"OUT OF SIGHT"
from the novel by
Production Draft 03/23/98
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
WHIP PAN OVER TO REVEAL: A BANK ACROSS THE STREET
As Foley goes inside, we then...
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
How can I help you, sir?
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.
That's Mr. Guindon, one of our
assistant managers. Our manager is
Mr. Schoen, but he's not in today.
But you see the guy with the attaché
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.
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?
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.
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.
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...
She's cute, isn't she?
The man looks across the bank at Loretta.
Uh, yeah, I guess so.
Foley winks at Loretta and walks out.
(to Mr. Guindon)
Who was that?
EXT. BANK - SAME
As Foley comes out, he calmly walks to a Honda Civic and
INT. CAR - SAME
As Foley tries to start the car. No go. He tries again.
But the car won't start. Foley bangs on the wheel...
Foley then stiffens as a cop sticks his gun through the open
window into Foley's ear...
I think you flooded it.
Foley looks to the passenger window, where ANOTHER COP,
smiling, now has his gun pointing at him.
Get out've the car, sir.
Wanna hear a funny story?
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,
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
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
You want something, Foley?
Foley keeps his eyes fixed on the basketball game.
Some people are going out of here.
What if I told you where and when?
I expect you to look out for me,
Pup, let me run off work details.
Okay. How many going out?
I hear six.
Looks like tonight.
You know who they are?
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...
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.
I told you, man, Super Bowl Sunday.
Yeah, but I see you moved it up.
Why you think it's today?
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.
You want, I tole you you can come.
You all right, Foley. I like you.
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
Foley smiles at Lulu, who glares back at him.
So what, you finish ahead of schedule?
Chino looks towards the fence along the front of the yard.
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.
I appreciate the offer. And it's
Foley looks off towards the visitors' parking area, the fence
not twenty yards away.
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.
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
Yeah, I accept.
INT. PRISON HALLWAY - DAY
Foley on the phone...
Hey, Adele, how you doing?
INTERCUTTING FOLEY & ADELE:
Hey, Bank Robber, want some advice?
Next time, leave the engine running.
That's funny, Adele. How many more
times you gonna gimme that one?
Till it's not funny any more. What
do you want, Jack?
You know that Super Bowl party?
They changed the date. It's on
Didn't you tell me one-time calls
I said not as a rule.
So why don't you come right out and
tell me what you're talking about?
Listen to Miss Smarty Mouth. Out
there in the free world.
What's free about it? I'm looking
What happened to Mandrake the
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
(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
And the one driving the other car?
What're you talking about?
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,
Yeah, that's him. Buddy says Glenn
thinks you guys are real cool.
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...
...to where KAREN SISCO -- twenty-eight, black suit, long
hair, a knockout -- sits. She picks up the box and shakes
You fit another Chanel suit in here?
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...
(opens the box)
Oh my God...
She pulls a gleaming automatic pistol from the box...
It's a --
-- Sig-Sauer .38. I love it.
She leans across the table and kisses him.
Happy birthday, kid.
You want another Coke?
(checks her watch)
Can't. I gotta drive out to Glades,
then I'm meeting Ray Nicolet at ten.
Which one is that? The ATF guy?
He was. Ray's with the F.B.I. now,
he switched over.
He's still married though, huh?
Technically. They're separated.
Oh, he's moved out?
He's about to.
Then they're not separated, are they?
Can we change the subject?
What're you doing at Glades?
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.
You know you can always step in,
work with me full-time as one of my
You used to like it.
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.
I really gotta go.
We don't get to talk much any more.
How 'bout I come next Sunday and
watch the Super Bowl with you?
I'd like that.
She gets up, kisses him again.
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...
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
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...
Anyone ever tell you why they call
Buddy shakes his head. Maurice dances around the other guy
now. Teases him.
He was Maurice "Mad Dog" Miller back
when he was pro. Now you pet him, he
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.
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
Guy's braggin' he won a thrown fight.
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.
It's Richard Ripley.
The Wall Street guy? Oh, yeah. I
didn't recognize him without his
Foley watches as Maurice talks to the new inmate, the guy
nodding, acquiescent, respectful.
Dick the Ripper they called him, on
account of all the people he ripped
Foley watches as Ripley now makes a note in a BLACK BOOK.
What's he doin' here?
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.
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
Whoa -- little help here!
Who you talkin' to, Studs? Me, or
Buddy. I can't tell, you got those
You guys -- come on -- this is too
I guess the bright glare out here
made it hard to see the numbers on
I'll take the shades off. Just get
this fuckin' thing off me.
Foley helps him get the bar up. Glenn sits up.
How do you know he wrote a check?
He told me. He works the laundry
with me. The guy loves to talk.
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.
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."
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
Detroit. Snoopy Miller told me uncut
diamonds are as easy to move as cash.
Ever seen an uncut diamond, Studs?
They look like plain old rocks.
So. What's your point?
My point is, that's probably what
you're gonna end up with.
You think he's lying?
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
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 --
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
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
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...
You don't wanna be standing there,
the hacks start asking questions you
don't wanna answer.
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.
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
Buddy sticks the jimmy back in his pants, waits until the
woman is opening her trunk before coming forward...
Here, lemme help you with those,
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.
I didn't ask for your help, so don't
expect a tip.
Buddy smiles, waves her off.
That's okay, ma'am. I'll just take
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...
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...
I don't hear 'em. Where's the tunnel
Pup turns his back, walks up the aisle and across the front
of the pews to a window.
Second fence post from the tower out
there. Go on, take a look.
As Pup stares out the window...
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...
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.
Hi. Karen Sisco again for Ray Nicolet.
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.
There some car headlights out there...
Now he pulls his radio from his belt, says into it...
Man outside the fence! By tower six!
(responds to radio)
This is Officer Pupko...
I'm looking at him, for Christ's
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...
What's she doing?
He watches her duck her head in the trunk and come out with
a holstered pistol.
But then she throws the pistol in the trunk, ducks in there
again and comes out this time racking a shotgun.
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.
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
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.
It's okay, honey, we're good guys.
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,
I bet that's all the hacks they send
out. Otherwise nobody's left to mind
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.
Why you're just a girl. What do you
do for a living you pack a shotgun?
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...
I bet I smell, don't I?
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...
Total darkness, not a crack or a pinpoint of light showing.
Then we hear the engine come to life, the car moving along.
If I could have a little more room.
There isn't any. All this shit you
got in here. What is all this stuff
anyway? Handcuffs, chains... what's
For your breath. You could use it.
Squirt some in your mouth.
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...
Where's your gun, your pistol?
In my bag, in the car.
They go over some bumps. We hear men's voices from somewhere
far off, outside.
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.
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
INT. TRUNK - SAME
As Jack tries to wipe some of the mud off his face.
Boy, it stunk in there.
I believe it. You've ruined a nine-
hundred-dollar suit my dad gave me.
Yeah, went real nice with that twelve
Tell me, why in the world would
someone like you ever become a federal
The idea of going after guys like
you appealed to me.
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.
You wouldn't have time anyway. We
come to a roadblock, they'll run the
car, find out in five seconds who it
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
Must be quite a pal, risk his own
ass like this.
More bumps. Then picking up speed as the road smooths out.
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.
Buddy. That's his given name?
One I gave him, yeah.
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
So, what's your name? It'll be in
the paper tomorrow anyway.
