OCEAN'S EIGHT

by
Olivia Milch & Gary Ross

July 25, 2016

EXT. NICHOLS WOMEN’S PRISON - DAY
Early spring, sparse moments of green against the sterile
grey of the correctional facility. Straining against the
bleakness, small flowers start to bloom.
The gate clanks open.
DEBBIE OCEAN, 40’s, impossibly chic for having just done a
stint in the slammer -- suit pressed, hair shiny, struts out.
Her gait suggests an unpleasant if not untenable sojourn.
She greets the world as if it has been waiting for her,
allowing herself a moment of digestion -- her posture
relaxes, she exhales, she closes her eyes.
She hears before she sees the waiting engine of a classic
Mercedes, ‘55, baby Blue. LINUS (Matt Damon) drapes a single
hand on the steering wheel but it’s a forced nonchalance that
could never come close to its owner. Danny Ocean Lite.
LINUS
Deb...
Debbie keeps walking. He cruises up next to her.
LINUS (CONT’D)
Where’re you going?
DEBBIE
(without looking back)
I have $35 Linus, I can go wherever
I want.
LINUS
I’ll give you a ride.
DEBBIE
(slows/turns)
He left you his car?
LINUS
No. Well -- he knew I loved it...
DEBBIE
That’s not the same thing.
LINUS
(seriously/intoned)
He would have wanted me to drive
it.
She rolls her eyes. Hot day. Long way to walk. Deb slows.
So does Linus. He REVS the car in neutral.
 2.

DEBBIE
Don’t do that, ok.
LINUS
Sure.
She crosses to the passenger’s side and climbs in.
INT. CAR - DRIVING - TEN MINUTES LATER
DEBBIE
When’s the funeral?
LINUS
Tomorrow at noon.
DEBBIE
Where?
LINUS
Really nice place...
(off her look)
Queens.
Linus changes lanes. Starts moving over toward the right...
DEBBIE
Where are you going?
LINUS
I-95.
DEBBIE
Why?
LINUS
We thought -- it might be a good
idea to see your folks.
DEBBIE
Who thought?
LINUS
You know...
DEBBIE
Eleven of you?
LINUS
Ten. Rusty’s in England.
Debbie reaches out and JERKS THE WHEEL crossing two lanes of
traffic. They head toward New York.
LINUS (CONT’D)
That is -- dangerous!
 3.

DEBBIE
We’re going to Manhattan.
LINUS
They’re not gonna like that.
DEBBIE
Anything else “they” want?
LINUS
As a matter of fact...
He doesn’t finish. Knows he spilled too much. Deb turns.
DEBBIE
What?
LINUS
Saul wants to tell you.
DEBBIE
Goddammit, Linus.
LINUS
He left you a note.
DEBBIE
Danny did?
Nods.
DEBBIE (CONT’D)
Let me see it.
LINUS
Well that’s just it. In the
confusion with him “passing,” and
clearing out the “effects” cause
we’re the ones who have to deal
with the “effects...”
DEBBIE
Where’s the note?
LINUS
We’re not sure.
DEBBIE
You lost it?
LINUS
It’ll turn up.
DEBBIE
You lost my dead brother’s note to
me.
 4.

LINUS
I know what it said.
Pause.
LINUS (CONT’D)
It said he doesn’t want you to do
it.
DEBBIE
Do what?
LINUS
The job.
DEBBIE
You know about that?
LINUS
Well not exactly. But the way he
was talking, it sounded pretty
clear...
DEBBIE
Jesus Christ.
LINUS
He was worried about you Deb. He
doesn’t want you to go back to --
you know...
They have come to a stop on the George Washington Bridge and
all at once, Deb FLINGS OPEN THE DOOR. She steps out into
bumper to bumper traffic heading toward Manhattan, leaving
Linus stuck in the car.
LINUS (CONT’D)
Deb. Wait. Please!
CUT TO:
EXT. NEW YORK CITY - AFTERNOON
Teeming city life. Blur and shocks of colors. Saul Leiter
come to life in a modern context.
INT. BERGDORF’S - DAY
Debbie peruses, approaches the cosmetics counter. The
salesperson is consumed with a COSTUMER. Debbie subtly grabs
a few bottles of face cream and continues looking, developing
an air of impatience. Once the salesperson finishes --
DEBBIE
Excuse me -- I’d like to return
these.
 5.

SALESPERSON
Of course. Do you have your
receipt?
DEBBIE
(demonstrating)
No but they’re unopened, haven’t
been touched --
SALESPERSON
I can’t accept a return without a
receipt --
DEBBIE
They’re sealed, brand new --
SALESPERSON
I understand but we have a strict
return policy and cannot accept --
DEBBIE
This is ridiculous. I bought them
a week ago.
SALESPERSON
Ma’am -- I need a receipt.
DEBBIE
Fine. I’ll keep them. Jesus. Can
I at least get a bag to carry it
all?
As the salesperson hands her a bag with a curt smile --
CUT TO:
EXT. PLAZA HOTEL - LATER
Debbie approaches with a Bergdorf’s bag full of products --
Bubble bath, face cream, lotion -- wearing an obviously
stolen pair of sunglasses.
INT. PLAZA HOTEL - LOBBY
A buzz around the reception desk. A clerk is checking out a
couple in their early forties. They have rolling luggage and
computer cases.
HOTEL GUEST
We’re checking out of room 2814.
Jeffery Crandall.
DIFFERENT ANGLE
Around the corner at reception desk, Debbie lurks pretending
to read a brochure.
 6.

FRONT DESK
Certainly, Mr. Crandall. We hope
you had a pleasant stay.
HOTEL GUEST
Terrific.
FRONT DESK
My name is Monica. If there’s
anything else I can do or arrange
transportation...
HOTEL GUEST
I think we’re all set.
FRONT DESK
(handing him the receipt)
Thank you for staying with us.
Debbie glances up as...
THE COUPLE
Wheels their luggage toward the door.
EXT. SIDEWALK
The Crandall’s climb into an Uber headed toward JFK.
INT. LOBBY
Debbie lounges back in a large overstuffed chair.
DEBBIE
(into the phone)
Hi, this is Mrs. Crandall, we just
checked out of 2814. Can I speak
to Monica, please?
(beat)
Oh, hi Monica -- thanks so much.
Something has come up and we’re
going to need the room another
night.
(a beat)
Oh, bless you. We’re just going to
grab quick bite. Could you get the
maid in there now?
(beat)
Thanks.
CUT TO:
INT. HALLWAY - PLAZA - CONTINUOUS
The elevator door opens. Debbie steps out, spots the maid’s
cart. Bingo. She heads off toward 2814.
 7.

INT. HOTEL ROOM - PLAZA - CONTINUOUS

The MAID fixes pillows. She looks up as Debbie enters.
DEBBIE
Hi. Sorry. Can you just finish
this later? I’ve just got to get
off my feet.
MAID
Of course. Sorry.
She gathers the rest of her things and hurries toward the
door.
DEBBIE
Wait.
She crosses to the maids cart and grabs a handful of
chocolates.
INT. BATHROOM - HOTEL ROOM - PLAZA - LATER
Debbie luxuriates in a bath with all of New York out a huge
picture window beside her. The lights glisten. The planes
glide by. She sinks a little lower in the warm water.
Closes her eyes...
CUT TO:
INT. TRENDY CLUB. NIGHT
CATE late 30’s, dressed in all black at a landing, hovering
above her club. It’s packed with kids and sweat. She
glances over at the bar.
A FEMALE BARTENDER
Is pouring Grey Goose into a tumbler. She catches Cate’s eye
who shakes her head. The woman, chastised, replaces the Grey
Goose and grabs a bottle of well vodka...
MOVING WITH CATE
She scans the floor: hormones and sweat. In the far corner
Lebron James is towering above the throng, dancing. Cate
descends the stairs and crosses to one of her “Bottle Girls.”
CATE
Did you get him yet?
BOTTLE GIRL
No. I will.
Cate looks at her with judgement: ”C’mon.” The girl grabs
her cell phone hurries across the floor.
 8.

CATE wanders toward the back of the club and spots a girl
smoking in the doorway to the alley. She crosses to her and
the girl immediately drops her cigarette, grinding it out on
the ground.
CATE
On a break?
SMOKER
Yeah.
CATE
How’s the line?
SMOKER
It’s pretty good.
CATE
Is it down the block?
SMOKER
(busted)
Not quite.
CATE
You know I need a long line right?
SMOKER
Sorry. I just got cold.
CATE
Here. Take this.
She removes her scarf, wraps it around the girl’s neck then
smiles. It’s a “get-the fuck-out-there smile,” but still a
smile.
SMOKER
Thanks.
ACROSS THE CLUB...
Lebron is seriously into the music when the Bottle Girl comes
up and tries to take a selfie. (The height differential is
problematic.) He squats lower and extends the camera...
CATE...
Watching it.
CATE
(to her bouncer)
Make sure she pushes that out now.
BOUNCER
Hashtag?
 9.

CATE
How bout our address.
AND SHE IS MOVING AGAIN, this time toward the VIP area where
a YOUNG MAN is holding court with three women and a bottle of
Dom. Heavily tatted and well toned. Cate glares -- he looks
up...
LUIS
(beat)
They said I could.
CATE
Who?
LUIS
The guy at the door.
CATE
Instead of buying-off my doorman
why don’t you pay your bill from
last time?
LUIS
(scared)
Ok.
CATE
Ok.
She turns to leave and gets a text. Cate glances down while *
she walks.
INSERT. CELL PHONE TEXT MESSAGE:
FROM JLBRD:
“Where is the fkng cemetery? 12
O’clock?”
SHE smiles walking away...
INT. PLAZA HOTEL SUITE - MORNING
Debbie wakes up to see Manhattan doing the same out her
window. Dawn breaks over the skyline as she rises,
stretches, and takes in the view -- her first good night’s
sleep in four years.
CUT TO:
BERGDORF’S
She enters the same revolving doors as she did yesterday,
disappearing for a beat...
CURTAIN WIPE:
 10.

AND SHE EXITS (TIME CUT)

Now dressed in a tasteful black suit with sensible shoes.
CUT TO:
A CEMETERY
Gravestones compressed in a long lens and stretching to the
horizon. A massive 747 lands in the background.
DIFFERENT ANGLE. CEMETERY
Black SUV’s roll through the gates.
INT. FUNERAL CHAPEL
Everyone is there. BASHER, Linus, SAUL, The MALLOY BROTHERS,
even YEN.
THE COFFIN IS WHITE TOO
With gold handles. A lovely touch of Vegas.
IN THE PULPIT
REUBEN (Elliott Gould) is eulogizing:
REUBEN
Danny Ocean lived a rich full life.
By any measure, he was a success.
There is more rustling and a few eye rolls. Reuben
continues.
REUBEN (CONT’D)
Whether in business, not all of
which we can discuss today...
A few sighs of relief.
REUBEN (CONT’D)
Or as a loving son, to Dennis and
Darlene.
Everyone turns to acknowledge DENNIS OCEAN, seated on the
left.
DEBBIE
Stares straight ahead. Doesn’t glance at her father.
REUBEN (CONT’D)
Or as a brother.
She looks up. Shakes her head: don’t you dare.
 11.

REUBEN (CONT’D)
(stumbles)
Who -- had a sister. As --
brothers do...
CUT TO:
INT. CHAPEL - LATER...
People are milling around outside the chapel. Debbie
approaches Saul (Carl Reiner.)
DEBBIE
Hello, Saul.
SAUL
Sweetie. Oh my gosh.
(kisses)
You look great.
DEBBIE
No I don’t.
SAUL
Well -- you made it.
DEBBIE
Yeah.
SAUL
Listen to me for a minute...
DEBBIE
Don’t.
SAUL
It killed him, Debbie. This life --
it killed him.
DEBBIE
He had a genetic valve disorder.
SAUL
Well it didn’t help. And it’s no
good for you either. Please don’t
do this.
DEBBIE
Do what?
SAUL
Whatever it is he wouldn’t tell us
you were gonna do.
Debbie smiles -- doesn’t respond. She leans over and kisses
Saul on the cheek.
 12.

EXT. CEMETERY
Hot day. Birds. She takes off her jacket. Funny how a
graveyard can feel like the country. Basher (Don Cheadle)
comes up beside her.
BASHER
‘ello love.
DEBBIE
You too?
BASHER
No... Not me.
She smiles at him.
BASHER (CONT’D)
Hear it’s good though.
DEBBIE
He told you?
BASHER
Just said it was “somethin’.” An’
that it was pretty amazing.
DEBBIE
He said that?
BASHER
Mmm. He said it was insane and
you’d end up back in jail but it
was pretty brilliant.
Sinks in.
BASHER (CONT’D)
You coming back to the house?
DEBBIE
Nah.
She motions toward the gang. He nods.
BASHER
Sure.
(beat)
One question.
DEBBIE
What’s that?
BASHER
(leans in/a wink)
Why’d you tell him, love?
 13.

CLOSE UP. DEBBIE

The one question she can’t answer. It lingers with her. He
gives her a kiss on the cheek and heads on his way.
CAR HORN
Two short beeps. Deb turns...
HER POV
The smoked window of a black SUV lowers revealing --
CATE
Blonde, stylish, hair perfectly messy. Her car radio fills
the graveyard.
INT. CAR
Deb climbs in the passengers side as Cate turns down the
music. Cate grabs her friend’s face. Big kiss on the cheek.
DEBBIE
Easy. I’ve been in the slammer.
CATE
Really? Hadn’t heard.
DEBBIE
Thanks. That was stressful...
CATE
I’m sure.
DEBBIE
Everybody trying to get me to go
straight.
CATE
Kind of cheeky. They’re crooks
too.
DEBBIE
No kidding.
Cate swings the car onto the expressway. Deb takes off her
shoes. Puts her bare feet on the dashboard and rubs them...
Deb puts her bare feet on the dashboard.
DEBBIE (CONT’D)
You get the credit line?
CATE
Not yet.
 14.

DEBBIE
Why?
CATE
Don’t know what it’s for.
(off her look)
Please don’t do that?
DEBBIE
Do what?
Cate imitates her expression.
DEBBIE (CONT’D)
Oh. That’s my “just spent four-
years in jail and my partner lets
me down face.”
CATE
I’m not your partner yet.
(cell phone rings)
Hello?
(beat)
I don’t care Jeffrey... No I don’t
want to talk to her...
(another beat)
‘Cause it’s not her job anymore.
It was her job until she got fired,
now it’s not her job...
(listens)
She can write me five letters,
she’s not getting her job back.
(beat)
Because she stole from me Jeffrey
and people who steal are not
trustworthy.
On that, she happens to lock eyes Deb who starts to laugh.
Cate can’t help it smiles too. Hangs up.
CATE (CONT’D)
I mean “normal” people who steal.
Not...
DEBBIE
Like professionals?
CATE
Yeah. Them.
INT. ABANDONED THEATER - DAY
The lights switch on, illuminating a huge empty space. It’s
gorgeous in its decay. Carved wood and peeling plaster.The
gold leaf is sporadic.
 15.

DEBBIE
This is great.
CATE
Try heating it.
She flips on some more lights.
CATE (CONT’D)
There’s a room for you upstairs.
DEBBIE
New club?
CATE
Maybe one day.
Deb looks around. More space than she’s seen in five years.
DEBBIE
Did you call Kendall?
CATE
She quit. Moved to Hawaii.
DEBBIE
(surveying the room)
What about Paige?
CATE
(stops)
It would honestly help if I knew
what all of this was for.
DEBBIE
I know... I know... I’ll tell you
tomorrow.
Deb deposits her bag, crosses to Cate. Gives her a kiss on
the cheek.
DEBBIE (CONT’D)
I’ll see ya later.
CATE
You just got here.
DEBBIE
I’ve been inside for five years.
I’m going for a walk.
She turns and heads up the aisle of the theater...
EXT. ART GALLERY - CHELSEA - NIGHT
Debbie walks down a familiar cobblestone street. Though she
seems composed, a rage grows within her as she approaches --
 16.

INT. KLAUS GUNTHER GALLERY - CHELSEA - CONTINUOUS

Debbie walks into mecca for the downtown art scene. KLAUS
GUNTHER makes Gagosian jealous. Sycophants, hipsters and a
lot of money. And in the center of it all stands Klaus
himself: undeniably handsome, just as oily, he wears a white
linen shirt unbuttoned to the jewlery. You should see
through this guy but you can’t. Debbie grabs a glass of
champagne from a waiter and crosses toward him.
KLAUS *
Is talking with a group of young women, when he spots Debbie
and shifts from charm to restrained terror. He makes quick
apologies and starts to leave...
DEB
Blocks his path.
KLAUS
(frozen)
What are you doing here?
DEBBIE
Patron of the arts.
KLAUS
I have a restraining order.
DEBBIE
Good.
She steps really close to him -- an intimate moment --
DEBBIE (CONT’D)
Do you know what a shiv is?
He feels something sharp against his ribs. Gasps --
KLAUS
Stop it --
DEBBIE
I made this one. Proud of it, too.
See -- it’s important not to melt
the toothbrush too much. That way
it keeps its length and the
strength. So when you stab, you
slice up and around.
Debbie drags the shiv up the front of his shirt, towards his
neck. To a bystander it might look like a flirtatious move
with a large toothpick.
 17.

DEBBIE (CONT’D)
Nice face. Inside you’re what we
like to call “a pretty girl” --
KLAUS
I’ll call the police --
Deb takes the shiv and slices up the front of his shirt,
shredding it. She pops the button on his collar, taking it
for a souvenir.
DEBBIE
Auf Wiedersehen.
Debbie strides out, still purposeful, while Klaus looks on,
terrified.
CUT TO:
INT. CHINESE TAKE OUT
All fluorescence and backlit pictures of the dishes. Debbie
stands at the counter -- draws a long breath of General
Tso’s. They hand her a white plastic bag.
INT. THEATER - LATE
It’s dark. A few safety lights are on. Deb enters the back
of the theater and crosses to a staircase on the side of the
stage carrying her take out.
UPSTAIRS LOFT SPACE
It used to be a rehearsal studio. Vast and open with various
bits of living area defined by loose furniture. It’s chic in
a very hard-to-define-kind-of-way.
DEB
Crosses to the kitchen area, fishes through drawers for a
plate and decamps at the small kitchen table.
CLOSER
She takes out the still-warm white containers and dumps them
on her plate. Can’t get to the chopsticks fast enough...
CATE (O.S.)
Is that all for you?
DEBBIE
(turning/mouthful)
Oh, hi. Want some.
CATE
No.
 18.

