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Out Of Sight (1998) script

by Scott Frank
based on the novel by Elmore Leonard
 
BLACK

We hear TRAFFIC, some STREET NOISES, then...

FADE IN: A MIAMI STREET - DAY

The financial district.  Lots of people in suits.  A shaky,
spasmodic ZOOM IN finds...

JACK FOLEY -- forty, big, focused expression -- as he rips a
tie from around his neck and throws it down in the gutter.  He
starts across the street, now peeling off his suitcoat and
dropping that, too, right there on the asphalt as we then...

WHIP PAN OVER TO REVEAL: A BANK ACROSS THE STREET

As Foley goes inside, we then...

CUT TO: A PRINTED BROCHURE THAT READS...

	       LOOKING FOR MONEY?

	 YOU'VE COME TO THE RIGHT PLACE.

We then PULL BACK TO REVEAL that we're now...

INSIDE THE BANK

as Foley stands at a counter holding the above CREDIT APPLICATION
while he studies the bank layout.

Foley watches a MAN IN A SUIT, carrying an attache-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 rosses the brochure in the trash, then crosses to a teller
window where a nameplate on the counter tells us the young woman
with the pile of dark hair smiling at him is LORETTA.

		TELLER/LORETTA
	How can I help you, sir?

		FOLEY
	Loretta, you see that guy talking to
	your manager, has his case open?

Foley takes out a ZIPPO LIGHTER and casually, yet expertly,
begins to fiddle with it as the teller looks across the bank.

		LORETTA
	That's Mr. Guindon, one of our assistant
	managers.  Our manager is Mr. Schoen,
	but he's not in today.

		FOLEY
	But you see the guy with the attache
	case?

		LORETTA
	     (looks again)
	Yes.

		FOLEY
	That's my partner.  He has a gun in
	there.  And if you don't do exactly
	what I tell you, or you give me any
	kind of a problem, I'll look over at
	my partner and he'll shoot your Mr.
	Guindon between the eyes.

Loretta goes stiff, swallows, stares back at Foley.

		FOLEY (CONT'D)
	Now take one of those big envelopes
	and put as many hundreds, fifties and
	twenties as you can pack into it.
	Nothing with bank straps or rubber
	bands.  I don't want any dye packs.  I
	don't want any bait money.  Start with
	the second drawer and then the one
	over there, under the computer.  Come
	on, Loretta, the key's right there
	next to you.  No bills off the bottom
	of the drawer.
	     (as she works)
	First time being robbed?
	     (she nods)
	You're doing great.  Just smile,
	Loretta, so you won't look like you're
	being held up.
	     (she smiles awkwardly)
	That's the way, you're doing fine.

We hear a bit of thunder and Foley cuts a fast look out the
front door.  When he turns back, he sees that Loretta's having
some trouble fitting all the bills into the envelope.

		FOLEY (CONT'D)
	Here, give me the twenties.  I'll put
	'em in my pocket.  Okay, I haven't had
	to give my partner a sign; that's good.
	Now, he's gonna wait thirty seconds
	till after I'm out the door, make sure
	you haven't set off the alarm.  If you
	have, he's gonna shoot Mr. Guindon
	between the eyes.  Okay?  I think
	that'll do it.  Thank you, Loretta,
	and have a nice day.

		LORETTA
	You, too.

Foley heads for the door.  He pauses by Mr. Guindon's desk,
looks back at Loretta.  Foley smiles at her, then turns to the
Man sitting with Mr. Guindon, indicates Loretta...

		FOLEY
	She's cute, isn't she?

The man looks across the bank at Loretta.

		MAN
	Uh, yeah, I guess so.

Foley winks at Loretta and walks out.

		MAN (CONT'D)
	     (to Mr. Guindon)
	Who was that?

EXT. BANK - SAME

As Foley comes out, he calmly walks to a Honda Civic and gets in.

INT. CAR - SAME

As Foley tries to start the car.  No go.  He tries again.

		FOLEY
	Come on...

But the car won't start.  Foley bangs on the wheel...

		FOLEY (CONT'D)
	Fuck!

Foley then stiffens as a cop sticks his gun through the open
window into Foley's ear...

		COP
	I think you flooded it.

Foley looks to the passenger window, where ANOTER COP, smiling,
now has his gun pointing at him.

		SECOND COP
	Get out've the car, sir.

		FOLEY
	Wanna hear a funny story?

		SECOND COP
	Shut up and get out've the car.

And as Foley obliges, we then...

FADE TO WHITE.

We hear a MAN GRUNT.  Then see Foley in SLOW MOTION as he jumps
through frame, now we see a basketball come up in his hand as
we realize he's on his way to the rim when...

...ANOTHER GUY rams into him in mid-air, knocks him down.

EXT. PRISON YARD - DAY

A BASKETBALL GAME in progress.  All of the men, Foley included,
are dressed in blue coveralls and white T-shirts.  The game is
rough.  Hair is pulled.  Eyes are poked.  Faces punched.

A title reads: "GLADES CORRECTIONAL INSTITUTION.  BELLE GLADE,
FLORIDA."

Foley is the oldest player here.  He's getting tired, starts to
lose his breath.  He finally walks off the court, breathing so
hard he can't even talk.  He simply motions to SOME YOUNG CONVICT
to come in and take his place.

Foley sits down on a bench, tries to catch his breath.  He looks
across the yard to where...

A GROUP OF ELDERLY INMATES

sitting around a wooden picnic table are playing cards.  All of
them are over sixty.  One of them, a one-legged guy on crutches
hops away from the table, spits out some tobacco as we...

INTERCUT THE OLD TIMERS WITH FOLEY WATCHING THEM:

As we see one old guy is making a picture frame out of old Pal
Mal and Lucky Strike packs.  Another tends to a tomato bush in
a tiny patch of garden near the wall.  Another one sits nearby
painting a picture of a man and a boy fishing from a rowboat.

Foley is about to get up off the bench when something catches
his eye.  He watches as...

TWO LATINO MEN

both little guys, jog past the game, slow to a walk, then stop
and begin stretching out.  One of them nods to Foley.  Foley
nods back, waits for the Latin guys to walk off, then walks
over to a guard, PUPKO ("PUP"), heavy-set, dumb as dirt.

		PUP
	You want something, Foley?

Foley keeps his eyes fixed on the basketball game.

		FOLEY
	Some people are going out of here.
	What if I told you where and when?

		PUP
	How many?

		FOLEY
	I expect you to look out for me, Pup,
	let me run off work details.

		PUP
	Okay.  How many going out?

		FOLEY
	I hear six.

		PUP
	When?

		FOLEY
	Looks like tonight.

		PUP
	You know who they are?

		FOLEY
	I do, but I won't tell you just yet.
	Meet me in the chapel at eight-thirty,
	right before lock-down.

INT. MESS HALL - LUNCH

As Foley takes his tray up the centre aisle, he scans the sea
of white T-shirts until he sees the two little Latins sitting
at a table full of other little Latins.  CHINO -- fifties, in
shape -- shovels macaroni in his mouth.

Chino's "wife", LULU, nineteen, looks up from his own neat tray
of macaroni and jello and watches Foley walk past and sit down
with a bunch of bikers.

Foley watches as the guy across from Chino scrapes some macaroni
off his plate and on to Chino's and Chino wolfs that down, too.

EXT. MESS - DAY

Chino steps outside and lights a cigarette.  He puts an arm
around Lulu, starts to walk off...

		FOLEY (OS)
	Today's the day, huh?

Chino looks over, watches Foley approach, lets his arm slip
down so he can hook his thumb into Lulu's belt... the next
thing to having him on a leash.

		FOLEY
	You excited?

		CHINO
	I told you, man, Super Bowl Sunday.

		FOLEY
	Yeah, but I see you moved it up.

		CHINO
	     (beat)
	Why you think is today?

		FOLEY
	You were out running this morning,
	sticking to your routine, anybody
	happened to notice.  But you only did
	a couple of miles instead of your usual
	five.  Saving yourself for the main
	event.  Then I see you inside eating
	ten pounds of macaroni. Carbohydrates
	for endurance.

Chino and Lulu exchange looks.

		CHINO
	You want, I tole you you can come.
	You all right, Foley.  I like you.

		FOLEY
	You told me I can come 'cause I caught
	you digging the fuckin' tunnel, saw you
	and Lulu coming out of the bushes,
	thought maybe you two were making out.

Foley smiles at Lulu, who glares back at him.

		FOLEY (CONT'D)
	So what, you finish ahead of schedule?

Chino looks towards the fence along the front of the yard.

		CHINO
	You see what they doing, those posts
	out there?  Putting up another fence,
	five metres on the other side of the
	one that's there.  We wait until Super
	Bowl Sunday, they could have the second
	fence built and we have to dig another
	nine, ten days.  So we going soon as
	it's dark.  You want -- I mean it --
	you can still come.

		FOLEY
	I appreciate the offer.  And it's
	tempting.

Foley looks off towards the visitors' parking area, the fence
not twenty yards away.

		FOLEY (CONT'D)
	But, man, it's a long run to
	civilization.  A hundred miles to Miami?
	I'm too old to start acting crazy, try
	a stunt like that.  You make it out,
	send me a postcard.

CUT TO: A NOTEPAD

where we see someone has written "IT'S MAGIC!" then crossed out
the "IT'S" and replaced it with the word "LIKE".  We hear THE
PHONE RING AND...

REVEAL: INT. ADELE'S APARTMENT - DAY

Miami Beach Moderne.  ADELE -- mid-thirties, pretty, Foley's ex --
sits at her kitchen table writing on a pad.  She grabs the phone.

		ADELE
	Hello?
	     (then, sighs)
	Yeah, I accept.

INT. PRISON HALLWAY - DAY

Foley on the phone...

		FOLEY'S VOICE
	Hey, Adele, how you doing?

INTERCUTTING FOLEY & ADELE:

		ADELE
	Hey, Bank Robber, want some advice?
	Next time, leave the engine running.

		FOLEY
	That's funny, Adele.  How many more
	times you gonna gimme that one?

		ADELE
	Till it's not funny any more.  What do
	you want, Jack?

		FOLEY
	You know that Super Bowl party?  They
	changed the date.  It's on tonight,
	eight-thirty.

		ADELE
	Didn't you tell me one-time calls aren't
	monitored?

		FOLEY
	I said not as a rule.

		ADELE
	So why don't you come right out and
	tell me what you're talking about?

		FOLEY
	Listen to Miss Smarty Mouth.  Out there
	in the free world.

		ADELE
	What's free about it?  I'm looking for
	work.

		FOLEY
	What happened to Mandrake the Magician?

		ADELE
	Emil the Amazing.  The bastard fired
	me and hired another girl, a redhead.
	I'm working on a new business card,
	pass out to the cafes.  How's this
	sound--

		FOLEY
	     (cuts her off)
	Listen, Adele, the reason I called,
	that party is today instead of Sunday.
	About eight-thirty, like only a few
	hours from now.  So you'll have to get
	hold of Buddy, whatever he might be
	doing...

		ADELE
	And the one driving the other car?

		FOLEY
	What're you talking about?

