freeze!
call 911.
sometimes. it's just adrenaline.
i saw him washing the car.
they don't wash cars on the parking levels. he hands a glass of brandy to frank, who looks at it.
i'm not good in permanent positions, my feet go to sleep. the two men smile at each other. they raise their glasses in a joint salutation -- klingman drinks. frank doesn't.
i don't do celebrities.
isn't she the one who collects dolls? this is enough to distract devaney from his knife-throwing.
you mean she doesn't collect dolls?
i thought i knew who she was. devaney tries to size up whether frank is kidding him or not. frank's face betrays nothing. devaney gestures with a knife.
deadly.
there are several good men available for that kind of money. have you talked to fitzgerald or racine? portman?
there's no such thing.
all right. i'll come and i'll look the situation over. if i take it, it's three thousand a week.
shit. devaney's face drops. frank examines the next knife.
i know it's something like.  the second knife gets away from him at the top of his arc and disappears into some bushes about three feet from devaney. devaney stands up in a hurry and moves behind frank.
sorry. frank raises his hand to throw again, then stops and motions devaney off to the side.
better not stand right behind me. devaney smiles weakly. frank lets the third knife go with one smooth motion. the knife sinks an inch into the center of the post. thump. frank's hand arching again. throwing the remaining knives. both knives stick in the post forming a straight vertical line with the first one.
frank farmer to see miss marron.
alexander graham bell to see miss marron!
the atomic number of zinc is 30.
are you the man on the intercom?
my name is edison. i have an appointment with miss marron.
mr. devaney.
what happened to your arm?
henry ford, to see mr. devaney.
yes.
what did you expect?
this is my disguise.
orange juice.
miss marron.
there's been a mistake. a misunderstanding. if you'll show me the quickest way out, we'll save each other a lot of trouble. frank's on his way. someone brings a silver headpiece on a stand to rachel. she ignores it, still looking at frank.
we did. frank starts to walk off. devaney is grasping at straws.
hi.
all right. how 'bout yourself?
no. i don't like boats.
oh, i don't know.
you're a smart kid. fletcher nods.
i'll tell you. one time i was stuck on a boat with some people for four months.
nope. a big white yacht. do you know what a yacht is?
well, nobody's perfect. fletcher squints up at him, the sun in his eyes.
what do you know about it?
i'll remember that. devaney trots into the pool area, out of breath. he is holding a bulging manila file. as he sees fletcher, he holds the file casually at his side. frank sees fletcher looking at the file.
nice meeting you. fletcher looks after them silently.
have you ever tried having these professionally assessed? devaney shakes his head no. frank begins to look through the letters, flipping them by the corner of the page. from many different sources, some are scrawled, some typed, some assembled from cutouts. many are soiled and torn, others immaculate. occasionally, one will have a photo of rachel with crude markings on it. spector enters sucking on a popsicle. he comes to stand over frank's shoulder, peering nonchalantly at the piles of letters.
i was two years with carter and four years with reagan. frank sets another letter in the center pile. he stops, smiling at it.
this is a little old lady in akron. she's written to everybody i've ever worked for. he continues to turn until something stops him. several letters are paper-clipped together. they are the pasted- up type we saw being assembled on the desk top.
not on my shift. spector emits a gratuitous laugh, acknowledges the joke.
at first glance, these don't bother me. but keep them. you never know. he separates one letter from the others.
this could be something. devaney searches frank's face.
i don't know. did you tell miss marron about it? does she know about the doll? devaney and spector exchange looks. this is evidently a sore point between them.
what about the police?
what about the chauffeur?
is this her bedroom?
no.
somebody was in here?
and she doesn't know about this either? devaney shakes his head.
someone penetrates the house, gets upstairs and jerks off on the bed .  i'd say that qualifies as a problem.
this house is wide open.
i said this house is wide open
look, i can't protect her. i won't be responsible for her safety if she doesn't know what's going on.
sure she will.
yeah. as they reach the car, devaney is relieved. he dares a perfect smile.
devaney, if you ever lie to me again, i'll take you apart.
i wanted to see how hard it was to get in.
put this on your arm. it'll help the ache. henry takes it but is noncommittal.
i'll bet you can fill up a whole day just washing the cars and driving rachel marron around town.
we're adding to your duties.
you're my new assistant. frank removes three boxes of cartridges from the suitcase and puts them in the back of a dresser drawer as henry watches.
henry, i've spent a lot of time guarding people all over the world
the cocky black chauffeur. henry considers this for a moment and smiles. over scenes 26-28, we hear the voice of cnn's martin grove from "showbiz today."
