"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 ]

"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

As a car door opens and Karen Sisco gets out, rifles her
purse for change. She drops a quarter, Foley now watching as
she bends down to grab it, her skirt hiking way up her
thigh...

BUDDY
Oh, my.

Foley watches, her hair in her face as she tries to reach
under the car and grab it.

BUDDY
Okay, you saw her. That's all you
get.

They watch as she walks to the Normandie and shows the YOUNG
AGENT her ID...

FOLEY
I guess Adele's in good hands.

BUDDY
Sure looks that way.

FOLEY
(finally)
Let's go to Detroit.

BUDDY
Now you're talkin'.

INT. HALLWAY OUTSIDE ADELE'S APARTMENT - DAY

Adele has the chain on the door, talks to Karen through the
narrow opening.

ADELE
You were both in the trunk? Together?

KAREN
From Glades to the turnpike. Then I
left with Glenn.

Karen watches Adele's face in the opening, freshly made up,
heavy on the eye shadow and lip gloss.

KAREN
The FBI didn't tell you I was with
them?

ADELE
They didn't tell me anything, they
asked questions.

KAREN
But you know what I'm talking about,
don't you? About Glenn, don't you,
and the second car?

ADELE
I know a Glenn.

She thinks a moment. The door closes and opens again, all
the way. Adele stands there in a robe, hanging partly open,
panties, but no bra.

ADELE
I'm getting ready to go out. You can
come in if you want, sit down for a
minute. Would you like a Diet Coke?

KAREN
No, thanks.

She comes in, checks out the place. She turns a chair from
the glasstop table and sits down as Adele comes out of the
kitchenette with a Diet Coke and packet of cigarettes.

ADELE
Those are cute shoes. The kind of
jobs I get, I have to wear these
killer spikes, they ruin your feet.

She walks away, comes back with an ashtray.

ADELE
When you were in the trunk with
Jack...

Karen waits, watches her light her cigarette.

ADELE
He didn't hurt you or anything, did
he?

KAREN
You mean, did he try to jump me?
No, but he was kind of talkative.

ADELE
He gets that way when he's nervous
sometimes.

Adele sits down at the other end of the table.

KAREN
You didn't visit him in prison.

ADELE
He didn't want me to.

KAREN
Why not?

ADELE
I don't know. He was different after
he was sentenced, looking at thirty
years. Said it depressed him every
time the younger cons called him an
old timer.

KAREN
But you spoke to him on the phone.

ADELE
He'd call every once in a while.

KAREN
He called the day he escaped.

ADELE
He did? I don't remember. Did he say
about me? In the trunk?

KAREN
(beat, lies)
He said he wished the two of you
could start over, live a normal life.

ADELE
Huh. Problem is, Jack's idea of a
normal life is robbing banks. It's
all he's ever done.

KAREN
Did you know that when you married
him?

ADELE
He said he was a card player. I could
live with that. I never knew he robbed
banks till he got busted with that
car that caught fire -- if you can
imagine something like that happening,
comes out of the bank and the car's
on fire. I did go see him in jail to
tell him I was filing for divorce.
He said, "Okay." Jack's so easy going.
(then)
He was fun, but never what you'd
call a real husband.

Adele looks out the window. Karen waits, looks to an end
table where she sees a photograph of Jack and Adele on a
boat somewhere ten years back.

ADELE
I'll say one thing for Jack, he was
never ugly or mean, or drank too
much. He was very considerate, lights
on or off, if you know what I mean.

KAREN
Really.
(looking at the picture)
Hm.

She realizes Adele is looking at her.

KAREN
Adele, sooner or later, he's gonna
get caught. I'd like to get him before
he does something else, makes it
worse on himself.

ADELE
Buddy'll take care of him. Keep him
out've trouble. He's Jack's
conscience. Always has been.
(chuckles)
He tell you how they met?

Karen shakes her head.

ADELE
Jack came out of a bank he just robbed
in Pasadena, couldn't get his stolen
car to start. Battery was dead. He
looks over, sees Buddy sitting in a
burgundy Bonneville, goes up, offers
him a thousand dollars for a jump.
Turns out, Buddy was casing the same
bank and saw the whole thing. Buddy
says, I'll take the thousand, but
we're leaving in my car, not that
piece of shit you come in.
(then)
They musta robbed fifty banks
together.

KAREN
Till they got busted.

ADELE
That wasn't Jack's fault. No, that
was on account of Buddy, for some
reason, decided to call his sister
and confess to a job before they'd
done it instead of after. She called
the FBI and they both went down,
ended up at Lompoc.
(then)
I think Buddy felt kinda bad about
that.

KAREN
Any idea where I could find Buddy?
Or Glenn?

Adele looks at Karen, then jumps at the sound of three quick
raps on the door.

CHINO'S VOICE
Adele? You in there?

ADELE
Yes.

CHINO
I want to speak with you, please.

ADELE
Who is it?

CHINO'S VOICE
I talk to the guy you work for, Emil.
He tole me your number and where you
live. See, I'm looking for an
assistant and would like to speak to
you.

ADELE
Oh. Uh-huh.

CHINO'S VOICE
You did work for Emil, right?

ADELE
Yeah, I was Emil's box-jumper for
almost four years.

CHINO'S VOICE
You were his what, his box?

ADELE
His assistant.

Karen looks at the door. Something's wrong... through the
glass bricks that line one side of the door, we see blurred
movement on the other side, someone doing something...

ADELE
You say you perform in the Miami
area?

CHINO'S VOICE
Yes, around here. I was a mayishan
in Cuba before I come here. Manuel
the Mayishan was my name.

And now Karen and Adele look at each other.

CHINO'S VOICE
Can you open the door?

Karen shakes her head "no."

ADELE
I'm not dressed.

CHINO'S VOICE
Listen to me.
(lowers his voice)
I'm a good friend of Jack Foley.

Boom. Karen gets to her feet, brings her bag to the edge of
the table, sees Adele staring at her.

KAREN
Ask him his name.

ADELE
Who are you?

CHINO'S VOICE
(beat)
Jose Chirino.

Karen brings her Beretta out of the bag.

CHINO'S VOICE
Or maybe you hear Jack Foley call me
Chino. I'm the same person.

Karen moves along the table to Adele...

KAREN
(soft)
Tell him to wait in the hall, you
have to get dressed. Say it loud.

As Adele speaks, Karen racks the slide on her 9mm.

ADELE
Wait in the hall! I have to get
dressed!

CHINO'S VOICE
Tell me where is Jack Foley, I don't
bother you no more.

Karen motions for Adele to keep talking as she takes a
position beside the door, where we now see Chino's silhouette
in one of the three glass panels in the centre of the door.

ADELE
I don't know where he is.

CHINO'S VOICE
Listen, I'm the one help Jack escape
from prison. He tole me, I can't
find him to see you. So why don't
you open this fucking door. Okay?
So we can speak.

ADELE
(staring at Karen)
Go away, or I'll call the police.

CHINO'S VOICE
Why you want to do that, to a frien'?

Adele says nothing. Then...

CHINO'S VOICE
Okay, you don't want to help me, I'm
leaving.
(then)
I'm going now. I see you maybe some
time, okay? Bye bye.

KAREN
(low)
Go in the bedroom and --

Suddenly, Chino's fist -- wrapped in his shirt -- explodes
through one of the glass panels. Adele and Karen both jump
as Chino pushes his arm through, reaches for the door knob...

...but Karen grabs the knob first and, using all of her weight
as leverage, pivots and flings the door open with Chino's
arm still sticking through the glass...

...the force of which slingshots the man into the room where
he bangs against a wall and falls to the floor. Dazed, Chino
reaches for his .22 as he now tries to get to his feet.

Karen brings up her Beretta in two hands, cocks it and puts
the front sight on his chest.

KAREN
Leave it where it is.

CHINO
(frowning)
Wait. You not Adele?

KAREN
I'm a federal marshal and you're
under arrest. Put the gun on the
table. I mean, now.

CHINO
Oh. Then this must be Adele...

He now aims the gun point-blank at Adele.

KAREN
Put it down or I'll shoot.

CHINO
You wouldn't shoot me, would you?

KAREN
What do you want to bet?

CHINO
(beat)
I could walk out of here.

KAREN
If you move, if you look at her again,
you're dead.

Chino doesn't move. Keeps his gun on Adele. Karen starts
walking towards him...

KAREN
You can live or die, it's up to you.

CHINO
Oh, is that right? You going to shoot
me? Nice girl like you?
(smiles)
I don't think so.

KAREN
You don't, huh?

And with that, she kicks him in the knee. Chino buckles over
and she hits him on the side of the head with her gun...

ADELE
On your knees.

He does as he's told. Karen raises his jacket, feels around
his waist from behind.

ADELE
Lie face down on the floor.

CHINO
(hurting)
What?!

She kicks him over onto his stomach and stays there. She
puts her foot to his back as she reaches for the phone, dials.
She sees Adele staring at her.

CHINO
(to Adele)
Excuse me...

Karen looks at Adele a moment, then says into the phone...

KAREN
Daniel Burdon, please. Karen Sisco.

CHINO
Excuse me, Adele?

ADELE
Yes.

CHINO
You do the sawing of the box in half
trick with you inside?

ADELE
(beat)
Yes.

CHINO
Tell me, how do you do that?

Adele looks at Karen, who shoves Chino's head to the floor
with her foot.

KAREN
Shut up.

BURDON (PHONE)
Karen. Where are you? I been trying
to get a hold of you.

KAREN
Daniel. Listen --

BURDON
Where are you? I been trying to reach
you.

KAREN
I'm at Adele Delisi's.

BURDON
What -- we already talked to her.
That's a dead end.

KAREN
(looking at Chino)
Yeah, I know. I was just leaving.
Why were you trying to reach me?

BURDON
There was a Buddy Bragg at Lompoc
around the same time Foley was there.
We got an address for him at the
Adams Hotel in Hallandale. I want
you to go there, see if you can get
the manager to i.d. him as the other
guy. If he does, you call me right
away...

KAREN
All right, but...

BURDON
But don't you do anything. You just
have a seat, wait for me to get there.

KAREN
Sure, Daniel.

BURDON
Now. What is it you wanted to tell
me?

KAREN
Oh, I was just wondering, if I were
to bring in Chirino, would you put
me on the task force?

BURDON
(impatient)
What? Is that what you're calling me
about?

KAREN
Yes or no, Daniel. If I get him,
will you let me go after Foley?

BURDON
Yeah, sure, Karen. You bring in
Chirino, you can be on the task force.

KAREN
That's all I wanted to know.

BURDON
Good. Now forget about the ex-wife
and get over to the Adams Hotel.

Karen hangs up, looks at Adele. Adele nods.

ADELE
You're good.

KAREN
Thank you.

INT. BUDDY'S APARTMENT - NIGHT

As Foley and Buddy quickly pack up their stuff.

FOLEY
First thing we do, we get to Detroit,
we find Glenn, then we find a window
to throw him out of.

BUDDY
I been thinkin', if I was Glenn, I
was up there to take down the Ripper,
where would I go?

FOLEY
Well, first off, if you were Glenn,
you wouldn't be thinking.

BUDDY
Remember Snoopy Miller, his old pal
from Lompoc?

FOLEY
Snoopy. Christ, I thought he'd be
brain dead by now.

BUDDY
He isn't fighting no more. Glenn
told me the Snoop's been managing
some guys up there now, works out at
the Kronk.

INT. SHALAMAR APARTMENTS - LOBBY - NIGHT

The ancient residents stop what they're doing as Burdon enters
with eight guys in jackets and wool shirts hanging out,
running shoes, half of them carrying what look like athletic
bags. Karen meets them as they all walk to the elevator.

BURDON
You get the key?

KAREN
They're in 7D.

She hands it to him as they wait for the elevator.

BURDON
I want two men outside, front and
back. Conway and Jessup go on up to
seven, cover both ends of the hall.

Burdon, Karen and the remaining four SWAT team agents. Burden
looks at them one at a time.

BURDON
You're primary, you're secondary,
you're point man.

KAREN
You're gonna use a ram?

BURDON
Yeah, why?

KAREN
The manager's door is metal.

They all look at her.

KAREN
You know what I mean? They might all
be. And a ram on a metal door makes
an awful lot of noise for what good
it does.

Burdon looks at her, not all that happy she spoke up. The
fourth man raises the shotgun, a three-inch strip of metal
taped to the muzzle.

