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EXT. TRAIN STATION - NIGHT The train station is sparsely filled. A few travelers sit on benches, waiting. FEET walk down the station deck. Feet belong to DICK ACKERS, long brown coat, black hat, gloves and suitcase. He approaches the edge of the train track curb. He looks left, apprehending ... ... the bright HEADLIGHTS of the approaching train in the distance. SOUND of train HORN BLARING. The train screams past him, SCREECHING to a halt. TRAVELERS flood out of the train station doors and board the train. DANIEL CASABONA, thirty eight, suit, hat, and focused appearance puts his luggage on a manned scooter filled with other pieces of luggage. The guy who mans the vehicle drives off to load them in the belly of the train. Dick walks past Daniel and with a glance, boards the train. Daniel lights a cigarette and takes a few last desperate puffs before stepping on it and boarding. INT. TRAIN - HALLWAY - NIGHT Daniel walks down a long hall lined with passenger car doors. FOOTSTEPS behind him. He slows, listening. He picks up speed. As he does, so do the FOOTSTEPS. He stops. FOOTSTEPS continue. A FEMALE WAITER turns a corner ahead and walks towards him. She smiles and continues past. He looks after her. DANIEL Excuse me, Miss? She stops and turns. FEMALE WAITER Yes? DANIEL Could you tell me where cabin 13 is? FEMALE WAITER Right down the hall and four doors on the left. DANIEL Thank you. She nods and walks on. He continues down the hall. INT. TRAIN - HALLWAY - CONTINUOUS Daniel slides his key card down a slot in the door. FOOTSTEPS. He looks to his right. Walking casually down the hall is a FIGURE. Daniel squints to see better. It's Dick. He stops in front of the cabin next to Daniel's. He looks at Daniel. He slides his key card and goes in. After a moment, Daniel turns the handle of his door and goes in. INT. TRAIN - DANIEL'S CABIN - MOVING - NIGHT Daniel, in silk pajamas, opens the train window. The world screams by, any outside sound muffled by the RUMBLING train tracks. Disgusted with the loudness of it all, he shuts the window, only partially muffling it. He goes to the bathroom. INT. DANIEL'S CABIN - BATHROOM - CONTINUOUS He brushes his teeth. He gargles and spits. He puts water over his face and dries off with a towel. He takes a thin tin canister from his pajama pocket and opens it. Inside is a fine brown powder, snuff. With his finger, he holds some up to each nostril and sniffs. He closes it, wipes off his nose with a towel, wipes off the sink and leaves. INT. DANIEL'S CABIN - CONTINUOUS He lies in the bed over the sheets. He picks up a book and finds his place in it. INT. TRAIN - HALLWAY - NIGHT A MALE WAITER carrying a tray walks up to the room next to Daniel's, 14. He knocks. The door opens. INT. DANIEL'S CABIN - NIGHT Daniel opens the window. He gets a pack of cigarettes from his suit coat pocket and lights it. He lies on bed, smoking, blows smoke towards the window and continues reading his book. INT. TRAIN - HALLWAY - NIGHT Cabin door 14 opens. DICK exits, dressed in the waiters clothes. He straightens himself out and knocks on Daniel's door. INT. DANIEL'S CABIN - NIGHT Daniel looks up. He rises and answers the door. He faces DICK, who positions the hat over his eyes. DANIEL I didn't ask for room service. Dick claps a hand over Daniel's mouth and shoves him back into the room. The door closes. INT. HOUSE - FIVE MONTHS LATER - DAY STEPHANE THOMASINA, a beautiful rich brunette dressed in all black with a black veil attached to her hat, picks up a RINGING phone. STEPHANE Yes? MAN (V.O.) Is this Miss Stephane Thomasina? STEPHANE It is. MAN (V.O.) Where are you right now? STEPHANE I'm afraid that's absolutely none of your business, who is this? MAN (V.O.) Where are you going? STEPHANE As I said before - MAN (V.O.) If you want to live ... tell me where you are heading. STEPHANE (hesitantly) A funeral. MAN (V.O.) Not