"MIDNIGHT RUN" Screenplay by George Gallo SHOOTING DRAFT The screen is BLACK. TRAFFIC HUMS on the SOUNDTRACK. MUSIC KICKS IN. FADE IN: The CREDIT SEQUENCE starts. EXT. AVALON STREET - WATTS, CALIFORNIA - NIGHT An Olds creeps slowly along the street. BADASSES loiter. Pass before the headlights. A fight is in progress out front of a topless bar. Punches are thrown. STRAGGLERS laugh at the mayhem. EXT. SIDE STREET - NIGHT This street is DEAD SILENT. The sidewalk is empty. A junkyard dog trots by on his nightly rounds. The Olds pulls into a spot at the curb. Tires CRACKLE over broken glass. The car engine DIES. INT. OLDS - NIGHT The driver taps a Camel cigarette. Raises it to his lips. Lights it with his Zippo. The flame reveals the face of JACK WALSH. Strong. Haggard. A killer stare. Pressure-cooker of a man. Always about to explode. The flame dances. Blue smoke swirls. The flame fades. Walsh smokes his cigarette and stares at a four-story slum across the street. He glances at his watch. It's an old and battered Timex. It's been with Walsh for many years. He checks his .45. It's loaded. Slips it back into his shoulder holster. Opens the door. Gets out. EXT. SIDE STREET - NIGHT Walsh raises his collar against the Santa Ana wind and trots toward the slum. INT. HALLWAY OF SLUM - NIGHT Walsh enters. Eyes darting. Quietly moves up the first flight of stairs. The joint is SILENT. INT. SECOND FLOOR - NIGHT Walsh turns the corner and moves up the stairs of the second floor. Catches a liquor bottle with his foot. BOUNCE. CLANK. CRASH. Walsh grimaces. A dog BARKS from a first-floor apartment. Cursing, Walsh moves for the third floor. INT. THIRD FLOOR - NIGHT Walsh hits the top step. Squints. Finds apartment 3C. Approaches. Stops. Puts his ear to the door. Removes a lock pick. Crouches. Slips it in. Jiggles it quietly. Drops it. Walsh bends over to retrieve the lock pick, when SUDDENLY: BLAMMM!!! A shotgun UNLOADS from the other side of the door. Wood chunks fly. A gaping hole appears in the door right where Walsh's head was a moment before. Walsh bounces on his ass. Curses. Gets up. Pulls out his .45. Doesn't need to open the door to see into the apartment. Twenty-two-year-old MONROE BOUCHET climbs out of his window into the night. Clanging down the fire escape. Walsh runs down the stairs. INT. BOUCHET'S APARTMENT - NIGHT Walsh runs through the apartment to the window. Looks out. Sees Bouchet making his way up the fire escape. He goes out after him. EXT. ROOFTOP - NIGHT Bouchet makes his way up to the roof and starts running. The lights of downtown L.A. sparkle in the distance. Walsh hoists himself up to the roof, pursuing the fleeing Bouchet. Bouchet leaps from his building over to the next. Walsh, hot on his trail, does the same thing. Bouchet vaults over another alley to a third building. Ditto Walsh. Amazed that Walsh is still on his tail, Bouchet makes his most daring jump yet. He lands with a tumble, scoops up his shotgun and keeps moving. Without missing a beat, Walsh makes the leap and MISSES! He grabs at the ledge with his armpits. He slides slowly, grabbing for dear life as the old ledge cracks. It's a four-story drop. Some debris falls away. Walsh manages to pull himself back onto the roof. Winded, he spots Bouchet going down a fire escape at the far end of the building. Walsh is up and after him. EXT. BOUCHET'S BUILDING - NIGHT As Walsh appears at the rooftop, Bouchet opens FIRE. Walsh ducks. Bouchet continues down the metal staircase. Walsh clangs down after him. Bouchet hits the ground and runs into an alley. Walsh drops to the concrete in pursuit. As he turns into the alley, Bouchet fires again. Garbage cans EXPLODE. HEADLIGHTS of a car turn into the far end of the alley, aiming at Bouchet. Bouchet tries to avoid the car. Can't. He gets side-swiped. Growls with pain when he lands. The car SKIDS to a stop. From it emerges MARVIN DORFLER. If Walsh is the "Avis" of bounty hunters, Dorfler is the "Rent-a-Wreck." He makes up for his deficiencies with force. He's loaded with dim, impulsive behavior. Walsh approaches. He and Dorfler lock eyes. They know each other well. Too well. WALSH What the hell are you doin', Dorfler? DORFLER He's mine, Jack. Get lost. WALSH Fuck you, he's yours. He's mine. Moscone assigned this guy to me. Dorfler places his foot on Bouchet's chest. Bouchet still MOANS. DORFLER Well, go straighten it out with Moscone. I'll collect the money. WALSH (Closer) Goddamn you, Dorfler. I nearly got killed tryin' to get him! Dorfler WHIPS out a .45. Points it at Walsh. DORFLER Back off, Walsh. I said I'm takin' him. Walsh stops. Smiles. Ear to ear. WALSH Marvin. Why are we fightin'? You and me are friends. DORFLER This clown's worth fifteen hundred, Jack. It's nothin' personal. Now get lost. WALSH Alright, alright. Suddenly Walsh points over Dorfler's shoulder. WALSH Marvin! Watch out! Walsh decks Marvin. BOUCHET (Still dazed) What the fuck's goin' on? You guys ain't cops. WALSH No, we're musicians. Get in the car. Walsh gets inside Marvin's car and takes off with Bouchet. CUT TO: EXT. L.A. COUNTY JAIL PARKING LOT - NIGHT Walsh drives down the street, slowing Dorfler's car outside of the L.A. County Jail parking lot. He pulls in. Partway. INT. DORFLER'S CAR - NIGHT Bouchet looks at Walsh. WALSH Open your door. Bouchet, confused, opens the car door. Walsh does the same with his car door. Then he BACKS UP quickly. EXT. L.A. COUNTY JAIL PARKING LOT - NIGHT Both doors are RIPPED off the car by the two pillars at the entrance. Then Walsh swings Dorfler's car into the parking lot through the exit. The tires EXPLODE as Walsh proceeds the wrong way over the metal teeth that block incoming traffic. Walsh keeps moving and SLAMS into a brick wall, CRUNCHING the front end. Then Walsh puts it in reverse and ROARS into the parking spot he targets, CRUNCHING the rear end of the car against another brick wall. INT. DORFLER'S CAR - NIGHT Walsh looks at Bouchet. WALSH We get out here. INT. COUNTY JAIL - NIGHT A few PRISONERS mill about with their lawyers. A JANITOR mops the floor. Handcuffed to Walsh, Bouchet almost starts to cry. BOUCHET All I did was come home and he was sleepin' with my old lady. And I shot him. Then I heard on the TV that the dude was "lucid." I didn't do that to him. I swear. Walsh looks at Bouchet. Feels sorry for him. WALSH "Lucid" means he was coherent. Makin' sense when he talked. BOUCHET Shit. He wasn't "lucid" before I shot him. Behind the window, a cop named GOOCH. WALSH Hey, Gooch, I've got a delivery. (Sliding papers) Monroe Bouchet. GOOCH Give you any trouble? WALSH Nah, he was real cooperative. A regular charm. Bouchet thanks Walsh with his eyes as a GUARD takes him away. Gooch hands Walsh a booking slip. WALSH Take care of yourself, Monroe. BOUCHET You too. EXT. VIGNES STREET - DAWN Walsh leaves the L.A. County Jail. The street glows with early blue of dawn. Across the way, there's a carnival of bail bond offices. All with lights. Inviting signs. Walsh heads for the sideshow. INT. JOE MOSCONE'S BAIL BOND OFFICE - DAWN Second floor. Huge glass doors. Three desks. Fourteen tons of paper. A thirty-year-old weasel of an assistant, JERRY GEISLER, reads a newspaper. He sucks toothpicks for a living. Walsh enters. WALSH Is Moscone in? I just dropped off Bouchet. JERRY You finally caught somebody, Jack? WALSH Jerry, is he in? Jerry flips through the Los Angeles Times. JERRY It says here that eleven percent of people, in the course of dreaming, are aware of that fact while they're in the dream state. Walsh has no patience for Jerry. WALSH Where is he, Jerry? JERRY That ever happen to you, Jack? JOE MOSCONE exits his cubicle. He's a man on edge at all times. Juggling cash and clients and a thousand lies at once. He is slipping into a cheap sports jacket. MOSCONE Hey, Jerry, this ain't a library. Walsh hands Moscone the booking slip. He glances at it. MOSCONE Bouchet was twelve hundred, right? WALSH No, fifteen. MOSCONE Oh, yeah, right. I was just going over to Denny's to catch the "grand slam breakfast." They start serving at six-thirty. WALSH Do you have my fifteen hundred? MOSCONE Of course. Did you think I was gonna stiff you? WALSH You? Never. MOSCONE Jack, you really are the best at what you do. Let me buy you some breakfast. WALSH I don't eat breakfast. MOSCONE Then have an early lunch. Hey, Jerry. Watch the phones. EXT. DOWNTOWN STREET - EARLY MORNING Walsh and Moscone move down the street, heading for Denny's. WALSH You'll never guess who I ran into while I was taking in Mr. Bouchet. MOSCONE Who's that? WALSH Marvin Dorfler. MOSCONE