FOURTH MAN
I got a shock-lock round in my shotgun
oughta do the trick.

BURDON
Fine. Whatever.

He sees the elevator still hasn't come down.

BURDON
Fuck it. Let's take the stairs.
Karen...

Burdon pauses, looks at Karen, hands her a radio.

BURDON
Take the radio, stay down here in
the lobby, watch the elevator.

KAREN
What? Daniel, I wanna go upstairs.

BURDON
You can go wait out in the car, you
want to.

She doesn't say anything.

BURDON
Now you see Foley and this guy Bragg
come in behind us, whatta you do?

KAREN
(pissed)
Call and tell you.

BURDON
And you let them come up. You don't
try to make the bust yourself. You
understand?

Before she can answer, an old woman steps in, asks Burdon...

OLD WOMAN
Are you delivering the oxygen?

Burdon looks at her, then nods for his men to start up the
stairs.

ON THE SEVENTH FLOOR - DAY

Everyone's in position as Burdon eases the key into the lock,
turns it. The door won't budge, a dead bolt holds it shut.

The guy with the shotgun puts the strip of metal against the
seam, where the lock enters the frame, the muzzle of the
shotgun exactly three inches now from the dead bolt, and
looks over his shoulder at Burdon.

With the sound of the blast, we then...

CUT TO:

INSIDE THE ELEVATOR - DAY

As Foley and Buddy ride down with an old lady. The doors
open. The woman doesn't move.

BUDDY
Is this your floor, mother?

OLD LADY
Oh. Yes, it is.

INT. THE LOBBY - SAME TIME - DAY

As an old gent in a golf cap smiles at Karen sitting there
on the couch in front of the elevator...

OLD GENT
Like to play some gin?

KAREN
No, thank you.

He creeps off towards the elevator.

INT. BUDDY'S APARTMENT - DAY

As Burdon and his men fan out through the place...

INT. LOBBY - DAY

As we hear Burdon's voice.

BURDON (RADIO)
Karen. They're not up here. Keep
your eyes open.

Karen looks off towards the street entrance, then back at
the elevator where the man is still waiting, leaning on his
cane.

The elevator door opens to reveal Buddy and Foley.

OLD GENT
Going up?

Buddy and Foley don't answer. The old man starts to get on,
feeling with his cane, taking forever.

Karen and Foley are staring at each other. He doesn't move.
Not until the elevator door begins to close.

Buddy sees Karen, helps the old man aboard as...

Karen picks up her radio, is about to speak into it when...

Foley raises his hand. And waves as the door closes.

INT. ELEVATOR - DAY

As the elevator resumes going down.

OLD GENT
Shit, I wanted to go up.

BUDDY
Let's just hope there's no one in
the garage.

FOLEY
She looked right at me. She didn't
yell or get excited. She didn't move.

INT. BUDDY'S CAR - DAY

As they get in and Buddy starts the car...

BUDDY
They know where I live, I guess they
know what I drive, so maybe we should
pick up another car on the way.

FOLEY
She just sat there, looking right at
me.

Buddy gives him a look, shakes his head and then burns rubber
out of the garage as we...

CUT TO:

A CLOSE-UP OF KAREN - DAY

Staring straight ahead.

BURDON (ON THE RADIO)
Karen. Report. You see anything?
Karen? You there? Karen...?

INT. AIRPORT TERMINAL - DAY

As Marshall walks Karen to the gate.

MARSHALL
He waved to you?

KAREN
I couldn't swear to it, but I'm pretty
sure he did.

MARSHALL
You wave back?

KAREN
I didn't have time.

MARSHALL
I imagine you would've though.

She shakes her head.

KAREN
Buddy's sister Regina Mary Bragg got
two calls from Buddy up in Detroit
this morning, called Burdon. She's
also the one gave Burdon Buddy's
address.

MARSHALL
So?

KAREN
So what I want to know is why Buddy
still calls his sister every week
even after she turned him in.

MARSHALL
He doesn't seem to hold a grudge.
(then)
What I want to know is why, they got
such a big score up north, did Foley
hang around Miami for so long?
(looks at her)
Any thoughts on that one?

KAREN
None I'd like to share.

She gives him a kiss...

KAREN
I'll call soon as I get in.

DISSOLVE TO:

EXT. BLOOMFIELD HILLS - DETROIT - DAY

Snow. Everywhere. A black Lincoln Town Car creeps through
the neighborhood full of big, beautiful snow-covered homes.

MAURICE (V.O.)
I don't just manage fighters, or
deal product any more...

INT. CAR - SAME

Glenn -- sunglasses -- sits in the back with Maurice, aka
"Snoopy" -- wearing a purple bandanna and his own dark
sunglasses.

MAURICE
I've diversified since the last time
you saw me. I've vertically integrated
and now I'm into home invasions and
the occasional grand larceny.

Glenn just nods, stares out the window.

MAURICE
White Boy Bob's my all-around man,
my bodyguard when I feel I need one,
and my driver.

Maurice indicates WHITE BOY BOB, a fucking huge, depraved-
looking white guy now squeezed in behind the wheel.

MAURICE
Watch the road, boy.
(then)
I like this Town Car. We can cruise
the man's neighborhood without getting
the police or private security people
on our ass.

GLENN
Sure, right, they see Bigfoot driving
around a black guy wearing shades
and a lavender fucking bandanna, no,
they won't think anything of it.

MAURICE
It's lilac, man, the color, and the
style's made known by Deion and other
defensive backs in the pros. I could
be one of them living out here with
doctors of my race and basketball
players. Okay, here comes Mr. Ripley's
house up on the left. Yeah. The brick
wall. There's his drive, right there.

The car creeps past a huge Tudor-style country house.

MAURICE
You sure Foley and his pal aren't
coming up here, do this themself?

GLENN
If they're not busted now, they're
gonna be.
(then)
It's wide open.

EXT./INT. CAR - MAURICE NEIGHBORHOOD IN DETROIT - LATER

People on the street with vacant expressions watch as the
black Town Car moves past the broken-down homes, cars on
blocks and snow-covered trash.

GLENN
So you still haven't said, how you
wanna do it?

MAURICE
I'll show you, soon as I get one
more guy I'm gonna need, Moselle's
brother, Kenneth. Along with White
Boy there.

GLENN
What?

The car pulls to the kerb and KENNETH -- a wiry black man in
a bright yellow T-shirt and red baseball cap backward, always
seems to be high on some chemical or another -- gets in.

MAURICE
You get everything?

Kenneth tosses a gym bag into the back seat. Glenn stares at
it. Something about the bag makes him uneasy. Maybe it's the
HACKSAW that sticks partially out of the opening.

MAURICE
Cool. Kenneth, this is the man I
told you about, Glenn.

KENNETH
The one gonna help us rip off the
rich guy?

MAURICE
That's right.

GLENN
Help you...

White Boy Bob pulls out again. Glenn looks at the two psychos
in front, then turns to Maurice.

GLENN
Wait a minute. I'm letting you in on
this, not all your friends.

MAURICE
You just ask me how we gonna do it.
That's what I'm here for, tell you
how. We the experts.

Glenn can't believe this is happening.

MAURICE
Thing I'm worried about is you.

GLENN
Me?

MAURICE
Yeah. If you can step up and actually
do it. Understand? 'Stead of just
talking the talk.

GLENN
Can I do what?

MAURICE
Walk in a house with me, do this
cross-dressin' nigga named Eddie
Solomon I used to sell to been dealin'
on his own.

GLENN
What -- when?

MAURICE
Right now, son.

GLENN
I don't have to prove shit to you.
The Ripley job is my job. You're
either in or you're not. You wanna
pop some crack dealer pissed you
off, that's your problem, not mine.

MAURICE
Look, Glenn, I know you cool, but
you don't have to give me no tone of
voice, okay? You don't like what I'm
saying, you can get out anywhere
along here you want.

GLENN
I think you're forgetting, this is
my car. I drove it up here.

MAURICE
Hey, shit, come on. I say I want
this car, man, it's mine. You go get
yourself another one. I say I'm in
on Ripley? I'm in, with or without
your ass. I say I want you to come
along on another job, see if you for
real or not, guess what you gonna
do?

Glenn looks at Maurice, now ice-cold behind the shades.

WHITE BOY BOB
We're here.

Glenn looks out the window as they pull up in front of a
decrepit-looking two-story house. Maurice opens the gym bag,
passes the hack saw and a HAND AXE up to White Boy Bob, a
SAWED-OFF SHOTGUN to Kenneth, and takes out a big .45 for
himself.

MAURICE
Let's go see Eddie.

Glenn hesitates, then slowly gets out of the car as we hear...

RIPLEY (V.O.)
Must take balls, do what you do.

EXT. LOMPOC FPC - YARD - DAY

As Foley walks with Ripley across the yard.

RIPLEY
Tell me something. What's it like,
walk in a bank with a gun, stick it
up?

FOLEY
I don't know. I never used a gun.

RIPLEY
Really?

FOLEY
You'd be surprised what all you can
get, you ask for it the right way.

RIPLEY
(smiles)
You're the reason, Jack, I don't
keep all my money in banks.

FOLEY
No? Where do you keep it, Dick?
(Ripley smiles)
I'm talking about all those uncut
diamonds you told Glenn about.

RIPLEY
(still smiling)
I know what you're talking about.

FOLEY
You're the one with balls, Dick, say
something like that to someone like
Glenn. Or maybe you just forgot where
you were for a minute.

RIPLEY
Yeah, but who's gonna believe Glenn?
I mean, do you believe Glenn?

FOLEY
Of course not.

RIPLEY
Plus, even it was true, he'd still
have to figure out where I keep 'em.

FOLEY
Doesn't have to figure out shit.
You told him you keep 'em at your
house.

RIPLEY
(shrugs, big smile)
It's a big house.

Ripley sits down on one of the picnic tables, looks around
the yard.

RIPLEY
Tell me something, Jack, how much
longer you in here?

FOLEY
Twenty-two months, three days, two
hours. Why?

RIPLEY
I was just thinking that I could use
a guy like you, someone knows how to
ask for things the right way. I'm
talkin' about when you're outta here.
I mean, you can't rob banks for ever.

Foley looks at Ripley.

FOLEY
It's a little late for me.

RIPLEY
Hey, Jack? Bullshit. I didn't make
my first million until I was forty-
two. Forty-two. You really want to
change, it's never too late.

FOLEY
I don't know. I'm not exactly the
nine-to-five type.

RIPLEY
Who is? But then you gotta look at a
job as more than just work. You gotta
look at it as peace of mind. As
security, you know what I mean? I
got offices in Detroit, Miami, Boston,
take your pick.

FOLEY
My ex-wife's in Miami. It's nice
down there.

RIPLEY
No need to decide now. Be like the
fish. Let whatever happens happen.

FOLEY
The fish?

RIPLEY
Yeah, fish live in the present.
They don't dwell on yesterday and
they don't worry about tomorrow.
Even when a big fish attacks a little
fish, there's no neurosis involved.
No guilt afterward. No whining on
some fish-shrink's couch. They just
do it. They accept.

FOLEY
I can't say that I've paid that much
attention to 'em before.

RIPLEY
The fish saved my life. Two years
ago, I found out I had high blood
pressure. So my doctor, he tells me
to go get an aquarium, look at the
fish every time I felt myself
stressing out.

FOLEY
And the guy sent you a bill for this?

RIPLEY
It works. You should try it sometime.

FOLEY
The next time I walk into a bank.

Ripley shakes his head, then gets up...

RIPLEY
Think about my offer, Jack.

Foley watches him go.

BUDDY (V.O.)
Hey, Jack...

CUT TO:

CLOSE UP OF FOLEY

As he turns to us.

FOLEY
What?

PULL BACK TO REVEAL: WE'RE INSIDE A CAR

Across the street from the KRONK RECREATION CENTER -- a red-
brick building in a bleak, depressing neighborhood.

BUDDY
You see this one...

Buddy reads from a newspaper while Foley watches the gym.

BUDDY
"Fight over tuna casserole may have
spurred slaying." Seems this woman's
live-in boyfriend, seventy years
old, complained about her tuna noodle
casserole and she shot him in the
face with a twelve-gauge. Police
found noodles in the woman's hair
and think the guy dumped the casserole
dish on her before she shot him.
They'd been together ten years.

FOLEY
Love is funny.