unusual tactic for a guard dog, but effective. nicki smiles, gesturing him in.
i'm sorry to disturb you.
you and rachel?
you never went back?
i don't want anyone on the street to be able to look at the cars and know who owns them. henry leans in a doorway and hits a master switch. the three doors of the garage start to rise in sequence.
get new plates for those two.
that's what her manager thinks.
yeah.
fine.
thanks. ray?
why am i getting all this cooperation?
i'm trying to keep her away from crowds.
o.k. henry, let's go. tony looks at frank, eyes narrowing. from across the street, we see the limo pull away. as the shot clears, the dark shape of another vehicle appears, slowly moving into frame over the top of the camera.
no problem. i'd like to know how you handle things, tony.
turn left.
shortcut.
slow down, very slow.
no, just slow down. the car slows.
stop here.  take them to the house. frank jumps out and jumps a hedge, racing toward the lawn and work area. angle - tony, rachel and spector as the car pulls away they see frank running wildly across the property.
keep this loose. fletcher comes to take a look too. he peers up at frank, expectantly.
toyota. black.
one snag though. fletcher's face falls.
360,000 of them in los angeles. i checked. nice work, though.
yeah, she makes him nervous. they watch as devaney screeches to a stop, gets out and hurries inside.
did he have an appointment? devaney turns to him.
i don't want her doing anything she's always done.
we're almost done.
go on tuesday this week. spector looks at him as though he were a martian.
i've seen a few.
you can be as you choose to be. it's an act of discipline sometimes, but it can be done. rachel stops in her tracks.  then opens the curtains and looks at herself in the mirror. also reflected in the mirror is frank.
that's right. rachel turns to frank.
you're too clever for me. i can't keep up. frank continues to search the shop and street with his gaze. rachel steps closer to him.
disapproval's a luxury i can't afford. gets in the way.
that's right. it's a stand-off. after a moment, rachel motions to an outfit on a rack just behind him.
i'm here to keep you alive.  not to help you shop. fuming, rachel sizes things up, then grabs it herself, whipping the curtain shut behind her. a smile plays across frank's face.
i thought it was dinner.
are we going somewhere else?
what's the mayan? spector starts to climb into the limo.
spector, you've got to tell me about these things.
rachel. he removes something from his pocket, a small enameled cross.
i want you to keep this. rachel looks at it, both flattered and confused.
it's fitted with a radio transmitter. when you close the clasp, it sends a signal. if there's ever a problem and we're separated, just press it and i'll know you need me.
they didn't tell you.
let's get her out of here.
we should get her out of here. right now!
i can't protect her out there.
he might be.
rachel.  don't do it. it's not worth it.
what? spector's presence is a distraction. frank steps to one side for a better view of rachel. spector moves too.
you told me you were going to tell her. and you didn't.
but she handled it fine. frank continues to peer past spector's shoulder, his vigilance undiminished. soothed and nurtured by the obvious admiration of her audience, rachel's fear is beginning to vanish. the song is taking over. spector changes tack, becoming confidential, "man-to-man."
one word.
one word in print about any of this.  spector nods, half-gasping. frank tightens his grip. frank's attention is drawn by a renewed roar from the crowd.
tony, not there.
it's been a long night.
i know why.
i don't want to talk about this again.
hey.
no. i'm afraid i'll have to jog with you. they both smile.
that would be good. they walk in silence for few moments. when rachel finally speaks, she sounds genuinely unsure of herself, nervous. it's very appealing. and if it's an act, she's a terrific actress.
there's a big difference between wanting to die and having no fear of death. they walk down the sidewalk.
what do you think?
yeah, it was a good movie. they walk off down the sidewalk.
sixty-two.
yeah.
absolutely.
if someone is willing to swap his life for a kill, nothing can stop him.
he might get me instead.
that's my job. rachel looks at him.
i can't sing.
you mean like you? it's a matter
that happens.
it happens. a beat.
what do you mean?
a long time ago.
do you mind if i don't answer?
nobody's perfect. rachel is taken aback.
no.  nice try though. it was less dramatic than that. she didn't love me anymore. can you imagine such a thing?
yeah. a beat, then rachel bursts out laughing.
what?
it is, isn't it. suddenly a dish drops to the floor. frank, still dancing, makes a smooth quick turn that puts his body between rachel and the noise. his head turns to locate the source of the noise.
end.
no. fast. rachel puts down her drink and moves toward a samurai sword that is mounted in its scabbard on the wall. she looks at it, peering closely.
money. rachel looks around at frank's modest home.