Cate’s wearing a silk chinese robe. She crosses to the

table. Sits.
CATE (CONT’D)
It’s late.
DEBBIE
Took a walk.
CATE
Where?
Deb doesn’t answer. They look at each other for a beat and
exchange five or six lines of unspoken conversation.
CATE (CONT’D)
Why would you do something like
that?
DEBBIE
I had to.
CATE
No, you didn’t.
DEBBIE
Closure?
CATE
Bullshit. Did he see you?
DEBBIE
Oh yeah.
Debbie takes the shiv out of her purse and shows it to Cate.
Toothbrush on one end, lethal blade on the other.
CATE
Jesus.
(beat)
Did you “use it?”
DEBBIE
Just a button.
She puts Klaus’ button on the table. Cate laughs. They
share the moment. Then suddenly...
CATE
(calls out)
Hey, Luis... You gotta go.
Cate doesn’t turn as the young man from the club enters with
pants but no shirt. Even more muscles. Even more ink.
LUIS
I can wait.
 19.

CATE
That’s ok. I’ll see you soon.
LUIS
Seriously.
CATE
(turns)
Seriously. Go.
Luis gets the hints and grabs his shirt, heading downstairs.
DEBBIE
Does he have to go?
Cate laughs. Deb slides over the carton of orange chicken.
CUT TO:
EXT. EAST VILLAGE - THE NEXT MORNING
The place is waking up from the night before. MEN in ORANGE
SUITS hang off the back of trucks collecting trash.
CLOSE UP. DEB
She’s wide awake. Cate’s “guest room” is a partitioned space
filled with boxes of bootlegged vodka. A certain larcenous
charm with a stunning view of the Manhattan Bridge. Deb sits
up in bed. Stretches (freedom). She stares out the window
at the building across the alley -- seems to pause...
FLASHBACK. OCEAN’S ELEVEN (TRACKING SHOT -- ORIGINAL
FOOTAGE)
ZIRGA (CARL REINER) AND TERRY BENEDICT (ANDY GARCIA) walk the
casino floor with their respective henchmen behind them.
They pass.
DANNY...
...who glances up from his chair at the video poker machine.
THE SHOT CONTINUES TO SUDDENLY INCLUDE...
DEBBIE...
...who stands at the progressive slots holding a bucket of
silver dollars (STILL OCEAN’S ELEVEN -- WE JUST HAVEN’T SEEN
THIS BEFORE.)
Deb clocks Benedict as he passes, feeds a dollar token into
the slot, and pulls the huge lever. Wheels spin...
DEBBIE
(jackpot)
OH MY GOD...
 20.

INT. SUBTERRANEAN CORRIDOR

Benedict strides down the hallway with two employees in
tow...
BENEDICT
That’s not supposed to hit ‘til
December.
EMPLOYEE
I understand sir.
BENEDICT
Did you check the machine?
INT. HOLDING ROOM
Bright neon. No frills. Deb sits on a hard plastic chair.
Turns... Looks at Benedict...
DEBBIE
(as he enters)
Where’s my money!
Benedict pauses at the door. Takes her in.
DEBBIE (CONT’D)
I drove here from Bakersfield.
SERIES OF SHOTS. OCEAN’S ELEVEN
The swat team carries out the money.
The van arrives at the airport.
The team meets at the Bellagio fountain.
DEBBIE (O.S.)
Bullshit, Danny!
SHOT. DEB
She yells into a pay phone.
DEBBIE
“Pulled a lever”? You think that’s
what I did? I “pulled a lever?”
(beat)
Yeah, and if I hadn’t you would
have had Terry Benedict up your
ass. I bought you time Danny. I
deserve the same share as everybody
else...
(beat)
No! Don’t you dare hang...
(beat/quieter)
...up. Asshole.
 21.

EXTREME WIDE. DOWN ANGLE. CENTRAL PARK - DAY (PRESENT)

It’s a massive landscape. People stroll. Boats sail. Kites
fly. It would take a moment to pick out the two women
heading toward the camera.
DEBBIE
Honestly when I tell you, it’s
going to sound a little...
CATE
Crazy?
DEBBIE
Maybe. But there aren’t any holes.
I’ve gone through it a million
times.
ANGLE. WOODED PATH
They stroll toward the camera in the dappled sunlight. As
they leave the narrow path, Central Park opens in front of
them. Fifth Avenue looms. Deb stops -- turns toward Cate.
CATE
What?
Deb motions in front of her.
CATE (CONT’D)
Trees?
Deb points to...
THE MET
Rising up above the treeline.
CLOSE UP. CATE
She cocks her head slightly, takes in the museum. Then she
reaches for Deb’s hand and walks her slowly over to a park
bench. They sit together.
CATE
(deep breath/softly)
Look -- I have a friend with a
house on Fire Island. He’s in
Europe for a few months and the
place is just sitting empty. You
could go out there and stare at the
water and just...
DEBBIE
This works, Cate.
 22.

CATE
I’m sure.
DEBBIE
It really works.
CATE
(pause)
That’s a museum, Debbie. And they
care about the things inside it.
That’s what makes it a museum.
DEBBIE
We’re not robbing the museum.
Pause...
DEBBIE (CONT’D)
We’re robbing someone in the
museum. The museum is just the
decoy.
She looks back at it...
CUT TO:
INT. MET - AMERICAN WING
They mingle with tourists ambling by the Whistlers and
Winslow Homers. John Singer Sargent’s ‘Madam X’ looks down
as they walk by...
INT. MET - MAIN FOYER
They stand in front of a sign next to the ticket booths. A
sign reads: “CLOSED THE FIRST MONDAY IN MAY.”
CATE
First Monday in May?
DEBBIE
Shh.
MONTAGE. MET BALL - FILE FOOTAGE
Years of haute couture on display. The richest models in the
world wear the most expensive and glamorous fashion. They
glide in slow motion past a million strobes as Debbie
explains:
DEBBIE OCEAN (O.S)
It’s the biggest event of the year.
Hundreds of the richest people
gathered under one roof...
 23.

CATE
So...
CUT TO:
A HALAL CART
They eat a falafel. Deb gestures. Cate nods.
SERIES OF SHOTS. MOS (LONG LENS - FAR AWAY)
Through the bustle and traffic of New York, Deb explains ‘the
job’. In subways... Taxi’s... Restaurants... With
diagrams, gestures, and models made of salt shakers and sugar
cubes. Slowly, through it all, Cate’s body language subtly
changes. She begins, literally, to lean in until...
MET CAFE
They sit at a table caffeinating in the large open atrium.
CATE
Wow.
DEBBIE
Wow as in yes?
CATE
As in: I get it. It’s kind of
brilliant.
DEBBIE
I had some time on my hands.
CATE
It’s dangerous...
DEBBIE
No doubt. But that’s not why I
like it. This works.
CATE
(weighs it)
You know I don’t owe you anything.
DEBBIE
Just help me figure it out. Then
see how you feel. If you don’t
like it, you don’t have to do it.
You have an off ramp.
There is an irritating, irresistible quality that makes her
Debbie Ocean.
CATE
So what’s first?
 24.

DEBBIE
We need a designer.
CUT TO:
INT. CATE’S LOFT
They sit in front of the big screen with the documentary
playing. They review a large portfolio book of various
designers, their work enshrined in plastic.
CATE
So I thought about Galliano, but I
don’t think Anna’s gonna let him
dress anybody.
DEBBIE
Right.
CATE
There’s Largerfeld but it’s kind of
Dr. Strangelove. Not sure it’s the
right fit. But here, look at
this...
She spins the book. Hovers over it...
DEBBIE
Rose Weil?
(beat)
I know that name.
CATE
Huge in the 90’s. New Romantic
stuff. Edwardian collars. But...
(flips a page)
Hasn’t gone so well lately. She
owes the IRS 5 million dollars.
DEBBIE
Woah.
CATE
It’s bad. A lien on her assets.
Impounded her passport. The bank
seized her townhouse.
DEBBIE
She sounds perfect.
CUT TO:
INT. BACKSTAGE - FASHION SHOW
The name “ROSE WEIL” emblazoned on a wall.
 25.

After a minute ROSE WEIL, 40’s, flustered, lurches toward a

trash can, vomiting pre-show.
CATE (V.O.)
The show was meant to save her.
INT. FASHION SHOW - BRYANT PARK - EVENING
Amazonian women appear in outfits that suggest a labored
attempt at a Victorian theme -- high buttons, lace bodices.
CATE (V.O.)
If the new line doesn’t take off,
she could even be prosecuted.
There is a distracting murmur -- this is not going well.
Amongst the unimpressed celebrities, a worried group of
middle-aged, Mid-Western Men sit in the front row.
CATE (V.O.)
Got a credit line from an Omaha
Bank. The only ones who would
still loan her money...
They literally are soaked in sweat -- stare perplexed at the
runway at...
CATE
Tough way to get into fashion.
THE LAST MODEL
Strides out in a corset with over abundance metal buckles -
BDSM meets Pirates of the Caribbean.
She turns to the top of the runway to introduce Rose, but no
one appears. Finally, one of the models drags her on-stage
to take a bow before a half-empty tent.
INT. BACKSTAGE - FASHION SHOW - LATER
The silent break-down of a failed show: Naked models down
champagne, designer detritus covers the floor -- no one
scurries to pick it up.
Cate wanders through the room, searching for Rose. She
pauses at the sound of SOBS coming from the other side of a
closet door. Cate opens it to find a weeping Rose, sitting
on the floor, eating Nutella.
CATE
(beat)
It was gorgeous.
ROSE WEIL
(looks up/tear stained)
It was shite.
 26.

CATE
I think that’s a little harsh.
ROSE WEIL
“Derivative of myself.” That’s
what they say. Do you know what a
hell that is? Resenting who you
were because you’ll never be that
again --
(shovels Nutella)
How did I get here?
CATE
(sinks to the floor/gently)
You spent 18 million dollars in two
years. You had two house boats on
the Seine.
Cate takes her hand.
ROSE WEIL
(softly)
I know. And they were divine.
(a beat)
I’m old.
CATE
You’re not old --
ROSE WEIL
I’m old and --
(heaves)
I’m going to go to prison -- and
(heaves)
And then I’m going to be poor...
CATE
Not necessarily.
Rose looks up. Hmm?
CATE (CONT’D)
What if I could make all of this go
away. Even get your passport back.
Long pause --
ROSE WEIL
What do I have to do?
CATE
Dress Daphne Kluger for the Met
Ball.
Rose stares up her.
 27.

ROSE WEIL
Are you real?
CATE
Very.
ROSE WEIL
(means it)
You’re an angel.
Cate shrugs. She’ll take it.
CUT TO:
INT. PRESS CONFERENCE - DAY
PAPARAZZI FLASH -- As the glare recedes, a stunning face is
revealed like a developing photograph -- DAPHNE KLUGER, 30,
goofy and aloof and devastatingly charming. She’s been
famous for a while and she likes it. Daphne soaks up the
flash as the Chairwoman of the Costume Institute introduces
her --
CHAIRWOMAN
The Met Ball is all about grace and
elegance and refinement -- so
everyone can understand why we
chose Ms. Kluger to host it.
The crowd erupts in laughter, heads thrown back and shoulders
rising like a ballet of bobble-heads. Except for Cate and
Debbie, seated in the back row, straight-faced. A REPORTER
raises his hand --
REPORTER
Do you know who you’re wearing?
DAPHNE KLUGER
Right now?
(she looks under her shirt)
Under Armour?
REPORTER
No, who is dressing you?
DAPHNE KLUGER
I normally do it myself unless I’m
really wasted.
REPORTER
The designer --
DAPHNE KLUGER
Don’t you guys have something
better to worry about -- like
climate change?
(they’re not budging)
(MORE)
 28.
DAPHNE KLUGER (CONT'D)
I promise the moment we decide on a
designer you’ll be the first to
know.
ANGLE. BACK OF THE ROOM
Debbie and Cate exchange a look.
INT. CATE’S LOFT - DEBBIE, CATE, AND ROSE WEIL
They leaf through pictures of Daphne Kluger.
ROSE WEIL
Oh. She’s sort of divine. Lovely
bust.
DEBBIE
Sure.
ROSE WEIL
Maybe something simple. Just
velvet with no other...
DEBBIE
Maybe this.
She tosses an embossed photo on the table. Rose leans in.
CLOSE UP PHOTO. THE HARRINGTON NECKLACE
Over a fifty diamonds. Even the photo glistens.
ROSE WEIL
Oh my.
DEBBIE
It’s called the Harrington
necklace. Originally commissioned
for an American oil magnate.
Weighs over six pounds.
CATE
Texans.
DEBBIE
When he died they sold it back to
Tiffany’s who’ve kept it in their
vault ever since.
CATE
They never let it out.
ROSE WEIL
Oh. Then how do we...
CATE
They might let it out for her.
 29.

DEBBIE
This years theme is Starry Night.
A million jewels glittering in the
night sky.
CATE
And if you were to insist... On
behalf of Daphne Kluger...
ROSE WEIL
Ooooh...
Through all of her haze, Rose begins to get it...
ROSE WEIL (CONT’D)
It’s a lovely piece.
CATE
No shit.
CUT TO:
MACRO IMAGE OF A FLAWLESS DIAMOND (AS SEEN THROUGH A LOUPE)
It kicks prisms of light all over the frame -- perfect little
rainbows. OVER THIS -- IN HINDI:
AMITA
(This isn’t flawless.)
WIDER. BHALLA JEWELERY INC. STATEN ISLAND
AMITA (Mindy Kaling) holds a large diamond up to her loupe.
Her mother, elegant, glamorous, dripping in jewels, hovers
close by as she examines it. Behind them are half a dozen
other jewlers at a long work bench -- all Indian as well --
all family. There are glass jars of candy -- everywhere.
AMITA’S MOTHER
(It’s a good stone. What’s the
matter with you?)
AMITA
(I work here -- stop selling me.)
EXT. STATEN ISLAND FERRY
Debbie stands at the railing staring out over the water as
they head past Ellis Island.
DEBBIE (V.O.)
She’s like family. My dad used to
fence stuff through the store.
The island approaches...
 30.

INT. BHALLA JEWLERS - DAY

In Hindi:
AMITA
(This diamond is a K -- at best.)
AMITA’S MOTHER
(It’s an H -- )
AMITA
(You’re out of your mind.)
AMITA’S MOTHER
(I’m concerned about your vision)
AMITA
(This is piss yellow --)
AMITA’S MOTHER
(Why are you so vulgar. If your
father was alive...)
AMITA
(Grade it yourself!)
AMITA’S MOTHER
(This is why you have no husband.)
Amita looks up, with the loupe on.
AMITA’S POV -- THROUGH THE LOUPE
Debbie (highly magnified) stands out the window -- waving,
signaling for Amita to join her.
CUT TO:
EXT. STATEN ISLAND PROMENADE - MOMENTS LATER
Amita approaches Debbie --
AMITA
What’re you doing here?
DEBBIE
Sorry to hear about your pops.
AMITA
Yeah, thanks...
(re: her mother/sotto)
Sometimes I wish she’d join him.
(beat)
Sorry about Danny.
 31.

DEBBIE
Yeah well... I got something for
you. A job.
AMITA
I heard that didn’t work out too
well.
DEBBIE
Happens.
AMITA
What? You want to run some stuff
through the store?
DEBBIE
Little more than that.
(beat)
How long would it take you to make
8 pieces of jewelry? If the stones
are already cut.
AMITA
I don’t know. Six hours?
DEBBIE
What if I told you didn’t have to
live with your mother anymore?
Amita raises an eyebrow...
CUT TO:
EXT. STATEN ISLAND FERRY
Deb stands at the rail on her cell phone.
DEBBIE
(into the phone)
Yeah. She’s all good. But we may
have to put her up for a while.
Had a fight with her mom.
INT. CATE’S LOFT
A 23 year old GIRL (huge dreads and lots of tats) sits cross
legged in a knoll womb chair with an industrial looking
computer on her lap. Cate sits across from her staring as
she pounds away at her keyboard.
GIRL
(suddenly)
Wow.
CATE
What?
 32.

The girl doesn't answer but stays focused on her screen.

Cate leans forward, paying rapt attention.
DEBBIE
I am never taking the F train
again.
Debbie comes bounding through the doorway with loads of
energy.
DEBBIE (CONT’D)
(sees the girl)
Hi there.
CATE
Shh.
DEBBIE
What?
CATE
She’s “in.”
DEBBIE
In where?
GIRL
Is this what you mean? There’s
just a lot of vases.
Cate leans over and looks at her screen.
CATE
Yeah. That’s the Egyptian wing.
DEBBIE
Shes’s in The Met?
Debbie crosses over and looks.
CATE
(glancing at Deb)
Security cameras.
DEBBIE
Wow.
GIRL
Here’s some more. Just a lot of
pictures...
CATE
Kandinsky.
DEBBIE
Hi. I’m Debbie.
 33.

She looks up. Squints through the dreads.