		ADELE
	Well, seeing as you have so much luck
	with cars, Buddy thought it might be
	better to bring two.  He got this guy
	he says you know from Lompoc, Glenn
	something.

		FOLEY
	Glenn Michaels.

		ADELE
	Yeah, that's him.  Buddy says Glenn
	thinks you guys are real cool.

		FOLEY
	He did, huh.  Well, tell Buddy I see
	Glenn wearing his sunglasses I'll step
	on 'em.  I might not even take 'em off
	first.

INT. RESTAURANT - DAY

As MARSHALL SISCO -- fifty -- slides a small wrapped box across
a table...

		MARSHALL
	Happy birthday.

...to where KAREN SISCO -- twenty-eight, black suit, long hair,
a knockout -- sits.  She picks up the box and shakes it.

		KAREN
	You fit another Chanel suit in here?

		MARSHALL
	Something better.  Open it.

Karen starts to carefully unwrap the present.  Marshall watches,
takes a sip of his drink, looks around the bar, sees how
everyone's looking at the two of them...

		KAREN
	     (opens the box)
	Oh my God...

She pulls a gleaming automatic pistol from the box...

		KAREN (CONT'D)
	It's beautiful.

		MARSHALL
	It's a --

		KAREN
	--Sig-Sauer .38.  I love it.

She leans across the table and kisses him.

		KAREN (CONT'D)
	Thanks, Dad.

		MARSHALL
	Happy birthday, kid.
	     (then)
	You want another Coke?

		KAREN
	     (checks her watch)
	Can't.  I gotta drive out to Glades,
	then I'm meeting Ray Nicolet at ten.

		MARSHALL
	Which one is that?  The ATF guy?

		KAREN
	He was.  Ray's with the F.B.I. now,
	he switched over.

		MARSHALL
	He's still married though, huh?

		KAREN
	Technically.  They're separated.

		MARSHALL
	Oh, he's moved out?

		KAREN
	He's about to.

		MARSHALL
	Then they're not separated, are they?

		KAREN
	Can we change the subject?

		MARSHALL
	What're you doing at Glades?

		KAREN
	Serving process, a Summons and
	Complaint.  Some con doing mandatory
	life doesn't like macaroni and cheese.
	He files suit, says he has no choice
	in what they serve and it violates his
	civil rights.

		MARSHALL
	You know you can always step in, work
	with me full-time as one of my
	investigators.

		KAREN
	No thanks.

		MARSHALL
	You used to like it.

		KAREN
	Dad...

		MARSHALL
	You'd meet doctors, lawyers -- nothing
	wrong with them necessarily if they're
	divorced.  Why settle for some cowboy
	cop who drinks too much and cheats on
	his wife?  That's the way those hotshots
	are, all of 'em.

		KAREN
	I really gotta go.

		MARSHALL
	We don't get to talk much any more.

		KAREN
	How 'bout I come next Sunday and watch
	the Super Bowl with you?

		MARSHALL
	I'd like that.

She gets up, kisses him again.

		KAREN
	Thanks for the gun, Dad.

INT. FOLEY'S CELL - BELLE GLADE - DAY

Foley comes in, lies down on the bunk.  He looks about the
cell.  All he's got to show for himself.  It's now quiet on
the cellblock.  Foley closes his eyes and we...

CUT TO: EXT. PRISON AUDITORIUM

A few hundred cons scream encouragement/insults as MAURICE
"SNOOPY" MILLER, a lanky, scary, mean-looking black man in boxing
trunks, hits a white guy with a ferocious hook.

Title reads: LOMPOC FEDERAL PENITENTIARY.  LOMPOC, CALIFORNIA.
And then... TWO YEARS AGO.

AT THE BACK OF THE AUDITORIUM

Foley leans in a doorway watching with BUDDY BRAGG -- black,
Foley's age, shaved head.

The BELL SOUNDS and the white guy staggers to his corner, as
does Maurice.  GLENN MICHAELS -- surfer look, dark shades --
counts cash in Maurice's corner, whispers something into the
fighter's ear.

		BUDDY
	Ref don't call it pretty soon, Snoopy's
	gonna send this guy out in a body bag.

Foley watches a MAN -- fifties, out of place, not as hard-looking
as those around him.  The guy looks nervous, can feel the other
cons' eyes on him as he tries to find a seat.

The BELL SOUNDS and the white boxer staggers to his feet.
Maurice steps in and resumes the bloody pummelling.  Foley turns
and watches the fight now...

		FOLEY
	Anyone ever tell you why they call him
	Snoopy?

Buddy shakes his head.  Maurice dances around the other guy
now.  Teases him.

		FOLEY (CONT'D)
	He was Maurice "Mad Dog" Miller back
	when he was pro.  Now you pet him, he
	goes down.

The white guy throws a tired, loping roundhouse that barely
glances off Maurice's jaw.  Sure enough, Maurice makes a big
show out of snapping his head back, staggering, before he finally
goes down.

		BUDDY
	I don't believe it.

Foley watches the new inmate as fights erupt all around him
and, anxious now, he tries to get out of there.

EXT. PRISON YARD - DAY

Foley and Buddy sit atop a cement picnic table watching as
nearby, the "winning" BOXER -- still wearing last night's
pummelling on his face -- gloats to a group of cons.  He throws
a fake punch at one of them as he demonstrates his winning
technique...

		BUDDY
	Guy's braggin' he won a thrown fight.
	Fuckin' pathetic.

Foley looks at the other side of the yard where Maurice now
stands at the far side of the yard coldly watching the guy, one
hand thrust into his pocket.  Foley watches as Maurice stops
the NEW INMATE -- the older guy who looked out of place at the
fights -- as he comes out into the yard.

		FOLEY
	It's Richard Ripley.

		BUDDY
	     (looking now)
	The Wall Street guy?  Oh, yeah.  I
	didn't recognize him without his rug.

Foley watches as Maurice talks to the new inmate, the guy
nodding, acquiescent, respectful.

		FOLEY
	Dick the Ripper they called him, on
	account of all the people he ripped
	off.

Foley watches as Ripley now makes a note in a BLACK BOOK.

		BUDDY
	What's he doin' here?

		GLENN (OS)
	Three years.

They look to where Glenn Michaels, the blond guy in dark shades
we saw in Maurice's corner, works out on the bench press a few
feet away.  He's shirtless, tan, in shape.

		GLENN
	He got three years and fined fifty
	million dollars and wrote 'em a fucking
	check.  Like that, fifty mil, signed
	his name.
	     (struggles with the
	      bar)
	Whoa-- little help here!

		FOLEY
	Who you talkin' to, Studs?  Me, or
	Buddy.  I can't tell, you got those
	shades on.

		GLENN
	You guys-- come on-- this is too heavy!

		FOLEY
	I guess the bright glare out here made
	it hard to see the numbers on the
	weights.

		GLENN
	I'll take the shades off.  Just get
	this fuckin' thing off me.

Foley helps him get the bar up.  Glenn sits up.

		BUDDY
	How do you know he wrote a check?

		GLENN
	He told me.  He works the laundry with
	me.  The guy loves to talk.

		FOLEY
	Yeah, to the U.S. Attorney.  I hear he
	rolled over on all the snitches he was
	doing business with and got 'em all
	brought up.

He watches Snoopy talking to Ripley, one eye always on the
swaggering boxer across the yard, one hand in his pocket.

		GLENN
	Hey, anybody that can write a check
	for fifty mil, he says anything I'm
	all fucking ears.  Like the other day,
	he tells me how he's got all this money
	in foreign banks, plus around five mil
	in uncut diamonds at his house.  He
	said, quote, "Where I can put my hands
	on it anytime."

		BUDDY
	Cool.  Where's the guy live?

Foley watches a few more of Maurice's friends surround Ripley.
Again, Ripley takes out his black book, starts nodding, making
notations...

		GLENN
	Detroit.  Snoopy Miller told me uncut
	diamonds are as easy to move as cash.

		FOLEY
	Ever seen an uncut diamond, Studs?
	They look like plain old rocks.

		GLENN
	So.  What's your point?

		FOLEY
	My point is, that's probably what you're
	gonna end up with.

		GLENN
	You think he's lying?

		FOLEY
	Use your head.  The guys got five
	million lying around his house, you
	really think he's gonna tell some
	motormouth he just met in prison about
	it?

A BELL SOUNDS.  Everyone starts walking for the gate.

Foley watches as the Boxer and his crew head for the gate,
Maurice still standing there with his hand in his pocket.

SLOW MOTION AS the boxer gets to the gate, sees Maurice who
moves to him now, smiling like he's so glad to see him... his
left hand clapping the guy on the back, saying something like
congratulations as now his right hand comes out of his pocket
and we see the long metal shiv--

		BUDDY
	     (watching Snoopy)
	Here it comes.

Maurice wraps his left arm around the boxer's shoulder and hugs
him tight for a moment, then quickly moves away.  The Boxer
stands there like a statue, doesn't move until he's at last
jostled from behind and his legs fold and he drops to the cement.

		BUDDY (CONT'D)
	I guess the Snoop doesn't like to lose,
	even if it's on purpose.

We hear a WHISTLE BLOW as a GUARD spots the body.  And now
everyone moves like hell for the gate... except for...

Richard Ripley who stands there frozen, staring down at the
body.

Foley glances back at the approaching guards, casually takes
Ripley by the arm as he passes, leads him away from there, talks
to him as they walk into the block...

		FOLEY
	You don't wanna be standing there, the
	hacks start asking questions you don't
	wanna answer.

		RIPLEY
	Oh, uh, right, thanks...

Foley then moves away.  He sees Maurice looking back at him,
giving him a hard stare just before he melts into the crowd.

				     DISSOLVE TO:

INT. FOLEY'S CELL - BELLE GLADE - DAY (NOW)

He lies there another moment when...

A PAIROF LEGS swings down over the side from the top bunk.
Foley's CELLMATE jumps down, walks the three feet or so to the
toilet, casually pulls down his pants and starts to go to the
bathroom.  Foley shakes his head and turns away...

EXT. STRIP MALL - DAY

As Buddy walks up to a Cadillac Sedan DeVille Concours pulling
a slim-jim from the back of his pants, about to jimmy the door,
when he sees...

A WOMAN -- middle-aged, wearing pearls and high heels -- come
out of the Winn Dixie pushing a grocery cart full of groceries.

Buddy sticks the jimmy back in his pants, waits until the woman
is opening her trunk before coming forward...

		BUDDY
	Here, lemme help you with those, ma'am.

She doesn't seem too sure about it, but lets him load the
groceries in the trunk and take the key out of the lock.

		WOMAN
	I didn't ask for your help, so don't
	expect a tip.

Buddy smiles, waves her off.

		BUDDY
	That's okay, ma'am.  I'll just take
	your car.

She stands there stupidly as he gets in and drives off.

INT. CHAPEL - DUSK

In the midst of a remodel.  As door opens and Pup comes in.
Foley puts a finger to his lips...

		FOLEY
	They're right underneath you, Pup.
	They dug a tunnel.

Foley watches Pup creep up the aisle towards the front of the
chapel, eyes on the floor, listening...

		PUP
	I don't hear 'em.  Where's the tunnel
	come out?