watch yourself. rachel slides the scabbard off. the naked blade is breathtaking. rachel holds the sword out before her. she walks toward frank, then stops and looks over the blade at him.
watch this. he has raised the scarf over his head, in the space between them. with two hands he spreads it out and then lets it go. slowly, billowing, the scarf floats down over the blade and is cut in two. these two pieces float slowly to the floor. frank takes rachel's wrist and moves the sword away to the side. they are both holding it as rachel presses her body against frank's and they begin to kiss.
right now it might not be so hard. rachel laughs, kisses him and buries her head down into his shoulder. frank stares across the bed at the samurai sword lying on the floor. some of rachel's clothing is draped in a heap across it. the torn pieces of her scarf lie nearby. hold on frank's look. shock cut to:
rachel, i don't want to get confused about what i'm doing here.
you pay me to protect you, that's what i do. rachel sits up.
no, nothing.
no, i want you to do without. she stops.
i want to keep it straight in my head what job i'm doing.
no, i'm sorry. this is my fault.
you didn't do anything. it was me. i involved myself with my client.
i made a mistake.
christ! i've told you why. i can't protect you like this.
yeah.
you can live with that or you can fire me.
i've spent a lot of time learning not to react to things like other people do. it's my job. but it doesn't always work, fletcher.  it doesn't always work.
i'm an old man compared to you, pal, and i don't understand either. and i'm starting to get the feeling i never will. there's a crunch of footsteps behind him. he looks around. with a big flourish, a copy of daily variety is put down in front of us, front page upwards.
don't you ever say what's on your mind? spector cannot believe he's being so addressed -- especially in front the staff. the assistants stop in their tracks and look.
that's between us.
no. i understand. spector stiffens, then decides not to take this one on.
it's on the twentieth floor in the south wing. there's a service elevator right there. mainly ocean windows. should be no problem.
thuringer.
okay. let's go.
what a silly job this is.
is this really necessary?
portman.
orange juice. it's been awhile. you on the job?
how old is she?
yeah.
surprised?
i never doubted your skills.
what happened!
why don't you go back there and keep watching? frank looks at rachel's doorway, sipping his juice.
go to sleep. frank looks out at the ocean. after a pause, in the background, mark slips inside the katz suite.
give me a break, will ya? i didn't tell you to fuck everybody in the hotel!
yeah, well, don't take too long, ray.
where is she? where's tony?
thuringer, this is farmer. where's your man on the door to the suite? well get someone up here.
he doesn't know. they look at each other, worried. frank walks out onto the balcony, looks round and down, comes back in. he heads for the front door.
i'm gonna check the route. as usual. he opens the front door. a uniformed guard is standing outside. frank goes out and closes the door.
gomez! louis gomez! he waits impatiently. no one comes. two quick steps and he is back at the crates, throwing them violently into the corner where they clatter loudly to the floor. frank walks on along the corridor.
what are you doing?
move it. the enormous cuban gets slowly up from the boxes. he towers over frank.
i'm sorry. frank steps away, rubs a hand through his hair, tries to collect himself. he's standing amidst dumpsters and discarded food boxes. he looks up and sees a marquee.
i'm through. i'll get you back to l.a. and that's it. the guy with fletcher can cover you till you get a replacement.
i don't care.
save it, devaney. the people who hire me don't have to be convinced to save their own lives. frank reaches the sliding door that leads to the balcony.
call me when she's ready to go down.
i can't protect you like this. it's impossible. the odds are on his side.
i want to take you away for a while. rachel nods.
somewhere people don't know about. she nods again, agreeing.
no spector or devaney or tony. he looks at her, reading her face for any hesitation. there is none.
if you cross me up this time, i'll kill you myself. rachel smiles, weakly but with obvious relief.
lake's a little low.
just one.
he's a trained noisemaker.
i don't like big dogs. they don't know who they're eating.
i don't want anyone going out in it until you've checked it over first. okay? every time. henry nods.
every time. in the distance, rachel and fletcher have just reached the house where nicki scoops up fletcher and spins him round and round in a circle. she hugs him close and kisses his hair. after a few moments, fletcher squirms free and runs to catch up with rachel.
portman sometimes had trouble remembering what his job was. supper's ready. we can see from rachel's face that she feels embarrassed about her behavior in miami.
oh, for chrissake! i'm going to tell her about the time you stripped in court.
if you're lucky, maybe he'll tell you about my first jockstrap. as he speaks, he peers out through the window at the lake. we hear herb's voice continue from the other room.
three years. nicki takes the bowl of popcorn and squats down with it beside fletcher. fletcher peers intently at the board as he chews on a handful.