GIRL
Nine Ball.
DEBBIE
What’s your real name?
GIRL
(shrugs)
Eight Ball.
DEBBIE
We use real names around here.
CATE
Can we talk for a minute.
PULLING HER AROUND THE CORNER
They tuck into the kitchen.
CATE
She’s one of the best hackers in
the world.
DEBBIE
I’m honored.
CATE
She has other clients. They don’t
know her real name either.
DEBBIE
She has other clients? Now?
CATE
Yeah.
DEBBIE
Did you tell her what her cut was?
CATE
‘Course.
High priced talent. They head around the corner.
RESUME - LIVING ROOM
Nine Ball continues to clack away, rocking back and forth in
a self-soothing kind of way.
DEBBIE
Um, Nine ball? Should I call you
Nine?
 34.

NINE BALL
Or Baller.
(beat)
You know, your footprint sucks,
right?
DEBBIE
What?
NINE BALL
Your footprint. If you want to
steal shit you gotta clean this up.
My little sister could hack you.
CATE
Oh. Cause we hired a guy who...
Nine Ball taps a couple of keystrokes and the lights shut
off. She taps them again and they turn back on.
CATE (CONT’D)
Gotcha.
DEBBIE
We’ll fix that.
NINE BALL
Awesome. I gotta jet.
She grabs her laptop and leaves the frame. Cate and deb
exchange a look.
DEBBIE
How old is she?
CATE
You don’t want to know.
CUT TO:
JACKPOT (TEN YEARS EARLIER)
Bells. Whistles...
DEBBIE
OH MY GOD!
INT. SUBTERRANEAN CORRIDOR
Benedict strides down the hallway with two employees in
tow...
INT. HOLDING ROOM
Bright neon. No frills. Deb sits on a hard plastic chair.
Turns... Looks at Benedict...
 35.

DEBBIE
(as he enters)
Where’s my money!
SHOT. DEB
She yells into a pay phone.
DEBBIE (O.S.)
“Pulled a lever”? You think that’s
what I did? I “pulled a lever?”
A BLACK JACK TABLE - LATER THAT DAY...
Debbie fumes in the “first base” position all the way to the
right of the dealer. She has a drink and stack of chips in
front of her.
THE DEALER...
Whisks cards across the table and pulls a 9. Debbie stands
with an 18. So does everyone else at the table. The dealer
flips her hole card and shows an 8 to total 17.
SLOW MOTION DEBBIE’S HAND
In one smooth move she reaches for her drink, and swaps her
stack of 5 red chips for 4 red and one black hundred dollar
chip underneath. If you blinked you’d miss it.
REGULAR MOTION
The dealer spreads out her chips and pays her $115, matching
her three reds and one black. A good hustle.
DEBBIE
Looks across the table to see...
CATE
Staring at her. She glances away at the eye contact. They
don’t know each other yet.
A NEW DEAL
Debbie gets a 14 and busts. No need to switch chips this
time. The dealer busts as well. Debbie looks back across
the table at --
CATE
Who does the exact same thing that Debbie did. Reaches for
the drink, switches out a stack of four reds for three reds
and a black.
 36.

THEIR EYES LOCK

Nice to meet you.
CUT TO:
EXT. CAESAR’S PALACE POOL - (VERY HOT) DAY
Modeled after the Baths of Caracalla. White columns and
short togas. Deb lies on a chaise lounge eyes closed, hand
clenched around her drink. A shadow crosses over her.
CATE (O.S.)
Hello.
DIFFERENT ANGLE
Debbie looks up to see her blocking out the sun. Cate has a
huge hat. Almost religious. She sits on the chaise next to
her.
CATE (CONT’D)
I think we have something in
common.
DEBBIE
I got there first.
CATE
I know.
Cate hands her a wad of cash.
DEBBIE
I don’t want a cut.
CATE
Do you know what a Savannah is?
DEBBIE
Yeah. Past-posting at a roulette
wheel. Double act. A mechanic and
a payout.
CATE
That’s right.
DEBBIE
(gets it)
I’m Debbie.
Extends her hand. Cate takes it.
CATE
Cate Richmond. I knew your
brother.
 37.

DEBBIE
Who didn’t?
CATE
Not like that. We did some work
together.
DEBBIE
So did we. Had a little trouble
settling.
CATE
So did I.
DEBBIE
(takes her in)
So we were at that table together
by accident?
CATE
(maybe)
Of course.
Beat. They both laugh. Sure. Whatever.
DEBBIE
What are you thinking?
CUT TO:
BOTH WOMEN (IN THE PRESENT)
Emerging side by side from the subway in QUEENS. There is
purpose in their step.
CATE
This girl has the best hands I’ve
ever seen. Literally. It’s such a
waste.
TIGHT. ON AN ORANGE CRATE
Deft hands shuffle and deal Three Card Monte in a blur. A
woman’s hand adorned with nail art and a dozen bracelets do
the honors. Over this -- a voice of undetermined origin:
CONSTANCE
(fast, like an auctioneer)
Ok following the queen, following
the queen aaaaaaaaaaaand you know
what i see? -i see a little
silhouett-o of a man bout to lose,
bout to lose but will he do the
fandango? Probably not cuz THAT’S
A 2 OF SPADES THANK U, COME AGAIN.
 38.

REVEAL CONTSTANCE LUM (AWKWAFINA)

She works her magic to a visiting chump and his friend from
Manhattan. Kids gather round to watch the abuse on rebuilt
BMX bikes. Constance has a yellow hoodie and wears huge
shades -- a hybrid between an insect and an aviator.
DEBBIE AND CATE. FROM ACROSS THE STREET
They watch the show from a distance.
DEBBIE
Really?
CATE
Everyone you sent me was too hot.
The turnover on pickpockets is
huge.
RESUME CONSTANCE
She fans a deck. Deals out three new cards.
CONSTANCE
How about you sir? What’s your name?
Is it Wifi? ‘Cause I feel a
connection. Now how about you put
that Fossil brand wallet where that
weird, misshapen mouth is. Don’t
know how to play? Well here’s what
we do -- we keep your eyes on the
queen. Eyes on the queen, eyes on
the queen. (Just like last night)
Keep your eyes are on the queen and-
- look I'm taking it slow, taking
it slooow, taking and our eyes are
on the queen, eyes on the queen.
But. Oh. Wait. Oh no. But where
she at, though? Where that bitch
at? Is she gonna be over here on
the left,? Is she on the right? Or
is she in the center? Is that
bitch a liberal-leaning
libertarian?
He points and she flips the card.
CONSTANCE (CONT’D)
I don’t know but I do know that
THAT’S A 3 OF HEARTS -- so what’s
it gonna be? I take cash only
honey no no cash only honey, no
cash no -- honey don’t mope. Just
gimme the dope.
Constance snatches his money and quickly slips off his Rolex
in the process.
 39.

CONSTANCE (CONT’D)
We take most major credits -- an we
keep em.
(sees Debbie and Cate)
Oh, look -- two real housewives.
As he turns to look at Deb and Cate, Constance reaches around
and lifts his wallet.
CONSTANCE (CONT’D)
Sweetie that’s it for tonight. I
gotta headache. We’ll do it
tomorrow. I promise.
Kissing noises and she’s gone.
ANGLE. DEBBIE AND CATE
DEBBIE
We’re amateurs.
INT. SUBWAY (SANDWICH) - DAY
Debbie and Cate sit across from Constance, housing a sub.
CONSTANCE
(incredulous)
So -- I’m just slipping one
necklace?
DEBBIE
You are. Yes.
CONSTANCE
Really? That’s it?
CATE
It’s a very nice necklace.
CONSTANCE
An’ this is legit? I mean you’re
serious -- about my cut and all?
CATE
A hundred percent.
CONSTANCE
Ok. I’m in and...
(reaches into her pocket)
...in that case, here.
She hands Cate back her watch.
 40.

CONSTANCE (CONT’D)
I just love the smell of that
Subway bread.
CUT TO:
AN IPAD
With luminous images of precious jewels. A woman’s finger
swipes it and more massive rocks appear. Swipes again -- an
emerald...
INT. CATE’S CLUB - NIGHT
She stands at the bar in thick black reading glasses, peering
down at the iPAD. A cacophony is pounding all around her but
Cate is extreme focus: stare -- swipe. Stare -- swipe...
BOUNCER
No?
CATE
Hmm?
BOUNCER
The guy. Jeff. He has three guys
with him.
CATE
Ok.
BOUNCER
But he’s the only one on the list.
CATE
Just let ‘em in.
And she goes back to her jewlery. Cate swipes as...
A CHILD’S FOOT
Makes solid contact with a soccer ball.
SLIDING GLASS DOOR
The shot nails the door, mid pane, leaving a huge mark.
ON THE PATIO
A well maintained woman in her mid forties wears athletic
garb and is parked with the Sunday Times on her (new) porch
furniture.
TAMMY
Derek, please, that is not a goal.
That is a plate glass win...
 41.

And she stops mid sentence.

HER POV. WOODEN GATE
Debbie’s head hovers above the fence line. She locks eyes
with her.
DEBBIE
Hi, Tam.
TAMMY
Freezes in a paralyzed suburban smile...
KERI
Mommy, Derek said I couldn’t play
anymore because he wants to only
have another kind of game that...
TAMMY
Sweetie -- Mommy has to talk to an
old friend now.
Tammy gets up slowly and walks the other direction toward the
garage. She glances back and motions for Debbie to meet her
on the other side of the house.
CUT TO:
INT. FOUR CAR GARAGE - TAMMY’S HOUSE - CONTINUOUS
Like the Container Store and Fed Ex had a love child. A
suburban warehouse. Tammy’s “eBay Top Seller” Award hangs
prominently on the wall.
DEBBIE
Are you really screening my calls?
Deb moves closer. Tammy inhales sharply.
DEBBIE (CONT’D)
(re: the garage set-up)
This is impressive.
Debbie peers behind a slightly ajar door which leads to black-
light lit storage room full of even hotter items --
TAMMY
What are you doing here? I thought
you were --
DEBBIE
I got out. Look at all this. I
thought you retired.
TAMMY
I did.
 42.

DEBBIE
(motioning)
I guess you’re just collecting
knock-off luggage.
(smiles)
Not as much as fun as hijacking a
truck or smuggling shit in a
tugboat...
TAMMY
What do you want?
Debbie steps closer, an intimate tension growing --
DEBBIE
(breathy)
Just wanted to reconnect.
Tammy swallows.
DEBBIE (CONT’D)
You’re not bored out here, are you
Tam?
TAMMY
(tense/physical proximity)
I’m happy... Out here.
Debbie places a strand of Tammy’s hair behind her ear.
DEBBIE
(she gets closer)
What about in here?
(touches her “heart”)
How do you feel inside.
(closer)
When you lie awake at night. Does
he snore?
TAMMY
No.
(Deb breathes in her ear)
A little.
DEBBIE
I need a fence.
TAMMY
I -- stopped doing that.
DEBBIE
(closer still)
You can start again. You can do
anything you want.
(hot breath)
You were the best, Tam. The best
I’ve ever...
(MORE)
 43.
DEBBIE (CONT'D)
(closer)
...worked with.
Debbie is close enough to kiss Tammy. DEREK, Tammy’s 4 year
old, opens the door --
DEREK
Mommy --
TAMMY
(strained, snaps her head)
Yes, sweetie?
DEREK
I just wanted to say I love you.
TAMMY
I love you, too --
The door closes.
DEBBIE
No one else can do what you do.
THREE INCHES BETWEEN THEM
Eyes locked...
CUT TO:
EXT. TAMMY’S HOUSE - LATER
ANGLE ON -- Tammy, from inside the trunk of her car.
She throws a suitcase in.
TAMMY
It’s just a work trip, honey.
Mommy will be back soon.
The trunk closes.
CUT TO:
INT. CATE’S THEATER -
An old master switch is thrown, bathing the stage in light.
INT. ORCHESTRA
Various members of the team wander in to the aging theater,
taking in the faded glory. They meet and mingle. Orange
juice and bagels sit on the edge of the stage.
 44.

DEBBIE
Down here, everybody.
CUT TO:
“THE MEETING”
Everyone is gathered on stage with folding chairs and loose
furniture. Downstage, near the broken footlights, sits a
large object covered with a sheet. A projector illuminates
the back wall.
DEBBIE
Thank you all for coming. We’d
like to present you with a
hypothetical situation. 16.5
million dollars in each of your
bank accounts. A little over two
weeks from now.
AMITA
How hypothetical?
CATE
Not very. Unless we screw up.
The women make eyes. Nobody moves. Debbie removes the satin
sheet covering a perfect 3D replica of the Met.
DEBBIE
In three and a half weeks the Met
will be hosting its annual ball to
celebrate the new Costume Exhibit.
CATE
And we’re going to rob it.
ROSE WEIL
(nausea)
Christ.
Within the 3D model is a red carpet, the exhibit and the
Temple of Dendur --
DEBBIE
-- Not the ball itself, but a very
important set of diamonds that will
be “attending” the ball --
The video of the “Harrington” diamond necklace plays on
screen. Amita lets out a half-orgasmic sigh --
CATE
On the neck of Daphne Kluger.
Split Screen -- a picture of Ms. Kluger appears next to the
video of the necklace.
 45.

CATE (CONT’D)
Who Rose will be dressing.
ROSE WEIL
But I don’t know Daphne K --
CATE
You will.
DEBBIE
With her on board, we can get the
necklace out of the vault --
CATE
(indicates Nine Ball)
-- Infiltrate both Met Security --
A shot of the hundreds of Met Security Domes that Cate and
Debbie have been snapping fill the screen --
DEBBIE
(nod to Tammy)
And the Gala itself --
CATE
Considered to be the most exclusive
party invitation in the world --
DEBBIE
When Daphne becomes suddenly ill
and goes to the bathroom --
TAMMY
How do we do that?
DEBBIE
Ipecac.
AMITA
Ew.
DEBBIE
Constance will do what Constance
does --
Constance doffs an imaginary hat.
CATE
The necklace will be delivered to
Amita, at a secure location inside
the museum --
DEBBIE
Where she will fashion it into
eight distinctive pieces of
jewelry.
 46.

CATE
Making all the gorgeous women in
this room even more beautiful as
they wear them out into the night --
dispersing in eight different
directions, and pulling off one of
the biggest jewel heists in history.
The team stares at them, dumbfounded.
CONSTANCE
Shut up.
CUT TO:
INT. TAXI - EVENING
ROSE WEIL
Where are we going?
DEBBIE
Le Cirque.
ROSE WEIL
Are we going to meet Daphne Kluger?
CATE
No.
DEBBIE
We’re going to meet someone who
makes Daphne Kluger jealous.
INT. RESTAURANT - EVENING
Debbie and Cate sit across from Rose -- sweating profusely
and tearing at bread.
DEBBIE
In a minute we are going to get up
and someone you know will sit down.
ROSE WEIL
I know her?
DEBBIE
Not personally. Just be cool,
aloof --
CATE
Kind, but not too kind.
DEBBIE
You’re sweating.
 47.

ROSE WEIL
I sweat.
CATE
Don’t.
DEBBIE
She has a new engagement ring, take
her hand, make physical contact,
that’s when we’ll get it.
ROSE WEIL
It?
Cate and Debbie rise. Rose continues to sweat. Fans herself.
After a beat, the actress PENELOPE STERN sits down
--
PENELOPE STERN
Hi, wow --
ROSE WEIL
(faint/British)
Hi.
PENELOPE STERN
(takes Rose’s hand)
Hi.
(a beat)
I just have to say -- I think you
are so brilliant. Like -- beyond.
Honestly, I have always dreamed
about getting married in one of
your dresses. Is that so crazy?
ROSE WEIL
No...
(glances toward the
window/sees Deb and Cate)
...Not as crazy as that rock...
PENELOPE STERN
My ring?
ROSE WEIL
May I?
Rose takes Penelope’s hand, making sure to maintain the
moment of intimacy long enough, as she peers overs Penelope’s
shoulder to --
EXT. RESTAURANT - CONTINUOUS
DEBBIE’S POV -- through a telephoto camera lens -- Debbie and
Cate take photos through the window. CLICK.
CUT TO:
 48.

PAGE SIX! THE NEW YORK POST...

Lands on a table with a picture of Rose and Penelope dining
over candlelight. The headline is evocative: “Be My Dress,
Be My Dress, Be My Dress -- Met Gala Courtship.”
WIDER. HOTEL SUITE
Daphne Kluger looks at an underling...
DAPHNE KLUGER
Rose Weil? Is she still alive?
(fuming nonetheless)
So what are we doing about this?
CUT TO:
INT. BOWERY BALLROOM - BOWERY HOTEL
Rose and Daphne sit on the long velvet bench in the corner.
CATE (V.O.)
Remember -- indifference is the
greatest aphrodisiac.
DAPHNE KLUGER
Thanks for coming on such short
notice.
ROSE WEIL
Of course.
Cate appears on the balcony. She crosses, Rose’s eyes trail
her, looking over Daphne’s shoulder --
DAPHNE KLUGER
I’ve always admired you. I have so
many of your pieces --
ROSE WEIL
Really?
DAPHNE KLUGER
(no)
Oh, yeah.
Debbie appears at the other end of the balcony. Rose’s eyes
shift --
DAPHNE KLUGER (CONT’D)
Obviously this search hasn’t been
easy, and so far everything’s been
a little, well, boring --
Rose still looks past Daphne -- Debbie and Cate are now
staring at her, pressed up against the glass.
 49.

Debbie plasters her face against the clear window. Rose

stares at them looking past Daphne and it’s starting to piss
her off.
DAPHNE KLUGER (CONT’D)
-- well you seem different, a
little twisted -- like me.
Daphne realizes she has completely lost Rose --
DAPHNE KLUGER (CONT’D)
What is going on --
Daphne looks over her shoulder out the window -- Cate and
Debbie have disappeared. Rose finally looks at Daphne.
ROSE WEIL
I’m sorry -- what were you saying?
DAPHNE KLUGER
I’m trying to hire you. What, did
you forget your Adderall? Jesus --
Daphne downs her whiskey, restores the glass.
DAPHNE KLUGER (CONT’D)
For the Met ball. I want you to
dress me.
Rose looks off to the balcony, beaming with satisfaction.
CATE AND DEBBIE...
Sit on the edge of planter, exhausted --
CUT TO:
NINE BALL
Illuminated in blue light as she stares into a monitor.
NINE BALL
This is dope.
WIDER
The others hover around her. Next to them is a 3D printer
the size of a large desk. It has tubes and pumps and tanks.
Very industrial.
DEBBIE
Where’d you get it?
TAMMY
(a true “fence”)
Items “arrive” Deb. No one “gets”
them from “anywhere.”
 50.