No. Funny how that guy keeps poppin' up. WALSH Hysterical. MOSCONE Jack, I'm not gonna bullshit you. I got a little problem right now. WALSH Hey, can we stop and buy a copy of Playboy, because when I'm being jerked off, I like to look at something. MOSCONE What are you talkin' about? WALSH I've been through this. You're about to tell me you don't have my fifteen hundred. MOSCONE Jack, I've got something better than fifteen hundred. INT. DENNY'S RESTAURANT - MORNING A typical Denny's interior. Walsh and Moscone sit at a table. Walsh sips coffee and watches Moscone wolf down his "grand slam breakfast." MOSCONE Do you know who Jonathan Mardukas is? WALSH The Duke? Yeah, I know who he is. MOSCONE What do you know? Walsh taps a Camel. Lights it. WALSH He's that accountant that embezzled a couple million from some Vegas wise guy and gave it to charity. MOSCONE That's pretty good, only it wasn't a "couple of million," it was fifteen million and it wasn't just "some Vegas wise guy," it was Jimmy Serrano. WALSH Yeah, I can read a newspaper. MOSCONE Well, I don't want to bring up the past, but isn't Serrano the guy that ran you out of Chicago when he was running things there years back? Walsh tenses up. WALSH He didn't run me out. MOSCONE Sure. You left being a cop to do this shit. WALSH What's the point? MOSCONE The point, Jack, is twenty-five thousand bucks. I bailed the accountant out. Only, I didn't know who he was at the time. If I knew, I never would of put up the bond. I mean it would only be a matter of time before Serrano vanished him from the planet and I'm out my four hundred and fifty grand. WALSH You're out four hundred and fifty grand on this guy? MOSCONE No. WALSH No? MOSCONE No. Because I've got you. And you're gonna go find him and bring him back. WALSH Right. How do you even know he's still alive? MOSCONE Because he sends Jimmy Serrano postcards from everywhere, telling him what a great time he's having with his money. Walsh can't help but smile. WALSH How much time you have left? MOSCONE (Sick again) Friday midnight I default and have to eat the four-fifty. WALSH That's five days. Forget it. You go find him. MOSCONE Jack, hear me out. I'll give you fifty thousand. I'm in jam city. WALSH I've got to chase you down just to collect fifteen hundred. No dice. MOSCONE Jack... WALSH Jack, nothin'. What else have you got? MOSCONE If you don't get this guy, I might be out of business. I can't absorb this kind of loss. WALSH I'll do it for a hundred grand. MOSCONE A hundred grand! Are you out of your mind? Jack, this is an easy gig. It's a midnight run, for Christ sakes. Walsh gets up. MOSCONE C'mon Jack, sit down. WALSH If you want me for a job this big, you pay me what's right. Maybe you haven't noticed but I'm tired of getting shot at. MOSCONE This guy's an accountant! He's not going to shoot you. Just put a bag over his head, hit him with a rubber hose and stick him on an airplane. WALSH I'll do it for a hundred grand and then I'm out of this business forever. And I want a contract. I want it in writing. A hundred grand, and I'll have the Duke here by Friday night. Walsh sees that Moscone is about to give in. WALSH Now, do you think I could have my fifteen hundred? Moscone starts reaching for his pocket. INT. RAMPART DIVISION HEADQUARTERS - DAY Walsh moves through the homicide division with DETECTIVE DAVE HAMMOND. Other DETECTIVES sit at their desks. Phones RING. The joint is JUMPING as usual. HAMMOND I was just saying to myself that this has been the worst day in memory. All I need is Jack Walsh to appear, and look what blows in. WALSH Dave, look, I need a favor. HAMMOND What do you need? A case of Jack Daniels? WALSH The booking slip for a guy named Jonathan Mardukas. HAMMOND I'll get you a copy. WALSH No, Dave. I need to see the original. HAMMOND Copies were good enough for the FBI. WALSH They're looking for him, too? HAMMOND The guy's wanted in seven states. INT. FILE DEPARTMENT - DAY A dark cavern filled with file cabinets. Hammond pulls the police booking slip and hands it to Walsh. Walsh glances at the front. He crosses his fingers, takes a hopeful breath and turns it over. Scribbled on the back is a telephone number with a 212 area code. Walsh smiles. HAMMOND What did you find? WALSH The number Mardukas called after he was arrested. Walsh starts to copy it down. WALSH Two-one-two. Looks like I'm going to New York. EXT. BEVERLY BOULEVARD - DAY Walsh exits Rampart Division Police Station. A very large black man -- with steel-rimmed sunglasses, dressed in a sharply pressed navy-blue suit -- stands alongside a car. His name is ALONZO MOSELY. As Walsh walks down the street, Mosely blocks his way. They lock eyes. WALSH Excuse me. MOSELY Are you Jack Walsh? Walsh senses trouble. WALSH Do I know you? Mosely starts to reach for his identification. Before he can get it out, Walsh starts to walk. Mosely moves to block him. WALSH Hey, get the fuck outta my way. Walsh shoves Mosely back. A SCUFFLE ensues. SUDDENLY from out of nowhere, three men in suits appear. They surround Walsh. Shove him through the crowds and into a green Plymouth. INT. PLYMOUTH - DAY One of the men slides in behind the wheel. Mosely gets in the front. Walsh is wedged in the backseat between two men. Each of them wears sunglasses. Walsh sits in the silence as the four men stare him down through their dark green lenses. MOSELY Inspector Mosely, Federal Bureau of Investigation. WALSH Did you know there's a ten-dollar fine for jaywalking in Los Angeles? No response. The other men are AGENTS PERRY, TUTTLE and PLUMIDES. MOSELY Are you working on anything having to do with Jonathan Mardukas? WALSH Who's that? MOSELY The Duke. WALSH Never heard of him. MOSELY I think you have heard of him. Walsh slowly reaches into his breast pocket and puts on his own sunglasses. He smiles back at the group and then Mosely. Now everyone's wearing sunglasses. MOSELY Let me tell you something, asshole. I've been working six years trying to bring down Jimmy Serrano and Mardukas is my shot. I want to take him into Federal Court. Without missing a beat, Mosely reaches over and whips off Walsh's sunglasses. MOSELY So I don't want to see some third- rate rent-a-thug who couldn't cut it as a cop in Chicago bring him into L.A. for some bullshit local charge. Do I make myself understood? WALSH Let me ask you somethin'. Those sunglasses. Are those government- issued or do all you guys go to the same store to get them? MOSELY You can go now. Plumides opens the door. WALSH Have a nice day. EXT. BEVERLY BOULEVARD - DAY Walsh gets out. Plumides shuts the door. The car STARTS up. WALSH Do you think I could have my sunglasses back? As the car begins to ROAR off, Mosely tosses Walsh's sunglasses out. Walsh catches them. He watches the car disappear. Then he turns. Squints. Spots a wallet on the sidewalk. Picks it up and opens it. It's Mosely's FBI identification. Walsh smiles. INT. 747 - NIGHT Walsh hums a tune while he inserts his photo over Mosely's FBI identification. A CHILD sits next to him watching. Walsh smiles at the kid and then flashes his badge. WALSH Mosely, FBI. The kid looks scared. WALSH Just kidding. EXT. RUNWAY J.F.K. AIRPORT, NEW YORK - MORNING The 747 THUNDERS down in the rain. INT. J.F.K. AIRPORT TERMINAL - MORNING Long faces march off the red-eye. Walsh moves with purpose over to a pay phone. Looks through his black book. Dials. WALSH (Into phone) Harold Longman, please. (A beat) Harry. Jack Walsh. Did ya get me that address check on that phone number? (Starts scribbling) I've got it. Thanks, Harry. Say hello to Julie for me. Walsh hangs up. INT. AIRPORT CAR RENTAL OFFICE - MORNING Walsh completes filling out a rental form and hands it over to an EMPLOYEE. DARUVO Large. Somewhere between muscular and overweight approaches with JOEY RIBUFFO. Tall and thin, a New York Post under his arm. DARUVO You Jack Walsh? WALSH Who wants to know? JOEY That's a yes. Joey's got a staring problem. He can't take his eyes off of Walsh's coat. DARUVO We'd really like to have a word with you. WALSH What about? JOEY It involves big cash and lots of prizes. Walsh lights a Camel. Joey stares at that, too. DARUVO I'll make it short and sweet. The people I work for are very interested in your visit here. WALSH Oh yeah? Who are the people you work for? DARUVO An old friend of yours from the Chicago days. Walsh turns, locks eyes with Joey's stare. WALSH How are ya? DARUVO You're here for the Duke. You think he's in New York. We think you're right. JOEY Where'd you get that coat? Is that a London Fog? WALSH What the hell are you