Pup turns his back, walks up the aisle and across the front of
the pews to a window.

		FOLEY
	Second fence post from the tower out
	there.  Go on, take a look.

As Pup stares out the window...

		PUP
	I don't see nothing there.

Foley reaches down into a pew where's stashed a FOUR-FOOT
CRUCIFIX.  He picks it up, starts up the aisle...

		FOLEY
	You will directly.  Keep watching.

INT. KAREN SISCO'S CAR - DUSK

As the high beams from her car show the prison parking area,
then the fence strung with razor wire.  Karen parks near the
fence, lights a cigarette and dials her car phone.

		KAREN
	Hi.  Karen Sisco again for Ray Nicolet.
	     (beat)
	He's not?  Could you tell him that...
	never mind.  I'll call back.

Headlights hit Karen's rear-view mirror, a car pulling in behind
her.  The lights go off, then come on again.  She adjusts the
mirror to deflect the glare.

INT. THE CAR BEHIND HER - DUSK

As Buddy sits watching the cons come in from the athletic field.
He sees the mirror flash in the car in front of him as Karen
checks her face out in the rear-view.

INT. CHAPEL - DUSK

As Foley moves up behind Pup, he lets his jacket fall to the floor,
holds the crucifix down against his leg.

		PUP
	There some car headlights out there...
	     (then)
	Jesus Christ...

Now he pulls his radio from his belt, says into it...

		PUP (CONT'D)
	Man outside the fence!  By tower six!
	     (responds to radio)
	This is Officer Pupko...
	     (then)
	I'm looking at him, for Christ's sake!

Okay-- now Foley raises the metal cross, steps in and lays it
smack against the side of Pup's head.  Drops him clean with one
swing, bouncing him off the window frame and down without a
sound coming from him.

INT. KAREN SISCO'S CAR - NIGHT

As Karen grabs the court papers off the seat, opens her car
door, glances at the fence and pauses as she sees A FIGURE there,
crouching down.

Karen turns on her headlights.  No, not crouched.  The guy is
coming out of the ground.  On this side of the fence.

Head and shoulders appear and another guy comes out of the
ground.  Right in front of her.

Karen leans on the horn, holds it down and sees the two guys by
the fence -- Chino and Lulu -- look into her headlights, poised
there for a moment before taking off into the dark.  Karen gets
out of the car...

INT. BUDDY'S CAR - SAME

As Buddy watches a spotlight from the tower come on and follow
the two cons as we then hear the sound of RIFLE REPORTS before
the men disappear into the dark.

Then Buddy sees Karen in his headlights, whistles softly as he
gets a good look at her long legs as she raises the lid to her
trunk...

		BUDDY
	What's she doing?

He watches her duck her head in the trunk and come out with a
holstered pistol.

		BUDDY (CONT'D)
	Uh-oh.

But then she throws the pistol in the trunk, ducks in there
again and comes out this time racking a shotgun.

		BUDDY (CONT'D)
	Uh-oh.

And now Buddy watches her hurry to the front of her car and
raise the shotgun as we hear A WHISTLE BLOW IN THE COMPOUND.
Buddy gets out of the car...

EXT. PARKING AREA - SAME

As Karen puts the shotgun on two more cons, both filthy dirty,
standing by the hole they just crawled out of.

		KAREN
	Get your hands in the air!

Buddy watches the two cons, both Latins, make up their minds,
start edging away -- shit, they've come this far.

They look out at the spotlight sweeping around in the dark,
then look the other way, along the fence towards the main gate,
to see armed hacks coming out on the run, and that decides it
for the cons.  They take off running...

Now Buddy watches as Karen puts her pump gun on them, but doesn't
fire...

The hacks running from the gate with rifles beat her to it,
open up all at once and keep firing until the two convicts are
cut down as they run.

The hacks glance at Karen, but don't bother with her, more
interested in the hole the convicts had come out of.  Now they're
standing by it peering in, edging closer with their weapons
ready, then they all step back at once, bump into each other
as...

A head appears wearing a guard's baseball cap, the guy now saying
something to the guards, his face smeared with muck, excited,
pointing towards the orange grove.

They run off, pausing briefly to kick the convicts they shot to
see if they're alive, then keep going.

The man in the hole, Foley, climbs out.  He takes his time,
puts on a show, standing with his hands on his hips like an
honest-to-God hack, that serious cap down on his eyes.

Buddy waves to Foley to come on and Karen turns and puts the
shotgun on Buddy.  Buddy raises the palm of his hand.

		BUDDY
	It's okay, honey, we're good guys.

		KAREN
	What're you doing here?

Not so much asking, but putting it to him the way cops do when
they're already pretty sure what you're doing.  She glances
around to include Foley, now coming at her like some creature
out of the swamp, giving Buddy time to take her around the neck.

She fights him, jabs him in the gut with the butt end of the
shotgun before Foley wrenches it from her grip.

They drag her to the rear end of her car, the trunk lid still
up, and crouch there as some hacks come running along the fence,
past the dark gun tower and cross the road towards the orange
grove.  A moment later, they hear bursts of gunfire, then silence.

		FOLEY
	I bet that's all the hacks they send
	out.  Otherwise nobody's left to mind
	the store.

		BUDDY
	Why don't we talk about it later?

He turns to see Foley and Karen staring at each other in the
headlights from Buddy's car; Karen not at all afraid.

		FOLEY
	Why you're just a girl.  What do you
	do for a living you pack a shotgun?

		KAREN
	I'm a federal marshal and you're under
	arrest, both of you guys.

Foley keeps staring at her like he's giving the situation serious
thought, but what he says is...

		FOLEY
	I bet I smell, don't I?
	     (then)
	Listen, you hop in the trunk and we'll
	get out of here.

Karen looks at him, then gets up, climbs into the trunk.  She's
reaching around, trying to find her pistol, when...

Foley gives her a shove and gets in with her, wedging her against
the wall of the trunk, pressing against her back like they're
cuddled up in bed.

He holds her to him, giving her no room to turn and stick the
gun in his face.  Buddy reaches for the trunk lid and then
everything goes...

BLACK

Total darkness, not a crack or a pinpoint of light showing.
Then we hear the engine come to life, the car moving along.

		FOLEY (VO)
	You comfy?

		KAREN (VO)
	If I could have a little more room.

		FOLEY (VO)
	There isn't any.  All this shit you
	got in here.  What is all this stuff
	anyway?  Handcuffs, chains... what's
	this can?

		KAREN (VO)
	For your breath.  You could use it.
	Squirt some in your mouth.

		FOLEY (VO)
	You devil, it's mace, huh?  What've
	you got here, a billy?  Use it on poor
	unfortunate offenders.

A BEAM OF LIGHT appears as he finds a flashlight and turns it
on.  He plays the beam along Karen's leg, calms down some as he
looks at all of her now and finally says...

		FOLEY (VO)
	Where's your gun, your pistol?

		KAREN
	In my bag, in the car.

They go over some bumps.  We hear men's voices from somewhere
far off, outside.

		KAREN (CONT'D)
	You know you don't have a chance of
	making it.  Guards are out here already,
	they'll stop the car.

He runs his hand down her thigh, looking for her gun, but also,
just, well, looking.

		FOLEY
	They're off in the cane by now chasing
	Cubans.  I timed it to slip between
	the cracks, you might say.

EXT. CAR - NIGHT

As Buddy floors it away from the prison, checks the rearview
mirror...

INT. TRUNK - SAME

As Jack tries to wipe some of the mud off his face.

		FOLEY
	Boy, it stunk in there.

		KAREN
	I believe it.  You've ruined a nine-
	hundred-dollar suit my dad gave me.

		FOLEY
	Yeah, went real nice with that twelve
	gauge, too.
	     (then)
	Tell me, why in the world would someone
	like you ever become a federal marshall?

		KAREN
	The idea of going after guys like you
	appealed to me.

		FOLEY
	Guys like me, huh.  Well, listen, even
	though I've been celibate lately, I'm
	not gonna force myself on you.  I've
	never done that in my life.

		KAREN
	You wouldn't have time anyway.  We
	come to a roadblock, they'll run the
	car, find out in five seconds who it
	belongs to.

		FOLEY
	If they get set up in time, which I
	doubt.  And even if they do they'll be
	looking for a buncha little Latin
	fellas, not a big black guy driving a
	Ford.

		KAREN
	Must be quite a pal, risk his own ass
	like this.

More bumps.  Then picking up speed as the road smooths out.

		FOLEY
	Who, Buddy?  Yeah.  He's a good guy.
	Back when we jailed together, he'd
	call his sister every week without
	fail.  She's a born-again Christian,
	does bookkeeping for a televangelist.
	Buddy calls her up, confesses his sins,
	tells her about whatever bank he
	happened to rob.

		KAREN
	Buddy.  That's his given name?

		FOLEY
	     (woops, beat)
	One I gave him, yeah.
	     (mouths)
	Fuck...

INT. CAR - SAME

As Buddy rifles through Karen's bag while he drives.  He looks up
from her badge and ID case at the road.

INT. TRUNK - SAME

		KAREN
	So, what's your name?  It'll be in the
	paper tomorrow anyway.

		FOLEY
	Jack Foley.  You've probably heard of
	me.

		KAREN
	Why, are you famous?

		FOLEY
	Time I was convicted in California?
	FBI told me I'd robbed more banks than
	anyone in the computer.

		KAREN
	How many was that?

		FOLEY
	Tell you the truth, I don't know.  I
	started when I was eighteen, driving
	for my Uncle Cully and his partner,
	Gus.  They go into a bank this one
	time in Slidell, Gus jumps the counter
	to get the tellers and breaks his leg.
	All three of us ended up in Angola.

		KAREN
	That's funny.

		FOLEY
	I thought so, too.

		KAREN
	It was me, I woulda left ol' Gus on
	the floor.

		FOLEY
	I believe you would have.  Another fall,
	I did seven years at Lompoc.  And I
	don't mean the place next door where
	some of Nixon's people went.

		KAREN
	I know the difference.  You were in
	Lompoc USP, the federal penitentiary.
	I've delivered people there.  So
	basically you've spent half your life
	in prison.

		FOLEY
	     (beat)
	Basically.  Yeah.  If I go back now, I
	do a full thirty years, no time off.
	Can you imagine looking at that?

		KAREN
	I don't have to.  I don't rob banks.

He looks at her, then looks away as we...

EXT. CAR - SAME

As the car turns into a main highway now...

INT. TRUNK - SAME

As Foley plays the light down the length of her...

		FOLEY
	You don't seem all that scared.

		KAREN
	Of course I am.

		FOLEY
	You don't act like it.

		KAREN
	What do you want me to do?  Scream?  I
	don't think it would help much.
	     (then)
	I'm just gonna sit back, take it easy,
	and wait for you to screw up.

		FOLEY
	Jesus, you sound like my ex-wife.

		KAREN
	You were married?  All those falls,
	I'm surprised you had time.

		FOLEY
	It was just a year, give or take a few
	days.  I mean, it's not like we didn't
	get along or anything.  We had fun, we
	just didn't have that... that thing,
	you know?  That spark, you know what I
	mean?  You gotta have that.

