"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"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
I'm in no fuckin' mood for this.
Just send me the money and I'll have
him back by the deadline.

INT. MOSCONE'S OFFICE - DAY

Moscone enters. Approaches Jerry.

MOSCONE
Hey, Jerry, wire five hundred dollars
to Walsh in Amarillo, Texas.

Jerry nods. Moscone walks a few steps. Turns.

MOSCONE
And maybe you ought to see if you
can't get Dorfler down there, too.

EXT. VIGNES STREET - DAY

Once again, Jerry trots for his phone booth.

INT. FBI VAN - DAY

For the second time, AGENT 1 watches Geisler through the
rear window of the van.

AGENT 1
(To Agent 2)
Let's run a tap on that phone booth.
Something's going on here.

EXT. OKLAHOMA - NIGHT

The LTD continues its journey west.

INT. LTD - NIGHT

Walsh and the Duke sit quietly. After a few moments, the
Duke starts to sing softly.

THE DUKE
Ninety-nine bottles of beer on the
wall, ninety-nine bottles of beer.
If one of those...

Walsh silences him with a look.

THE DUKE
What happened to you back in Chicago?
Your wife married a corrupt cop?

WALSH
They're all bad.

THE DUKE
There's good and bad everywhere,
don't you think?

WALSH
There's bad everywhere. Good? I don't
know about.

The Duke hits a nerve.

THE DUKE
What happened to you?

WALSH
I tried to bust this big-time dealer.
The guy practically supplied the
whole city with heroin. I got close
to him, gained his confidence. It
took me a year. Just as I was ready
to nail the son-of-a-bitch,
mysteriously, my fellow officers
discovered seven pounds of heroin in
my house. They gave me a choice. Get
on the payroll like everyone else,
get out of town, or go to jail for
30 years.

THE DUKE
So you left town?

WALSH
Yeah. And that's why I do this. When
I find a criminal, like yourself, I
bring him in. I don't have to worry
about anybody getting bribed or paid
off because there is no "anybody."
There's just me.

THE DUKE
So, I guess that means that any offer
I might make would be a waste of
time.

Walsh's silence confirms this.

THE DUKE
Let me ask you something. Do you
miss your wife and daughter?

WALSH
I don't think much about it.

THE DUKE
There's that denial thing again.

WALSH
I know in some twisted way you mean
well, but will you please stay out
of my personal life?

THE DUKE
You can't just avoid the things that
hurt you. You've got to attack them
head on. Sooner or later you're going
to have to take a "front row" approach
to life, Jack.

EXT. AMARILLO COFFEE SHOP - EARLY MORNING

The LTD rolls up to a coffee shop. Walsh and the Duke get
out. Arching the kinks out of their backs, they head in.

INT. AMARILLO COFFEE SHOP - EARLY MORNING

Eggs and bacon sizzle lusciously on the hot griddle. A YOUNG
RANCH HAND stuffs his mouth with a massive forkful of steaming
hotcakes. Walsh and the Duke eye all this from their seats
at the counter. A WAITRESS approaches.

WAITRESS
What can I do for you, boys?

WALSH
Two coffees.

THE DUKE
I'd prefer herbal tea.
(To Walsh)
As a bounty hunter, are you licensed
to starve your victims?

WALSH
In ten minutes we'll have five hundred
bucks. I'll buy ya a nice juicy steak.

THE DUKE
I don't eat meat. It's filled with
carcinogens and steroids.

WALSH
You know, you're a very smart guy,
John. You know everything about
everything. But you don't know enough
to stay out of other people's
business. If you had left Serrano
alone, none of this would be happening
to you.

THE DUKE
I had a way out of this, Jack!

WALSH
Oh, really.

THE DUKE
I was going to put all of Serrano's
records on computer diskettes as an
insurance policy. I figured I could
always trade it over in exchange for
my life if things got too rough.

WALSH
Why didn't you just leave him alone?

THE DUKE
Why didn't you just ignore corruption
in the police department?

WALSH
Because I couldn't live with myself,
that's why.

THE DUKE
That's how I felt, Jack. I wasn't
some mob accountant. I thought I
worked in a legitimate firm. When I
found out I was managing accounts
that were really fronts for Serrano,
I just couldn't sit back and do
nothing.

WALSH
So, you decided to take what didn't
belong to you.

THE DUKE
Jack, I gave practically all of it
to charity. How can you take the
side of a mobster?

WALSH
I'm not taking his side.

THE DUKE
You're taking his side, if you're
not taking mine.

WALSH
I'm not taking anybody's side. I've
got nothing to do with this.

Walsh checks his Timex.

WALSH
Time to go.

THE DUKE
Why do you wear that old watch?

WALSH
I'll tell you when I know you better.

Walsh cuffs the Duke and drags him toward the door.

INT. TONY AND JOEY'S CAR - DAY

Tony and Joey sit in their car just up the block from the
Western Union office. Tony scans the street. Joey eats some
chips and drinks a Coke.

JOEY
You know what we should get? One of
those little trays that you keep in
the car, so you don't spill food and
drinks all over the place.

EXT. AMARILLO STREET - DAY

Walsh and the Duke cross the street, heading for the Western
Union office.

INT. TONY AND JOEY'S CAR - DAY

Tony spots them.

DARUVO
There they are.

Tony and Joey get out of the car.

EXT. AMARILLO STREET - DAY

Tony and Joey cross the street, guns in coats, approaching
Walsh and the Duke. Walsh sees them. Freezes.

DARUVO
Don't fuckin' move asshole.
(To Walsh)
I don't wanna kill you.
(To the Duke)
I just want you.

The Duke is panic-stricken. From out of nowhere, Dorfler
appears behind Tony and Joey, cocking his. 45.

DORFLER
Drop 'em.

Tony and Joey turn.

DORFLER
You heard me. Drop 'em.

Tony and Joey drop their guns.

DORFLER
Who the fuck are you guys?

DARUVO
Who the fuck are you?

Dorfler K.O.'s Tony with the butt of his. 45. Tony eats the
pavement.

JOEY
You're dead. You know who you're
fuckin' with?

DORFLER
No. Why don't you tell me about it.
And make sure you speak into the
microphone.

On "microphone," Dorfler WHACKS the butt of his. 45 into
Joey's mouth. Walsh and the Duke watch the scene.

DORFLER
(To Walsh)
Give me the keys to the cuffs.

WALSH
Sure, Marvin.

Walsh takes out the keys and then tosses them into the sewer.

WALSH
Looks like a package deal to me,
Marvin.

THE DUKE
Front row, Jack!

DORFLER
Alright, both of you, come on.

EXT. ROAD OUTSIDE OF TOWN - DAY

Dorfler's car makes tracks through the Amarillo country-side.

INT. MARVIN DORFLER'S CAR - DAY

Dorfler at the wheel, the Duke in between him and Walsh.
They are sandwiched into the front seat.

DORFLER
Who the hell were those guys?

WALSH
Oh, Marvin. You've done it this time.

DORFLER
What are you talking about?

WALSH
Those were hired killers back there.

DORFLER
Hired to kill who?

WALSH
(Re: the Duke)
Hired to kill him.

DORFLER
Hired by who?

WALSH
Jimmy Serrano.

DORFLER
Oh, fuck! Why do they wanna kill
him?

WALSH
Marvin, don't ya read the newspapers?

THE DUKE
I can't take this.

WALSH
How the fuck did you know where we
were?

THE DUKE
I can't take this anymore.

WALSH
Shut up a minute.
(To Dorfler)
Did Moscone put you on this?

DORFLER
Of course Moscone put me on this.

WALSH
That no good son of a bitch. I got a
contract with him!

DORFLER
You got a contract?

WALSH
Yeah. I signed it on Monday.

DORFLER
He called me in Pittsburgh. He said
you were fuckin' this up.

WALSH
I'm not fuckin' this up.

DORFLER
You should of been in L.A. over two
days ago.

WALSH
Don't tell me how to do my goddamn
job. I'm half-thinkin' not to turn
him in just to watch Moscone go down
the toilet.

THE DUKE
That's an excellent thought.

INT. MARVIN DORFLER'S CAR - DAY

Circling once more, the chopper comes up behind them. M-16's
open FIRE. BLOW OUT the back window.

WALSH
This is bullshit! We're sittin' ducks,
Marvin! Get off the fucking road.

INT. HELICOPTER - DAY

The three sharpshooters lean out. OPEN FIRE again.

EXT. BRIDGE - DAY

A bridge spans a huge gorge. ROARING rapids below. An eighteen-
wheel tractor trailer is approaching. So is the helicopter.

