIN
Market reformer.
MARINA
You've abandoned revolutionary
ideals.
KROPOTKIN
Were there any?
MARINA
For some, yes.
KROPOTKIN
For others, no.
CUT TO:
EXT./INT. TINNER'S STUDIO APARTMENT - MORNING
The morning sunlight checkers Tinner's East Village studio's hardwood floor with the peaceful chaos only Sunday morning in New York possesses.
A lone black cat disassembles chess set, thread, dolls and CD's.
The cat loses balance along a precarious path on the apartment's outer ledge.
Revealed under a large quilt, Tinner sleeps fetal position on floor futon.
In the kitchen, eggs fry.
In subtle ways, Nadiya has turned bachelor's apartment to a home.
She has cooked breakfast, set the table with a cloth but curiously, is gone.
CUT TO:
INT. KROPOTKIN'S HALLWAY - MORNING
The doorbell rings.
Marina is slow to answer.
Vladimir.
The pair French kiss - distinctive, unmotherly.
Kropotkin enters.
He catches the tail end.
Marina disengages.
MARINA
The son I was telling you
about.
Kropotkin's dogs round Vladimir.
Instead of fearing suspicious growling dogs, Vladimir gets down on his haunches.
He braces the dogs sticking his muzzle to theirs.
VLADIMIR
Russian Labs.
KROPOTKIN
Usually not so unfriendly.
MARINA
Here is the man who will help
us, Vladimir. J.F. Kropotkin.
Vladimir handles the historical Communist memorabilia of the room.
He walks over to a small Soviet era bust - Stalin.
VLADIMIR
After my heart. Party pays
rent on this?
KROPOTKIN
We don't call it the party
anymore but, yes. (Pause)
Excuse me to get dressed.
In exiting, Kropotkin lingers.
Marina and Vladimir are left alone.
MARINA
(to Vladimir)
Let me get you coffee.
CUT TO:
INT. KROPOTKIN'S APARTMENT KITCHEN - DAY
The two delay in conferring.
MARINA
So?
VLADIMIR
Svetlana, Katya--
MARINA
What happened?
VLADIMIR
There's only three of us.
MARINA
We die together. . .
VLADIMIR
For revolution.
MARINA
Or see it flower.
CUT TO:
EXT./INT. TINNER'S STUDIO APARTMENT - MORNING
From her window, Tinner's neighboring Latina apartment dweller
repairs and waters her fragile garden.
Morning sunlight dapples flowers with its rays.
Nadiya lingers on the street sidewalk wearing one of Tinner's CIA tee-shirts.
She steps out the apartment complex dropping two large paper bags.
We hear her walking upstairs, down the hallway and unlocking and opening Tinner's door.
She enters quietly.
Tinner begins to gently awake.
TINNER
(waking up)
Years. Haven't slept like
that.
Nadiya takes out the Sunday NY TIMES.
She hides it under the small clean kitchen table.
She spills juice into glasses.
She spills grounds in a filter.
Tinner puts the CD player on - Van Morrison's 'Crazy Love.'
NADIYA
I bought you a Times.
Tinner crouches and glances at The New York Times.
The cat jumps in from the balcony ledge, walks a circle around him toward Nadiya.
Nadiya spills cream and the juice that she has bought for the cat to a saucer.
Tinner follows the cat to Nadiya.
TINNER
Smells great.
Nadiya reaffixes an apron.
As she turns, Tinner delays her with the bow.
He releases her from the back.
He roughly moves on the scent of her neck.
NADIYA
Since I left the Union...
Tinner makes subtle moves.
TINNER
(humming)
Falling in love again.
NADIYA
Im-possible.
He prevents Natasha from turning around.
Step print KISS.
NADIYA
You know who I am.
TINNER
I know this.
Tinner kisses her not quite subtly, not quite quietly, not quite
unpassionately.
NADIYA
(almost resisting)
Stop.
Tinner continues.
NADIYA
Please.
Her words refuse to mouth 'no'.
Her body refuses to speak abandon.
SLOW MOTION: The apron sails, a breeze blowing the sequins from the Erzulie Frieda flag and rocking the dolls.
DISSOLVE TO:
INT. UPPER EAST SIDE BRUNCH RESTAURANT - DAY
A not exactly subdued black tie string quartet plays melancholy Russian classics interwoven with variations on 'Always on My Mind'.