Buddy looks at him. Notices something over Foley's shoulder.

BUDDY
Hey --

And now Foley turns and looks over as the black Town Car
pulls into the Kronk parking lot.

INT. TOWN CAR - SAME

Kenneth and White Boy Bob nod along to some rap tape in the
front seat. Glenn sits in the back, looking pale, hugging
himself, shaking. Maurice looks out the window...

MAURICE
Was a time you see a gold Mercedes
over in the parking lot has a license
plate on it say HITMAN? You know
Tommy Hearns is inside. Seeing the
car would get our juices flowing.

Maurice looks at Glenn now and grins.

MAURICE
You already got your juices flowing,
huh? Pissed your pants back there at
Eddie's house, didn't you?

Glenn just looks at Maurice.

MAURICE
That was some shit, huh?

GLENN
(indicates Kenneth)
Why'd he have to do that to that
girl?

MAURICE
Yeah, Kenneth, why you have to do
that to that poor girl.

KENNETH
(smiles)
Do what?

Glenn says nothing, just looks at Kenneth.

MAURICE
Just wait till we get inside Ripley's
house.

And he and Whiteboy start laughing as they get out of the
car.

GLENN
It's all right with you, I'll just
hang in the car.

MAURICE
(beat)
No. You gonna stay close to me from
now on. So you don't disappear on
me.

GLENN
Why would I do that?

Maurice looks at him, starts laughing. White Boy Bob and
Kenneth join in. Maurice leans over... Glenn flinches as
Maurice opens Glenn's jacket so that we can see the BLOOD
splattered on his T-shirt.

MAURICE
Was worse than you imagined, wasn't
it?
(then, smiles)
Baby, you with the bad boys now.

INT. FOLEY AND BUDDY'S CAR - SAME

As they watch Glenn and Snoopy and White Boy Bob get out of
the car.

BUDDY
Whatta you think?

FOLEY
I think Glenn opened his big mouth
and now we got us another partner.

BUDDY
Or two.

INT. BOXING GYM - DAY

Glenn sits on a bench near the rear wall, facing the ring.
Kenneth grabs a magazine, walks into the john. A shirtless
White Boy Bob lifts weights while Maurice moves around the
ring calling to the boxers inside.

MAURICE
Stick and jab!

VOICE
Hey, Studs, how you doing?

He looks up, sees Buddy and Foley coming this way.

GLENN
Jesus Christ, what're you guys doing
here?

They sit down on either side of him, close.

FOLEY
Weren't you expecting us?

GLENN
That broad you picked up -- did you
know she was a US Marshal, for Christ
sake?

Now he turns to Buddy as Buddy stands up, takes off his
overcoat and sits down again.

GLENN
She knew me from some bullshit dope
bust. She drove me to court. Twice.
You know what she said, we're in the
car on the turnpike? "I never forget
anybody I've cuffed and shackled."

FOLEY
Yeah? She said that to you?

Glenn turns to see Foley with a mild expression on his face,
almost smiling.

FOLEY
What happened to your shades? Someone
finally step on 'em?

GLENN
(touches his head)
I don't know...

Foley notices the blood on Glenn's shirt.

FOLEY
Whose blood you got all over you?

GLENN
These guys, man, they're crazy.
(looks off)
Shit.

Foley follows his gaze, sees Maurice coming this way, White
Boy Bob beside him, carrying his shirts.

FOLEY
Is that Snoopy? In the purple doo
rag?

BUDDY
What's he do now, tell fortunes?

Maurice stands at the edge of the ring apron, looks from
Foley to Buddy and back again, pretty serious about it.

WHITE BOY BOB
We have a problem here?

MAURICE
(walking over)
Jack Foley, famous bank robber.

FOLEY
Snoopy Miller, famous fight thrower.

MAURICE
It seems to me I been reading about
you in the newspaper. Busted out of
some joint in Florida, huh?

FOLEY
Low class of people there, Snoop.

WHITE BOY BOB
You call him that again I'll put
your head through the wall.

BUDDY
What? You mean Snoop?

MAURICE
Nobody calls me Snoop no more or
Snoopy, is what White Boy's trying
to say. He's a little crude, you
understand. No, I left that Snoopy
shit behind me.

BUDDY
But you call this bozo White Boy?

GLENN
White Boy Bob.
(baiting)
White Boy used to be a fighter.

BUDDY
What's he do now outside of shoot
his mouth off?

White Boy Bob stares down Buddy who couldn't give a shit.

FOLEY
Like being back in the yard, huh?

MAURICE
Just like it. Nobody backing down.
You back down, you pussy. Tell me
what you and Buddy doing up here in
the cold?

FOLEY
Glenn didn't tell you?

GLENN
I thought you guys were busted.

FOLEY
Why? Just because you left us standing
on the side of the road?

Foley looks at Glenn. Glenn shrugs, laughs nervously. Foley
smiles, laughs with him, maybe a little too hard. Now Maurice
starts laughing. Buddy, too. White Boy's lost, looking from
one guy to the next as Foley gets up, faces Maurice, his
smile going away as he says...

FOLEY
Look, Snoop, I don't know what Glenn
promised you or what you think you're
gonna get, but the deal is me and
Buddy get half of whatever we take
from Ripley, understand? How you and
Glenn cut up the rest is up to you.

MAURICE
Let's go outside and talk.

FOLEY
What's the matter with right here?
It's nice and warm.

MAURICE
Warm? Man, it's ninety-five degrees
in here, sometimes a hundred -- the
way Emanuel always kep' it so his
boys'd sweat, get lean and mean like
Tommy Hearns. No, I ain't talking
any business in here. To me this is
holy ground, man. You understand? I
got to be someplace anyway. Y'all
want to talk, come to the fights
tomorrow night, we'll sit down and
look at it good. The State Theater.

Foley nods then looks at Glenn as Buddy gets up.

FOLEY
We'll see you tomorrow then.

Maurice then watches as they walk out.

MAURICE
White Boy, how much is the reward on
the man again?

WHITE BOY BOB
Ten gees.

MAURICE
Uh-huh.
(then)
You recall, did it say dead or alive?

EXT. CRIME SCENE - NIGHT

The same decrepit two-storey place Maurice et al hit earlier.
Now it's a CRIME SCENE. A SMALL CROWD of neighborhood gawkers
stand just behind the yellow tape. A HUGE SPOTLIGHT lights
up the front yard.

Karen pulls up in her rental car, gets out and badges the
visibly-freezing COP at the tape, working crowd control.

KAREN
I'm looking for Ray Cruz.

COP
He's inside.
(pissed)
With everybody else.

Karen ducks under the tape and starts up the walk. She pauses
to watch as two CORONER'S ASSISTANTS cover with a sheet a
DEAD BLACK WOMAN who lies just below a broken upstairs window.

INT. HOUSE - SAME

Hell. Karen has to step over a body minus a face that lies
in the doorway. Straight ahead on the stairs is another body,
A MAN ON HIS BACK, head down the stairs, shotgun blast to
the chest. He wears a dress, now bunched up around his waist.

Congealed blood runs down the stairs. COPS and CRIME SCENE
TECHS are everywhere. Karen looks at the guy on the stairs.

VOICE
Called themselves the Youngboys.

Karen looks over as RAYMOND CRUZ, a stocky, genial-looking
detective comes out of the kitchen.

CRUZ
Ironic, isn't it?

KAREN
How are you, Raymond?

CRUZ
Freezing. But I'm getting warmer.

He kisses her on the cheek. She indicates the body by the
door.

KAREN
Quite a mess.

CRUZ
Yeah. And I thought everyone liked
Eddie.

KAREN
Who?

CRUZ
Dude in the dress is Eddie Solomon,
used to buy scag off a corner till
he kicked it and found his happiness
with crack and then started dealing
himself. Word on the street was he
was saving up for an operation.

KAREN
What is it with crack and
transsexuals?

CRUZ
Yeah, Eddie was a real character.
Had these girls cooked the rocks he
called the Rockettes.

KAREN
Yeah. I saw one of 'em outside.

CRUZ
Yonelle. Looks like someone raped
her, shot her, then threw her out
the window.
(shakes his head)
Fuckin' animals.

This shuts them both up. Cruz indicates the door.

CRUZ
Let's get some air.

She starts to follow him out, pauses as she sees something
on the ground...

BROKEN PAIR OF SUNGLASSES

Wrap-around... a lot like the ones she remembers Glenn
wearing. Karen stares at them a moment, then walks out.

EXT. CRIME SCENE - NIGHT

As Cruz and Karen walk to his car, STROBES FLASH as press
photographers struggle to shoot the crime scene.

CRUZ
Other than we had so much fun the
last time we worked together. You
gonna tell me why you're comin' to
me instead of the FBI?

KAREN
I report to the FBI, first thing
they're gonna do is ask me to go get
some coffee.

CRUZ
You know, I'm not in homicide any
more.

KAREN
No, I didn't know that.

CRUZ
Yeah, I'm crimes against persons and
property now, also sex crimes and
child abuse.

KAREN
Detroit, you must be pretty busy.

CRUZ
Yeah, and, as you can see, home
invasions are big, too.

KAREN
Listen, Raymond, a year ago, DEA had
this guy Glenn Michaels on possession
with intent but couldn't make it
stick. In his statement, Glenn said
he went up to Detroit to visit a
friend and look into job opportunities --
if you can believe that.

CRUZ
Who was the friend?

KAREN
Guy named Maurice Miller, also known
as Snoopy, a former prizefighter.

CRUZ
Christ, I know Snoopy Miller. He's a
fuckin' wackjob thinks he's Sugar
Ray Leonard. Hangs out with a couple
other Grade-A nutcases over on the
West side.

KAREN
I'll need a last known address.

CRUZ
That's fine, but I don't want you to
talk to Miller alone.

KAREN
Come on, Raymond, I'm a federal
officer, I'm armed.

He turns and looks at her.

CRUZ
Yes, you are. I'll call you tomorrow
with the address.

As he gets into his car, we then:

CUT TO:

A NEWSPAPER

The crime scene from the night before. A shot of Karen and
Ray Cruz as they exit the house. A headline reads "TRIPLE
MURDER" blah-blah-blah...

BUDDY (PHONE)
You have the paper?

REVEAL: FOLEY'S HOTEL ROOM - DAY

Foley, wearing a suit now, no shoes, no tie, looks at the
newspaper photograph of Karen.

FOLEY
It's a terrific shot of her.

INT. BUDDY'S ROOM - SAME

Buddy looking at the same shot...

BUDDY
Outside of that.

INTERCUTTING FOLEY & BUDDY

FOLEY
Doesn't say what she's doing up here,
but I don't think it has anything to
do with us.

BUDDY
She came up here on her vacation,
'cause she likes shitty weather.

Foley reaches in one of the bags from the Jewish Recycling
Center and pulls out a tie.

FOLEY
I think she's after Glenn. The girl
still with you?

BUDDY
They don't stay the night, Jack,
'less you pay for it.

FOLEY
You tell your sister about it?

BUDDY
Just hung up.

FOLEY
How long you talk to her?

BUDDY
Two hours.

FOLEY
How long were you with the girl?

BUDDY
Forty-five minutes.

FOLEY
You didn't tell your sister about
Ripley, did you? 'Cause I don't wanna
go through that again.

BUDDY
Forget about my sister. If Karen
Sisco's tailing Glenn, we're fucked.
Tomorrow night at the fights we all
get picked up.

FOLEY
Let's drive by where we're meeting
and have a look. Maybe take a look
at Ripley's place while we're at it.

Foley hangs up. He faces the mirror, starts to tie his tie.

RIPLEY (V.O.)
I guess next time I see you, you'll
be wearing a suit and tie...

INT. RIPLEY'S CELL - DAY

Foley leans in the doorway watching as Ripley, dressed in a
jogging suit, and under the watchful eye of A GUARD, gathers
up his belongings. He's going home.

FOLEY
I still haven't made up my mind yet.

RIPLEY
What's to think about?

FOLEY
You goin' right back to work?

RIPLEY
First, I'm goin' to Israel for a
year, study the Talmud, work on a
Kibbutz... then come back, maybe
take some tennis lessons.

He tears a picture off the wall...

RIPLEY
Here...
(hands it to Foley)
Something to remember me by.

Foley stares at the photograph of sea life.

RIPLEY
It's not the real thing, but it's
still nice to look at.

Foley looks at Ripley, who extends his hand.