what do you think? fletcher finishes a mouthful of popcorn, wipes his mouth.
city kid.
good night, rachel. rachel accepts this. she smiles in return and touches him on the arm, very tenderly.
you follow all her moves this closely?
no, it isn't. he moves away into the next room. she hesitates a moment, then follows.
no.
why don't you change it?
you're a lovely woman.
i make my mistakes.
no, don't go away, nicki. don't leave me with that. tell me about it. tell me how long you've been second. tell me how she has a child and you don't. tell me something. but don't turn away and try to stick it on me. nicki twists in his grip. he holds her tight.
maybe i need it. i'm fed up with people telling me they have no control over their lives. if you hate your life so much, turn it around.
yes it is. you can walk out that fucking door anytime you want. i'll unlock it for you.
okay. it's not my business. he moves away, out of frame. we hold on nicki, a long time.
raccoon.  deer? herb nods. their attention is drawn to soft singing up by the house.
where's fletcher? henry appears at the porch of the house, carrying a fishing rod as he comes out. at that instant, the sound of the outboard motor crackles through the air. frank's head snaps toward the boathouse. henry, in the distance, looks quickly at the boathouse, then to frank.
fletcher! fletcher!
i'm sorry. i got careless. henry looks at frank. he feels terrible about not checking the boat.
back off. henry moves away from the van. frank inserts the key in the ignition.
both the cars are dead. and i can't see how it was done. frank and herb exchange a look.
who could know we're here? this place has nothing to do with her.
we'll button down tonight and walk out at first light.
i think this is no maniac. he knows what he's doing. there is a long, long silence. nicki continues crying. finally --
tell me about it. she doesn't reply.
who is it, nicki?
how do we stop him?
who is it?
you can call him off.
how'd you do it?
how?
name?
is it all paid for?
he keeps going until he kills her? nicki nods again, lowering her face into her hands.
what's the name of the bar?
how 'bout the letters?
we will. you and me. tomorrow we're going back to l.a. we're going to find the bar, we're going to find armando. he starts to rise. she stops him.
you told me. she has everything. frank stands up and begins to move across the room. nicki puts her face in her hands and is silent for one moment. suddenly, frank freezes, listening.
stay here. don't move. nicki's face shows true terror. frank is out the door.
stay with rachel! henry's head appears round the doorway of herb's room.
dad?
stay with rachel! the dog continues to bark upstairs. frank sees a slight movement outside and window to his right. a split-second moment of decision. he heads off rapidly down the hall, away from the open door.
what do you mean?
what? where?
you're sure it's him?
well, whoever you got down there wasn't here last night. this was a professional.
how long can you keep him?
yeah, fletcher, i'm okay. how 'bout you?
yeah, fletcher, i do.
everybody's afraid of something, flethcer. that's how we know we care about something, when we're afraid we'll lose it.
i think you should try to go back to sleep now, pal.
i'm afraid.  of not being there.  fletcher stares at him, uncomprehending.
it's late. do you want me to take you back to your room? fletcher shakes his head "no," just barely. then he disappears.
he knows he still hasn't got you.
it's possible.
maybe. rachel takes this philosophically. she tugs at the grass, thinking.
i think it's very dangerous.
that's right. he looks at her a long time, then takes her in his arms. he kisses her and lays her down. his body moves over hers. like a bodyguard, protecting her from the night.
tony knows what he's doing. tony looks at frank, surprised and not a little pleased with the unexpected support.
i'm going to have a look around. i'll come back for her. stay alert. tony nods, watches frank go.
portman. what are you doing here?
who?
tony, you there?
tony, i've got a feeling this is the night. i think he's gonna go for her in front of all the cameras. the kind of thing only a lunatic would do. that's how he wants it to look. except he isn't a lunatic. he's very clever. i need you to help me.
tony stays. skip looks at rachel for a response.
where's portman?
portman.
something's going on you should know about --
rachel, i know who it is. he's here tonight. i think he's.
tony, it's portman. remember? the guy from miami.  spector grabs tony's sleeve, pulling him back.
tony, i want you on the other side.  and check out that guy. he's not supposed to be there.  tony trots off quickly.
how's it going?
yeah.
i thought i might hole up with my dad. finish that chess game. rachel nods approvingly.
that's the idea. fletcher grins. rachel starts to cry.
so, how's the new guy?
he's very good.
i don't trust you.
'bye rachel. rachel turns quickly. she almost runs up the boarding ladder. frank remains watching her. fletcher looks back over his shoulder as they disappear into the plane.
i won't be forgetting you either. she presses something into frank's hand.