Jack Foley. You've probably heard of
Why, are you famous?
Time I was convicted in California?
FBI told me I'd robbed more banks
than anyone in the computer.
How many was that?
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
I thought so, too.
It was me, I woulda left ol' Gus on
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.
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.
Basically. Yeah. If I go back now, I
do a full thirty years, no time off.
Can you imagine looking at that?
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...
You don't seem all that scared.
Of course I am.
You don't act like it.
What do you want me to do? Scream?
I don't think it would help much.
I'm just gonna sit back, take it
easy, and wait for you to screw up.
Jesus, you sound like my ex-wife.
You were married? All those falls,
I'm surprised you had time.
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
We still talk, though.
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...
You know, this isn't gonna end well,
these things never do.
Yeah, well, if it turns out I get
shot like a dog, it'll be in the
street, not off a goddamn fence.
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...
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.
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?
Is that right?
They put a hundred and eighty-seven
bullet holes in Clyde, Bonnie Parker
and the car they were driving. Bonnie
was eating a sandwich.
You're full of interesting facts,
It was May, 1934, near Gibsland,
EXT. HIGHWAY - NIGHT
Quiet. Empty. A moment later the car flies past.
INT. TRUNK - SAME
That part in the movie where they
get shot? Warren Beatty and... I
can't think of her name.
Yeah, I liked her in that movie about
Network. Yeah, she was good.
And the guy saying he wasn't gonna
take any more shit from anybody...
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.
Bleeding on a country road.
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.
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.
I mean if you didn't know who I was.
You'd probably tell me.
I'm just saying I think if we met
under different circumstances...
You have to be kidding.
Silence. Foley tries to get back to where it was working...
Another one Faye Dunaway was in I
liked, Three Days of the Condor.
With Robert Redford, when he was
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.
I never thought it made sense, though,
the way they got together so quick.
I mean, romantically.
Well, but if --
The trunk goes dark again as the car's turned off.
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.
Where in the hell are we?
That's the turnpike up there. Glenn's
waiting with the other car.
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.
Get your hands up and turn around.
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.
We may as well leave her, we're
leaving the car and we gotta leave
her some place anyway, what's the
She's coming with us.
Foley walks to the passenger seat, reaches in the window.
Jesus Christ, what were you doing in
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.
I already looked. Her name is Karen
Sisco. Like the Cisco Kid only spelled
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.
Karen? Be a good girl now, you hear?
Now, I'm gonna open the --
Foley jumps at the sound of a pistol shot.
You're putting holes in your car!
He looks up to see Buddy holding her shotgun, staring at
him. He settles down, then...
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.
Coming from somewhere above them.
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.
Hey, Jack, good to see you, man.
The fuck're you guys shooting at?
Foley looks at Buddy.
Do we need him?
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.
Oh, hey, Studs? We thought you were
Studs. Man, I haven't heard that
since Lompoc. What's going on?
Foley shakes his head, then walks back to the Ford and bangs
on the trunk.
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.
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.
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."
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,
I'll send it to you at Glades.
Jesus, what'd you crawl through, a
Take your sunglasses off.
I see better with them on.
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.
Wait in the car.
You're in civilization now, man,
I'd like you to go wait in the car.
How's that? Take her with you and
put her in back.
In the trunk?
Foley stares at him, waiting. Glenn motions to Karen...
Come on. I have to do what I'm told.
She walks past Foley without looking at him.
Wait a minute. Let me have your
(looks at Buddy)
Somebody forgot to bring me clean
I brought 'em, they're back at Glades
in the Cadillac. You wanted to take
You can blame me if you want. I don't
He doesn't say anything as Glenn takes off the raincoat,
folds it up, then throws it at Foley's feet.
Here you are, sir.
Foley watches as Glenn gets his sunglasses out, puts them
back on and takes Karen by the arm.
What's wrong with you?
Karen looks over at Foley, then ducks her head and gets in
Why you brought Glenn into this,
I'll never know.
How 'bout the score was his idea to
His idea? Gimme a break. Fuckin'
guy's got a vacant lot for a head.
Was you and me figured the whole
Buddy watches Foley struggle with the buttons on the uniform,
all of them caked with muck.
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.
I don't know why, but every time he
opens his mouth I want to punch him
He ain't the problem, Jack.
Foley looks at him.
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...
...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.
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--
His head turns so that we can see his designer shades.
You don't remember me, do you?
It couldn't have been out at Glades,
if that's what you're thinking. I
was never out there.
No, that's not what I'm thinking.
He raises his hand, strokes his hair away from his face.
But you're sure we've met, huh?
Last fall, I drove you from the Palm
Beach county jail to the federal
courthouse, twice. You're Glenn
I never forget anyone I've cuffed
He doesn't move or say a word, staring at her now like he's
been turned to stone.
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...
Do we have a gun in the car?
I remember you now. Shit.
Foley's not going to make it. And if
he goes down, Glenn, you go with
She touches his shoulder and he jumps.
Look, I can understand if you and
Foley are close.
We're not. I'm helping him, yeah --
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.
EXT. OVERPASS - SAME
Foley watches a car pass on the highway.
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
I want to talk to her again, that's
all. See what would happen under,
you know, normal circumstances.
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...
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
We hear SQUEAKY FOOTSTEPS OVER...
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."
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.
I got your fishies for you.
He sets a small Ziploc with two tiny fish inside down on the
(reaches for them)
(pulls them back)
Not so fast, Dick.
(off Ripley's look)
Starting now, there's gonna be an
across the board cost a living
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.
I think it's Dunn & Bradstreet. But
then, I could be wrong...
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.
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.
That Bausch & Lomb Saline shit you
asked for is gonna be eighty bucks.
Well, I need that...
...and that extra pillow's gonna be
an even three c's.
They all look to where...
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."
Sign says "Shut the fuck up." Or
can't you guys read?
There a problem, Foley?
Foley shuts the big book -- CHILTON'S AUTO REPAIR.
Yeah, I got a problem. This is the
dumbest fucking shakedown in the
history of dumb shakedowns. Three
hundred bucks for a pillow?
Sounds high, doesn't it?
Must be a real soft pillow.
Faux goose down.
How much for your company at chow?
Company, shit. I watch the man's
I bet. How much?
Foley shakes his head, turns to Ripley.
You're smart, Ripley, you'll tell
this guy to fuck off.
Really? Well, I uhhh...
First of all, if he kills you, he's
not gonna get any more money out of
Ripley looks at Maurice: Good point.
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.
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.
This doesn't concern you, Foley.
Why don't you go on out to the yard,
have yourself a smoke?
I don't smoke.
You heard the man. Go on outta here.
Foley doesn't move, just gives the guy a bored once over.
Himey here's a pro-toh-jay of mine.
He's ranked number thirty-two in the
federal prison system.
(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.
What's going on here?
Oh, you know, reading's funnamental
an' shit, we just excited.
Clear outta here.
The guard exits. Maurice and Foley are still staring at each
Excuse me. Snoopy? Did we settle the
(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.
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
Thanks for your help.
We hear a PHONE RING and then...
MAURICE MILLER'S HOUSE - THE BEDROOM - (NOW)
As Maurice lies in bed watching a boxing match on television.
Stick and jab, fool. Stick and jab.
A frisbee whizzes past the television. We hear A DOG YELP
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
Tuffy. C'mere, boy...