anymore. Head to your funeral as planned. I will meet you there. (hangs up) STEPHANE Wait, is this - She sighs and puts the phone down. She picks up a little black purse and heads out the front door. EXT. ROAD - DAY A ROLLS ROYCE glides down the street. Stephane nervously peers out of the windows. EXT. GRAVEYARD - FUNERAL - DAY The funeral service is quiet and positioned atop a small green hill. Stephane, her eyes darting around the graveyard, stands in the midst of other funeral goers. Sobbing WOMEN and mostly stoic MEN, watch the PASTOR give the last rites. Stephane notices a MAN in a white suit standing in the far distance below the hill in the graveyard looking at a huge elaborate tombstone. He walks up the hill, approaches the funeral party. Stephane tries to look inconspicuous. The MAN has a large white hat on which is tipped over his face. He moves through the funeral crowd and stands close behind Stephane. She doesn't acknowledge him. Other people glance at him - and his clothes disapprovingly. He slips a folded bit of paper into Stephane's purse. He walks away. The pastor finishes the service and closes his bible. Stephane moves past the coffin with others, kisses it, says a quiet prayer and walks to her Rolls. INT. ROLLS ROYCE - MOVING - DAY Stephane picks the sliver of paper from her purse. INSERT - SLIVER OF PAPER ASHES TO ASHES, DUST TO DUST, IT'S BEEN ONE HELL OF A BUST. MEET ME AT THE TURNPIKE OF THE RED BRICK CAFE. COME ALONE. INT/EXT. ROLLS ROYCE/ROAD - DAY Stephane looks out of the window. STEPHANE Albert? DRIVER Yes, ma'am? STEPHANE You see that turnpike coming up? DRIVER Mm hmm? STEPHANE Please let me off here by there, I'll just be a minute. The car stops. She gets out. STEPHANE (CONT'D) Go back for a bit. DANIEL You sure, ma'am? STEPHANE Yes Albert, I'll be fine. Go, go. The Rolls makes a U-turn and drives up the road awhile then stops. Stephane walks down the side of the street, approaching the turnpike. When she reaches the tree at the end, no one is there. She looks around. SOUND of a cell phone ringing. She looks down. In the grass under the tree is a small CELL PHONE. She picks it up. STEPHANE This is a strange place to talk. Certainly not inconspicuous. I could get run over. MAN (V.O.) It was quite a service. Didn't know Danny boy knew so many people. STEPHANE He didn't, I did. MAN (V.O.) No kidding. Listen. I want my money. STEPHANE Well you're just going to have to wait. I don't it have on me, you know. MAN (V.O.) That's gonna change right now. I want you to come here at 5 sharp with all 20 grand you promised. Don't let your driver know, leave it under the tree and walk away. Understand? STEPHANE Understood. MAN (V.O.) Just for my reassurance, what do you do? STEPHANE Bring the money at 5, leave it and walk away. MAN (V.O.) Sharp. Not 5:01, not 5:02, not 5:03, sharp. STEPHANE Sharp, got it. MAN (V.O.) Good, now hang up, fast. (hangs up) She closes the cell phone and laughs mockingly to herself. The phone starts steaming. She drops it and jumps back. The phone implodes. She casually walks up the road. DISSOLVE TO: EXT. SAME ROAD - 5:00 - LATER The Rolls Royce stops a few feet away from the turnpike. Stephane gets out, holding a brown paper bag. She hurries down the to the tree, leaves it against the tree, and hurries back to the Rolls Royce. The Rolls drives back up the road. A red car drives around the turnpike. It stops. The door opens. A MAN gets out, retrieves the bag, gets in the car and drives away. INT. HOUSE - BEDROOM - NIGHT Stephane sleeps soundly in her bed. She stirs and turns over on her side. The bedroom door slowly creaks open. A male FIGURE stands there in the light of the hall. Stephane stirs awake and lifts her head, groggy. Her eyes widen at the sight of the FIGURE. She blinks hard. The figure is gone. She gasps softly to herself. She shakes it off and lies back down. She pulls the blanket over her head. INT. HOUSE - KITCHEN - MORNING Stephane and EDWARD CASABONA are kissing passionately over the sink. She pushes him off playfully and brings breakfast over to the table. Stephane is wearing a silk bathrobe and Edward is in a suit. EDWARD I feel a little strange, you know? STEPHANE Mm, no, how? EDWARD Well, my brother - STEPHANE You mustn't worry about all that. I've had it all quite taken care of. EDWARD Really? He kisses her. She sighs and hugs him, closes her eyes. As she opens her eyes, she sees the FIGURE standing in the living room. He looks exactly like Daniel. STEPHANE (gasps) Oh my god. EDWARD What?? STEPHANE Did you see that?? Look! She points him to the living room. No one is there. Edward turns to her. EDWARD What? STEPHANE There - but he was - I swear Edward, there was a - a man there! Edward moves into the living room and looks around. He turns to Stephane and shrugs. EDWARD No one here. He approaches her. EDWARD Darling, I think you need to calm down a bit. You seem a bit wired. STEPHANE (Incredulous) I seem wired?? She huffs away. INT. HOUSE - FOYER - LATER Stephane paces the foyer hall, biting her fingernails. She stares at the phone. She finally picks up the phone and rapidly dials a number. STEPHANE Hello? Hello? (to herself) Damn. (normal) This is Stephane, royally pissed you're not there to answer your own damn machine. I want to have a talk with you, call me. She slams the phone down. She paces some more. The phone rings. She quickly picks it up. STEPHANE Yes?? No, this isn't Northwestern Presbyterian Church. (slams down phone) Assholes. INT. BEDROOM - NIGHT Stephane is putting new clothes up to her chest, admiring them. She goes to her vanity mirror and refreshes her lipstick. Edward enters in suspenders. He puts a white work shirt over them. STEPHANE Edward, pick a dress, would you? He scans the arrangement of expensive looking dresses on the bed. EDWARD This is all? I thought you bought some new things. STEPHANE I did. EDWARD Oh ... well, (pointing to a red dress) This one. STEPHANE Oh that, I love that. EDWARD No, wait, this one. (pointing to a black and orange one) Definitely that one. STEPHANE (glances at it from the mirror) That's good too. You have superb tastes, Eddie. EDWARD I learn from the best. He kisses her on the neck. STEPHANE So, where are we going tonight? EDWARD I thought we might take a tango around the dance floor. That new flamenco club? Did you hear about it? Las Rhumbas? STEPHANE I did. Sounds a little snobby though. A bunch of Aryans with no hips in flamenco frocks? No thanks. EDWARD You know how to dance, don't you? Samba, Cha-Cha, Meringue. Irish Polka. The phone rings. STEPHANE I'll get that. She picks it up. STEPHANE (CONT'D) Hello? DICK (V.O.) It's me. She glances at Edward. He's in the walk in closet, picking from dozens of suits on a turn table. She pulls the phone into the bathroom and closes the door. INT. BATHROOM - CONTINUOUS STEPHANE Its about time. I need to know ... did you really kill Daniel?? DICK (V.O.) What are you - of course I did! STEPHANE Because I have been ... seeing things around here. DICK (V.O.) Oh. Guilty conscience? STEPHANE Funny. Look, I want proof or I want my money back. DICK (V.O.) Oh, hon, that's - that's gonna be a little hard. STEPHANE You didn't spend it yet, did you? DICK (V.O.) Not really - STEPHANE Look bub, I'll get the police on your tail in a jiffy if you don't - Edward opens the door. EDWARD Why are you using the phone in here? STEPHANE Private. Girl stuff, you know. She gives a weak grin. He gives an unsure nod and closes the door. DICK (V.O.) Was that wonder boy? STEPHANE I want a place. I want the proof, Dick. DICK (V.O.) How do you know it's Dick? STEPHANE Well, who else would it be? DICK (V.O.) I don't know. Who do you think it is? She hesitates. STEPHANE I wouldn't know. DICK (V.O.) You want proof, I'll get it to you. Meet me at the train station, connecting ride to Las Cruces. If you're