talkin' about? DARUVO Never mind him. (Beat) The way I hear it, you didn't cooperate with my boss a few years back. Walsh takes a thoughtful drag on his Camel. Thinks. Joey's attention shifts to Walsh's cigarette. JOEY You smoke Camels? (A beat, smiling) I smoke Kools. The importance of this statement is known only to Joey. A poker-faced Walsh looks at him uncomprehendingly. DARUVO My boss would pay you a hell of a lot more for the Duke than that putz bail bondsman in L.A. WALSH How much more? DARUVO How about a one with six zeros? Walsh feels the heat of Joey's stare. Walsh turns. WALSH Are you gonna propose? JOEY Propose? WALSH 'Cause if you ain't, quit fuckin' starin' at me. DARUVO Yeah, Joey. Back off, for Christ sakes. Joey steps back. The Employee reappears with the contract and keys. EMPLOYEE Here are your keys, sir. Just exit through the glass doors. The parking lot is to your left. Walsh takes the keys. Tony has scribbled down his number on the back of a card. He puts it in Walsh's pocket. DARUVO Ask for Tony Daruvo. That's me. They'll put you through to wherever I am (Beat) Be good to yourself, this time. Walsh heads out through the glass doors. EXT. QUEENS STREET - DAY Walsh cruises along in his rented Pontiac approaching the bridge leading into Manhattan. INT. WALSH'S CAR - DAY As he drives, he suddenly notices that he's being tailed by Tony and Joey in a Lincoln. After a few moments of thinking, he GUNS the car hard. EXT. QUEENS STREET - DAY Walsh gets the jump on Tony and Joey. They TEAR off in pursuit. INT. LINCOLN - DAY As Tony and Joey try to keep up with him. Several trucks impair their view. Walsh disappears around a corner. JOEY I think he's onto us. DARUVO Figured that out, did ya? EXT. QUEENS PONTIAC DEALERSHIP - DAY Tony and Joey cruise by the dozens of parked Pontiacs. When they are out of sight, one of them starts up and moves off in the opposite direction with Walsh behind the wheel. INT. WALSH'S CAR - DAY Walsh grins as he watches the Lincoln disappear in his rearview mirror. EXT. UPPER WEST SIDE STREET - DAY The CAMERA FOLLOWS a wire from a telephone junction box, mounted on the side of a brownstone. It leads into the passenger window of Walsh's car where it is attached to a small cassette recorder. A taxi rounds the corner and pulls up to the brownstone that Walsh is staking. INT. WALSH'S CAR - DAY Walsh licks his fingers. Finishing off his lunch of jelly donuts, he eyeballs the older couple that exits the cab. They enter the brownstone. Walsh hits the "record" button on the recorder and gets out of his car. EXT. UPPER WEST SIDE STREET - DAY He trots up to a phone booth on the corner and dials. WALSH (Into phone) Mrs. Nelson? MRS. NELSON (V.O.) Yes? WALSH Alonzo Mosely, FBI. How are you this afternoon? No response. WALSH Let me get right to the point, if I may, Mrs. Nelson. An agent in our Los Angeles office discovered a detail that somehow was overlooked until now. It seems that when Jonathan Mardukas was arrested, you were the first person he called. Isn't that correct, Mrs. Nelson? Still no response. WALSH Are you there, Mrs. Nelson? MRS. NELSON (V.O.) (Weakly) Yes. WALSH Needless to say, this is a matter of great concern to us. If it wouldn't be too much trouble, I would like you to come down to 26 Federal Plaza tomorrow at nine o'clock and ask for Agent Mosely. Do you think you could do that, please? MRS. NELSON (V.O.) I suppose so. WALSH Thank you for your cooperation. Good afternoon, Mrs. Nelson. He hangs up and runs back to his car. INT. WALSH'S CAR - DAY As he gets in, he hears TOUCH-TONE BEEPS through the cassette recorder's speaker. Mrs. Nelson is making a call. Walsh has tapped the line. MRS. NELSON (V.O.) Dana? Helen. The FBI just called. They want to speak to me about Jonathan. Walsh LISTENS. Then he HEARS a male voice. It's THE DUKE himself. Walsh hangs on every word. THE DUKE (V.O.) Helen? What's going on? MRS. NELSON (V.O.) Jonathan, the FBI just called. They know we spoke the night you were arrested. THE DUKE (V.O.) Hang up the phone, Helen. Right now! CLICK. DIAL TONE. Walsh hits the rewind on the cassette recorder. Replays the touch-tone beeps. Smiling, he GUNS the car away. EXT. BROOKLYN HEIGHTS STREET - NIGHT Manhattan looms across the East River. As Walsh's car glides down the street, he notices a woman placing a suitcase in the trunk of a car. She heads back into her house, leaving the door ajar. Walsh checks the address of the house. Stops. Gets out. Sneaks toward the front porch. EXT. MARDUKAS HOME - NIGHT Walsh stops at the front door. Removes his .45. Listens. He pushes his way inside quietly. INT. MARDUKAS HOME - NIGHT Downstairs is dark. Walsh creeps across the living room. HEARS MOVEMENT going on upstairs. Walsh inches for the stairs, moving up them SILENTLY. Walsh is not alone. A pair of eyes watch him. A shadow moves across the wall. A huge German shepherd follows him across the living room floor. INT. STAIRCASE - NIGHT Walsh craftily moves up the steps with his back to the wall. Walsh may be stalking the Duke, but the huge shepherd is stalking Walsh as well. Walsh disappears around the corner to the upstairs hall. The shepherd follows its prey. INT. UPSTAIRS HALL - NIGHT .45 at the ready, Walsh approaches the bedroom. Walsh is beginning to sweat. About to make his move. He turns. Locks eyes with the shepherd. Walsh's eyes bulge. The shepherd bares its teeth. Begins a low guttural GROWL. Walsh tries to stand his ground with an intimidating stare, but this is one contest that he won't win. He reaches for the doorknob behind him. Opens it. Bolts inside. The shepherd lunges against the closing door, barking wildly. JONATHAN MARDUKAS, the Duke, appears from the bedroom. DANA MARDUKAS, his wife, follows. The Duke appears almost bookish. Yet, there is an enigmatic quality about him. A man with many facets which are not apparent at first glance. THE DUKE What is it, Heidi? Heidi throws herself at the bathroom door. DANA What is it, John? THE DUKE I don't know. He reaches for the bathroom door. Opens it. Heidi bolts inside. INT. BATHROOM - NIGHT It's instantaneous. The Duke and Dana enter. Heidi throws herself against the glass enclosed shower door. Walsh is on the other side. His FBI badge plastered against the glass door with one hand. The .45 pointed against the glass with the other. WALSH Alonzo Mosely, FBI! Get that fuckin' dog outta here! The Duke hesitates. WALSH Don't move! I'll drop you right through the fuckin' glass! THE DUKE (To Dana) Do what he says. Get her out of here. Dana grabs the BARKING dog. Drags her out of the bathroom. Walsh steps out of the shower. The Duke has his hands up. WALSH You're the Duke? THE DUKE That's right. Walsh cuffs him. EXT. MARDUKAS HOME - NIGHT Walsh leads the Duke to the Pontiac. Dana follows along-side, panicked. Heidi BARKS from inside the house. DANA John. What do I do? THE DUKE Don't do anything, sweetheart, I'll be alright. WALSH Yeah. He'll be fine. Walsh shoves the Duke into the car. WALSH Nice watchdog. THE DUKE For five hundred dollars she should have taken your head off. Walsh climbs behind the wheel, swings a mad U-turn and tears away. INT. WALSH'S CAR - NIGHT They speed through the night. THE DUKE Congratulations. WALSH For what? THE DUKE You just did what no one else could do. You found me. WALSH You got that right. EXT. LONG ISLAND EXPRESSWAY - NIGHT Walsh GUNS the car onto the expressway, heading for J.F.K. Airport. INT. WALSH'S CAR - NIGHT The Duke looks behind him. Manhattan is in the distance. He turns. Airport signs are up ahead. THE DUKE You're taking me to the airport, aren't you? No answer. The Duke looks around the car with apprehension. THE DUKE You don't seem like an FBI agent to me. WALSH Well, you don't seem much like a "Duke" to me either. THE DUKE If you're an FBI agent, why don't you just take me to the FBI office? WALSH If you don't be quiet, this is gonna be the worst trip of your fuckin' life. THE DUKE You work for Jimmy Serrano, don't you? WALSH No, I don't work for that piece of shit. Your bail bondsman hired me to bring you back to L.A. THE DUKE I've got money, you know. WALSH I'm sure you do. THE DUKE I'll give you whatever you want. WALSH Start by shuttin' up. Walsh slows the car as he takes an exit ramp. The Duke sizes up his situation. As Walsh turns the car to blend into the traffic of a busy street, the Duke opens the door and tries to jump. Walsh grimaces and reaches for him. EXT. LONG ISLAND STREET - NIGHT As Walsh tries to pull the Duke back inside, he almost loses control of the car. Nearby cars screech away to avoid him. Horns