INT. DORFLER'S CAR - DAY

They are just about to enter the bridge. SWERVING. Ducking
bullets. The Duke sees the oncoming truck.

THE DUKE
Look out!

Dorfler cuts the wheel.

EXT. BRIDGE - DAY

Dorfler misses the truck by a few feet. The chopper misses
by inches. ROARS skyward. The truck nearly jackknifes trying
to get out of the way. Dorfler swerves off of the road, just
short of the bridge. SLAMS through the guardrailing.

EXT. GORGE - DAY

Dorfler's car SAILS down the steep embankment. SIDE-SWIPES
huge rocks and trees. The brush and rocks in its path don't
slow the car down.

INT. DORFLER'S CAR - DAY

The Duke SCREAMS. Walsh braces for the impact. Dorfler steers
down the obstacle course of rocks and trees heading for the
rapids.

DORFLER
Okay. Okay. I got it.

SIDESWIPES a tree. Keeps going.

DORFLER
Hang in. Relax. I've got it.

EXT. GORGE - DAY

The car SLAMS to a halt, wedging itself between two boulders,
just a few feet from the edge of the rapids. The chopper
swings around over the top of the bridge.

INT. DORFLER'S CAR - DAY

Dorfler's gun bounces to the floor. The Duke grabs it. Points
it at Walsh and Dorfler.

THE DUKE
Nobody move.

Walsh grabs the gun out of the Duke's hand.

WALSH
Give me that.

Dorfler grabs the gun.

DORFLER
That's mine.

EXT. GORGE - DAY

The chopper roars overhead. Bullets EXPLODE around them. The
doors are blocked by the boulders. Walsh, the Duke and Dorfler
are forced to crawl out through the windows. Dive for cover.
The chopper circles, then moves in for the kill.

INT. CHOPPER - DAY

The Sharpshooters take aim. Open FIRE.

EXT. GORGE - DAY

The bullets EXPLODE around Walsh, the Duke and Dorfler. The
Duke falls, dragging Walsh with him. Dorfler FIRES at the
helicopter with his .45. Walsh removes keys from his pocket
and starts to uncuff the Duke.

DORFLER
I thought you threw those out.

WALSH
Always check the evidence, Marvin.
Those were car keys.

The Duke begins to smile.

WALSH
(To the Duke)
They're not after me.

The Duke's smile vanishes.

WALSH
Just kiddin'.

Walsh climbs behind a group of boulders. Pulls out his .45.
FIRES with Dorfler at the chopper.

INT. HELICOPTER - DAY

A bullet hits the glass bubble, EXPLODING it into the cockpit.
The PILOT swings the chopper away.

EXT. GORGE - DAY

The chopper comes around for the kill again. The Duke tries
to hide behind a huge boulder. Bullets EXPLODE all around
him. He inches around the boulder, trying to keep it between
him and the chopper. Each quickly changing directions to
outsmart the other. A serious game of cat and mouse. The
Duke loses his balance. He falls backwards into the rapids.
Bullets SPRAY all around him. He disappears into the white-
water. Walsh is about to jump in after him but a hail of
bullets forces him to stay put.

WALSH
Son of a bitch! Well, Marvin, there
goes a hundred grand.

DORFLER
A hundred? You're getting a hundred?

WALSH
Why? What was Moscone gonna pay you?

DORFLER
Twenty-five.

Walsh smiles. Bullets FIRE. They duck.

INT. HELICOPTER - DAY

One of the sharpshooters spots the Duke. Taps the Pilot.
Points.

EXT. RAPIDS - DAY

Water ROARING. The Duke struggles to keep afloat in the
nightmarish current. The chopper opens FIRE at him.

EXT. GORGE - DAY

Walsh sees the chopper's vulnerability. Its tail rotor.

WALSH
Marvin. Give me another clip!

DORFLER
What? I need it myself!

WALSH
Give me the fuckin' clip!

Dorfler hesitates. Looks at the chopper. To Walsh. Then tosses
him the clip. Walsh jams it into his .45.

INT. HELICOPTER - DAY

The sharpshooters RIDDLE the water surrounding the Duke with
GUNFIRE.

EXT. GORGE - DAY

Walsh moves along the bank. Gets a good solid line on the
tail rotor. Crouches. Raises his arm. Sights in. Then smiles.

WALSH
Say good night, Gracie.

BLAM! BLAM! BLAM! BLAM! SMACK! The STING of metal hitting
metal. The tail rotor EXPLODES.

INT. HELICOPTER - DAY

The joystick slips from the Pilot's hands.

PILOT
We're hit!

EXT. GORGE - DAY

With a deafening high-pitched whine, the chopper swings madly
out of control. Dorfler drops his jaw. Can't believe it.
Walsh grins. The chopper ROARS at them. They hit the deck.
ROARS back into the sky and starts its deadly descent toward
the wall of the gorge. Heads straight for it. SLAMS into it.
EXPLODES into a FIREBALL. GUSHING FLAMES AND SHRAPNEL for a
hundred yards.

DORFLER
Goddamn, Jack. You did it!

Walsh smiles, then points.

WALSH
Marvin, watch out!

Walsh punches Dorfler square in the jaw. Dorfler falls back,
hitting the car. Walsh digs in Dorfler's pockets. Pulls out
Dorfler's cuffs and keys. Cuffs him to the open car door and
tosses the keys into the water. Dorfler is coming to.

WALSH
See you in L.A., Marvin!

Walsh dives into the rapids.

EXT. RAPIDS - DAY

The Duke, trying to swim, grabs for debris lodged between
rocks. Stops. Unsurvivable white-water ROARS just ahead.
Holding onto the debris for dear life, he pulls himself along.
Slowly. Surely. Inches toward a boulder. Walsh comes bouncing
down the rapids on the same path that the Duke has just taken.
He sees the Duke pulling himself to safety. Walsh reaches
out as he passes. Grabs for the same debris. SLAMS into it.
Dislodges all of it. He and the Duke ROAR down the rapids
together clinging to the same log. Moving into the white-
water.

THE DUKE
Goddamnit, I was almost safe!

They ride the log, holding on for dear life. A group of
boulders are ahead. Water RUSHES between them. The log slams
into the boulders, getting caught between two of them. Duke's
back is against the current. Walsh is on the other side of
the log. He's losing his grip. The rapids beyond invite death.

WALSH
I'm slipping! Give me your hand!

THE DUKE
Promise you'll let me go!

WALSH
Fuck you!

THE DUKE
Promise me!

WALSH
Fuck you!

THE DUKE
You're making it very hard for me to
do the right thing here, Jack.

WALSH
(Slipping)
Alright! Alright! I'll let you go! I
promise.

The Duke reaches for Walsh. Grabs him. Together, they lunge
for the boulder as the log breaks free, disappearing into a
field of white. They climb to safety.

EXT. BANK - AFTERNOON

Drenched to the core. Exhausted. They crawl ashore.

THE DUKE
Where's Dorfler?

WALSH
He's watchin' the car. Thanks for
savin' me.

THE DUKE
Thanks for letting me go.

WALSH
I'll let you go, alright.
(Cuffing him)
The second you're in the L.A. County
Jail.

THE DUKE
I just saved your life!

WALSH
(Yanking up the Duke)
Come on.

EXT. ROAD - DAY

Looking like shit, Walsh and the Duke walk slowly along the
side of the rural road. A dilapidated pickup truck snakes
toward them. Walsh uncuffs the Duke then waves it to a stop.
BILLY, an overweight Indian, with a black ponytail and black
cowboy hat, is at the wheel. Two other INDIANS are crammed
in the front seat. FOUR more sit on the bed of the truck.

WALSH
How's it goin', gentlemen? Do you
think you can give me and my friend
a ride to the nearest town?

BILLY
Sure. Pile in.

EXT. GORGE - DAY

We recognize the bridge. It's where the chopper went down. A
dozen police cars are on it. Several COPS lean over the side
of the bridge. They watch a man SCREAMING in the gorge.
Handcuffed to a car. Dorfler.

DORFLER
That's right! Down here! Get me the
fuck outta here!

INT. FBI OFFICE - DAY

Mosely sits alone, looking like he's been working long hours.
Perry approaches, handing him a teletype page.

PERRY
This just came in.

MOSELY
Is it going to upset me?

PERRY
I think it's safe to say that.

EXT. MCCARRAN INTERNATIONAL AIRPORT, LAS VEGAS - DAY

Jets THUNDER overhead. Joey and Tony stand in front of the
United terminal holding their luggage. With a handkerchief,
Tony nurses a huge bruise on the side of his face from the
whack of Dorfler's .45. Joey sports a fat lip. Serrano's
black limousine pulls up. It feels angry. A CHAUFFEUR takes
their bags. Tony and Joey reluctantly get inside.

