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- EXT. Hedgemsze cont.
- EMORY
- Therein lies the problem doesn't
- it? If I were to tell you what
- we wish of you and you were to
- refuse I'd be forced to resort
- to one of the more unpleasant
- facets of my job.
- CHRIS
- I wouldn't want that on my
- hands.
- EMORY
- No, I assure you, you would not.
- CHRIS
- Then let's talk price.
- EMORY
- We are aware of your going rates
- and are prepared to offer an
- additional fifteen percent per
- canvas in exchange for your
- alacrity and your discretion.
- The man continues to lead them deeper into the floral labirynth. Despite the many twists and turn, he moves without hesitation, confident in his direction.
- CHRIS
- Well fortunately for all
- involved, I'm known for both.
- EMORY
- Yes, we are aware of that as
- well.
- CHRIS
- Of course.
- They round another corner and enter a chamber dominated by a squat but intimidating man in a smartly tailored suit. A man who fancies calling himself the BARON.
- CHRIS
- Very dramatic.
- The Baron gazes at him over his overwrought nez-pince, feigning disdain.
- BARON
- This is the artist?
- CHRIS
- The fake(cooler word).
- BARON
- Pardon?
- CHRIS
- Counterfitter, forger, knock-
- off. A fake, not an artist.
- BARON
- The fake....I like it. No
- delusions of granduer to
- entertain or tortured soul to
- coddle.
- CHRIS
- You can entertain or coddle me
- all you want as long as you pay
- me.
- BARON
- A professional and a fake....I
- believe you're just the man I'm
- looking for.
- CHRIS
- What's the job?
- BARON
- Mass production.
- CHRIS
- The artist?
- BARON
- Various.
- Chris waits for more details in silence. With a silent command from the Baron, Emory leaves the alcove.
- BARON
- Suffice it to say I have a
- number of paintings, most of
- them missing, some of them
- altogether unknown, that will
- soon be reclaimed by those who
- feel more entitled to them than
- I.
- CHRIS
- How many?
- BARON
- Twenty-two.
- CHRIS
- Will I be working from the
- originals?
- BARON
- You will be provided with full
- sized photo reproductions of
- each piece but, if absoluely
- necessary the originals will be
- made available.
- CHRIS
- And when can expect my full
- sized photo reproductions?
- The Baron stops and gives Chris a look of disdain. He's led them to a dead end. Emory is there, waiting.
- BARON
- Do you know the easiest way to
- navigate a garden labyrinth?
- CHRIS
- I suppose I can just keep one
- hand on the wall and keep on
- walking.
- The Baron shakes his head...
- BARON
- Hedge clippers.
- Emory grabs a section of the the meticulously cut hedge and pulls it aside providing an exit.
- A limo awaits the Baron as he steps through the makeshift opening. Chris follows and Emory closes the opening behind them.
- BARON
- Am I correct in assuming we have
- an understandin?
- CHRIS
- Entirely correct.
- BARON
- Emory will provide you with the
- necessay materials as well as a
- means of contact. Until then...
- A DRIVER opens the limo door as the Baron approaches and enters. Emory retrieves a large plastic tube from the trunk of the car and hands it to Chris.
- Chris watches as Emory enters and the limo slinks away.
- Chris shoulders the long plastic tube and leaves on foot.
- INT. CHRIS STUDIO - DAY
- Chris removes the reproductions from their storage tube and looks through them:
- Landscapes, portraits, tableaus...an impressive collection.
- After some consideration he choses one of the landscapes, pins it up next to his canvas, and begins mixing paint.
- INSERT - THE LANDSCAPE PHOTO
- DISSOLVE TO:
- THE LANDSCAPE PAINTING hanging carelessly over the kitchen table.
- INT. CHRIS AND LISA'S APARTMENT - NIGHT
- Lisa gazes at the painting with a critical eye. Chris is in the kitchen preparing dinner.
- LISA
- Cezzane?
- CHRIS
- Think it will pass?
- LISA
- The workmanship is fine, but...
- CHRIS
- An undisvovered masterpiece.
- LISA
- That's pressing our luck a
- little? Unfiscovereds by the
- Old Masters are put under too
- much scrutiny these days..
- CHRIS
- Want to see the original?
- LISA
- Sure.
- CHRIS
- Too bad. This is the best I've
- got.
- He unrolls the working print and hands it to her.
- She's immediately struck by the photo and examines it closer on the table.
- LISA
- Where did this come from?
- CHRIS
- A new client.
- LISA
- Who?
- CHRIS
- A referal.
- Lias scowls, skeptical.
- CHRIS
- Remember Louis from Athens?
- LISA
- The frog?
- CHRIS
- Oui.
- LISA
- If this is real, it's. Little out
- of his league don't you think?
- CHRIS
- Are you implying it's little out
- of my league?
- LISA
- without someone to the the rails
- for you, yeah.
- CHRIS
- Relax, the man they're for is just as vested in keeping a low profile as I am.
- LISA
- Yeah, that'll help me relax.
- She rolls up the photo
- EXT. THE STREETS - DAY
- The fashionable tourist street terms with SHOPPERS and DINERS.
- Chris slows to a walk as he turns the corner onto the busy street.
- He makes his way towards an outdoor cafe, setting his sights on two WOMEN
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