You gonna answer the phone?
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
(scoops up the dog)
Moselle, the fuck are you doing to
my little Tuffy?
He lovingly nuzzles the dog like it's his child.
I'm trainin' Tuffy, so he can be on
a Kal Kan commercial, make us some
He looks at her.
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.
(hands it to Maurice)
This is me.
EXT. PHONE BOOTH - GAS STATION - NIGHT
An antsy Glenn with his shades on talks on the phone.
Snoopy. Glenn Michaels.
INTERCUTTING GLENN & 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.
Listen, Snoopy, I'm on my way up to
Detroit and need a place to crash.
You crazy, come up here? It's fuckin
one degree outside.
I wanna talk to you about a job.
I can't really go into it right now.
I'll just tell you it's someone big.
Someone? Gimme a hint.
It's a guy you know.
Gimme another hint.
It's Richard Ripley.
Maurice doesn't say a word.
Oh, I'm here, all right. I'm very
here. Question is, why aren't you
EXT. BUDDY'S APARTMENT - SOMEWHERE IN FLORIDA - NIGHT
As Foley and Buddy hurry up the front steps.
I'm just saying she wasn't scared.
Cause she had her hand on her gun
the whole time, waiting to make her
Buddy opens the door, looks at Foley.
You're just jealous it was me in the
trunk with her and not you.
INT. BUDDY'S APARTMENT - NIGHT
A "hideout." Not much in the way of furnishings. Foley follows
Buddy inside, watches as he bolts the door.
First thing I'm gonna do is get all
this mud off me.
Foley starts for the bathroom.
I've been dreaming about a hot bath
for the last six months. Soak the
prison off me.
There's some lilac oil, you want
some, a vanilla candle under the
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
I know exactly what you mean. It's
just a feeling.
You know, I could go for some wine
There's a store around the corner,
I'll be right back.
Foley goes into the bathroom. A moment later WE HEAR THE
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
INT. APARTMENT - DAY
As Karen slips the door. She looks around, HEARS THE WATER
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.
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.)
As she opens her eyes.
REVEAL: A HOSPITAL ROOM - DAY
Flowers everywhere. Karen -- bruises on her face -- lies in
bed. Her father, Marshall, sits on the chair beside her.
You were talking in your sleep.
What'd I say?
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.
Daniel Burdon, FBI.
Marshall Sisco. Karen's dad.
You mind please waiting outside. We
have some business to do here.
Marshall looks at him a moment. Then, to Karen...
I need to go to the john anyway.
Burdon waits for Marshall to walk out, then sits down.
I wanna be on the task force, Daniel.
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.
Isn't that my report you're holding
Yes, but I want to hear you tell it.
Starting with when you tried to grab
the wheel -- where was this?
Coming to the Okeechobee exit...
And now we see it...
INSIDE THE CAR
Going over a hundred miles per hour, blowing past cars...
Take the next exit.
What am I supposed to do now?
Glenn, take the exit.
No way, man, no fuckin' way am I
gonna turn myself in.
She reaches over and grabs the wheel.
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.
The next thing I knew, the paramedics
were taking me out the car.
Burdon looks at Karen a moment, then...
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.
Really? Huh. He told me he didn't
remember how many he robbed.
You talked to him?
In the trunk, yeah?
What'd you talk about?
Oh... different things, prison,
This fella holds you hostage, you
talk about movies?
It was an unusual experience.
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?
When I was seeing Carl Tillman, I
didn't know he robbed banks.
Yeah, but I had enough reason to
believe he did, and I told you. So
you had to at least suspect him.
And what happened to Carl?
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?
Is that what you would've done?
You say in the report Glenn didn't
have a gun, but you let him get away,
Daniel, what do you work on most of
the time, fraud? Go after crooked
Karen, I've been with the Bureau
fifteen years, on all kinds of
Have you ever shot a man? How many
times have you been primary through
I have to qualify, is that it?
You have to know what you're talking
We hear CHUCKLING OS. Burdon glances at the doorway where we
see Marshall now standing, enjoying this.
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.
You'll have to ask him.
Sounds to me like he liked having
you around. I'll see you, Karen.
Marshall waits for him to walk out...
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...
What are you thinking about?
The Sig Sauer you got me for my
Tell you what, you're a good girl,
you might get another one for
She looks at him.
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.
Oh -- Are you delivering the oxygen?
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...
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.
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.
They pass this picture around you
can go anywhere you want, nobody'll
I wasn't feeling my best that day.
I'd just drawn thirty to life.
Maybe this'll make you feel better.
Buddy reaches into the bag, tosses Foley a NEW ZIPPO.
Foley catches the lighter, immediately begins playing with
He looks at the paper on the coffee table as Buddy sits down,
pulls some groceries and a sixpack from the bag.
Paper says there's ten grand each on
you, Chino and Lulu.
Say anything in there about Karen
Just that she got away.
Yeah, but what happened after she
drove off with Glenn?
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.
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.
Think this old guy is her boyfriend?
It's the only picture she carries.
Am I going to Detroit by myself?
Foley picks up her drivers licence photo.
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.
We'll leave first thing in the
EXT. MARSHALL SISCO'S CONDO - DAY
Right on a marina. Boats bobbing on the water.
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.
He doesn't even look like that.
No, he looks a lot...
She realizes Marshall's watching her.
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.
You look great. Your dad taking good
care of you?
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.
I've heard a lot about you, Mr. Sisco.
Ray's with the F.B.I. Task Force,
working on the prison break.
(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.
In case no one knows what he does.
Tell me, Ray, you ever wear one says,
No. Course not.
(changing the subject)
How's it going?
Great. We got one of 'em.
Karen looks at him.
Was it Foley?
(before he can answer)
Off a tip?
Yeah, someone spotted two of 'em in
this hobo camp out by the airport,
called the number --
I knew it, soon as I saw they were
offering a reward.
She grabs Nicolet by the arm.
Was it Foley?
Marshall looks at her.
Foley? Oh. No, it was one of the
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.
Did you pay the guy the reward?
Yeah, as soon as we got back.
Foley hadn't been there?
Her father gives her a look.
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.
Yeah, she is. Just a minute.
(hands her the phone)
FOLEY ON THE PHONE - DAY
On the balcony. Flipping through a copy of Vogue while Buddy
watches television inside.
INTERCUTTING KAREN & FOLEY - DAY
Karen just stands there, sees her father looking at her as
Ray drones on.
You know who this is?
She walks out to her father's balcony now.
I just wanted to see if you're okay,
make sure Glenn didn't hurt you or,
you know, anything.
Something I've been wondering, Ray...
Marshall picks up the newspaper...
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
She closes the glass door, so that they won't hear her.
How'd you get this number?
Who was it answered the phone?
None of your business.
I'm just worried maybe I'm not old
enough for you.
That's my dad.
Really. He has a cop's face.
How do you know? Wait -- you have my
And your gun.
Think I could have them back?
How do we do that?
Let's see. You could come on by my
dad's place, drop 'em off.
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.
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.
You won't do that.
Because you're having too much fun.
She doesn't know what to say to that. Foley smells the ad.
INSIDE THE HOUSE
...She fixes him pork chops and rice,
the next thing you know they're making
love on the sofa. She says he was
I spoke to her. The guy told her he
missed his little girl and she felt
sorry for him.