INT. SERRANO'S LIMO - DAY

Serrano is in back. Also, Sid Lyman. They face Tony and Joey.
The car moves quickly away from the terminal area. Serrano
is livid.

SERRANO
What's the problem with you guys?
The guy's a fuckin' accountant!

DARUVO
It's been bad luck down the line.
Plus this guy, Walsh, is pretty good.

SERRANO
Well, if he's so fuckin' good, maybe
I should hire him to hit you.

LYMAN
Is any of this going to come back to
him?

DARUVO
No. None of it. We rented the chopper
through Detroit.

JOEY
(To Serrano)
It's five times removed from you. So
you're clear of this. Don't worry.

SERRANO
(Exploding)
I'm clear of shit! He's still out
there!
(Yelling to Chauffeur)
Pull the fuck over!
(To Tony and Joey)
Get out of the car!

LYMAN
Jimmy...

SERRANO
Shut up, Sid.
(To Tony and Joey)
Get the fuck out of the car!

The limo pulls to the side of the road. A confused Tony and
Joey sheepishly exit.

SERRANO
I have no interest whatsoever in
seeing the two of you alive again
unless you have the accountant! You
understand?

EXT. LAS VEGAS ROADSIDE - DAY

The limo peels away, leaving Tony and Joey in the dust.

JOEY
How do we get our luggage back?

EXT. INDIAN RESERVATION - DAY

The middle of nowhere. Chickens scatter avoiding the pickup
truck as it pulls up to a dilapidated general store. The
Indians pile out. Other Indians sit on indoor furniture that
has been left outside. An old crop duster is parked to one
side of the general store. It catches the Duke's eye.

BILLY
This is the end of the ride.

Walsh stares at the sights.

WALSH
What the hell kind of town is this?

An OLD INDIAN WOMAN sits on the porch.

THE DUKE
Is there a bathroom in there I could
use?

She nods "yes." The Duke turns to Walsh.

THE DUKE
Is it alright, Jack?

WALSH
G'head.

The Duke disappears inside. Walsh studies the lonely landscape
of old cars and shacks. In their native language, a few
INDIANS sitting nearby are having a good laugh at the expense
of Walsh's bedraggled appearance. Walsh does his best to
ignore them. The sound of a large engine coming to life fills
the air. Walsh, pacing along the porch, casually glances in
the direction of the crop duster as it slowly starts to taxi
away. His eyes widen as he realizes that the man in the open
cockpit is the Duke. It appears that the Duke is not afraid
of flying. The prop spins with life. The SOUND of the crop
duster intensifies. Walsh can't believe how badly he's been
taken. As the crop duster moves away, Walsh goes berserk.

WALSH
Fear of flying, you son of a bitch?

Walsh runs after the plane, sprinting the length of the
reservation to catch up with the taxiing plane. The Duke
swings it around for takeoff, now moving toward Walsh. As it
moves past him, Walsh grabs onto the wing and hoists himself
alongside the cockpit. The plane ROARS with life. He reaches
for the Duke. The Duke tries to push Walsh off and maintain
control at the same time.

WALSH
Fear of flying, my ass! Get out of
that plane, you son of a bitch.

THE DUKE
My work is done here, Jack. I've
reopened the lines of communication
between you, your ex-wife and your
daughter.

WALSH
I'm gonna open your fuckin' head.

THE DUKE
And I think you're well on your way
to reexamining who you are as a human
being.

Walsh grabs the Duke halfway out of the cockpit. The plane
zig-zags wildly through the field.

THE DUKE
You're going to get us killed!

WALSH
I don't give a fuck.

Walsh right-hooks the Duke, knocking him out, then manages
to yank him from the cockpit. They both fall to the ground.
The pilotless crop duster aimlessly taxis in circles. Indians
come running from every direction. Walsh shoves the Duke
back toward the general store. Indians surround them angrily.
SHOUTING. Walsh pulls out his .45. Points it in every
direction. It gets quiet fast.

WALSH
Shut the fuck up! All of ya!

He moves through the circle, dragging the Duke by his collar.

WALSH
(To the Duke)
Let me tell you about the coffee
shop I'm gonna open after I dump you
off and collect my hundred grand.
You're gonna love it. Maybe when you
get out, if they don't kill you first,
you can come pay me a visit.

They approach Billy's pickup truck. Walsh points the gun at
Billy.

WALSH
Give me the keys to the truck.

THE DUKE
You just can't take their truck.

WALSH
You were about to take their plane.

Walsh pulls the Duke's watch off of his wrist and tosses it
to Billy. Billy complies. Walsh takes the keys and cuffs the
Duke inside the truck.

WALSH
Hey, maybe I'll even call it "Duke's
Place." Y'know. Out of respect to
you.

Walsh gets in behind the wheel. Fires it up. Roars off.

EXT. ROAD - DAY

The truck barrels down the road.

INT. PICKUP TRUCK - DAY

Walsh sits behind the wheel, angry. The Duke at his side.

THE DUKE
Jack. Let's be fair about this. You
lied to me, too. At the river you
promised to let me go.

WALSH
You lied to me first.

THE DUKE
Yes. But the river was before you
knew I had lied to you. So that really
doesn't count. Don't you think, Jack?

WALSH
What?

THE DUKE
It's wrong that I lied to you. But
you had no knowledge that I was lying
about my aviophobia when we were in
the river, when you lied to me.

WALSH
I can't even argue with you. I don't
know what the fuck you're talking
about.

A town is up ahead. Walsh is gripping his stomach.

WALSH
Ah, shit!

THE DUKE
Have you got an ulcer. Jack?

WALSH
Yes, I've got an ulcer! A big fuckin'
ulcer! And all your bullshit is
startin' to make it bleed again.

THE DUKE
We better get something to coat it.

WALSH
I need somethin' to eat! That's what
I need!

THE DUKE
I can take care of that.

EXT. RED'S CORNER BAR - DAY

The truck slows to a stop.

INT. TRUCK - DAY

Walsh looks at the bar. Looks at the Duke.

WALSH
Now what?

THE DUKE
Give me that FBI badge.

Walsh hesitates.

THE DUKE
Do you want to eat that shit you eat
or not?

Walsh studies him for a moment.

WALSH
If you fuck with me...

THE DUKE
Yeah, you'll hit me in the head and
drop me in a thing...

INT. RED'S CORNER BAR - DAY

The Duke bursts in the front door followed by Walsh. Makes
his way to the CASHIER. The Duke speaks with urgency.

THE DUKE
I want to speak to the manager
immediately.

CASHIER
(Taken aback)
Alright, just a minute, sir.

He calls over the MANAGER. Walsh and the Duke lock eyes.

RED
May I help you?

THE DUKE
(Flashing badge)
Alonzo Mosely, FBI. My partner and I
have been tracking a ring of
counterfeiters who have been passing
phony one-hundred-dollar bills
throughout the state. Have you
received any hundred-dollar bills in
the last couple of hours?

RED
I received one just 20 minutes ago.

THE DUKE
(To cashier)
Would you mind opening the register,
please.

The manager gives a nod of approval. The cashier complies.

THE DUKE
(To cashier)
Let me see all of them.

She reaches for the bills. The Duke stops her.

THE DUKE
No, no! Don't touch them.

Walsh uses a paper napkin to take the bills from the cash
register. The Duke clears the counter and proceeds to lay
the bills out methodically. The employees look on attentively.

THE DUKE
(Snapping fingers)
Give me that pencil. Confract two.

The cashier hands over her pencil to the Duke. He slides the
bills and pencil over to Walsh.

THE DUKE
Check all of these.

Walsh does a series of "tests" on the bills. Erasing. Holding
bills up to the light. Occasionally making eye contact with
the Duke.

THE DUKE
How are we doing?

WALSH
This one's bad.

Walsh puts it aside. The manager eyeballs their attire.

RED
You guys look like you've been through
the ringer.

WALSH
You don't know the half of it.
(Looking at the Duke)
This one's bad, too.

The Duke speaks with great urgency again.

THE DUKE
I want you to describe, exactly,
what the person who handed you this
bill looked like.

CASHIER
It was a man. About thirty. Tall.

THE DUKE
Oh yeah? About six feet tall?

CASHIER
Yeah.

THE DUKE
What color hair?

CASHIER
Brown.

WALSH
Sounds like our man.

THE DUKE
(To manager)
I want you to call all the other
restaurants in the area and advise
them of the situation.
(To Walsh)
If we move fast we might be able to
nail him.
(Grabbing money)
We have to take this for evidence.
(To Walsh)
Make sure they get a receipt for
this.

