"OUT OF SIGHT" Screenplay by Scott Frank from the novel by Elmore Leonard Production Draft 03/23/98 BLACK We hear TRAFFIC, some STREET NOISES, then... FADE IN: A MIAMI STREET - DAY The financial district. Lots of people in suits. A shaky, spasmodic ZOOM IN finds... JACK FOLEY -- forty, big, focused expression -- as he rips a tie from around his neck and throws it down in the gutter. He starts across the street, now peeling off his suitcoat and dropping that, too, right there on the asphalt as we then... WHIP PAN OVER TO REVEAL: A BANK ACROSS THE STREET As Foley goes inside, we then... CUT TO: A PRINTED BROCHURE THAT READS.. LOOKING FOR MONEY? YOU'VE COME TO THE RIGHT PLACE. We then PULL BACK TO REVEAL that we're now... INSIDE THE BANK as Foley stands at a counter holding the above CREDIT APPLICATION while he studies the bank layout. Foley watches a MAN IN A SUIT, carrying an attaché-case, enter the bank and move through the gate into the fenced-off business area at the front. An EXECUTIVE rises from his desk, shakes hands with the man and they both sit down. Foley tosses the brochure in the trash, then crosses to a teller window where a nameplate on the counter tells us the young woman with the pile of dark hair smiling at him is LORETTA. TELLER/LORETTA How can I help you, sir? FOLEY Loretta, you see that guy talking to your manager, has his case open? Foley takes out a ZIPPO LIGHTER and casually, yet expertly, begins to fiddle with it as the teller looks across the bank. LORETTA That's Mr. Guindon, one of our assistant managers. Our manager is Mr. Schoen, but he's not in today. FOLEY But you see the guy with the attaché case? LORETTA (looks again) Yes. FOLEY That's my partner. He has a gun in there. And if you don't do exactly what I tell you, or you give me any kind of a problem, I'll look over at my partner and he'll shoot your Mr. Guindon between the eyes. Loretta goes stiff, swallows, stares back at Foley. FOLEY Now take one of those big envelopes and put as many hundreds, fifties and twenties as you can pack into it. Nothing with bank straps or rubber bands. I don't want any dye packs. I don't want any bait money. Start with the second drawer and then the one over there, under the computer. Come on, Loretta, the key's right there next to you. No bills off the bottom of the drawer. (as she works) First time being robbed? (she nods) You're doing great. Just smile, Loretta, so you won't look like you're being held up. (she smiles awkwardly) That's the way, you're doing fine. We hear a bit of thunder and Foley cuts a fast look out the front door. When he turns back, he sees that Loretta's having some trouble fitting all the bills into the envelope. FOLEY Here, give me the twenties. I'll put 'em in my pocket. Okay, I haven't had to give my partner a sign; that's good. Now, he's gonna wait thirty seconds till after I'm out the door, make sure you haven't set off the alarm. If you have, he's gonna shoot Mr. Guindon between the eyes. Okay? I think that'll do it. Thank you, Loretta, and have a nice day. LORETTA You, too. Foley heads for the door. He pauses by Mr. Guindon's desk, looks back at Loretta. Foley smiles at her, then turns to the Man sitting with Mr. Guindon, indicates Loretta... FOLEY She's cute, isn't she? The man looks across the bank at Loretta. MAN Uh, yeah, I guess so. Foley winks at Loretta and walks out. MAN (to Mr. Guindon) Who was that? EXT. BANK - SAME As Foley comes out, he calmly walks to a Honda Civic and gets in. INT. CAR - SAME As Foley tries to start the car. No go. He tries again. FOLEY Come on... But the car won't start. Foley bangs on the wheel... FOLEY Fuck! Foley then stiffens as a cop sticks his gun through the open window into Foley's ear... COP I think you flooded it. Foley looks to the passenger window, where ANOTHER COP, smiling, now has his gun pointing at him. SECOND COP Get out've the car, sir. FOLEY Wanna hear a funny story? SECOND COP Shut up and get out've the car. And as Foley obliges, we then... FADE TO WHITE. We hear a MAN GRUNT. Then see Foley in SLOW MOTION as he jumps through frame, now we see a basketball come up in his hand as we realize he's on his way to the rim when... ...ANOTHER GUY rams into him in mid-air, knocks him down. EXT. PRISON YARD - DAY A BASKETBALL GAME in progress. All of the men, Foley included, are dressed in blue coveralls and white T-shirts. The game is rough. Hair is pulled. Eyes are poked. Faces punched. A title reads: "GLADES CORRECTIONAL INSTITUTION. BELLE GLADE, FLORIDA." Foley is the oldest player here. He's getting tired, starts to lose his breath. He finally walks off the court, breathing so hard he can't even talk. He simply motions to SOME YOUNG CONVICT to come in and take his place. Foley sits down on a bench, tries to catch his breath. He looks across the yard to where... GROUP OF ELDERLY INMATES sitting around a wooden picnic table are playing cards. All of them are over sixty. One of them, a one-legged guy on crutches hops away from the table, spits out some tobacco as we... INTERCUT THE OLD TIMERS WITH FOLEY WATCHING THEM: As we see one old guy is making a picture frame out of old Pal Mal and Lucky Strike packs. Another tends to a tomato bush in a tiny patch of garden near the wall. Another one sits nearby painting a picture of a man and a boy fishing from a rowboat. Foley is about to get up off the bench when something catches his eye. He watches as... TWO LATINO MEN both little guys, jog past the game, slow to a walk, then stop and begin stretching out. One of them nods to Foley. Foley nods back, waits for the Latin guys to walk off, then walks over to a guard, PUPKO ("PUP"), heavy-set, dumb as dirt. PUP You want something, Foley? Foley keeps his eyes fixed on the basketball game. FOLEY Some people are going out of here. What if I told you where and when? PUP How many? FOLEY I expect you to look out for me, Pup, let me run off work details. PUP Okay. How many going out? FOLEY I hear six. PUP When? FOLEY Looks like tonight. PUP You know who they are? FOLEY I do, but I won't tell you just yet. Meet me in the chapel at eight-thirty, right before lock-down. INT. MESS HALL - LUNCH As Foley takes his tray up the centre aisle, he scans the sea of white T-shirts until he sees the two little Latins sitting at a table full of other little Latins. CHINO -- fifties, in shape -- shovels macaroni in his mouth. Chino's "wife", LULU, nineteen, looks up from his own neat tray of macaroni and jello and watches Foley walk past and sit down with a bunch of bikers. Foley watches as the guy across from Chino scrapes some macaroni off his plate and on to Chino's and Chino wolfs that down, too. EXT. MESS - DAY Chino steps outside and lights a cigarette. He puts an arm around Lulu, starts to walk off... FOLEY (O.S.) Today's the day, huh? Chino looks over, watches Foley approach, lets his arm slip down so he can hook his thumb into Lulu's belt... the next thing to having him on a leash. FOLEY You excited? CHINO I told you, man, Super Bowl Sunday. FOLEY Yeah, but I see you moved it up. CHINO (beat) Why you think it's today? FOLEY You were out running this morning, sticking to your routine, anybody happened to notice. But you only did a couple of miles instead of your usual five. Saving yourself for the main event. Then I see you inside eating ten pounds of macaroni. Carbohydrates for endurance. Chino and Lulu exchange looks. CHINO You want, I tole you you can come. You all right, Foley. I like you. FOLEY You told me I can come 'cause I caught you digging the fuckin' tunnel, saw you and Lulu coming out of the bushes, thought maybe you two were making out. Foley smiles at Lulu, who glares back at him. FOLEY So what, you finish ahead of schedule? Chino looks towards the fence along the front of the yard. CHINO You see what they doing, those posts out there? Putting up another fence, five metres on the other side of the one that's there. We wait until Super Bowl Sunday, they could have the second fence built and we have to dig another nine, ten days. So we going soon as it's dark. You want -- I mean it -- you can still come. FOLEY I appreciate the offer. And it's tempting. Foley looks off towards the visitors' parking area, the fence not twenty yards away. FOLEY But, man, it's a long run to civilization. A hundred miles to Miami? I'm too old to start acting crazy, try a stunt like that. You make it out, send me a postcard. CUT TO: A NOTEPAD where we see someone has