Kropotkin, Vladimir and Marina pass on an ornate brunch.
In the distance, an overly elaborate buffet.
KROPOTKIN
A Communist system doesn't
work. We can never turn back.
Vladimir and Marina are silent.
Marina is unsuccessful in losing herself in the quartet.
Kropotkin stops eating looking curiously at a Haitian man eating
nearby (GEDE representation).
VLADIMIR
Why have you stopped,
Kropotkin?
KROPOTKIN
Both of you. You're old world
Communists I once knew -
idealists, utopians, dreamers.
VLADIMIR
You're right.
KROPOTKIN
What revolution spawned your
son, madam?
VLADIMIR
The next one.
Kropotkin is offended but also sees his own youthful revolutionary
idealism.
KROPOTKIN
There's some of me in you,
young man.
To get desert, the troupe rises from the table.
VLADIMIR
Yes?
KROPOTKIN
The academic papers you're
writing.
Marina piles her plate with desserts.
A couple of brunching East Side women notice the faux pas.
VLADIMIR
I'm not an academic Marxist,
I'm a living revolutionary,
Comrade Kropotkin.
Marina goes over to the restaurant's second floor French doors.
She has trouble with their locks.
MARINA
We take the Manifesto as call
to action.
Marina throws open the restaurant's French doors.
VLADIMIR
Very good, mother.
The Sunday morning light - a harsh yellow angled block illuminates
a section of Upper East Side restaurant brunchers.
The summer breeze blows, violating the diners.
The view opened from the restaurant window contrasts breakfast.
Against the black metal grating of Central Park, homeless go about lives with various shopping carts, bags and cans.
MAITRE DE
Madam!
Marina places her heaping plate on the balcony.
Pigeons descend.
MARINA
(ironically)
She said: let them eat cake.
The MAITRE DE shoos off pigeons.
MAITRE DE
We keep these doors closed,
madam.
Closing the French doors, he picks up the plate and gives Marina a
nasty look.
The restaurant atmosphere is restored.
The quartet pauses and plays.
CUT TO:
EXT. BROADWAY SIDEWALK - DAY
Dressed for his Sunday walk, Old Chief Harold Harriman stumbles down the street.
He sticks a cassette into a walkman in the wrong direction.
Attracting a couple of young club kids' chuckles, he methodically misplaces two stereo headphones into his ears as only an old man from a pre-walkman generation can.
He listens to the previous conversation between Svetlana and Stamley.
SVETLANA (V.O.)
Hypothetical, Stamley, or am I
to describe what happened?
Harriman walks past park panhandlers, homeless, slumming middle
class kids, dealers, winos and the GEDE man who now sits on a park
bench smiling and lifting his ivory walking stick as Harriman
passes.
STAMLEY (V.O.)
The deal begins to go down
but, you see, there's a
problem. The money exchange
isn't happening. Things
aren't falling into place.
SVETLANA (V.O.)
I don't understand.
STAMLEY (V.O.)
What's going on? Where's the
money, Svetlana?
SVETLANA (V.O.)
Here's your money.
Sound of gunshots.
Harriman adjusts his crotch.
Everyone on the street seems suspect.
Harriman listens to his thumping heart.
A couple of lovers tumble into him.
Harriman fast forwards.
He takes out the paper he had previously put in his pocket.
He reads '-FIFTH POSSIBILITY-' on the paper's inside.
CUT TO:
EXT. UPPER WEST SIDE STREET - DAY
As they walk up the street, Vladimir, Marina and Kropotkin falter in their discussion.
VLADIMIR
My mother's right. Do more
than remember.
KROPOTKIN
That is possible?
MARINA
The consulate is simply an
archive?
VLADIMIR
Museum pieces?
It is harder for Kropotkin to play the flusterable genteel old
world New Yorker.
KROPOTKIN
I'm a diplomat. I'm afraid I
don't know revolutionary
action, Vladimir.
VLADIMIR
My mother needs documents if
she is to stay.
KROPOTKIN
On this account, I like you.
You are very direct.
VLADIMIR
How?
KROPOTKIN
When the Union was a threat
during the Cold War. . .I've
got a friend at the American
Central Intelligence Agency,
Harold Harriman.
VLADIMIR
Would he help?
KROPOTKIN
(chuckling)
We are old friends.