Walsh scribbles a bogus receipt on a scratch pad next to the
register. Hands it to the manager.

WALSH
It's as good as gold.

THE DUKE
What's the name of your establishment?

RED
Red's Corner Bar.

THE DUKE
Do you dye your hair?

RED
No.

THE DUKE
Why do they call you Red?

RED
It's short for Redwood.

THE DUKE
What's your first name?

RED
Bill.

THE DUKE
We'll be back. Thanks for your
cooperation, Bill.

EXT. RED'S CORNER BAR - DAY

Walsh and the Duke strain to maintain their poise as they
exit the Howard Johnson's and hurry across the street into a
7-11.

EXT. 7-11 - DAY

Walsh and the Duke can be seen through the windows inside of
the store. In the middle of a shopping spree. Walsh stuffs
his face as he goes for sandwiches, beer, doughnuts, etc.
The Duke goes for fruit and cereal. They pay for their goods.
Exit. As they walk down the street, they RIP into the bags
like hungry dogs. They HEAR the RINGING of a railroad
crossing. Down the street, a freight train BLOWS its WHISTLE
as it rumbles through the center of town at fifteen miles
per hour.

WALSH
Come on. We're catchin' this train.

Walsh shoves the Duke. Both carry their bags of food.

THE DUKE
I can't do this.

WALSH
You also couldn't fly. Start running.

They run alongside an open boxcar.

EXT. RED'S CORNER BAR - DAY

With a perplexed look, Red watches through the window as the
two "FBI agents" run for the freight train.

EXT. TRAIN TRACKS - DAY

The Duke tosses his bag of food into it. Then hoists himself
aboard. Walsh starts to lose his footing. He drops all of
his food. Beer EXPLODES. Doughnuts and sandwiches go flying.

WALSH
Ah, shit!

EXT. RED'S CORNER BAR - DAY

Somewhat confused, Red turns and goes inside. He picks up a
telephone. Dials.

EXT. TRAIN TRACKS - DAY

The train starts picking up speed. Walsh can't keep up with
the car. The Duke does nothing to help. He just crouches and
watches from the open boxcar.

WALSH
Give me your hand!

THE DUKE
(Sarcastically)
Do you promise to let me go?

WALSH
Goddamnit, give me your hand!

The Duke doesn't budge.

THE DUKE
See you in the next life, Jack!

Walsh reaches out. Manages to grab onto a ladder on the side
of the car. Hoists himself aboard.

EXT. TRAIN CARS - DAY

Walsh stretches toward the boxcar's open door. The Duke slams
it shut. Walsh starts banging on the door.

WALSH
(Screaming)
You son of a bitch! You're gonna
have to come out of there sometime
and I'm gonna be waiting here!

The train starts picking up speed. Walsh is getting unnerved.

WALSH
You're only making it harder on
yourself, making me stay out here!

After a few expectant beats, the large door slowly slides
open, revealing an angel-eyed Duke. Walsh reaches into the
car and pulls himself inside.

INT. BOXCAR - DAY

Walsh is completely out of breath. The boxcar is near-empty.
As Walsh dusts himself off, the Duke sits on a couple of
small flimsy crates stacked against the wall. Walsh walks
over next to him. Kicks the bottom crate out with a powerful
sideswipe. The Duke and the crates CRASH to the floor.

WALSH
And don't you forget it.

Walsh walks over to the far end of the boxcar and sits
quietly. Stares down the Duke from across the car.

WALSH
I ain't talkin' to you for the rest
of this trip.

THE DUKE
That's adolescent. Don't you think,
Jack?

INT. AMARILLO POLICE STATION INTERROGATION ROOM - NIGHT

Dorfler sits at a small desk in a naked room. He's tired,
dirty and nervous. Chain-smoking. A SHERIFF and two COPS
enter. Dorfler rises.

DORFLER
Hey, are you guys gonna let me go?
I'm tellin' ya, I don't know anythin'.

Mosely enters. Followed by Perry, Tuttle and Plumides.

MOSELY
Is that a fact.

DORFLER
Oh, shit.

Mosely grabs Dorfler's pack of cigarettes. Takes one. Lights
it. Pockets the pack.

DORFLER
Yeah, yeah. Help yourself.

MOSELY
Where are they?

DORFLER
You got me.

Mosely turns. KICKS the chair out from under Dorfler. Dorfler
hits the floor. Perry lurches forward.

PERRY
Inspector...

MOSELY
Shut up!

Mosely picks up Dorfler. Tosses him at the table. Breaking
it. Dorfler rolls to the floor.

MOSELY
I want some answers and I want them
now.

Mosely picks up Dorfler. Grabs the chair. Shoves him into
it. A Sheriff enters and whispers something to Tuttle.

DORFLER
I don't know nothing. They went down
the river. They could be dead, for
all I know.

Tuttle meekly approaches Mosely.

TUTTLE
Sir?

MOSELY
(Snapping)
What?

TUTTLE
(Whispering)
It seems that an "Agent Alonzo Mosely"
and his "partner" were seen hopping
a westbound freight train near
Channing.

EXT. PRAIRIE - NIGHT

The freight train barrels through the moonlit night.

INT. BOXCAR - NIGHT

Still at opposite ends of the car, Walsh and the Duke are
curled up trying to resist the cold.

THE DUKE
C'mon, Jack. Don't be a baby. Are
you going to sulk the rest of the
trip?

Walsh doesn't answer.

THE DUKE
Do you want to know when I knew I
had you pegged?

Still no response.

THE DUKE
The very first second we were in the
car in New York. For some reason, I
noticed your watch. An old Timex.
Scratched. Cracked. But you hang on
to it, don't you? Even when a new
watch would do better by you.

The Duke speaks the truth. Suddenly Walsh appears vulnerable.

THE DUKE
Let me guess. It was a present.
Someone gave it to you about 20 years
ago.

Walsh doesn't answer.

THE DUKE
You're sentimental. You hold memories
as something precious. You have a
desire to do what's right. I knew
you wouldn't force me to fly.

Walsh gently looks at his watch.

WALSH
Gail bought me this. It was the first
thing she ever got me. I was always
a half hour late when we were dating.
So she bought me this watch and set
it a half an hour fast so I'd never
be late.

The Duke is silent.

WALSH
Somewhere in the back of my mind, I
still imagine that we're gonna end
up together. I'm still waiting.
Hangin' on.

THE DUKE
I don't think she's coming back.

WALSH
I don't, either.
(A beat)
The bitch...

INT. FRONT DESK, AMARILLO POLICE STATION - NIGHT

Dorfler is handed his belongings in a paper bag by a DESK
SERGEANT.

DORFLER
Yeah. Accommodations were wonderful.
You gotta cigarette?

DESK SERGEANT
Don't smoke.

DORFLER
That Fed took my cigarettes.
(Leaning in)
Where did everybody go?

DESK SERGEANT
They took off.
(Smiling)
You want your cigarettes? You'll
have to go to Flagstaff.
(Starts laughing)
Because that's where your pal Mosely
went.

Dorfler laughs with him.

DORFLER
I just might do that.

EXT. MOUNTAIN RAILROAD TRACKS, ARIZONA - DAWN

The train moves through the Arizona desert. The sun is just
peeking over distant mountains. The landscape is bathed in a
deep red hue.

INT. BOXCAR - DAWN

Walsh is crouched in the open doorway, smoking. Looking at
the sun. He flicks his cigarette butt into the wind. Walsh
turns. Notices that the Duke is setting up his breakfast. He
tears open the paper bag. Uses it as a place mat. Lays out
fruit. A box of high-fiber cereal. A quart of nonfat milk.

THE DUKE
Jack. Would you care to breakfast
with me?

The Duke pulls out some packaged cakes.

THE DUKE
I think these are yours anyway, Jack.
I know I didn't buy any Ho-Ho's or
Suzy-Q's.

Walsh looks at the Duke's bruised face.

WALSH
I'm sorry I hit you.

The Duke shrugs it off. Walsh moves next to him. The Duke
hands him the cakes.

THE DUKE
Do you know where we are?

WALSH
We've been going west all night. My
guess is Arizona. We're almost home.

THE DUKE
I'm almost dead.

WALSH
The witness protection program isn't
so bad. They'll give you a new name.
You'll have a new life.

THE DUKE
Jack, do me a favor, okay? Don't
play this big brother routine with
me because it really insults my
intelligence. The only thing important
to you about me is getting your money.