		KAREN
	     (thinking)
	Uh-huh.

		FOLEY
	We still talk, though.

		KAREN
	Sure.

EXT. CAR - SAME

As Buddy passes a sign that says "MIAMI, 74 MILES."

INT. TRUNK - SAME

As she tries to get a look at him...

		KAREN
	You know, this isn't gonna end well,
	these things never do.

		FOLEY
	Yeah, well, if it turns out I get shot
	like a dog, it'll be in the street,
	not off a goddamn fence.

		KAREN
	You must see yourself as some kind of
	Clyde Barrow.

And for a few moments, all we hear is the sound of the car on
the road.  Then...

		FOLEY
	Oh, you mean of Bonnie and Clyde?  Hm.
	You ever see pictures of him, the way
	he wore his hat?  You could tell he
	had that don't-give-a-shit air about
	him.

		KAREN
	I don't recall his hat, but I've seen
	pictures of him lying dead, shot by
	Texas Rangers.  Did you know he didn't
	have his shoes on?

		FOLEY
	Is that right?

		KAREN
	They put a hundred and eighty-seven
	bullet holes in Clyde, Bonnie Parker
	and the car they were driving.  Bonnie
	was eating a sandwich.

		FOLEY
	You're full of interesting facts, aren't
	you?

		KAREN
	It was May, 1934, near Gibsland,
	Louisiana.

EXT. HIGHWAY - NIGHT

Quiet.  Empty.  A moment later the car flies past.

INT. TRUNK - SAME

		FOLEY
	That part in the movie where they get
	shot?  Warren Beatty and... I can't
	think of her name.

		KAREN
	Faye Dunaway.

		FOLEY
	Yeah, I liked her in that movie about
	TV...

		KAREN
	Network.  Yeah, she was good.

		FOLEY
	And the guy saying he wasn't gonna
	take any more shit from anybody...

		KAREN
	Peter Finch.

		FOLEY
	Yeah, right.  Anyway, that scene where
	Warren Beatty and Faye Dunaway get
	shot?  I remember thinking at the time
	it wouldn't be a bad way to go, if you
	have to.

		KAREN
	Bleeding on a country road.

		FOLEY
	It wasn't pretty after, no, but if you
	were in that car -- eating a sandwich --
	you wouldn't have known what hit you.

We HEAR FAINT SIRENS OS...

INT. CAR - SAME TIME

As Buddy sees FLASHING LIGHTS approach from the opposite
direction.  He stays cool as the green and whites get closer...
closer... then fly right on past.

INT. TRUNK - SAME

As the SIRENS SCREAM AT US FOR A MOMENT, then FADE.

		FOLEY
	You're sure easy to talk to.  I wonder --
	say we met under different circumstances
	and got to talking, say you were in a
	bar and I came up to you -- I wonder
	what would happen.

		KAREN
	Nothing.

		FOLEY
	I mean if you didn't know who I was.

		KAREN
	You'd probably tell me.

		FOLEY
	I'm just saying I think if we met under
	different circumstances...

		KAREN
	You have to be kidding.

Silence.  Foley tries to get back to where it was working...

		FOLEY
	Another one Faye Dunaway was in I liked,
	Three Days of the Condor.

		KAREN
	With Robert Redford, when he was young.

		FOLEY
	Yeah...

They lie there a moment, think about that as we hear THE CAR
SLOWING DOWN, coasting, then bumping along the shoulder of the
road to a stop.

		KAREN
	I never thought it made sense, though,
	the way they got together so quick.

		FOLEY
	Really.

		KAREN
	I mean, romantically.

		FOLEY
	Uh-huh.
	     (then)
	Well, but if --

The trunk goes dark again as the car's turned off.

		BUDDY (OS)
	You still alive in there?

And the trunk lid raises so that we see Karen and Foley lying
in the back.  Foley gets out.  Karen doesn't move.

		FOLEY (OS)
	Where in the hell are we?

		BUDDY
	That's the turnpike up there.  Glenn's
	waiting with the other car.

		FOLEY
	Okay, honey, come on out of there.

Karen pushes off, rolls from her right side to her left, brings
up her Sig Sauer in both hands to put it on them, both standing
in the opening, in the dark, but right there.

		KAREN
	Get your hands up and turn around.
	Now.

		FOLEY
	Shit...

Foley brings the lid down, he and Buddy moving in opposite
directions as she begins firing from the inside...

As Buddy and Foley hook up again in front of the car.  We can
see they're beneath an overpass.  Foley stares at the trunk.

		BUDDY
	We may as well leave her, we're leaving
	the car and we gotta leave her some place
	anyway, what's the difference where?

		FOLEY
	She's coming with us.

Foley walks to the passenger seat, reaches in the window.

		BUDDY
	Jesus Christ, what were you doing in
	there?

		FOLEY
	Get the shotgun.  And her purse.  I'd
	like to know who she is.

Foley takes her wallet, looks at her driver's licence photo.

		BUDDY
	I already looked.  Her name is Karen
	Sisco.  Like the Cisco Kid only spelled
	different, S-i-s-c-o.

A sheriff's green-and-white goes screaming past and they keep
to the narrow space between the car and the concrete abutment
of the overpass.  When the road quiets down, Foley moves to the
trunk and bangs on it once with his fist.

		FOLEY
	Karen?  Be a good girl now, you hear?
	Now, I'm gonna open the--

Foley jumps at the sound of a pistol shot.

		FOLEY (CONT'D)
	You're putting holes in your car!

He looks up to see Buddy holding her shotgun, staring at him.
He settles down, then...

		FOLEY (CONT'D)
	We're not leaving you.  I'm gonna open
	the trunk enough for you to throw the
	gun out.  Okay?  You shoot -- Buddy's
	got your shotgun, says he'll shoot
	back if you do and I can't stop him.
	So it's up to you.

Foley puts his hand out and Buddy, still looking at him funny,
gives him the keys.

		VOICE
	Hey!

Coming from somewhere above them.

		VOICE (CONT'D)
	It's me, Glenn.

Foley steps out into the open, Buddy close behind him.  They
look up to see a figure, head and shoulders against the evening
sky, leaning on the concrete overpass rail.  We can see his
long blond hair falling beside his face, now half-concealed
behind dark sunglasses.

		GLENN
	Hey, Jack, good to see you, man.  The
	fuck're you guys shooting at?

Foley looks at Buddy.

		FOLEY
	Do we need him?

		BUDDY
	The green-and-whites saw us.  One of
	'em starts thinking, what's that car
	doing there?  Ties it to the break and
	turns around...

Foley thinks about it, then looks up at the overpass again.

		FOLEY
	Oh, hey, Studs?  We thought you were
	somebody else.

		GLENN
	Studs.  Man, I haven't heard that since
	Lompoc.  What's going on?

		FOLEY
	Oh, nuthin'.

Foley shakes his head, then walks back to the Ford and bangs
on the trunk.

		FOLEY (CONT'D)
	You coming out?

Foley sticks the key in the lock as Buddy steps up to the trunk
and racks the pump on the shotgun.  Foley leans close to the
metal.

		FOLEY (CONT'D)
	You hear that?

He turns the key and raises the lid.  Karen, bunched in there,
extends her arm, her hand holding the Sig Sauer by the barrel.

		KAREN
	You win, Jack.

"Jack."  Buddy gives him another funny look.

EXT. TOP OF OVERPASS - NIGHT

As Glenn removes a note stuck in the side window of a stolen
Audi that reads "GONE TO GET GAS."

		FOLEY
	Have your clothes cleaned and send me
	the bill.

Glenn looks over as the three of them reach the top of the grade,
move through the scrub.  Glenn leans against the car, flashers
blinking.

		KAREN
	I'll send it to you at Glades.

		GLENN
	Jesus, what'd you crawl through, a
	sewer?

		FOLEY
	Take your sunglasses off.

		GLENN
	I see better with them on.

		FOLEY
	You don't take 'em off, I'm gonna throw
	'em off the overpass while they're
	still on your head.

Glenn shrugs, takes them off and sticks them in his jeans.

		FOLEY (CONT'D)
	Wait in the car.

		GLENN
	You're in civilization now, man, ease
	up.

		FOLEY
	I'd like you to go wait in the car.
	How's that?  Take her with you and put
	her in back.

		GLENN
	In the trunk?

		FOLEY
	The backseat.

Foley stares at him, waiting.  Glenn motions to Karen...

		GLENN
	Come on.  I have to do what I'm told.

She walks past Foley without looking at him.

		FOLEY
	Wait a minute.  Let me have your
	raincoat.
	     (looks at Buddy)
	Somebody forgot to bring me clean
	clothes.

		BUDDY
	I brought 'em, they're back at Glades
	in the Cadillac.  You wanted to take
	her car.

		KAREN
	You can blame me if you want.  I don't
	mind.

He doesn't say anything as Glenn takes off the raincoat, folds
it up, then throws it at Foley's feet.

		GLENN
	Here you are, sir.

Foley watches as Glenn gets his sunglasses out, puts them back
on and takes Karen by the arm.

		BUDDY
	What's wrong with you?

Karen looks over at Foley, then ducks her head and gets in the
backseat.

		FOLEY
	Why you brought Glenn into this, I'll
	never know.

		BUDDY
	How 'bout the score was his idea to
	begin with?

		FOLEY
	His idea?  Gimme a break.  Fuckin' guy's
	got a vacant lot for a head.  Was you
	and me figured the whole thing out.

Buddy watches Foley struggle with the buttons on the uniform,
all of them caked with muck.

		BUDDY
	You're pulling at it.  Here...

He lays the shotgun in the grass and comes up, takes the guard
shirt in his two hands and rips it open, popping buttons and
tearing the shirt.

		FOLEY
	I don't know why, but every time he
	opens his mouth I want to punch him
	out.

		BUDDY
	He ain't the problem, Jack.

Foley looks at him.

		BUDDY (CONT'D)
	You wanna pull your head outta your
	ass and tell me why we're bringing her
	with us?

INT. CAR - SAME

As Karen watches Glenn get into the car, sees him as the dome
light comes on for a second or two before he closes the door.
He half turns, laying his arm along the top of the seats, runs
his hand through his hair...

		GLENN
	...if he thinks he can talk to me like
	this.  Shit, I don't even know what I
	need them for.

Karen leans forward to have a look, sees Foley and Buddy against
the dark foliage.

		GLENN (CONT'D)
	I got a big score lined up up north.
	They wouldn't even know about it, it
	wasn't for me.  I could do it right
	now myself, except it's so fucking
	cold up there in January--

		KAREN
	Glenn?

His head turns so that we can see his designer shades.

		KAREN (CONT'D)
	You don't remember me, do you?

		GLENN
	     (beat)
	It couldn't have been out at Glades,
	if that's what you're thinking.  I was
	never out there.

		KAREN
	No, that's not what I'm thinking.

He raises his hand, strokes his hair away from his face.

		GLENN
	But you're sure we've met, huh?

		KAREN
	Last fall, I drove you from the Palm
	Beach county jail to the federal
	courthouse, twice.  You're Glenn
	Michaels.
	     (then)
	I never forget anyone I've cuffed and
	shackled.