In the distant park, Marina notices an old Chinese man making
peace with his young grandson in how to go about launching a
brightly colored Chinese kite.
MARINA
(ironically)
I'm sure.
KROPOTKIN
Workers of the world unite.
VLADIMIR
A meeting?
KROPOTKIN
Of course.
VLADIMIR
When?
KROPOTKIN
This afternoon we walk in the
Park. He checks for me at the
embassy. I'm putting a
historical museum of the
Soviet era.
VLADIMIR
(goofy)
A spectre is haunting Europe.
MARINA
My son and I need you,
Kropotkin. You're our friend.
Behind Kropotkin's back, Marina reaches to clasp Vladimir's hand.
CUT TO:
INT. TINNER'S STUDIO APT. - MONTAGE
Tinner and Nadiya make love.
Peaceful rays of the morning sun, birds' cries, gentle sounds of children squealing and the flapping of The New York Times surround them.
The 'Erzulie Frieda' veve flag smiles down upon them.
Pancakes fizzle and Van Morrison's 'Crazy Love' fills the background.
Later details of Natasha messing breakfast and Tinner getting dressed and nicking himself shaving are cut with their lovemaking.
They are dressing in each other, eating each other, cleansing each other.
Details montaged in:
Tinner gathers and smells Nadiya's clothing.
Nadiya slightly chips the bowl in preparing a batter.
Tinner drops his gallery program - 'The Art of Glastnost and Perestroika.'
Morning birds pause in their cries.
The Russian dolls are put together one into the other.
The cat wtaches.
Vague resemblances of the bedsheet pulled tight to the American
flag.
Tinner's highschool yearbook pages are held back by summer's
breeze.
DISSOLVE TO:
EXT. UPPER EAST SIDE - LATE AFTERNOON
Harriman is blocked by a pretty young Latina woman dressed for mass with two mischievous young boys in tow.
Harriman chuckles at the young boys.
They are availing themselves of mischief pretending to be zombies.
CUT TO:
EXT./INT. RUSSIAN EMBASSY - LATE AFTERNOON
Harriman trips up embassy steps to the security buzzer.
He tries not to checks his watch.
No sign of Kropotkin.
A security guard is having trouble fixing one of the desk legs.
HARRIMAN
Tell Consulate Kropotkin, it's
two. Mr. Harriman is waiting.
The security guard buzzes up on his telephone.
He speaks for a moment in Russian.
SECURITY GUARD
He wishes you to come up.
HARRIMAN
The museum?
The security guard goes back to the phone.
SECURITY GUARD
There are new artifacts.
HARRIMAN
(reluctantly)
Tell him in a minute.
The security guard buzzes Harriman through a door.
Harriman begins up a stairway.
CUT TO:
INT. EMBASSY - SOVIET HISTORICAL MUSEUM - DAY
The museum is almost ornate, filled with all matter of haphazardly
placed Soviet historic paraphernalia: uniforms, discarded
astronaut suits, Soviet heroic era reconstructions.
It is a throwback to the glory of a bygone era of history and though still under construction, intricate in preservation of a forgotten Soviet past.
Vladimir and Marina lounge in one of the Soviet era reconstructions of revolutionary headquarters complete with wax Lenin, Stalin and Trotsky.
They are uncannily finding a place.
Kropotkin lingers about placing books, pamphlets and tiny army figures into a large wooden glass display.
He looks for a pamphlet from a pile for the case.
He hesitates to label it.
KROPOTKIN
He would have rather met in
the park.
VLADIMIR
We love it here.
KROPOTKIN
Slightly ridiculous, but I
understand.
CUT TO:
EXT. SOVIET EMBASSY STAIRCASE
Harriman falters in ascending the staircase.
HARRIMAN
Old man lost in Cold War.
The stairs balance him.
CUT TO:
INT. TINNER'S CAR - DAY
Tinner and Nadiya drive down Broadway.
The back of the car is full of precariously balanced suitcases.
NADIYA
I need to stop at the embassy.
Tinner nods.
NADIYA
Then the airport.
Nadiya covers the insignia ring on her hand.
CUT TO:
EXT./INT. EMBASSY - SOVIET MUSEUM ROOM
Puffing away, Harald Harriman opens the large oak doors to the museum.
KROPOTKIN
Harald Harriman, let me
introduce a couple comrades.