WALSH
I'm tired of you making me out to be
some kind of thug whose only concern
is a big chunk of change. Did you
know that Serrano's people offered
me a million bucks for you?

THE DUKE
Why don't you just go for the big
money, Jack? You're doing his work
for him either way.

WALSH
You don't know what the fuck you're
talking about. The reason I do this
shit is because I didn't want to
work for that lowlife. You remember
that big dealer I was trying to bring
down in Chicago? That was Serrano,
alright? Now, you know everything.
Are you happy?

THE DUKE
He's the reason you left Chicago?
And you're taking me in? Are you out
of your mind? You want me to speak
your language, Jack? You let that
motherfucker beat you! With what you
know about police work and what I
know about Serrano's operation, we
should be able to put him away for
thirty years.

WALSH
I'm not in that business anymore.

THE DUKE
I'm a goddamn accountant and I tried
to get him. You're this big macho
guy, with your guns and all your
bullshit and you're backing away?

Walsh opens himself up like he has never before.

WALSH
I just don't have it in me.

EXT. BOXCAR - DAY - LATER

The city of Flagstaff is in the distance. The train begins
to slow down. Walsh leans out of the car. Eyeballing it.

WALSH
We're gettin' off here. Just in case.

They both get up. Wait for the right moment.

WALSH
You first, wise guy.

The Duke jumps. Walsh follows. They tumble through the high
grass. Roll to a stop. Endless boxcars THUNDER past them.

INT. FLAGSTAFF TRAIN DEPOT - DAY

A few minutes later. The train is now stationary. The door
is SWUNG OPEN. HARD.

SERIES OF CUTS

Of boxcars being opened. One after another. FEDS and COPS
are all over the train in greater numbers than ever before.
Mosely's car pulls up. He gets out. Perry, Tuttle and Plumides
follow suit. Mosely approaches a Flagstaff POLICE CAPTAIN.

MOSELY
Inspector Mosely. Find anything?

POLICE CAPTAIN
Not yet.

Mosely walks away with determination. His men follow.

PERRY
They could have jumped off the train
anywhere along the line.

MOSELY
Walsh isn't playing with a lot of
time. He took this train as far as
he could.

EXT. MARVIN DORFLER'S CAR - DAY

Dorfler cruises over a bridge. Below him is the train depot.
He slows and spots the slew of police cars below him. Watches
as they continue conducting the search of the boxcars.

EXT. GROCERY STORE PARKING LOT - DAY

Some pickup trucks with Arizona plates. Walsh and the Duke
are cuffed again. Sneaking along, they approach a Jeep CJ-7
decked for off-road use.

WALSH
Arizona plates. Do I know my shit or
what?

Walsh moves around to the passenger side of the Jeep. The
door is unlocked. He opens it.

INT. JEEP - DAY

He proceeds to hot-wire the vehicle. The engine CRANKS and
FIRES. Walsh pushes the Duke across the passenger side. Cuffs
him to the roll bar. Hops in.

EXT. GROCERY STORE PARKING LOT - DAY

As Walsh ROARS away, the OWNER of the Jeep exits the store.
His jaw drops as his Jeep passes him and tears off down the
road.

INT. JEEP - DAY

Walsh tools down the road. The Duke staring ahead. An
occasional building passes by as they move to the outskirts
of town. Fields and mountains ahead.

THE DUKE
Where are we going?

WALSH
To the next fuckin' airport.

A police car comes up behind him. Hits its lights. SIREN.
Starts coming up fast.

WALSH
Shit!

Walsh jams it. The truck lurches with life. Suddenly, a second
police car is moving like a bat out of hell from the opposite
direction. Sirens WAILING. Light blazing.

THE DUKE
You're not going to be happy until
you get us both killed.

WALSH
I came too far. I'm too close.

EXT. ROAD - DAY

A cop car ahead skids to a stop, blocking the road. Walsh
SCREAMS off the pavement. Driving onto the shoulder. Clods
of earth kick up. Walsh SCRAPES the cop car and moves right
back on to the road. The car chasing Walsh tries the same
trick. Doesn't make it. SMACKS hard into the police car
blocking the road.

EXT. FLAGSTAFF TRAIN DEPOT - DAY

COPS. FEDS. Everyone is running for their cars. Cars SCREECH
out in all directions. The police captain runs up to Mosely,
Perry, Tuttle and Plumides.

POLICE CAPTAIN
(Shouting)
Follow me to the chopper!

EXT. MARVIN DORFLER'S CAR - DAY

From the bridge, Dorfler watches the excitement unfold. He
smiles, knowing that Walsh and the Duke must be nearby. He
gets back into his car and follows the procession of speeding
police and Federal cars.

INT. JEEP - DAY

Walsh has got it to the floor. They move more and more into
the country. Dirt roads cross the plains.

WALSH
How many fuckin' cops can they have
in this town?

Walsh checks the rearview mirror. More than a dozen police
and Federal cars are behind them. The Duke notices several
police cars ROARING down the dirt road on their right. Walsh
turns. At least a dozen more are on his left. They seem to
be coming from everywhere.

EXT. ROAD - DAY

Walsh tears by. The cop cars from the right and left sides
converge onto Walsh's road. The two dented cop cars from
behind come up fast in pursuit. It's a carnival of SIRENS
and BLAZING LIGHTS.

INT. JEEP - DAY

THE DUKE
I know you can do it, Jack!

Walsh spots the worst sight yet. A slew of Federal cars coming
at him from ahead. He's surrounded. There's no way he's
getting around this. He turns the wheel hard.

EXT. FIELD - DAY

The Jeep skids off the road. SMASHES through fence posts.
Rips into the field. Jumps a hill. Lands and keeps going.
The Cops and Feds swerve off the road in pursuit.

EXT. ROAD - DAY

Dorfler slows, as his car passes the spot where Walsh crashed
through the fence. The place is crawling with Cops and Feds.
Cautious not to be observed, he keeps moving.

EXT. FIELD - DAY

Walsh shifts it into four-wheel-drive. SLAMS up a hill.
Missing trees. Rocks. The cop cars can't keep up. A helicopter
ROARS overhead.

INT. HELICOPTER - DAY

Mosely sits alongside the PILOT. Looking down at the terrain
with binoculars. Behind him sits Perry, Tuttle and Plumides.
Below, the fields are filled with the tangle of police and
Federal cars. The hill approaches. Mosely taps the pilot.

MOSELY
(To pilot)
Check the other side.

EXT. HILL - DAY

The Jeep ROARS over the peak. Starts bouncing down the other
side. It's very steep. PLOWING through brush. Picking up
speed. A group of farmhouses are clustered below.

INT. MARVIN DORFLER'S CAR - DAY

Dorfler follows the chopper with his eyes as it heads for
the group of hills. The chopper obviously has an overview so
Dorfler decides to follow it.

EXT. FARM ROAD - DAY

Dorfler makes a turn onto a dirt road, ROARING past the group
of farmhouses. Slows. Checks the position of the helicopter,
then keeps moving.

INT. JEEP - DAY

Coming down a hill, Walsh realizes he's not going to make
it. He loses control of the Jeep.

EXT. HILL - DAY

The Jeep SKIDS. SLAMS sideways into a group of trees. Walsh
climbs out. Uncuffs the Duke from the roll bar. They start
running for the farmhouses. The chopper is coming. They drop
into the high grass. The chopper moves past them. Back toward
the hill.

INT. HELICOPTER - DAY

Mosely, with eagle eyes, spots something.

MOSELY
There's the Jeep.

It's nearly buried in trees and brush.

MOSELY
(To Pilot)
Try the farm. Close to the ground.

EXT. ROAD - DAY

The chopper moves toward the farmhouses. Walsh and the Duke
move through the high grass to a thicket of trees on the
roadside. Two Federal cars ROAR past them. Followed by two
local cop cars. Walsh's eyes sweep the road. Next is a
passenger car. One person at the wheel. Walsh grabs his .45.
Runs into the road. Flags down the car. The Duke recognizes
the driver.

THE DUKE
Jack! Don't! It's Dorfler!

INT. MARVIN DORFLER'S CAR - DAY

Dorfler, at the wheel, can't believe what he sees. There is
a God. He floors it. Heads for Walsh. Opens the car door.
WHACKS him. Walsh bounces to the concrete. Dorfler gets out.
The Duke starts running for the woods.

EXT. CREEK - DAY

It looks like paradise. A trickling creek. Surrounded by
aspens. Sunlight streaming down. The Duke slides down the
embankment. SPLASHES through the creek. Dorfler follows him.
Chasing hard. Tackles him. Lands several punches. The Duke
swings back. Dorfler overpowers him. Pins him into the creek.
Lands several more punches. Yanks him to his feet.