RIPLEY
See you on the outside, Jack.

INT. FOLEY'S HOTEL ROOM - DAY

Foley finishes tying his tie, stares into the mirror, takes
in the overall effect.

FOLEY
(smiles)
Hi! I just broke outta jail!

His smile fades, he then sits down heavily on the bed, looks
at the picture of Karen another moment, then sets the paper
aside, grabs the Yellow Pages, flips to HOTELS, and dials
the phone...

VOICE (PHONE)
Atheneum Hotel.

FOLEY
Karen Sisco, please.

VOICE
(pause, then)
I'm sorry, but there's no one by
that name registered.

FOLEY
Thank you.

He dials the next number...

VOICE
Best Western...

EXT. MAURICE "SNOOPY" MILLER'S HOUSE - DAY

Red brick, showing its age. Karen rings the doorbell and
then waits with her hands shoved into the pockets of her
dark, navy coat. The door opens to reveal Moselle in her
green silk robe holding her arms close against the cold.

KAREN
Moselle Miller?

MOSELLE
What do you want?

KAREN
I'm looking for Maurice.

MOSELLE
You find him, tell him the dog got
run over and I'm out of grocery money.

MALE VOICE
Moselle. Who you talking to?

MOSELLE
Lady looking for Maurice.

MALE VOICE
What's she want?

MOSELLE
Hasn't said.

KAREN
That's not Maurice?

MOSELLE
That's Kenneth, my brother. He's
talking on the phone.

MALE VOICE
Ask what she want with him?

MOSELLE
You ask her. Maurice's business is
none of my business.

Sounding tired or bored. She turns from the door and walks
into the living room. Karen steps inside, pushes the door
closed and steps into the foyer.

MALE VOICE
How do I know?

Karen peers into a study, a small room with empty bookcases
and sees Kenneth in his backward red baseball cap as he talks
on the phone...

KENNETH
The State, huh. Who's fighting?

Karen walks into the living room, where Moselle sits on the
sofa lighting a cigarette.

MOSELLE
You like to sit down?

KAREN
Thanks.

Karen takes a chair and looks around the room: dismal, gray
daylight in the windows, dark wood and white stucco, the
fireplace full of trash, plastic cups, wrappers, a pizza
box.

KAREN
I'm looking for a friend of mine I
think Maurice knows.

MOSELLE
You not with probation, one of those?

KAREN
No.

MOSELLE
You a lawyer?

KAREN
(smiles)
No, I'm not. Maybe you know him.
Glenn Michaels?

Moselle draws on her cigarette, blows out a stream of smoke.

MOSELLE
Glenn? No, I don't know any Glenn.

KAREN
He said he stayed here last November.

MOSELLE
Here? In this house?

KAREN
He said he stayed with Maurice.

MOSELLE
Well, he ain't even here that much.
I like to know where he goes, but at
the same time I don't want to know,
you understand?

KAREN
(beat)
Your dog was killed?

MOSELLE
Got run over by a car.

KAREN
What did you call it?

Moselle looks at the couch, where a MANGLED FRISBEE sits.

MOSELLE
Was a she, name Tuffy.

KAREN
(nods, then)
Where do you think I might find
Maurice?

MOSELLE
I don't know -- the gym, the fights.
I know he don't miss the fights.
Having some tomorrow night at the
State Theater. He use to take me.

KAREN
The State Theater?

VOICE
What you want with Maurice?

Karen turns, sees Kenneth standing in the arched entrance
from the foyer.

MOSELLE
She looking for a man name of Glenn.

KENNETH
Did I ask you? Go on out of here.
Do something with yourself.

He waits until Moselle gets up, not saying a word, walks
away from them through the dining room. Karen watches him
come toward her now in kind of an easy strut. She indicates
the scar over his eye...

KAREN
You're a fighter?

KENNETH
How you know that?

KAREN
I can tell.

KENNETH
I was...

He moves his head in what might be a feint.

KENNETH
Till I got my retina detached two
time.

He's standing so close to her, Karen has to look up at him.

KAREN
What'd you fight, middleweight?

KENNETH
Light to super-middleweight, as my
body developed. You go about what,
bantam?

KAREN
Flyweight.

KENNETH
You know your divisions. You like
the fights? Like the rough stuff?
Yeah, I bet you do.
(moves closer)
Like to get down and tussle a little
bit? Like me and Tuffy, before she
got run over, we use to get down on
the floor and tussle. I say to her,
"You a good dog, Tuffy, here's a
treat for you." And I give Tuffy
what every dog love best. You know
what that is? A bone.
(real close)
I can give you a bone, too, girl.

KAREN
You're not my type.

KENNETH
Don't matter. I let the monster out,
you gonna do what it wants.

KAREN
Just a minute.

Her hand goes into her bag next to the chair.

KENNETH
Bring your own rubbers with you?

Her hand comes out of the bag holding what looks like the
grip on a golf club. Kenneth grins at her...

KENNETHN
What else you have in there, mace?
Have a whistle, different kinds of
female-protection shit?

Karen pushes out of the chair to stand with him face-to-face.

KAREN
I have to go, Kenneth.

She gives him a friendly poke with the black vinyl baton
that's like a golf club grip.

KAREN
Maybe we'll see each other again,
okay?

She steps aside and brushes past him. He grabs her left
wrist...

KENNETH
We gonna tussle first.

Karen flicks the baton and sixteen inches of chrome steel
shoots out of the grip. She pulls an arm's length away from
him and chops the rigid shaft at his head, Kenneth hunching,
ducking away...

KENNETH
God damn...

He lets go of her and Karen gets the room she needs, so that
when he comes at her, she whips the shaft across the side of
his head and he howls, stops dead, presses a hand over his
ear.

KENNETH
What's wrong with you?

KAREN
You wanted to tussle, we tussled.

And she walks out. She sees Moselle standing there in the
foyer. Karen looks at her a moment, puts the baton in her
purse and comes out with a business card.

KAREN
I wrote my hotel number on there --
in case you run into Glenn.

Moselle slips the card into the pocket of her robe. Karen
smiles at her and walks out the door.

EXT. RICHARD RIPLEY'S HOUSE - DAY

It's snowing pretty hard when Foley and Buddy pull up out
front.

INT. BUDDY'S CAR - SAME

Buddy wipes the condensation off his window, so they can see
the house.

BUDDY
Now that's a really big house.

FOLEY
Jesus, look at that wall. Place almost
looks like a prison.

BUDDY
No doubt the man's got some big-ass
security system.

FOLEY
Time comes, we knock on the door.
See if he wants to talk about old
times. Go in the easy way.

BUDDY
Yeah? You think he'll let us in, we
got Snoopy and the muscle-bound
asshole with us?

FOLEY
Who says anybody's gonna be with us?
I say we go to the fights tomorrow,
find out what the Snoop's big plan
is, then go in ahead of those guys --
alone.

BUDDY
Let Glenn deal with the Snoop, while
we're off livin' the good life.

FOLEY
Tell me something, Buddy. You know
anyone who's actually done one last
big score and gone to live the good
life? Cause it occurred to me that
everyone talks about doing it, but I
don't know anyone who's actually
gone and done it. Do you?

BUDDY
(beat)
What about that D.B. Cooper guy?

Foley looks at him.

BUDDY
I mean, they don't know for sure
he's dead.
(then)
Look, there's always a chance we'll
walk out've there with nothing. I
say let fate decide.

FOLEY
Let fate decide? What're you, the
fuckin' Dali Lama now?

BUDDY
My sister believes in fate, but not
hell. That's why she stopped praying
for the lost souls since you don't
hear that much about purgatory
anymore. But every day she asks her
boss to pray I don't fuck up. Whatta
you think, you think there's a hell,
Jack?

FOLEY
Yeah, it's called Glades Correctional
Institution and I'm sure as shit not
going back there or any place like
it.

BUDDY
You might not have a choice.

Foley looks at him.

BUDDY
They put a gun on you, you'll go
back.

FOLEY
They put a gun on you, you still
have a choice, don't you?

Foley turns back to the house. And now we hear...

MR. HEARN (V.O.)
I think you're gonna fit right in...

INT. RIPLEY ENTERPRISES PERSONNEL OFFICE - DAY

The personnel guy, MR. HEARN, sits behind his desk, squeezing
a grip exerciser and smiling warmly at Foley, who wears a
shitty suit and tie.

MR. HEARN
Now Mr. Ripley and I have had a long
discussion about your role in the
company and it was his feeling that
you would be happiest working down
here in Miami. How's that sound to
you?

FOLEY
Great.

Mr. Hearn pauses, looks down at Foley...

MR. HEARN
You're about a 42 long, right?

FOLEY
What?

But Mr. Hearn walks out without answering. Foley looks at
the desktop, where a spoon sticks out of a half-eaten fruit-
on-the-bottom yogurt, which in turn sits beside a half-eaten
Powerbar.

Foley shakes his head, takes out his zippo, starts to play
with it.

MR. HEARN
Okay. Let's see how she fits.

Foley turns as Mr. Hearn bounces back into the room with
what looks like a UNIFORM draped over one arm.

FOLEY
What is this?

MR. HEARN
Your uniform.

FOLEY
My what?

Mr. Hearn shows him the yellow patch that reads SECURITY on
one arm. Foley smiles... amused... angry... hurt...

FOLEY
Are you kidding me?

RICHARD RIPLEY'S OFFICE

View. Wet bar. Huge fucking aquarium.

RECEPTIONIST (O.S.)
Sir, you can't go in there...

Ripley looks up from his desk as Foley steps in, the
receptionist right behind him now.

RIPLEY
Jack? Whoa -- what's the problem?
Take it easy, let's talk...

Meanwhile, Ripley pushes a PANIC BUTTON beneath his desk...

FOLEY
A security guard? Are you fucking
kidding me?

Ripley considers Foley a moment, then...

RIPLEY
You know, I wasn't sure you'd show
up. But I was pretty sure that, if
you did, you'd throw the job in my
face.
(then)
Understand something, Jack. Up to
this point, everything you've done
with your life means absolutely
nothing in the real world. Less than
nothing.

Foley says nothing.

RIPLEY
You're a bank robber. This is not a
marketable skill. There are no old
bank robbers out in the world living
on pensions. You know this. That's
why you're here right now.

Still Foley says nothing.

RIPLEY
Today, I'm offering you a lousy job
at a lousy wage. You think you're
better than that? Fine. Show me.
Show me that you're really willing
to change and we'll talk about
something better. A lot better. But
first, Jack, you gotta earn it.

FOLEY
How, Dick? The way you earned it? By
marrying some rich broad owns the
company, selling it off a piece at a
time, then divorcing her? What is
this Knute Rockne, pull yourself up
by the bootstraps bullshit? Back in
prison, guy like you, place like
that, you were ice cream for freaks.
You were a goddamn dumpling. Maurice
and a dozen other guys coulda bled
you till you had nothing. Till you
were nothing. I saved your ass. So
you'll pardon me if I don't wanna
sit on a fuckin stool all day saying
"sign in here please" or "hey, pal,
you can't park there." Okay, Dick?
I can't do it.

RIPLEY
Jack, I'm disappointed. I guess I
misjudged you.

Two massive SECURITY GUARDS appear in the doorway...

FOLEY
Hey, what job he promise you guys?

GUARD
There's two ways we can do this.

FOLEY
Yeah? What are they?

RIPLEY
Gentlemen. I think we've calmed down
now. Haven't we, Jack?

FOLEY
Oh, yeah, I'm calm. In fact, I'm
totally "relaxed..."

And with that he picks up a paperweight (A LEAD FISH) and
wings it at the aquarium, shattering the glass.

EXT. RIPLEY'S BUILDING - FLORIDA - DAY

As Foley is physically thrown out of the building by the two
guards. He picks himself up. He kicks at the guards, who
wave him off, go back inside.

Foley then starts down the steps, pauses as he sees...

THE BANK ACROSS THE STREET

The one from the opening. Foley looks at it a moment, then
calmly starts to take off his tie, drops it in the gutter as
he starts across the street...

CUT TO:

INT. BUDDY'S CAR - DAY

As Buddy pulls away from the house, Foley pulls out the
clipping of Karen he tore out of the morning paper. He's
written the name "WESTIN" on it.

FOLEY
Listen, I gotta get some better shoes,
few other things before tomorrow.
Why don't you drop me off at the Ren
Cen, we'll hook up later?