Harriman's recognition is not exactly instantaneous.
HARRIMAN
I'm not entirely sure. . .
VLADIMIR
Different circumstances?
KROPOTKIN
(graciously)
Over the years, Harriman has
been. . .
VLADIMIR
And now?
HARRIMAN
What are you looking for?
VLADIMIR
Something that belongs to us.
HARRIMAN
What?
VLADIMIR
A couple lives, a stack of
microfiche,
HARRIMAN
Well. . .
MARINA
The continuing revolution.
HARRIMAN
The agenda of the Communist
cause is closed here.
VLADIMIR
Who hired Tinner to kill us?
HARRIMAN
Could you even think you could
begin a struggle?
VLADIMIR
How many idealistic young
former Communists emigrated?
HARRIMAN
Escaping a thug-infested black
market.
MARINA
Is the market different here?
HARRIMAN
Your cause is dead.
MARINA
It is?
HARRIMAN
You and Marina were given
salaries.
VLADIMIR
Exploited. . .
MARINA
for skills.
CUT TO:
INT./EXT. TINNER'S CAR - DAY
Tinner pulls up in front of the Soviet embassy.
Nadiya doesn't hesitate.
TINNER
Minute?
NADIYA
No one's here.
She kisses him less passionately than necessary.
TINNER
Don't be long.
NADIYA
Two minutes.
Tinner watches Nadiya ascend stairs.
Nadiya lingers before entering.
Tinner drops airplane tickets.
He checks his watch - missing.
Looks away from the back seat luggage.
CUT TO:
EXT./INT. EMBASSY - SOVIET MUSEUM ROOM
The discussion has become heated.
HARRIMAN
Look at yourselves, Vladimir.
Nothing to complain about. .
Well dressed, (to Vladimir)
able to support a wife,
children. What more can a man
ask?
VLADIMIR
Why he must step over people.
MARINA
Exploit protective system.
HARRIMAN
An extraordinary system.
VLADIMIR
Only in its blindness.
CUT TO:
EXT./INT. MUSEUM DOORWAY
As Nadiya tries to stick her key in and turn the museum door
latch, she hears the sounds of a scuffle.
Marina moves away from the door.
Vladimir brings Harriman against the reconstruction of Lenin's desk.
CUT TO:
EXT. TINNER'S CAR - DAY
Waving his hand, the security guard refuses to walk out of the
embassy.
He does not approach the car.
SECURITY GUARD
You aren't with the embassy?
TINNER
No.
SECURITY
This is for diplomats.
Tinner nods.
He slowly drives off.
CUT TO:
INT. TINNER'S CRUISING CAR - DAY
A woman walks by whom Tinner mistakes for Nadiya.
He opens the door.
She walks past.
Tinner looks back.
A Haitian woman.
Among the luggage in his car's backseat a few books balance at the bottom, BERKELEY IN THE SIXTIES, HIGH SCHOOL YEARBOOK, SACRED ARTS OF HAITIAN VOODOO.
DISSOLVE TO:
INT. TINNER PARKING CAR - DAY
Tinner cannot find an Upper East side parking space.
The only space far from the embassy has a fire hydrant next to it.
Tinner fiddles with the car radio.
Reprise: "Always on My Mind".
Tinner looks to his watch again - missing.
DISSOLVE TO:
EXT. TINNER'S PARKING SPACE - DAY
Tinner gets out and walks to the embassy.
As his arm leaves the car, he experiences a confusion.
His foot falls to gutter.
CUT TO:
EXT. UPPER EAST SIDE SIDEWALK - DAY
Tinner walks down the sidewalk.
People leash dogs.
Dogs follow scents.
Two small Latino children play 'you can't catch me' along a park ledge.
An old Chinese man pauses a Tai Chi class in the adjoining park.
As Tinner passes, the man frowns and nods his head.
A Haitian girl attempts to launch a kite.
CUT TO:
INT. SOVIET EMBASSY HALLWAY
Tinner walks to the embassy hallway.
The earlier none-too-friendly security guard from Tinner's first visit to the embassy is still taking apart his desk.
TINNER
Could you tell Ms. Natasha I
had to move our car?
Reluctantly, the security guard dials.
No answer.
SECURITY GUARD
They're all in the museum.
TINNER
All?
SECURITY GUARD
They are expecting you?