EXT. ROAD - DAY

Walsh is slowly coming around. Winded. Bruised. Dorfler yanks
the Duke up the embankment. Across the road. Quickly opens
the trunk. Shoves the Duke inside. SLAMS the trunk closed.
An uncomprehending Walsh takes a feeble swing at Dorfler.
Dorfler right-hooks Walsh. Walsh stumbles. Dorfler hits him
again. Walsh falls backwards, several feet, over the
embankment.

EXT. CREEK - DAY

Walsh tumbles down the embankment to the banks of the creek.
He's out cold. Dorfler can be heard SCREECHING away in the
car. Walsh is still. The continuous roar of the chopper seems
to fade away. He slowly comes to. Looks at the creek before
him. Slightly confounded at finding himself in such a heavenly
setting. Stares at clear water TRICKLING over rocks and stone.

EXT. EAT DINER - SUNSET

A gentle cut. Peaceful. Almost dream-like. Wind gently rocks
the "EAT" sign. Its rusty hinges SQUEAK. The dirt parking
lot is empty. Walsh moves down the road. Approaches the diner.

INT. EAT DINER - SUNSET

Walsh enters. Dirty. Ragged. The DINNER OWNER, a quiet
matronly woman, is behind the counter. Walsh moves over to
her. She barely moves. Just checks him out.

DINER OWNER
Bad day, huh?

WALSH
Bad week.

DINER OWNER
I know what you mean.

WALSH
I could use a cup of coffee.

DINER OWNER
I think I could arrange that.

He achingly sits at the counter. The Diner Owner places a
mug before Walsh. Pours coffee. Walsh nods his thanks. Picks
up the mug. Blows on it gently. Is about to take a sip.
SUDDENLY, a pair of sunglasses SLIDES the length of the
counter, coming to rest in front of Walsh. He doesn't budge.
Just stares at them. He puts down the mug. Picks up the
sunglasses. Knows what's coming without looking. He looks
anyway. Standing at the end of the counter is Mosely.

WALSH
I've been lookin' all over for these.

Walsh turns. Through the window, in the lot, are twenty police
cars. Federal cars. Lights turning. Police RADIOS gently
BLABBERING.

EXT. FLAGSTAFF AIRPORT - DAY

Dorfler and the Duke pull up to the small airport.

INT. DORFLER'S CAR - DAY

The Duke eyes the planes on the runway. Turns to Dorfler.

THE DUKE
I can't do this. I have a very serious
fear of flying.

Without losing a beat, Dorfler right-hooks the Duke.

INT. INTERROGATION ROOM. FLAGSTAFF POLICE DEPT. - NIGHT

Walsh is on the hot seat. Smoking. Mosely sits opposite him.
Perry, Tuttle and Plumides stand around Walsh. Also several
high-ranking LOCAL COPS. Walsh glances at his watch. It's a
quarter to seven.

MOSELY
Forget about your time clock, Walsh.
It's over. That's how that one went.

WALSH
I know my rights. You owe me some
phone calls.

MOSELY
What should be of paramount importance
to you, right now, is the ten years
you're going to get for impersonating
a Federal agent.

WALSH
Ten years for impersonating a Fed?
How come no one's after you?

MOSELY
You don't know when to quit.

WALSH
I know one thing. I know my rights.
And by law, you owe me phone calls.
I ain't sayin' shit 'til I get them.

Mosely gives in.

MOSELY
Give him his calls.

Perry and two local cops escort Walsh out of the room.

INT. SQUAD ROOM - FLAGSTAFF POLICE STATION - NIGHT

Crowded with cops and Feds. Walsh dials. Waits.

INT. MOSCONE'S OFFICE - NIGHT

Jerry grabs the phone.

JERRY
Eddie Moscone, bail bondsman.

INTERCUT WALSH AND MOSCONE'S OFFICE

WALSH
It's Walsh. Give me Moscone.

Jerry nearly drops the phone. He turns.

JERRY
Eddie. Pick it up. It's Jack!

Moscone rushes for the phone. Picks it up. Nervous as hell.
Jerry listens on the extension as usual.

MOSCONE
I hope you're gettin' close, 'cause
you only got five hours.

WALSH
No, I'm not, Eddie. But, I'm callin'
to let you know that you're a dead
man, you lying son of a bitch. You
put Dorfler on this fuckin' thing...

Moscone's nervousness turns to rage.

MOSCONE
Well, I should kill you. You stupid
son of a bitch! You had the guy five
days ago. What the hell are you
joyridin' cross-country for? And are
you nuts, tellin' Dorfler that I was
givin' you a hundred grand when I
offered him twenty-five? He just
called me up yellin' and screamin'.
And why the hell can't you get the
Duke here in five hours?

WALSH
(Confused)
When did you speak to Dorfler?

MOSCONE
Five minutes ago. He told me to go
fuck myself. What the hell difference
does it make?

RESUME WALSH

Moscone continues yelling. Walsh slowly lowers the phone,
hanging it up on Moscone. He thinks. It doesn't make sense.
His wheels are turning. Then he quickly reaches into his
wallet. Pulls out the slip of paper that Tony and Joey gave
him in New York. The card is stained from the adventure in
the rapids. Numbers have faded. But it's still there. Walsh
dials it. It's a million-to-one shot. Someone picks up on
the other end.

MALE VOICE (V.O.)
Hello?

WALSH
(Slowly)
Yeah. Is Tony or Joey there?

MALE VOICE (V.O.)
Who's this?

Walsh thinks for a second. It's a million-to-one shot...

WALSH
Dorfler.

The voice relaxes.

MALE VOICE (V.O.)
Sure, Marvin, hang on. I'm gonna
forward your call.

Walsh's heart rate goes up. Dorfler's gone dirty.

INT. VEGAS HOTEL ROOM - NIGHT

Joey picks up the phone.

JOEY
(Into phone)
Marvin?

INTERCUT AS NEEDED Walsh's eyes widen. He recognizes the
voice.

WALSH
No, it's Jack Walsh. So, Dorfler's
workin' for you guys now.

JOEY
What are you complainin' for? We
came to you first.

Tony comes out of the bathroom. Joey turns and covers the
phone.

JOEY
It's Jack Walsh.

Tony takes the phone.

DARUVO
Hey, too late scumbag...

WALSH
No, too late for you. I didn't come
this far not to collect my money. I
want the Duke back.

DARUVO
So what the fuck are you telling me
for?

WALSH
What am I telling you for? Because
I've got some of the Duke's
belongings, that's why. Including
some computer disks that have every
last detail of Serrano's businesses
and money-laundering operations, and
if I don't get him back in the next
two hours I'm gonna turn them over
to the Feds.

DARUVO
I'll blow your fuckin' brains out.

WALSH
How are you gonna do that from jail?

Tony doesn't answer.

WALSH
You tell Serrano, I wanna meet him
with the Duke alone in two hours, in
the main terminal of McCarran Airport,
where we'll make the exchange. I
know he's the only one of you guys
who won't try to take a shot at me
in a public place. If I see one single
goon within a mile of that airport,
the deal's off and I'm goin' to the
Feds.

DARUVO
I ain't gonna tell him that.

WALSH
Fine. After he's busted I'll make
sure to tell him you knew about it
beforehand. That's two hours from
now. Main terminal, McCarran Airport.
You got that, moron? Have a nice
day.

Walsh hangs up, wondering how he's going to dig himself out
of this. The SOUNDS of the police station come back to him.
He turns, locks eyes with Perry.

PERRY
What was that?

WALSH
Where's Mosely? I wanna make a deal.

PERRY
(Calling)
Inspector!

Mosely moves through the cops. Comes up to Walsh.

WALSH
What would you do if I could deliver
you Serrano?

MOSELY
How do you mean "deliver"?

WALSH
Well... for starters, conspiracy to
destroy government evidence.

MOSELY
What government evidence?

WALSH
Would you let me take the Duke in
myself and collect my money?

Mosely can see that Walsh is serious.

MOSELY
Tell me more.

WALSH
Well, I'll have to tell you on the
way because we've got to be in Las
Vegas in two hours.

EXT. GOLDEN BOY MOTEL - NIGHT

Dorfler scurries with a newspaper and paper bag toward the
motel.

INT. ROOM - GOLDEN BOY MOTEL - NIGHT

Dorfler enters. Tears open the bag. Opens a package containing
a new Polaroid Camera. Slams in package of film. Flashbulbs.
With the newspaper under his arm, he heads for the bathroom.

INT. BATHROOM - NIGHT

The Duke is cuffed to the pipe under the sink. Dorfler forces
the Duke to hold up the paper.

