BETTER TO TRAVEL HOPEFULLY (OR GUM-SHOEING AROUND…)

INT. FRONT DOOR, FLOP HOUSE - DAY - BLACK AND WHITE SEQUENCE.

SOUNDTRACK: A DOO-OP SONG PLAYS ON A CRACKLEY OLD TAPE RECORDER.

CLOSE UP: A PAIR OF EXPENSIVE-LOOKING HIGH HEEL SHOES.

Then, tentatively, a pair of FEET enter the frame. The feet are wearing nylon stockings but underneath we can see chipped nail polish. One toe pokes the pump. It tips over and we can see a designer name on the label inside. Gradually, the foot nudges the shoe upright and slides in. It wriggles from side to side. The fit is a bit big. Then the other foot shimmies into the other shoe. The wearer tilts the shoes from side to side, admiring.

A PAUSE.

Then, slowly and deliberately, the wearer CLICKS THE HEELS TOGETHER THREE TIMES.

EXT. LOW-RENT NEIGHBOURHOOD - DAY.

CLOSE UP: THE SHOES WALKING DOWN A BROKEN SIDEWALK.

CLICK-CLACK-CLICK-CLACK…

The walker whimsically avoids cracks in the cement…then…SQUEEDGE. The feet stop on a dime. One foot gradually raises off the pavement, revealing STICKY STRINGS OF CHEWING GUM…

SOUNDTRACK: DOO-OP SONG STOPS ABRUPTLY.

THEN, an image of a PAINT BRUSH sweeping across a canvas.

INT. BACK ROOM, TRENDY ART GALLERY - DAY - BLACK AND WHITE SEQUENCE.

P.O.V. A COMPUTER SCREEN.

A laptop cursor hovers over a Google search bar, hesitating. ‘STOLEN ARTWORK’’ is typed into the box. The first link is www.fbi.gov National Stolen Art File - FBI. There’s a series of THUMBNAIL IMAGES of missing paintings below the link.

We scroll through a series of images of FAMOUS STOLEN PAINTINGS. Rembrandt’s THE STORM ON THE SEA OF GALILEE; Vermeer’s THE CONCERT; Picasso’s HARLEQUIN HEAD. A headline says ‘Do you have Information that could help Investigators?’

As we move from painting to painting:

TISH V.O.

There’s a method to creating a p-painting – the m-masters knew how to guide the eye – the sweeping arcs, the c-colour – a t-trail moving your eye through the p-picture.

On the screen, MISSING PAINTINGS slide past in a seemingly endless stream. Titles and phrases jump out at us. “World’s most famous stolen paintings have never been found!” “INTERPOL stolen Art database”. “...still missing including Monet, Van Gogh…” “Last Seen...”

TISH V.O.

But the aim of art is not to show you where to arrive, but how to t-travel. The purpose of art is not to give you answers, it's to t-teach you how to ask questions.

Then the cursor stops on an image of a painting. VENUS WITH A MIRROR by Jacopo Palma il Giovane. The painting shows a nude woman gazing into a mirror held up by Cupid. A notation reads “Stolen on 11 February 2010 From Andrassy 94 szam, Budapest, Palace Hubner by robbers using force.”

We get very CLOSE TO THE IMAGE – then pan out again.

INT. CAR - DAY - COLOUR SEQUENCE.

P.O.V. THROUGH THE WINDSHIELD.

We drive into an increasingly posh neighborhood. We watch as urban life gives way to rolling lawns and huge mansions set back from the road.

We hear the sound of a TELEPHONE RINGING. Then someone picks up.

WOMAN V.O.

(British accent)

Good Afternoon. Am I speaking with...ergh...Am I speaking with...

(the sound of papers shuffling)

...Mr. Addelsom?

ADDELSOM

Yes.

(pause.)

Who's this?

WOMAN V.O.

This is a representative of The Avo Gallery. We're calling because we may have a special piece that might be of interest to you.

ADDELSOM

Yes?

WOMAN V.O.

Special interest.

ADDELSOM

Right. Do you...ahh...should I come down?

WOMAN V.O.

No, no - no need. It’s a private matter – could I come to your house with the piece?