DEBBIE
O-kay...
NINE BALL
Ready.
She hits a keystroke and the printer begins to WHINE. A
lucite replica of the Statue of Liberty begins to emerge in
front of them.
TAMMY
Once we get the scan of the
necklace, we can print a replica in
zirconium.
CONSTANCE
(watching it grow)
Wo! Print me a dude.
TAMMY
Get me a scan.
CONSTANCE
(to Amita)
No problem. Let’s go get her a
“scan.”
Giggles. She nudges Amita who looks embarrassed but
intrigued. They wander off together.
CATE
(turning to Deb)
Three weeks to go.
CUT TO:
DIAMONDS
Three different STUNNING necklaces sit atop black velvet
stands.
WIDER. INT. TIFFANY’S - PRIVATE SHOWROOM
A very proud, tightly-wound TIFFANY’S EXEC fawns over Rose
and Amita, posing as her assitant. Amita has a business suit
and an iPAD. Rose wears a fashionable pair of Google
Glasses.
ROSE WEIL
Where is it?
TIFFANY EXEC
We thought you might want to see
these first --
ROSE WEIL
These aren’t the Harrington.
 51.

TIFFANY EXEC
I know. It’s just that -- there
are certain logistical problems
with that particular necklace.
2ND EXEC
We wouldn’t even know how to insure
it.
ROSE WEIL
Well -- we were very clear on the
phone. We’re only interested in
the Harrington.
TIFFANY’S EXEC
That would just have to be a much
longer discussion.
ROSE WEIL
(a new confidence)
I understand. Ok. Much thanks.
We’ll be going now.
Rose turns toward the door Amita following instilling panic
in the eyes of the two executives.
TIFFANY’S EXEC
Wait.
ROSE
Stops. Turns...
CUT TO:
INT. VAULTED BASEMENT - DAY
The elevator doors open -- the Associate and TWO GUARDS walk
out into a hallway -- across from them is a classic VAULT
door. Rose and Amita wait while they spin the two large
wheels.
DEBBIE (V.O.)
We need a little under five minutes
with the necklace to get the scan.
The vault door swings open.
CUT TO:
A LOCK-BOX sitting atop crushed black velvet.
ROSE
Wearing Google glasses, adjusts them slightly. She waits
anxiously.
 52.

ROSE’S POV - NECKLACE - THROUGH THE GOOGLE GLASS

Rose waits for the glasses to connect -- it reads “IDLE --
Attempting to connect.”
CUT TO:
INT. WAREHOUSE - SIMULTANEOUS
Cate stands over the computer -- waiting for the scan to come
in -- it reads “IDLE” -- but the screen goes blank.
DEBBIE
Where’d it go?
NINE BALL
I’m not sure.
Debbie hits the side of the screen like an old TV. Then she
starts shaking the flat-screen.
NINE BALL (CONT’D)
Chill. That’s not gonna help.
(cooly)
No signal. They must be too far
underground.
CUT TO:
INT. VAULTED BASEMENT - RESUME
They walk toward the necklace. The titanium case is opened.
It is truly breathtaking. Rose approaches, touching her
glasses as if wiping away tears -- but really trying to scan
the necklace.
ROSE’S POV - NECKLACE - THROUGH THE GOOGLE GLASS
She can’t transmit a scan -- “CONNECTION LOST.” Rose turns
her head so Amita can glimpse the back of the lens.
“CONNECTION LOST”.
AMITA
This seems very secure down here --
TIFFANY’S ASSOCITE
Five feet of solid concrete.
ANGLE ON - ROSE
Trying to figure out what they’re going to do --
AMITA
You said you wanted to see it in
the light.
 53.

ASSOCIATE
This is light --
ROSE WEIL
(getting it)
Oh. No, we need real light.
(gaining steam)
The red carpet happens while the
sun is still out. So -- if you --
AMITA
And your boss --
ROSE WEIL
...Right. Your boss. If you want
thousands of pictures to be taken
of this necklace on the neck of
Daphne Kluger and every reporter
writing TIFFANY’S in big block
letters -- we need to know what it
will look like. In sunlight.
AMITA
Real sunlight.
ROSE WEIL
Otherwise we’re wasting our time.
CUT TO:
INT. PRESENTING ROOM - FIRST FLOOR - MOMENTS LATER
Large windows near the ceiling let in beautiful, cascading
natural light.
Armed Guards enter first, carrying the necklace under a
covering cloth. Rose and Amita follow. The guards set the
necklace down, remove the covering cloth and open the case.
Rose and Amita stand over it. Rose adjusts her glasses --
ROSE WEIL
(a beat)
Come on...
ROSE’S POV - NECKLACE - THROUGH GOOGLE GLASS
As the service bar kicks back in. “SCANNING...” appears at
the top of the frame --
CUT TO:
INT. WAREHOUSE - SIMULTANEOUS
They crowd the computer as it begins to receive the scan --
Debbie stands over her --
 54.

NINE BALL
Here we go.
DEBBIE
Hell yes.
INT. PRESENTING ROOM - FIRST FLOOR - CONTINUOUS
ROSE’S POV -- NECKLACE -- THROUGH GOOGLE GLASS -- 43% Scan
Complete --
ASSOCIATE
How is that light, Ms. Weil? Seen
what you need to see?
ANGLE ON -- ROSE, standing over the necklace, still, not
turning to look at him --
ASSOCIATE (CONT’D)
Ms. Weil --
He steps toward Rose, she starts circling the necklace --
ASSOCIATE (CONT’D)
Is she okay?
ROSE’S POV -- NECKLACE -- THROUGH GOOGLE GLASS -- 79% Scan
Complete --
AMITA (O.C.)
Oh, yes, fine -- this is her
process -- sort of like meditation--
INT. WAREHOUSE - CONTINUOUS
Cate awaits the scan -- 96% complete -- Amita and Debbie
hover, Debbie’s head shaking, mumbling, threatening the
computer --
CUT TO:
INT. PRESENTING ROOM - FIRST FLOOR - CONTINUOUS
Rose still stands over the necklace --
ASSOCIATE
If you’re done, Ms. Weil, we’d like
to return this to the vault --
ROSE’S POV - NECKLACE - THROUGH GOOGLE GLASS - 99% Scan
Complete.
INT. WAREHOUSE - SIMULTANEOUS
“SCAN 100%” flashes on Cate’s computer screen.
Debbie looks to Cate -- exhales.
 55.

INT. TIFFANY’S VAULT

Rose looks nauseous, like she is about to faint, steadies
herself. Amita escorts her out.
CUT TO:
INT. WAREHOUSE - LATER
A celebratory kick-back. The crew drinks wine, Rose smokes a
joint, trying to relax. Debbie stands near the computer with
Cate. She finishes her whiskey, puts it on the table.
DEBBIE
All right, let’s do this. C’mere --
They all gather round the printer. Debbie looks to the crew.
DEBBIE (CONT’D)
Ready?
Cate clicks “print” on the computer --
They stand over the 3D printer.
A perfect glass replica of the necklace is birthed into a
three dimensional life before their eyes. It’s massive,
almost a foot long, at least five pounds -- astonishing.
TIME CUT TO:
INT. THEATER - LATER
Everyone is good and drunk. The crew is gathered round.
CONSTANCE FREESTYLES from the front of the stage as her
cohorts look up her from the front row. (NOTE: To be played
over footage preparing for the heist.)
TAMMY. Teases her about her crush on Debbie and running a
side hustle fencing.
NINE BALL -- who lives in the dark web. Stealin’ shit we
don’t even know about...
Then ROSE -- Teases her about dressing like a Wizard of Oz
witch. Broomstick etc..
AMITA -- her sister. They both have wrist bands. Where were
you last night girl... Amita embarrassed.
Leaps from the stage landing in front of...
DEBBIE AND CATE -- Her bosses. Bobbsey Twins Boss Bitches,
salutes the two of them. “Can I have the night off?”
CUT TO:
 56.

EXT. CAESARS PALACE POOL - DAY (FLASHBACK)

Deb lies on a chaise lounge eyes closed. A shadow crosses
over her.
CATE (O.S.)
Hello.
INT. CASINO - LATER
Deb and Cate stand at the roulette wheel as total strangers.
Cate dressed stylishly is parked at the end. Deb is higher
upon the wheel enthusiastically betting red and black. Deb
downs a cocktail with flourish then calls out for another...
DEBBIE
Dr. Pepper and Jack please. No
ice.
Even the waitress is incredulous and nods. The croupier
spins the ball. Cate puts two chips on a column bet. The
ball falls onto a red number...
DEBBIE (CONT’D)
YES! Rojo! Awesome! Better red
than dead...
(and then)
Woohooo...
CATE
During the commotion past-posts five chips on her column bet-
switching out high denominations for low ones. As the
croupier goes to pay her, she corrects him.
CATE
Actually, those are thousands on
the bottom.
CUT TO:
A HOTEL BED
An open suitcase, strewn clothes and twenty dollar bills.
WIDER
Deb watches TV while Cate counts the haul.
CATE
Nine thousand and sixty.
DEBBIE
(turns)
That’s all?
CUT TO:
 57.

ITALY. (OCEAN’S TWELVE) RESTAURANT - ONE YEAR LATER...

Having completed the heist, Danny and his team clink glasses.
It’s a party: laughter, congratulations, poker game,
champagne.
CUT TO:
CASINO QUEEN RIVERBOAT AND RESORT. ST LOUIS, MO.
Deb and Cate sit in the Paddlewheel Grill near the stern. A
man in suspenders and arm garters serenades on a banjo.
DEBBIE
Did you play with boys when you
were little?
CATE
Only.
(beat)
...You?
DEBBIE
Sometimes. He wouldn’t let me most
of the time. He’d tell my parents
he was watching me and then he’d
ditch me.
CATE
Let it go, Deb.
DEBBIE
Two and a half million dollars.
(incredulous)
In art.
CATE
You said you weren’t gonna read
about it.
DEBBIE
I read about it.
(beat)
And what are we doing? We’re
grinding it out in shitty casino’s
every night. We’ve even run out of
casinos. Now we’re in riverboats.
CATE
It’s not actually a riverboat.
DEBBIE
It floats.
CATE
Touché.
 58.

DEBBIE
We shouldn’t even be here. We
should be at Caesars lying in a
cabana.
(manic)
We need something bigger.
CATE
No. We don’t need something
bigger.
DEBBIE
I do. I need it.
CUT TO:
A JOHN SINGER SARGENT (THE PRESENT)
Priceless.
INT. METROPOLITAN MUSEUM OF ART - AMERICAN WING
Debbie moves through the art, searching for the right spot --
she wears a scarf, her hat dipped low, a backpack.
ANGLE ON
Madame X --
Debbie stares up at it.
ANGLE ON
Warhol’s Chairman Mao --
Debbie appraises...
ANGLE ON
Washington Crossing the Delaware --
She looks at the painting -- nods to Amita who peruses the
hall. Amita approaches the GUARD.
ANGLE ON - AMITA AND THE GUARD
AMITA
(unfolding a map)
Hi, can you help me with something?
I’m a bit lost --
ROOM GUARD
Of course, ma’am.
 59.

AMITA
I feel like I’m walking in circles.
So I came from Egypt -- back
there...
ROOM GUARD
Mesopotamia --
AMITA
(fancy)
Oh, huh --
(re: map)
But now we’re in America... Very
confusing.
ANGLE ON - DEBBIE, OTHER SIDE OF THE ROOM
She takes out her backpack and pulls out what looks like a
rolled up poster. It shines as if it is made of latex --
ANGLE ON - AMITA AND THE GUARD
ROOM GUARD
No, that’s French Impressionism --
AMITA
Oh -- I love French Impressionism!
(checks the
periphery/flirtatious)
Must be amazing being around this
art all the time.
Suddenly, there’s commotion, a crowd surrounding a painting --
the Guard doesn't know what’s going on.
ROOM GUARD
(To Amita)
‘Scuse me.
He runs over. Pushes through the crowd --
GUARD’S POV
A replica of WASHINGTON CROSSING THE DELAWARE has been
plastered to the wall -- except all the men in the boat are
WOMEN: white, black and Native American. Affixed to the wall
next to the original -- stunning and surreal.
CUT TO:
INSTAGRAM: BANKSY HITS THE MET
#banksy #guerillaart #neareverygreatmanisagreatwoman
TWITTER: A SCROLL OF TWEETS
“Banksy Hits the Met twitterpic”
 60.

“How much you want to bet the new Banksy piece ends up in the
permanent collection.”
“George Washington was a CHICK!?!”
MET PRESIDENT (O.S.)
This is a major security breech.
CUT TO:
A HOTEL ROOM
Debbie, Cate, and Tammy sit on a bed WEARING HEADPHONES.
Nine Ball sits perched in a window pointing a laser mic at a
building across the street: Looks like a gun -- works like a
mic.
CHAD (O.S.)
(over headphones)
He did it at the Tate, too.
EXT. WINDOW - CONF ROOM - MCCALISTER SECURITY CONSULTING -
DAY
A red laser dot appears on the window.
MET PRESIDENT (O.S.)
So this is acceptable to you?
INT. CONFERENCE ROOM - DAY
CHAD MCCALISTER
Not acceptable. But it’s not like
he stole something. He just added
something, right? Now you have a
Banksy at the Met.
Silence.
MET PRESIDENT
When we hired you to overhaul the
system you said, and I quote, “the
redundancy of this system would
render any breach...”
CHAD MCCALLISTER
I know what it says.
MET PRESIDENT
Is this a breach?
CHAD MCCALLISTER
Technically.
MET PRESIDENT
Well -- this feels kind of
technical.
(MORE)
 61.
MET PRESIDENT (CONT'D)
(nothing back...)
What are you going to about it?
INT. HOTEL ROOM - DAY
NINE BALL
Yeah, douche bag.
DEBBIE
Shh.
CHAD(V.O.)
Obviously, we’ll do a full audit of
the system and plug any major holes.
DEBBIE
Yesss!
MET PRESIDENT (V.O.)
When?
CHAD (V.O.)
We’ll start immediately.
Hi-fives all around.
INT. CATE’S THEATER - UPSTAIRS LOFT (REHEARSAL SPACE) - NIGHT
Nine Ball has hacked into main security program for the Met.
Everyone gathers around her monitor.
NINE BALL
Ok, I’m in. Any changes they make
we can see and over-write, but they
can see our changes too.
TAMMY
Is that a problem?
DEBBIE
Not with what we’re changing. They
have so much on their plate, they
won’t even notice.
(to Nine Ball)
Show ‘em the gallery.
Nine Ball clicks a few times and a huge array of cameras
appear on the screen. It’s a grid of eighty images.
CONSTANCE
Wo.
DEBBIE
That’s a gallery. But this is the
hallway outside the cafe.
 62.

She nudges Nine Ball who clicks again. Only two images pop
up.
DEBBIE (CONT’D)
See -- they’re watching the art.
They don’t care about a bathroom.
TAMMY
That’s smart.
DEBBIE
All we need is a blind spot in the
hall outside the bathroom. Ten
feet should do it. Which is
nothing compared to the changes
they’re gonna be making.
(smiles)
And it wasn’t even a real Banksy.
CUT TO:
A REAL BANKSY. INT. VOGUE MAGAZINE RECEPTION AREA - DAY
RECEPTIONIST
Good afternoon, Vogue...
CLOSE UP. THE BACK OF ANNA WINTOURS HEAD: AN ICON
One of the most famous silhouettes in New York sits at her
desk. All at once, Anna’s assistant sticks her head in door.
ANNA WINTOUR
What?
ASSISTANT
That interview? Gala staff
position?
ANNA WINTOUR
Are you serious?
ASSISTANT
Friend of Harvey’s.
ANNA WINTOUR
Fine. Hire her.
CUT TO:
TAMMY. NOW BEING LED DOWN A HALL
ANNA’S ASSISTANT
We’re really short on desk space
right now, so you’ll be down here.
Tammy glances to her left at a large conference room enclosed
in glass.
 63.

MOVING POV. (SLIGHT SLOW MO - FLOATING) THROUGH GOOGLE

GLASS
There, on the wall, like an object of holy worship is the Met
Ball Seating Chart.
ASSISTANT
Hurry up.
CUT TO:
INT. CATE’S THEATER - NIGHT
Tammy enters, tired, lugging down the center aisle.
TAMMY
Ok. This party is nuts...
Everyone turns as she heads toward the stage.
TAMMY (CONT’D)
I’m not kidding.If Anna thinks
your dress is ugly -- you can’t
wear it. No shit. She will bar
your wardrobe. Can I have a sip of
that.
CONSTANCE
Sure.
TAMMY
Last year she got in a fight with
one of the designers two days
before the event -- and no one was
allowed to wear his clothes! For
real. Black-balled.
She takes a swig of the water, opens a bag of chips.
TAMMY (CONT’D)
Sorry, I haven’t eaten all day.
(stuffs some chips)
Tables cost a quarter million
dollars -- that is, if she decides
to let you buy one. Not any
$250,000 check is accepted, they
literally have to approve your
money!
Debbie reaches out and wipes a chip crumb from Tammy’s mouth.
Tammy inhales slightly at the touch. Cate looks at Debbie:
"Stop torturing the poor girl."
DEBBIE
Did you get the seating chart?
 64.