written "IT'S MAGIC!" then crossed out the "IT'S" and replaced it with the word "LIKE". We hear THE PHONE RINGS AND... REVEAL: INT. ADELE'S APARTMENT - DAY Miami Beach Moderne. ADELE -- mid-thirties, pretty, Foley's ex -- sits at her kitchen table writing on a pad. She grabs the phone. ADELE Hello? (then, sighs) Yeah, I accept. INT. PRISON HALLWAY - DAY Foley on the phone... FOLEY'S VOICE Hey, Adele, how you doing? INTERCUTTING FOLEY & ADELE: ADELE Hey, Bank Robber, want some advice? Next time, leave the engine running. FOLEY That's funny, Adele. How many more times you gonna gimme that one? ADELE Till it's not funny any more. What do you want, Jack? FOLEY You know that Super Bowl party? They changed the date. It's on tonight, eight-thirty. ADELE Didn't you tell me one-time calls aren't monitored? FOLEY I said not as a rule. ADELE So why don't you come right out and tell me what you're talking about? FOLEY Listen to Miss Smarty Mouth. Out there in the free world. ADELE What's free about it? I'm looking for work. FOLEY What happened to Mandrake the Magician? ADELE Emil the Amazing. The bastard fired me and hired another girl, a redhead. I'm working on a new business card, pass out to the cafes. How's this sound-- FOLEY (cuts her off) Listen, Adele, the reason I called, that party is today instead of Sunday. About eight-thirty, like only a few hours from now. So you'll have to get hold of Buddy, whatever he might be doing... ADELE And the one driving the other car? FOLEY What're you talking about? ADELE Well, seeing as you have so much luck with cars, Buddy thought it might be better to bring two. He got this guy he says you know from Lompoc, Glenn something. FOLEY Glenn Michaels. ADELE Yeah, that's him. Buddy says Glenn thinks you guys are real cool. FOLEY He did, huh. Well, tell Buddy I see Glenn wearing his sunglasses I'll step on 'em. I might not even take 'em off first. INT. RESTAURANT - DAY As MARSHALL SISCO -- fifty -- slides a small wrapped box across a table... MARSHALL Happy birthday. ...to where KAREN SISCO -- twenty-eight, black suit, long hair, a knockout -- sits. She picks up the box and shakes it. KAREN You fit another Chanel suit in here? MARSHALL Something better. Open it. Karen starts to carefully unwrap the present. Marshall watches, takes a sip of his drink, looks around the bar, sees how everyone's looking at the two of them... KAREN (opens the box) Oh my God... She pulls a gleaming automatic pistol from the box... KAREN It's beautiful. MARSHALL It's a -- KAREN -- Sig-Sauer .38. I love it. She leans across the table and kisses him. KAREN Thanks, Dad. MARSHALL Happy birthday, kid. (then) You want another Coke? KAREN (checks her watch) Can't. I gotta drive out to Glades, then I'm meeting Ray Nicolet at ten. MARSHALL Which one is that? The ATF guy? KAREN He was. Ray's with the F.B.I. now, he switched over. MARSHALL He's still married though, huh? KAREN Technically. They're separated. MARSHALL Oh, he's moved out? KAREN He's about to. MARSHALL Then they're not separated, are they? KAREN Can we change the subject? MARSHALL What're you doing at Glades? KAREN Serving process, a Summons and Complaint. Some con doing mandatory life doesn't like macaroni and cheese. He files suit, says he has no choice in what they serve and it violates his civil rights. MARSHALL You know you can always step in, work with me full-time as one of my investigators. KAREN No thanks. MARSHALL You used to like it. KAREN Dad... MARSHALL You'd meet doctors, lawyers -- nothing wrong with them necessarily if they're divorced. Why settle for some cowboy cop who drinks too much and cheats on his wife? That's the way those hotshots are, all of 'em. KAREN I really gotta go. MARSHALL We don't get to talk much any more. KAREN How 'bout I come next Sunday and watch the Super Bowl with you? MARSHALL I'd like that. She gets up, kisses him again. KAREN Thanks for the gun, Dad. INT. FOLEY'S CELL - BELLE GLADE - DAY Foley comes in, lies down on the bunk. He looks about the cell. All he's got to show for himself. It's now quiet on the cellblock. Foley closes his eyes and we... CUT TO: EXT. PRISON AUDITORIUM A few hundred cons scream encouragement/insults as MAURICE "SNOOPY" MILLER, a lanky, scary, mean-looking black man in boxing trunks, hits a white guy with a ferocious hook. Title reads: LOMPOC FEDERAL PENITENTIARY. LOMPOC, CALIFORNIA. And then... TWO YEARS AGO. AT THE BACK OF THE AUDITORIUM Foley leans in a doorway watching with BUDDY BRAGG -- black, Foley's age, shaved head. The BELL SOUNDS and the white guy staggers to his corner, as does Maurice. GLENN MICHAELS -- surfer look, dark shades -- counts cash in Maurice's corner, whispers something into the fighter's ear. BUDDY Ref don't call it pretty soon, Snoopy's gonna send this guy out in a body bag. Foley watches a MAN -- fifties, out of place, not as hard- looking as those around him. The guy looks nervous, can feel the other cons' eyes on him as he tries to find a seat. The BELL SOUNDS and the white boxer staggers to his feet. Maurice steps in and resumes the bloody pummelling. Foley turns and watches the fight now... FOLEY Anyone ever tell you why they call him Snoopy? Buddy shakes his head. Maurice dances around the other guy now. Teases him. FOLEY He was Maurice "Mad Dog" Miller back when he was pro. Now you pet him, he goes down. The white guy throws a tired, loping roundhouse that barely glances off Maurice's jaw. Sure enough, Maurice makes a big show out of snapping his head back, staggering, before he finally goes down. BUDDY I don't believe it. Foley watches the new inmate as fights erupt all around him and, anxious now, he tries to get out of there. EXT. PRISON YARD - DAY Foley and Buddy sit atop a cement picnic table watching as nearby, the "winning" BOXER -- still wearing last night's pummelling on his face -- gloats to a group of cons. He throws a fake punch at one of them as he demonstrates his winning technique... BUDDY Guy's braggin' he won a thrown fight. Fuckin' pathetic. Foley looks at the other side of the yard where Maurice now stands at the far side of the yard coldly watching the guy, one hand thrust into his pocket. Foley watches as Maurice stops the NEW INMATE -- the older guy who looked out of place at the fights -- as he comes out into the yard. FOLEY It's Richard Ripley. BUDDY (looking now) The Wall Street guy? Oh, yeah. I didn't recognize him without his rug. Foley watches as Maurice talks to the new inmate, the guy nodding, acquiescent, respectful. FOLEY Dick the Ripper they called him, on account of all the people he ripped off. Foley watches as Ripley now makes a note in a BLACK BOOK. BUDDY What's he doin' here? GLENN (O.S.) Three years. They look to where Glenn Michaels, the blond guy in dark shades we saw in Maurice's corner, works out on the bench press a few feet away. He's shirtless, tan, in shape. GLENN He got three years and fined fifty million dollars and wrote 'em a fucking check. Like that, fifty mil, signed his name. (struggles with the bar) Whoa -- little help here! FOLEY Who you talkin' to, Studs? Me, or Buddy. I can't tell, you got those shades on. GLENN You guys -- come on -- this is too heavy! FOLEY I guess the bright glare out here made it hard to see the numbers on the weights. GLENN I'll take the shades off. Just get this fuckin' thing off me. Foley helps him get the bar up. Glenn sits up. BUDDY How do you know he wrote a check? GLENN He told me. He works the laundry with me. The guy loves to talk. FOLEY Yeah, to the U.S. Attorney. I hear he rolled over on all the snitches he was doing business with and got 'em all brought up. He watches Snoopy talking to Ripley, one eye always on the swaggering boxer across the yard, one hand in his pocket. GLENN Hey, anybody that can write a check for fifty mil, he says anything I'm all fucking ears. Like the other day, he tells me how he's got all this money in foreign banks, plus around five mil in uncut diamonds at his house. He said, quote, "Where I can put my hands on it anytime." BUDDY Cool. Where's the guy live? Foley watches a few more of Maurice's friends surround Ripley. Again, Ripley takes out his black book, starts nodding, making notations... GLENN Detroit. Snoopy Miller told me uncut diamonds are as easy to move as cash. FOLEY Ever seen an uncut diamond, Studs? They look like plain old rocks. GLENN So. What's your point? FOLEY My point is, that's probably what you're gonna end up with. GLENN You think