That's how you score now?
ON THE PATIO:
Karen looks inside at her father talking with Ray Nicolet.
My dad's retired. He was a Private
Investigator. Forty years. I used to
work for him.
I can just picture that, a cute girl
like you following slip-and-fall and
Something I've been wondering, what
ever happened to your Uncle Cully?
Why? You think he might tell you
where I am?
Unless you wanna tell me.
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.
That's not gonna be me.
One last score, that the idea? Move
to some island.
I'm partial to mountains myself. But
if you like islands, we'll make it
Whatta you mean we'll make it an
I just thought maybe you and me could --
Buddy opens the door, sticks his head out, startles Foley.
Who you talking to?
Is that Buddy?
Foley's caught off guard, hangs up the phone. He looks at
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
The woman also said he stole her
husband's gun, a twenty-two pistol,
and some of his clothes.
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
He looks over at her now. Gives her an innocent look.
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.
Chino's gonna wanna talk to me.
He's running for his life, he doesn't
give a shit about you.
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.
He knows where she lives?
Foley doesn't answer. Buddy mutes the set. Turns to 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.
So call her up. Tell her don't talk
to any Cubans.
Her phone's probably tapped.
And you know they're gonna have some
people watching the hotel.
EXT. MARSHALL SISCO'S BOAT - DAY
Karen stands there with her car keys and purse as Marshall
paints the trim on the boat.
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?
He's pretty laid back, confident.
He remind you of that guy, Tillman?
Not at all.
But you know he's dirty and you still
wanna see him again.
I want to bust his ass, put him in
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.
My married boyfriend -- setting him
up with that news story so you could
talk about infidelity. I couldn't
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.
Foley kidnapped me.
Yeah, but you talked all the way
from GCI to the turnpike. It sounds
more like a first date than a
She gives him a look. He goes back to his painting.
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...
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...
Oh, is this Adele?
Yes, it is.
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.
I'm a tourist.
You at least bring the gun?
(lifts straw bag)
In here with my suntan lotion and
That's her place.
As they drive past, Buddy indicates a MAN on the steps out
front, obviously FBI...
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.
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
Foley watches, her hair in her face as she tries to reach
under the car and grab it.
Okay, you saw her. That's all you
They watch as she walks to the Normandie and shows the YOUNG
AGENT her ID...
I guess Adele's in good hands.
Sure looks that way.
Let's go to Detroit.
Now you're talkin'.
INT. HALLWAY OUTSIDE ADELE'S APARTMENT - DAY
Adele has the chain on the door, talks to Karen through the
You were both in the trunk? Together?
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.
The FBI didn't tell you I was with
They didn't tell me anything, they
But you know what I'm talking about,
don't you? About Glenn, don't you,
and the second car?
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.
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?
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.
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.
When you were in the trunk with
Karen waits, watches her light her cigarette.
He didn't hurt you or anything, did
You mean, did he try to jump me?
No, but he was kind of talkative.
He gets that way when he's nervous
Adele sits down at the other end of the table.
You didn't visit him in prison.
He didn't want me to.
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
But you spoke to him on the phone.
He'd call every once in a while.
He called the day he escaped.
He did? I don't remember. Did he say
about me? In the trunk?
He said he wished the two of you
could start over, live a normal life.
Huh. Problem is, Jack's idea of a
normal life is robbing banks. It's
all he's ever done.
Did you know that when you married
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.
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.
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.
(looking at the picture)
She realizes Adele is looking at her.
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.
Buddy'll take care of him. Keep him
out've trouble. He's Jack's
conscience. Always has been.
He tell you how they met?
Karen shakes her head.
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.
They musta robbed fifty banks
Till they got busted.
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.
I think Buddy felt kinda bad about
Any idea where I could find Buddy?
Adele looks at Karen, then jumps at the sound of three quick
raps on the door.
Adele? You in there?
I want to speak with you, please.
Who is it?
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 did work for Emil, right?
Yeah, I was Emil's box-jumper for
almost four years.
You were his what, his box?
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...
You say you perform in the Miami
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.
Can you open the door?
Karen shakes her head "no."
I'm not dressed.
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.
Ask him his name.
Who are you?
Karen brings her Beretta out of the bag.
Or maybe you hear Jack Foley call me
Chino. I'm the same person.
Karen moves along the table to Adele...
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.
Wait in the hall! I have to get
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.
I don't know where he is.
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.
(staring at Karen)
Go away, or I'll call the police.
Why you want to do that, to a frien'?
Adele says nothing. Then...
Okay, you don't want to help me, I'm
I'm going now. I see you maybe some
time, okay? Bye bye.
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.
Leave it where it is.
Wait. You not Adele?
I'm a federal marshal and you're
under arrest. Put the gun on the
table. I mean, now.
Oh. Then this must be Adele...
He now aims the gun point-blank at Adele.
Put it down or I'll shoot.
You wouldn't shoot me, would you?
What do you want to bet?
I could walk out of here.
If you move, if you look at her again,
Chino doesn't move. Keeps his gun on Adele. Karen starts
walking towards him...
You can live or die, it's up to you.
Oh, is that right? You going to shoot
me? Nice girl like you?
I don't think so.
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...
On your knees.
He does as he's told. Karen raises his jacket, feels around
his waist from behind.
Lie face down on the floor.
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.
Karen looks at Adele a moment, then says into the phone...
Daniel Burdon, please. Karen Sisco.
Excuse me, Adele?
You do the sawing of the box in half
trick with you inside?
Tell me, how do you do that?
Adele looks at Karen, who shoves Chino's head to the floor
with her foot.
Karen. Where are you? I been trying
to get a hold of you.
Daniel. Listen --
Where are you? I been trying to reach
I'm at Adele Delisi's.
What -- we already talked to her.
That's a dead end.
(looking at Chino)
Yeah, I know. I was just leaving.
Why were you trying to reach me?
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
All right, but...
But don't you do anything. You just
have a seat, wait for me to get there.
Now. What is it you wanted to tell
Oh, I was just wondering, if I were
to bring in Chirino, would you put
me on the task force?
What? Is that what you're calling me
Yes or no, Daniel. If I get him,
will you let me go after Foley?
Yeah, sure, Karen. You bring in
Chirino, you can be on the task force.
That's all I wanted to know.
Good. Now forget about the ex-wife
and get over to the Adams Hotel.
Karen hangs up, looks at Adele. Adele nods.
INT. BUDDY'S APARTMENT - NIGHT
As Foley and Buddy quickly pack up their stuff.
First thing we do, we get to Detroit,
we find Glenn, then we find a window
to throw him out of.
I been thinkin', if I was Glenn, I
was up there to take down the Ripper,
where would I go?
Well, first off, if you were Glenn,
you wouldn't be thinking.
Remember Snoopy Miller, his old pal
Snoopy. Christ, I thought he'd be
brain dead by now.
He isn't fighting no more. Glenn
told me the Snoop's been managing
some guys up there now, works out at
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.
You get the key?
They're in 7D.
She hands it to him as they wait for the elevator.
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.
You're primary, you're secondary,
you're point man.
You're gonna use a ram?
The manager's door is metal.
They all look at her.
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
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.
I got a shock-lock round in my shotgun
oughta do the trick.
He sees the elevator still hasn't come down.
Fuck it. Let's take the stairs.
