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Leverage Main | When Darkness Falls

4x02 The Ten Li’l Grifters Job

[Beck Mansion, Hallway]

(Hammett walks through the halls, his gun drawn and pointed upward. He breaks down the door a darkened Den, the desk of which holds a body covered with a sheet. Hammett points the gun at a figure in the shadows)

Hammett: Out so I can see ya.

Nate: Okay, okay. It's not what it looks like.

Hammett: Looks like Morris Beck's been murdered. You're left holding the bag for it.

Nate (stepping out of the shadows): Maybe it is what it looks like.

[McRory’s Pub]

Lawyer: Morris Beck should be shot for this. In the last 10 years, three of the buildings he constructed have collapsed. (pulls out pictures) Supporting wall fell in Kansas. Foundation gave way in Atlanta. Crane collapsed in Milwaukee. Two comas, six paraplegics, several in traction, four fatalities.

Sophie: Oh, that's just awful. All those people.

Nate: Yeah, yeah, it's an old scam. Yeah, he underbids the contract, he uses cheap materials, unskilled labor to put up the building. And then when things go to hell, he's two jobs down the road.

Sophie: There must be some chain of responsibility.

Nate: No, no, listen. These guys, they never go to jail, never.

Lawyer: Beck designs the buildings himself. He personally supervises every job. Somewhere he has the original blueprints. He needs them for certification.

Nate: Well, yeah, and so he knows how to cut corners. What's the status of your lawsuit?

Lawyer: When I worked at McGann, McCoy and Baker, I had an army. I had assistants, paralegals, other attorneys. Beck got me fired. He is burying me in motions, fighting discovery.

Nate: Yeah, he's running out the clock, basically.

Lawyer: I am desperate. I need the original plans and schematics for my case by next week, or the suit gets dismissed. I need a miracle.

[Beckworx Lobby]

Potter: Yma Sumac... Nate: And, uh, D-Dexter Gordon. Masaari Global?

Sophie: We have a 10:30 with Mr. Morris Beck.

Potter: Oh, yes, here it is. Uh, right this way.

(Potter escorts them up a set of stairs. Eliot passes in a janitor’s uniform, pushing a trash container)

[Beck’s Office]

Hayley: Oh, come on, Tommy. Be nice. I just need two minutes.

Case: "Need" is a relative term, Miss Beck. This is another issue with your car?

Hayley: It's totaled, okay? And the cops are being totally frosty, and I totally wasn't drunk or anything. Daddy needs to fix.

Case: Well, I suggest you try to get a moment with him at the party.

Hayley: You mean the one where he's drunk and giving out stupid speeches every 10 seconds? Fail.

(Case looks behind Hayley at Sophie and Nate. Hayley turns to look as well)

Hayley: Oh, look, important people. Dull. (to Case) Tell daddy I'm taking the Aston.

(Hayley walks out. Potter steps forward and hands some papers to Case)

Case: Sumac and Gordon? Masaari Global? Tom Case. I'm Mr. Beck's V.P. of development. Mr. Beck --

Capriotti: I don't make threats -- I make promises!

(Beck and Capriotti step out of the inner office, Capriotti bumping into Potter forcefully)

Capriotti: You want to be on my good side, buddy. I promise you -- anybody can get got.

Beck: Apologies. Mr. Capriotti still thinks unions matter. Please. (gestures for Sophie and Nate to follow him) Potter! I went over those murder-mystery plans. It's too easy. Try it again.

Potter: Again? Sir, that took me six months!

Beck: Lock it up by tomorrow night, Potter. Don't disappoint me.

Potter: I'll have it for you in the morning, sir.

[Beck’s Inner Office]

Nate: Mr. Beck, if I may, Masaari Global --

Beck: Has fingers in pies across the near east, solid D.O.D. ties, and, as far as I can tell, exclusive security and construction contracts with guys who live in palaces. You guys try very hard to remain invisible, but I'm Morris Beck. I want to know something, I know it. And I know this is an area that Beckworx can benefit.

Nate: Let me ask you, can your firm handle construction in a remote desert locale? We're talking roads, palaces, bunkers.

Sophie: Someone who can be discreet. As you know, there has been a lot of unrest.

Beck: Trust me, nobody gets over or through a Beckworx wall. Here. (pulls up info on computer) Preliminary figures -- I took the liberty.

(Sophie rounds the desk to look over his shoulder)

Beck: We can begin planning an excavation inside of two weeks and complete our first milestone within a year.

Sophie: May I e-mail these quotes to my people for review?

Beck: Of course. What's the address?

Sophie: Oh. It's faster if I type it. (types address)

[Leverage Headquarters]

Hardison (singing): I feel like stealin', feel like connin', feel like taking some stuff today

(looks up at monitors, seeing information pop up)

Hardison: Ha ha. And we're in. Skeleton key on the way.

[Beckworkx Hallway]

(Parker sees information come up on her phone and knocks on the side of the trash container. Eliot stops and Parker opens the container enough to pick the lock on the Records door. Eliot opens the door and Parker goes inside. Eliot stays in the hall, cleaning the glass)

[Records Room]

(Parker walks over to a bank of servers and plugs in several flash drives)

Parker: We have the blueprints.