he's lying? FOLEY Use your head. The guys got five million lying around his house, you really think he's gonna tell some motormouth he just met in prison about it? A BELL SOUNDS. Everyone starts walking for the gate. Foley watches as the Boxer and his crew head for the gate, Maurice still standing there with his hand in his pocket. SLOW MOTION AS the boxer gets to the gate, sees Maurice who moves to him now, smiling like he's so glad to see him... his left hand clapping the guy on the back, saying something like congratulations as now his right hand comes out of his pocket and we see the long metal shiv -- BUDDY (watching Snoopy) Here it comes. Maurice wraps his left arm around the boxer's shoulder and hugs him tight for a moment, then quickly moves away. The Boxer stands there like a statue, doesn't move until he's at last jostled from behind and his legs fold and he drops to the cement. BUDDY I guess the Snoop doesn't like to lose, even if it's on purpose. We hear a WHISTLE BLOW as a GUARD spots the body. And now everyone moves like hell for the gate... except for... Richard Ripley who stands there frozen, staring down at the body. Foley glances back at the approaching guards, casually takes Ripley by the arm as he passes, leads him away from there, talks to him as they walk into the block... FOLEY You don't wanna be standing there, the hacks start asking questions you don't wanna answer. RIPLEY Oh, uh, right, thanks... Foley then moves away. He sees Maurice looking back at him, giving him a hard stare just before he melts into the crowd. DISSOLVE TO: INT. FOLEY'S CELL - BELLE GLADE - DAY (NOW) He lies there another moment when... A PAIR OF LEGS swings down over the side from the top bunk. Foley's CELLMATE jumps down, walks the three feet or so to the toilet, casually pulls down his pants and starts to go to the bathroom. Foley shakes his head and turns away... EXT. STRIP MALL - DAY As Buddy walks up to a Cadillac Sedan DeVille Concours pulling a slim-jim from the back of his pants, about to jimmy the door, when he sees... A WOMAN -- middle-aged, wearing pearls and high heels -- come out of the Winn Dixie pushing a grocery cart full of groceries. Buddy sticks the jimmy back in his pants, waits until the woman is opening her trunk before coming forward... BUDDY Here, lemme help you with those, ma'am. She doesn't seem too sure about it, but lets him load the groceries in the trunk and take the key out of the lock. WOMAN I didn't ask for your help, so don't expect a tip. Buddy smiles, waves her off. BUDDY That's okay, ma'am. I'll just take your car. She stands there stupidly as he gets in and drives off. INT. CHAPEL - DUSK In the midst of a remodel. As door opens and Pup comes in. Foley puts a finger to his lips... FOLEY They're right underneath you, Pup. They dug a tunnel. Foley watches Pup creep up the aisle towards the front of the chapel, eyes on the floor, listening... PUP I don't hear 'em. Where's the tunnel come out? Pup turns his back, walks up the aisle and across the front of the pews to a window. FOLEY Second fence post from the tower out there. Go on, take a look. As Pup stares out the window... PUP I don't see nothing there. Foley reaches down into a pew where's stashed a FOUR-FOOT CRUCIFIX. He picks it up, starts up the aisle... FOLEY You will directly. Keep watching. INT. KAREN SISCO'S CAR - DUSK As the high beams from her car show the prison parking area, then the fence strung with razor wire. Karen parks near the fence, lights a cigarette and dials her car phone. KAREN Hi. Karen Sisco again for Ray Nicolet. (beat) He's not? Could you tell him that... never mind. I'll call back. Headlights hit Karen's rear-view mirror, a car pulling in behind her. The lights go off, then come on again. She adjusts the mirror to deflect the glare. INT. THE CAR BEHIND HER - DUSK As Buddy sits watching the cons come in from the athletic field. He sees the mirror flash in the car in front of him as Karen checks her face out in the rear-view. INT. CHAPEL - DUSK As Foley moves up behind Pup, he lets his jacket fall to the floor, holds the crucifix down against his leg. PUP There some car headlights out there... (then) Jesus Christ... Now he pulls his radio from his belt, says into it... PUP Man outside the fence! By tower six! (responds to radio) This is Officer Pupko... (then) I'm looking at him, for Christ's sake! Okay -- now Foley raises the metal cross, steps in and lays it smack against the side of Pup's head. Drops him clean with one swing, bouncing him off the window frame and down without a sound coming from him. INT. KAREN SISCO'S CAR - NIGHT As Karen grabs the court papers off the seat, opens her car door, glances at the fence and pauses as she sees A FIGURE there, crouching down. Karen turns on her headlights. No, not crouched. The guy is coming out of the ground. On this side of the fence. Head and shoulders appear and another guy comes out of the ground. Right in front of her. Karen leans on the horn, holds it down and sees the two guys by the fence -- Chino and Lulu -- look into her headlights, poised there for a moment before taking off into the dark. Karen gets out of the car... INT. BUDDY'S CAR - SAME As Buddy watches a spotlight from the tower come on and follow the two cons as we then hear the sound of RIFLE REPORTS before the men disappear into the dark. Then Buddy sees Karen in his headlights, whistles softly as he gets a good look at her long legs as she raises the lid to her trunk... BUDDY What's she doing? He watches her duck her head in the trunk and come out with a holstered pistol. BUDDY Uh-oh. But then she throws the pistol in the trunk, ducks in there again and comes out this time racking a shotgun. BUDDY Uh-oh. And now Buddy watches her hurry to the front of her car and raise the shotgun as we hear A WHISTLE BLOW IN THE COMPOUND. Buddy gets out of the car... EXT. PARKING AREA - SAME As Karen puts the shotgun on two more cons, both filthy dirty, standing by the hole they just crawled out of. KAREN Get your hands in the air! Buddy watches the two cons, both Latins, make up their minds, start edging away -- shit, they've come this far. They look out at the spotlight sweeping around in the dark, then look the other way, along the fence towards the main gate, to see armed hacks coming out on the run, and that decides it for the cons. They take off running... Now Buddy watches as Karen puts her pump gun on them, but doesn't fire... The hacks running from the gate with rifles beat her to it, open up all at once and keep firing until the two convicts are cut down as they run. The hacks glance at Karen, but don't bother with her, more interested in the hole the convicts had come out of. Now they're standing by it peering in, edging closer with their weapons ready, then they all step back at once, bump into each other as... A head appears wearing a guard's baseball cap, the guy now saying something to the guards, his face smeared with muck, excited, pointing towards the orange grove. They run off, pausing briefly to kick the convicts they shot to see if they're alive, then keep going. The man in the hole, Foley, climbs out. He takes his time, puts on a show, standing with his hands on his hips like an honest-to-God hack, that serious cap down on his eyes. Buddy waves to Foley to come on and Karen turns and puts the shotgun on Buddy. Buddy raises the palm of his hand. BUDDY It's okay, honey, we're good guys. KAREN What're you doing here? Not so much asking, but putting it to him the way cops do when they're already pretty sure what you're doing. She glances around to include Foley, now coming at her like some creature out of the swamp, giving Buddy time to take her around the neck. She fights him, jabs him in the gut with the butt end of the shotgun before Foley wrenches it from her grip. They drag her to the rear end of her car, the trunk lid still up, and crouch there as some hacks come running along the fence, past the dark gun tower and cross the road towards the orange grove. A moment later, they hear bursts of gunfire, then silence. FOLEY I bet that's all the hacks they send out. Otherwise nobody's left to mind the store. BUDDY Why don't we talk about it later? He turns to see Foley and Karen staring at each other in the headlights from Buddy's car; Karen not at all afraid. FOLEY Why you're just a girl. What do you do for a living you pack a shotgun? KAREN I'm a federal marshal and you're under arrest, both