not there by eleven, the proof is poof. Capisce? STEPHANE Got it. DICK(V.O.) Good. Looking forward to seeing my little butterfly again. (smooching sound, hangs up) She hangs up the phone. STEPHANE Edward?? The door opens. Edward stands in the doorway, adjusting his tie. She pats the tub rim next to her, motioning him to sit. He does. EDWARD What is it? STEPHANE I'm really sorry Eddie. You have no idea - EDWARD You can't go? STEPHANE (contemplating) This is getting out of hand. EDWARD What? STEPHANE This - everything. I don't know. (sighs) I can't go out for dinner tonight, Edward. EDWARD Why? STEPHANE I have to go somewhere. The train station, I'm sorry, I was really hoping - I didn't want our relationship to start out like this, me having to fly off everywhere - EDWARD Well its no problem. Let me take you. It's not safe for you to go alone. STEPHANE You take care of me Edward. I love that. But really, I have to do this myself. EDWARD What is it? STEPHANE It concerns you, Edward and I can't bear to see you .. my life get hurt this way. EDWARD Sounds dangerous. I just might not let you go. STEPHANE I'll be okay. She kisses him. She rises. EDWARD You sure about this? You don't seem to be looking forward to it. STEPHANE It's just something that's been bothering me for awhile. I promise, I won't get myself killed or something. She hugs him and turns to leave. EDWARD I just want you to know .. Whatever happens, I'll always be there for you. She leaves the bathroom. INT. TRAIN STATION - EVENING Stephane, exquisitely dressed, scans the time sheets for each train arrival. INSERT - TIME SHEET CONNECTING DESTINATION - LAS CRUCES, 11:15 - 12:15 BACK TO SCENE EXT. TRAIN STATION - NIGHT Stephane wraps her arms around her self. She checks her watch. She watches a MAN pacing back and forth, talking indecipherably on his cell phone. He is holding a large suitcase and is wearing gloves. She turns her focus to the train tracks. They begin to VIBRATE with motion. She checks her watch. She rises as the train SCREAMS past her and SCREECHES to a halt. TRAVELERS flood out of the indoor train station and board the train. She makes her way through the crammed crowds and finds herself pulled with them as they hurry onto the train. INT. TRAIN - HALLWAY - NIGHT She walks alone down the dark hallway. Voices and strange sounds follow her each hall she walks down. She pulls aside sliding doors and enters ... INT. TRAIN - DINING AREA - CONTINUOUS ...The sparsely filled dining area. She walks down the isles of eating and chatting passengers, her eyes scanning each person. A MAN with a hat over his face sits alone with a glass before him. She walks slowly past him. DICK Nice to see you again, butterfly. She stops. She sits in front of him. He lifts his hat. DICK (CONT'D) Howdy. STEPHANE Do you have it or not? DICK So focused tonight. STEPHANE Yes, I am. DICK Don't worry. It's here. Your proof isn't poof yet. After you see it though, it will be. STEPHANE Well? DICK First I want to ask you something. Why did you want your husband dead? He seemed like a perfectly nice man - when he isn't gasping for air. STEPHANE A lot of what he says seems like wasted air. You weren't married to him, comrade. You wouldn't know. DICK But the hit guy should at least have a background on the guy he killed, right? STEPHANE I thought you weren't supposed to get attached. DICK Oh, I'm not. Just want a story to tell my friends at the pub. STEPHANE why are you asking questions? You're the hit man, aren't you? It's your job to do your job right. DICK Sometimes we need clarification. We're not all heartless, you know. It's like when you hunt. You want to know about your quarry, you want to know how it moves and what it's ticks are. STEPHANE Isn't the quarry supposed to be dead? He grins. DICK In a nutshell. STEPHANE (CONT'D) I'll give you this. Sometimes we move on. Sometimes we want love, revenge, or something more, like