[Leverage Headquarters]

Hardison: We do not have the blueprints. We got... something. (looks at monitors) A whole lot of something, but no prints.

Nate: Okay, last 10 digits... File numbers?

Hardison: Documents. Need a 10-digit code for government work, but I'm hung up on the last 6.

Nate: GPS. GPS coordinates. Try that.

(Hardison uses his remote and pulls up a map on the monitors)

Nate: There you go.

(plan of Beck’s Mansion begins to twirl on the monitors)

Sophie: It's Morris Beck's mansion. He bought one of those little islands off the coast of Massachusetts.

Hardison: So you think the prints are in there.

Nate: It makes sense. He keeps the numbers on file at the corporate office, and the actual blueprints, he keeps at this house.

Eliot: It's limited access, miles out to sea. Zero cover on the entrance and the exits. Gonna take a week to prep.

Nate: What was that -- there was the assistant, Potter -- he was talking about something he had to prepare for tomorrow night. Anything come up about that?

(Hardison hits the remote and an invitation pops up on screen)

Sophie: It's a gala. That's great. The place is gonna be swarming with guests.

Eliot: Okay, that's fine for you two, but what about the three of us? How do we get in?

Hardison: Uh, excuse you. Do you not know my name? It's nothing to get on that list. I've been to the Oscars every year since I was 15.


(Parker is sitting in an audience wearing a tux)

Announcer: And the Oscar goes to... Halle Berry!

(the woman next to Hardison gets up and walks past him as the rest of the audience stands and begins to clap)

Hardison: Go ahead, girl. Go ahead, girl. I told you this was your night, baby. Yeah. Unh.

[Leverage Headquarters]

Eliot: Okay. Say we get in. Say we get the blueprints. How we get home, huh? Backstroke?

Nate: No, no, no. We're gonna use the guests as cover. Okay. Tell me about-tell me about this party.

Hardison: Beck throws this little shindig every year. He always invites his competitors who he spent the year crushing just to rub their noses in it. There's always some kind of competition involved. Last year, it was... What the hell is human chess?

Sophie: This year he's staging a murder mystery. All the guests have to come as a detective from literature. Fun!

Nate: Yes, yes. Now, okay, so, we are gonna move the heist to the mansion. We're gonna find the safe, Hardison's gonna spoof a key, and Parker's gonna lift the blueprints.

Parker: I've never been to a costume party.

Sophie: Now, that is just heartbreaking.

[Beck’s Mansion, Hall]

(people are teaming about, all dressed in period costumes)

Potter: Miss Sumac, so glad you decided to come.

Sophie: I would not have missed it. I love the detective stories! But you, you have no costume.

Potter: Oh, no, I'm, uh, Mannix. (lifting his tie) I decided, if I have to run the party, at least I get to dress up, right?

Sophie: Oh.

Case: Potter, you're supposed to be wrangling his daughter, not bending Miss Sumac's ear. Go. Go, go, go, go.

(Potter moves off)

Sophie: My ear was not bent, Mr. Case. But tell me, who are you supposed to be?

(Potter joins Hayley, who is dancing with a man in an old fashioned cop uniform)

Case: What? Oh. Uh, Bucket. Inspector Bucket.

Sophie: Dickens. Oh, yes.

Case: Uh, would you excuse me, Miss Sumac? I have a security issue.

Eliot: Hey, Sophie, why did you—


Eliot (to woman): Hey. (on comm)Why'd you have to dress me up like howdy doody?!


Sophie: Actually, Charlie Siringo was a real-life cowboy and a Pinkerton detective.


Eliot: Why couldn't you have picked me something normal, like Hardison?

Hardison: Excuse you? No way in the world I'd have picked Encyclopedia Brown as my co-- these ugly-ass penny loafers. You see –

Sophie: Hardy boys. You're the Hardy Boys, and Parker's Nancy Drew.

Eliot: Yeah, well, why did Nate get to pick his own gear?


Sophie: Because he's just a bit more of a whiny baby than the rest of you. This house is a bloody maze. Where is Nate?

Nate (coming down stairs): I'm right here.

Sophie: You promised me you'd take this seriously.

Nate: I did. I am.

Sophie: Look at this. This is a proper costume. Irene Adler, only woman smarter than Sherlock Holmes. That?

Nate: Ellery Queen, world's greatest detective. Okay, people, what are we looking at?


Parker: Well, Beck's daughter's having fun. And there's that union guy Capriotti.

(Hardison nudges Parker in the arm and gestures over his head)

Parker: Oh. 'And the island's totally off the grid. It has its own power plant.

(power flashes)

Parker: That's why the blackouts.

Eliot: Security's top-shelf. All the upper floors are locked up for the night.


Nate: Okay, what's our getaway?


Eliot: I'm still working on it.


Nate: All right. Let's go steal a murder.

(Nate and Sophie walk upstairs)


(Nate and Sophie begin dancing)

Sophie: You've been a bit edgy since we took this job.

Nate: No, I'm fine. I'm good.

Sophie: You're worried about the job. There's nothing special about Beck.