He doesn't move or say a word, staring at her now like he's
been turned to stone.

		KAREN (CONT'D)
	Let's think for a minute, Glenn, see if
	we can work this out...

He turns away, all the way around to look straight ahead...

		KAREN (CONT'D)
	Do we have a gun in the car?

		GLENN
	I remember you now.  Shit.

		KAREN
	Foley's not going to make it.  And if
	he goes down, Glenn, you go with him.

She touches his shoulder and he jumps.

		KAREN (CONT'D)
	Look, I can understand if you and Foley
	are close.

		GLENN
	We're not.  I'm helping him, yeah--

		KAREN
	Wait.  Have you helped him, Glenn?  At
	this point, technically, I doubt you
	could be charged with aiding a fugitive.
	So you still have a choice.  You can
	help him and risk going down again,
	get cuffed and shackled, hope to God
	you pull a reasonable judge, not some
	hard-on.  Or, if you want to play it
	another way...

She pauses.  He turns and looks at her.

		GLENN
	Like how?

EXT. OVERPASS - SAME

Foley watches a car pass on the highway.

		BUDDY
	You want to take her to my place and
	get cleaned up?  You come out of the
	bathroom with your after-shave on and
	she goes, "Oh, I had you all wrong"?

		FOLEY
	I want to talk to her again, that's
	all.  See what would happen under, you
	know, normal circumstances.

		BUDDY
	You're too late, Jack.

Foley doesn't say anything.  Just takes a deep breath as we
HEAR THE CAR START and they both look over...

		BUDDY (CONT'D)
	He wants to get out of here and I don't
	blame him.

They start towards the car.  Then stop and watch as it takes
off, tires squealing as the rubber hits pavement.  Their backs
to us, they stand there watching the tailights until they're
out of sight down the turnpike, neither of them saying a word.

We hear SQUEAKY FOOTSTEPS OVER...

CUT TO: A CORRIDOR IN LOMPOC FPC

As Maurice Miller and his "man" -- a big black bulk named HIMEY
-- strut purposefully up the hall.  They step into...

THE PRISON LIBRARY

Where Richard Ripley sits at one of the tables reading a big
coffee-table book called "THE WARM WORLD OF TROPICAL FISH."

		MAURICE
	Dick.  My man.

Ripley looks up as Maurice and Himey come strolling into the
library, sit down on either side of a now very anxious Ripley.

		MAURICE (CONT'D)
	I got your fishies for you.

He sets a small Ziploc with two tiny fish inside down on the
table.

		RIPLEY
	     (reaches for them)
	Thank you...

		MAURICE
	     (pulls them back)
	Not so fast, Dick.
	     (off Ripley's look)
	Starting now, there's gonna be an across
	the board cost a living increase.

		RIPLEY
	What?

		MAURICE
	Year ago, I come in here on credit
	card fraud, but after I shanked that
	loudmouth pussy on the yard the other
	day, my Dunn & Broadstreet, has gone
	way the fuck up.

		RIPLEY
	I think it's Dunn & Bradstreet.  But
	then, I could be wrong...

		MAURICE
	Whoever.  The point is, prices are
	goin' up, too.  Better get your little
	black book out, Richard.  We got some
	business to talk about.

Ripley sighs, takes out his black book and opens it.

		MAURICE (CONT'D)
	Let's start with the fish.  They was
	two grand, but now they's three.

Ripley looks at the two tiny fish in the bag.

		MAURICE (CONT'D)
	That Bausch & Lomb Saline shit you
	asked for is gonna be eighty bucks.

		RIPLEY
	     (writing)
	Well, I need that...

		MAURICE
	...and that extra pillow's gonna be an
	even three c's.

		VOICE
	Hey.

They all look to where...

JACK FOLEY

Sits at the far end of the table, reading a thick manual of
some kind.  Himey gives him a mean stare.  Foley points to a
sign that says "QUIET PLEASE."

		FOLEY
	Sign says "Shut the fuck up."  Or can't
	you guys read?

		MAURICE
	     (beat)
	There a problem, Foley?

		FOLEY
	Yeah.

Foley shuts the big book -- CHILTON'S AUTO REPAIR.

		FOLEY
	Yeah, I got a problem.  This is the
	dumbest fucking shakedown in the history
	of dump shakedowns.  Three hundred
	bucks for a pillow?

		MAURICE
	That's right.

		RIPLEY
	Sounds high, doesn't it?

		FOLEY
	Must be a real soft pillow.

		MAURICE
	Faux goose down.

		RIPLEY
	Still...

		FOLEY
	How much for your company at chow?

		MAURICE
	Company, shit.  I watch the man's back.

		FOLEY
	I bet.  How much?

		MAURICE
	Another C.

Foley shakes his head, turns to Ripley.

		FOLEY
	You're smart, Ripley, you'll tell this
	guy to fuck off.

		RIPLEY
	Really?  Well, I uhhh...

		FOLEY
	First of all, if he kills you, he's
	not gonna get any more money out of
	you.

Ripley looks at Maurice: Good point.

		MAURICE
	Man doesn't have to get killed.  He
	could accidentally fall on something
	sharp, like a shiv.  Or my dick.

Ripley turns back to Foley now: Also a good point.

		FOLEY
	You stick anything in this guy, Snoop,
	they transfer his ass outta here
	faster'n you can throw a fight, and
	you still end up with nothing.

Ripley nods, takes this in.

		MAURICE
	This doesn't concern you, Foley.  Why
	don't you go on out to the yard, have
	yourself a smoke?

		FOLEY
	I don't smoke.

		HIMEY
	     (slowly rising)
	You heard the man.  Go on outta here.

Foley doesn't move, just gives the guy a bored once over.

		MAURICE
	Himey here's a pro-toh-jay of mine.
	He's ranked number thirty-two in the
	federal prison system.

		FOLEY
	     (looking at Himey)
	Thirty-two outta what, twenty?

Himey bulldozes forward, pulling his massive fist back to clock
Foley in the head when...

...in one swift motion Foley brings his book up in one hand,
like he's throwing a pie, and drives the hefty repair manual
into Himey's face, snapping the big guy's head back, sending
his feet flying out from under him so that he hits the floor
back-first with a loud thud.

Maurice goes for Foley who picks up the chair just as we hear A
WHISTLE.  They all freeze, look to...

A PRISONER AT ANOTHER TABLE

Who nods towards the door.  We PAN OVER just as A GUARD APPEARS,
takes in the scene as a dazed Himey slowly pulls himself up,
covers his now bleeding nose.

		GUARD
	What's going on here?

		MAURICE
	Oh, you know, reading's funnamental
	an' shit, we just excited.

		GUARD
	Clear outta here.

The guard exits.  Maurice and Foley are still staring at each
other.

		RIPLEY
	Excuse me.  Snoopy?  Did we settle the
	fish thing?

		MAURICE
	     (looks at Foley)
	Yeah.  Sure.  It's all settled.

He pours the water out of the bag and drops the fish into
Ripley's open hand.  Maurice then squeezes Ripley's hand into a
fist, crushing the fish.  He taps his fist to Ripley's.

		RIPLEY
	That's how you do it.

Maurice gives Foley a last look, starts out of the room with
Himey.  Ripley looks at the crushed fish in his hand, then at
Foley.

		RIPLEY
	Thanks for your help.

		FOLEY
	Any time.

We hear a PHONE RING and then...

CUT TO: MAURICE MILLER'S HOUSE - THE BEDROOM - (NOW)

As Maurice lies in bed watching a boxing match on television.

		MAURICE
	Stick and jab, fool.  Stick and jab.

A frisbee whizzes past the television.  We hear A DOG YELP OS.

		MAURICE (CONT'D)
	Hey!  Watch that shit!

Maurice's girlfriend MOSELLE - about thirty, sleepy-eyed, in a
green bathrobe - picks the frisbee up off the floor as THE PHONE
RINGS AWAY on the bedside table right next to Maurice.

		MOSELLE
	     (calls OS)
	Tuffy.  C'mere, boy...

		MAURICE
	You gonna answer the phone?

		MOSELLE
	What for?  It's not for me.

Maurice watches as Moselle now tries to throw the frisbee to a
little wire-haired terrier, but it just bounces off the dog's
head.

		MOSELLE (CONT'D)
	Bad dog.

		MAURICE
	     (scoops up the dog)
	Moselle, the fuck are you doing to my
	little Tuffy?

He lovingly nuzzles the dog like it's his child.

		MOSELLE
	I'm trainin' Tuffy, so he can be on a
	Kal Kan commercial, make us some extra
	money.

He looks at her.

		MAURICE
	That's the dumbest thing I heard in my
	life.  Everybody knows Kal Kan doesn't
	pay for shit.  You gonna get a gig,
	it's gotta be for one of the big three:
	Science Diet, Iams or that Cycle shit
	for the fat dogs.  Now answer the fuckin
	phone.

She comes over, picks up the phone.

		MOSELLE
	Hello?
	     (hands it to Maurice)
	For you.

		MAURICE
	     (takes it)
	This is me.

EXT. PHONE BOOTH - GAS STATION - NIGHT

An antsy Glenn with his shades on talks on the phone.

		GLENN
	Snoopy.  Glenn Michaels.

INTERCUTTING GLENN & MAURICE:

		MAURICE
	Studs.  Hey, son, you must be one a
	them psychic friends.  I was just
	thinkin' about you.

Glenn watches as some guy in a suit gets out of a black Lincoln
Town Car and jogs to the john.

		GLENN
	Listen, Snoopy, I'm on my way up to
	Detroit and need a place to crash.

		MAURICE
	You crazy, come up here?  It's fuckin
	one degree outside.

		GLENN
	I wanna talk to you about a job.

		MAURICE
	Uh-huh.

		GLENN
	I can't really go into it right now.
	I'll just tell you it's someone big.

		MAURICE
	Someone?  Gimme a hint.

		GLENN
	It's a guy you know.

		MAURICE
	Gimme another hint.

		GLENN
	It's Richard Ripley.

Maurice doesn't say a word.

		GLENN (CONT'D)
	You there?

		MAURICE
	Oh, I'm here, all right.  I'm very here.
	Question is, why aren't you here?

EXT. BUDDY'S APARTMENT - SOMEWHERE IN FLORIDA - NIGHT

As Foley and Buddy hurry up the front steps.

		FOLEY
	I'm just saying she wasn't scared.

		BUDDY
	Cause she had her hand on her gun the
	whole time, waiting to make her move.

Buddy opens the door, looks at Foley.

		FOLEY
	You're just jealous it was me in the
	trunk with her and not you.

		BUDDY
	You're right.

INT. BUDDY'S APARTMENT - NIGHT

A "hideout."  Not much in the way of furnishings.  Foley follows
Buddy inside, watches as he bolts the door.

		FOLEY
	First thing I'm gonna do is get all
	this mud off me.

Foley starts for the bathroom.

		FOLEY (CONT'D)
	I've been dreaming about a hot bath
	for the last six months.  Soak the prison
	off me.

		BUDDY
	There's some lilac oil, you want some,
	a vanilla candle under the sink.

		FOLEY
	Oh, man.