BUDDY
Yeah, and I better call my sister.

CUT TO:

THE SNOWSTORM

It's really coming down. We then PULL BACK TO REVEAL we're
looking out of a window inside the cocktail lounge at the
top of the Westin.

A table of three young EXECUTIVE-LOOKING GUYS in suits are
laughing at something until Karen is ushered by a WAITRESS
to an adjacent table.

KAREN
Jack Daniel's, please, water on the
side.

She turns, sees her reflection in the glass against the
overcast sky, snow swirling, blowing in gusts, seven hundred
feet above the city, down there somewhere.

EXECUTIVE GUY'S VOICE
Celeste, do us again, please, and
put the lady's drink on our bill.

She turns to see them raising snifter glasses to her, smiling,
pleasant-looking guys in dark suits.

KAREN
Thanks anyway.

WAITRESS
(drifting over)
They want to buy you a drink.

KAREN
I get that. Tell them I'd rather pay
for my own.

She then watches the three guys looking at the waitress
delivering the message. Then they look at Karen. She gives
them a shrug, turns to watch the snow. Her drink arrives.
She takes a sip, looks up as one of the guys comes over...

EXECUTIVE GUY
Excuse me. My associates and I made
a bet on what you do for a living.

She glances at the table, the other two watching.

EXECUTIVE GUY
And I won. Hi, I'm Philip.

KAREN
If it's okay with you, Philip, I'd
like to just have a quiet drink and
leave. Okay?

PHILIP
Don't you want to know what I guessed?
How I know what you do for a living?

KAREN
Tell you the truth, I'm not even
mildly curious. Really, I don't want
to be rude, Philip, I'd just like to
be left alone.

She turns back to the snowstorm. She sees his reflection
turn and leave. A moment later, the next one appears at the
table.

EXECUTIVE GUY #2
I think I know why you're depressed --
if I may offer an observation.

She just looks at him. So sure of himself.

EXECUTIVE GUY #2
I have a hunch you're the new sales
rep and your customer isn't exactly
knocked out by the idea of a young
lady, even one as stunning as you,
handling the account. Am I close?
Hi, I'm Andy.

She says nothing to him.

ANDY
We're ad guys. We flew in from New
York this morning to pitch Hiram
Walker Distillery, present this test-
market campaign for their new
margarita mix. What we do, we show
this guy who looks like a Mexican
bandido, you know, with the big
Chihuahua hat, the bullet belts --

KAREN
Andy? Really. Who gives a shit?

He gives her a sympathetic expression.

ANDY
Want to tell me what happened?

KAREN
Beat it, will you?

She stares at the guy until he turns away. She sips her drink,
stares once more out at the blizzard. After a few moments,
another dark suit appears, reflected in the window.

VOICE
Can I buy you a drink?

Boom. Not one of the executive guys. She stares at the
reflection for a moment, then slowly turns, looks up at JACK
FOLEY now standing there in his new navy blue suit.

KAREN
(beat)
Yeah, I'd love one.
(then)
Would you like to sit down?

He pulls the chair out, looking at her. The three guys at
the other table now staring as he sits down. Foley offers
his hand...

FOLEY
I'm Gary.

She hesitates, then shakes his hand...

KAREN
I'm Celeste.

She smiles with him. When she lowers her hand to the table,
his hand comes down to cover hers. She watches his expression
as she brings her hand out slowly, his eyes not leaving hers,
and lays her hand on his. The tips of her fingers brush his
knuckles, lightly back and forth.

KAREN
It takes hours to get a drink around
here. There's only one waitress.

FOLEY
I can go to the bar.

KAREN
Don't leave me.

FOLEY
Those guys bother you?

KAREN
No, they're all right. I meant, you
just got here.

She picks up her drink and places it in front of him.

KAREN
Help yourself.

She watches him take a sip, smack his lips.

FOLEY
You like bourbon?

KAREN
Love it.

FOLEY
(passes the glass
back)
Well, we got that out of the way.
(then)
Tell me, Celeste. What do you do for
a living?

KAREN
I'm a sales rep. I came here to call
on a customer and they gave me a
hard time because I'm a girl.

FOLEY
Is that how you think of yourself?

KAREN
What, as a sales rep?

FOLEY
A girl.

KAREN
I don't have a problem with it.

FOLEY
I like your hair. And that suit.

KAREN
I had one just like it -- well, it
was the same idea, but I had to get
rid of it.

FOLEY
You did?

KAREN
It smelled.

FOLEY
Having it cleaned didn't help, huh?

KAREN
No.
(then)
What do you do for a living, Gary?

FOLEY
(beat)
How far do we go with this?

This stops her, throws her off balance.

KAREN
Not yet. Don't say anything yet.
Okay?

FOLEY
I don't think it works if we're
somebody else. You know what I mean?
Gary and Celeste, Jesus, what do
they know about anything?

KAREN
It's your game. I've never played
this before.

FOLEY
It's not a game. Something you play.

KAREN
Well, does it make sense to you?

FOLEY
It doesn't have to, it's something
that happens. It's like seeing a
person you never saw before -- you
could be passing on the street --
you look at each other and for a few
seconds, there's a kind of
recognition. Like you both know
something. But then the next moment
the person's gone, and it's too late
to do anything about it, but you
remember it because it was right
there and you let it go, and you
think, "What if I had stopped and
said something?" It might happen
only a few times in your life.

KAREN
Or once.

They look at each other a moment, then...

FOLEY
Why don't we get out of here.

They both get up. The ad guys at the table watch as she
follows Foley to the elevator. Karen winks at them.

INT. ELEVATOR - NIGHT

As they ride down to Karen's room. She looks at him, looks
away. The doors open and they exit.

INT. HER HOTEL SUITE

As he follows her in. She walks to the bar, fixes them each
a drink. He checks out the room, takes in her view.

KAREN
How'd you find me?

He comes over to her, takes out the newspaper clipping with
her picture and shows it to her.

KAREN
Oh, God...

FOLEY
I called your room from downstairs.

KAREN
If I had answered, what were you
gonna say?

FOLEY
Well, I'd say who I was and do you
remember me and ask if you'd like to
meet for a drink.

KAREN
If I remembered you. I came looking
for you. I would've said sure, let's
do it. But for all you knew I could
show up with a SWAT team. Why would
you trust me?

FOLEY
It would be worth the risk.

She looks at him, touches his face with her hand...

KAREN
You like taking risks.

FOLEY
So do you.

He kisses her now, puts his arms around her.

KAREN
What's the hurry, Jack? You have to
be somewhere?

She hands him his drink. They both drink, then...

KAREN
Sooner or later...

She stops and he looks at her over the rim of her glass.

KAREN
You really wear that suit.

FOLEY
That's not what you were about to
say.

She shrugs, lets it go. He puts down his drink, kisses her.
She lets him, then moves to the couch.

KAREN
Remember how talkative you were? In
the trunk? Adele said you do that
when you're nervous.

FOLEY
She did, huh.

KAREN
You kept touching me, feeling my
thigh.

FOLEY
Yeah, but in a nice way.

He sits down and they kiss again. This time she peels his
jacket off. He does the same with hers. He's starting to
unbutton her blouse when --

FOLEY
(unbuttoning)
I might've smelled like a sewer, but
you could tell I was a gentleman.
They say John Dillinger was a pretty
nice guy.

KAREN
He killed a police officer.

He stops. Looks at her.

FOLEY
I hear he didn't mean to. The cop
fell as Dillinger was aiming at his
leg and got him through the heart.

KAREN
You believe that?

FOLEY
Why not?

She looks at him, decides to get off this subject. Anyway
he's finished unbuttoning her blouse and is now putting his
hands inside her shirt. She closes her eyes.

KAREN
You know that Sig .380 you took was
my favourite. My father gave it to
me.

As he kisses her on the neck.

KAREN
What were you gonna do with me?

FOLEY
I don't know. I hadn't worked that
part out yet. All I knew was that I
liked you, and I didn't want to leave
you there, never see you again.

KAREN
You waved to me in the elevator.

She's loosening his tie, unbuttoning his shirt.

FOLEY
I wasn't sure you caught that.

KAREN
I couldn't believe it. I was thinking
of you by then, a lot, wondering
what it would be like if we did meet.
Like if we could take a time-out...

FOLEY
Really? I was thinking the same thing.
If we could call time and get together
for a while.

They look at each other a moment.

FOLEY
You know I saw you on the street.

KAREN
Where?

FOLEY
Outside Adele's.

He starts to kiss her again, but --

KAREN
You were going to see her?

FOLEY
To warn her about Chino.

KAREN
So she did help you?

FOLEY
I don't think we should get into
that.

KAREN
No, you're right. Or Buddy. I won't
ask if he's with you or what you're
doing here in Detroit. Or if you've
run into Glenn Michaels yet.

FOLEY
Don't talk like that, okay? You scare
me.

And he moves to kiss her, but she stands up, holds out her
hand.

KAREN
Come on.

He gets up and she leads him across the room...

INT. BEDROOM - SAME

Jack sits on the bed to take off his shoes, stands up to
take off his pants.

KAREN
Are you gonna leave your tie on?

He looks at her, down to her bra and panties, watches as she
gets out of the rest of her clothes and comes over to him,
standing close to help him with the tie...

FOLEY
My God, look at you.

When her clothes are off, she loops the tie around his neck
again and then as she turns off the light...

She kisses him. He sits down on the bed, drawing her back
with him, the only light now coming from the sitting room.

FOLEY
You having fun?

She smiles and then they start to make love as we then...

FADE OUT:

CUT TO:

KAREN

Eyes open, serious now.

REVEAL

She's lying in Jack's arms. She looks at him a moment, then
moves away from him to sit up and swing her legs off the
bed.

FOLEY
You coming back?

KAREN
I'm just going to the bathroom.

She gets up and crosses the room to the bathroom and closes
the door. Foley picks up his Zippo off the night table.

INT. BATHROOM - SAME

She comes in. Looks at herself in the mirror. Suddenly feels
self-conscious. She grabs a bathrobe off the door.

INT. BEDROOM - SAME

Foley lies there, fiddling with the Zippo, staring up at the
ceiling. She comes out again and stands looking down at him.

KAREN
I want you to know something. I wasn't
looking for just a fuck, if that's
what you're thinking.

FOLEY
Why are you mad?

KAREN
Or I did it for some kind of kinky
thrill. Score with a bank robber the
way some women go for rough trade.

FOLEY
What about my motive? Now I can say
I fucked a US Marshal. You think I
will?

KAREN
I don't know.

He raises the covers, but she just stands there.

FOLEY
I know of a guy he goes in the bank
holding a bottle he says is
nitroglycerin. He scores some cash
off a teller, he's on his way out
when he drops the bottle. It shatters
on the tile floor, he slips in the
stuff, cracks his head and they've
got him. The nitro was canola oil.
I know more fucked-up bank robbers
than ones that know what they're
doing. I doubt one in ten can tell a
dye pack when he sees one. Most bank
robbers are fucking morons. To go to
bed with a bank robber for kinky
thrills, as you say, you'd have to
be as dumb as they are. I know you're
not dumb, so why would I think that?
Why would you think I might think
that?

She comes over and sits down on the bed.

KAREN
You're not dumb.

FOLEY
I don't know about that. You can't
do three falls and think you have
much of a brain.

They lie there for a few moments, Karen watching him. He
senses this, looks at her...

FOLEY
You getting serious on me now?

KAREN
I'm trying not to. I just wanna know
what's gonna happen.

FOLEY
(beat)
You know.

And he kisses her.

EXT. DETROIT - DAY

The sun is out. The snow has stopped falling. A white blanket
covers everything.

INT. KAREN'S HOTEL ROOM - SAME

Karen opens her eyes, wakes up. She closes them again, lies
on her side, but doesn't move for a moment. Then...

KAREN
Oh, for Christ sake, grow up.

She opens her eyes and rolls on to her back. She turns her
head: Foley's gone. She gets out of bed.

INT. SITTING ROOM - SAME

Karen comes into the room tying her robe. She looks at the
coffee table where...

Something wrapped in a napkin lies by the half-empty bottle
and the ice bucket. She picks it up and slowly unfolds the
"gift" from Foley: Her Sig-Sauer .38.

INT. FOLEY'S HOTEL ROOM - DAY

Buddy stands at the window looking out as Foley -- in his
underwear -- sits at the table reading the newspaper, a room-
service breakfast, a bottle of Jim Beam close by.