BLARE. Swerving hard, he just misses an eighteen- wheeler. INT. WALSH'S CAR - NIGHT Walsh yanks the Duke back inside, slams the door and forces him to the floor. Cocks his .45 and levels it in the Duke's face. WALSH It is truly in your best interest for you to just fuckin' relax. THE DUKE I'm relaxed. I'm totally relaxed. EXT. AMERICAN AIRLINES TERMINAL - NIGHT Walsh pulls up and SLAMS the brakes. They both get out. Walsh puts his .45 into his bag. WALSH I can't keep you cuffed on a commercial flight and I gotta check my gun in with the luggage. But, fuck with me once, and I'll break your neck. THE DUKE I can't fly. WALSH What? THE DUKE You heard me. I can't fly. WALSH You're gonna have to do better than that. THE DUKE I don't have to do better than that because that's the truth. I can't fly. I suffer from aviophobia. WALSH What does that mean? THE DUKE It means I can't fly. I also suffer from acrophobia and claustrophobia. Walsh takes him firmly by the arm. WALSH When we get to L.A. you can tell the prison psychiatrist all about it. You fuck with me you'll suffer from fist-O-phobia. INT. AMERICAN AIRLINES TERMINAL - NIGHT A row of pay phones. Walsh is on the phone. The Duke is cuffed to him. Walsh jabs a bunch of numbers. WALSH (Into phone) Jerry, give me Moscone. JERRY (V.O.) Hold on. INTERCUT WALSH AND MOSCONE Moscone picks up the phone. Jerry quietly listens in on the extension. MOSCONE Jack... WALSH I got him. MOSCONE Got who? WALSH The Duke. He's standing right here. MOSCONE You got him? Already? WALSH You wanna say hello? Walsh yanks the Duke to the phone. Forces it to his face. WALSH Say hello to your bail bondsman, Eddie Moscone. THE DUKE (Flatly) Hello. Walsh yanks the phone back. WALSH There you go. Jonathan Mardukas in the flesh. MOSCONE Where are you now? EXT. VIGNES STREET - NIGHT DEAD QUIET. The street is empty except for a van parked up the street from Moscone's. WALSH (V.O.) I found him in New York. We're at J.F.K. INT. VAN - NIGHT TWO FEDERAL AGENTS have tapped into Moscone's phone lines. Both wear headphones. The van is filled with cables. Meters. Phone-tapping equipment. WALSH (V.O.) We're comin' in on Flight 97. American Airlines. We'll be there at eleven, your time. Agent 1 scribbles down the information. INT. MOSCONE'S OFFICE - NIGHT MOSCONE I love you. Jack, goddamnit! I really do! WALSH See you soon. Moscone hangs up. Races out of his cubicle. Something is afoot with Jerry. He hangs up slowly. MOSCONE Walsh picked up the Duke. JERRY No kidding. That's great, Eddie. Let's celebrate. Do you want some donuts? MOSCONE Yeah. Run down to Winchell's and get a dozen. And get me a few of those apple fritters. JERRY You got it, Eddie. Jerry grabs his jacket and moves out the door. EXT. VIGNES STREET - NIGHT Jerry zips up his jacket. Moves quickly toward the pay phone at the corner. Passes right by the FBI van. ANGLE ON PHONE BOOTH Jerry grabs the receiver. Dials. JERRY (Into phone) Hello. This is Jerry Geisler. Can you put me through to Tony Daruvo. INT. BROOKLYN STEAKHOUSE - NIGHT Joey eats his dinner in the background. Still chewing his steak, Tony approaches the phone. He picks up the receiver. DARUVO Yeah. INTERCUT TONY AND JERRY JERRY Tony, this is Jerry Geisler. How are you? DARUVO (Still chewing) I'm eating dinner. JERRY I'm sorry to bother you, but Walsh found the Duke and he's bringing him in on American Airlines, Flight 97. They'll be at L.A.X. at eleven o'clock. Don't forget me, huh? INT. STARLIGHT CASINO, LAS VEGAS - NIGHT PHIL, a pit boss, moves through the crowds and approaches the high-roller crap table. A man, who exudes importance, has his back to us. He's laughing with a group of VIP gamblers. Phil taps the man on the shoulder, who turns. It is JIMMY SERRANO. Two thousand dollar suit. You can take Jimmy out of the streets, but you can't take the streets out of Jimmy. PHIL Mr. Serrano? Serrano turns. Phil leans in. WHISPERS. PHIL Daruvo called. Your friends are going to be flying into L.A. at eleven o'clock. Serrano excuses himself from the group. INT. L. A. FBI OFFICE - NIGHT A long hallway. Mosely strides with determination. Steel- rimmed sunglasses hanging from his breast pocket. In his wake, Perry, Tuttle and Plumides struggle to keep up. Tuttle just has to ask. TUTTLE How did Walsh find him so fast? Plumides winces and gestures to Tuttle to keep quiet before further enraging Mosely. They all move for the door. INT. 747 - NIGHT Walsh and the Duke enter the first-class section. Walsh smiles, already spending his money. They are directed to their seats. Walsh eases back in his spacious seat. Stretching out, he takes full advantage of the legroom. The Duke, of course, sits next to him, looking nervous. WALSH First class is nice. I could make a habit out of this. America. What a country? Huh? The STEWARDESS approaches. STEWARDESS Good evening, gentlemen. WALSH Good evening to you. She hands them menus. STEWARDESS Would you gentlemen like something to drink once we're in the air? WALSH We'd like your best champagne. She leaves. Walsh enthusiastically studies the menu. WALSH (To the Duke) I'm gonna have the steak. How about you, John? THE DUKE I'm not hungry. WALSH Well, then, get the lobster so I can get a little surf-and-turf action goin'. Walsh happily straps himself in. The Duke is not doing well. Walsh straps the Duke in. EXT. 747 - NIGHT The jet pulls away from the jetway. INT. 747 - NIGHT The Duke is sweating. WALSH Enjoy the ride. THE DUKE I'm not going to make it. The Duke grabs the STEWARDESS. Unstraps himself. THE DUKE I can't go through with this. STEWARDESS Sir, you'll have to sit down. We're taxiing. The ENGINES increase. ROAR. People turn. Start watching the unfolding scene. THE DUKE I will not sit down! This is MY LIFE! Walsh gets up. Tries to calm the situation down. WALSH Stewardess, relax. This man's my prisoner and I'm taking him back to Los Angeles. The Duke regresses. Sounds more and more like a child. THE DUKE I'm getting claustrophobic. I can't take it. I've got this recurring nightmare, where I feel as if I'm losing control. And this feels the same way. WALSH You're right. You're not in control. I'm in control. Now sit down! THE DUKE (To Stewardess) How long is this flight? STEWARDESS We should be in Los Angeles in just over five hours. THE DUKE (Losing it) Should? Should be in Los Angeles? That means you're not sure! If you were sure, you'd say we'd be in Los Angeles in just over five hours. The Stewardess backs away from the situation and moves up the aisle. She enters the cockpit. WALSH (Grabbing the Duke) Alright. Enough. Now sit down! THE DUKE (Having a tantrum) I'm in a casket and they've buried me alive! I'm in a casket and they've buried me alive! I can't get out! I can't get out! I can't breathe! The Duke breaks free. Turns. THE DUKE You can't do it. You can't make me fly. I'll go back to Los Angeles with you, but you can't make me fly! EXT. 747 - NIGHT The ENGINES DIE. The plane stops. INT. 747 - NIGHT The CAPTAIN appears from the cockpit moving down the aisle. CAPTAIN Alright, everyone. Just calm down. WALSH (Flashing badge) Alonzo Mosely, FBI. CAPTAIN You can't take a prisoner aboard an airplane if he doesn't want to fly. You should know that. WALSH I do. I'm sorry. I thought he was bluffing. Let's forget the whole thing. CAPTAIN I suggest you find some other mode of transportation. Walsh nods. Closes his eyes. Hates what's coming next. INT. GRAND CENTRAL STATION - NIGHT The P.A. system echoes forth departure times. COMMUTERS run for trains. Some BUMS hang out at a news-stand while others sleep on benches. Walsh strides through the crowd with the Duke in tow. He notices a slight smile on his face. WALSH What the fuck are you smiling at? THE DUKE I love to travel by train. WALSH What do you think this is, the class trip? THE DUKE Are you always this angry? WALSH I'm in a great mood right now. You wait until I've been cooped up on this thing for awhile. You'll be running for that jail cell. INT. UNDERGROUND TRAIN PLATFORM - NIGHT Packed with PASSENGERS and PORTERS. The Lake Shore Limited is on the platform. THE DUKE Are you still going to make your deadline, Jack? WALSH With fourteen hours to spare. Walsh shoves the Duke onto the train. INT. HALL OF SLEEPING CAR - NIGHT Walsh and the Duke follow MILES, the porter. Walsh blocks Miles' view of the cuffs. MILES (With passenger list) You are? WALSH Jack Walsh. MILES (To the Duke) And? WALSH Guest. MILES This way, gentlemen. INT. SLEEPING COMPARTMENT - NIGHT Miles leads Walsh and the Duke to a small sleeping compartment. Two bunk beds. Miles