		BUDDY
	There's something about a nice hot
	bath, transforms a person.  It's not
	just about opening up your pores, know
	what I mean?  There's just something
	about the heat and the wet that's
	calming you know?  Settles me in a way
	that I really can't articulate.

		FOLEY
	I know exactly what you mean.  It's
	just a feeling.
	     (beat)
	You know, I could go for some wine
	tonight.

		BUDDY
	There's a store around the corner,
	I'll be right back.

		FOLEY
	Sounds great.

Foley goes into the bathroom.  A moment later WE HEAR THE BATH
RUNNING.

INT. APARTMENT HALLWAY - DAY

As Buddy leaves the apartment, starts down the hall, KAREN STEPS
INTO FRAME, watches as he disappears down the stairs.  Gun drawn,
she then moves towards the apartment.

INT. BATHROOM - DAY

As Foley undresses, picks up a candle off the sink and smells
it.  He notices his nude image in the mirror and checks himself
out.

INT. APARTMENT - DAY

As Karen slips the door.  She looks around, HEARS THE WATER
RUNNING.

She racks the slide on her gun, snicks off the safety and starts
for the bathroom.  Suddenly, the water is turned off.  She stops
where she is.  She then moves a careful step at a time towards
the open doorway.

Gradually the tub comes into view, beginning with Foley's feet
resting crossed on the other end, then the middle of the tub,
then she's in the doorway, looking down at...

Foley, lying there in the tub, his eyes closed.  Karen cuts her
eyes down the length of him, taking a moment here to check him
out, long enough for Foley to open his eyes and grab her hand,
the one holding the gun.

		FOLEY
	Hey.

They look at each other a moment.  He then pulls her down to
him and kisses her.  She kisses him back.  He then pulls her
into the tub with him as we now hear...

		MARSHALL SISCO (VO)
	Karen...?

CUT TO: KAREN

As she opens her eyes.

		KAREN
	What?

REVEAL: A HOSPITAL ROOM - DAY

Flowers everywhere.  Karen -- bruises on her face -- lies in
bed.  Her father, Marshall, sits on the chair beside her.

		MARSHALL
	You were talking in your sleep.

		KAREN
	     (beat)
	What'd I say?

		MARSHALL
	"Hey, yourself."

		KAREN
	Huh.

We hear A KNOCK at the door.  They look to where Special Agent
DANIEL BURDON -- black, forties, expensive suit -- stands in
the doorway, file in one hand.

		KAREN (CONT'D)
	Hello, Daniel.

		BURDON
	     (to Marshall)
	Daniel Burdon, FBI.

		MARSHALL
	Marshall Sisco.  Karen's dad.

		BURDON
	You mind please waiting outside.  We
	have some business to do here.

Marshall looks at him a moment.  Then, to Karen...

		MARSHALL
	I need to go to the john anyway.

Burdon waits for Marshall to walk out, then sits down.

		KAREN
	I wanna be on the task force, Daniel.

		BURDON
	That's nice of you to offer, Karen,
	but I got all the help I can use right
	now.  Instead, let's talk about how
	you got the bump on your head.

		KAREN
	     (indicates file)
	Isn't that my report you're holding
	onto?

		BURDON
	Yes, but I want to hear you tell it.
	Starting with when you tried to grab
	the wheel -- where was this?

		KAREN
	Coming to the Okeechobee exit...

And now we see it...

INSIDE THE CAR

Going over a hundred miles per hour, blowing past cars...

		KAREN
	Take the next exit.

		GLENN
	What am I supposed to do now?

		KAREN
	Glenn, take the exit.

		GLENN
	No way, man, no fuckin' way am I gonna
	turn myself in.

She reaches over and grabs the wheel.

		GLENN (CONT'D)
	The fuck are you doing?!

He hits the brakes.  The car goes off the road, down the grade,
the abutment coming right at us as we go back to...

THE HOSPITAL ROOM

As Burdon sets the file down, sits back now.

		KAREN
	The next thing I knew, the paramedics
	were taking me out the car.

Burdon looks at Karen a moment, then...

		BURDON
	There's a couple of points I keep
	wondering about have to do with the
	two guys that grabbed you.  Buddy is
	it?  And this fella Jack Foley.  I
	swear the man must've robbed two hundred
	banks in his time.

		KAREN
	Really?  Huh.  He told me he didn't
	remember how many he robbed.

		BURDON
	You talked to him?

		KAREN
	In the trunk, yeah?

		BURDON
	What'd you talk about?

		KAREN
	Oh... different things, prison, movies.

		BURDON
	This fella holds you hostage, you talk
	about movies?

		KAREN
	It was an unusual experience.

		BURDON
	Foley made me think of that fella Carl
	Tillman, the one you were seeing, it
	turns out the same time he was doing
	banks.  You recall that?

		KAREN
	When I was seeing Carl Tillman, I didn't
	know he robbed banks.

		BURDON
	Yeah, but I had enough reason to believe
	he did, and I told you.  So you had to
	at least suspect him.

		KAREN
	And what happened to Carl?

		BURDON
	The time came, you shot him.  But you
	didn't shoot Foley or the guy with
	him.  They're unarmed, you had a shotgun
	and you let them throw you in the trunk.
	Okay, now you got your Sig in your
	hand.  You say in the report you
	couldn't turn around, he had you pinned
	down.  But when the trunk opened, how
	come you didn't cap the two guys then?

		KAREN
	Is that what you would've done?

		BURDON
	You say in the report Glenn didn't
	have a gun, but you let him get away,
	too.

		KAREN
	Daniel, what do you work on most of
	the time, fraud?  Go after crooked
	bookkeepers.

		BURDON
	Karen, I've been with the Bureau fifteen
	years, on all kinds of investigations.

		KAREN
	Have you ever shot a man?  How many
	times have you been primary through
	the door?

		BURDON
	I have to qualify, is that it?

		KAREN
	You have to know what you're talking
	about.

We hear CHUCKLING OS.  Burdon glances at the doorway where we
see Marshall now standing, enjoying this.

		BURDON
	We'll talk another time, Karen.  All
	right?  I'd like to know why Foley put
	you in that second car when he didn't
	need you any more.

		KAREN
	You'll have to ask him.

		BURDON
	Sounds to me like he liked having you
	around.  I'll see you, Karen.  Mr.
	Sisco.

		MARSHALL
	Agent Burdon.

Marshall waits for him to walk out...

		MARSHALL (CONT'D)
	The white man's Burdon.  That's what
	everybody calls him in Miami.  The
	Metro-Dade guys.  He's got a knack for
	pissing people off.

She's not listening.  He sits down, takes her hand...

		MARSHALL (CONT'D)
	What are you thinking about?

		KAREN
	The Sig Sauer you got me for my
	birthday.

		MARSHALL
	Tell you what, you're a good girl, you
	might get another one for Christmas.

She looks at him.

		KAREN
	I'll get it back when I get Foley.

EXT. BUDDY'S APARTMENT BUILDING - DAY

A dozen GERIATRIC RESIDENTS sit on chairs out front as Buddy
climbs the steps carrying a bag of groceries under one arm,
newspaper under the other.  An old woman comes out the door as
Buddy opens it and squints at him.

		OLD WOMAN
	Oh--  Are you delivering the oxygen?

		BUDDY
	Uh, no, ma'am.  Sorry.

INT. BUDDY'S APARTMENT - DAY

Buddy's REAL apartment, not the one Karen pictured in her dream.
This one's nicer, with a view of the beach.  Jack stands on the
balcony going through KAREN'S PURSE.

He pulls out her wallet, checks out her driver's licence photo.
He does the same with her gym I.D. card.  He finds her address
book and opens it up.  A photo of her father slips out.  Jack
examines it a moment, then flips through the book.

He stares at something in her bag a moment, then reaches in
and comes up with her us Marshal I.D.  He slips it open and
studies the badge and the picture opposite.

He holds on to it, looks out at the ocean, but really sees...

THE OPEN TRUNK OF THE CAR - LAST NIGHT

As Karen gets out, saying...

		KAREN
	You win, Jack.

BACK IN THE APARTMENT

Foley turns away from the view as Buddy walks in, sets the
grocery bag down on the coffee table.

		BUDDY
	You made the front page.

He holds up the newspaper so that Foley can see his picture on
the front page: an unflattering mug shot that doesn't look all
that much like him.

		BUDDY (CONT'D)
	They pass this picture around you can
	go anywhere you want, nobody'll know
	you.

		FOLEY
	I wasn't feeling my best that day.
	I'd just drawn thirty to life.

		BUDDY
	Maybe this'll make you feel better.

Buddy reaches into the bag, tosses Foley a NEW ZIPPO.

		FOLEY
	Thanks.

Foley catches the lighter, immediately begins playing with it.
He looks at the paper on the coffee table as Buddy sits down,
pulls some groceries and a sixpack from the bag.

		BUDDY
	Paper says there's ten grand each on
	you, Chino and Lulu.

		FOLEY
	Say anything in there about Karen Sisco?

		BUDDY
	Just that she got away.

		FOLEY
	Yeah, but what happened after she drove
	off with Glenn?

		BUDDY
	You'll have to ask Glenn.  And most
	likely, he's on his way to Detroit,
	where we should be.

Foley walks back out on to the balcony, looks at the contents of
Karen's bag spread out on the table.

		BUDDY (CONT'D)
	You realize what you're doing?  Worrying
	about a person that works in law
	enforcement.  You want to sit down and
	have cocktails with a girl that tried
	to shoot you.  You hear what I'm saying?

Foley holds up the picture of Marshall Sisco.

		FOLEY
	Think this old guy is her boyfriend?
	It's the only picture she carries.

		BUDDY
	Am I going to Detroit by myself?

Foley picks up her drivers licence photo.

		BUDDY (CONT'D)
	Longer we hang around down here, Jack,
	better chance there is either Glenn's
	gonna fuck up the whole score, or we
	gonna get busted, or both.

		FOLEY
	We'll leave first thing in the morning.

EXT. MARSHALL SISCO'S CONDO - DAY

Right on a marina.  Boats bobbing on the water.

		MARSHALL (VO)
	Is this Foley?

INT. MARSHALL SISCO'S CONDO - DAY

Marshall sits in his chair holding up a newspaper as Karen hands
him a drink.  She stares at the photograph.

		KAREN
	He doesn't even look like that.

		MARSHALL
	No?

		KAREN
	No, he looks a lot...

She realizes Marshall's watching her.

		KAREN (CONT'D)
	Different.

The doorbell RINGS.  She ignores his look, gets up.  Walks to
the door and opens it to reveal RAY NICOLET, boots, leather
jacket, etc.  Cowboy Cop.

		KAREN (CONT'D)
	Hi, Ray.

		RAY
	You look great.  Your dad taking good
	care of you?

		KAREN
	He took the week off so we'd have time
	together.  So far he's worked on his
	boat every day.  Dad?  Ray Nicolet.

Marshall gets up, shakes his head.

		RAY
	I've heard a lot about you, Mr. Sisco.

		MARSHALL
	Likewise.

		KAREN
	Ray's with the F.B.I. Task Force,
	working on the prison break.

		MARSHALL
	     (eyeing his T-shirt)
	I see that.