BUDDY
It took you, what, seven hours to
buy a pair of shoes?

FOLEY
I saw Karen Sisco.

Buddy turns to him.

BUDDY
And she saw you?

FOLEY
Yes, she did.

BUDDY
So how's that work, a wanted felon
socializing with a U.S. Marshal?

FOLEY
You know how I felt about her.

BUDDY
Did you give her a jump? If you did
I might begin to understand where
your head's at.

FOLEY
It wasn't about getting laid. I just
wanted to know what might've happened
if things were different.

BUDDY
You find out?

FOLEY
Yeah, I did.

Buddy watches Foley pour a shot of Jim Beam in his coffee.

BUDDY
So what's that mean? That you're
disappointed by what you found or
you're sorry you robbed all those
banks?

FOLEY
I don't know.

INT. KAREN'S HOTEL ROOM - DAY

Karen sits there staring at a Wild Turkey bottle, a couple
of glasses. She reaches for the phone, dials. A moment later,
we hear MARSHALL SISCO'S ANSWERING MACHINE and she hangs up.

INT. STATE THEATER - NIGHT

A ring set up on stage. Men hang out on the side. Where movie
seats used to be are rows of round nightclub tables; a row
of them on each of four levels rising a step at a time up
through the theatre to the bar. Rap music booms out of
speakers as fighters are announced.

Everyone in here is black except for Glenn and White Boy Bob
who sit at a table in the front row while Maurice in a dude
black felt cap set on his head just right and shades walks
along the apron of the stage.

MAURICE
Stick and jab, stick and jab!

White Boy Bob throws down a beer and gives Glenn's shoulder
a jab.

WHITE BOY BOB
You drink like a girl.

White Boy looks around to see if there are any other morons
sitting nearby who think it's funny. Kenneth comes through
for his pal and laughs.

INT. THEATER - SAME

As Karen walks through the bar, pauses as she sees Glenn
sitting with White Boy and Kenneth. She steps back into the
shadows as Glenn glances anxiously about.

ON GLENN

As he pushes his chair back.

GLENN
I got to go take a piss.

He hesitates, sees the car keys on the table in front of
White Boy Bob. But before he can grab them...

WHITE BOY BOB
What're you telling us for? You want
somebody to hold your little pecker?

Glenn gets up, sees his coat on the back of the chair, but
knows he can't take it with him. He walks away from the table.

EXT. STATE THEATER - PARKING LOT - SAME TIME

Glenn exits the theater and crosses to the parking lot. Karen
exits right after, watches him get into the Town Car.

INT. TOWN CAR - SAME TIME

Glenn behind the wheel, half lying on his right side as he
tries to rip open the locked glove compartment. His head
jerks around as Karen opens the door. He sits up straight as
she gets in with him.

KAREN
Glenn, are you trying to steal this
car?

GLENN
Jesus, I don't believe it.

KAREN
Another one of those days, huh,
nothing seems to go right?

He raises his empty hands.

GLEN
I don't have the keys.

KAREN
I see that.

GLENN
I mean I'm not stealing the fucking
car.

KAREN
You're not?

GLENN
I already stole it. Last week or
whenever it was, in West Palm. I
can't be stealing it again, can I?

KAREN
The two guys you were with -- that
one, that isn't Maurice Miller, is
it? I've seen Snoopy's mug shot and
that didn't look like him.

GLENN
Jesus. How'd you know about Snoopy?

Karen looks at him, shakes her head.

KAREN
Glenn, I know your life history, who
your friends are, where you've been
and now, it looks like, where you're
going. Put your hands on the wheel.

GLENN
You're gonna bust me for picking up
a car?

KAREN
For the car, for aiding and abetting
a prison escape, and conspiring to
do whatever you came here for.

GLENN
Listen, these guys, they're gonna be
out here any minute looking for me.
They're fucking animals.

KAREN
What's going on, Glenn?

GLENN
Nothing. I just wanna get the fuck
outta here.

KAREN
But I thought the whole thing was
your idea?

GLENN
Rippin' off Ripley was my idea, but
these guys, man, they're into shit I
can't handle.

KAREN
Ripley? You mean the wall street
guy?

GLENN
Yeah, the plan was to pick him up at
his office tomorrow, take him out to
his house in Bloomfield Hills. Now,
I don't give a shit what they do.

KAREN
And is Foley a part of this?

GLENN
He's supposed to be, but he hasn't
shown up yet, which is a good thing
for him.

KAREN
Why's that?

GLENN
Maurice is gonna kill him, try and
collect the reward.

KAREN
(beat)
But you say he hasn't shown up, you
think he backed out?

GLENN
I don't know -- he doesn't exactly
confide in me.

KAREN
Gee, I wonder why not.

GLENN
I'm freezing my ass off.

KAREN
You want to get out of here, run,
it'll warm you up.

GLENN
Really?

KAREN
But listen, Glenn. If you're lying
to me...

GLENN
I know, you'll find me. Jesus, I
believe it. I keep thinking if you
hadn't driven me to federal court
last summer, you wouldn't even know
who I am.

KAREN
If I didn't know you, Glenn, by
tomorrow you'd be in jail or dead.
Look at it that way. Go on.

And he takes off. She sits there another moment, then flicks
her cigarette out the door, gets out the car.

EXT. PARKING LOT - SAME

Karen looks across the street at the theatre, sees people
leaving. A few seconds later, she steps behind a car and
watches as Buddy and Foley pull into the lot.

INT. THEATER - SAME

Maurice sits with White Boy and Kenneth as Foley and Buddy
come down the aisle to their table.

MAURICE
Where you been? You miss the big
boys, come in time for the walkout
fights. Well, shit, you may as well
pull up a chair.

Foley and Buddy remain standing.

MAURICE
Kenneth, this is Mr. Jack Foley and
this is Mr. Buddy, famous bank
robbers.

Foley nods to the raincoat draped over the back of a chair.

FOLEY
Who's sitting here?

MAURICE
Your homie, Glenn. Only thing, he
went to the men's about a while ago
and never came back.

Foley gives Buddy a look. White Boy Bob grins at them.

WHITE BOY BOB
I think he must've fell in.

MAURICE
I sent these two looking for him,
they come back shaking their heads.

FOLEY
Well, if he left his coat and he's
been gone a while.

WHITE BOY BOB
The car's still there. I looked.

MAURICE
(to the ring)
Reggie, push off and hit, man. Push
him off.

FOLEY
We're leaving.

MAURICE
The fuck you talking about?

FOLEY
Snoop, if you don't know where Glenn
is...

Maurice takes Foley by the arm, moves him away from the table.

MAURICE
Look, what you worried about Glenn
for? What's he know?

FOLEY
I thought everything.

Foley watches the fighters: one of them patient, moving in
while the other one takes wild swings and misses...

MAURICE
Glenn knows everything we suppose to
do tomorrow. Glenn could tell somebody
that, yeah, but it don't mean shit.
You understand? 'Cause Glenn don't
know I changed the plan.
(then)
It's happening tonight.

Foley looks at Maurice now.

MAURICE
Soon as we leave here. Stop home and
pick up what we need and go do it.

FOLEY
(beat)
Give me a minute, talk to Buddy.

MAURICE
You got two minutes, that's all.
Make up your mind.

FOLEY
I wasn't asking permission.

Foley walks up to the bar with Buddy.

FOLEY
They want to go tonight, before Glenn
gets in any trouble, opens his big
mouth.

BUDDY
Whatta you wanna do?

Foley takes out his lighter, begins playing with it.

BUDDY
You know they gonna set us up.

FOLEY
I get that feeling, yeah.

BUDDY
But you still think you can get the
diamonds fore they do?

Foley looks at him a moment, then...

FOLEY
I'll make you a deal. Get out of
here. Right now. I'll do the job
with the Snoop, meet you wherever
you want and give you half.

BUDDY
Half for doing what?

FOLEY
Getting me out of Glades for starters.

BUDDY
And who watches your back?

ON MAURICE

As he sits down with White Boy Bob and Kenneth, watches as
Buddy and Foley talk up at the bar.

MAURICE
Man has all that reward on his head
and still talks like a con in the
yard. You know what I'm saying? Like
he's a man you don't mess with. Yeah,
well, what I say to Jack Foley is
buuullshit.

EXT. MAURICE'S HOUSE - NIGHT

It's snowing as Maurice, White Boy Bob, Kenneth, Buddy, and
Foley pile into the back of a van, the name of some plumbing
and heating company on the side.

We PULL BACK TO REVEAL that we're watching from inside Karen's
car. She waits for the van to pull away, then follows.

INT. VAN - NIGHT

Kenneth -- the fucking maniac -- at the wheel. Buddy and
Foley piled into the back of the van full of plastic pipe
and equipment. Maurice pulls on a pair of white coveralls.

FOLEY
That what they're wearing these days
to break and enter?

MAURICE
Break and enter, shit. Take it and
git, how it's done. Don't waste any
time. That's how you do it.

FOLEY
So you've done this before, huh?

MAURICE
Shit, yeah. White Boy even got busted
for it.
(then)
White Boy, tell these boys the reason
you went down on that burglary that
time.

WHITE BOY BOB
I left my wallet in the house I
robbed.

The guy grins at them. Foley can't believe it.

MAURICE
Takes the TV, the VCR, some other
shit and leaves his wallet on the
floor.

FOLEY
That's a wonderful story, Snoop.
I'm very excited about tonight.

MAURICE
Hey. You learn from doing.

Foley and Buddy exchange looks. Maurice turns around, a
Beretta in his hand. Foley looks at him. Buddy tenses.

MAURICE
You know how to use one a these?

FOLEY
I've seen 'em used on TV.

Maurice hands Foley the Beretta. Then reaches into a bag,
comes up with a .38 he hands to Buddy.

INT. KAREN'S CAR - SAME

As Karen tries to keep up with the van. But with the snow
and the way Kenneth drives, she starts to lose them. She
speeds up around a corner and loses control of the car.

EXT. STREET - SAME

As Karen's car does a 360 in the ice and snow.

INT. VAN - NIGHT

Buddy and Foley are jostled about the back from Kenneth's
insane driving.

BUDDY
Slow down.

Kenneth grins in the mirror, punches it more. Buddy gets out
the .38 and touches it to the back of Kenneth's head.

BUDDY
Get ready to grab the wheel when I
shoot this asshole.

Kenneth, his eyes freaked with speed, glares at Buddy in the
mirror.

MAURICE
Do like he says, man. Slow down.

EXT. KAREN'S CAR - NIGHT

As a pissed-off Karen gets out of her car, watches the van
disappear.

KAREN
Shit --

INT. KAREN'S CAR - SAME

She takes out her cellphone, punches a number, re-orients
her car at the same time.

EXT. RICHARD RIPLEY'S HOUSE - NIGHT

As the van creeps by one way, then the other, then pulls
into the driveway.

INT./EXT. VAN - RIPLEY'S HOUSE

All five of them in the back end of the van now, bumping
into each other until Maurice lets White Boy out the rear
end, leaving the doors open enough so he can watch. He then
racks the slide on a .45.

MAURICE
"An army .45 will stop all jive."
Huey P. said that.

BUDDY
You think he was talking about walking
into people's houses when he said
it?

Maurice looks at Buddy. Buddy holds his gaze. Then the coach
lights on either side of the front entrance come on.

MAURICE
(pulls his mask down)
Get ready to go skiing.

Now the front door opens...

MAURICE
Here we go.

We catch a glimpse of a WOMAN in the doorway, arms folded
over her bathrobe as White Boy gives her a push and steps
inside the house with her.

Maurice is out of the truck and Kenneth, with a shotgun, is
scrambling to be next. Buddy catches him by his jacket collar
and holds him squirming until Foley is out.

The minute Kenneth's feet hit the driveway he turns the 12-
gauge on Buddy, still in the truck. Foley takes the barrel
in one hand and shoves it straight up in Kenneth's face.

FOLEY
Go on in the house before you get
hurt.

Kenneth puts his face up close to Foley's and stares at him
good before going inside. Foley turns to Buddy...

FOLEY
There's still time, take me up on my
offer.

BUDDY
I'm not leaving you alone with these
assholes.

INT. HOUSE - FOYER - SAME

Where Maurice has the woman backed against a table. She's in
her forties, with thick red hair hanging free. She looks
ready to take a swing at whoever approaches...