of you guys. Foley keeps staring at her like he's giving the situation serious thought, but what he says is... FOLEY I bet I smell, don't I? (then) Listen, you hop in the trunk and we'll get out of here. Karen looks at him, then gets up, climbs into the trunk. She's reaching around, trying to find her pistol, when... Foley gives her a shove and gets in with her, wedging her against the wall of the trunk, pressing against her back like they're cuddled up in bed. He holds her to him, giving her no room to turn and stick the gun in his face. Buddy reaches for the trunk lid and then everything goes... BLACK Total darkness, not a crack or a pinpoint of light showing. Then we hear the engine come to life, the car moving along. FOLEY (V.O.) You comfy? KAREN (V.O.) If I could have a little more room. FOLEY (V.O.) There isn't any. All this shit you got in here. What is all this stuff anyway? Handcuffs, chains... what's this can? KAREN (V.O.) For your breath. You could use it. Squirt some in your mouth. FOLEY (V.O.) You devil, it's mace, huh? What've you got here, a billy? Use it on poor unfortunate offenders. A BEAM OF LIGHT appears as he finds a flashlight and turns it on. He plays the beam along Karen's leg, calms down some as he looks at all of her now and finally says... FOLEY (V.O.) Where's your gun, your pistol? KAREN In my bag, in the car. They go over some bumps. We hear men's voices from somewhere far off, outside. KAREN You know you don't have a chance of making it. Guards are out here already, they'll stop the car. He runs his hand down her thigh, looking for her gun, but also, just, well, looking. FOLEY They're off in the cane by now chasing Cubans. I timed it to slip between the cracks, you might say. EXT. CAR - NIGHT As Buddy floors it away from the prison, checks the rearview mirror... INT. TRUNK - SAME As Jack tries to wipe some of the mud off his face. FOLEY Boy, it stunk in there. KAREN I believe it. You've ruined a nine- hundred-dollar suit my dad gave me. FOLEY Yeah, went real nice with that twelve gauge, too. (then) Tell me, why in the world would someone like you ever become a federal marshall? KAREN The idea of going after guys like you appealed to me. FOLEY Guys like me, huh. Well, listen, even though I've been celibate lately, I'm not gonna force myself on you. I've never done that in my life. KAREN You wouldn't have time anyway. We come to a roadblock, they'll run the car, find out in five seconds who it belongs to. FOLEY If they get set up in time, which I doubt. And even if they do they'll be looking for a buncha little Latin fellas, not a big black guy driving a Ford. KAREN Must be quite a pal, risk his own ass like this. More bumps. Then picking up speed as the road smooths out. FOLEY Who, Buddy? Yeah. He's a good guy. Back when we jailed together, he'd call his sister every week without fail. She's a born-again Christian, does bookkeeping for a televangelist. Buddy calls her up, confesses his sins, tells her about whatever bank he happened to rob. KAREN Buddy. That's his given name? FOLEY (woops, beat) One I gave him, yeah. (mouths) Fuck... INT. CAR - SAME As Buddy rifles through Karen's bag while he drives. He looks up from her badge and ID case at the road. INT. TRUNK - SAME KAREN So, what's your name? It'll be in the paper tomorrow anyway. FOLEY Jack Foley. You've probably heard of me. KAREN Why, are you famous? FOLEY Time I was convicted in California? FBI told me I'd robbed more banks than anyone in the computer. KAREN How many was that? FOLEY Tell you the truth, I don't know. I started when I was eighteen, driving for my Uncle Cully and his partner, Gus. They go into a bank this one time in Slidell, Gus jumps the counter to get the tellers and breaks his leg. All three of us ended up in Angola. KAREN That's funny. FOLEY I thought so, too. KAREN It was me, I woulda left ol' Gus on the floor. FOLEY I believe you would have. Another fall, I did seven years at Lompoc. And I don't mean the place next door where some of Nixon's people went. KAREN I know the difference. You were in Lompoc USP, the federal penitentiary. I've delivered people there. So basically you've spent half your life in prison. FOLEY (beat) Basically. Yeah. If I go back now, I do a full thirty years, no time off. Can you imagine looking at that? KAREN I don't have to. I don't rob banks. He looks at her, then looks away as we... EXT. CAR - SAME As the car turns into a main highway now... INT. TRUNK - SAME As Foley plays the light down the length of her... FOLEY You don't seem all that scared. KAREN Of course I am. FOLEY You don't act like it. KAREN What do you want me to do? Scream? I don't think it would help much. (then) I'm just gonna sit back, take it easy, and wait for you to screw up. FOLEY Jesus, you sound like my ex-wife. KAREN You were married? All those falls, I'm surprised you had time. FOLEY It was just a year, give or take a few days. I mean, it's not like we didn't get along or anything. We had fun, we just didn't have that... that thing, you know? That spark, you know what I mean? You gotta have that. KAREN (thinking) Uh-huh. FOLEY We still talk, though. KAREN Sure. EXT. CAR - SAME As Buddy passes a sign that says "MIAMI, 74 MILES." INT. TRUNK - SAME As she tries to get a look at him... KAREN You know, this isn't gonna end well, these things never do. FOLEY Yeah, well, if it turns out I get shot like a dog, it'll be in the street, not off a goddamn fence. KAREN You must see yourself as some kind of Clyde Barrow. And for a few moments, all we hear is the sound of the car on the road. Then... FOLEY Oh, you mean of Bonnie and Clyde? Hm. You ever see pictures of him, the way he wore his hat? You could tell he had that don't-give-a-shit air about him. KAREN I don't recall his hat, but I've seen pictures of him lying dead, shot by Texas Rangers. Did you know he didn't have his shoes on? FOLEY Is that right? KAREN They put a hundred and eighty-seven bullet holes in Clyde, Bonnie Parker and the car they were driving. Bonnie was eating a sandwich. FOLEY You're full of interesting facts, aren't you? KAREN It was May, 1934, near Gibsland, Louisiana. EXT. HIGHWAY - NIGHT Quiet. Empty. A moment later the car flies past. INT. TRUNK - SAME FOLEY That part in the movie where they get shot? Warren Beatty and... I can't think of her name. KAREN Faye Dunaway. FOLEY Yeah, I liked her in that movie about TV... KAREN Network. Yeah, she was good. FOLEY And the guy saying he wasn't gonna take any more shit from anybody... KAREN Peter Finch. FOLEY Yeah, right. Anyway, that scene where Warren Beatty and Faye Dunaway get shot? I remember thinking at the time it wouldn't be a bad way to go, if you have to. KAREN Bleeding on a country road. FOLEY It wasn't pretty after, no, but if you were in that car -- eating a sandwich -- you wouldn't have known what hit you. We HEAR FAINT SIRENS OS... INT. CAR - SAME TIME As Buddy sees FLASHING LIGHTS approach from the opposite direction. He stays cool as the green and whites get closer... closer... then fly right on past. INT. TRUNK - SAME As the SIRENS SCREAM AT US FOR A MOMENT, then FADE. FOLEY You're sure easy to talk to. I wonder -- say we met under different circumstances and got to talking, say you were in a bar and I came up to you -- I wonder what would happen. KAREN Nothing. FOLEY I mean if you didn't know who I was. KAREN You'd probably tell me. FOLEY I'm just saying I think if we met under different circumstances... KAREN You have to be kidding. Silence. Foley tries to get back to where it was working... FOLEY Another one Faye Dunaway was in I liked, Three Days of the Condor. KAREN With Robert Redford, when he was young. FOLEY Yeah... They lie there a moment, think about that as we hear THE CAR SLOWING DOWN, coasting, then bumping along the shoulder of the road to a stop. KAREN I never thought it made sense, though, the way they got together so quick. FOLEY Really. KAREN I mean, romantically. FOLEY Uh-huh. (then) Well, but if -- The trunk goes dark again as the car's turned off. BUDDY (O.S.) You still alive in there? And the trunk lid raises so that we see Karen and Foley lying in the back. Foley gets out. Karen doesn't move. FOLEY (O.S.) Where in the hell are we? BUDDY That's the turnpike up there. Glenn's waiting with the other car. FOLEY Okay, honey, come on out of there. Karen pushes off, rolls from her right side to her left, brings up her Sig Sauer in both hands to put it on them, both standing