Nate: Well, no, there is nothing special about Beck. He's just another in a long line of corrupt son-of-a-bitches that, uh, you know, we take him out, another one pops up, just over and over again. Maybe, I don't know, maybe…

Sophie: What, maybe?

Nate: I don't know, maybe...

(Across the room, Beck walks in, obviously drunk)

Beck: Greetings, everyone! Greetings and bienvenue. Wilkommen. Welcome... to this year's gala. Or, as I like to refer to it, "Humiliation 101." Oh, hello, there, William. I'm amazed you'd show your face here after last year's unpleasantness.

William: You rigged that game, Beck. You know it, and so do I.

Beck: Well, awkward. Miss Sumac. Mr. Gordon. What a fantastic surprise, and excellent job on the costumes. I bet you're the only Irene Adler in the place. Look at them. Not one of them worth the cost of their costume.

Potter: Uh, l-ladies and gentlemen, ladies and gentlemen, it's nearly time for the festivities to start. Mr. Beck asks that all cells be handed to the security staff for the duration of the challenge. Thank you.

(people begin handing their cell phones in)

Sophie: Seems a bit much for a party game.

Beck: Cellphones have the Internet, search engines. These Simpletons will cheat. They'll use any trick to get the edge, Mr. Gordon. They all hate me, you know.

Sophie: A great man is known by his enemies.

Beck: Precisely, Miss Sumac. Only two kinds in the world, only two. The cattle and the people who like a really good steak.

Nate: I'm gonna go make a few phone calls... If I have to turn over my lifeline. (walks away)

Beck: Oh, and I've got to get into my costume. I'm afraid we're abandoning you, Miss Sumac.

Sophie: I will survive, Mr. Beck, but will you? Some of your guests seem very determined.

Beck: These plodders, I'm surprised if they can even spell their own name. Potter! Where are you?

Potter: Right here, sir.

Beck: Ah! Stay close.

(The two men walk away)

Capriotti: I know you.

Sophie: I'm sure you don't.

Capriotti: Yeah, you was in Beck's office. Foreign, ain't you? Doing some kind of offshore deal? (grabs Sophie’s arm) Stealing good union work away from regular folks?

Sophie (pulls away): Take your hand off me.

Capriotti: I'm just passing on some friendly advice. You don't want to be in bed with Beck. Guy like that makes a lot of enemies. Somebody's bound to get hurt.

Hammett: You might want to take a walk about now, Marco.

(lights flash)

Capriotti: Yeah. Yeah, sure. Come on, boys. (walks away with his men)

Hammett: Sorry about that.

Sophie: And you are?

Hammett: I'm Ray Hammett, Salem P.D.

Sophie: I'm sorry. I-I-I'm not familiar with that character.

Hammett: Oh, uh no. No, ma'am. Uh, I'm the real deal. Morris Beck pulls a lot of water with the city fathers in this town, so his events merit a police presence. Second year in a row I pulled the short straw.

Sophie: And so you, you, what, you stand in a corner watching like um, like a referee?

Hammett: Yeah, something like that. Only, um... I don't have to stand in the corner.

(Sophie and Hammett move out onto the dance floor and begin dancing)


Nate: Parker, Hardison, we're up. Eliot, I need that update.


Eliot: Next ferry doesn't leave till the A.M. They got one motor boat. This thing's an antique. It's never gonna make the trip.

Nate: Well, that's not acceptable.

Eliot: Well, I told you I needed a week to prep, didn't I?

Hardison: Nate, we got a problem.


Hardison: This place isn't just off the grid, it's in a whole damn time warp.

Parker: Definitely 1850s. Before the civil war.


Nate: It's old? That's the problem?

Hardison: It's prehistoric.


Hardison: It's totally analog, all manual. There's a junction box on every damn floor. There's no computers, nothing to crack, nothing to hack.

(Lights flash)

Hardison: And that is on my last nerve.


Nate: Hardison, what's the rule?


Hardison: Don't bring up a problem unless you got a fix. Okay, fine. Whatever. Um, oh. You know what? Uh, maybe... With what I got here, I can make a pulse map.


Nate: I'm sorry -- a what?

Hardison: A pulse map.


Hardison: I take my gear, attach it to the wiring, see what draws the most power by sending out some pulses. Maybe we can find the main control room.

(Hardison attaches wires to the control panel while Parker paces the hallway)

Nate: Yeah, or anything big, like a state-of-the-art safe filled with blueprints.

Hardison: Either way puts us back in business.

Nate: Well, see? Problem, solution.

(Parker paces off the hallway, measuring with her footsteps)

Hardison: This place is friggin' ginormous. It's gonna take me a while.


Nate: Then I suggest you get on it.


Hardison: He's got to be telling somebody what to do. "Get to it."

Parker: Oh, that's funny.

Hardison: He doesn't even know what a pulse map is. (looking at laptop screen) Okay, okay, two floors down, east corner. Parker, you're on. Go, go, go!

(Parker runs away)


(Parker moves through the kitchen staff, who are busy preparing food and drinks. She looks into the pantry to see Hayley and one of the security staff making out in a corner near a control panel)

Hayley: Hey, get out! Or join in.

(Parker walks back into the kitchen)

Parker: No safe, just a giant pantry with the master switch box and Beck's sweaty daughter in it. Next.