WOMAN
I work here. I'm the maid.

Kenneth reaches out, opens her robe and we get a flash of
flimsy bra and low-cut panties before she slaps him away.

WOMAN/MAID
Fuck off.

KENNETH
Hey, shit, we're gonna have a party.

MAURICE
Not yet. Where's Mr. Ripley?

MAID
I told you, he isn't here.

MAURICE
Out for the evening?

MAID
He's in Florida. Palm Beach.

MAURICE
(beat)
When's he due back?

FOLEY
Jesus Christ, what difference does
it make? You want to wait for him?

MAID
Mr. Ripley's down for the season.
Christmas to Easter.

MAURICE
You here all by yourself?

MAID
(beat)
That's right, just me.

Foley catches the hesitation, glances at Buddy.

MAURICE
Where's Ripley's safe at, he keep
his valuables in.

MAID
I don't have any idea.

MAURICE
Let's go upstairs, have a look at
the man's bedroom. All right now,
you and Mr. Buddy check the rooms
down here. Look at the wall behind
any pictures hanging on it. Look at
the walls in the closets. The man
has a safe, it's gonna be up there
somewhere.

FOLEY
How about his place in Florida? If
you'd called, we could've checked
his walls down there before we left.
That is, if you'd checked to see
where he was. You follow me?

Maurice gives him a look, pulls the maid up the stairs.
Kenneth and White Boy Bob follow...

MAURICE
You set off any kind of alarm and
you're a dead Hazel. Understand?

Kenneth puts his arm around the maid.

KENNETH
What's you name, mama?

He hooks a finger in the waist of her panties, pulls on the
elastic, is about to look in there when Maurice backhands
him across the face.

MAURICE
First money, then pussy.

Alone with Buddy now, Foley rolls his mask up on his head.

FOLEY
You ever wear one of these?

BUDDY
I don't ski.

FOLEY
Stay with the maid. I'm gonna have a
look around.

INT. KAREN'S CAR - NIGHT

Karen on the phone... snow falling all around her.

RAYMOND CRUZ (PHONE)
I'll send a unit over there, see if
there's anything going on.

KAREN
Tell me where Ripley's house is.
I'll meet them there.

CRUZ (PHONE)
Karen, you gonna promise me you're
not gonna go in, do anything stupid
till I get there...

INT. BEDROOM - SAME TIME

Full of fat, cushy chairs and a sofa, everything white or
black, a wet bar, a big TV, CD player. Buddy moves into the
doorway, peers inside.

Kenneth is trying to find a radio station while Maurice and
White Boy Bob ransack the place. White Boy Bob checks under
the mattress...

WHITE BOY BOB
Hey --

Maurice and Kenneth look over expectantly.

WHITE BOY BOB
I found a rubber.

MAURICE
White Boy, the man's not gonna hide
no diamonds under the fuckin'
mattress.

Maurice looks out the door, sees Buddy in the doorway.

MAURICE
Where's Foley?

BUDDY
Checkin' the other rooms, like you
said.

MAURICE
(to White Boy)
Go keep an eye on him.

White Boy Bob slips out of the room. Maurice turns to
Kenneth, who's still playing with the stereo.

MAURICE
Kenneth, fuck the radio, put on a
CD.

KENNETH
(looking them over)
I don't recognize none of these bands.

MAURICE
Just pick one, put it on.

INT. UPSTAIRS HALLWAY - SAME

White Boy Bob watches from the end of the hall as Foley peers
into each of the bedrooms. Foley sees a back staircase and
starts down. A moment later White Boy Bob follows.

INT. DOWNSTAIRS HALLWAY - SAME

White Boy Bob comes down the stairs. No sign of Foley. White
Boy starts down one hallway, then turns back. Now he's lost.
He opens a door, starts to walk into a closet, then backs
out. He goes down the hall, turns into...

THE KITCHEN - SAME

Where White Boy Bob enters, calls out tentatively.

WHITE BOY BOB
Uh, Foley?

He takes in the huge room, the massive sub-zero refrigerator.
He moves to the freezer, opens it, takes in the FROZEN STEAKS.

WHITE BOY BOB
Cool.

INT. HALLWAY (DOWNSTAIRS) - SAME

As Foley quietly moves to the doorway, peers into the kitchen,
watches White Boy Bob starts going through the freezer, taking
out steaks and stacking them up on the counter. Foley shakes
his head and moves on.

INT. LIBRARY (DOWNSTAIRS) - SAME

Dark. As Foley steps into the doorway, we BOOM DOWN to reveal
a LIGHTED AQUARIUM in f.g. He comes into the room, sits down
in an armchair beside the fish tank.

He leans close to the glass, stares at the fish a moment.
He sees a door reflected there and turns to look across the
room, sees how the phone cord disappears underneath.

FOLEY
They cut the lines, Richard.

Silence. The door opens and we see a terrified Richard Ripley
sitting on top of a toilet, the phone in his lap.

RIPLEY
Foley? That you?

FOLEY
How are you, Richard?

RIPLEY
Jesus Christ, what the hell are you
doing here? What's going on? Who's
upstairs?

FOLEY
Maurice Miller, couple of his friends.

RIPLEY
Maurice? From Lompoc? Good God.

Ripley moves to the doorway.

RIPLEY
Have they got Midge up there?

FOLEY
What kinda man lets a woman answer
the door, this time a night?

RIPLEY
We thought it might be her husband.
Sometimes he comes and checks up on
her. She told him I was down in
Florida.

FOLEY
A minute or two, you're gonna wish
you were.

Ripley looks at him. Foley pats the back of a chair.

FOLEY
Why don't you come on over here, sit
down, Richard, have a look at your
fish.

EXT. BLOOMFIELD HILLS - ROAD - SAME

As Karen slowly negotiates her way through the snowstorm.

INT. RIPLEY'S BEDROOM - SAME

The music ON LOUD (Herb Alpert -- Tijuana Taxi). Buddy stands
in the doorway, watches Maurice, out of his coveralls, as he
takes suits and sport coats from the walk-in closet to look
them over. He tries on a coat, turns to the maid.

MAURICE
How do I look, mama?

MAID
Like a fag.

Maurice smiles at her, goes back into the closet. Kenneth
stares at the maid, nodding slowly.

KENNETH
I think she like to tussle with me.
Get boned a way she gonna remember.

She looks to the doorway, where Buddy now starts to take a
step into the room, when Maurice comes out of the closet...

MAURICE (O.S.)
Motherfucker!

He sticks his head out of the closet.

MAURICE
I found the safe.

Buddy backs out of the room.

EXT. RICHARD RIPLEY'S HOUSE - SAME

As Karen drives slowly past the house. White Boy Bob emerges
with an armload of steaks and sets them on the front steps.

MAURICE
White Boy! Get your ass up here!

White Boy Bob hurries back into the house.

INT. RIPLEY'S LIBRARY - SAME

Ripley sits on the couch across from Foley. He keeps looking
up at the ceiling.

RIPLEY
What do you want from me, Jack?
Name it. You want money?

FOLEY
You gonna write me a check?

RIPLEY
We'll go to my bank. I'll make a
withdrawal.

Foley just looks at him. Buddy sticks his head in the room.

BUDDY
They found the safe.

FOLEY
You remember Buddy, don't you,
Richard?

BUDDY
Yeah, hi. Nice house.

RIPLEY
Thank you.

INT. BEDROOM - CLOSET DOORWAY - SAME

White Boy Bob comes in as Kenneth and Maurice are getting
ready to blast the safe with the shotgun and pistol.

MAURICE
We gonna open up this fucker...

Maurice and his boys open fire on the safe. The maid covers
up as bullets begin ricocheting all over the room.

MAURICE
Jesus...!

EXT. HOUSE - SAME TIME

Karen sees the muzzle flashes in the upstairs window and
quickly gets out of the car.

INT. STUDY - SAME

As Buddy and Ripley look up.

RIPLEY
(gets up)
Good God... they're shooting Midge!

FOLEY
(pushes him down)
Siddown, Dick. They're trying to
open the safe, not your maid.

INT. BEDROOM

As Maurice, Kenneth and White Boy Bob get ready to fire again.

MAURICE
A'ight, this time we gotta get the
motherfuckin' trajectory right...
(pause)
Okay, on three: One... Two...

MAID
The combination is three-ten-forty-
four.

They all turn to look at her, guns still pointing at the
safe.

MAID
Richard's birthday.

EXT. HOUSE - SAME

As Karen cautiously makes her way towards the front door.

INT. BEDROOM - SAME

As Maurice finally gets the safe open. They all anxiously
peer inside. Maurice narrows his eyes, reaches in, pulls out
one of three toupees. He stares at it.

MAURICE
...the fuck is this...

WHITE BOY BOB
Are they dead?

He looks at White Boy Bob...

MAURICE
Go find Foley. NOW!

INT. RIPLEY'S STUDY - SAME

As Foley leans forward in the chair now...

RIPLEY
I can't believe you're still angry
with me, Jack, after all this time.

FOLEY
I'm not angry, Richard.
(staring at the tank)
In fact, I'm completely relaxed.
Thing is, I can't tell if it's the
fish that're cooling me out or all
those uncut diamonds on the bottom
of the tank there.

Ripley sags, closes his eyes.

BUDDY
Damn --

And now Buddy takes a closer look and now we, too, see that
strewn about the bottom of the aquarium are dozens of uncut
diamonds of various sizes.

FOLEY
Dumbfuck Glenn was right, there's
about five million worth in there,
wouldn't you say, Richard?

RIPLEY
Five point two.

BUDDY
They look like plain old rocks.

FOLEY
They sure do.

He gets up, looks at Buddy.

FOLEY
Go get a bag.

Foley turns to Richard as Buddy comes back into the room
with a plastic bag, starts reaching into the tank.

FOLEY
I were you, I'd get up and run.

RIPLEY
I'm not leaving Midge.

FOLEY
Don't be an asshole, Richard. They're
gonna kill you.

RIPLEY
If that's my fate, so be it. I'm not
leaving.
(then)
I love her, Jack.

Foley looks at Buddy. Now what?

BUDDY
C'mon.

Foley just looks at Ripley, who doesn't move.

FOLEY
Good luck, Richard.

MAURICE (O.S.)
Someone down here?

Buddy and Foley slip out the other door, down the hall, just
as Maurice walks in, some of Ripley's clothes over his arm.

MAURICE
Well, if it isn't the Ripper hisself.

RIPLEY
Are those my suits?

MAURICE
Where you been hiding, Dick?

EXT. HOUSE - SAME

A now-freezing Karen hugs a retaining wall, watches as Foley
and Buddy emerge from the house.

AT THE VAN

As Buddy leans under the dash. Foley looks up at the house
where we see shadows moving about in the upstairs window,
hear the faint pumping of the music. We hear the VAN START.

BUDDY
Okay.

Buddy straightens up, looks at Foley.

BUDDY
Come on.

FOLEY
Shit.

BUDDY
What?

FOLEY
They're gonna rape the maid, aren't
they.

BUDDY
From the looks of those boys, the
Ripper too.

FOLEY
And then they'll kill 'em.

BUDDY
At least.

Foley looks at the diamonds in the bag.

FOLEY
We made it, didn't we?

BUDDY
All you gotta do is get in.

Again Foley looks at the diamonds, then...

FOLEY
I'm going back inside.

BUDDY
I'll go with you.

Foley finally hands him the bag with the diamonds in it...

FOLEY
No, you dump the van, meet me at the
airport. I'll take one of Ripley's
cars.

BUDDY
Jack --

FOLEY
Listen, Buddy, the shit that's about
to go down, you'll be on the phone
with your sister for a month. Let me
do this part alone.

Buddy just looks at him.

FOLEY
I'm saying this isn't your problem.
Far as I'm concerned, we're square.

Foley turns to go.

BUDDY
Hey...

Buddy hands him his gun. Foley takes it, stuffs it in the
back of his pants, and then turns back to the house.

FOLEY
Now get outta here.

KAREN

As she watches Foley go back inside. A moment later, the van
pulls out of the driveway. Karen makes a decision, starts
for the side of the house...

INT. RIPLEY'S HOUSE - THE FOYER - SAME

Foley enters and we hear the maid scream. Foley starts up
the stairs.

INT. RIPLEY'S STUDY

Maurice and White Boy Bob both have their guns to Ripley's
head.

RIPLEY
(hears the scream)
Midge.