TAMMY
Oh yeah. Of course.
She removes her Google Glasses and dangles them towards
Debbie...
CUT TO:
COMPUTER MONITOR. UPSTAIRS LOFT (REHEARSAL SPACE)
Nine ball sits back at the controls. The glasses sit in a
charging dock as The Seating Chart appears in front in front
of them. It’s hard not to be impressed.
CONSTANCE
Wo. Like -- Leo, Leo?
ROSE WEIL
There’s only one Leo, dear.
NINE BALL
Elon Musk.
TAMMY
(turns)
Really?
NINE BALL
I am such a Musk-a-teer.
AMITA
(slight giggle)
Omigod! Taylor Swift.
CONSTANCE
(joining in/to Amita)
You’re so white.
DEBBIE
Guys. Please. Where is she?
TAMMY
Table three, four o’clock. It’s
the straightest shot to the
bathroom without putting her in
Siberia.
DEBBIE
Great.
TAMMY
Anna signs-off on all of her
changes by email, so...
NINE BALL
Not a problem. I’ve got her email.
 65.

AMITA
Do you have everyone’s email?
NINE BALL
Who do you want?
CATE
(points)
There’s a blank spot right next to
her.
TAMMY
That’s for her date.
CATE
Who’s her date?
DEBBIE
(quickly)
No idea.
Shoots a look at Tammy...
CUT TO:
INT. PER SE RESTAURANT - NIGHT
A pre-party for the chairs of the Gala -- Daphne is already
seated at her table. Klaus strolls up, glances down at his
place card. Daphne looks up. Smiles. He takes her hand...
KLAUS
I think they put me next to you.
DAPHNE KLUGER
Lucky me.
TAMMY
Dressed as wait staff watches from a portico. She’s riveted
on the introduction.
ANGLE. KLAUS
KLAUS
(kissing her hand)
Klaus Gunther --
A hand kiss? Really? Klaus slithers into the chair beside
her -- one smooth reptilian move.
CUT TO:
DINNER. LATER. TAMMY’S POV
Daphne and Klaus laughing, leaning closer, silhouetted by
candlelight. Daphne’s voice cuts through...
 66.

DAPHNE KLUGER
That’s dirty...
CUT TO:
“THE SEATING CHART”
The blank space next to DAPHNE KLUGER is filled in with the
name KLAUS GUNTHER. She has a date now.
ANGLE. CATE
She hovers over Nine Ball staring at the newest version of
the seating chart. Klaus Gunther...
EXT. THEATER - ALLEY OUT BACK
Cate bursts through the double doors at the back of the
theater, flinging them open at once. Debbie is smoking out
back and Cate is on her in a fury.
CATE
What the fuck. Really?
DEBBIE
(turning)
Really what?
CATE
You couldn’t leave it alone? Klaus
Gunther!
DEBBIE
That’s not me.
CATE
Stop. I’m not a croupier. Or a
tourist with a bucket of quarters.
Or a hotel manager. Don’t con me.
Don’t run a job in a job.
DEBBIE
It’s not going to matter.
CATE
FUCK YOU!
DEBBIE
(re: the others)
Shh.
CATE
Why do you do this? Why can’t you
just do a job? Why does it always
need an asterisk?
 67.

DEBBIE
He sent me to jail.
CATE
And he’s gonna do it again.
DEBBIE
No, he’s not.
CATE
I’m out.
WIDE
Frozen. Wo.
CATE (CONT’D)
I mean it. You gave me an off
ramp. I’m taking it.
DEBBIE
Cate...
CATE
You’re framing him. It’s not
enough to make a gajillion dollars,
you have to pin it on him too?
Where does it end? This is just
like last time.
DEBBIE
No it’s not.
(panicked)
Fine. I wont do it. I’ll call it
off.
CATE
Oh good. Glad we had this talk. I
feel all better now.
DEBBIE
I mean it.
(then...)
You’ve never been in there. You
don’t know what it’s like.
CATE
And I don’t want to find out.
DEBBIE
You won’t. I promise.
Deb extends her hand. Leaves it out there for an eternity.
CATE
(looking up the block)
Who’s that?
 68.

She motions toward a Crown Victoria parked at the curb. A

man sits at the wheel.
DEBBIE
I don’t know. Some guy.
Cate reaches out and slowly takes her hand. They shake.
CUT TO:
INT. CASINO QUEEN - PADDLEWHEEL GRILL (FLASHBACK)
Deb and Cate seated in the restaurant of the cheesy casino.
DEBBIE
We need something bigger.
CATE
No. We don’t need something
bigger.
DEBBIE
I do. I need it.
INT. CIPRIANI - MANHATTAN - NIGHT
Deb sits across from Klaus Gunther: bleached smile and
slicked back hair.
DEBBIE
So what do I have to do?
CUT TO:
KLAUS’ BED
He and Debbie (post coital) lie in his sheets.
KLAUS
It’s not really a forgery because
we’re not copying any known
painting. It’s previously
undiscovered work.
DEBBIE
Gotcha.
KLAUS
I can’t sign the provenance because
they know me but...
DEBBIE
It’s still fraud.
KLAUS
That’s not clear.
 69.

INT. SMALL BAR - LOWER EAST SIDE

Cate’s first club. There isn’t much room.
CATE
It’s still fraud.
DEBBIE
That’s not clear.
CATE
I know Klaus Gunther. I’ve known
him for ten years.
DEBBIE
Oh, yeah. He wants you do it too.
He can’t front as the owner because
they know him.
CATE
I’m sure they do.
DEBBIE
The sale goes through his gallery,
Cate. He’s on the line too. One
signature. Half a million dollars

CATE
Yeah. That’ll show your brother.
DEBBIE
No.
(pointed)
That’ll mean we can stop hitting
shitty casinos on the gulf coast.
CATE
I’m out.
DEBBIE
Fine.
CATE
Don’t trust him, Deb.
DEBBIE
(smiles)
Who said I trust him.
INT. CIPRIANI - THIS TIME LUNCH...
Deb sits alone waiting for Klaus. Checks her watch. She’s
eaten a whole breadbasket. Suddenly...
MAN’S VOICE (O.S.)
Are you Deborah Ocean?
 70.

She looks up...

INT. JAIL
Deb, dressed in an orange jumpsuit carries bedding toward the
camera...
CUT TO:
EXT. PRETZEL STAND - CENTRAL PARK - THE NEXT DAY
Debbie stands in front of her crew -- dressed significantly
better now. Cate stands off to the side, among the others.
DEBBIE
Ok, remember -- this is a run-
through. It’s where we make
mistakes. Nobody panics, this is
why we do this. If something
happens and you don’t expect it,
it’s no big deal. We roll with it,
regroup later.
(a beat)
Any questions?
CUT TO:
INT. METROPOLITAN MUSEUM OF ART - LATER THAT NIGHT
Constance, as she puts on her Audio Guide, moves through late
hours at the Met. A little looser and boozier than the
normal crowd. Young professionals mill about.
NINE BALL (V.O.)
Okay, here we go --
INT. HOTEL ROOM - MARK HOTEL - NIGHT
The Mark is the The Hotel of Choice for all Gala attendees --
our Headquarters for the night -- The new, temporary War
Room. A monitor shows a mini version of the Security Hub
monitors. Nine ball has hacked into the system.
NINE BALL
Places, ladies...
INT. METROPOLITAN MUSEUM OF ART - SAME
Constance puts her foot up on a bench to tie her shoe, next
to where An ELDERLY MUSEUM-GOER sits. Constance takes off
her headset, places it on the bench next to her so she can
pull back her hair.
The Elderly Museum-Goer rises, gathers her things and
departs. Constance does so a few moments after.
 71.

NINE BALL
(headset)
Constance, go -- get moving --
Constance doesn’t move.
NINE BALL (CONT’D)
(louder)
I said, “Go!”
AN ELDERLY WOMAN...
Hears Nine Ball YELLING at her in the Met Audio Guide. She
taps her headphones.
CONSTANCE
Looks equally perplexed:
CONSTANCE
Who’s Winslow Homer?
The Elderly Museum-Goer is next to her -- hearing Nine Ball’s
shouts growing more obscene.
ELDERLY MUSEUM-GOER
Is it supposed to be interactive?
Why is this painting yelling at me?
Constance looks at the bewildered museum-goer, realizes the
headsets have been switched. She takes the REAL one from the
Elderly Woman’s hand. Back on track.
CONSTANCE
Okay, okay, I’m here.
NINE BALL
(on the headset)
Back to one. Like you’re coming
out of the bathroom.
She hurries over to the door of the women’s bathroom.
NINE BALL (CONT’D)
Move.
Constance emerges and passes Debbie just outside the
bathroom. She hands her a string of Mardi Gras beads as a
stand-in for the necklace.
DEBBIE
Takes off the other direction moving through the gallery...
NINE BALL (V.O.)
Legit.
 72.

INT. AMERICAN WING - METROPOLITIAN MUSEUM OF ART

Debbie keeps moving past George Bellows, Thomas Hart Benton,
Eakins, then slows...
DEBBIE
Saul?
She stops. Turns. Saul Bloom (Carl Reiner) is admiring a
painting by William Merrit Chase. She moves closer. He
turns as if surprised.
SAUL
Oh! My goodness. I can’t believe
it! Hello -- you look gorgeous.
DEBBIE
What are you doing here?
SAUL
You know. Art. I love this guy.
Big fan.
He motions toward the painting. Deb stands in front of the
label describing the painting.
DEBBIE
Who’s it by?
SAUL
Aw, c’mon. Don’t do that. I care
about you. Is that a sin?
DEBBIE
When you meddle. Yes.
SAUL
I’m a 90 year old Jew. Meddling is
all that’s left.
She starts to leave.
SAUL (CONT’D)
Wait!
He shuffles to keep up with her. Takes her arm...
SAUL (CONT’D)
Can we sit down?
Saul is a little out of breath. They sit on the padded
benches in front of the paintings. Saul’s wipes some sweat
with a handkerchief.
SAUL (CONT’D)
This isn’t going to work.
 73.

DEBBIE
You don’t know that.
He winces -- an expression of Jewish doubt. Sucks air
through his teeth.
DEBBIE (CONT’D)
Why are you still listening to my
brother, Saul? He’s dead.
SAUL
He loved you. He didn’t want you
to go to jail.
DEBBIE
He had no idea who I was.
SAUL
Oy.
(kids)
You can’t argue with a dead person
sweetie. My Sadie? I argued with
her for years. I’d even go out to
the cemetery. You know how crazy
that looks -- an old man yelling at
tombstone?
(pats her hand)
Leave it.
DEBBIE
I have.
SAUL
(looks around the museum)
No, you haven’t.
DEBBIE
This has nothing to do with him.
SAUL
Ok. Come out to the house
sometime. We can play cards.
DEBBIE
No way. I’ve played cards with you.
SAUL
Then we can have some smoked fish.
DEBBIE
Deal.
She leans over and kisses him on the cheek. Saul smiles. He
pats her hand.
 74.

SAUL
(lower)
If you want to fight with somebody,
those guys tailing you are good
place to start.
DEBBIE
(a whisper)
The one’s in the Crown Vic?
SAUL
(impressed)
Yeah.
(beat)
You might be ok after all.
He pushes himself up and heads off into the museum.
EXT. MET
A Crown Victoria sits parked on 80th Street.
ACROSS THE STREET. EDGE OF THE PARK
Debbie stands in the shadow of a food cart looking at it.
HER POV
Two men sit at the windshield of the car looking across at
the met. Deb turns and heads off into the park...
EXT. CENTRAL PARK - LATER
The team is already meeting when Debbie arrives. Cate
approaches.
CATE
What happened to you?
DEBBIE
Took the long way.
CATE
How’s Saul?
DEBBIE
Worried.
CATE
Me too.
DEBBIE
We’re fine.
CATE
The girls are waiting. I got them
all ice cream.
 75.

Deb nods. Heads off down the path. Cate hesitates...

EXT. NEW JERSEY - AND IT LOOKS LIKE IT
A rental car rolls through industrial detritus.
EXT. SHEET METAL FABRICATION
In the distance we see Cate talking to the owner
demonstrating what looks to be the outline of a box with her
hands. She mimes the dimensions. Roughly two by three...
TRUCK RENTAL AGENCY
Cate signs an agreement for a plain white panel truck.
INT. FISHING STORE - RUSTY’S BAIT AND TACKLE
She stands at the counter buying reels of monofilament
fishing line.
INT. APPLE STORE
Cate is in line buying six large iPhones.
EXT. THEATER - DUSK
Debbie wanders out into the fading light to see the Crown
Victoria parked down the block.
MOVING WITH HER
Deb crosses to the car and is just about to confront them
when she looks up to see...
Cate, rounding the corner from the other direction. They
pause at the car, smile at each other. Deb taps on the
window and they roll it down slowly.
DEBBIE
(leaning in)
Hey guys. This is my friend Cate.
We’re gonna be in for most of the
night so if you want to run out and
grab a bite or something it’s fine.
Cate smiles. Nods.
CATE
And if you need a bathroom just
knock on the door. There's a good
Lebanese place round the corner.
The girls turns and head toward the theater.
DEBBIE
Where you been?
 76.

CATE
Odds and ends.
As they head inside.
CUT TO:
DAWN
Over Manhattan. Sunlight peeks over the park.
INT. STAIRWAY - METROPOLITIAN MUSEUM OF ART - DAY
The Silver Carpet cascades down the front stairs of the Met --
GAME DAY --
The MET itself is in WARDROBE PREP --
WORKERS string up thousands of yards of lights --
FLOWERS trucked in -- roses, hydrangeas, peonies.
STAFF arrange tables and chairs --
The PRESS STAND is raised -- ASSISTANTS affix seat labels for
each news outlet in order of importance.
CUT TO:
INT. CATE’S THEATER - EARLY AFTERNOON
A silent ritual. Everyone moves around preparing their piece
of the puzzle. A couple of them wear ear buds, in the zone.
EXT. TIFANNY’S HEADQUARTERS - MORNING
An armored car (BRINKS) waits with the engine running. TWO
GUARDS carry a large-strong box with the HARRINGTON necklace
in it.
INT. PENTHOUSE SUITE - THE MARK HOTEL - EVENING
Daphne walks in dressed in heels and lingerie, hair in
curlers, drinking whiskey. She sits in a Director’s chair as
a team of make-up people go to town. A MANICURIST takes her
hand, another works on her feet --
INT. THEATER
Six women (Rose is missing), are dressed to the nines in
front of a wall mirror. Finishing touches are applied: hair
tweaks, mascara, re-applied lipstick...
 77.

EXT. MARK HOTEL - SAME

The BRINKS truck arrives in the front of the hotel.
INT. LOBBY - MARK HOTEL
Rose stands at the elevator doors looking up at the floor
indicator. As it descends toward her she grows more and more
nauseous, stifling a gag as the doors opens...
INT. PENTHOUSE SUITE - THE MARK HOTEL - MINUTES LATER
Daphne, now in a robe, is getting her hair sprayed, her eye-
shadow blended. She glances in the mirror in front of her to
see Rose and two men in suits behind her.
DAPHNE KLUGER
Is that it?
Rose nods and stands to the side. The two guards from
Tiffany’s move into the room, carrying a large velvet jewel
box. There is a weird ceremony to all of this: the place
goes quiet; the men march forward in an even cadence. Rose
crosses behind Daphne as the Harrington is revealed...
DAPHNE
Holy shit.
ON ROSE
She reaches forward and opens the top of Daphne’s robe,
revealing the nape of her neck. Rose puts the Harrington
around her neck and fastens the clasp: it sounds like
tumblers clicking.
ROSE WEIL
Might be a little cold.
DAPHNE
And heavy.
The mirror glitters -- it’s almost celestial.
ROSE WEIL
(deep breath)
Ok. Let’s get this off and get you
dressed.
She reaches up and starts to fiddle with the clasp which
doesn’t seem to open.
TITUS (TIFFANY GUARD)
Oh -- can’t get it off like that.
He steps forward pulling out a small pen like cylinder.
 78.

TITUS (CONT’D)
Special clasp. Needs this magnet.
Titus crosses behind her and fits the device over the clasp.
He gives it a half turn and the necklace unlocks.
CLOSE UP. ROSE
She is somewhere between ashen and light green. Rose takes
quick shallow gasps clutching the arm of the chair.
ROSE WEIL
Oh that’s... Brill--iant.
(forced smile)
Let me see that again.
Titus, full of pride fastens the clasp, then shows the small
magnetic cylinder like a magician demonstrating a trick.
DAPHNE
Takes in all of this from the mirror. The necklace. Titus
behind her... and behind him Rose who steadies herself with
one hand, clutching her iPhone in the other.
DAPHNE’S POV. ROSE’S IPHONE (TIGHT)
She points it at the back of Daphne’s neck.
INT. WAREHOUSE
The women have loaded most of a white panel truck and are
about to head out when Debbie gets a text.
CLOSER. DEBBIE
She turns the same color as Rose. Motions for Cate.
CATE
What?
DEBBIE
Not...
(tries to swallow)
...Good.
THEIR POV. VERY SHAKY VIDEO
Of Titus’ hand turning the clasp.
TITUS
(on the video)
“See it’s the magnet that does it.”
 79.

INT. BROOKLYN APARTMENT

Nine ball’s little sister Veronica (15 years old) is
capturing a Pokemon Go character on her fire escape. Her
phone rings, interrupting the capture.
VERONICA
Goddamn it.
NINE BALL
Hey.
VERONICA
I was about to catch a Rhyhorn,
Leslie. What do you want?
INT. LOFT
They huddle around a speaker phone.
CONSTANCE
(turns)
Leslie?
NINE BALL
I’ll kill you.
(to her sister)
We’re in a jam, sis. Need your
help.
INT. SUBWAY
Veronica has an array of magnets spread over the seat beside
her. She tries to look at the shaky video, speaking to Nine
Ball on the speaker phone.
VERONICA
I think I got it. Just a magnet
with double A battery. I’ll give
her a positive and a negative pole
so she can flip around when she’s
using it.
INT. VAN
Cate drives. Everyone hangs on the conversation.
NINE BALL
(into phone)
Awesome, V.
TAMMY
Really? She fixed it?
Nine Ball shoots a look: “of course she fixed it.”
 80.