proof, where is it? DICK I just want to say, you seem like a very - likable young woman. Any man should be proud to have you. STEPHANE Thanks for the complement. Now where is it? DICK Baggage compartment, behind the brown suitcases. She rises and leaves. Dick sips his drink. INT. BAGGAGE COMPARTMENT - NIGHT Stephane moves down the endless piles of luggage. She finds the large brown suitcases. She moves them to the floor and feels on the floor and wall behind them. Her hands feel something. She pulls it up. A silver tin. She opens it. STEPHANE Oh my god... A severed FINGER lies in the tin, the silver wedding ring still attached. She closes the tin and exhales - relieving the worry and disgust. INT. TRAIN - HALLWAY - NIGHT She walks down the hallway. Sound of FOOTSTEPS Behind her. She slows her pace. She turns a corner, breathing heavily. She walks - trying to stay calm. Loud voices come from a cabin she passes. They stop and a cabin door opens. She walks without looking back. A figure follows behind her. Her pace quickens. Another figure turns a corner up ahead and begins walking toward her. The FOOTSTEPS behind her quicken to a jog. SFX - Stephane's heart beating. The figure up ahead reaches into it's pocket. WOMAN Jared! A WOMAN in a bathrobe runs past Stephane and embraces the MAN looming in front of Stephane. They kiss and holding hands, walk down the hall, back where the woman came from. Stephane exhales and chuckles to herself for being so terrified. She arrives at her private cabin, slides her key card, opens and closes the door. The CLICK of it being locked. INT. STEPHAN'S PRIVATE CABIN - NIGHT Stephan tosses her purse on the recliner and puts her hat on a hat rack. The contents of her purse spill out onto the couch. A small revolver lies under make up and other women's necessities in her purse. She opens the mini bar. A small box of chocolates is inside. She picks them out, along with a mini bottle of wine. There is a card on the chocolates. STEPHANE (reading) How's your trip, hope you get the most out of it, love, Edward. She smiles and opens it. She opens the bottle of wine and pops a truffle in her mouth. She washes it down with a swig of wine. She stuffs her things back into her purse and hangs it on the hat rack. She opens the window and grabs her cell phone off the bed. She dials. STEPHANE Hello - Hi Eddie, sorry I couldn't catch you. I got the chocolates. Thanks. Just wanted to say, I'm sorry for skipping out so soon. This errand really was a bother, I could have put it off. Funny how sometimes you don't trust some people - The lights go off. IT IS COMPLETELY DARK. STEPHANE (CONT'D) I gotta go, I'll call you later, kisses. (hangs up) She rises. She feels her way around the room. HER HANDS FIND THE DOOR KNOB. PULLS. WON'T OPEN. MOVES TOWARDS THE WINDOW. TURNS. DANIEL (O.S.) Hello, Stephane. Beat. DANIEL (CONT'D) What? Did you think I was ... dead? (chuckles) Never. You see ... I can't die. I'm all alone in the world ... just like you ... famished for love ... famished for - what do you call it, security. Freedom that men speak of. I cant die until I attain that security, that freedom, until then ... I will fight, and fight, and fight, until the time allows that I will rest ... in as peaceful a rest as god will give me. DICK (O.S.) You'd better hurry up Danny boy. Clocks tickin'. STEPHANE Dick? DICK (O.S.) That's right, butterfly. Sorry I couldn't keep my end of the bargain. He had a better offer. STEPHANE But - how? I saw the - DANIEL Finger? Yes ... amazing what they can do with Spam now-a-days. I once saw an entire meatloaf carved out of the stuff ... but like our marriage, a pretty facsimile wasn't going to make it taste any better. STEPHANE I don't understand. He was - DANIEL - Supposed to kill me, I know. When he tried to kill me on the train, I said to myself, here is an individual who needs a calling in life. He probably does this professionally and is