Hardison: Okay, hold on. Hold on, hold on. (checks laptop) Got you. Rear of the house. Second floor.

[Upper Hallway]

Nate: I'll take that one.


Hardison: No, w-wait. You put me and Parker on the safe search.

[Upper Hallway]

Nate: I'm closer. I'll take it.


(Beck is on the balcony, having changed his clothes but still obviously drunk)

Beck: Hey, attention. Up here. Hey! Thank you. After last year's human chess fiasco, there were a lot of sore losers.

[Upper Hallway]

(Nate and Parker approach from either end of the hall as Beck continues to talk)

Beck: Well, there always are. But I don't want you dimwits to think that I don't give you a fair shake.

(they glance toward Beck and see a guard standing in front of some French doors that lead to the balcony)

Beck: Tonight's challenge is a murder mystery.

Nate (mouthing words): I’ve got this.

Beck: At the stroke of midnight, someone will die.

Parker (mouthing words): No, I should do it. (mimes taking off her hat)

Beck: And one of you is the killer.

Nate (mouthing words): No. Me, not you.

Beck: Whoever solves the murder by dawn—

Parker (mouthing words): Fine. Oh, look! (dashes toward guard)

Beck: --will receive a check for $100,000.

(Parker grabs the guard’s hat and runs down the stairs)

Guard: Hey. Come back here!

(Nate walks further out into the hallway, coming to a stop opposite Beck, who is visible through the French Doors)


Beck: Just make it interesting--

[Upper Hallway]

(lights go out)

Beck: --for once. Please.

(through the French doors in lightning flashes, Nate can see Beck struggling with someone. There is a sound of a body hitting the floor)


(the lights go up, people scream. Beck is lying on the floor under the balcony, unmoving. Nate walks to the edge of the balcony and looks down)

Hayley: Oh, my God! He killed daddy! He killed daddy!

Sophie: No, everybody – (moves to block the approach to the body) everybody stay where you are. Everybody just -- just -- just stay calm.

Hayley: Stay calm?! He just murdered my father! Potter, call security!

Sophie: No, no, no. No, that won't be necessary. No. That's not necessary, because... Because... This is the challenge! The mystery has begun.

Potter: No, it hasn't. The victim is still alive. (pulls the victim forward)

Victim: Uh, w-well, yeah. I mean, I was hired to --

Sophie: Oh, silly. This is not Morris Beck. (kneels next to body and flops the arm) No! This is a dummy! (stands) Morris Beck is somewhere in the house, watching all of you.

Potter: But I spent hours hiding the clues. Do you know how long it took me to hide that pipe wrench in the library?

Sophie: All part of the smoke screen. Mr. Beck knew that you'd all think a simple murder-mystery party would be old hat. He wanted something fresh, something exciting. Mark my words! Somebody here (points to everyone) is the killer. No one is leaving until we find out who.

Hayley: But we all just saw that man.

(Sophie laughs. A woman pushes through the crowd)

Doctor: I'm a doctor. At least let me examine the body!

Nate (entering): No, no, no! Nobody touch the body! No, no. Back up. Back up. Instant disqualification.

Sophie: Everybody, my partner, Mr. Gordon, of Mystery, Inc.

Nate: Hello. Hello. (looking at body) Oh, so lifelike. Yes. It cost us a fortune.

(Nate and Sophie pull a table cloth from a nearby table and cover the body)

Case: Wait, wait, wait, wait, wait. This is preposterous. Mr. Beck would have informed me of any changes in the evening --

Sophie: Ah! And cheat you of your chance at the prize? You're a contestant, too.

Case: I-I am?

Sophie: Yes! You all are. Remember, somebody here committed this crime, and somebody here can solve this murder for $100,000!

(Eliot enters)

Nate: Ah! A colleague! The crime doctor. Yes. (pulls Eliot into the room) Yes, take a bow.

Nate: Now, what he's gonna do now is he is going to examine the body and then return with more clues.

Case: Yeah.

(Nate helps Eliot throw the body over his shoulder and Eliot exits)

Sophie: Gentlemen...

Nate: Good luck.

(Nate follows Eliot out)

Sophie: Good, excellent. Whilst Mr. Gordon and the crime doctor examine the body, I shall move amongst you and see who remembers what. Remember, anyone here could be the killer.

Hammett: Even you?

Sophie (laughs): Anyone, Detective Ray Hammett. He's a real-life detective from the Salem Police Department. Mind if I consider you a resource, Ray?

Hammett: Why not? Nice accent, by the way.

Sophie: Isn't it? And this one's real. Help me look after this lot, and there's another dance in it for you.

Hammett: Well, how could I say no to that? Mystery, Inc., huh?

Sophie: I'm an actress. It's a living. Let's mingle. Work, work, work.

(Hammett bends where the body was and touches the blood on the floor. He takes out his phone and snaps a photo)

Hammett: Yeah. Work... Work, work.


Nate: Okay, here, here.

(clears the desk, Eliot lays the body down)

Hardison: Wait, wait. What the hell's going on down there?


Hardison: Nate killed somebody?


Eliot: No, Nate didn't kill somebody. You didn't, did you?