AMITA
(suddenly points)
Whoa!
THEIR POV. THE MET...
The bleachers are in place, the carpet out, spotlights
positioned, cameras everywhere -- it looks almost regal.
CUT TO:
INT. HALLWAY - MARK HOTEL
The elevator doors open to reveal --
Daphne who looks STUNNING in a long-sleeve black velvet dress
that hugs every curve. A twelve foot train, and a plunging-
neckline frame the world's most valuable necklace.
CUT TO:
THE MET LOADING DOCK
The van screeches to a halt. Debbie bolts from the
passengers door. Veronica does the same looking for her
sister when she hears a loud whistle...
REVERSE ANGLE. CENTRAL PARK (BEHIND THE MET)
Veronica appears jogging through a children’s playground in
Stan Smiths and a vintage flower dress. She runs up to Deb
and her sister.
VERONICA
That shit is hectic over there.
Got chased by a cop.
NINE BALL
This is my sister, Veronica.
VERONICA
(smiles)
Hey.
Veronica hands her the magnet.
NINE BALL
Very tight. I owe you.
VERONICA
Just get me a new ID.
And she jogs away.
DEBBIE
What do your parents do?
 81.

EXT. RED CARPET - MET GALA

The bleachers are in place, the carpet out, spotlights pierce
the heavens.
CLOSER. PRESS LINE. FLASHBULBS
THOUSANDS of them, refracting off the silver carpet.
DAPHNE --
The dress somehow looks more radiant on the silver carpet,
with the full-effect of the train --
KLAUS
On her arm. Looks like just another accessory, albeit a
handsome one. The FLASHES go even crazier. He steps aside
to allow...
ROSE
-- her moment in the limelight. She basks (nervously) as the
name “ROSE WEIL” ECHOES over the PA system --
CONSTANCE
Is in deep BG, following Rose, following Daphne.
NINE BALL (V.O.)
(into her earpiece)
You got the paste?
CONSTANCE
(replying)
Copy.
She is dwarfed by the Necklace’s security guards -- JUDAS and
Titus.
CUT TO:
A HALAL CART
Steaming shawarma wafts through the air. The outside is
decorated with glossy laminated photos of their cuisine.
INSIDE THE HALAL CART
Nine Ball is set up with a full console of monitors, a work
station and headphones.
CUT TO:
 82.

EXT. FIFTH AVE - RED CARPET

With each arriving LIMO there is a bigger and more beautiful
STAR --
Sarah Jessica Parker in Oscar de le Renta, Rihanna in
Alexander Wang, Taylor Swift in Prada, Kim Kardashian and
Kanye West in Balmain.
Haute Couture Mayhem -- as the cameras and crowds go wild.
ANGLE ON - DEBBIE
Exiting her limo, looking pretty damn amazing in her own
gown, but no one takes much notice of her. It’s a pretty
dress. No twelve foot train, but way better than an orange
jump suit.
INT. MET
It’s been transformed. The huge entrance hall is now the
grandest ballroom in the world. Debbie scans the famous
faces finally settling on...
DAPHNE AND KLAUS
Now a glamorous couple. All Deb’s own doing and still it
stings.
CUT TO:
INT. HALAL CART
Nine Ball eats a falafel at the same time. Cate hovers
behind her buttoning a chef’s toque. She stares at the
monitors.
NINE BALL
Places check --
INT. TEMPLE OF DENDUR - TAMMY
Doing final checks over the tables, speaks into her headset.
TAMMY
Ready to sit --
THE PARTY
At full steam in the Costume Exhibit --
The party-goers move down four mirrored hallways, passing
glass cases that show off --
 83.

DRESSES MADE OF JEWELS

Rubies, diamonds and emeralds from the House of Worth,
Chanel, Dior, Givenchy...
DAPHNE AND KLAUS...
Stroll through the exhibit.
MOVING WITH DEBBIE
She watches them.
DAPHNE AND KLAUS
Utterly unfazed, they pause in front of:
A matte black infinity. The room looks like it extends for a
football field. The black sky is punctuated by FLOATING
JEWELS -- each their own supernova: Diamonds, sapphires,
rubies, emeralds, they gleam as if emitting their own light.
They float in space, suspended from the ceiling, each
describing an invisible human form. It’s like Yayoi Kusama’s
Infinity room but way cooler and A LOT MORE EXPENSIVE. A
million dots of light into infinity -- a celestial wonder.
INT. HALAL CART
Cate watches THE MONITOR, where Klaus Gunther leans over and
whispers something to Daphne who throws her head back in a
peel of laughter.
Cate doesn't react. She turns and leaves.
INT. TEMPLE OF DENDUR (DINING ROOM)
On the stage at the front of the hall, a jazz quartet plays.
The room fills with slightly lubricated guests. Everyone
migrates toward their seats, appraises dresses they’ve yet to
see, people with whom they haven’t schmoozed --
TAMMY OBSERVES...
DAPHNE AND KLAUS: a suprisingly-great-first-date energy
between them. They move to their table --
ROSE...
Already sits, enjoying her second glass of wine. Daphne and
Klaus take their place next to her. (Top designers are
always seated next to the “designed.”)
CONSTANCE...
Does a pass by of the table -- glances down at the clasp.
 84.

HER POV:
It’s sitting in the middle of Daphne’s neck like the wheel on
a safe.
CONSTANCE
Clutches the small “pen light” magnet, practicing -- working
it in her fingers. She drifts off into the party...
ON THE OTHER SIDE OF THE PARTY...
Debbie hasn’t taken her eyes off of Daphne and Klaus. He
leans in and whispers to Daphne, half nibbling her ear.
Whatever.
INT. HALAL CART
Nine Ball watches Klaus still nibbling Daphne’s ear on the
monitor. It’s gross even in low res video.
NINE BALL
Okay, we’re ready. Countdown -- in
3, 2, 1 --
INT. KITCHEN - SAME
Cate now dressed in her toque, turns to a waiter:
CATE
Table 3: we need a vegan and a
plain broiled fish...
(as if a throw-away)
Where’s the soup for table one?
WAITER
Over here.
She sees the bowls lined up --
INSERT. BOTTLE OF IPECAC
Cate pulls the small brown bottle from her pocket.
CUT TO:
TIGHT ON A BOWL OF SOUP
We move with the steaming (now spiked) bisque through the
greatest party in the world. Gliding by peripherally on the
EDGES OF THE FRAME are glimpses of: Selena Gomez, Michael B
Jordan, Megyn Kelly, Laverne Cox, Neil Patrick Harris etc...
ANGLE. TABLE ONE
Where Klaus is, not surprisingly, holding court.
 85.

KLAUS
...But then again, I’ve always been
a keen admirer of the female form.
DAPHNE KLUGER
Huh?
The Soup lands in front of Daphne.
DAPHNE KLUGER (CONT’D)
Oh, thank God.
She grabs her spoon and instead of bringing cutlery to mouth
she reverses the process, nearly plunging into the steaming
bowl. Daphne is four spoons deep before she ever breathes.
DAPHNE KLUGER (CONT’D)
(re: her dress)
I haven’t eaten in three days.
She wipes her soup moustache with the back of her hand and
plunges back in.
WIDER. TABLE
No one else is eating. Klaus stares at Daphne’s mouthful of
soup bread --
DAPHNE KLUGER
(yeah, dickhead, I’m
hungry)
What?
Judas and Titus stand on the outskirts of the Temple.
TAMMY
(into headset)
She’s in deep. Maybe half a bowl.
INT. HALAL CART - SAME
Nine Ball watches the scene on her monitors --
NINE BALL
Alright everybody. Here it comes.
INT. WOMEN’S BATHROOM
All done up with fancy table stands offering beauty products
and mints and floral arrangements.
CONSTANCE
Blows into the room.
CONSTANCE
We’re up.
 86.

INT. TEMPLE OF DENDUR - DAPHNE’S TABLE

DAPHNE KLUGER
So I have three brothers right --
totally vicious growing up. They
would plan it out -- like pinto
beans the night before, then in the
morning two of them would hold me
down while -- whoa.
Daphne holds her stomach. The digestion is audible --
DAPHNE KLUGER (CONT’D)
...Cause you know -- brothers can
be...
(audible stomach rumble)
God DAMN.
All at once Daphne bolts from the table flailing in search of
a bathroom. Judas and Titus follow suit.
NINE BALL
Into her headset...
NINE BALL
Game on.
DEBBIE
Makes for the bathroom as well.
EXT. LADIES ROOM
Daphne elbows a MATRON out of the way just as --
DEBBIE
Converges on the bathroom door. She wedges herself between
Daphne and Titus, who follows a step behind her.
DEBBIE.
Excuse me.
He starts to push past her.
DEBBIE
I beg your pardon. That’s the
ladies room.
She plants herself between Titus and the door...
NINE BALL. AT HER CONTROL PANEL
Looking down at her monitor. No Deb.
 87.

NINE BALL
That’s good... You’re right in the
blind spot.
INT. BATHROOM
Daphne barrels into the door, hand over mouth --
She flings open the door to reveal Constance about to sit on
the toilet -- all according to plan.
CONSTANCE
Oh, my --
DAPHNE KLUGER
MOVE!
As Daphne removes her hand, a torrent of vomit flows into the
toilet -- the noise is loud and painful, as if her stomach is
being excavated.
After several wretches, Constance soothes her, strokes
Daphne’s hair. The side of her cheek. The back of her
neck...
CONSTANCE
There, there --
Another wretch.
CONSTANCE (CONT’D)
You poor thing.
TIGHT. CONSTANCE’S HAND. SLOW MOTION
She pops the magnet out of her glove and fits it deftly over
the clasp. A half twist and it doesn’t move.
UP ANGLE. DAPHNE. FROM THE BOWL
She lifts into frame bilious, gasps, then disappear all over
again, hurling.
RESUME. EXTREME CLOSE UP. CONSTANCE’S HAND
She flips it around from the positive to the negative pole
and fits it over the clasp. A half turn and the SOUND OF
TUMBLERS.
TIGHTER
The Harrington comes loose falling out of frame...
 88.

MID-AIR. SLOW MOTION

As a necklace falls, Constance deftly catches it...
CUT TO:
A DIFFERENT STALL
Constance bolts inside, starts wiggling out of her gown...
NINE BALL
Still looking at her bank of monitors.
NINE BALL
Ten seconds.
TAMMY
Grabs a bus boy who is carrying a tray of dirty dishes.
TAMMY
Don’t dawdle. Get that stuff into
the kitchen.
And she guides him along the wall right past...
THE BATHROOM
Where Constance exits, now wearing a server’s uniform, her
hair pulled back. She moves past Debbie, crosses paths with
the busboy and deftly slips the Harrington Necklace into his
pile of dirty dishes.
DEBBIE
Takes it all in...
NINE BALL AND MONITORS
Nothing on the cameras. Then, the bus boy appears (emerging
from the blind spot) carrying a tray of dirty dishes. None
of the women are anywhere to be found.
TRACKING SHOT. WITH BUS BOY...
He glides down the hall on his way to the kitchen where...
CATE
Waits for him.
INT. HALAL CART
Nine ball is charting is progress on the overhead monitors.
 89.

NINE BALL
Almost there...
MOVING WITH THE BUSBOY
As he heads toward the kitchen, then suddenly sees a friend
and stops.
DIFFERENT ANGLE
Another busboy having deposited dirty dishes, pauses to
gossip in the hallway.
SECOND BUSBOY
Dude. Gigi Hadid? Did you see
that dress?
BUSBOY
Did you see Emily Rata-whatever.
That’s insane.
INT. KITCHEN
Cate waits near the entrance to the loading dock looking
toward the door. She leans into her headset.
CATE
(whisper)
Where is he? What’s wrong?
DEBBIE
Hears the chatter on her headset.
DEBBIE
What’s going on?
INT. HALAL CART
Nine Ball leans into the monitor.
NINE BALL
They’re stalled in the hallway.
Chatting.
TAMMY...
Hears it and takes off toward the kitchen. She catches up to
the busboy carrying a tray of dirty dishes and a hundred
million dollar necklace.
TAMMY
What the hell are you doing!
BUSBOY
Sorry.
 90.

TAMMY
You’re not getting paid to talk.
Get in there.
FOLLOWING THE BUS BOY
As he heads up the hallway into...
THE KITCHEN
Steam. Shouting. Rattling plates. But where Cate was
standing, now, there is...
NO ONE
Cate is gone. The busboy enters looking for a dish washing
station.
NINE BALL (V.O.)
(over the headset)
Anybody got eyes on Cate?
AMITA (O.S.)
Here! I’ll take those.
REVERSE ANGLE
Amita is scouring the cutlery dressed as a dishwasher. The
bus boy dumps his tray into her sink and heads back toward
the party.
CLOSER. AMITA
She reaches into the soapy water and fishes around through
the slime. All at once she stops; knows that feeling. Amita
fishes 150 million dollars out of the goop.
HER POV
It’s covered with gunk but still glistens. Amita grabs the
overhead nozzle and rinses off the Harrington necklace until
it gleams.
WIDER
She sticks it into her pocket and calls out to the rest of
the kitchen.
AMITA
Bathroom break!
MOVING WITH HER
Amita crosses to the bathroom and locks the door behind her.
 91.

INT. EMPLOYEE BATHROOM (SINGLE STALL)

Single toilet. Sink. Tampon dispenser. Changing table.
Amita draws a long breath and takes out the Harrington. Wow.
Then she opens the tampon dispenser, displaying a full array
of jewlers tools, neatly organized and fastened.
AMITA
Dope.
She grabs the loupe and slips it on her head, then turns and
opens the changing table: a work bench.
INT. HALAL CART
Nine ball is scanning the various images.
NINE BALL
(into headset)
Where’s Cate. Anybody? Need eyes
on Cate.
AT THE PARTY:
ENTRANCE TO THE LADIES ROOM
Debbie is still loitering outside the door. Feels like
forever. She glances at Titus then back at her watch...
DEBBIE
(to Nine Ball/in headset)
Forget her. Stay focused.
TAMMY (O.S.)
You’re avoiding me.
Debbie turns to see...
TAMMY standing next to her.
DEBBIE
(beat)
What?
TAMMY
(presses close)
Seriously. We were going to talk
when I started, and then there was
so much to get ready for, and then
when I wanted to have a bigger
conversation you said everyone was
around and we needed time if we
wanted to have a “real” talk. So I
thought great she wants to have a
“real” talk, but...
 92.

DEBBIE
Can we just do this later?
TAMMY
That’s all you ever say.
DEBBIE
(whispers)
Like a hundred million dollars
later?
TAMMY
There’s never a good time.
DEBBIE
Honestly Tam, there are better
times than this.
TAMMY
Ok.
And she walks away shaken but proud of herself for having
such an important, if difficult, conversation.
ANGLE. BATHROOM DOOR
Daphne comes out, pale green -- very pale. Wipes her
mouth...
DAPHNE KLUGER
That was gnarly.
TITUS
Looks relieved -- then not...
HIS POV. CLOSE UP. DAPHNE KLUGER’S DECOLLETAGE
The Harrington Necklace is missing.
DAPHNE KLUGER
(feeling their stares)
What?
One of them (gently) grabs her. The other pushes past her
into the bathroom --
CUT TO:
INT. EMPLOYEE BATHROOM
She has removed the first diamond from the Harrington and
holds it up to her loupe. Slight gasp.
 93.

EDGE OF THE DINING ROOM...

Debbie watches the panic build. Daphne is surrounded by a
security team who escort her back to the table.
DAPHNE KLUGER
I’m not sure. It could have fallen
off back here. Or maybe in
there... I don’t know, I just
barfed an organ out...
The phalanx moves toward the table. Walkie-talkies crackle.
More security descend on the room.
ROSE WEIL
Are you alright? Oh, you poor
dear.
KLAUS
What’s going on? What happened?
DAPHNE KLUGER
It must have fallen off, or --
KLAUS
(seeing the missing
necklace)
Are you joking with me?
JUDAS
(approaching)
Nothing in the bathroom --
DAPHNE
Jesus.
ROSE WEIL
Maybe a spot of tea...
JUDAS
They’re sealing the exits.
INT. HALAL CART
NINE BALL
Exits being sealed now. Amita?
AMITA (V.O.)
(on the headset)
Two earrings and a bracelet. We’re
five minutes ahead.
NINE BALL
Cool.
AMITA (V.O.)
And they’re nice.
 94.

NINE BALL
(checks the monitors)
Excellent. Sweeping the room.
INT. MAIN HALL
The entire party is being guided into the foyer by security
guards.
INT. TEMPLE OF DENDUR
Most of the guests have been cleared out leaving the place
weirdly empty -- a restaurant at closing time. Daphne and
Klaus are talking to security while people search the place.
DAPHNE KLUGER
(to the crowd)
I am just so sorry...
(a distinction)
For real.
INT. EXHIBIT
It’s completely empty. Silent. Glistening. Now it does
look like outer space...
INT. MAIN HALL
A GALA ORGANIZER speaks into a wireless microphone.
GALA ORGANIZER
(too close -- feedback)
Um -- we apologize for this
interruption but -- someone has
misplaced a rather expensive item
and they tell us we’re going to
have to stay here while they
search. I’ve told them this needs
to happen quickly so I’m sure it
will. I’m confident that we will
all be back to dessert shortly.
INT. TEMPLE OF DENDUR
As the security teams furiously searches, Tammy is perched on
the far side of the room --
CLOSER
She whispers into her headset --
TAMMY
They’re at table three, seven and
ten. Still a crowd around table
one. Give it a second.
 95.