DORFLER
Hold that up. So they'll know that I
took these today. See? I got it all
figured out. Say "cheese."

Dorfler starts snapping off pictures.

THE DUKE
Don't do this, Marvin.

Dorfler scoops the images off the tile floor. They're coming
to life. He pockets them.

DORFLER
Adiós.

Dorfler exits. The Duke can HEAR him leave.

EXT. GULF STREAM JET - NIGHT

The FBI Gulf Stream jet flies above the desert bathed in
moonlight.

INT. GULF STREAM JET - NIGHT

Mosely and his men listen to Walsh.

PERRY
If he takes those disks, even though
they're blank, that's the overt act,
correct?

Mosely is about to answer. Walsh cuts him off.

WALSH
If he just sets foot in the airport,
he's committed an overt act.
Conspiracy to obstruct justice.

The agents listen attentively.

WALSH
If he shows up with the Duke, you
can add kidnapping. If he shows up
with anyone packing a gun, you can
add conspiracy to commit murder. The
fact that it's an airport... Alonzo,
correct me if you think I'm wrong
here...
(Back to Perry)
...you can slap an ITAR rap on him
as well.

PERRY
Do you think he'll show?

WALSH
Oh, he'll show. He's got no choice.

Mosely is impressed.

MOSELY
(To Perry re: Walsh)
Get a wire on him.

EXT. PARKING LOT - NIGHT

The lights of Las Vegas twinkle in the distance. Dorfler's
car swings into the lot. He looks around. Still sporting
their bruises, Tony and Joey get out of their car and move
toward him.

DARUVO
Marvin?

DORFLER
Yeah.
(A beat)
Hey, look I'm sorry about what
happened back at the Western Union
office. You can imagine my
embarrassment when I found out who
you were. I didn't mean to hit you.
It was just one of those things. You
know. Like a spur of the moment. You
know I'd never pull any shit like
that.

JOEY
What the fuck took you?

DORFLER
I made a quick stop.

DARUVO
(Looking around)
Where is he?

DORFLER
Where's my money?

DARUVO
It's in the car. Where is he?

DORFLER
Slight change of plans. Now I want
two million dollars. I read the
newspapers, ya know. This guy got
you for fifteen million. So I figured
he's gotta be worth at least two to
ya. You can't play me for a chump.

DARUVO
(Holding back rage)
How do we know you've got him?

Dorfler reaches into his shirt pocket. Hands over the
Polaroids. Tony starts slipping through them. Joey leans in.

DORFLER
A million now. Then I call you in
twenty minutes. Tell you where to
drop off the second million. Once I
know it's there, I tell you where he
is.

Tony stops flipping through the photos. Pushes Joey aside.

DORFLER
Okay?

JOEY
Not okay.

DORFLER
Why not?

Tony rears back and BAM! Marvin is out cold.

JOEY
Whatayou fucking nuts! What's Jimmy
gonna say!?! How the fuck are we
gonna get the Duke now!?!

DARUVO
You got the answer right in your
hands!

JOEY
What are you talking about?

Tony shows the Polaroids to Joey.

DARUVO
Joey, when are you going to learn
how to pay attention?

INSERT POLAROID The Duke is cuffed to the sink. Holding the
paper. Several motel towels with the "Golden Boy" logo
decorate the bathroom.

DARUVO
Look, see what it says there?

RESUME SCENE Tony and Joey head back for their car.

INT. SERRANO'S PENTHOUSE - NIGHT

Serrano gives instructions to a few BODYGUARDS. Lyman paces
nervously.

SERRANO
I want ten of our best people and I
don't want any fuck-ups this time.
As soon as I get ahold of these
things, I want them both dropped.

LYMAN
I don't think you should do this.

A bodyguard helps Serrano with his coat.

SERRANO
Oh, you don't? What do you propose I
do?

LYMAN
Send somebody with a cash offer.
Give this guy whatever the hell he
wants but don't do this.

SERRANO
Walsh won't take any money from me.
He knows I'd come and get it an hour
later. In his mind this is clean. He
gets what he wants. I get what I
want. The guy's a fuckin' burnout.
He just wants his money.

LYMAN
Jimmy, listen...

Serrano turns and heads for the door with his goons.

SERRANO
Sydney. Sit down. Relax. Have a
sandwich. Drink a glass of milk. Do
some fucking thing.

INT. STARLIGHT CASINO GARAGE - NIGHT

The elevator doors open revealing Serrano, the four bodyguards
with him. They move with purpose, almost in step, heading
for Serrano's limousine. FBI agents watch them as they pass
and then one AGENT turns, picking up a walkie-talkie.

FBI AGENT
He's on his way.

Serrano's limousine pulls out and moves up to street level.

EXT. VEGAS STRIP - NIGHT

The limousine moves into traffic. Suddenly two FBI cars, one
parked at the curb, the other from the front of the casino,
come to life and move off in pursuit. As Serrano's limousine
passes a cross street, another FBI car makes a U-turn as if
from nowhere and joins in the surveillance.

INT. FBI CAR - NIGHT

Four AGENTS. One speaks into the radio.

AGENT
We're on him.

INT. GULF STREAM JET - NIGHT

They approach the lights of Vegas. Everyone is strapping in.
Perry is checking the wire Walsh is wearing. Plumides lights
Walsh's cigarette. Mosely talks into a speakerphone.

MOSELY
This is Mosely.

AGENT (V.O.)
Serrano's just left and is heading
west on Vegas Boulevard.

Walsh smiles. Mosely notices.

MOSELY
Why are you smiling?

WALSH
I feel like a cop again.

EXT. GULF STREAM JET - NIGHT

The Gulf Stream jet touches down and THUNDERS toward the far
end of the airport, roaring to a stop. Mosely, Perry, Tuttle,
Plumides and Walsh descend the steps of the Gulf Stream jet.
Several FBI and police cars are discreetly parked nearby.
Walsh is directed by the agents toward the main terminal.

EXT. MCCARRAN AIRPORT - NIGHT

Serrano's limo pulls up in front, followed by the FBI cars
which duck out of sight. Serrano gets out of his limo and
walks to another limo, parked at the curb. Serrano gets in.

INT. LIMO - NIGHT

Serrano gets into the limo. Inside are the Duke, Tony and
Joey. Serrano leans back and smiles at the Duke.

SERRANO
So we finally meet. I'm in the
presence of greatness. "The Duke." A
man who robs from the scum of the
earth and gives to the unfortunates
of the world. I wanted to meet you
face-to-face.

Serrano leans forward.

SERRANO
Did you actually think that you were
going to steal my money and get away
with it? I stopped by here to tell
you two things. Number one is that
you're going to die tonight. Number
two, I'm going to go home, have a
nice hot meal, then find your wife
and I'm going to kill her too.

Serrano leans in and smacks the Duke across the face.

EXT. LIMO - NIGHT

Some of Serrano's thugs hover around the limo. Serrano and
Joey get out of the limo.

SERRANO
Joey, stay here and wait for my call.
The rest of you come with me.

INT. TERMINAL - NIGHT

Walsh walks through the crowded terminal. He moves from one
of the arms of McCarran to the gorgeous glass main terminal.
His eyes scan the place. No agents in sight. No sign of
Serrano or the Duke. Walsh crosses the terminal, heading for
the center where he can be clearly seen. A few of Serrano's
BODYGUARDS enter, glance at Walsh, fan out into the crowd.
Walsh pulls the last cigarette out of a pack and lights it.

INT. TERMINAL BALCONY - NIGHT

Agent Mosely and the other FBI agents look through binoculars
down at Walsh. They also listen in on the wire. Suddenly,
Serrano comes into sight of one of the FBI agents.

FBI AGENT
Here he comes.

INT. TERMINAL - NIGHT

Walsh stops in his tracks as he sees Serrano walking toward
him. Serrano looks at Walsh's ragged appearance.

SERRANO
Jack, long time no see.

WALSH
Long time no see.

SERRANO
I see you're still spending all of
your money on clothes.

WALSH
Well, you know...

SERRANO
Listen, while you're in town, if
you'll want to see a show... or a
free meal or something like that,
you let me know. On me. That's just
the type of guy I am.

WALSH
You're a real sport.

INT. TERMINAL BALCONY - NIGHT

Mosely and the other agents continue watching Walsh and
Serrano.

MOSELY
Just give him the disks.

INT. TERMINAL - NIGHT

SERRANO
How's your mother?

WALSH
She's alright.

SERRANO
Daughter's getting big... growing up
and all, huh?

Walsh nods his head and stares at Serrano.