Nate: Of course not.


Parker: You'd tell us, though. Wouldn't you?


Nate: Yes, Parker, I would tell you if I murdered the mark.


Hardison: But he is dead, though, right? I mean, Beck is dead?


Eliot (checking the body): Yeah, he's dead. Somebody snapped his neck.

Nate: So it wasn't the fall?

Eliot: Unh-unh. That wouldn't happen on impact. It's radial. It's all torque. He was dead before he hit the ground.

Nate: Why? I mean, what possible gain would he have by doing it now, in front of all those witnesses? I mean, what's that about?

Eliot: You're claiming someone else was on the balcony?

Nate: Yeah, 'cause I – (looks at Eliot) What do you mean "claiming"? Guys, here's how we're gonna play this. Hardison, Parker, I want you to keep searching for the safe. Sophie, you're on crowd control. No one leaves the ballroom until we secure the blueprints. Eliot will –

Eliot: Eliot's, what, Eliot gonna bust your ass out of jail -- again?

Nate: Listen, nothing's changed. We still have a job to do.

Eliot: Screw the job, Nate! This guy's dead. Somebody killed him. Pretty soon, folks are gonna start asking questions. There was over a hundred people at that party, including a cop, who, by the way, saw you. Your fingerprints are all over this.

Nate: And your point is?

Eliot: The point is, if we don't solve this murder, you're cooked. You get that?

Nate: Yeah. I get that.

Eliot: Okay. Forget the job. Forget the blueprints. If you didn't kill this guy --

Nate: "If"?

Eliot: If you didn't kill this guy, then you're the only witness. You better solve this murder, Nate.

Nate: Or?

Eliot: Or you're gonna take the fall.


(knock on door)

Hammett: Open up! Salem P.D.

(Eliot covers the body and moves to the door, opening it and moving into the hall)


Eliot: Yeah?

Hammett. Detective Hammett? I need to see Mr. Beck.

Eliot: Sorry. No can do.

Hammett: What part of "Detective Hammett" aren't you getting, pal?

Eliot: Well, he's not here. And he told us not to tell anybody where he was. And he pays the bills.

Sophie (walks up): There you are. I need you to come to the ballroom with me, if you don't mind.

Hammett: Listen, Miss Sumac --

Sophie: Yma.

Hammett: Yma.

Sophie: I need you to come with me, detective. One of the "guests" has some information for you. (pulls him away)

Nate: Good work, Sophie.


Nate: Keep him busy till we get through this.

Eliot (reenters room and locks the door): All right, one good thing. Killer's got the same problem we do -- No way off the island till the morning.

(Nate stares thoughtfully into the distance)

Eliot: Nate? Can you hear me?


(through the French doors in lightning flashes, Nate can see Beck struggling with someone)


Nate: Eliot, I need you to help me find the killer.

Eliot: And how do I do that, exactly?


Eliot: This is a bad idea. The way I get information out of guys is usually loud and messy.


Nate: Tonight you're a grifter. Adapt.


Eliot: Yeah, when this is over, me and you are gonna have a little talk. Just tell me what he looks like.

Nate: Medium build, dark jacket, short hair.

(Eliot looks around the room and spots Capriotti)

Eliot: Bingo.


(Nate paces restlessly)


(through the French doors in lightning flashes, Nate can see Beck struggling with someone, something bright is seen in an inner pocket of the assailant)


Nate: Now, I want you to check his inside jacket pocket for something shiny.


Eliot: Excuse me. (taps Capriotti on the shoulder)

Capriotti: Yeah.

Eliot: You're Capriotti, right?

Capriotti: What's it to you?

Eliot: You met Miss Sumac. Correct?

Capriotti: The foreign chick? Nice rack.

Eliot: The way you put your hands on her, that doesn't happen if I'm in here.

Capriotti: That a fact?


Nate: Eliot, what are you doing?


Capriotti: That's funny. 'Cause I was thinking about putting my hands on her again. Real friendly like. Got something to say about it... Cowgirl?

Eliot: Yeah.

(Eliot punches Capriotti in the solar plexus, then hits him a few more times. He checks the inner pocket and lets Capriotti fall to the ground)

Eliot: It's a flask. (to other guests) It's all -- it's all part of the show. How you doing? Good sport, there. (to Capriotti’s men) Thank you. (to comm)Is that the guy?


Nate: I don't know. Capriotti -- he hated Beck for cheating the unions. He threatened him... I don't know. I don't know. It's not enough. We can't eliminate him, but I would bet on someone who knew Beck better, someone who had a personal beef with him.


Eliot (looks at Case): Like a coworker?

Nate: Try not to assault this one, Eliot.

Eliot: Messy and loud, Nate. I told you -- adapt.


Hardison: Damn blackout. Prehistoric wire monsters. Nate's killing folks. I did not sign up for this.

Parker: Nate didn't kill anyone. He said.

Hardison: Still, well, I hate this house.

Parker: This place reminds me of my first grab. Some lady's house in the Philippines, it was like a palace. She had all these shoes.

Hardison: These are the last two boxes, man. They don't hit, we out of options.

Parker: There's something weird about these hallways.