Ray turns to Karen, holding his jacket open to show the task
force inscription on his T-shirt in red, the guy's .357 tucked
into his waistband.

		MARSHALL (CONT'D)
	In case no one knows what he does.
	Tell me, Ray, you ever wear one says,
	"Undercover"?

		RAY
	No.  Course not.

		KAREN
	     (changing the subject)
	How's it going?

		RAY
	Great.  We got one of 'em.

Karen looks at him.

		KAREN
	Was it Foley?

		MARSHALL
	     (before he can answer)
	Off a tip?

		RAY
	Yeah, someone spotted two of 'em in
	this hobo camp out by the airport,
	called the number--

		MARSHALL
	I knew it, soon as I saw they were
	offering a reward.

She grabs Nicolet by the arm.

		KAREN
	Was it Foley?

Marshall looks at her.

		RAY
	Foley?  Oh.  No, it was one of the
	Cubans.  Linares.

		KAREN
	Oh...

		RAY
	We went out there, full SWAT, two
	choppers, the whole bit, but Linares
	started shooting anyway.  We put him
	down, but somehow Chirino got away.

		MARSHALL
	Did you pay the guy the reward?

		RAY
	Yeah, as soon as we got back.

		KAREN
	Foley hadn't been there?

Her father gives her a look.

		RAY
	This place was strictly Cuban.  If
	Foley had a ride he must have his own
	agenda. He seems to be the only one
	knows what he's doing.

THE PHONE RINGS.  Marshall moves to it.

		MARSHALL
	Hello?
	     (beat)
	Yeah, she is.  Just a minute.
	     (hands her the phone)
	For you.

		KAREN
	Hello?

CUT TO: FOLEY ON THE PHONE - DAY

On the balcony.  Flipping through a copy of Vogue while Buddy
watches television inside.

		FOLEY
	Hi.

INTERCUTTING KAREN & FOLEY - DAY

Karen just stands there, sees her father looking at her as Ray
drones on.

		FOLEY
	You know who this is?

		KAREN
	Yes.

She walks out to her father's balcony now.

		FOLEY
	I just wanted to see if you're okay,
	make sure Glenn didn't hurt you or,
	you know, anything.

		MARSHALL
	Something I've been wondering, Ray...

Marshall picks up the newspaper...

		MARSHALL (CONT'D)
	It says in the headline, "I slept with
	a murderer, says shaken Miami woman."
	She lives in Little Havana, her
	husband's out of town working when one
	of the escapees shows up at her door...

She closes the glass door, so that they won't hear her.

		KAREN
	How'd you get this number?

		FOLEY
	Who was it answered the phone?

		KAREN
	None of your business.

		FOLEY
	I'm just worried maybe I'm not old
	enough for you.

		KAREN
	That's my dad.

		FOLEY
	Really.  He has a cop's face.

		KAREN
	How do you know?  Wait-- you have my
	wallet.

		FOLEY
	And your gun.

		KAREN
	Think I could have them back?

		FOLEY
	How do we do that?

		KAREN
	Let's see.  You could come on by my
	dad's place, drop 'em off.

		FOLEY
	Sure.  I'll just leave 'em with the
	S.W.A.T. guy answers the door.

Foley stops flipping through the magazine, stares at what he's
been looking for: an ad for Defiance perfume.

		KAREN
	There's a guy here on the task force
	right now.  Maybe I should put him on
	the phone, let you two work it out.

		FOLEY
	You won't do that.

		KAREN
	Why not?

		FOLEY
	Because you're having too much fun.

She doesn't know what to say to that.  Foley smells the ad.

INSIDE THE HOUSE

		MARSHALL
	...She fixes him pork chops and rice,
	the next thing you know they're making
	love on the sofa.  She says he was
	very gentle.

		RAY
	I spoke to her.  The guy told her he
	missed his little girl and she felt
	sorry for him.

		MARSHALL
	That's how you score now?

ON THE PATIO:

Karen looks inside at her father talking with Ray Nicolet.

		KAREN
	My dad's retired.  He was a Private
	Investigator.  Forty years.  I used to
	work for him.

		FOLEY
	I can just picture that, a cute girl
	like you following slip-and-fall and
	whiplash cheaters.

		KAREN
	Something I've been wondering, what
	ever happened to your Uncle Cully?

		FOLEY
	Why?  You think he might tell you where
	I am?

		KAREN
	Unless you wanna tell me.

		FOLEY
	He's dead.  He did twenty-seven years
	before he came out and died not too
	long after in Charity Hospital, I think
	trying to make up for all the good
	times he'd missed.
	     (then)
	That's not gonna be me.

		KAREN
	One last score, that the idea?  Move
	to some island.

		FOLEY
	I'm partial to mountains myself.  But
	if you like islands, we'll make it an
	island.

		KAREN
	Whatta you mean we'll make it an island?

		FOLEY
	I just thought maybe you and me could--

Buddy opens the door, sticks his head out, startles Foley.

		BUDDY
	Who you talking to?

		KAREN
	Is that Buddy?

Foley's caught off guard, hangs up the phone.  He looks at Buddy.

		FOLEY
	What?!

		BUDDY
	You better come see this.

INT. MARSHALL'S CONDO - DAY

As Karen stands on the balcony another moment, then hangs up,
opens the sliding door and walks back into the living room.

		RAY
	The woman also said he stole her
	husband's gun, a twenty-two pistol,
	and some of his clothes.

		MARSHALL
	So the woman's married.  She goes to
	bed with this prison escapee because
	he misses his little girl and then
	tells the world about it.  But you
	don't reveal her name, you protect
	her.  It sounds like you're saying
	it's okay as long as her husband doesn't
	find out about it.  Like the guy who
	cheats on his wife, saying what she
	doesn't know won't hurt her.

		KAREN
	Dad.

He looks over at her now.  Gives her an innocent look.

		MARSHALL
	What?

INT. BUDDY'S APARTMENT - DAY

As Foley and Buddy watch a news report on the earlier events at
the hobo camp.  We catch a glimpse of RAY NICOLET, GUN IN HIS
WAISTBAND, STICKING HIS CHEST OUT FOR THE CAMERA.

Foley shakes his head as they show a shot of Lulu's body covered
with a sheet.

		FOLEY
	Chino's gonna wanna talk to me.

		BUDDY
	He's running for his life, he doesn't
	give a shit about you.

		FOLEY
	He's gotta know by now that I gave him
	up back at Glades.  He does, he's gonna
	try to find me.  Maybe go see Adele,
	see what she knows.

		BUDDY
	He knows where she lives?

Foley doesn't answer.  Buddy mutes the set.  Turns to Foley.

		BUDDY (CONT'D)
	Jack?

		FOLEY
	We were talking one time, drinking
	rum.  I may've mentioned Adele, how
	she worked for a magician.  Chino got
	interested.  He's like, Yeah?  How
	does he saw the woman in half?  He
	wanted to meet her.  Or get a look at
	her if she ever came to visit.

		BUDDY
	So call her up.  Tell her don't talk
	to any Cubans.

		FOLEY
	Her phone's probably tapped.

		BUDDY
	And you know they're gonna have some
	people watching the hotel.

		FOLEY
	Shit.

EXT. MARSHALL SISCO'S BOAT - DAY

Karen stands there with her car keys and purse as Marshall paints
the trim on the boat.

		MARSHALL
	Remember, pay attention to how she
	talks about Foley, her tone.  Do it
	right, she'll tell you things she
	wouldn't tell Burdon.  Tell her you
	think he's a nice guy.  No, first tell
	her about being in the trunk with him,
	in the dark for half an hour, and see
	how she takes it.  If she's in on it,
	what does she get for all the
	aggravation; cops breathing on her?  I
	bet nothing.  So she still likes him
	enough to stick her neck out.  You
	think that's possible?  What kind of
	guy is he?

		KAREN
	He's pretty laid back, confident.

		MARSHALL
	He remind you of that guy, Tillman?

		KAREN
	Not at all.

		MARSHALL
	But you know he's dirty and you still
	wanna see him again.

		KAREN
	I want to bust his ass, put him in
	shackles.

		MARSHALL
	Maybe.  But you're also curious about
	the man.  Twice last night you asked
	your married boyfriend Nicolet about
	him.  You were concerned, but you didn't
	want to show it.

		KAREN
	My married boyfriend - setting him up
	with that news story so you could talk
	about infidelity.  I couldn't believe
	it.

		MARSHALL
	You like the wild ones, don't you?
	Tillman, Nicolet and now Foley.  You
	know, I've always said there's a thin
	line between the cowboy cops and the
	armed robbers, all those guys that
	love to pack.

		KAREN
	Foley kidnapped me.

		MARSHALL
	Yeah, but you talked all the way from
	GCI to the turnpike.  It sounds more
	like a first date than a kidnapping.

She gives him a look.  He goes back to his painting.

		MARSHALL (CONT'D)
	Go talk to the ex-wife.

INT. ADELE DELISI'S APARTMENT - DAY

As Adele comes in, drops a stack of her cards on the glass-topped
dining table and turns on the window air-conditioner when THE
PHONE RINGS.  She grabs it...

		ADELE
	Hi, this is Adele speaking.

EXT. PAYPHONE - DAY

Adele's neighbourhood.  Near the beach.  Chino on the phone.  He
wears a painter's cap and a white jumpsuit...

		CHINO
	Oh, is this Adele?

		ADELE (PHONE)
	Yes, it is.

		CHINO
	Uh-- sorry.  Wrong number.

He hangs up, glances about, then checks the little .22 stuck in
one of his pockets.  As he then starts off down the street, we
can see the name "COLOR MY WORLD HOUSEPAINTING" on the back of
the jumpsuit.

INT. BUDDY'S CAR - DAY

Buddy drives.  Foley -- in a bright orange and ochre beach outfit --
is beside him.  Buddy looks at him, shakes his head.

		BUDDY
	Nice disguise.

		FOLEY
	I'm a tourist.

		BUDDY
	You at least bring the gun?

		FOLEY
	     (lifts straw bag)
	In here with my suntan lotion and beach
	towel.
	     (points)
	That's her place.

As they drive past, Buddy indicates a MAN on the steps out front,
obviously FBI...

		BUDDY
	There.  You see the guy sitting on the
	porch?  The old ladies and one guy?
	You know they'll have a couple more in
	a car somewhere.

		FOLEY
	     (watching something
	      else)
	Uh-huh...

Buddy follows Foley's gaze to...

ACROSS THE STREET

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

		BUDDY
	Oh, my.

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

		BUDDY (CONT'D)
	Okay, you saw her.  That's all you
	get.

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

		FOLEY
	I guess Adele's in good hands.

		BUDDY
	Sure looks that way.

		FOLEY
	     (finally)
	Let's go to Detroit.

		BUDDY
	Now you're talkin'.

INT. HALLWAY OUTSIDE ADELE'S APARTMENT - DAY

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

		ADELE
	You were both in the trunk?  Together?

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

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

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

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

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

		ADELE
	I know a Glenn.

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

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

		KAREN
	No, thanks.

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

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

She walks away, comes back with an ashtray.

		ADELE (CONT'D)
	When you were in the trunk with Jack...