probably quite good. But there is more to life than killing people .. Isn't there? Yes, things to do like ... cheat on them with their brothers, STEPHANE Daniel - DANIEL - siphon money out of their bank accounts, lying and smiling in the face of one who loves you while planning for their untimely demise so you can run away to a better life, isn't that right?! Stephane?? Isn't it?! Silence. DANIEL (CONT'D) Well ... that goes without protest, now, let me tell you what I was up to all those months. Sure, while you were getting snugly with Edward, I had my own agenda. You think I didn't know about you and him? See, we're brothers. Brothers don't keep things from each other. He sure didn't. FLASHBACK MONTAGE - DANIEL AND EDWARD PLAN A MURDER - A DEN. They talk to each other, the idea getting more and more plausible to both. - Daniel presents a bottle of poison to Edward. - PORCH. Edward drops some poison into Stephane's tea cup. - TRAIN STATION. Daniel puffs the cigarette and boards the train. - CINCINNATI TRAIN STATION. Daniel arrives at the train station in Cincinnati carrying two suitcases. - CINCINNATI TRAIN STATION. Edward meets him, and shows him Stephane's wedding ring. Daniel nods. Satisfied. DANIEL (V.O) Edward was more than willing help. He was supposed to poison you with your afternoon tea and meet me on the destination stop in Cincinnati. That's why I left suddenly on the business trip, I wanted to be free of connection to your untimely death. He would give me your wedding ring... END MONTAGE END FLASHBACK BACK TO SCENE DANIEL (CONT'D) ... The one true sign that the deed had indeed been done. Little did I know. FLASH BACK MONTAGE - DANIEL, DICK AND EDWARD PLAN A MURDER - PORCH. Edward hands Stephane her tea cup. Stephane lifts it to her lips - the phone rings. She puts down the cup and answers it. She talks attentively into the receiver. - TRAIN, CABIN HALLWAY. Dick claps a hand over Daniel's mouth and shoves him in the cabin. - CABIN. Daniel reasons with Dick. Dick is easily swayed. A smile spreads over his face. - Daniel lets Edward in on the new plan. - RED BRICK CAFé. Dick calls Stephane. - TURNPIKE. DICK retrieves the bag of money. - STEPHANE'S HOUSE. Daniel sneaks into Stephane's house in a dark suit. - BEDROOM. DANIEL stands in her bedroom doorway. - LIVING ROOM. DANIEL stands in her living room while she is hugging Edward. When she is distracted in making Edward look, he rolls behind the couch and sneaks out the back porch. - FOYER. Stephane makes a frantic call to Dick. - TRAIN STATION. Stephane sits in the train terminal. - TRAIN STATION. Dick shuffles through the crowd of passengers onto the train. The man chattering on his phone at the train deck was Edward in a disguise. - TRAIN DINING COMPARTMENT. Dick tells Stephane the location of the proof. - BAGGAGE COMPARTMENT. Stephane finds the finger. - TRAIN, HALLWAY. Stephane walks down the hallway to her cabin. She slides the key, opens the door and enters. - The CLICK of the lock turning. - Dick shoots Stephane. - TRAIN COMPARTMENT, Dick rendezvous' with Daniel. They smile, mission accomplished. DANIEL (V.O.) I never expected to have an assassin come after me. DICK (V.O.) He tried to get me to spare his life. He said that you would probably kill me anyway. DANIEL (V.O.) You were, weren't you? Isn't that what the gun is for? I realized the only way to win his heart was with cold hard cash. Your cold hard cash. DICK (V.O.) He offered me twice what you did. A cut from your life insurance and half the 20 grand you gave me. DANIEL (V.O.) Then, we unleashed the Ghost of Daniel past. A spirit, after revenge. You see, that too was a ploy to get you scared, to get you alone on a train, heading south ... END MONTAGE END FLASH BACK BACK TO SCENE DANIEL (CONT'D) ... and to get you here, where you can hear the whole story, one minute too late. Dick steps out from behind Daniel, holding a gun. DANIEL(CONT'D) Now, my