Hardison: Weird? What? Wait -- weird, how?

Parker: It's like the dimensions are off.

Hardison: What you mean, the dimensions? What?

Parker: Yeah, do you get that thing, you know, when people freak out in tight spaces?

Hardison: Claustrophobia?

Parker: Mm.

Hardison: No. Baby girl, if there's anybody who doesn't need to worry about claustrophobia, it's y—

(Hardison looks around, but Parker is gone)

Hardison: Uh... Hello? Par-- Woman? People, I lost Parker. (looking in doors to find her) Damn it, Nate, she's not on comms. Parker?


Nate: Eliot will find her. That's his job.


Nate: Your job is finding the safe.

Hardison (still looking): Parker! Come on, girl! Somebody better do something.


Sophie: If this doesn't go well, we could all lose our jobs, and Mr. Beck, he was very explicit that no one --

Hammett: Listen, Miss Sumac --

Sophie: No -- Oh, please. "Yma."

Hammett: Yma. All right, I'm going to level with you. I think Beck is dead.

Sophie: No, no, no. This is all just part of the game.

Hammett: Then explain to me why I found blood, real blood, on the floor where he fell.

(lights flash)

Sophie: Oh, my God. You actually think he might be dead.

Hammett: I don't know. I know something's wrong. I'm gonna figure out what it is. (looks at phone) Look, I need you to stay close. Because if this thing goes bad, I want you out of harm's way.

Sophie: Okay, Ray. Whatever you say.


Eliot: Hear that, Nate? (pours out drink)

Nate: Case fit the description. Go check his pocket.

(Eliot walks over and sits down next to Case)

Eliot: Boy, that Beck. He likes to make people sweat, doesn't he?

Case: Switching the evening's events without notifying me? The man's a total ass.

Eliot: I need a drink.

Case: So do I.

Eliot: Want to join me?

Case: Yes, please.

Eliot: All right.

(they move toward the bar and Eliot pushes Case over a chair)

Eliot: Sorry. I got it. (pulls back Case’s jacke) Smartphone?


Nate: No. I mean, maybe. Case was on the floor asking questions. He could have beaten me down the stairs, I suppose.


Nate: Stay with him.

Eliot (helps case up): What are you doing, man? There's chicks here.


Hardison: Come on, now, girl. I'm about tired of looking for –

(Hardison rounds a corner and finds a guard waiting for him)

Hardison: Ha! What's happening? That's nice. I like the cut on that. You –

(Hardison puts his hand up for fist bump, but the guard just looks at him)

Hardison: No. Okay. I'm not supposed to be here, huh?

Guard: Mnh-mnh.

Hardison: Right. You're not gonna let me go.

Guard: Mnh-mnh.

Hardison: That's cool. That's cool. I got an invitation right here. Man, that suit is GQ smooth. I like that. You should do that. It's...

(Hardison hits the guard with his case and the guard falls)

Hardison: Whoo! Down!

(Hardison turns a corner and comes up on a dead end)

Hardison: Come on! I hate this house!

(the guard gets to his feet but before he turns the corner, someone grabs Hardison and pulls him backward)

[Secret Passage]

Hardison: Parker, where are we?

Parker: See? I told you there was something weird about these walls.

Hardison: Wait, Par—(knocks on wall) Parker, the comms can't get through here, and--and secret passage-- What, is that music?

Parker: Oh, you hear that, too?

Hardison: Oh. We must be underneath the party. Hey, look. Obviously, I'm real happy that you're okay, right? But you couldn't at least pop out, let a brother know? I mean, what was up? What were you doing?

(Parker opens a door to reveal the room with all the blueprints)

Case: Morris Beck is a vampire.


Case: Sometimes I wish someone would put a stake through his heart. I'm not kidding. A real stake.

Eliot: Hear enough?

(through the French doors in lightning flashes, Nate can see Beck struggling with someone, something bright is seen in an inner pocket of the assailant. A ripping sound is heard)


Nate: Eliot, check his jacket for rips.


Eliot: I'm not gonna lie to you, man. This is gonna hurt for a second.

Case: What is?

(Eliot slams Case’s head on the bar)

Eliot: Sorry. I'm adapting.

(Eliot lowers Case to the floor and checks his jacket)

Eliot: There's no rips, Nate.


Nate: No rips.


(Hardison exits from the secret passage onto the balcony)

Hardison: I found Parker, y'all. And we got news.

Parker (follows Hardison): Yeah. (closes passage) This house is full of secret passages. You just have to pull on a wall lamp.

Hardison: Oh. And we found the safe and the blueprints. So we are officially done.

(Eliot steps into the hall beneath them and looks up)

Eliot: Yeah, I'm afraid not. But, yay, Parker's back. That's not exactly good news.

Parker: What? Why? This proves anybody here could have killed Beck.

Eliot: Yeah, that's right, including Nate.


Nate: Okay, quiet, quiet!


Nate: Quiet, everybody. Quiet. Just...Just...


(Nate takes out his earpiece and sets it on the desk next to the body)

Nate: Goodbye, my little friends.

(lights flash)


(Sophie and Hammett enter the room, Hammett holding his phone up as if searching for signal)

Hammett: Damn it.