leaves. Walsh unlocks his side of the handcuffs and opens the bathroom door. THE DUKE You know, Jack, it really shows me that you're a quality human being for not forcing me to fly against my will. Walsh cuffs the Duke to the handicap railing and SLAMS the bathroom door. INT. UNDERGROUND TRAIN PLATFORM - NIGHT The Lake Shore Limited lurches to a start. Picking up speed, it begins its journey west. INT. LOS ANGELES AMERICAN AIRLINES TERMINAL - NIGHT As the PASSENGERS start to deplane, several HITMEN, scattered about the terminal, scan each face looking for the Duke. As the crowd grows thinner, they exchange puzzled glances. As it becomes apparent Walsh and the Duke are not on this plane, Mosely and his men appear, as if out of nowhere. Perry flashes his I.D. at the Flight Attendant as the Agents board. The Hitmen shoot glances back and forth, reading the situation clearly. INT. COCKPIT OF PLANE - NIGHT Mosely and Perry stand in front of the Captain. MOSELY Inspector Mosely, FBI. CAPTAIN Mosely? Are all you guys named Mosely? MOSELY What are you talking about? CAPTAIN You're here to pick up a prisoner, right? MOSELY How'd you know that? CAPTAIN He was afraid to fly so he got off the plane. He left with an Agent Mosely. Once again, Tuttle needlessly expounds on the obvious. TUTTLE Sir, that must mean that Walsh has your identification. Mosely can barely contain himself. INT. SERRANO'S PENTHOUSE - NIGHT The Las Vegas skyline twinkles outside floor-to-ceiling windows. Serrano is on the phone speaking with restrained rage. SERRANO I thought you said he was going to be on that plane. INT. MIDTOWN BAR - NIGHT Tony is on the other end of the phone. Joey leans in, trying to hear what Serrano is saying. The closeness irritates Tony, who turns away. DARUVO That's the information we got. INTERCUT SERRANO AND TONY SERRANO You listen to me. I want this motherfucker's lights out. And you better get more personally involved and stop sending other people to do your job. DARUVO You got it. SERRANO If you don't, I'll stab you right through the heart with a fucking pencil. They hang up. Tony, relieved to be off of the phone, turns to Joey. DARUVO What did I tell you? It's going to be our ass. EXT. TRAIN - NIGHT The Lake Shore Limited thunders past, into the night. INT. SLEEPING COMPARTMENT - NIGHT Walsh lies on the bed, writing on a pad. The Duke's voice can be heard from the bathroom. THE DUKE (O.S.) Jack... Walsh ignores him. THE DUKE (O.S.) Jack... Walsh tries to shut him out. THE DUKE (O.S.) Jack... WALSH What the fuck do you want! THE DUKE (O.S.) I told you I was claustrophobic. (Beat) Jack, I know you're upset with me but it's stuffy in here. Come on, Jack, what do you think I'm going to do? Jump off a train going ninety miles an hour? Walsh finally gets up and opens the bathroom door. Uncuffs the Duke. Leads him over to the second bed. Cuffs him to that. Walsh sits back on his bed and continues his writing. THE DUKE Thank you, Jack. (Beat) What are you doing? WALSH Arithmetic. THE DUKE Maybe I can help you. I am an accountant. WALSH Well, I was thinking. After I turn your ass in and collect my money, I want to open up a restaurant. THE DUKE How much is it, exactly, that you're getting for me? WALSH A hundred thousand. THE DUKE Does that mean you'd let me go for a hundred thousand? WALSH I never took a payoff in my life. I'm not going to start now. The Duke considers this for a second. THE DUKE A restaurant is a very tricky investment, Jack. More than half of them fail within the first year. As an accountant, I would have to advise you against it. Walsh studies the Duke for a moment. THE DUKE What kind of restaurant were you thinking about opening? WALSH A family restaurant. THE DUKE Why a family restaurant? Do you have a family, or did they break the law and you took them in, too? I'm sorry, Jack. That was uncalled for. INT. MOSCONE'S OFFICE - NIGHT A cigarette butt dangling from his lips, Moscone looks at his watch. He turns to Jerry. MOSCONE How the hell could he miss that plane? He called from the goddamn airport. (Puts out cigarette) Look at this. I'm smokin' again. Get Dorfler on the phone. See if he's still in Pittsburgh. Jerry reaches for the phone. INT. PITTSBURGH MOTEL - NIGHT A cheap room. Lit only by glow of the TV set. Eating junk food, Marvin Dorfler sits on the bed watching ROBIN LEACH wax euphoric about the French Riviera. Nearby, we can make out a thin, wired PITTSBURGH THUG, handcuffed to a radiator. PITTSBURGH THUG Could I at least have a french fry? DORFLER I told you, no. Shut up! The phone RINGS. Dorfler picks it up. INTERCUT DORFLER AND MOSCONE'S OFFICE JERRY Marvin. Hang on a second. (Calling out) Eddie, I got him. Moscone picks up the phone. MOSCONE Marvin. I got a job for you. Big money. I gave it to Walsh, but he's fuckin' it up. DORFLER Well, I don't know why you keep hirin' that guy. MOSCONE I know, Marvin. You're right. You're the best. You always come through for me. So, here's the job. DORFLER I'm listenin'. MOSCONE You ever hear of the Duke? DORFLER No. MOSCONE Jonathan Mardukas. The Duke. DORFLER I never heard of him. MOSCONE That's okay, Marvin. It's not important. What is important is that you've got to find him and get him back here as soon as possible. Last I heard, Walsh had him in New York. But I don't know where the hell he is now. You pick him up, I'll pay you exactly what I'm payin' Walsh. DORFLER What's that? MOSCONE Twenty-five thousand. But you got to get him back by midnight, Friday. RESUME DORFLER DORFLER Don't worry. I'll get him. Dorfler hangs up. DORFLER (To thug) Hey, scumbag. PITTSBURGH THUG You talkin' to me? DORFLER No, the guy behind you. Today's your lucky day. PITTSBURGH THUG How's that? Dorfler glances into his little black book. Filled with dark tidbits. He picks up the phone. Dials. DORFLER (into phone) American Express? This is Jack Walsh. Excuse me. John Wesley Walsh. I lost my card. I wanna know the last place I used it. Here's the card number. Dorfler reads off the credit card number. It checks out. DORFLER The Amtrak office at Grand Central Station? Dorfler smiles. He's gotten what he needs. DORFLER Thank you very much. By the way. Maybe we better cancel that card. Dorfler hangs up and stands. Shoves all of his wrinkled belongings into a huge duffelbag. Grabs his .45 and heads for the door. PITTSBURGH THUG Where are you going? DORFLER I'll be back in a few minutes, jerk- off. Wait here. EXT. MOTEL - NIGHT Dorfler closes the door. Moves for his rent-a-car. Tosses the duffelbag inside. Climbs in. Starts the car. SPINS his wheels toward the Pittsburgh turnpike. INT. DINING CAR - NIGHT Walsh eats his fried chicken dinner. The Duke, hand-cuffed, struggles to lay out a row of vitamins. THE DUKE Jack, this is very difficult. WALSH (Re: vitamins) What are you, a drug addict? THE DUKE No, these are vitamins. WALSH You piss ninety percent of that out of your system. THE DUKE I'm not going to discuss nutrition with a man who eats deep-fried food and smokes cigarettes. And by the way, people who smoke should take extra vitamin C. If you'd like, I could outline a complete program for you. WALSH Mail it to me from "C" Block. THE DUKE I don't think you're as mean as you pretend to be. Why do you smoke? You know it's not good for you. WALSH I don't think about it. THE DUKE Well, that's living in denial. WALSH I'm aware of that. THE DUKE That sounds kind of foolish. Don't you think, Jack? WALSH No. Stealing fifteen million dollars from Jimmy Serrano sounds foolish. THE DUKE I didn't think I'd get caught. WALSH That's living in denial. THE DUKE I'm aware of that. WALSH Oh, so you're aware of your behavior but continue to do things that aren't good for you? Sounds sort of foolish, don't you think, John? THE DUKE What I did helped a lot of people. WALSH So, you pissed off a mafioso killer just to be loved by a bunch of fucking strangers. That makes a lot of sense. THE DUKE Jack, do you have a family? WALSH I don't like sharing the intimate details of my life with strangers. THE DUKE How far is it going to go? I'll probably be dead in a few days. WALSH How do you figure that? THE DUKE With what I know about Serrano and his business, I won't last twenty- four hours in jail. You know that. WALSH I have an ex-wife and daughter living in Chicago. THE DUKE Oh, are we going to stop off and see them? WALSH I haven't seen either of them in nine years. THE DUKE You haven't seen your wife and daughter in nine years? WALSH What is there, an echo in here? THE DUKE Your job must have been tough on them. WALSH I was a cop then. THE DUKE You were a