sweet, here's my little taste of revenge. It hurts, doesn't it? To be betrayed. STEPHANE I don't need your melodrama. I know what hurt is. Everyday, living in your plastic world. At least this way, I will be free. Daniel shakes his head. DANIEL Do it. Dick cocks the gun. DICK I just wanna say, butterfly ... it's been a real pleasure working with you. STEPHANE You don't actually think he's going keep his end of your little impromptu deal, do you? DICK What are you talking about? STEPHANE Look. He looks behind him. Daniel is gone. Stephane charges at him and tackles him to the ground. They struggle for the gun. GUNSHOT. They continue struggling. The gun is thrown to the floor. Dick smacks Stephane across the room. She slumps over the table and falls, still conscious. The CHOCOLATES from the table tumble and roll across the floor. Dick bolts for the door. INT. TRAIN - HALLWAY - CONTINUOUS Dick explodes out of the door and runs down the hall. He crashes into a waiter who is walking down the hall with a tray. The tray's contents are scattered everywhere. Dick races down the hall. Concerned passengers are cracking their doors open, murmuring about a gunshot. Dick bumps into a couple walking around the corner. Dick breaks past the couple. The female companion trips him. Passengers down this hall peek out of their cabin doors at the commotion. Dick scrambles to his feet and sprints down the opposite hall. MAN Stop or I'll shoot! Dick stops. A PLAINCLOTHES COP aiming a gun at Dick back walks up to him. PLAINCLOTHES COP You are under arrest. Get your hands behind your back. DICK There is a perfectly logical explanation for this. PLAINCLOTHES COP I'm sure there is. INT. STEPHANE'S PRIVATE CABIN - NIGHT The plainclothes cop ushers Dick into the cabin. a few passengers gather around the door, reacting at the sight of the body. The cop kneels over Stephane's body, examining it. DICK I swear, I didn't shoot anybody. She just .. Sort of collapsed. PLAINCLOTHES COP (skeptically) Uh huh ... witnesses say they heard a gunshot and momentarily you burst out of this room. He notices the gun on the floor and picks it up by a finger. He sniffs it. He wrinkles his nose. DICK Daniel Casabona, he framed me. I swear. And she's not dead, she's faking it. PLAINCLOTHES COP If he framed you ... and she's faking it ... why is there a bullet hole that I'll wager matches bullets from this gun in her chest? DICK (stunned) What?? That's impossi - He moves towards the body. He stops, noticing the chocolates and the note on the floor. He moves towards them. PLAINCLOTHES COP (cocking gun) Don't come any further. INT. TRAIN - PRIVATE SUITE - DAY It's a private passenger car suite with huge windows and seating for at least eight. A MAN with a hat looks out of the window at the world whizzing by the train. The door slides open. A MAN with red hair enters. He closes the door and locks it. The man at the window looks at him. For the first time here we see his face, it's DANIEL. He's looking elegant wearing gloves, a long coat and a well coifed beard. The MAN with red hair is really EDWARD. Edward sits by Daniel. DANIEL Good to see you. EDWARD Likewise. DANIEL You dyed your hair. EDWARD Needed a disguise right? Always wanted to be a redhead. DANIEL Did you get the money transfer? We should have it before the chunnel. EDWARD Don't worry. It's all taken care of. I shot Stephane after Dick left like you told me, there's no way they could connect anything to us. The bullets will match the ones from Dick's gun, and as far as they will know, she was shot, not poisoned. DANIEL You positive? EDWARD I'm Positive. DANIEL Good. He pulls a silenced gun out from his suit coat and shoots Edward twice in the stomach. Edward slumps over. Daniel arranges him so he looks like he's asleep. He picks up the suitcase and adjusts his hat over his face. He rises and leaves. THE END
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