in the opening, in the dark, but right there. KAREN Get your hands up and turn around. Now. FOLEY Shit... Foley brings the lid down, he and Buddy moving in opposite directions as she begins firing from the inside... As Buddy and Foley hook up again in front of the car. We can see they're beneath an overpass. Foley stares at the trunk. BUDDY We may as well leave her, we're leaving the car and we gotta leave her some place anyway, what's the difference where? FOLEY She's coming with us. Foley walks to the passenger seat, reaches in the window. BUDDY Jesus Christ, what were you doing in there? FOLEY Get the shotgun. And her purse. I'd like to know who she is. Foley takes her wallet, looks at her driver's licence photo. BUDDY I already looked. Her name is Karen Sisco. Like the Cisco Kid only spelled different, S-i-s-c-o. A sheriff's green-and-white goes screaming past and they keep to the narrow space between the car and the concrete abutment of the overpass. When the road quiets down, Foley moves to the trunk and bangs on it once with his fist. FOLEY Karen? Be a good girl now, you hear? Now, I'm gonna open the -- Foley jumps at the sound of a pistol shot. FOLEY You're putting holes in your car! He looks up to see Buddy holding her shotgun, staring at him. He settles down, then... FOLEY We're not leaving you. I'm gonna open the trunk enough for you to throw the gun out. Okay? You shoot -- Buddy's got your shotgun, says he'll shoot back if you do and I can't stop him. So it's up to you. Foley puts his hand out and Buddy, still looking at him funny, gives him the keys. VOICE Hey! Coming from somewhere above them. VOICE It's me, Glenn. Foley steps out into the open, Buddy close behind him. They look up to see a figure, head and shoulders against the evening sky, leaning on the concrete overpass rail. We can see his long blond hair falling beside his face, now half- concealed behind dark sunglasses. GLENN Hey, Jack, good to see you, man. The fuck're you guys shooting at? Foley looks at Buddy. FOLEY Do we need him? BUDDY The green-and-whites saw us. One of 'em starts thinking, what's that car doing there? Ties it to the break and turns around... Foley thinks about it, then looks up at the overpass again. FOLEY Oh, hey, Studs? We thought you were somebody else. GLENN Studs. Man, I haven't heard that since Lompoc. What's going on? FOLEY Oh, nuthin'. Foley shakes his head, then walks back to the Ford and bangs on the trunk. FOLEY You coming out? Foley sticks the key in the lock as Buddy steps up to the trunk and racks the pump on the shotgun. Foley leans close to the metal. FOLEY You hear that? He turns the key and raises the lid. Karen, bunched in there, extends her arm, her hand holding the Sig Sauer by the barrel. KAREN You win, Jack. "Jack." Buddy gives him another funny look. EXT. TOP OF OVERPASS - NIGHT As Glenn removes a note stuck in the side window of a stolen Audi that reads "GONE TO GET GAS." FOLEY Have your clothes cleaned and send me the bill. Glenn looks over as the three of them reach the top of the grade, move through the scrub. Glenn leans against the car, flashers blinking. KAREN I'll send it to you at Glades. GLENN Jesus, what'd you crawl through, a sewer? FOLEY Take your sunglasses off. GLENN I see better with them on. FOLEY You don't take 'em off, I'm gonna throw 'em off the overpass while they're still on your head. Glenn shrugs, takes them off and sticks them in his jeans. FOLEY Wait in the car. GLENN You're in civilization now, man, ease up. FOLEY I'd like you to go wait in the car. How's that? Take her with you and put her in back. GLENN In the trunk? FOLEY The backseat. Foley stares at him, waiting. Glenn motions to Karen... GLENN Come on. I have to do what I'm told. She walks past Foley without looking at him. FOLEY Wait a minute. Let me have your raincoat. (looks at Buddy) Somebody forgot to bring me clean clothes. BUDDY I brought 'em, they're back at Glades in the Cadillac. You wanted to take her car. KAREN You can blame me if you want. I don't mind. He doesn't say anything as Glenn takes off the raincoat, folds it up, then throws it at Foley's feet. GLENN Here you are, sir. Foley watches as Glenn gets his sunglasses out, puts them back on and takes Karen by the arm. BUDDY What's wrong with you? Karen looks over at Foley, then ducks her head and gets in the backseat. FOLEY Why you brought Glenn into this, I'll never know. BUDDY How 'bout the score was his idea to begin with? FOLEY His idea? Gimme a break. Fuckin' guy's got a vacant lot for a head. Was you and me figured the whole thing out. Buddy watches Foley struggle with the buttons on the uniform, all of them caked with muck. BUDDY You're pulling at it. Here... He lays the shotgun in the grass and comes up, takes the guard shirt in his two hands and rips it open, popping buttons and tearing the shirt. FOLEY I don't know why, but every time he opens his mouth I want to punch him out. BUDDY He ain't the problem, Jack. Foley looks at him. BUDDY You wanna pull your head outta your ass and tell me why we're bringing her with us? INT. CAR - SAME As Karen watches Glenn get into the car, sees him as the dome light comes on for a second or two before he closes the door. He half turns, laying his arm along the top of the seats, runs his hand through his hair... GLENN ...if he thinks he can talk to me like this. Shit, I don't even know what I need them for. Karen leans forward to have a look, sees Foley and Buddy against the dark foliage. GLENN I got a big score lined up up north. They wouldn't even know about it, it wasn't for me. I could do it right now myself, except it's so fucking cold up there in January-- KAREN Glenn? His head turns so that we can see his designer shades. KAREN You don't remember me, do you? GLENN (beat) It couldn't have been out at Glades, if that's what you're thinking. I was never out there. KAREN No, that's not what I'm thinking. He raises his hand, strokes his hair away from his face. GLENN But you're sure we've met, huh? KAREN Last fall, I drove you from the Palm Beach county jail to the federal courthouse, twice. You're Glenn Michaels. (then) I never forget anyone I've cuffed and shackled. He doesn't move or say a word, staring at her now like he's been turned to stone. KAREN Let's think for a minute, Glenn, see if we can work this out... He turns away, all the way around to look straight ahead... KAREN Do we have a gun in the car? GLENN I remember you now. Shit. KAREN Foley's not going to make it. And if he goes down, Glenn, you go with him. She touches his shoulder and he jumps. KAREN Look, I can understand if you and Foley are close. GLENN We're not. I'm helping him, yeah -- KAREN Wait. Have you helped him, Glenn? At this point, technically, I doubt you could be charged with aiding a fugitive. So you still have a choice. You can help him and risk going down again, get cuffed and shackled, hope to God you pull a reasonable judge, not some hard-on. Or, if you want to play it another way... She pauses. He turns and looks at her. GLENN Like how? EXT. OVERPASS - SAME Foley watches a car pass on the highway. BUDDY You want to take her to my place and get cleaned up? You come out of the bathroom with your after-shave on and she goes, "Oh, I had you all wrong"? FOLEY I want to talk to her again, that's all. See what would happen under, you know, normal circumstances. BUDDY You're too late, Jack. Foley doesn't say anything. Just takes a deep breath as we HEAR THE CAR START and they both look over... BUDDY He wants to get out of here and I don't blame him. They start towards the car. Then stop and watch as it takes off, tires squealing as the rubber hits pavement. Their backs to us, they stand there watching the tailights until they're out of sight down the turnpike, neither of them saying a word. We hear SQUEAKY FOOTSTEPS OVER... CUT TO: A CORRIDOR IN LOMPOC FPC As Maurice Miller and his "man" -- a big black bulk named HIMEY -- strut purposefully up the hall. They step into... THE PRISON LIBRARY Where Richard Ripley sits at one of the tables reading a big coffee-table book called "THE WARM WORLD OF TROPICAL FISH." MAURICE Dick. My man. Ripley looks up as Maurice and Himey come strolling into the library, sit down on either side of a now very anxious Ripley. MAURICE I got your fishies for you. He sets a small Ziploc with two tiny fish inside down on the table. RIPLEY (reaches for them) Thank you... MAURICE (pulls them back) Not so