TINNER
(confused)
Could you open that?
SECURITY GUARD
(suspiciously)
I'll take you up.
CUT TO:
INT. EMBASSY STAIRWAY - DAY
Tinner and the suspicious security guard make their way up.
TINNER
Who else is up there?
The security guard hesitates.
He glares at Tinner three steps behind him.
The security guard turns the latch to the museum doorway.
BANG, BANG, BANG.
Three bullets miss the security guard.
In a back somersault, he tumbles down the stairway.
TINNER
Whoever it is, likes you less
than I do.
Tinner takes cover.
He pulls out a shot out watch from his breast coat pocket.
It holds a bullet.
Scanning one side, Tinner pushes a gun from his shoulder holster and assumes a position in back of the door.
His watch stops ticking.
CUT TO:
INT. SOVIET EMBASSY MUSEUM ROOM - DAY
Tinner carelessly enters the half-constructed museum.
His anxiety moves from a Sputnik tinny mock-up to an October 1917 worker's revolutionary headquarters to another half-lit diorama - mannequins of Soviet farmworkers in understated dress.
The diorama placard reads 'SOVIET WORKERS' COLLECTIVE FARM'.
A few mannequins harvest wheat with long-handed sickle.
Other dolls pose next to wheat in bundles.
In another section a poster hangs from two long wires.
SWING.
The poster advertises Vsevolod Pudovkin's Soviet heroic era film 'MOTHER'.
It shows a young woman hoisting the Soviet flag.
Tinner's inattention moves to this section's title heading 'FILM AND AVANT GARDE ART OF THE SOVIET HEROIC ERA 1919-1929.'
Here are other posters against the wall:
MAN WITH A MOVIE CAMERA
BATTLESHIP POTEMPKIN
OCTOBER
IVAN THE TERRIBLE
On a loop in a diorama which shows Soviet Agit trains of the revolutionary period bringing film culture to the masses an old projector finishes playing the black and white Odessa steppe sequence from "BATTLESHIP POTEMPKIN".
TINNER
(calling out)
Nadiya.
Next to this section, is a static model of Vladimir Tatlin's
MONUMENT TO THE THIRD INTERNATIONALE.
Because of Tinner's previous art inclinations, he consciously tries not to linger.
Marina moves out of the section of Soviet farm workers.
She discards her sickle.
It lands inches from Tinner's head - a deadly boomerang.
Tinner withholds fire in the general direction.
He looks back.
The sickle has failed to plant itself in the wall behind him.
This time with the long harvest reaper scythe, Marina tries again.
She does not evade Tinner's gunfire.
Tinner reloads.
A less than lethal baton, Marina whirls the long scythe..
The tip of the scythe vertically rips a line along Tinner's jacket.
A red dot of blood merges with his shirt.
He is grazed - not unseriously.
Tinner tries not to feel the blood.
Marina kicks him half force forwards.
Tinner just misses the projector.
A reel flies.
Marina reluctantly pushes a gun from her thigh.
She is about to empty a round into Tinner.
Tinner heaves the moving reel at her.
Marina is tangled in film with part of the dishevelled reel untangling her.
In a wrestling type fight, the gun misses its intended.
Marina falls.
Vladimir now uncrouches atop the Sputnik.
VLADIMIR
Harriman said you were
supposed to bring us in. Not
slaughter.
Previously hidden in a floor pile, Vladimir is now half dressed in one of the Soviet Army uniforms.
VLADIMIR (CONT'D)
They didn't teach me to play
that in the Soviet Union. . .
.
Vladimir trains on Tinner.
Tinner dives.
The pair play a not quite deadly cat and mouse.
Vladimir sends Tinner quick enough to impact a glass display.
VLADIMIR
For Katya.
Vladimir tries to take up a machine gun from a section entitled
'Battle of Stalingrad'.
VLADIMIR (CONT'D)
Real thing? Museum piece.
Tinner almost takes a bullet in the leg.
He manages to stand behind the bullet-ridden Sputnik.
Tinner moves to come into the open someplace else.
VLADIMIR
Come out, come out wherever
you are.
TINNER
Wasn't supposed to happen that
way.
VLADIMIR
But it did, Mr. Tinner.
From his spot, Tinner fires on Vladimir, not quite injuring him in
the shoulder.