MAURICE
Forget about her. Tell me where the
money's at.

RIPLEY
Foley's got it.

MAURICE
Where the fuck is Foley?

INT. UPSTAIRS HALL - SAME

Foley comes up the stairs, heads for Ripley's bedroom. The
door is closed now...

FOLEY
Midge?

He steps to one side, is about to reach for the knob when
suddenly the DOOR IS BLASTED OFF ITS HINGES.

INT. KITCHEN (DOWNSTAIRS) - SAME TIME

Karen comes through the door, hears the gunshot, stops cold.

INT. HALLWAY (UPSTAIRS) - SAME

As Foley steps into the doorway and we see Kenneth and the
maid bare, both sitting up in bed, Kenneth racking the
shotgun, the maid turning away from him, gathering the covers
that hang off her side of the bed...

...and coming around to throw them like a net at Kenneth as
the shotgun goes off and the covers catch fire as Foley pumps
one two three shots into Kenneth somewhere under there.

INT. RIPLEY'S STUDY - SAME

As Ripley tries to get away...

RIPLEY
Midge!

Maurice grabs him by the collar, spins him around and whips
him across the face with his gun. He and White Boy Bob then
both hit Ripley on the head until he goes down and stays
down.

MAURICE
(to WBB)
You take the front stairs, I'll take
the back.

INT. RIPLEY'S BEDROOM - SAME

As the maid jumps up and drags the burning covers from the
bed and sees Kenneth now, the bullet holes in his chest,
staring blankly back at him. She then looks at Foley.

MAID
(cold)
Where's Dick?

FOLEY
Downstairs.
(then)
But wait here. There's two more.

INT. UPSTAIRS HALLWAY - SAME

As Foley starts out of the room and immediately hears...

WHITE BOY BOB
Hold it, asshole!

Foley sees White Boy Bob at the bottom of the stairs.

WHITE BOY BOB
Drop the gun.

Nowhere to go, Foley has to comply.

WHITE BOY BOB
Now stay right there. Don't move.

White Boy Bob starts to jog up the stairs two at a time, all
the while keeping his eyes fixed on Foley.

WHITE BOY BOB
Maurice! I got Foley!

INT. RIPLEY'S BACK STAIRCASE - SAME

As Maurice starts up the backstairs...

WHITE BOY BOB
Maurice! Up here!

...and a moment later, Karen comes out of the kitchen into
the downstairs hallway -- just missing each other.

INT. STAIRCASE - SAME

As White Boy Bob gets maybe half way up when he catches a
toe on one of the risers and pitches forward. Stupidly, he
tries to break his fall with the elbow of his gun hand and
ends up jamming his chin down onto the muzzle of his gun
which, unfortunately for him, goes off, firing a bullet
through his head and killing him instantly.

To say the least, Foley is stunned by this freak accident.
He stands there looking at the dead bulk on the stairs.

FOLEY
(finally)
You learn from doing.

Foley bends down to pick up his gun and we see MAURICE COMING
UP THE BACK STAIRCASE, his gun raised, and now firing away...

Foley is forced to jump back behind a pillar as Maurice keeps
firing at him, shots ricocheting off the pillar, the railing,
the wall...

INT. DOWNSTAIRS HALLWAY - SAME

As Karen hugs the wall at the sound of gunshots, sees Ripley
lying on the floor of the study...

INT. UPSTAIRS HALLWAY - SAME

As we hear CLICK as the breech opens on Maurice's now empty
.45. And now Foley steps out from behind the pillar and calmly
bends down, picks up his gun, Maurice still walking forward...

MAURICE
Jack, you don't use a gun, do you?

FOLEY
Not until recently.

MAURICE
(still coming)
Nervous?

FOLEY
A little.

MAURICE
(getting close)
This kind of setup, you don't have
any idea what the fuck you're doing --
do you?

FOLEY
You're right. So why take a chance --

Foley pulls the trigger. CLICK. Maurice hesitates, surprised
that Foley would pull the trigger, then the two of them at
the same time rush each other, begin a messy mano a mano,
now using their spent guns as bludgeons.

INT. RIPLEY'S STUDY - SAME

As Karen carefully comes into the room, Ripley lets out a
low GROAN. She's bending down to check him when HER PHONE
RINGS.

INT. UPSTAIRS HALLWAY - SAME

As Foley and Maurice grapple on the floor near the head of
the stairs.

INT. STUDY - SAME

As Karen answers her phone, checks Ripley...

KAREN
Hello?

CRUZ
We're a few minutes away. Just sit
tight, stay outta the house till we
get there, understand?

KAREN
Oh-kay...

INT. UPSTAIRS HALLWAY - SAME

As Foley finally shoves Maurice down the stairs. Maurice
rolls down a few steps, right over White Boy Bob, as...

Foley gets up, runs back to the bedroom.

INT. RIPLEY'S BEDROOM - SAME

As Foley enters, goes straight to Kenneth's body, begins
searching for the shotgun (lifting the covers, turning over
the body, etc) with no success...

FOLEY
Shit...

INT. STAIRWELL - SAME

As Maurice attempts to prise the gun out from under the dead
bulk of White Boy Bob.

INT. RIPLEY'S BEDROOM - SAME

As Foley, exasperated, stands back up...

MIDGE (O.S.)
This what you want?

Foley looks to where Midge stands -- now back in her bathrobe,
but more importantly, clutching the shotgun. Foley crosses
and takes it from her, begins to stride out of the room,
when --

MIDGE
It's empty.

Foley just looks at her.

INT. STAIRWELL - SAME

As Maurice finally rolls White Boy Bob over, grabs the gun...

INT. RIPLEY'S BEDROOM - SAME

As Foley sticks his hand in Kenneth's coveralls, comes out
with a shell, loads the gun, snaps it shut...

INT. STAIRWELL - SAME

As Maurice cocks the pistol, takes a step up the stairs...

KAREN (O.S.)
Maurice --

Maurice spins around, points his gun down at Karen, now
standing in the foyer, her own gun pointing up at him...

EXT. HOUSE - SAME TIME

As Raymond Cruz and several green-and-whites arrive...

INT. RIPLEY'S BEDROOM - SAME

As Jack, about to exit, stops cold as he HEARS TWO GUNSHOTS,
then a BODY FALL.

He stands still. Not sure who was just shot. After a long
moment, we then hear:

KAREN (O.S.)
Jack?

He sees Midge looking at him, closes his eyes, sags against
the wall.

KAREN
I know you're up there.

INT. FOYER - SAME

As Foley steps into the hallway, his ski mask now pulled
down over his face. He holds Kenneth's shotgun in one hand
and his pistol in another.

KAREN
Come on, Jack -- don't.

FOLEY
Pretend I'm somebody else.

KAREN
You think I'd shoot you?

Foley brings up the pistol and the shotgun. AND NOW WE HEAR
THE SIRENS...

FOLEY
If you don't, one of those guys will.

KAREN
What're you now, a desperado? Put
the guns down.

FOLEY
I told you, I'm not going back.

He raises the guns hip-high and we hear sounds behind Karen,
but she's quick to raise her hand, though she doesn't turn
or look around.

KAREN
Don't do this. Please.

They stand there staring at each other.

FOLEY
No more time outs.

He raises the guns. She sadly shakes her head.

KAREN
You win, Jack.

She fires and he falls to the staircase, dropping the guns,
grabbing hold of his right thigh. And now Cruz and several
other cops enter... Karen motions them to stop...

CRUZ
Karen, I told you not to --

KAREN
Wait, I know him -- okay?

She goes up the staircase to where Foley is lying and gently
lifts the ski mask and looks at his sad eyes.

KAREN
I'm sorry, Jack, but I can't shoot
you.

FOLEY
You just did, for Christ sake.

KAREN
You know what I mean.

She glances about, makes sure no one can hear, then leans
closer to him.

KAREN
I wish things were different. I'm
sorry, Jack.

Foley looks like he's in pain. He watches as she walks back
down the stairs. As a couple of uniform cops rush past her
and pick up Foley, a shaky Ripley staggers into the foyer.

MIDGE
Richard!

She comes running down the stairs into his arms. They embrace.
He looks at Foley over her shoulder...

RIPLEY
(sympathetic)
Listen, Jack...
(but then)
What'd you do with my diamonds?

Foley just looks at him.

EXT. BUSY STREET - NIGHT

As Buddy pulls the van into an alley. He jumps out, jogs
back to the street and hails a cab...

INT. CAB - SAME

Buddy suddenly gets in, bangs on the bulletproof glass.

BUDDY
The airport.

The cab pulls away. Buddy glances up front, then pulls the
Ziploc bag from his coat and holds it up. There's a bit of
water in along with the diamonds. A tiny fish swims in the
water. Something about this makes Buddy smile as we...

DISSOLVE TO:

EXT. KAREN'S HOTEL - MORNING

The sun is out. The sky is clear.

KAREN (V.O.)
They don't know yet if they want to
bring him up on the homicides.

INT. KAREN'S HOTEL ROOM - MORNING

Karen on the phone. Her suitcase on the bed.

KAREN
I doubt if they will. The Bureau's
put a detainer on him, so when they're
through with him here he'll go back
to Florida.

INT. MARSHALL SISCO'S SITTING ROOM - SAME

Marshall on the phone...

MARSHALL
You gonna go get him?

KAREN
It's possible. Why?

MARSHALL
I was just thinking... you could
have a nice time with him on the
plane -- like picking up where your
interlude, or whatever you call it,
left off. And then throw him in the
can.

KAREN
He knew what he was doing. Nobody
forced him to rob banks.

MARSHALL
My little girl, the tough babe.

Karen hangs up, stares thoughtfully out the window.

INT. PRISON CELL - DAY

Where Foley stands staring out of his window.

VOICE
Foley.

As Foley turns around and faces a FEDERAL MARSHAL in the
doorway, we see that Foley's hands and feet are shackled.

INT/EXT. PRISON STATION GARAGE - DAY

The Marshal leads Foley from the building to where a black
government van waits. The Marshal helps Foley inside.

FEDERAL MARSHAL
Have a nice trip.
(looks OS)
I'll get the other one.

INT/EXT. VAN - SAME

As Foley sits down, stares at the floor. He looks depressed.
We hear the front door open, then close.

KAREN (O.S.)
Jack?

He looks to where Karen looks at him through a steel grate
that separates the front from the back.

KAREN
I got you a present, something for
the road.

She pushes A ZIPPO THROUGH the grate.

KAREN
I have to take it away, though, soon
as the ride's over.

Before Foley can say anything, the back door is opened once
more and the Marshal helps ANOTHER PRISONER -- a black man
with a shaved head -- into the back of the van.

FEDERAL MARSHAL
Jack Foley meet Hejira Henry.

An annoyed Foley stares at the guy as the marshal shuts the
door then gets in up front with Karen.

FOLEY
Hejira? What kinda name is that?

HEJIRA
Islamic.

FOLEY
What's it mean, "No Hair"?

HEJIRA
The Hejira was the flight of Mohammed
from Mecca in 622.

FOLEY
The flight?

HEJIRA
The brothers in Leavenworth gave me
the name.

FOLEY
You were at Leavenworth, huh?

HEJIRA
For a time.

FOLEY
Meaning?

HEJIRA
Meaning time came, I left.

FOLEY
You busted out?

HEJIRA
I prefer to call it an exodus from
an undesirable place.

FOLEY
(interested now)
And how long was it before they caught
up with you?

HEJIRA
That time?

FOLEY
There were others.

HEJIRA
Yeah. That was the ninth.

FOLEY
(really interested)
The ninth?

HEJIRA
Ten, you count the prison hospital
in Ohio I walked away from.

FOLEY
You must be some kinda walker, Henry.

HEJIRA
Hejira.

FOLEY
And so now you're off to Glades.

HEJIRA
Apparently, yeah. I was supposed to
leave last night with the lady
marshal, but for some reason she
wanted to wait.

FOLEY
(looks at Karen)
She did, huh.

HEJIRA
Cheaper I guess, take us both down
in one van.

FOLEY
Yeah, could be. Or maybe she thought
we'd have a lot to talk about.

HEJIRA
Like what?

FOLEY
I don't know.
(then)
It's a long way down to Florida.

Foley glances at her, then turns back to Hejira Henry and
considers the guy; a smile on Foley's face, his spirits a
little higher than when he first sat down, as we then...

CUT TO BLACK:

THE END

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