fast, Dick. (off Ripley's look) Starting now, there's gonna be an across the board cost a living increase. RIPLEY What? MAURICE Year ago, I come in here on credit card fraud, but after I shanked that loudmouth pussy on the yard the other day, my Dunn & Broadstreet, has gone way the fuck up. RIPLEY I think it's Dunn & Bradstreet. But then, I could be wrong... MAURICE Whoever. The point is, prices are goin' up, too. Better get your little black book out, Richard. We got some business to talk about. Ripley sighs, takes out his black book and opens it. MAURICE Let's start with the fish. They was two grand, but now they's three. Ripley looks at the two tiny fish in the bag. MAURICE That Bausch & Lomb Saline shit you asked for is gonna be eighty bucks. RIPLEY (writing) Well, I need that... MAURICE ...and that extra pillow's gonna be an even three c's. VOICE Hey. They all look to where... JACK FOLEY Sits at the far end of the table, reading a thick manual of some kind. Himey gives him a mean stare. Foley points to a sign that says "QUIET PLEASE." FOLEY Sign says "Shut the fuck up." Or can't you guys read? MAURICE (beat) There a problem, Foley? FOLEY Yeah. Foley shuts the big book -- CHILTON'S AUTO REPAIR. FOLEY Yeah, I got a problem. This is the dumbest fucking shakedown in the history of dumb shakedowns. Three hundred bucks for a pillow? MAURICE That's right. RIPLEY Sounds high, doesn't it? FOLEY Must be a real soft pillow. MAURICE Faux goose down. RIPLEY Still... FOLEY How much for your company at chow? MAURICE Company, shit. I watch the man's back. FOLEY I bet. How much? MAURICE Another C. Foley shakes his head, turns to Ripley. FOLEY You're smart, Ripley, you'll tell this guy to fuck off. RIPLEY Really? Well, I uhhh... FOLEY First of all, if he kills you, he's not gonna get any more money out of you. Ripley looks at Maurice: Good point. MAURICE Man doesn't have to get killed. He could accidentally fall on something sharp, like a shiv. Or my dick. Ripley turns back to Foley now: Also a good point. FOLEY You stick anything in this guy, Snoop, they transfer his ass outta here faster'n you can throw a fight, and you still end up with nothing. Ripley nods, takes this in. MAURICE This doesn't concern you, Foley. Why don't you go on out to the yard, have yourself a smoke? FOLEY I don't smoke. HIMEY (slowly rising) You heard the man. Go on outta here. Foley doesn't move, just gives the guy a bored once over. MAURICE Himey here's a pro-toh-jay of mine. He's ranked number thirty-two in the federal prison system. FOLEY (looking at Himey) Thirty-two outta what, twenty? Himey bulldozes forward, pulling his massive fist back to clock Foley in the head when... ...in one swift motion Foley brings his book up in one hand, like he's throwing a pie, and drives the hefty repair manual into Himey's face, snapping the big guy's head back, sending his feet flying out from under him so that he hits the floor back-first with a loud thud. Maurice goes for Foley who picks up the chair just as we hear A WHISTLE. They all freeze, look to... PRISONER AT ANOTHER TABLE Who nods towards the door. We PAN OVER just as A GUARD APPEARS, takes in the scene as a dazed Himey slowly pulls himself up, covers his now bleeding nose. GUARD What's going on here? MAURICE Oh, you know, reading's funnamental an' shit, we just excited. GUARD Clear outta here. The guard exits. Maurice and Foley are still staring at each other. RIPLEY Excuse me. Snoopy? Did we settle the fish thing? MAURICE (looks at Foley) Yeah. Sure. It's all settled. He pours the water out of the bag and drops the fish into Ripley's open hand. Maurice then squeezes Ripley's hand into a fist, crushing the fish. He taps his fist to Ripley's. RIPLEY That's how you do it. Maurice gives Foley a last look, starts out of the room with Himey. Ripley looks at the crushed fish in his hand, then at Foley. RIPLEY Thanks for your help. FOLEY Any time. We hear a PHONE RING and then... CUT TO: MAURICE MILLER'S HOUSE - THE BEDROOM - (NOW) As Maurice lies in bed watching a boxing match on television. MAURICE Stick and jab, fool. Stick and jab. A frisbee whizzes past the television. We hear A DOG YELP OS. MAURICE Hey! Watch that shit! Maurice's girlfriend MOSELLE -- about thirty, sleepy-eyed, in a green bathrobe -- picks the frisbee up off the floor as THE PHONE RINGS AWAY on the bedside table right next to Maurice. MOSELLE (calls OS) Tuffy. C'mere, boy... MAURICE You gonna answer the phone? MOSELLE What for? It's not for me. Maurice watches as Moselle now tries to throw the frisbee to a little wire-haired terrier, but it just bounces off the dog's head. MOSELLE Bad dog. MAURICE (scoops up the dog) Moselle, the fuck are you doing to my little Tuffy? He lovingly nuzzles the dog like it's his child. MOSELLE I'm trainin' Tuffy, so he can be on a Kal Kan commercial, make us some extra money. He looks at her. MAURICE That's the dumbest thing I heard in my life. Everybody knows Kal Kan doesn't pay for shit. You gonna get a gig, it's gotta be for one of the big three: Science Diet, Iams or that Cycle shit for the fat dogs. Now answer the fuckin phone. She comes over, picks up the phone. MOSELLE Hello? (hands it to Maurice) For you. MAURICE (takes it) This is me. EXT. PHONE BOOTH - GAS STATION - NIGHT An antsy Glenn with his shades on talks on the phone. GLENN Snoopy. Glenn Michaels. INTERCUTTING GLENN & MAURICE: MAURICE Studs. Hey, son, you must be one a them psychic friends. I was just thinkin' about you. Glenn watches as some guy in a suit gets out of a black Lincoln Town Car and jogs to the john. GLENN Listen, Snoopy, I'm on my way up to Detroit and need a place to crash. MAURICE You crazy, come up here? It's fuckin one degree outside. GLENN I wanna talk to you about a job. MAURICE Uh-huh. GLENN I can't really go into it right now. I'll just tell you it's someone big. MAURICE Someone? Gimme a hint. GLENN It's a guy you know. MAURICE Gimme another hint. GLENN It's Richard Ripley. Maurice doesn't say a word. GLENN You there? MAURICE Oh, I'm here, all right. I'm very here. Question is, why aren't you here? EXT. BUDDY'S APARTMENT - SOMEWHERE IN FLORIDA - NIGHT As Foley and Buddy hurry up the front steps. FOLEY I'm just saying she wasn't scared. BUDDY Cause she had her hand on her gun the whole time, waiting to make her move. Buddy opens the door, looks at Foley. FOLEY You're just jealous it was me in the trunk with her and not you. BUDDY You're right. INT. BUDDY'S APARTMENT - NIGHT A "hideout." Not much in the way of furnishings. Foley follows Buddy inside, watches as he bolts the door. FOLEY First thing I'm gonna do is get all this mud off me. Foley starts for the bathroom. FOLEY I've been dreaming about a hot bath for the last six months. Soak the prison off me. BUDDY There's some lilac oil, you want some, a vanilla candle under the sink. FOLEY Oh, man. BUDDY There's something about a nice hot bath, transforms a person. It's not just about opening up your pores, know what I mean? There's just something about the heat and the wet that's calming you know? Settles me in a way that I really can't articulate. FOLEY I know exactly what you mean. It's just a feeling. (beat) You know, I could go for some wine tonight. BUDDY There's a store around the corner, I'll be right back. FOLEY Sounds great. Foley goes into the bathroom. A moment later WE HEAR THE BATH RUNNING. INT. APARTMENT HALLWAY - DAY As Buddy leaves the apartment, starts down the hall, KAREN STEPS INTO FRAME, watches as he disappears down the stairs. Gun drawn, she then moves towards the apartment. INT. BATHROOM - DAY As Foley undresses, picks up a candle off the sink and smells it. He notices his nude image in the mirror and checks himself out. INT. APARTMENT - DAY As Karen slips the door. She looks around, HEARS THE WATER RUNNING. She racks the slide on her gun, snicks off the safety and starts for the bathroom. Suddenly, the water is turned off. She stops where she is. She then moves a careful step at a time towards the open doorway. Gradually the tub comes into view, beginning with Foley's feet resting crossed on the other end, then the middle of the tub, then she's in the doorway, looking down at... Foley, lying there in the tub, his eyes closed. Karen cuts her eyes down the length of him, taking a moment here to check him out, long enough for Foley to open his eyes and grab her hand, the one holding the gun. FOLEY Hey. They look at each other a moment. He then pulls her down