Vladimir lingers in his position near Marina.
He stands.
Marina's eyes fail to roll.
Vladimir tries to shed tears.
VLADIMIR
Marina . . .Baistrukh!
Vladimir refuses to close the eyes of Marina.
Tinner comes out of his hiding spot.
He lowers his gun from Vladimir.
Both of Vladimir's hands are occupied.
He lets go of his dead mother.
VLADIMIR
Like everyone else.
TINNER
Where's Nadiya?
VLADIMIR
Who?
TINNER
Nadiya.
VLADIMIR
Ideologically, not of sound
mind.
Vladimir lowers his head and blinks.
Tinner hesitates in firing.
CLICK. CLICK. CLICK.
His gun is empty.
Vladimir slows a psychotic half-laugh, half-cry.
VLADIMIR
Its my turn now, Mr. Tinner.
Vladimir pauses to sing subtly in Russian.
VLADIMIR (CONT'D)
Volga, Volga Matrudnaya.
Nasha Partiya, Nasha Partiya.
Tinner looks for another gun.
Vladimir is slow but picks one up nearby.
VLADIMIR (CONT'D)
(singing)
Better run. Penny pincher's
coming, Mr. Tinner. (Pause)
Collect dead mother.(Pause)
Collector's coming, Time to
collect. Mr. Tinner!. .
CUT TO:
INT. EMBASSY HALLWAY - DAY
Vladimir lingers towards Tinner through embassy hallways firing unmethodically.
Vladimir manages to graze Tinner in the leg.
Tinner rolls to Kropotkin's office.
CUT TO:
INT. KROPOTKIN'S OFFICE - DAY
Exhausted, Tinner pushes the door in front of him.
Kropotkin is seated at his window view - pins stuck all over him.
Vladimir whispers into the door.
VLADIMIR
Surprising how accommodating
Kropotkin was, Mr. Tinner. An
aristocrat.
The only way is the window ledge.
Tinner must make the choice to confront his fear of heights or be killed instantly.
Vladimir bangs psychotically destroying the large wooden door.
CUT TO:
INT./EXT. EMBASSY LEDGE - DAY
Tinner jams open the window.
He attempts the balancing act walking along the embassy ledge.
Vladimir breaks in.
He delays his way to the window and sticks his head out.
Tinner looks downwards, terrified.
VLADIMIR
Cat on a hot tin roof,
Jehovah, Mr. Tinner?.
TINNER
(overcoming his terror)
I'll put my money on gravity.
Vladimir debates withholding fire.
Tinner's on the verge of blacking out.
Vladimir's gun has one more bullet.
He hesitates in reloading.
On the ledge Tinner gives up trying to increase his distance from
Vladimir.
VLADIMIR
That's right, Mr. Tinner. The
old college try.
Vladimir makes a reckless step out.
VLADIMIR (CONT'D)
What do you Americans call it?
Keeping with the Tinners.
Tinker, tailor, soldier, spy,
killed my friends and made
them die.
Vladimir fires a bullet into Tinner's leg.
VLADIMIR
That last bullet. Unfair to be
too far ahead. Wasn't it
lucky.
Tinner does some poor balancing, holding on and climbing.
He attempts to enter another room through a window.
The window is unlocked.
Tinner finishes banging against the window to force it open before the realization.
He slips.
He hangs by a bit more than a thread - but terrified.
SLOW MOTION: His smallest Russian doll falls from his coat to the ledge below his feet.
The window where the watch rests now opens.
Vladimir.
VLADIMIR
Magic words, Mr. Tinner?
Mother, may I. (pause) You
fear having your life saved by
a Communist? Give me your
hand.
It's questionable whether Tinner is extending his hand.
Because of his phobia, he is blacking in and out.
VLADIMIR(CONT'D)
Give me your hand.
Exhausted, Tinner's grip tightens a last time.
His balance is mostly lost.
Tinner FALLS.
Vladimir flips to the ledge.
The force of his body weight counteracts Tinner's descent.
Vladimir precariously hangs behind Tinner.
Both men now hardly balance outside the wind-blown ledge.
In the distance below, people sit in the park.
A distant kite plunges downwards.
Reminders of New York's homeless.
Vladimir pauses in his struggle so both are reflected in the window - together.
VLADIMIR
(struggling)
A future, Mr. Tinner. Men are
equal. I have been to that
mountain, Mr. Tinner. . .