Burdon pauses, looks at Karen, hands her a radio.
Take the radio, stay down here in
the lobby, watch the elevator.
What? Daniel, I wanna go upstairs.
You can go wait out in the car, you
She doesn't say anything.
Now you see Foley and this guy Bragg
come in behind us, whatta you do?
Call and tell you.
And you let them come up. You don't
try to make the bust yourself. You
Before she can answer, an old woman steps in, asks Burdon...
Are you delivering the oxygen?
Burdon looks at her, then nods for his men to start up the
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...
INSIDE THE ELEVATOR - DAY
As Foley and Buddy ride down with an old lady. The doors
open. The woman doesn't move.
Is this your floor, mother?
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...
Like to play some gin?
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.
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
The elevator door opens to reveal Buddy and Foley.
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.
Shit, I wanted to go up.
Let's just hope there's no one in
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...
They know where I live, I guess they
know what I drive, so maybe we should
pick up another car on the way.
She just sat there, looking right at
Buddy gives him a look, shakes his head and then burns rubber
out of the garage as we...
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.
He waved to you?
I couldn't swear to it, but I'm pretty
sure he did.
You wave back?
I didn't have time.
I imagine you would've though.
She shakes her head.
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
So what I want to know is why Buddy
still calls his sister every week
even after she turned him in.
He doesn't seem to hold a grudge.
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?
None I'd like to share.
She gives him a kiss...
I'll call soon as I get in.
EXT. BLOOMFIELD HILLS - DETROIT - DAY
Snow. Everywhere. A black Lincoln Town Car creeps through
the neighborhood full of big, beautiful snow-covered homes.
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
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.
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.
Watch the road, boy.
I like this Town Car. We can cruise
the man's neighborhood without getting
the police or private security people
on our ass.
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.
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.
You sure Foley and his pal aren't
coming up here, do this themself?
If they're not busted now, they're
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.
So you still haven't said, how you
wanna do it?
I'll show you, soon as I get one
more guy I'm gonna need, Moselle's
brother, Kenneth. Along with White
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.
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.
Cool. Kenneth, this is the man I
told you about, Glenn.
The one gonna help us rip off the
White Boy Bob pulls out again. Glenn looks at the two psychos
in front, then turns to Maurice.
Wait a minute. I'm letting you in on
this, not all your friends.
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.
Thing I'm worried about is you.
Yeah. If you can step up and actually
do it. Understand? 'Stead of just
talking the talk.
Can I do what?
Walk in a house with me, do this
cross-dressin' nigga named Eddie
Solomon I used to sell to been dealin'
on his own.
What -- when?
Right now, son.
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.
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.
I think you're forgetting, this is
my car. I drove it up here.
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
Glenn looks at Maurice, now ice-cold behind the shades.
WHITE BOY BOB
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
Let's go see Eddie.
Glenn hesitates, then slowly gets out of the car as we hear...
Must take balls, do what you do.
EXT. LOMPOC FPC - YARD - DAY
As Foley walks with Ripley across the yard.
Tell me something. What's it like,
walk in a bank with a gun, stick it
I don't know. I never used a gun.
You'd be surprised what all you can
get, you ask for it the right way.
You're the reason, Jack, I don't
keep all my money in banks.
No? Where do you keep it, Dick?
I'm talking about all those uncut
diamonds you told Glenn about.
I know what you're talking about.
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.
Yeah, but who's gonna believe Glenn?
I mean, do you believe Glenn?
Of course not.
Plus, even it was true, he'd still
have to figure out where I keep 'em.
Doesn't have to figure out shit.
You told him you keep 'em at your
(shrugs, big smile)
It's a big house.
Ripley sits down on one of the picnic tables, looks around
Tell me something, Jack, how much
longer you in here?
Twenty-two months, three days, two
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.
It's a little late for me.
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.
I don't know. I'm not exactly the
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.
My ex-wife's in Miami. It's nice
No need to decide now. Be like the
fish. Let whatever happens happen.
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.
I can't say that I've paid that much
attention to 'em before.
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
And the guy sent you a bill for this?
It works. You should try it sometime.
The next time I walk into a bank.
Ripley shakes his head, then gets up...
Think about my offer, Jack.
Foley watches him go.
CLOSE UP OF FOLEY
As he turns to us.
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.
You see this one...
Buddy reads from a newspaper while Foley watches the gym.
"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.
Love is funny.
Buddy looks at him. Notices something over Foley's shoulder.
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...
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.
You already got your juices flowing,
huh? Pissed your pants back there at
Eddie's house, didn't you?
Glenn just looks at Maurice.
That was some shit, huh?
Why'd he have to do that to that
Yeah, Kenneth, why you have to do
that to that poor girl.
Glenn says nothing, just looks at Kenneth.
Just wait till we get inside Ripley's
And he and Whiteboy start laughing as they get out of the
It's all right with you, I'll just
hang in the car.
No. You gonna stay close to me from
now on. So you don't disappear on
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.
Was worse than you imagined, wasn't
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
Whatta you think?
I think Glenn opened his big mouth
and now we got us another partner.
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.
Stick and jab!
Hey, Studs, how you doing?
He looks up, sees Buddy and Foley coming this way.
Jesus Christ, what're you guys doing
They sit down on either side of him, close.
Weren't you expecting us?
That broad you picked up -- did you
know she was a US Marshal, for Christ
Now he turns to Buddy as Buddy stands up, takes off his
overcoat and sits down again.
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."
Yeah? She said that to you?
Glenn turns to see Foley with a mild expression on his face,
What happened to your shades? Someone
finally step on 'em?
(touches his head)
I don't know...
Foley notices the blood on Glenn's shirt.
Whose blood you got all over you?
These guys, man, they're crazy.
Foley follows his gaze, sees Maurice coming this way, White
Boy Bob beside him, carrying his shirts.
Is that Snoopy? In the purple doo
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?
Jack Foley, famous bank robber.
Snoopy Miller, famous fight thrower.
It seems to me I been reading about
you in the newspaper. Busted out of
some joint in Florida, huh?
Low class of people there, Snoop.
WHITE BOY BOB
You call him that again I'll put
your head through the wall.
What? You mean Snoop?
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.
But you call this bozo White Boy?
White Boy Bob.
White Boy used to be a fighter.
What's he do now outside of shoot
his mouth off?
White Boy Bob stares down Buddy who couldn't give a shit.
Like being back in the yard, huh?
Just like it. Nobody backing down.
You back down, you pussy. Tell me
what you and Buddy doing up here in
Glenn didn't tell you?
I thought you guys were busted.
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...
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.
Let's go outside and talk.
What's the matter with right here?
It's nice and warm.
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.
We'll see you tomorrow then.
Maurice then watches as they walk out.
White Boy, how much is the reward on
the man again?
WHITE BOY BOB
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.
I'm looking for Ray Cruz.
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.
Called themselves the Youngboys.
Karen looks over as RAYMOND CRUZ, a stocky, genial-looking
detective comes out of the kitchen.
Ironic, isn't it?
How are you, Raymond?
Freezing. But I'm getting warmer.
He kisses her on the cheek. She indicates the body by the
Quite a mess.
Yeah. And I thought everyone liked
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.
What is it with crack and
Yeah, Eddie was a real character.
Had these girls cooked the rocks he
called the Rockettes.
Yeah. I saw one of 'em outside.