to him and kisses her. She kisses him back. He then pulls her into the tub with him as we now hear... MARSHALL SISCO (V.O.) Karen...? CUT TO: KAREN As she opens her eyes. KAREN What? REVEAL: A HOSPITAL ROOM - DAY Flowers everywhere. Karen -- bruises on her face -- lies in bed. Her father, Marshall, sits on the chair beside her. MARSHALL You were talking in your sleep. KAREN (beat) What'd I say? MARSHALL "Hey, yourself." KAREN Huh. We hear A KNOCK at the door. They look to where Special Agent DANIEL BURDON -- black, forties, expensive suit -- stands in the doorway, file in one hand. KAREN Hello, Daniel. BURDON (to Marshall) Daniel Burdon, FBI. MARSHALL Marshall Sisco. Karen's dad. BURDON You mind please waiting outside. We have some business to do here. Marshall looks at him a moment. Then, to Karen... MARSHALL I need to go to the john anyway. Burdon waits for Marshall to walk out, then sits down. KAREN I wanna be on the task force, Daniel. BURDON That's nice of you to offer, Karen, but I got all the help I can use right now. Instead, let's talk about how you got the bump on your head. KAREN (indicates file) Isn't that my report you're holding onto? BURDON Yes, but I want to hear you tell it. Starting with when you tried to grab the wheel -- where was this? KAREN Coming to the Okeechobee exit... And now we see it... INSIDE THE CAR Going over a hundred miles per hour, blowing past cars... KAREN Take the next exit. GLENN What am I supposed to do now? KAREN Glenn, take the exit. GLENN No way, man, no fuckin' way am I gonna turn myself in. She reaches over and grabs the wheel. GLENN The fuck are you doing?! He hits the brakes. The car goes off the road, down the grade, the abutment coming right at us as we go back to... THE HOSPITAL ROOM As Burdon sets the file down, sits back now. KAREN The next thing I knew, the paramedics were taking me out the car. Burdon looks at Karen a moment, then... BURDON There's a couple of points I keep wondering about have to do with the two guys that grabbed you. Buddy is it? And this fella Jack Foley. I swear the man must've robbed two hundred banks in his time. KAREN Really? Huh. He told me he didn't remember how many he robbed. BURDON You talked to him? KAREN In the trunk, yeah? BURDON What'd you talk about? KAREN Oh... different things, prison, movies. BURDON This fella holds you hostage, you talk about movies? KAREN It was an unusual experience. BURDON Foley made me think of that fella Carl Tillman, the one you were seeing, it turns out the same time he was doing banks. You recall that? KAREN When I was seeing Carl Tillman, I didn't know he robbed banks. BURDON Yeah, but I had enough reason to believe he did, and I told you. So you had to at least suspect him. KAREN And what happened to Carl? BURDON The time came, you shot him. But you didn't shoot Foley or the guy with him. They're unarmed, you had a shotgun and you let them throw you in the trunk. Okay, now you got your Sig in your hand. You say in the report you couldn't turn around, he had you pinned down. But when the trunk opened, how come you didn't cap the two guys then? KAREN Is that what you would've done? BURDON You say in the report Glenn didn't have a gun, but you let him get away, too. KAREN Daniel, what do you work on most of the time, fraud? Go after crooked bookkeepers. BURDON Karen, I've been with the Bureau fifteen years, on all kinds of investigations. KAREN Have you ever shot a man? How many times have you been primary through the door? BURDON I have to qualify, is that it? KAREN You have to know what you're talking about. We hear CHUCKLING OS. Burdon glances at the doorway where we see Marshall now standing, enjoying this. BURDON We'll talk another time, Karen. All right? I'd like to know why Foley put you in that second car when he didn't need you any more. KAREN You'll have to ask him. BURDON Sounds to me like he liked having you around. I'll see you, Karen. Mr. Sisco. MARSHALL Agent Burdon. Marshall waits for him to walk out... MARSHALL The white man's Burdon. That's what everybody calls him in Miami. The Metro-Dade guys. He's got a knack for pissing people off. She's not listening. He sits down, takes her hand... MARSHALL What are you thinking about? KAREN The Sig Sauer you got me for my birthday. MARSHALL Tell you what, you're a good girl, you might get another one for Christmas. She looks at him. KAREN I'll get it back when I get Foley. EXT. BUDDY'S APARTMENT BUILDING - DAY A dozen GERIATRIC RESIDENTS sit on chairs out front as Buddy climbs the steps carrying a bag of groceries under one arm, newspaper under the other. An old woman comes out the door as Buddy opens it and squints at him. OLD WOMAN Oh -- Are you delivering the oxygen? BUDDY Uh, no, ma'am. Sorry. INT. BUDDY'S APARTMENT - DAY Buddy's REAL apartment, not the one Karen pictured in her dream. This one's nicer, with a view of the beach. Jack stands on the balcony going through KAREN'S PURSE. He pulls out her wallet, checks out her driver's licence photo. He does the same with her gym I.D. card. He finds her address book and opens it up. A photo of her father slips out. Jack examines it a moment, then flips through the book. He stares at something in her bag a moment, then reaches in and comes up with her us Marshal I.D. He slips it open and studies the badge and the picture opposite. He holds on to it, looks out at the ocean, but really sees... THE OPEN TRUNK OF THE CAR - LAST NIGHT As Karen gets out, saying... KAREN You win, Jack. BACK IN THE APARTMENT Foley turns away from the view as Buddy walks in, sets the grocery bag down on the coffee table. BUDDY You made the front page. He holds up the newspaper so that Foley can see his picture on the front page: an unflattering mug shot that doesn't look all that much like him. BUDDY They pass this picture around you can go anywhere you want, nobody'll know you. FOLEY I wasn't feeling my best that day. I'd just drawn thirty to life. BUDDY Maybe this'll make you feel better. Buddy reaches into the bag, tosses Foley a NEW ZIPPO. FOLEY Thanks. Foley catches the lighter, immediately begins playing with it. He looks at the paper on the coffee table as Buddy sits down, pulls some groceries and a sixpack from the bag. BUDDY Paper says there's ten grand each on you, Chino and Lulu. FOLEY Say anything in there about Karen Sisco? BUDDY Just that she got away. FOLEY Yeah, but what happened after she drove off with Glenn? BUDDY You'll have to ask Glenn. And most likely, he's on his way to Detroit, where we should be. Foley walks back out on to the balcony, looks at the contents of Karen's bag spread out on the table. BUDDY You realize what you're doing? Worrying about a person that works in law enforcement. You want to sit down and have cocktails with a girl that tried to shoot you. You hear what I'm saying? Foley holds up the picture of Marshall Sisco. FOLEY Think this old guy is her boyfriend? It's the only picture she carries. BUDDY Am I going to Detroit by myself? Foley picks up her drivers licence photo. BUDDY Longer we hang around down here, Jack, better chance there is either Glenn's gonna fuck up the whole score, or we gonna get busted, or both. FOLEY We'll leave first thing in the morning. EXT. MARSHALL SISCO'S CONDO - DAY Right on a marina. Boats bobbing on the water. MARSHALL (V.O.) Is this Foley? INT. MARSHALL SISCO'S CONDO - DAY Marshall sits in his chair holding up a newspaper as Karen hands him a drink. She stares at the photograph. KAREN He doesn't even look like that. MARSHALL No? KAREN No, he looks a lot... She realizes Marshall's watching her. KAREN Different. The doorbell RINGS. She ignores his look, gets up. Walks to the door and opens it to reveal RAY NICOLET, boots, leather jacket, etc. Cowboy Cop. KAREN Hi, Ray. RAY You look great. Your dad taking good care of you? KAREN He took the week off so we'd have time together. So far he's worked on his boat every day. Dad? Ray Nicolet. Marshall gets up, shakes his head. RAY I've heard a lot about you, Mr. Sisco. MARSHALL Likewise. KAREN Ray's with the F.B.I. Task Force, working on the prison break. MARSHALL (eyeing his T-shirt) I see that. Ray turns to Karen, holding his jacket open to show the task force inscription on his T-shirt in red, the guy's .357 tucked into his waistband. MARSHALL In case no one knows what he does. Tell me, Ray, you ever wear one says, "Undercover"? RAY No. Course not. KAREN (changing the subject) How's it going? RAY Great. We got