Sophie: What is it? No signal?

Hammett: No. Um...

(Hammett guides Sophie into the library and closes the door)


Hammett: I just wanted to get you alone.

Sophie: Hmm. Nice thought. Though technically, I'm still working. But maybe I could make an exception.

Hammett: Do you really think I'm this stupid?

Sophie: I don't know what you mean.

Hammett: Nothing. Just that pretty sure you've been lying to me this whole time. Which means you're not an actress trying to keep her gig. Which means you're in on it.

Sophie: In on what? Ray, I really don't --

Hammett: Yma Sumac was a singer in the '50s. "Yma" -- might want to learn how to pronounce it. I looked it up. Along with a couple of other names I think you might know.

Sophie: Well, yes, I... My mum was a really big fan.

Hammett: Save it. I also took a picture of Mr. Gordon, and I sent it to Interpol. They say he's a guy named Nathan Ford. Grifter, thief, ex-con. Bad guy.

Sophie: You've got this all wrong. (sits on a sofa) I've never heard of this Ford person in my entire life.

Hammett (sits next to her): Wow, you're really good. Now explain to me why there was real blood on the floor, or why you're trying to stop me from seeing Beck's body.

Sophie: I never saw any blood, Ray. My mother named me Yma after her favorite singer. I've worked for Mystery Incorporated for all of three weeks, and I can't (puts her hand on his thigh) believe you think I'm a killer.

(Hammett snaps handcuffs on Sophie)

Sophie: Ugh.

Hammett: It's like you really believe what you're saying. (fastens handcuffs to sofa) Now, you're gonna sit here, you're gonna be quiet... (pulls gun and cocks it) And I'm gonna go deal with your partners.

Sophie: Nate. Hammett's on his way back to you.


Sophie: Nate. Nate?!

(Nate’s earpiece is still lying on the desk)


Sophie: Bugger!


(Nate sits in the shadows, looking out the window)


(through the French doors in lightning flashes, Nate can see Beck struggling with someone, something bright is seen in an inner pocket of the assailant)


(Nate looks up and goes to put his earpiece on)

Nate: Okay, guys. I got it. (sits back in chair, in the shadows) I know who killed Morris Beck.

(Hammett kicks in the door and enters, pointing his gun at Nate)

Hammett: Out so I can see ya.

Nate (stands): Okay, okay. It's not what it looks like.

Hammett: It looks like Morris Beck's been murdered. You're left holding the bag for it.

Nate (moves into the light): Maybe it is what it looks like.

Hammett: You know your rights, don't you?

Nate: Yeah. Yeah. I-I do. Absolutely I do. But, ah, I did not kill him. I-I think I can tell you who did.

Hammett: Go ahead. I got nothing but time till morning.

Nate: Okay. Who killed Morris Beck? Well, Beck arrives at the party drunk. He does this every year.


Beck: Greetings, everyone!

Capriotti: You don't want to be in bed with Beck. Guy like that makes a lot of enemies.

William: You rigged that game, Beck. You know it, and so do I.

Case: Sometimes I wish somebody would put a stake through his heart.


Hammett: So nobody liked the guy. So what?

Nate: Yeah, so, motive. I mean, everyone in the house was an enemy of Beck's.

Hammett: And you're enemy number one, Nathan Ford. Ex-convict. Arrested five years ago for making threats against his employer, I.Y.S. Insurance. Sounds to me like somebody's got an ax to grind against a C.E.O. You killed him.

Nate: Believe me, there are moments where I definitely could see him dead. I wouldn't do it. Someone would. Someone did. Someone did it in the dark and got away fast.

Hammett: All right, just for laughs, where did they go?

Nate: Secret passages.

(Nate turns a wall lamp and a door opens in the paneling)

Nate: They run throughout the house. See, the thing is, whoever did this knew, knew that Beck would be drunk. And he gives his speech on that balcony every year.


Beck: At the stroke of midnight, someone will die. And one of you is the killer.

Nate: Only this year, during a blackout, he loses his balance, he falls. Only this year, during a blackout, he loses his balance, he falls. He breaks his neck.

(through the French doors in lightning flashes, Nate can see Beck struggling with someone, something bright is seen in an inner pocket of the assailant. Lights come up and Beck is on the floor, unmoving)


Nate: Tonight was a mistake. I'm not there, this thing plays like an accident.

Hammett: But you were there. Everybody saw you there.

Nate: But the storm wasn't. See, the blackouts, they always follow the lightning when the lightning strikes the island's power station. Lightning, blackout, lightning... Blackout.


(Nate standing in hallway, the lights go out)

Nate: This time, it was blackout...

(lightning flashes)

Nate: And lightning after.

(through the French doors in lightning flashes, Nate can see Beck struggling with someone, something bright is seen in an inner pocket of the assailant)


Nate: Did you know that there's a master junction box in the pantry? The killers did.


(Parker moving through the kitchen)

Hammett: The killers.

Nate: The killers, yes. That's right -- the killers. There were two of them.

(Parker enters the pantry)

Nate: One was to pull the master switch, the other was to do the deed.

(Hayley is in the corner making out with one of the security staff near a control panel)

Hayley: Hey, get out!