Yonelle. Looks like someone raped
her, shot her, then threw her out
(shakes his head)
This shuts them both up. Cruz indicates the door.
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.
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?
I report to the FBI, first thing
they're gonna do is ask me to go get
You know, I'm not in homicide any
No, I didn't know that.
Yeah, I'm crimes against persons and
property now, also sex crimes and
Detroit, you must be pretty busy.
Yeah, and, as you can see, home
invasions are big, too.
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.
Who was the friend?
Guy named Maurice Miller, also known
as Snoopy, a former prizefighter.
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
I'll need a last known address.
That's fine, but I don't want you to
talk to Miller alone.
Come on, Raymond, I'm a federal
officer, I'm armed.
He turns and looks at her.
Yes, you are. I'll call you tomorrow
with the address.
As he gets into his car, we then:
The crime scene from the night before. A shot of Karen and
Ray Cruz as they exit the house. A headline reads "TRIPLE
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.
It's a terrific shot of her.
INT. BUDDY'S ROOM - SAME
Buddy looking at the same shot...
Outside of that.
INTERCUTTING FOLEY & BUDDY
Doesn't say what she's doing up here,
but I don't think it has anything to
do with us.
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.
I think she's after Glenn. The girl
still with you?
They don't stay the night, Jack,
'less you pay for it.
You tell your sister about it?
Just hung up.
How long you talk to her?
How long were you with the girl?
You didn't tell your sister about
Ripley, did you? 'Cause I don't wanna
go through that again.
Forget about my sister. If Karen
Sisco's tailing Glenn, we're fucked.
Tomorrow night at the fights we all
get picked up.
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.
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.
I still haven't made up my mind yet.
What's to think about?
You goin' right back to work?
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...
(hands it to Foley)
Something to remember me by.
Foley stares at the photograph of sea life.
It's not the real thing, but it's
still nice to look at.
Foley looks at Ripley, who extends his hand.
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.
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
Karen Sisco, please.
I'm sorry, but there's no one by
that name registered.
He dials the next number...
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.
What do you want?
I'm looking for Maurice.
You find him, tell him the dog got
run over and I'm out of grocery money.
Moselle. Who you talking to?
Lady looking for Maurice.
What's she want?
That's not Maurice?
That's Kenneth, my brother. He's
talking on the phone.
Ask what she want with him?
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.
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...
The State, huh. Who's fighting?
Karen walks into the living room, where Moselle sits on the
sofa lighting a cigarette.
You like to sit down?
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
I'm looking for a friend of mine I
think Maurice knows.
You not with probation, one of those?
You a lawyer?
No, I'm not. Maybe you know him.
Moselle draws on her cigarette, blows out a stream of smoke.
Glenn? No, I don't know any Glenn.
He said he stayed here last November.
Here? In this house?
He said he stayed with Maurice.
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,
Your dog was killed?
Got run over by a car.
What did you call it?
Moselle looks at the couch, where a MANGLED FRISBEE sits.
Was a she, name Tuffy.
Where do you think I might find
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.
The State Theater?
What you want with Maurice?
Karen turns, sees Kenneth standing in the arched entrance
from the foyer.
She looking for a man name of Glenn.
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...
You're a fighter?
How you know that?
I can tell.
He moves his head in what might be a feint.
Till I got my retina detached two
He's standing so close to her, Karen has to look up at him.
What'd you fight, middleweight?
Light to super-middleweight, as my
body developed. You go about what,
You know your divisions. You like
the fights? Like the rough stuff?
Yeah, I bet you do.
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.
I can give you a bone, too, girl.
You're not my type.
Don't matter. I let the monster out,
you gonna do what it wants.
Just a minute.
Her hand goes into her bag next to the chair.
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...
What else you have in there, mace?
Have a whistle, different kinds of
Karen pushes out of the chair to stand with him face-to-face.
I have to go, Kenneth.
She gives him a friendly poke with the black vinyl baton
that's like a golf club grip.
Maybe we'll see each other again,
She steps aside and brushes past him. He grabs her left
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,
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
What's wrong with you?
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.
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
INT. BUDDY'S CAR - SAME
Buddy wipes the condensation off his window, so they can see
Now that's a really big house.
Jesus, look at that wall. Place almost
looks like a prison.
No doubt the man's got some big-ass
Time comes, we knock on the door.
See if he wants to talk about old
times. Go in the easy way.
Yeah? You think he'll let us in, we
got Snoopy and the muscle-bound
asshole with us?
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 --
Let Glenn deal with the Snoop, while
we're off livin' the good life.
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?
What about that D.B. Cooper guy?
Foley looks at him.
I mean, they don't know for sure
Look, there's always a chance we'll
walk out've there with nothing. I
say let fate decide.
Let fate decide? What're you, the
fuckin' Dali Lama now?
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,
Yeah, it's called Glades Correctional
Institution and I'm sure as shit not
going back there or any place like
You might not have a choice.
Foley looks at him.
They put a gun on you, you'll go
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.
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
Mr. Hearn pauses, looks down at Foley...
You're about a 42 long, right?
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
Foley shakes his head, takes out his zippo, starts to play
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.
What is this?
Mr. Hearn shows him the yellow patch that reads SECURITY on
one arm. Foley smiles... amused... angry... hurt...
Are you kidding me?
RICHARD RIPLEY'S OFFICE
View. Wet bar. Huge fucking aquarium.
Sir, you can't go in there...
Ripley looks up from his desk as Foley steps in, the
receptionist right behind him now.
Jack? Whoa -- what's the problem?
Take it easy, let's talk...
Meanwhile, Ripley pushes a PANIC BUTTON beneath his desk...
A security guard? Are you fucking
Ripley considers Foley a moment, then...
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
Understand something, Jack. Up to
this point, everything you've done
with your life means absolutely
nothing in the real world. Less than
Foley says nothing.
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.
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.
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.
Jack, I'm disappointed. I guess I
Two massive SECURITY GUARDS appear in the doorway...
Hey, what job he promise you guys?
There's two ways we can do this.
Yeah? What are they?
Gentlemen. I think we've calmed down
now. Haven't we, Jack?
Oh, yeah, I'm calm. In fact, I'm
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...
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.
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?
Yeah, and I better call my sister.
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.
Jack Daniel's, please, water on the
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.
They want to buy you a drink.
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...
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.
And I won. Hi, I'm Philip.
If it's okay with you, Philip, I'd
like to just have a quiet drink and
Don't you want to know what I guessed?
How I know what you do for a living?
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
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.
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 --
Andy? Really. Who gives a shit?
He gives her a sympathetic expression.
Want to tell me what happened?
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.
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.
Yeah, I'd love one.
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
She hesitates, then shakes his hand...
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.
It takes hours to get a drink around
here. There's only one waitress.
I can go to the bar.
Don't leave me.
Those guys bother you?
No, they're all right. I meant, you
just got here.
She picks up her drink and places it in front of him.
She watches him take a sip, smack his lips.
You like bourbon?
(passes the glass
Well, we got that out of the way.
Tell me, Celeste. What do you do for
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.
Is that how you think of yourself?
What, as a sales rep?
I don't have a problem with it.
I like your hair. And that suit.
I had one just like it -- well, it
was the same idea, but I had to get
rid of it.
Having it cleaned didn't help, huh?
What do you do for a living, Gary?