NINE BALL
Rodger that. Super chill.
ANGLE. TABLE ONE
It has been combed over. Several of the security team glance
at each other. Nothing. They move on to table two...
INT. EMPLOYEE BATHROOM
Amita works furiously. She’s already fashioned four sets of
earrings, three rings, two necklaces. She works on a
bracelet. A POUND at the door --
AMITA
(calling out)
I’m oc-u-pied...
She stares down at the completed bracelet in her hand.
CUT TO:
INT. KITCHEN
Security guards use handheld metal detectors to comb through
the waitstaff --
SECURITY GUARD
Once you’ve been checked, please
head toward the far exit --
The kitchen staff begins to clear out. Still no Cate.
INT. TEMPLE OF DENDUR
CONSTANCE comes blowing through the entrance and slams into --
TAMMY
Who is heading in the other direction.
CLOSE UP. SLOW MOTION...
Constance’s left hand deftly slips the PASTE (THE ONE FROM
THE 3D PRINTER) into Tammy’s hand --
CUT TO:
INT. HALAL CART
Nine Ball speaks into her headset.
NINE BALL
All going down. Police coming,
Tiffany’s coming. Bunch of news
reporters coming. Shit’s blowin’
up.
 96.

INT. TEMPLE OF DENDUR

Daphne sits at her table, stunned.
TITUS
Ms. Kluger -- was there anything
you did or anyone you talked to
between your table and the
bathroom?
DAPHNE KLUGER
I was barfing.
TITUS
I understand that. Do you remember
still having the necklace when you
were seated at...
TAMMY
Oh my god!
(loud, eager)
FOUND IT!
They turn.
TAMMY...
Pulls the necklace from a crease in the table cloth holding
up the necklace (PASTE) like a trophy.
DAPHNE KLUGER
Thank fucking God.
TAMMY
It was under the tablecloth -- in a
crease. In the table. You know
where they fold...
(re: security)
Maybe you just didn’t see it the
first time or something...
TITUS
(into his earpiece)
We got it back.
CUT TO:
INT. EMPLOYEE BATHROOM
Amita cleans up her workstation -- she wears a new pair of
BRILLIANT earrings. A knock on the door. Amita opens it.
CONSTANCE
Slides in the bathroom.
 97.

CONSTANCE
(sees the jewels)
Wo. Sick.
Constance starts pocketing the rest of the new jewelery.
AMITA
Be careful. There’s glue.
Constance nods (sure whatever). Slips out of the room which
is now just... A bathroom.
EXT. HALAL CART
Nine Ball emerges from her falafel stand wearing couture.
She heads across the street toward the Met.
INT. MAIN ENTRANCE HALL - METROPOLITIAN MUSEUM OF ART
Daphne now stands on the stairs above the main hall, while
Klaus (gallantly) places the necklace around her neck.
KLAUS
If I may...
Cameras flash, seizing upon the intimate moment.
ANNA WINTOUR
Thank you, Ms. Kluger, for the
excitement.
(a beat, to the crowd)
Let’s finish the party, shall we.
Everyone files back in -- calm, bonded by the trauma, joyful,
a little less formal and more fun --
LONG LENS. CONSTANCE
As she moves through the party...
Past Tammy...
Past Rose pounding down a last glass of champagne...
Past Nine Ball who is now a radiant partygoer....
Finally face to face with DEBBIE...
CLOSER
Constance pretends to trip, grabs onto Debbie momentarily --
CONSTANCE
Oh, sorry. ‘Scuse me.
Constance catches her balance and moves on.
 98.

DEBBIE
Looks down at a gorgeous diamond necklace in her hand.
INT. TEMPLE OF DENDUR - LATER
Tony Bennett and Lady Gaga perform “Diamonds Are a Girl's
Best Friend.” The entire party is happy and boozed up.
EXT. METROPOLITAN MUSEUM OF ART
Constance exits the Museum, back in her ball gown -- hot
pink, strapless, and satin -- now adorned with a beautiful
diamond pendant and matching earrings --
Amita, too, has changed into a ball gown -- Deep purple
offset by diamonds and emeralds that dangle from her ears --
Nine Ball emerges in an impeccable satin tuxedo with a
massive ring and matching necklace.
Tammy descends. Forest green a-line dress -- a strand of
diamonds looped twice around her neck.
Rose swaggers out, a little loose and loving it -- a new
diamond choker gracing her neck.
Debbie floats down the steps -- wearing her new necklace -- a
chain choker in the front and a long drop chain cascading
down her backless dress.
No Cate.
Debbie checks her watch. Glances around. Is just about to
check it again when she looks up...
DEBBIE’S POV: CATE
Transformed, descending the stairs in a bright yellow ball
gown wearing long dangling diamond earrings. She locks eyes
with Debbie. Slight nod.
CUT TO:
INT. 24 HOUR DINER - 4AM
Neon signs in the window, “ATM,” “COFFEE,” “OPEN.” The bells
on the door ring -- Amita enters, sits at the counter. She
looks at the menu. Constance enters --
CONSTANCE
Just one --
She takes a seat a couple stools down from Amita. Nine Ball
arrives, nods to the other women, sits. Tammy enters, still
scrolling on her phone. Rose comes, still wasted.
 99.

She tries to play the claw-game -- but she hasn’t put in any
money. She finds her way to the counter --
ROSE WEIL
Oh, helloooo.
Debbie and Cate enter together, taking the two middle seats.
They all wear the jewels as they look up and smile.
EXT. DINER - WIDE
It looks Edward Hopper’s Nighthawks but instead of normal
patrons there are eight women wearing over 200 million
dollars in jewelry.
DISSOLVE TO:
INT. TIFFANY’S VAULT - DAY
The two large Security Guards carry the box down the hall
toward the waiting associate.
ANGLE ON - THE ASSOCIATE’S FACE
As he lifts the lid. He wears a loupe. He takes the
necklace up in his hand, inspects in under the light --
And nearly PASSES OUT --
CUT TO:
EXT. TIFFANY'S HEADQUARTERS - LATER
An old-school yellow cab screeches up.
JOHN FRAZIER, late 40’s, Men’s Warehouse suit from his yearly
trip to the Hackensack outlet, salt-of-the-earth, exits. He
inhales, looks around, heads in.
INT. TIFFANY’S CONFERENCE ROOM - LATER
The Tiffany’s Associate sits at the table, shaking, giving
into the fact that even in his worst nightmares he could not
conjure up the circumstance which he is now experiencing.
JOHN FRAZIER
So you’re certain the necklace in
your possession is a paste?
TIFFANY’S ASSOCIATE
(shudders)
Yes.
JOHN FRAZIER
And when did you last see what you
believe to be the authentic item?
 100.

TIFFANY’S ASSOCIATE
Last night, in Ms. Kluger’s suite.
JOHN FRAZIER
Now Larry -- may I call you Larry?
TIFFANY’S ASSOCIATE
Lawrence --
JOHN FRAZIER
My experience is, sooner or later
people want to be rewarded for
their patience.
(takes out a toothpick,
picks with vigilance)
A necklace that’s been sitting in a
vault for 30 years isn’t doing
anyone any good. Nobody’s seen it,
no one even knows what it is. But
you place that necklace on a very
well-known young lady, on an
evening where said placement gets
lots of play and attention and all
of sudden everyone and their mother
knows about that necklace. That
necklace becomes very famous, very
quickly -- right?
TIFFANY’S ASSOCIATE
Yes...
JOHN FRAZIER
And then if that necklace goes
missing?
John grabs every daily paper from his bag, throws them on the
table -- all the headlines are about the NECKLACE.
JOHN FRAZIER (CONT’D)
Well what else would people talk
about? That’s a tale of scandal
and intrigue that gets people
talking and buying.
(almost whispers)
And what they don’t know is it is
insured for $270 million -- so now
you’re up a quarter billion
dollars, your name’s in everyone’s
mouth, and you’re missing a little
necklace that no one had ever seen
anyway. You get the publicity and
the money.
TIFFANY’S ASSOCIATE
Are you accusing us --
 101.

JOHN FRAZIER
Merely floating a theory --
(smiles)
That’s my job. See if it were me,
I’d do it early in the night. Get
it off our hands quick.
TIFFANY’S ASSOCIATE
What are you suggesting?
JOHN FRAZIER
Speculating. That it wasn’t the
real necklace to begin with. That
someone swapped it out before it
even went on Ms. Kluger’s neck --
TIFFANY’S ASSOCIATE
I guarantee the necklace on Ms.
Kluger’s neck when she left that
hotel was the real one --
John Frazier shrugs.
PRELAP:
JOHN FRAZIER
So tell me again how you remember
it.
TIME CUT TO:
INT. TIFFANY’S CONFERENCE ROOM - LATER
John stands in front of four massive cloth covered boards --
he has transformed the Conference Room into Ground Zero for
his investigation.
DAPHNE KLUGER
They put the necklace on me, I did
my silly walk, we saw the exhibit,
I ate my soup, hurled my guts out --
The necklace was gone, everyone
freaked out and then they found the
necklace again.
Frazier takes the clothes off the boards behind him -- they
reveal Daphne’s entire night reconstructed with images from
Getty, Buzzfeed, Instagram, Paparazzi and Security footage.
In most of the images, Klaus is standing right next to her.
JOHN FRAZIER
Thank you, Ms. Kluger. Fortunately,
I’ve been able to trace every step
of your night as relying on your
memory would be -- well -- less
dependable considering your level
of refreshment.
(MORE)
 102.
JOHN FRAZIER (CONT'D)
So as you can see in all of these
photos, there is a young man
standing next to you -- Mr. Klaus
Von Gunther?
DAPHNE KLUGER
He was my date --
JOHN FRAZIER
(amazed)
Is that his real name?
DAPHNE KLUGER
I have no idea.
JOHN FRAZIER
German?
DAPHNE KLUGER
Austrian.
JOHN FRAZIER
Six o’ one. Was there ever a time
when you two were alone while you
were wearing the necklace?
Daphne locks eyes with him --
FLASH CUT TO:
DAPHNE AND KLAUS (FLASHBACK)
Passionately making out against a wall in a dark corner of a
Gallery --
CUT TO:
INT. CONFERENCE ROOM - TIFANY’S - RESUME
DAPHNE KLUGER
No.
John looks over the images of Klaus and Daphne -- he is
touching her neck a lot, as if coveting the necklace. John
sits on the edge of the table --
JOHN FRAZIER
Do you suspect he would have any
motivations to take the necklace?
DAPHNE KLUGER
I try not to guess about people’s
motivations. They tend to show
you.
 103.

JOHN FRAZIER
That’s a sufficiently vague answer.
(beat -- looks at the
board)
You know, I have every minute
accounted for except five --
He looks down at a sheet of paper on the table --
JOHN FRAZIER (CONT’D)
Well, four minutes, 48 seconds to
be exact.
DAPHNE KLUGER
I was probably rubbing one out.
JOHN FRAZIER
They said you were charming.
(beat)
Funnily enough, the unaccounted for
minutes do line up with when you
were disposed by your sickness.
DAPHNE KLUGER
When I was throwing up?
JOHN FRAZIER
Was there anyone in the bathroom
with you at the time?
DAPHNE KLUGER
My head was at the bottom of a
toilet bowl.
JOHN FRAZIER
How bout after --
DAPHNE KLUGER
Lots of people.
JOHN FRAZIER
I mean in the bathroom.
DAPHNE KLUGER
Don’t you have cameras in there?
JOHN FRAZIER
Sadly no. Legal thing. Whoever
took this necklace is pretty smart
and probably a woman. Or someone
dressed as such. Or maybe this
German fellow but that’s a bit of a
reach.
He lays out photos of Daphne with Rose, Tammy, and Debbie in
the background -- they are zoomed in or from the edges of
photos of her -- the cobbling together took a long time.
 104.

JOHN FRAZIER (CONT’D)

Do you know any of these women?
DAPHNE KLUGER
That’s Rose Weil, she designed my
gown, which you obviously know,
that chick was some type of event
planner, I think, and her -- I’ve
never seen before in my life.
INT. CATE’S THEATER - DAY
The team dismantles their headquarters. The replica of the
main exhibit still stands in the background. Everyone
glances up at the sound of heels clicking against the wood of
the stage...
DAPHNE KLUGER
You guys are fucked.
She enters from stage right and wanders over to a large
investigation board --
DAPHNE KLUGER (CONT’D)
Wow. It’s like everyone watched
Homeland and got ideas --
Photos of Klaus and Daphne throughout the night -- he seems
enamoured with the necklace.
DAPHNE KLUGER (CONT’D)
(re: the board)
Can I keep this?
TAMMY
You’re trespassing.
CATE
We asked her to come.
Daphne grabs an apple from the table and plops (crash-lands)
on the couch. All eyes turn to Debbie and Cate.
DEBBIE
(deep breath)
I realized about a week ago that
Ms. Kluger...
DAPHNE KLUGER
Wasn’t a total fucking idiot.
DEBBIE
Might have gotten a sense of what
we were doing.
 105.

TIGHT SHOT. CROWN VICTORIA. (FLASHBACK)

The big guy and bald guy are parked outside Cate’s Warehouse.
A knuckle raps on the window. It rolls down to reveal --
DEBBIE
Who extends a folded note.
DEBBIE
Chuck. Victor. Hi. Could you
take this to your boss please. I’d
like a word with her.
INT. JUICE BAR
Daphne drinks something green as she reads Deb’s note.
CHUCK
And there’s some paparazzi outside
too, Ms. Kluger.
DAPHNE KLUGER
(engrossed/reading the
note)
Shh.
RESUME. WAREHOUSE
The rest of the women pay rapt attention.
DEBBIE
So we figured the only way this
might work was to take her into our
confidence.
Daphne takes a huge bite of her granny smith.
DAPHNE KLUGER
(mouthful)
I even threw up for real.
TAMMY
You were in the whole time?
CATE
Recently.
DAPHANE KLUGER
(preens)
One take, baby.
DEBBIE
And it seemed to us -- that eight
shares of a hundred and thirty
million are better than seven
shares of nothing. Right?
 106.

WIDER
It sinks in to the whole group. Awkward silence.
DAPHANE KLUGER
Wo. Chilly.
(beat)
“Hi Daph, welcome to the team.”
Let’s not all high five at once.
(another bite of apple)
Plus, I’m the one who’s saving your
ass from insurance fraud.
ROSE WEIL
Insurance fraud?
DEBBIE
I was getting to that.
AMITA
When?
DEBBIE
It seems that RGI has assigned an
investigator who...
DAPHNE KLUGER
Is about to look up your ass with a
flashlight.
ROSE WEIL
(panicked)
Who’s this?
DAPHNE KLUGER
Little Colombo dude. Totally onto
you. Everything but the trench-
coat. Do you guys have anything to
drink?
ROSE WEIL
Alright... Lest we forget.
This... This entire...
“enterprise” was to keep me out of
jail.
DEBBIE
Nobody’s going to jail. We
expected this. We’re very
prepared.
NINE BALL
Looks like it.
DEBBIE
WE are not going to be the prime
suspects.
 107.

TAMMY
I’d go to jail with you, Deb.
DEBBIE
Well that’s very nice but...
CONSTANCE
Who are the prime suspects?
DAPHNE KLUGER
That German creep who sent her
away.
(beat)
Don’t you watch any movies -- like
Double Indemnity? These insurance
guys are smart. You gotta frame
somebody else.
Cate and Deb exchange a look. Moment of truth. Beat...
CATE
Of course you do.
Deb nods. Daphne kicks off her shoes, putting her bare feet
on the coffee table.
DAPHNE KLUGER
I know I look like Daphne Kluger,
but I only play her in real life.
(beat)
So when do we sell this shit?
CUT TO:
INT. JUNIORS DELI - BROOKLYN
Deb sits at a table near the back. Saul approaches with a
WOMAN.
SAUL
Rene, this is Deborah, Deborah this
is Renee.
DEBBIE
Hello.
SAUL
Rene is a very talented actress.
(beat)
As are her friends.
With all that implies.
RENE
(grand dame)
Hello darling.
 108.

SAUL
Well, I’ll leave you two.
(winks)
Nice goin’ kid.
INT. PRESIDENT’S OFFICE - DAY
Rene meets with the lead APPRAISER. She’s dressed like a
Waspy Jessica Rabbit. The appraiser wears a loupe, inspects
the ring -- he is astonished --
SOTHEBY EXEC
Stunning -- it may be the most
flawless diamond I have ever seen.
This was your mother’s?
RENE
Left to me after her passing.
“Rene -- the ring is yours.” Quite
sappy, really. A Swedish Prince
gave it to her while she was
traveling in Europe as a young
woman. In exchange for her
“deflowering,” one can only assume.
The Appraiser smiles -- examines it -- thinks...
SOTHEBY EXEC
Well, next week’s auction is our
premiere event of the season. It
would be hard to take on a single
item.
RENE
Of course, we’re happy to pay the
full commission.
He looks up... Smiles.
CUT TO:
TAMMY - SOTHEBY’S LOBBY
On the phone --
TAMMY
(into the phone)
Working like a charm.
QUICK CUTS
ETHEL, a similar high class dowager, sits opposite the same
Appraiser. She’s been weeping.
ETHEL
Parting with something like this.
It’s so hard.
 109.

SOTHEBY EXEC
I’m sure --
ETHEL
We were on the deck of the Queen
Mary -- North Atlantic in the
moonlight.
(stifles a sob)
Then he says, “I’d give you those
stars if I could...” Oh well...
MARLENE (EASTERN EUROPEAN)
Sits in the same chair as he examines a flawless bracelet.
MARLENE
(eastern European)
What does a refugee have? What you
can put in your pocket. “Take
this,” my mother said. “Now go.”
So we ran. Istanbul, Vienna,
finally London. I put it in a
drawer forever but... what’s
forever?
SOTHEBY EXEC
It’s a beautiful piece.
MARLENE
Those are her initials right there.
DIANA (OLDER THAN THE OTHERS)
Sits in the same chair, staring intently at a diamond ring
which gives Elizabeth Taylor’s a run for its money. She
studies it, trying to summon a recollection. She gives up --
DIANA
I just don’t remember. I stare at
it and stare at it and I just can’t
remember. Is it worth something?
The rock is as big as a kumquat --
SOTHEBY EXEC
Um. Yes.
DIANA
That’s nice. I just wish I could
remember...
CUT TO:
INT. RENE’S APARTMENT
The crew of criminally-inclined octogenarians celebrate --
 110.