cop in Chicago? You must know all about Jimmy Serrano. WALSH Yeah, I even met him a couple of times. THE DUKE Really? What's he like in person? WALSH You have a way of worming things out of people that I don't like. Walsh shoves his food aside. Walsh gets up. Leaves two bucks for a tip. THE DUKE Two dollars? Is that all you're going to leave? WALSH It's fifteen percent. THE DUKE It's thirteen percent. Look at the bill. I'm an accountant, I know about these things. Walsh turns. Fishes around in his jacket for his wallet again. Finds it. Turns. The Duke is gone. Walsh bolts for the exit. INT. PASSENGER CAR - NIGHT Walsh BURSTS into the car looking for the Duke. Spots him going through the door at the far end. Walsh runs down the aisle, shoving passengers aside as he chases after the Duke. INT. SECTION BETWEEN CARS - NIGHT The sliding door HISSES open. Walsh enters the compartment. The Duke has already opened the door to the outside. The night RAGES by. The Duke wants to jump. Hesitates. Locks eyes with Walsh in a panic. Walsh stops. WALSH What are ya gonna do? Jump out of a train goin' ninety miles an hour? The Duke looks at Walsh. WALSH Go ahead. I'll get off at the next stop, scoop ya up and mail ya back to L.A. The Duke thinks it over. He can't do it. Walsh walks over. Shuts the door. Yanks the Duke back toward their compartment. EXT. CLEVELAND, OHIO TRAIN STATION - NIGHT The Lake Shore Limited ROARS to a lumbering stop. CONDUCTORS and PORTERS step off the train. PASSENGERS start to board and exit. We recognize one of them. It's Marvin Dorfler. Looking as if he ran all the way from Pittsburgh. INT. COACH PASSENGER CAR - NIGHT Dorfler boards. The car interior is dark. The CONDUCTOR punches Dorfler's ticket. Dorfler moves down the aisle. Scanning the CROWDS. Some asleep. COUPLES cuddled in seats. A SAILOR sleeping across two seats. Dorfler heads into the next car. The train begins moving. INT. SLEEPER CAR - NIGHT The train ROCKS with speed. Dorfler moves through the sliding door. He approaches Miles, the porter. MILES Trying to find your room? DORFLER Nah. I'm looking for Jack Walsh's. He told me to meet him there. MILES Number four. Next car. DORFLER Thanks. Dorfler moves down the hall to the next car INT. HALL OF LAST SLEEPER CAR - NIGHT Dorfler moves silently down the hall. Finds room four. The coast is clear. Tries Walsh's door. It's locked. He slips in a lock pick. He opens the door silently. Removes his .45. INT. SLEEPING COMPARTMENT - NIGHT Dorfler peeks in. Walsh is faintly snoring. A train ROARS by in the opposite direction. Walsh stirs in his sleep. Dorfler slowly moves to the bathroom. Opens the door. Finds the Duke. Dorfler gags him with his hand and points his .45 at him. DORFLER One word and you're dead. Suddenly, Walsh's fist SMASHES into the side of Dorfler's head. INT. HALL OF SLEEPER - NIGHT Walsh and Dorfler BLAST into the hallway. Tumble to the floor. Walsh punches Dorfler. Dorfler's .45 skids along the carpet. Miles appears in the hall. Walsh scoops up the .45 and points it at Dorfler. Flashes the FBI badge at Miles. WALSH Alonzo Mosely, FBI. (To Dorfler) How'd you find out where I was? Walsh yanks Dorfler up. Dorfler rubs his bruised head. DORFLER Fuck you, shitheel. I don't have to answer you. You ruined my fuckin' car. WALSH (To Miles) Radio ahead. I want the local police at the next stop to place this man under arrest. Dorfler grins. Starts laughing. DORFLER What the hell are you talking about? Walsh SLAMS Dorfler's head into the wall. He sags. Collapses. Kisses the carpet. WALSH That's enough outta you. (To Miles) Go ahead. Get on the horn. Call the cops. The Duke whispers to Walsh. THE DUKE Who is this guy? WALSH Another bounty hunter. Count your blessings he's not taking you in. INT. HALL OF FBI OFFICE - NIGHT Perry hurries down the hall heading for Mosely's office. KNOCKS. Enters. INT. MOSELY'S OFFICE - NIGHT Walsh's belongings from the plane flight are scattered across his desk. Mosely looks out his window at the L.A. lights. He turns. MOSELY Good news or bad news? PERRY Mardukas and Walsh are on the Amtrak headed to Los Angeles. Apparently, another bounty hunter was arrested after he tried to take Mardukas away. MOSELY I want the jet ready in 20 minutes. EXT. SOUTH BEND, INDIANA TRAIN STATION - EARLY MORNING The Lake Shore Limited ROARS into the station. Armed policemen line the platform. Marked and unmarked police cars are parked nearby. Mosely, Perry, Tuttle and plumides move across the platform as the train THUNDERS to a stop. They board. INT. SLEEPER CAR - EARLY MORNING Mosely approaches Miles. Flashes his badge. Backed by the other Feds. MOSELY Where's Jack Walsh? MILES He got off. With the other fella. Two or three stops ago. (Leaning in) His real name's Mosely. MOSELY (Enraged) I'm Mosely! INT. FREMONT, OHIO BUS STATION - EARLY MORNING The Duke stands cuffed to Walsh, who jabs a number into a pay phone. A BUM works his way through the row of phones, checking the coin returns. He reaches across Walsh, checking his phone for change. Walsh EXPLODES. WALSH Get outta here! Can't you see I'm on the phone! The Bum backs off. INT. MOSCONE'S OFFICE - NIGHT Jerry is half-asleep. Watching an old movie on TV. Moscone is crashed out on a cot in his office. The phone rings. Moscone yells from his sleep. MOSCONE Get it! JERRY (Into phone) Eddie Moscone, bail bondsman. INTERCUT WALSH AND MOSCONE'S OFFICE WALSH Jerry, give me Moscone. The sound of Walsh's voice snaps Jerry awake. This is the call he's been waiting for. JERRY Jesus, Jack, where are you? Moscone has already heard. He grabs the phone at his desk. MOSCONE Jack. Where the fuck are you? INT. FBI VAN - NIGHT The two agents with headphones snap awake. WALSH (V.O.) How the hell did Dorfler end up on my ass? Did you put him on this, you son-of-a-bitch? MOSCONE (V.O.) How could I put him on you? I don't even know where the hell you are! Jack, you still got the Duke or what? INTERCUT WALSH AND MOSCONE Jerry is on the other line. Listening to every word. WALSH Yeah, I got him. The Duke reaches into his pocket and hands the bum a few dollars. MOSCONE Where the hell are you? WALSH Somewhere between Cleveland and Toledo. We're about to get on a bus to L.A. INT. FBI VAN - NIGHT The two agents lock eyes. One nods. They've gotten the information. MOSCONE A bus? What the hell are you doing, Jack? Are you out of your mind? The DISPATCHER announces the departure of their bus over the P.A. WALSH I can't get into it right now, Eddie. I just wanted to let you know we're on our way. The bus is leaving. I'll talk to you later. Walsh hangs up. INT. MOSCONE'S OFFICE - NIGHT Moscone lights a cigarette. Jerry picks up his jacket. MOSCONE What the hell is this guy doin'? JERRY I don't know, Eddie. You want me to go get some donuts or something? MOSCONE What do I look like, a diabetic? And where the hell is that goddamn Dorfler? JERRY I don't know, Eddie. I think I'm gonna step outside for some air. Jerry turns. Moves quickly out of the office. EXT. VIGNES STREET - NIGHT Jerry hits the street. Trots for the pay phone at the corner. Passes the FBI van. Grabs the phone. Starts dialing. INT. FBI VAN - NIGHT Agent 1 watches Geisler through the rear window of the van. INT. FREMONT, OHIO BUS STATION - EARLY MORNING Walsh and the Duke stand at the ticket window. THE DUKE How's our schedule doing now, Jack? WALSH Don't worry. I'll get you there on time. A TICKET CLERK slides Walsh's credit card back to him. TICKET CLERK I'm sorry, sir, but this card has been canceled. WALSH That's impossible. TICKET CLERK I double checked it. Sorry, I can't accept it, sir. Walsh digs into his pockets. It is apparent that he doesn't have enough money. He turns to the Duke. WALSH How much money you got? THE DUKE A lot. Walsh digs into the Duke's pockets and comes up with a few bills. WALSH You call that a lot of money? THE DUKE I'm not the one who can't pay his credit card bills. Walsh finishes counting and slaps the money on the counter. WALSH (To Clerk) Just made it. Two tickets to L.A. INT. HOLDING CELL OF ELYRIA POLICE STATION - DAY Dorfler sits. Smoking cigarettes. A FEW LOCAL DETECTIVES nearby. Mosely enters with Tuttle and Plumides. DORFLER Who the fuck are you? MOSELY Mosely. FBI. Dorfler panics. DORFLER Goddamnit! I didn't do anything! MOSELY Sit down. I just want to ask you some questions. Dorfler slides back into his seat. Mosely towers over him. Takes one of Dorfler's cigarettes. Lights it with Dorfler's lighter. Pockets the cigarettes. DORFLER Yeah, yeah. Help yourself. Mosely lights it. Inhales. Blows a blue wad at