How far do we go with this?
This stops her, throws her off balance.
Not yet. Don't say anything yet.
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?
It's your game. I've never played
It's not a game. Something you play.
Well, does it make sense to you?
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.
They look at each other a moment, then...
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.
How'd you find me?
He comes over to her, takes out the newspaper clipping with
her picture and shows it to her.
I called your room from downstairs.
If I had answered, what were you
Well, I'd say who I was and do you
remember me and ask if you'd like to
meet for a drink.
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?
It would be worth the risk.
She looks at him, touches his face with her hand...
You like taking risks.
So do you.
He kisses her now, puts his arms around her.
What's the hurry, Jack? You have to
She hands him his drink. They both drink, then...
Sooner or later...
She stops and he looks at her over the rim of her glass.
You really wear that suit.
That's not what you were about to
She shrugs, lets it go. He puts down his drink, kisses her.
She lets him, then moves to the couch.
Remember how talkative you were? In
the trunk? Adele said you do that
when you're nervous.
She did, huh.
You kept touching me, feeling my
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 --
I might've smelled like a sewer, but
you could tell I was a gentleman.
They say John Dillinger was a pretty
He killed a police officer.
He stops. Looks at her.
I hear he didn't mean to. The cop
fell as Dillinger was aiming at his
leg and got him through the heart.
You believe that?
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.
You know that Sig .380 you took was
my favourite. My father gave it to
As he kisses her on the neck.
What were you gonna do with me?
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.
You waved to me in the elevator.
She's loosening his tie, unbuttoning his shirt.
I wasn't sure you caught that.
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...
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.
You know I saw you on the street.
He starts to kiss her again, but --
You were going to see her?
To warn her about Chino.
So she did help you?
I don't think we should get into
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.
Don't talk like that, okay? You scare
And he moves to kiss her, but she stands up, holds out her
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.
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...
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.
You having fun?
She smiles and then they start to make love as we then...
Eyes open, serious now.
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
You coming back?
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.
I want you to know something. I wasn't
looking for just a fuck, if that's
what you're thinking.
Why are you mad?
Or I did it for some kind of kinky
thrill. Score with a bank robber the
way some women go for rough trade.
What about my motive? Now I can say
I fucked a US Marshal. You think I
I don't know.
He raises the covers, but she just stands there.
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
She comes over and sits down on the bed.
You're not dumb.
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...
You getting serious on me now?
I'm trying not to. I just wanna know
what's gonna happen.
And he kisses her.
EXT. DETROIT - DAY
The sun is out. The snow has stopped falling. A white blanket
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...
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.
It took you, what, seven hours to
buy a pair of shoes?
I saw Karen Sisco.
Buddy turns to him.
And she saw you?
Yes, she did.
So how's that work, a wanted felon
socializing with a U.S. Marshal?
You know how I felt about her.
Did you give her a jump? If you did
I might begin to understand where
your head's at.
It wasn't about getting laid. I just
wanted to know what might've happened
if things were different.
You find out?
Yeah, I did.
Buddy watches Foley pour a shot of Jim Beam in his coffee.
So what's that mean? That you're
disappointed by what you found or
you're sorry you robbed all those
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.
Stick and jab, stick and jab!
White Boy Bob throws down a beer and gives Glenn's shoulder
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.
As he pushes his chair back.
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.
Glenn, are you trying to steal this
Jesus, I don't believe it.
Another one of those days, huh,
nothing seems to go right?
He raises his empty hands.
I don't have the keys.
I see that.
I mean I'm not stealing the fucking
I already stole it. Last week or
whenever it was, in West Palm. I
can't be stealing it again, can I?
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.
Jesus. How'd you know about Snoopy?
Karen looks at him, shakes her head.
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.
You're gonna bust me for picking up
For the car, for aiding and abetting
a prison escape, and conspiring to
do whatever you came here for.
Listen, these guys, they're gonna be
out here any minute looking for me.
They're fucking animals.
What's going on, Glenn?
Nothing. I just wanna get the fuck
But I thought the whole thing was
Rippin' off Ripley was my idea, but
these guys, man, they're into shit I
Ripley? You mean the wall street
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.
And is Foley a part of this?
He's supposed to be, but he hasn't
shown up yet, which is a good thing
Maurice is gonna kill him, try and
collect the reward.
But you say he hasn't shown up, you
think he backed out?
I don't know -- he doesn't exactly
confide in me.
Gee, I wonder why not.
I'm freezing my ass off.
You want to get out of here, run,
it'll warm you up.
But listen, Glenn. If you're lying
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.
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.
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.
Kenneth, this is Mr. Jack Foley and
this is Mr. Buddy, famous bank
Foley nods to the raincoat draped over the back of a chair.
Who's sitting here?
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.
I sent these two looking for him,
they come back shaking their heads.
Well, if he left his coat and he's
been gone a while.
WHITE BOY BOB
The car's still there. I looked.
(to the ring)
Reggie, push off and hit, man. Push
The fuck you talking about?
Snoop, if you don't know where Glenn
Maurice takes Foley by the arm, moves him away from the table.
Look, what you worried about Glenn
for? What's he know?
I thought everything.
Foley watches the fighters: one of them patient, moving in
while the other one takes wild swings and misses...
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.
It's happening tonight.
Foley looks at Maurice now.
Soon as we leave here. Stop home and
pick up what we need and go do it.
Give me a minute, talk to Buddy.
You got two minutes, that's all.
Make up your mind.
I wasn't asking permission.
Foley walks up to the bar with Buddy.
They want to go tonight, before Glenn
gets in any trouble, opens his big
Whatta you wanna do?
Foley takes out his lighter, begins playing with it.
You know they gonna set us up.
I get that feeling, yeah.
But you still think you can get the
diamonds fore they do?
Foley looks at him a moment, then...
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.
Half for doing what?
Getting me out of Glades for starters.
And who watches your back?
As he sits down with White Boy Bob and Kenneth, watches as
Buddy and Foley talk up at the bar.
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
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.
That what they're wearing these days
to break and enter?
Break and enter, shit. Take it and
git, how it's done. Don't waste any
time. That's how you do it.
So you've done this before, huh?
Shit, yeah. White Boy even got busted
White Boy, tell these boys the reason
you went down on that burglary that
WHITE BOY BOB
I left my wallet in the house I
The guy grins at them. Foley can't believe it.
Takes the TV, the VCR, some other
shit and leaves his wallet on the
That's a wonderful story, Snoop.
I'm very excited about tonight.
Hey. You learn from doing.
Foley and Buddy exchange looks. Maurice turns around, a
Beretta in his hand. Foley looks at him. Buddy tenses.
You know how to use one a these?
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
Kenneth grins in the mirror, punches it more. Buddy gets out
the .38 and touches it to the back of Kenneth's head.
Get ready to grab the wheel when I
shoot this asshole.
Kenneth, his eyes freaked with speed, glares at Buddy in the
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
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.
"An army .45 will stop all jive."
Huey P. said that.
You think he was talking about walking
into people's houses when he said
Maurice looks at Buddy. Buddy holds his gaze. Then the coach
lights on either side of the front entrance come on.
(pulls his mask down)
Get ready to go skiing.
Now the front door opens...
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.
Go on in the house before you get
Kenneth puts his face up close to Foley's and stares at him
good before going inside. Foley turns to Buddy...