one of 'em. Karen looks at him. KAREN Was it Foley? MARSHALL (before he can answer) Off a tip? RAY Yeah, someone spotted two of 'em in this hobo camp out by the airport, called the number -- MARSHALL I knew it, soon as I saw they were offering a reward. She grabs Nicolet by the arm. KAREN Was it Foley? Marshall looks at her. RAY Foley? Oh. No, it was one of the Cubans. Linares. KAREN Oh... RAY We went out there, full SWAT, two choppers, the whole bit, but Linares started shooting anyway. We put him down, but somehow Chirino got away. MARSHALL Did you pay the guy the reward? RAY Yeah, as soon as we got back. KAREN Foley hadn't been there? Her father gives her a look. RAY This place was strictly Cuban. If Foley had a ride he must have his own agenda. He seems to be the only one knows what he's doing. THE PHONE RINGS. Marshall moves to it. MARSHALL Hello? (beat) Yeah, she is. Just a minute. (hands her the phone) For you. KAREN Hello? CUT TO: FOLEY ON THE PHONE - DAY On the balcony. Flipping through a copy of Vogue while Buddy watches television inside. FOLEY Hi. INTERCUTTING KAREN & FOLEY - DAY Karen just stands there, sees her father looking at her as Ray drones on. FOLEY You know who this is? KAREN Yes. She walks out to her father's balcony now. FOLEY I just wanted to see if you're okay, make sure Glenn didn't hurt you or, you know, anything. MARSHALL Something I've been wondering, Ray... Marshall picks up the newspaper... MARSHALL It says in the headline, "I slept with a murderer, says shaken Miami woman." She lives in Little Havana, her husband's out of town working when one of the escapees shows up at her door... She closes the glass door, so that they won't hear her. KAREN How'd you get this number? FOLEY Who was it answered the phone? KAREN None of your business. FOLEY I'm just worried maybe I'm not old enough for you. KAREN That's my dad. FOLEY Really. He has a cop's face. KAREN How do you know? Wait -- you have my wallet. FOLEY And your gun. KAREN Think I could have them back? FOLEY How do we do that? KAREN Let's see. You could come on by my dad's place, drop 'em off. FOLEY Sure. I'll just leave 'em with the S.W.A.T. guy answers the door. Foley stops flipping through the magazine, stares at what he's been looking for: an ad for Defiance perfume. KAREN There's a guy here on the task force right now. Maybe I should put him on the phone, let you two work it out. FOLEY You won't do that. KAREN Why not? FOLEY Because you're having too much fun. She doesn't know what to say to that. Foley smells the ad. INSIDE THE HOUSE MARSHALL ...She fixes him pork chops and rice, the next thing you know they're making love on the sofa. She says he was very gentle. RAY I spoke to her. The guy told her he missed his little girl and she felt sorry for him. MARSHALL That's how you score now? ON THE PATIO: Karen looks inside at her father talking with Ray Nicolet. KAREN My dad's retired. He was a Private Investigator. Forty years. I used to work for him. FOLEY I can just picture that, a cute girl like you following slip-and-fall and whiplash cheaters. KAREN Something I've been wondering, what ever happened to your Uncle Cully? FOLEY Why? You think he might tell you where I am? KAREN Unless you wanna tell me. FOLEY He's dead. He did twenty-seven years before he came out and died not too long after in Charity Hospital, I think trying to make up for all the good times he'd missed. (then) That's not gonna be me. KAREN One last score, that the idea? Move to some island. FOLEY I'm partial to mountains myself. But if you like islands, we'll make it an island. KAREN Whatta you mean we'll make it an island? FOLEY I just thought maybe you and me could -- Buddy opens the door, sticks his head out, startles Foley. BUDDY Who you talking to? KAREN Is that Buddy? Foley's caught off guard, hangs up the phone. He looks at Buddy. FOLEY What?! BUDDY You better come see this. INT. MARSHALL'S CONDO - DAY As Karen stands on the balcony another moment, then hangs up, opens the sliding door and walks back into the living room. RAY The woman also said he stole her husband's gun, a twenty-two pistol, and some of his clothes. MARSHALL So the woman's married. She goes to bed with this prison escapee because he misses his little girl and then tells the world about it. But you don't reveal her name, you protect her. It sounds like you're saying it's okay as long as her husband doesn't find out about it. Like the guy who cheats on his wife, saying what she doesn't know won't hurt her. KAREN Dad. He looks over at her now. Gives her an innocent look. MARSHALL What? INT. BUDDY'S APARTMENT - DAY As Foley and Buddy watch a news report on the earlier events at the hobo camp. We catch a glimpse of RAY NICOLET, GUN IN HIS WAISTBAND, STICKING HIS CHEST OUT FOR THE CAMERA. Foley shakes his head as they show a shot of Lulu's body covered with a sheet. FOLEY Chino's gonna wanna talk to me. BUDDY He's running for his life, he doesn't give a shit about you. FOLEY He's gotta know by now that I gave him up back at Glades. He does, he's gonna try to find me. Maybe go see Adele, see what she knows. BUDDY He knows where she lives? Foley doesn't answer. Buddy mutes the set. Turns to Foley. BUDDY Jack? FOLEY We were talking one time, drinking rum. I may've mentioned Adele, how she worked for a magician. Chino got interested. He's like, Yeah? How does he saw the woman in half? He wanted to meet her. Or get a look at her if she ever came to visit. BUDDY So call her up. Tell her don't talk to any Cubans. FOLEY Her phone's probably tapped. BUDDY And you know they're gonna have some people watching the hotel. FOLEY Shit. EXT. MARSHALL SISCO'S BOAT - DAY Karen stands there with her car keys and purse as Marshall paints the trim on the boat. MARSHALL Remember, pay attention to how she talks about Foley, her tone. Do it right, she'll tell you things she wouldn't tell Burdon. Tell her you think he's a nice guy. No, first tell her about being in the trunk with him, in the dark for half an hour, and see how she takes it. If she's in on it, what does she get for all the aggravation; cops breathing on her? I bet nothing. So she still likes him enough to stick her neck out. You think that's possible? What kind of guy is he? KAREN He's pretty laid back, confident. MARSHALL He remind you of that guy, Tillman? KAREN Not at all. MARSHALL But you know he's dirty and you still wanna see him again. KAREN I want to bust his ass, put him in shackles. MARSHALL Maybe. But you're also curious about the man. Twice last night you asked your married boyfriend Nicolet about him. You were concerned, but you didn't want to show it. KAREN My married boyfriend -- setting him up with that news story so you could talk about infidelity. I couldn't believe it. MARSHALL You like the wild ones, don't you? Tillman, Nicolet and now Foley. You know, I've always said there's a thin line between the cowboy cops and the armed robbers, all those guys that love to pack. KAREN Foley kidnapped me. MARSHALL Yeah, but you talked all the way from GCI to the turnpike. It sounds more like a first date than a kidnapping. She gives him a look. He goes back to his painting. MARSHALL Go talk to the ex-wife. INT. ADELE DELISI'S APARTMENT - DAY As Adele comes in, drops a stack of her cards on the glass- topped dining table and turns on the window air-conditioner when THE PHONE RINGS. She grabs it... ADELE Hi, this is Adele speaking. EXT. PAYPHONE - DAY Adele's neighborhood. Near the beach. Chino on the phone. He wears a painter's cap and a white jumpsuit... CHINO Oh, is this Adele? ADELE (PHONE) Yes, it is. CHINO Uh -- sorry. Wrong number. He hangs up, glances about, then checks the little .22 stuck in one of his pockets. As he then starts off down the street, we can see the name "COLOR MY WORLD HOUSEPAINTING" on the back of the jumpsuit. INT. BUDDY'S CAR - DAY Buddy drives. Foley -- in a bright orange and ochre beach outfit -- is beside him. Buddy looks at him, shakes his head. BUDDY Nice disguise. FOLEY I'm a tourist. BUDDY You at least bring the gun? FOLEY (lifts straw bag) In here with my suntan lotion and beach towel. (points) That's her place. As they drive past, Buddy indicates a MAN on the steps out front, obviously FBI... BUDDY There. You see the guy sitting on the porch? The old ladies and one guy? You know they'll have a couple more in a car somewhere. FOLEY (watching something else) Uh-huh... Buddy follows Foley's gaze to... ACROSS THE STREET