Dorfler. MOSELY What do you know about Jack Walsh? EXT. SERRANO'S PENTHOUSE BALCONY - DAWN Serrano, in his silk robe. Sipping coffee, overlooking the city, desert and beyond. Neon against the desert dawn. Serrano is wired and loaded with adrenaline. The door-bell rings. Serrano, still locked in thought, heads inside. INT. SERRANO'S PENTHOUSE - DOWN Serrano crosses the room. A BODYGUARD is heading to open the door. Serrano reaches under his desk, pushing a button that unlocks the security door. SERRANO (To Bodyguard) I got it. Get outta here. SID LYMAN, Serrano's attorney, enters. SERRANO What do you want, Sid? LYMAN I think you and I should talk. I heard somebody picked Mardukas up in New York. SERRANO Yeah, it's old news. I'm on it. LYMAN I don't have to tell you what will happen if he becomes a government witness. SERRANO That won't be the case. LYMAN I assumed you were taking that position. I am supposed to advise you against such acts. SERRANO Hey, Sid. Why don't you relax and have a drink. (Looking at watch) It's all gonna be over in a couple of minutes. EXT. ELKHART, INDIANA SUBURBS - DAY The Greyhound bus speeds by. INT. GREYHOUND BUS - DAY Walsh and the Duke sit toward the back. While Walsh tries to sleep, the Duke is wide awake. THE DUKE You know, the way you spoke to that homeless man back there in the bus station was a perfect example of misdirected anger. You should learn to focus on what is really hurting you and work on that. Walsh tries to ignore him. THE DUKE Can I ask why it is you haven't seen your wife and daughter in nine years? WALSH My ex-wife got married to a police captain and I'm not very popular with the Chicago Police Department. THE DUKE Why aren't you popular with the Chicago Police Department? WALSH Do we know each other? THE DUKE Did you do something wrong? WALSH That doesn't concern you. THE DUKE Are you hurt? WALSH No. THE DUKE I'm sorry. WALSH What are you sorry about? THE DUKE I asked if you were hurt and you said you were sorry. WALSH I didn't say I was sorry. You said I was sorry. You're starting to put words in my mouth. THE DUKE You're a grown man. You have control of your own words. WALSH You goddamn right I do. So, here come two words for you. Shut the fuck up! INT. HOLDING CELL OF ELYRIA POLICE STATION - DAY Perry enters. Motions quickly to Mosely. Mosely moves to Perry in the doorway. They talk quietly. PERRY Walsh called Moscone about a half hour ago from outside of Toledo. He's on a Greyhound bus headed for Chicago. MOSELY Let's go. They head for the door. A LOCAL DETECTIVE calls after him, motioning at Dorfler. LOCAL DETECTIVE Inspector. What do we do with this guy? MOSELY Let him go. Mosely moves out. Dorfler grabs his jacket. Turns to the local detective. DORFLER Son of a bitch took my cigarettes... EXT. GARY, INDIANA GREYHOUND BUS STATION - DAY A few cars scattered in the lot. A black Chrysler is parked toward the back end. INT. CHRYSLER - DAY Tony sits at the wheel. Smoking. He looks annoyed. Joey plays with a tassel that hangs from the rearview mirror. DARUVO What's wrong with you? Do you have to touch everything? That's fuckin' annoying. Joey glances out at the platform. A GUY casually smokes a cigarette. ANOTHER reads a magazine. More GUYS can be seen in the terminal. It's another group of HITMEN. A SNIPER waits on a rooftop. JOEY Do you think we'll get 'em? DARUVO Fuck. They can't all miss. EXT. GARY, INDIANA GREYHOUND BUS STATION - DAY The bus swings into the terminal and HISSES to a stop. The door opens. EXT. ROOFTOP - DAY Through the sniper's cross-hairs, we see PASSENGERS beginning to file off of the bus. INT. BUS - DAY The Duke looks out the window, then turns to Walsh. THE DUKE Can I stretch my legs? WALSH Yeah, if you can do it sitting down. THE DUKE C'mon, Jack. We're going to be stuck on this thing for a couple of days. Walsh gives in. The two of them start down the aisle. Just as they are about to step off the bus... EXT. PARKING LOT - DAY From out of nowhere Federal cars swing up. Surrounding the bus. Mosely's car swings in. SLAMS its brakes. He gets out and heads the pack that approaches the bus. INT. CHRYSLER - DAY Tony and Joey's jaws drop. DARUVO Who the hell are these guys? JOEY They with us? DARUVO It's the fuckin' Feds. EXT. GREYHOUND BUS - DAY Neither Walsh nor the Duke have time to react. Perry SLAMS Walsh against the bus. Tuttle and Plumides SLAM the Duke against the bus. More FEDS surround them. LOCAL COPS appear. Both Walsh and the Duke are forced into the stressed spread- eagle position. Mosely appears. Locks eyes with the Duke. MOSELY You and I have a lot of talking to do. Mosely puts on his sunglasses for effect. Looks at Walsh. MOSELY Remember me? WALSH Oh, yeah. Agent Foster Grant. Hey, Alonzo, aren't ya gonna thank me for doing your job for ya? MOSELY Thanks, Walsh. EXT. ROOFTOP - DAY Suddenly, the sniper takes aim and FIRES at the Duke. EXT. GREYHOUND BUS - DAY He misses, hitting the side of the bus. Mosely swings out his .38. The sniper fires again. Hits a local cop. People SCREAM. Run. Hit the deck. Perry. Tuttle. Plumides. All pull out their pieces. More GUNFIRE. The hitman with the magazine FIRES. Walsh forces the Duke to the pavement. Bullets BLAST the windows of the Greyhound. More SCREAMS. The hitmen from the terminal are now on the platform. FIRING. Bullets SCREAM all around the Duke and Walsh. The hitman with the magazine keeps FIRING. Perry OPENS FIRE. The hitman sails over the railing. Mosely fixes on the sniper. MOSELY Freeze! The sniper turns to fire. Mosely BLOWS the sniper off the roof. INT. CHRYSLER - DAY Watching from a distance. DARUVO Fuck this. JOEY Yeah, hit it. EXT. PARKING LOT - DAY Tony GUNS the Chrysler away. EXT. FBI CAR - DAY Amidst the crossfire, Walsh and the Duke crawl up to the first car they can find. Sneak inside. INT. FBI CAR - DAY The keys dangle in the ignition. Walsh shoves the Duke across to the passenger seat. EXT. PARKING LOT - DAY Walsh SLAMS the door. STARTS the car. GUNS it away. INT. FBI CAR - DAY The Duke is near hysterics. THE DUKE Oh, God! Oh, my God! Let me go. WALSH Shut up! Shut the fuck up! THE DUKE What was that? Why would they shoot at us like that? WALSH Those were Serrano's people. He's not even waiting until you get to jail. The Duke picks up a clipboard. He starts to read it. THE DUKE Alonzo Mosely? Isn't that the name you've been using? WALSH Give me that. Walsh yanks it away. Reading as he drives. WALSH Isn't that nice. This is Mosely's car. THE DUKE If you want to turn me in, why are you running away from the FBI? WALSH I only get my money when I deliver you to L.A., not to the Feds (Re: clipboard) Goddamnit. They've got a wiretap on Moscone's phone line. EXT. ROAD - DAY Walsh turns off the road. A police chopper ROARS by. Heading for the bus station. INT. FBI CAR - DAY WALSH We're not gonna get too far in a stolen FBI car. As they both get out, Walsh reaches into his pocket. Removes his sunglasses and sets them on the steering wheel. THE DUKE What's that for? WALSH It's an inside joke between me and Alonzo. EXT. AM/PM MINI-MART - DAY Tony and Joey are at a pay phone. Joey polishing off a box of Cracker Jack. He TAPS the bottom of the box to get the crumbs. DARUVO Sorry, Jimmy, it didn't happen. INT. SERRANO'S PENTHOUSE - DAY Serrano is on the other end of the line, using the speaker box. Lyman sits at the bar, nervously sipping a drink. INTERCUT SERRANO AND TONY SERRANO What was that again? DARUVO It didn't happen. There were about thirty Feds there, along with local heat. A lot of heads got popped. Lyman paces. Nervous. Shakes his head. LYMAN You better get off the line, Jimmy. SERRANO Shut up. LYMAN If they've got a tap... SERRANO (Exploding) I said shut up! (Into phone) Where's Mardukas? In custody? Joey fishes the prize out of the Cracker Jack box. Opens it. It's a whistle. Begins BLOWING it, annoyingly. DARUVO I don't know. There was so much commotion, I don't know. Joey BLOWS his whistle again. DARUVO (Covering phone) Will you knock it off! SERRANO Let me make it simple for you guys. I am not to get another phone call like this. If I do? I'll blowtorch the both of yuz. Serrano hangs up, then suddenly knocks the speaker box off the table. SERRANO Should've killed that son-of-a-bitch Walsh back in Chicago. EXT. GAIL BROONER'S HOUSE - DAY Walsh climbs out of a cab with the Duke. Middle-class homes. Manicured lawns. Hands his last dollar bills over to the CAB DRIVER. The cab pulls away. WALSH I can't believe this. I haven't seen them for nine years and the first thing out of my mouth is gonna be "can I borrow a few