EXT. POSH SUBURBAN HOUSE - DAY.

CLICK-CLACK-CLICK-CLACK…A WOMAN walks up a long walk-way. She's dressed to the nines. We recognize the SHOES. It's TISH. She rings the doorbell. It’s opened by a POSH-LOOKING MAN in a slightly rumpled Brook Brothers suit. He’s on the PHONE. This is MR. ADDELSOM.

ADDELSOM

(into the phone)

...just a minute...just a minute...

He covers the receiver.

ADDELSOLM CONT’D

(to the woman)

Yes?

She fishes in her purse for a card. Finding one, she presents it to him with flourish.

TISH

(British accent)

Letitia Anwir. From The Avo Gallery. We spoke on the phone?

He looks past her at the empty walkway.

ADDELSOM

Where's the piece?

TISH

My associate is bringing it. Can I come inside?

He opens the door wider and ushers her in. The front door SLAMS SHUT.

INT. STUDY, POSH SUBURBAN HOUSE - DAY.

Mr. Addelsom ushers Tish into a study. He’s still on the phone. He’s clearly agitated.

ADDELSOLM

(to Tish)

Please...um...make yourself at home...

(gestures to a loaded sideboard)

...make yourself a drink. I'll be right with you...

(lowering his voice as he speaks into the phone)

Listen...tonight’s really not a good night.

He leaves the study, gently closing the door behind him.

Alone, a huge, gilt-framed MIRROR catches Tish’s eye. She walks slowly towards it as though hypnotized. She looks at her own reflection and frowns, self consciously smoothing her beautifully tailored suit. PERFECTLY COIFFED HAIR, NAME-BRAND CLOTHES, MAKE-UP APPLIED WITH SUCH AN UNDERSTATED ELEGANCE THAT YOU ALMOST DON’T NOTICE IT. AND THOSE SHOES. Then a whisper of a SMILE.

Tish turns away from her reflection. She doesn't head for the drinks, but instead wanders around the room, casually poking into things. She stops in front of a tall bookshelf, and reads some titles. They're the kind of books you're 'supposed' to have on display. 'THE METAMORPHOSIS' by Franz Kafka. ...'THE COMPLETE SHERLOCK HOLMES' by Arthur Conan Doyle. ...'A FAREWELL TO ARMS' by Ernest Hemingway. ...'WAR AND PEACE' By Leo Tolstoy ...'CRIME AND PUNISHMENT' By Fyodor Dostoevsky…She moves away and inspects the staring glass eyes of a MOUNTED STUFFED DEER HEAD. She makes a face and keeps wandering. She reaches out and runs a finger along the fireplace mantle, checking for DUST

CLICK-CLICK! She JUMPS slightly and spins around when the door swings open and Addelsom enters. The phone is nowhere in evidence.

ADDELSOM CONT'D

Right. Sorry about that.

He crossed to the sideboard and starts to pour himself a stiff bourbon on the rocks. Then he shoots a glance over his shoulder and takes her in. His eyes LINGER a bit too long.

ADDELSOLM CONT’D

(suddenly all charm)

I'm sorry...can I get you something...?

She shakes her head.

ADDELSOLM CONT’D

(indicating a sofa)

Please...have a seat…

She does. Drink in hand, he joins her, sitting a bit too close.

ADDELSOLM CONT'D

So. How much do you want?

TISH

(uncomfortable)

How - how much...?

ADDELSOLM

The piece. I assume that's what you really came in person to discuss.

(laughs)

Edward already knows I'll take it. From the recent...thing, I suppose? Where did you say it is by the way...?

TISH

My...my colleague's bringing it.

ADDELSOM

Right.

TISH

He's...been a bit held up. Had to take a hire car. The piece is...quite big.

ADDELSOLM

Of course.

An awkward silence. Tish moves infinitesimally away from Addelsom on the sofa.

ADDELSOLM CONT’D

We should probably...wait till your...

(smiles ironically)

...your colleague arrives to discuss figures, shouldn't we?

He knocks back the rest of his drink, and stands, extending a hand to her.

ADDELSOLM CONT’D

Would you...like...to see the rest of my collection? It might interest you…as a 'Gallerist'.