With a last rally of strength, Vladimir heaves Tinner crashing at
the reflection.
VLADIMIR (CONT'D)
(echoing words)
...We are brothers.
Vladimir falls to pavement far below.
CUT TO:
EXT./INT. EMBASSY ROOM - DUSK
As the sound of people, wind and sirens increase, Tinner crumples among carpet, broken glass and the destroyed open window frame.
TINNER (V.O.)
Last moments. My fault, his
choice? Did he see a future
they were trying to realize?
What did it mean for us? What
did Communism mean for them?
DISSOLVE TO:
INT. EMBASSY ROOM - DUSK
Harriman crouches at the other end of the room, nursing a bloody
head wound. He holds the doll previously on the ledge in one hand.
He curiously examining his reflection in a piece of broken glass in the other.
It is certain how long he has been there through the doll and his
burnt out cigarette.
HARRIMAN
Paperwork, Tinner.
Tinner tries to get up.
He does not makes his way near Harriman who frames the three of
them together with his piece of reflecting glass.
TINNER
Permanent vacation.
HARRIMAN
You'll be back. Salary's too
good. Funny, at the end, the
dream crap.
Tinner wonders about leaving the room.
TINNER
Real funny.
CUT TO:
INT. EMBASSY SOVIET MUSEUM - DUSK
Tinner tries for some dignity through shattered remains of the Soviet Embassy Museum.
Like a Soviet heroic workers' angel, doll-like, Nadiya appears.
She is dressed in simple white embroidered peasant's blouse and clean worker's long skirt - an easy duplicate of Gail Ann from the film's beginning High School Drama Club picture.
Nadiya tenuously holds an embroidered wedding cloth almost subtly and quietly.
Over the cloth is a sheaf - wheat and salt - the traditional Slavic greeting - the staff of life.
Nadiya lingers in front of him: mannered, mannequin-like.
TINNER
Gail Ann? (dream-like)
Nadiya?
Tinner hesitates before the traditional Slavic wedding offering.
TINNER (CONT'D)
I thought you were dead.
A tear no longer lingers on her cheek.
Tinner undoes her kerchief.
SLOW MOTION: Hair falls.
Tinner almost pulls her back.
With the kerchief, he misses wiping the disappeared tear.
TINNER (CONT'D)
Tears.
NADIYA
Love me?
TINNER
Love?
NADIYA
Cherish.
TINNER
Love and cherish.
NADIYA
Sickness.
TINNER
Health.
NADIYA
Ever.
TINNER
Ever.
In the ghostly wind an old Soviet flag flaps and distant watch
stops.
SLOW MOTION - The wedding cloth briefly quivers in the summer's
wind revealing Nadiya's insignia ring and Svetlana's raised and
cocked luger.
VLADIMIR (V.O.)
(echo memory)
Brothers.
GUNSHOT.
CUT TO:
EXT. SOVIET EMBASSY - DUSK
A screaming ambulance has trouble starting.
Tinner limps past the crowd gathered round a body.
A white, sail-like sheet held by two ambulance attendants is pulled down tight.
In the distance - garbage can.
Next to that, mailbox.
CUT TO:
EXT. UPPER WEST SIDE STREET - DUSK
Tinner pushes a manila envelope from his less than clean breast
coat pocket.
Falling from a Central Park wall, a Chinese boy dressed 'ala' Mao
regains balance.
His mother, dressed workers' style, dusts him off.
The boy acquires something from her hand.
He runs to a fat Haitian woman street-seller exchanging for a click pen.
Two Latino boys are released by their young Latino artist mother.
A hat wearing black shoeshine artist spits on a well-heeled shoe.
In a loop, a Chinese kite flies dangerously from the ground.
Tinner places the microfiche stack to the envelope.
He seals the envelope.
He approaches mailbox and garbage can - equidistant.
TINNER (V.O.)
Harriman. I wonder. He was one
smart cookie.
Tinner whirls the envelope package, wipes his cheek. He wears a watch and ring.
A hand clutches but then releases one of the Russian dolls.
The Black shoeshine artist (Gede) looks up the pantleg to . . . - Harriman who sails his arm up. . .
The wind carries the package into the . . .
FADE TO BLACK:
BLAST 'Crazy Love'
Roll Credits.
THE END