hundred bucks?" THE DUKE I have a feeling that this is going to be very good for you. They move toward the house. This is the first time Walsh appears unsure of himself. Slightly unkempt from the journey, he makes a feeble attempt to straighten out his hair and clothing. The Duke lends a hand, fixing Walsh's collar and adjusting a loose lock of hair. THE DUKE You look great. Walsh RINGS the doorbell. They wait in expectant silence. Seven-year-old JASON opens the door and looks at Walsh and the Duke. JASON Who are you guys? WALSH I'm your mother's ex-husband. Jason SLAMS the door. JASON (O.S.) Mom! THE DUKE Nice kid. The door opens revealing GAIL BROONER. Very attractive. She stares at Walsh. GAIL Jack... WALSH Hi, Gail. The Duke watches the strained exchange. GAIL They mentioned you and him on the news this morning. Are you alright? Walsh looks at her deeply. With desperate eyes. WALSH Can I come in for a few minutes? She nods. Walsh and the Duke enter the house. INT. GAIL BROONER'S HOUSE - DAY They enter the foyer. GAIL You're in a lot of trouble. Did you impersonate an FBI agent? WALSH Gail, I won't stay long. I need some money to get to L.A. You know I'm good for it. Walsh feels shame. Fear. Confusion. WALSH I'm so embarrassed. I'm just in a jam. (Smiles) You look so beautiful. Gail bites her lip. Tears fill her eyes. She looks gorgeous. Meanwhile, Jason has been studying the Duke. JASON You don't look much like a criminal. THE DUKE I'm a white-collar criminal. GAIL Jack, you shouldn't be here. If Ted comes home, he'll arrest you. And him. WALSH Arrest us? (To the Duke) Then we'd really be in trouble, 'cause I'm a little short on bribe money. GAIL Jack, don't start, please. Today's not a good day for this. THE DUKE Yeah, Jack. Don't start. WALSH I'm sorry my fugitive timetable doesn't coincide with your social calendar. THE DUKE I don't think she was saying that, Jack. WALSH Stay out of this, John. GAIL Same old Jack. Gets his feelings hurt and tries to hurt everyone around him. WALSH Gail, the last thing I need now is one of your lectures. GAIL I'm trying to protect you, stupid! Ted's going to be home any minute. Tonight's a very important night for us. We're all going out. WALSH What's so special about tonight? Wait. Let me guess. (A beat) Payoff night. GAIL That's enough! THE DUKE Alright, everyone, let's not fight. WALSH I'm in a big fuckin' jam. I just need some money. All I've got to do is just get this guy to L.A. and I'm out of this miserable business forever. Walsh's 15-year-old daughter, DENISE BROONER, appears in the doorway. A vision. Walsh turns with a lump in his throat. The Duke looks at her. At Walsh. Emotions fly through the room. Walsh can barely speak. WALSH Hi. (Clears his throat) Hi, Denise. Denise floats across the room. Approaches her haggard father. Looks into his eyes. Holds him tight. Gail fights tears. Loses. Tears roll down her face. Walsh hugs Denise as tight as he can. Still cuffed to the Duke, he drags the reminder of who he is. DENISE Hi, Daddy. WALSH You're so grown-up. They break their embrace. He looks into Denise's eyes. WALSH That's all I wanted to do. Just hold you for a minute. Walsh turns to Gail. WALSH I'll go now. (A beat) I'm sorry. GAIL Hang on. She disappears into the kitchen. Walsh looks at the Duke. Gail comes back with cash and car keys. Hands them to Walsh. GAIL I only have forty dollars but you can take my car if you want. I'll tell Ted it's in the shop. We'll worry about it after you get to L.A. Walsh slowly takes the keys. WALSH Does he take good care of you? Gail nods affirmatively. WALSH That's all I want to know. (A beat) What will he say about this? GAIL He'll understand. Walsh looks at her. There's so much distance. So much time. So much unsaid. He nods. WALSH That's love. EXT. GAIL BROONER'S DRIVEWAY - DAY Walsh exits the house and cuffs the Duke inside the LTD. Denise follows, approaching her father. She has a stack of bills in her hands. DENISE It isn't much. About a hundred and eighty dollars. Baby-sitting money. Take it. WALSH I can't do that, sweetheart. DENISE Please... (A beat) Daddy. Walsh looks at her. There's so much to say. No time. He takes the money. Nods. Gets into the LTD. Pulls out quickly. Denise remains on the lawn, watching them descend into the distance. INT. LTD - DAY Walsh is silent, watching his daughter fade from sight in the rearview mirror. THE DUKE You have a beautiful daughter, Jack. WALSH I'd just like to be quiet for a while. Walsh continues to drive. Then, out of nowhere, pulls a U- turn. EXT. STREET - DAY The LTD SWINGS completely around. Heading back the way it came. EXT. GAIL BROONER'S HOUSE - DAY Denise watches the LTD returning. Suddenly, from behind her, her stepfather, Gail's husband, TED BROONER, pulls his car into the driveway. INT. LTD - DAY Still at a distance, Walsh slows to a stop. He watches the sad sight. All of what he could have been. Ted, well dressed and unaware of Walsh's presence, puts his arm around Denise, leading her back to the house. Just before she disappears inside the doorway, she turns, giving her real father a farewell glance. Walsh, in a trance, watches the door close. The Duke sits quietly. With a start, Walsh drives up to the house. He gets out of the car. EXT. GAIL BROONER'S HOUSE - DAY Walsh crosses the lawn. Approaches the front door. Out of his pocket, he takes the money that Denise gave him. Puts it in the mailbox. He turns and heads back to the LTD. Drives off. EXT. PHONE BOOTH - NIGHT Highway traffic roars in the background. Walsh, wrestling with a road map, punches in a telephone number. The Duke cuffed alongside of him. INT. MOSCONE'S OFFICE - DAY Jerry grabs the RINGING phone. JERRY (Into phone) Eddie Moscone, bail bondsman. INTERCUT WALSH AND MOSCONE'S OFFICE WALSH WALSH Jerry, Jack. Give me Moscone. Jerry is nervous. He keeps feeding the mob bad information. He SHOUTS at Moscone's cubicle. JERRY Hey, Eddie, it's Jack. Jerry listens in. INT. FBI VAN - DAY The two agents snap awake. INT. MOSCONE'S OFFICE - DAY Moscone is in the middle of a rap with a lawyer and a criminal. He cuts them off with a wave. Grabs the phone. MOSCONE Jack. Where are you? WALSH I'm in Boise, Idaho. INT. FBI VAN - DAY The agents start writing. WALSH (V.O.) No, wait a minute. I'm in Casper, Wyoming. (A beat) No, wait. I'm in Anchorage, Alaska. I'm in the lobby of a Howard Johnson's. I'm wearing a pink carnation. The agents lock eyes with confusion. INT. MOSCONE'S OFFICE - DAY MOSCONE What the hell are you talkin' about? WALSH I'm not talkin' to you. I'm talkin' to the other guys. MOSCONE What other guys? WALSH Let me describe the scene to you. INT. FBI VAN - DAY The four agents listen. WALSH (V.O.) There's these guys, see? They've probably been up for two days. So, they stink of B.O., have coffee breath, and they're constipated and have hemorrhoids from sitting on their asses for so long. The agents shift nervously. One looks at his thermos coffee cup. INT. MOSCONE'S OFFICE - DAY WALSH (V.O.) They're sitting in a van. Probably parked up the street from your office. Moscone takes the phone over to the window. Parts the blinds. Spots the van on the corner. EXT. PHONE BOOTH - NIGHT WALSH But now they're gonna have to pack up all their shit and go home, because I'm onto them! You dumb fucks! I'm not usin' this line anymore! INT. FBI VAN - DAY The agents lock eyes realizing they've been had. INTERCUT WALSH AND MOSCONE WALSH Hey, Eddie. MOSCONE Yeah, Jack. WALSH Go to Denny's. I'll call you in five minutes. They can't run a tap that fast. MOSCONE Right. WALSH (To agents) So long, everybody. INT. DENNY'S RESTAURANT - DAY The phone RINGS. The MANAGER takes it. Hands it to Moscone, who leans next to the register. MOSCONE (Into phone) Jack? INTERCUT WALSH AND MOSCONE WALSH I need you to wire me five hundred to the Western Union Office in Amarillo, Texas. MOSCONE What do you need with five hundred on a bus? And why the hell aren't you on a plane? WALSH Did it ever occur to you that I am a professional and that I might have my reasons? We're driving now and I only have enough cash to get me to Amarillo. We had to scrap the bus. MOSCONE (Starting to yell) Fuck the bus, I'd like to know what happened to the goddamn plane? WALSH He doesn't like to fly. MOSCONE (Exploding) He doesn't like to fly!?! What the fuck does that mean!?! You have to be back here in less than two and a half days. What the fuck are you doing out there, Jack? WALSH Eddie, I swear to God, don't start with me now or I'll shoot him and dump him in the swamp. Walsh shakes his head to the Duke. WALSH