SERRANO
You know I was thinking, maybe if
we'd done business way back when,
you wouldn't look like a guy with a
fucking cup in your hand.

WALSH
Trying to make a living.

SERRANO
You got the disks or did you lose
them too? Like your job.

INT. TERMINAL BALCONY - NIGHT

MOSELY
Give him the disks, Walsh.

INT. TERMINAL - NIGHT

WALSH
Well, I see you but I don't see the
Duke.

SERRANO
We'll worry about him in a minute.

WALSH
No, we have to worry about him now.
This isn't a fucking reunion. If I
don't see him in five seconds, I'm
walking.

SERRANO
You're still way too serious. Why
don't we take a walk together and go
get him.

WALSH
Fuck you. See you at the arraignment.

Jack starts to walk. Serrano calls out to him.

SERRANO
Alright, Jack. Hold up. You win.

Serrano nods to a gun by a phone. The goon nods back and
places a call.

Walsh is pissed.

WALSH
I said no goons.

SERRANO
Don't worry about him. You're going
to get what you want.

ANGLE ON COUNTER

Dorfler, complete with back eye, moves up to the counter.

DORFLER
One-way ticket to L.A.

TICKET CLERK
Smoking or nonsmoking?

Dorfler lights up a cigarette and blows the smoke at the
clerk.

DORFLER
Take a wild guess.

Suddenly, Dorfler turns and spots Tony and Joey walking right
past him with the Duke. Dorfler does a double-take. He grabs
his .45 out of his duffelbag. Puts it in his pocket and moves
after them.

INT. TERMINAL BALCONY - NIGHT

Perry sees Dorfler coming.

PERRY
Ah, shit...

Now, Mosely sees Dorfler coming.

MOSELY
I'm going to have a heart attack
before this is over...

INT. TERMINAL - NIGHT

Tony and Joey appear with the Duke. Walsh motions for the
Duke to get behind him.

SERRANO
Give me the disks.

Dorfler appears.

WALSH
Ah fuck... Marvin, take a hike.

DORFLER
No way!

Dorfler pulls out the .45 and begins tugging at the Duke.

WALSH
You're missing the bigger picture
here, Marvin.

Dorfler grabs at Walsh.

INT. TERMINAL BALCONY - NIGHT

Walsh's wire goes dead. Agent Tuttle looks up.

TUTTLE
The wire's gone dead.

INT. TERMINAL - NIGHT

Serrano grabs the disks and moves off with Tony and Joey.
The goons begin to approach. They're all clearly armed. Walsh
sees them coming.

WALSH
Marvin! Watch out, watch out!

DORFLER
I'm not falling for that shit again.

WALSH
Will you look out!

Walsh leans into his jacket.

WALSH
(Into jacket)
He's got the disks. He's got the
disks.

Walsh turns to the balcony and yells out.

WALSH
Serrano's got the disk! Serrano's
got the disk!

Feds move in from everywhere. They grab Serrano, Tony, Joey
and Dorfler. There are nearly a hundred Federal agents that
continue swarming in. Walsh moves over to Serrano with a big
smile.

WALSH
You know, there's something I've
been wanting to say to you for ten
years.

SERRANO
Oh, yeah? What's that?

WALSH
You're under arrest.

Mosely appears with Perry and Tuttle.

WALSH
We still have a deal, Alonzo?

MOSELY
We have a deal.

Dorfler is being taken away by the Feds. He shouts out.

DORFLER
Why does he get special treatment?

WALSH
See you in L.A., Marvin.

DORFLER
Watch your cigarettes with this guy,
Jack.

Dorfler is taken away. Walsh cuffs the Duke.

THE DUKE
What are you doing?

WALSH
We've still got an hour and a half
to get you to L.A.

Walsh leads the uncomprehending Duke away through the crowd
of Federal agents and spectators.

INT. 727 JET - NIGHT

Walsh and the Duke, both deep in thought, sit quietly as the
plane approaches L.A.

POV OF 727 - NIGHT

The Los Angeles skyline beckons. The runway lights are
approaching. It has a dream-like quality. Jet engines WHINE.
The runway swallows up the SCREEN. The plane TOUCHES down.

INT. WESTERN AIRLINES TERMINAL - NIGHT

Looking like the absolute ends of the earth, Walsh and the
Duke shuffle out of the boarding ramp to the upstairs
terminal. Walsh slips the cuffs around the Duke's wrist.
They cross the terminal and move quietly.

INT. DOWNSTAIRS TERMINAL - NIGHT

Walsh and the Duke ride the escalator down. They move toward
the front door. Walsh stops near a bank of pay phones. Turns
to the Duke.

WALSH
When I took this job, I figured I'd
never make it. Not in a million years.
But for a hundred grand, I had to
give it a try.
(A beat)
If you had your way, what would you
do? Where would you go?

THE DUKE
Mexico. Call Dana, my wife. Have her
collect whatever money we've got
stashed. Meet me in Mazatlán. Nobody
would bother us and we'd live well
down there.

WALSH
Drink margaritas and watch the sun
go down?

THE DUKE
Every single night.

Walsh starts to punch a number into a pay phone.

WALSH
That coffee shop would've been nice.

INT. MOSCONE'S OFFICE - NIGHT

The phone is ringing. Moscone picks it up. He is alone.

MOSCONE
Eddie Moscone, bail bondsman.

INTERCUT WALSH AND MOSCONE

WALSH
Hey, Eddie, where's Jerry?

MOSCONE
The Feds picked him up twenty minutes
ago.

WALSH
What for?

MOSCONE
What's the difference? I never trusted
that guy. Where the hell are you?

WALSH
I'm in L.A. with the Duke. You want
to say hello?

Walsh puts the phone to the Duke's face.

THE DUKE
Hello.

WALSH
(Taking back phone)
Now, say good-bye you lying piece of
shit because I'm letting him go.

Walsh hangs up. The terminal VIBRATES with the SOUND of a
JET THUNDERING down. Walsh unlocks the cuffs.

WALSH
May your footsteps be heard in heaven
before the devil knows you're gone.

THE DUKE
I don't get it.

WALSH
I did what I wanted to do. I got you
to L.A. before midnight.

The Duke looks deeply at Walsh. A lot is said in the silence.

THE DUKE
I don't know what to say.

WALSH
Don't say anything. Get out of here
before I change my mind.

THE DUKE
Thank you.

WALSH
No, John. Thank you.

Walsh turns and starts walking. He gets a few steps toward
the door. He stops. Turns. Looks back at the Duke, who's
still standing in the terminal. Walsh starts walking back to
him with a smile. He takes the Duke's hand. It appears as if
he is going to cuff the Duke again. He does. With his battered
Timex.

WALSH
Remember our adventure.

The Duke strokes the watch and smiles.

THE DUKE
I'll treasure it.
(A beat)
I've got a gift for you too, Jack.

The Duke unbuttons his suit jacket. Walsh squints. He's
confused. The Duke unbuttons two buttons on his shirt. Reaches
underneath. UNSTRAPS something. Pulls out an odd-looking
belt and hands it to Walsh.

WALSH
What's that?

THE DUKE
When we first met, I was packing to
make my getaway because...
(Smiling)
...I thought the FBI was closing in.
So I took a little traveling money.

It is a money belt. Walsh takes it slowly. He's slow to
understand. He opens a compartment. Thousand dollar bills
are stacked tightly.

WALSH
You sonofabitch...

THE DUKE
I told you I had money.

WALSH
I know you had money. I didn't know
you had money.

THE DUKE
It's not a payoff, it's a gift. You
already let me go.

Walsh smiles. Wiggles the belt.

WALSH
How much is here?

THE DUKE
In the neighborhood of three hundred
thousand.

WALSH
That's one of my favorite
neighborhoods.

THE DUKE
Take care, Jack. If you're ever in
Mazatlán...

WALSH
Yeah, John. I'll look you up. Just
get rid of that dog of yours.

They shake hands. Walsh turns. Walks out of the terminal
quickly. The Duke watches him go, then disappears into another
part of the terminal.

EXT. WESTERN AIRLINES TERMINAL - NIGHT

Money belt in hand, Walsh steps outside. Takes in the night
air. He walks past a large clock. It reads 11:35.

WALSH
Twenty-five minutes to midnight,
Walsh. You would've made it.

Looking like shit, he walks up to the first cab parked at
the curb. A CAB DRIVER sits inside.

WALSH
You got change of a thousand?

CAB DRIVER
Get outta here, you bum!

WALSH
(Smiling)
Looks like I'm walking.

MUSIC kicks in.

FADE TO BLACK ROLL CREDITS

THE END

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