There's still time, take me up on my
I'm not leaving you alone with these
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...
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.
Hey, shit, we're gonna have a party.
Not yet. Where's Mr. Ripley?
I told you, he isn't here.
Out for the evening?
He's in Florida. Palm Beach.
When's he due back?
Jesus Christ, what difference does
it make? You want to wait for him?
Mr. Ripley's down for the season.
Christmas to Easter.
You here all by yourself?
That's right, just me.
Foley catches the hesitation, glances at Buddy.
Where's Ripley's safe at, he keep
his valuables in.
I don't have any idea.
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
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...
You set off any kind of alarm and
you're a dead Hazel. Understand?
Kenneth puts his arm around the maid.
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.
First money, then pussy.
Alone with Buddy now, Foley rolls his mask up on his head.
You ever wear one of these?
I don't ski.
Stay with the maid. I'm gonna have a
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.
Tell me where Ripley's house is.
I'll meet them there.
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
WHITE BOY BOB
Maurice and Kenneth look over expectantly.
WHITE BOY BOB
I found a rubber.
White Boy, the man's not gonna hide
no diamonds under the fuckin'
Maurice looks out the door, sees Buddy in the doorway.
Checkin' the other rooms, like you
(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.
Kenneth, fuck the radio, put on a
(looking them over)
I don't recognize none of these bands.
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
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
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.
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.
Foley? That you?
How are you, Richard?
Jesus Christ, what the hell are you
doing here? What's going on? Who's
Maurice Miller, couple of his friends.
Maurice? From Lompoc? Good God.
Ripley moves to the doorway.
Have they got Midge up there?
What kinda man lets a woman answer
the door, this time a night?
We thought it might be her husband.
Sometimes he comes and checks up on
her. She told him I was down in
A minute or two, you're gonna wish
Ripley looks at him. Foley pats the back of a chair.
Why don't you come on over here, sit
down, Richard, have a look at your
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.
How do I look, mama?
Like a fag.
Maurice smiles at her, goes back into the closet. Kenneth
stares at the maid, nodding slowly.
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...
He sticks his head out of the closet.
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.
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.
What do you want from me, Jack?
Name it. You want money?
You gonna write me a check?
We'll go to my bank. I'll make a
Foley just looks at him. Buddy sticks his head in the room.
They found the safe.
You remember Buddy, don't you,
Yeah, hi. Nice house.
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.
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.
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.
Good God... they're shooting Midge!
(pushes him down)
Siddown, Dick. They're trying to
open the safe, not your maid.
As Maurice, Kenneth and White Boy Bob get ready to fire again.
A'ight, this time we gotta get the
motherfuckin' trajectory right...
Okay, on three: One... Two...
The combination is three-ten-forty-
They all turn to look at her, guns still pointing at the
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.
...the fuck is this...
WHITE BOY BOB
Are they dead?
He looks at White Boy Bob...
Go find Foley. NOW!
INT. RIPLEY'S STUDY - SAME
As Foley leans forward in the chair now...
I can't believe you're still angry
with me, Jack, after all this time.
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.
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.
Dumbfuck Glenn was right, there's
about five million worth in there,
wouldn't you say, Richard?
Five point two.
They look like plain old rocks.
They sure do.
He gets up, looks at Buddy.
Go get a bag.
Foley turns to Richard as Buddy comes back into the room
with a plastic bag, starts reaching into the tank.
I were you, I'd get up and run.
I'm not leaving Midge.
Don't be an asshole, Richard. They're
gonna kill you.
If that's my fate, so be it. I'm not
I love her, Jack.
Foley looks at Buddy. Now what?
Foley just looks at Ripley, who doesn't move.
Good luck, Richard.
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.
Well, if it isn't the Ripper hisself.
Are those my suits?
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 straightens up, looks at Foley.
They're gonna rape the maid, aren't
From the looks of those boys, the
And then they'll kill 'em.
Foley looks at the diamonds in the bag.
We made it, didn't we?
All you gotta do is get in.
Again Foley looks at the diamonds, then...
I'm going back inside.
I'll go with you.
Foley finally hands him the bag with the diamonds in it...
No, you dump the van, meet me at the
airport. I'll take one of Ripley's
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.
I'm saying this isn't your problem.
Far as I'm concerned, we're square.
Foley turns to go.
Buddy hands him his gun. Foley takes it, stuffs it in the
back of his pants, and then turns back to the house.
Now get outta here.
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
INT. RIPLEY'S STUDY
Maurice and White Boy Bob both have their guns to Ripley's
(hears the scream)
Forget about her. Tell me where the
Foley's got it.
Where the fuck is Foley?
INT. UPSTAIRS HALL - SAME
Foley comes up the stairs, heads for Ripley's bedroom. The
door is closed now...
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...
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
You take the front stairs, I'll take
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.
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.
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,
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...
Jack, you don't use a gun, do you?
Not until recently.
This kind of setup, you don't have
any idea what the fuck you're doing --
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
INT. UPSTAIRS HALLWAY - SAME
As Foley and Maurice grapple on the floor near the head of
INT. STUDY - SAME
As Karen answers her phone, checks Ripley...
We're a few minutes away. Just sit
tight, stay outta the house till we
get there, understand?
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...
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...
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,
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...
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:
He sees Midge looking at him, closes his eyes, sags against
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.
Come on, Jack -- don't.
Pretend I'm somebody else.
You think I'd shoot you?
Foley brings up the pistol and the shotgun. AND NOW WE HEAR
If you don't, one of those guys will.
What're you now, a desperado? Put
the guns down.
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.
Don't do this. Please.
They stand there staring at each other.
No more time outs.
He raises the guns. She sadly shakes her head.
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...
Karen, I told you not to --
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.
I'm sorry, Jack, but I can't shoot
You just did, for Christ sake.
You know what I mean.
She glances about, makes sure no one can hear, then leans
closer to him.
I wish things were different. I'm
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.
She comes running down the stairs into his arms. They embrace.
He looks at Foley over her shoulder...
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.
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...
EXT. KAREN'S HOTEL - MORNING
The sun is out. The sky is clear.
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.
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
INT. MARSHALL SISCO'S SITTING ROOM - SAME
Marshall on the phone...
You gonna go get him?
It's possible. Why?
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
He knew what he was doing. Nobody
forced him to rob banks.
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.
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.
Have a nice trip.
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.
He looks to where Karen looks at him through a steel grate
that separates the front from the back.
I got you a present, something for
She pushes A ZIPPO THROUGH the grate.
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.
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.
Hejira? What kinda name is that?
What's it mean, "No Hair"?
The Hejira was the flight of Mohammed
from Mecca in 622.
The brothers in Leavenworth gave me
You were at Leavenworth, huh?
For a time.
Meaning time came, I left.
You busted out?
I prefer to call it an exodus from
an undesirable place.
And how long was it before they caught
up with you?
There were others.
Yeah. That was the ninth.
Ten, you count the prison hospital
in Ohio I walked away from.
You must be some kinda walker, Henry.
And so now you're off to Glades.
Apparently, yeah. I was supposed to
leave last night with the lady
marshal, but for some reason she
wanted to wait.
(looks at Karen)
She did, huh.
Cheaper I guess, take us both down
in one van.
Yeah, could be. Or maybe she thought
we'd have a lot to talk about.
I don't know.
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...
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