DIANA
That was fun.
CLINK. Rene, Ethel, Marlene, and Diana all touch glasses...
CUT TO:
THE HAMPTONS
Klaus is walking through the dunes staring earnestly out at
the horizon, hoping someone is watching him. Unfortunately
someone is.
JOHN FRAZIER (O.S.)
Ex-cuse me...
Klaus turns to see the middle aged man stumbling through the
sea grass.
JOHN FRAZIER (CONT’D)
Excuse me...
INT. HAMPTONS HOUSE
They sit in a HUGE living room looking out at the beauty of a
wild beach.
JOHN FRAZIER
Look. You’re gonna have to
pronounce your name for me
‘cause...
KLAUS
Klaus... Gunther.
JOHN FRAZIER
Thank you.
KLAUS
Is that it?
JOHN FRAZIER
Funny. You’re very funny. Really.
Klaus glares. Get on with it. John Frazier opens a folder:
JOHN FRAZIER (CONT’D)
So these are photographs of you
with Ms. Kluger. As you can see
there are many with your hand on
the back of her neck.
KLAUS
I don’t really remember where my
hands were.
 111.

JOHN FRAZIER
Ah, to be young.
(smiles)
Problem is, there’s a missing
necklace and a fake in its place.
And you’re the one closest to her
with the greatest opportunity to...
KLAUS
Why would I want to steal a
necklace?
JOHN FRAZIER
That’s what I kept asking myself.
When you were on the beach. I kept
walking around here going, “why
would this guy who has everything,
wanna steal a necklace?”
KLAUS
You were in my house?
JOHN FRAZIER
The door was open.
KLAUS
Do you have a warrant?
JOHN FRAZIER
(laughs)
Gosh no. I work for an insurance
company.
KLAUS
Then I think we’re done here.
Pause. Tense silence.
KLAUS (CONT’D)
(rising)
Really.
John Frazier nods. Didn’t even finish his Coke.
JOHN FRAZIER
Could you call me a taxi?
CUT TO:
INT. KLAUS’ GALLERY
He’s selling a very abstract piece to a couple from Norway.
KLAUS
Exactly. It’s what isn’t there...
No one understands negative space
like...
(MORE)
 112.
KLAUS (CONT'D)
(his cell phone vibrates)
‘Excuse me --
(answers)
Hello.
It’s Daphne --
KLAUS (CONT’D)
Oh, hey --
EXT. HUDSON RIVER PARK - LATE AFTERNOON
Klaus sitting on a bench. He’s looking down toward the end
of the island. Boats glide by. He fights the sun.
FROM FAR AWAY... DAPHNE’S SILHOUETTE...
Approaches from down-river. She wears a black trench coat
cinched at the waist and high heels considering the walk. It
would make anyone sit up and take notice...
CUT TO:
EXT. 7TH AVE - NIGHT
Neon. Car horns. Buses.
DEBBIE
Presses her way out of the subway -- fighting through the
throng.
MOVING WITH HER
Through street vendors and tourists. Every nut imaginable.
She turns into the blinding light of...
INT. CARNIGIE DELI
The DING of the door -- she glances around. The HOSTESS
stands above a basket of mints --
DEBBIE
I’m meeting someone.
MOVING WITH HER...
Debbie goes up three booths, sits down --
DEBBIE (O.S.)
Hello, John.
JOHN FRAZIER
Hello, Debbie.
A long pause.
 113.

DEBBIE
I didn’t do this one.
JOHN FRAZIER
That’s what you said in Philly.
DEBBIE
I know. But I didn’t.
JOHN FRAZIER
(offering)
Pickle?
She takes one. Crunchy...
DEBBIE
Let’s say I knew where part of the
necklace was -- hot goods --
totally traceable... Could you get
a search warrant?
JOHN FRAZIER
Don’t know. Depends who’s got it.
DEBBIE
Stop fishing. This is me.
JOHN FRAZIER
Well -- we’d need probable cause.
DEBBIE
Of course.
CUT TO:
INT. KLAUS’ APARTMENT
DAPHNE KLUGER
Let’s play a game?
She’s still wearing the trench coat but it’s partially
unbuttoned. Her shoes are next to her --
KLAUS
(struggles to talk)
What kind of game?
DAPHNE KLUGER
(sex game)
You know. Like a “card” game.
She leans in, intoxicating. Klaus shudders slightly...
HARD CUT TO:
 114.

LATER...
Cards and underwear are strewn about the bed. Bottle of
vodka lies empty. Klaus is in a post-coital coma, the life
sucked out of him. He doesn't know his own name.
INT. KLAUS’ CLOSET
DAPHNE, wearing his shirt, looks at his dresser. Pictures of
him. Him and his friends (male). But mainly just him.
CLOSER
All at once, she places a ten thousand dollar bracelet in
front of a safari photograph (Klaus shirtless.) Daphne
positions her iPhone and CLICK --
INT. CARNIGIE DELI
Deb takes her phone, shows it to John --
DEBBIE
This kind of probable cause?
INSERT. PHONE
John looks down at the bracelet on Klaus’ dresser.
JOHN FRAZIER
Yeah, that works.
CUT TO:
INT. KLAUS’ APARTMENT - THE NEXT MORNING
10:03AM on the digital clock. Sunlight invades the blackout
shades.
KLAUS
Stirs. Looks at the clock. Looks across the bed. Daphne’s
gone. He gets up slowly... Needs to pee...
INT. BATHROOM
Half a bottle of vodka thunders into the toilet. Klaus
stretches, heads into the closet. Pauses.
HIS POV
A note sits next to the bracelet and the photograph...
NOTE
XOXOX -- (HEART) -- DAPHNE.
 115.

TIGHTER. BRACELET
That’s a lot of diamonds. He picks it up, utterly confused.
There is KNOCKING at the front door. It turns to pounding.
EXT. KLAUS’ APARTMENT
Police. Lots of them.
CUT TO:
INT. SOTHEBYS - 11AM
GAVEL pounds. Murmurs die down.
AUCTIONEER
Lot number 63. The Miedenfause
Jewels, including a 33.18 D-color
internally flawless diamond ring --
DIANA
In the audience, looking to her companion --
DIANA
(faintly, lost)
Is that one mine?
AUCTIONEER (O.S.)
Bidding will begin at 5 million --
Paddles shoot up in the air --
AUCTIONEER (CONT’D)
5.6 In the front. Do I have 6?
Here, yes, to the gentleman in the
back. Do I hear five...
MOVING THROUGH
The audience as paddles rise until we find --
DEBBIE
Perusing the Auction catalogue. She looks up, smiles, as the
Gavel SLAMS.
AUCTIONEER (CONT’D)
Sold for 7.9 Million --
As each lot of jewels provided by Rene’s crew get sold --
AUCTIONEER (CONT’D)
Sold for 6.7 Million.
The gavel SLAMS again.
 116.

AUCTIONEER (CONT’D)
9.5 Million.
The Auctioneer looks like he needs a cigarette.
CUT TO:
INT. POLICE STATION - INTERROGATION ROOM
Klaus sits at a plain wooden table, aghast at his
surroundings. A detective stands in front of him.
DETECTIVE
You have no idea how this came to
be in your possession.
KLAUS
None.
DETECTIVE
But you were Ms. Kluger’s date the
night these necklaces were
switched.
KLAUS
I was.
DETECTIVE
Does that strike you as an amazing
coincidence?
KLAUS
I think I ought to talk to my
lawyer.
DETECTIVE
(smiles)
I think that’s a good idea.
INT. CATE’S WAREHOUSE
The Crew celebrating -- everyone is drinking.
Congratulations all around. Then --
DAPHNE KLUGER (O.S.)
I got a question?
WIDER
Everyone turns to look at Daphne who is sitting on a crate
perplexed. She looks down at her iPhone where she’s been
working the calculator.
DAPHNE KLUGER
So you sold ’bout 35 million worth
of jewelry right?
 117.

Pause. She lowers the phone.

DAPHNE KLUGER (CONT’D)
How does everyone get 16 million a
piece?
All eyes on Debbie. They wait to see what she’s going to do.
Ok -- why not?
DEBBIE
What? -- You thought we were just
going to steal ONE necklace?
INT. EXHIBIT - METROPOLITIAN MUSEUM OF ART - (FLASHBACK)
Daphne and Klaus stare at the main hall of the exhibit --
DEBBIE
On the other side, staring longingly at them.
But she wasn’t. Now we know the real of object of her
affection:
The whole exhibit itself.
DEBBIE
See, while everyone was worrying
about what was around your neck...
CUT TO:
INT. BATHROOM -- FLASHBACK
Daphne violently vomits into the toilet.
DEBBIE (V.O.)
And you were hurling your brains
out -- thank you for that, by the
way.
DAPHNE
(professional)
Of course.
CUT TO:
INT. MAIN HALL - FLASHBACK
The entire party is escorted out into the main hall --
DEBBIE (V.O.)
-- the whole place went into lock
down --
 118.

DAPHNE KLUGER
Oh, that’s smart.
CUT TO:
INT. BACKSTAGE CORRIDOR - METROPOLITIAN MUSEUM OF ART - SAME
Cate, in her chef’s uniform, pushes a huge catering cart --
DEBBIE (V.O.)
Then, when security made us clear
out the kitchen --
On the other end of the catering cart is revealed --
DEBBIE
Pulling it down the hall -- now wearing a janitors uniform.
DEBBIE
And everybody was watching the
entrance...
INT. MET - JUST OUTSIDE THE KITCHEN
The catering cart comes to a stop--
DEBBIE
We cleared out too -- just like we
were told.
CATE
Crosses around to the front of the catering oven and opens
the double doors revealing...
Yen (the chinese acrobat from Ocean’s Eleven)
He extends a bright yellow ball gown to her on a hanger.
CATE
Thank you.
DEBBIE (V.O.)
Why would you steal one necklace
when you could steal...
INT. WAREHOUSE - PRESENT
Debbie crosses to the large industrial fridge and swings open
the door, revealing all the jewels from exhibit.
DEBBIE
...More.
DAPHNE KLUGER
HOLY SHIT.
 119.

ROSE WEIL
Holy shit.
DEBBIE
See, we didn’t just print the
Harrington out of that thing. We
printed lots of jewels.
FLASHBACK. CATE’S LOFT. TWO WEEKS EARLIER.
Deb and Amita watch as the 3D printer spits out loads of
cubic zirconium.
AMITA (V.O.)
Felt like I worked at Kinkos.
BACK AT THE HEIST. (OUTSIDE THE KITCHEN)
Yen hops up on the catering cart and gives Cate a hand. She
climbs on it as well, putting Yen on her shoulders. Debbie
holds the cart as Yen pops open a vent climbing into the
ceiling.
A moment later, a rope drops down.
RESUME. LOFT
ROSE WEIL
How long did you have to do this?
NINE BALL
(volunteering)
Twelve minutes and thirty eight
seconds --
FLASHBACK. EVENT
Anna Wintour is making her announcement:
ANNA WINTOUR
Um -- we apologize for this
interruption but -- someone has
misplaced a rather expensive
item...
INT. AIR DUCTS
Yen, Debbie and Cate crawl through the vent.
DEBBIE (V.O.)
Now, when we modified the exhibit,
we also changed the background from
reflective black to matte black. No
big deal, except it was the exact
same material our good friend Yen
was wearing.
 120.

We see Yen -- hooded from head to two black lower himself

into the exhibit.
DEBBIE
So even though he was visible to us
from the vent...
FROM THEIR POV
The cloaked figure of Yen hangs in space --
DEBBIE
He was invisible to the security
cameras against the black
background...
NINE BALL
Watches from her bank of monitors. She sees nothing on her
screen.
RESUME. LOFT
They all sit mesmerized...
DEBBIE
But since it would have been bad to
see the jewels move, Nine Ball here
helped us customized the cameras.
NINE BALL
I just changed the specs a little
online.
ANGLE. YEN
He takes an iPhone, snaps a picture of the exhibit and slides
it into a special housing on the front of the security
camera.
NINE BALL
Sees a momentary blur then the exhibit looking perfectly
normal --
DEBBIE
Now all of the jewels are weighted.
But when you know the piece, and
the exact karats, it’s easy to
calculate that weight.
AMITA
It’s just a little math.
7.25.16
121.

CATE AND DEBBIE IN THE VENT

Loop the fishing line Cate bought at the tackle shop, over a
metal roller with a digital pressure meter. Carefully they
lower the paste to

YEN•••

Who deftly shifts the weight from one to the other, restoring
the exhibit. It looks like the·ewels move on their own.

DEBBIE
So as we reeled down one, we reeled
in another.

DEBBIE. IN THE VENT•••

••• hoists a large bracelet into her hands. First of many.

INSERT. NINE BALL'S MONITOR

On the monitor, Debbie and Cate begin to wheel their

"catering cart" nonchalantly toward the truck.

RESUME. LOFT

DEBBIE
I know you all went through a lot
to steal that necklace.

CATE
But without a decoy. We never
could have done it.

INT. COSTUME EXHIBIT - FLASHBACK

Cate and Deb wheel the catering cart away from the exhibit
toward •••

EXT. LOADING DOCK - FLASHBACK

Cate bangs on the back of a massive truck twice -­

CATE
Ready.

From the driver's window a small short haired woman peeks out
-- Ethel the dowager, who sold the first lot of jewels.

ETHEL
All set dear?

Cate nods. Ethel honks the horn twice as she drives off.
Cate still holds her yellow ball gown.
 122.

INT. CATE’S WAREHOUSE - PRESENT

Debbie motions to all of them a job well done.
DEBBIE
And that’s how you all get: Sixteen
Million, Five hundred and twenty
nine thousand dollars.
(smiles)
A piece.
TAMMY
Not quite.
DEBBIE
Right. We gotta sell ‘em. And
Tammy here has recruited a few old
friends to help us do that.
CUT TO:
INT. AUCTION HOUSE - ZURICH - DAY
Reuben sits in the audience, eating a pretzel with mustard.
GERMAN AUCTIONEER (O.C.)
(in German)
The collection is sold! To the
gentlemen in front for thirty-eight
million dollars.
Reuben looks to the GERMAN BUYER, demonstrating the
restrained joy of acquisition. Reuben wipes his mouth, rises,
walks out --
PRELAP: Gavel slamming.
CUT TO:
INT AUCTION HOUSE - SHANGHAI - DAY
The Auctioneer stands before a group of bidders -- some video
conference in, projected onto a wall, some bidders,
representing in person, hold phones to their ears.
CHINESE AUCTIONEER
Sold -- to the gentlemen on the
left...
LINUS (Matt Damon) leans against the wall in the back of the
room, remaining inconspicuous.
CUT TO:
EXT. PROVENANCE - CAPE TOWN - DAY
Basher emerges. He puts on his sunglasses.
 123.

SFX: The gavel slams.

INT. SOTHEBY’S - MOSCOW - EVENING
Another gavel.
Saul Bloom pets a cat seated on his lap. Smiles...
CUT TO:
EXT. 7TH AVENUE SUBWAY STOP - GREENWICH VILLAGE - DAY
Debbie stands at the entrance to the subway talking to Tammy.
Tammy has that slightly spent quality of someone who has
recently “been emotional.”
TAMMY
I’m in for the next one. You know
that.
DEBBIE
Of course.
TAMMY
And if you get back to New York
maybe we could...
DEBBIE
This is better. We talked about
it. “Little League.”
TAMMY
(nods)
Yeah... I wrote you a letter, but
every time I read it just sounded
so lame so...
(pulls something from her
bag)
Here.
Tammy hands her a lucite replica of the Statue of Liberty
from the 3D printer.
DEBBIE
Thanks.
TAMMY
Thanks for this.
She pats the black messenger back hanging from her shoulder.
It obviously contains her cut.
DEBBIE
Well.
She goes to hug Tammy who tries to lean-in but Deb gives her
the cheek.
 124.

TAMMY
Right.
INT. SUBWAY STATION
Deb pushes through the turnstile and moved up to the track
waiting for the 1. She heads all the way down the platform
toward the far end waiting for the last car.
IT ARRIVES
Whizzing into the station with a blur. The train comes to
rest and Deb moves through the last set of doors into the
subway car.
INT. SUBWAY
Seated in various positions around the car are the rest of
her crew. Cate, Rose, Nine Ball, Constance, Amita. Each of
them has a black canvas messenger bag. Deb sits near Cate.
None of them make eye contact.
The train moves. A panhandler sings “Lucy in the Sky with
Diamonds.” Everyone stares straight ahead.
THE TRAIN SLOWS AGAIN
Coming to a stop. Amita gets up to leave. Gives Deb a wink.
DOORS SHUT. SUBWAY STARTS AGAIN. (TIME LAPSE)
With each locked-off dissolve, another member of the team
disappears --
There are now six, then five, then four, then finally...
ROSE WEIL
(Gushy/tears)
I’m really going to miss you.
DEBBIE
Shh.
Rose nods quickly. Remembers her cover. Exits the subway.
They smile and...
FINALLY ONLY DEBBIE AND CATE REMAIN
Alone in the subway. They ride for a while in silence...
ANNOUNCEMENT
14th St. Transfer to the N, Q, R,
7 and S trains.
CATE
Okay then....
 125.

DEBBIE
Ok.
Cate rises. Starts to cross past her.
DEBBIE (CONT’D)
Hang on.
Cate turns.
CUT TO:
LAS VEGAS STRIP
In all its surrealistic glory.
CAESAR’S PALACE POOL
Cate and Debbie lie side by side on chaise lounges in a
cabana.
CATE
That’s incredibly stupid.
DEBBIE
Yeah?
CATE
Yeah.
Deb smiles. Closes her eyes.
DEBBIE
But good, right?
Cate closes her eyes as well.
THE END