Nate: Two killers, a team.

Hammett: And who else knew about these passages? I don't think Beck was exactly printing that stuff on business cards.

Nate: Well, I'll tell ya -- Beck definitely, his assistant, maybe, some of the security staff, Mr. Case. Oh, and, uh, his daughter. Yeah. His daughter. You know, she's spoiled. She's rich.


Hayley: It's totaled, okay? And the cops are being totally frosty. And I totally wasn't drunk or anything. Daddy needs to fix.


Nate: She's a lot smarter than-than most people think. And, you know, she's used to getting her way, and her dad is in this financial bind, you know, what with the lawsuits and the union problems and all that stuff. So she, she's trying to get her hands on the fortune before he, daddy, blows through it.


(Hayley is sits on a couch, a man hands her a drink and sits next to her, talking in her ear as she smiles, then laughs)

Nate: So she finds herself a lug. She seduces the lug. She convinces him that it'd be great to come up with this plan and everything against dear old dad. The lug goes for it. She even tells him that maybe even after all this, they could be together.

(Hayley takes the man’s hand)


Nate: So, she shows the lug the secret passages and everything. She goes to the kitchen, she pulls this switch, creates a blackout. The lug kills Morris Beck. I mean, the whole thing was just perfect.

Hammett: Except you're there.

Nate: I... I was there, but I know I didn't do it. And the killers, they know I didn't do it. Detective, can I ask you a question? May I please see your badge?

(Hammett pulls his jacket to one side to reveal his badge pinned to the inside of his jacket)

Nate: You see, I was there. And I saw that the killer had inside his jacket a shiny metal object. It was your badge.

Hammett: Yeah. Well, I-I got to hand it to you. You really got me nailed.

Nate: Well, I'm glad you agree.

Hammett (points gun at Nate): What's to stop me from plugging you right now? Everybody saw you there. Once they find out Beck's croaked, who do you think they're gonna believe?

Nate: You know, you're right. It's… it's a safe play. Just one problem.

(lightning flashes and the lights go out. Nate pushes the gun away and escapes into the secret passage)

[Secret Passage]

(Nate runs through the passage and comes up on the room where Parker and Hardison are gathering the blueprints)

Nate: Let's go! Eliot, we need the getaway now!

(Nate runs out of the room. Hammett is also in the passage, and sees Hardison and Parker running after Nate. He fires at them)


Hayley (entering room): Ray! What the hell is with the shooting? I swear to God, if you mess this up --

Sophie: Oh, dear. Someone's been a very naughty girl.

(Sophie hits Hayley in the head with a vase. Hayley falls to the floor. Case walks in)

Case: Miss Sumac, please don't tell me this is more of your "Mystery Night."

(Sophie smiles at him)


(Nate enters the Library through the secret door. He sees the empty handcuffs attached to the sofa. Hearing footsteps from the secret passage, he quickly turns out the light just before Hammett enters the room)

Hammett: All right, Ford. I got one bullet left. It's got your name on it.

(Nate hits Hammett with the wrench and Hammett falls to the floor)


Potter: Do you know how long it took me to hide that pipe wrench in the library?

(Nate pulls Hammett’s phone from his pocket and sits down in a chair, dialing)

Nate: Detective Bonanno? Nate Ford. Yeah. Have I got a story for you.

[McRory’s Bar]

Case: Morris Beck was a great businessman and a great humanitarian. That his own daughter is responsible for his murder is, well, "horrible" is the word.

Reporter: What happens to Beckworx, Mr. Case?

(Sophie mutes the television)

Lawyer: I'll tell you what. You pay out $60 million to my clients and then straight into receivership.

Sophie: Case is playing his part well considering how much he hated the man.

Nate: Yeah, well, he got a hundred grand for solving the murder of Morris Beck. I'd say he's feeling pretty good.

Sophie: $100,000 is a pretty good incentive.

Lawyer: I don't know what to say. (picks up blueprints) Thank you.

Nate: You're welcome.

Lawyer: Bye.

(the Lawyer leaves. Nate drains a glass and pours himself more alcohol)

Sophie: Not necessarily the best way to celebrate a win.

Nate: There's good wins, and there's not so good. (takes a drink)

Sophie: Not having to stand trial for murder seems like a good one, though.

Nate: Maybe. It's a good thing they can't nail you for what's in your mind.

Sophie: Well, people think all kinds of things. For example, I think I'm very relieved that you're not a killer.

Nate: Really? Oh, you say that now, huh? I mean, there was a second where each of you thought that maybe I might have done it, you know? Even you. (takes another drink)

Sophie: And you think what? That somehow means we don't trust --

Nate: No, no, no. It's just -- it's, you know, just kind of hard to miss that. (drinks more)

Sophie: Well, it just -- it was one moment. It was just a crazy moment. None of us thinks you're a killer.

(Nate pours himself another glass)

Sophie: All right. (stands up) It's your bar. Think. It's what you do.

Nate: Yeah. Thanks. Yeah, yeah.

Sophie: But while you're thinking, think about this. Are you climbing into that bottle because of what you think we see when we look at you or because of what you see in the mirror?

(Sophie walks out, leaving Nate alone)

The End

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