Karen waits, watches her light her cigarette.

		ADELE (CONT'D)
	He didn't hurt you or anything, did he?

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

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

Adele sits down at the other end of the table.

		KAREN
	You didn't visit him in prison.

		ADELE
	He didn't want me to.

		KAREN
	Why not?

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

		KAREN
	But you spoke to him on the phone.

		ADELE
	He'd call every once in a while.

		KAREN
	He called the day he escaped.

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

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

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

		KAREN
	Did you know that when you married
	him?

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

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

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

		KAREN
	Really.
	     (looking at the picture)
	Hm.

She realizes Adele is looking at her.

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

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

Karen shakes her head.

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

		KAREN
	Till they got busted.

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

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

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

		CHINO'S VOICE
	Adele?  You in there?

		ADELE
	Yes.

		CHINO
	I want to speak with you, please.

		ADELE
	Who is it?

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

		ADELE
	Oh.  Uh-huh.

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

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

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

		ADELE
	His assistant.

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

		ADELE (CONT'D)
	You say you perform in the Miami area?

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

And now Karen and Adele look at each other.

		CHINO'S VOICE (CONT'D)
	Can you open the door?

Karen shakes her head "no."

		ADELE
	I'm not dressed.

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

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

		KAREN
	Ask him his name.

		ADELE
	Who are you?

		CHINO'S VOICE
	     (beat)
	Jose Chirino.

Karen brings her Beretta out of the bag.

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

Karen moves along the table to Adele...

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

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

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

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

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

		ADELE
	I don't know where he is.

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

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

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

Adele says nothing.  Then...

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

		KAREN
	     (low)
	Go in the bedroom and --

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

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

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

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

		KAREN (CONT'D)
	Leave it where it is.

		CHINO
	     (frowning)
	Wait.  You not Adele?

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

		CHINO
	Oh.  Then this must be Adele...

He now aims the gun point-blank at Adele.

		KAREN
	Put it down or I'll shoot.

		CHINO
	You wouldn't shoot me, would you?

		KAREN
	What do you want to bet?

		CHINO
	     (beat)
	I could walk out of here.

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

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

		KAREN (CONT'D)
	You can live or die, it's up to you.

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

		KAREN
	You don't, huh?

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

		ADELE (CONT'D)
	On your knees.

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

		ADELE (CONT'D)
	Lie face down on the floor.

		CHINO
	     (hurting)
	What?!

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

		CHINO (CONT'D)
	     (to Adele)
	Excuse me...

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

		KAREN
	Daniel Burdon, please.  Karen Sisco.

		CHINO
	Excuse me, Adele?

		ADELE
	Yes.

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

		ADELE
	     (beat)
	Yes.

		CHINO
	Tell me, how do you do that?

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

		KAREN
	Shut up.

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

		KAREN
	Daniel.  Listen --

		BURDON (PHONE)
	Where are you?  I been trying to reach
	you.

		KAREN
	I'm at Adele Delisi's.

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

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

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

		KAREN
	All right, but...

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

		KAREN
	Sure, Daniel.

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

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

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

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

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

		KAREN
	That's all I wanted to know.

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

Karen hangs up, looks at Adele.  Adele nods.

		ADELE
	You're good.

		KAREN
	Thank you.

INT. BUDDY'S APARTMENT - NIGHT

As Foley and Buddy quickly pack up their stuff.

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

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

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

		BUDDY
	Remember Snoopy Miller, his old pal
	from Lompoc?

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

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

INT. SHALAMAR APARTMENTS - LOBBY - NIGHT

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

		BURDON
	You get the key?

		KAREN
	They're in 7D.

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

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

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

		BURDON (CONT'D)
	You're primary, you're secondary, you're
	point man.

		KAREN
	You're gonna use a ram?

		BURDON
	Yeah, why?

		KAREN
	The manager's door is metal.

They all look at her.

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

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

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

		BURDON
	Fine.  Whatever.

He sees the elevator still hasn't come down.

		BURDON (CONT'D)
	Fuck it.  Let's take the stairs.
	Karen...

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

		BURDON (CONT'D)
	Take the radio, stay down here in the
	lobby, watch the elevator.

		KAREN
	What?  Daniel, I wanna go upstairs.

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

She doesn't say anything.

		BURDON (CONT'D)
	Now you see Foley and this guy Bragg
	come in behind us, whatta you do?

		KAREN
	     (pissed)
	Call and tell you.

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

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

		OLD WOMAN
	Are you delivering the oxygen?

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

ON THE SEVENTH FLOOR - DAY

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

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

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

CUT TO:  INSIDE THE ELEVATOR - DAY

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

		BUDDY
	Is this your floor, mother?

		OLD LADY
	Oh.  Yes, it is.

INT. THE LOBBY - SAME TIME - DAY

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

		OLD GENT
	Like to play some gin?

		KAREN
	No, thank you.

He creeps off towards the elevator.

INT. BUDDY'S APARTMENT - DAY

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

INT. LOBBY - DAY

As we hear Burdon's voice.

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

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

The elevator door opens to reveal Buddy and Foley.

		OLD GENT
	Going up?

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

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

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

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

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

INT. ELEVATOR - DAY

As the elevator resumes going down.

		OLD GENT
	Shit, I wanted to go up.

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

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

INT. BUDDY'S CAR - DAY

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

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

		FOLEY
	She just sat there, looking right at
	me.

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

CUT TO: A CLOSE-UP OF KAREN - DAY

Staring straight ahead.

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

INT. AIRPORT TERMINAL - DAY

As Marshall walks Karen to the gate.

		MARSHALL
	He waved to you?

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

		MARSHALL
	You wave back?

		KAREN
	I didn't have time.

		MARSHALL
	I imagine you would've though.

She shakes her head.

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

		MARSHALL
	So?

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

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

		KAREN
	None I'd like to share.

She gives him a kiss...

		KAREN (CONT'D)
	I'll call soon as I get in.

				     DISSOLVE TO:

EXT. BLOOMFIELD HILLS - DETROIT - DAY

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

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

INT. CAR - SAME

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

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

Glenn just nods, stares out the window.

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

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

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

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

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

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

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

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

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

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

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

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

		GLENN
	What?

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

		MAURICE
	You get everything?

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

		MAURICE (CONT'D)
	Cool.  Kenneth, this is the man I told
	you about, Glenn.

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

		MAURICE
	That's right.

		GLENN
	Help you...

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

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

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

Glenn can't believe this is happening.

		MAURICE (CONT'D)
	Thing I'm worried about is you.

		GLENN
	Me?

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

		GLENN
	Can I do what?

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

		GLENN
	What-- when?

		MAURICE
	Right now, son.

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

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

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

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

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

		WHITE BOY BOB
	We're here.

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

		MAURICE
	Let's go see Eddie.

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

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

EXT. LOMPOC FPC - YARD - DAY

As Foley walks with Ripley across the yard.

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

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

		RIPLEY
	Really?

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

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

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

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

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

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

		FOLEY
	Of course not.

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

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

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

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

		RIPLEY (CONT'D)
	Tell me something, Jack, how much longer
	you in here?

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

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

Foley looks at Ripley.

		FOLEY
	It's a little late for me.

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

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

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

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

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

		FOLEY
	The fish?

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

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

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

		FOLEY
	And the guy sent you a bill for this?

		RIPLEY
	It works.  You should try it sometime.

		FOLEY
	The next time I walk into a bank.

Ripley shakes his head, then gets up...

		RIPLEY
	Think about my offer, Jack.

Foley watches him go.

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

CUT TO: CLOSE UP OF FOLEY

As he turns to us.

		FOLEY
	What?

PULL BACK TO REVEAL: WE'RE INSIDE A CAR

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

		BUDDY
	You see this one...

Buddy reads from a newspaper while Foley watches the gym.

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

		FOLEY
	Love is funny.

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

		BUDDY
	Hey--

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

INT. TOWN CAR - SAME

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

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

Maurice looks at Glenn now and grins.

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

Glenn just looks at Maurice.

		MAURICE (CONT'D)
	That was some shit, huh?

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

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

		KENNETH
	     (smiles)
	Do what?

Glenn says nothing, just looks at Kenneth.

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

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

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

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

		GLENN
	Why would I do that?

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

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

INT. FOLEY AND BUDDY'S CAR - SAME

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

		BUDDY
	Whatta you think?

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

		BUDDY
	Or two.

INT. BOXING GYM - DAY

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

		MAURICE
	Stick and jab!

		VOICE
	Hey, Studs, how you doing?

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

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

They sit down on either side of him, close.

		FOLEY
	Weren't you expecting us?

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

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

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

		FOLEY
	Yeah?  She said that to you?

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

		FOLEY (CONT'D)
	What happened to your shades?  Someone
	finally step on 'em?

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

Foley notices the blood on Glenn's shirt.

		FOLEY
	Whose blood you got all over you?

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

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

		FOLEY
	Is that Snoopy?  In the purple doo
	rag?

		BUDDY
	What's he do now, tell fortunes?

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

		WHITE BOY BOB
	We have a problem here?

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

		FOLEY
	Snoopy Miller, famous fight thrower.

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

		FOLEY
	Low class of people there, Snoop.

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

		BUDDY
	What?  You mean Snoop?

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

		BUDDY
	But you call this bozo White Boy?

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

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

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

		FOLEY
	Like being back in the yard, huh?

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

		FOLEY
	Glenn didn't tell you?

		GLENN
	I thought you guys were busted.

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

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

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

		MAURICE
	Let's go outside and talk.

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

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

Foley nods then looks at Glenn as Buddy gets up.

		FOLEY
	We'll see you tomorrow then.

Maurice then watches as they walk out.

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

		WHITE BOY BOB
	Ten gees.

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

EXT. CRIME SCENE - NIGHT

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

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

		KAREN
	I'm looking for Ray Cruz.

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

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

INT. HOUSE - SAME

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

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

		VOICE
	Called themselves the Youngboys.

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

		CRUZ
	Ironic, isn't it?

		KAREN
	How are you, Raymond?

		CRUZ
	Freezing.  But I'm getting warmer.

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

		KAREN
	Quite a mess.

		CRUZ
	Yeah.  And I thought everyone liked
	Eddie.

		KAREN
	Who?

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

		KAREN
	What is it with crack and transsexuals?

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

		KAREN
	Yeah.  I saw one of 'em outside.

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

This shuts them both up.  Cruz indicates the door.

		CRUZ (CONT'D)
	Let's get some air.

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

A BROKEN PAIR OF SUNGLASSES

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

EXT. CRIME SCENE - NIGHT

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

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

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

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

		KAREN
	No, I didn't know that.

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

		KAREN
	Detroit, you must be pretty busy.

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

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

		CRUZ
	Who was the friend?

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

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

		KAREN
	I'll need a last known address.

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

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

He turns and looks at her.

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

As he gets into his car, we then:

CUT TO: A NEWSPAPER

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

		BUDDY (PHONE)
	You have the paper?

REVEAL: FOLEY'S HOTEL ROOM - DAY

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

		FOLEY
	It's a terrific shot of her.

INT. BUDDY'S ROOM - SAME

Buddy looking at the same shot...

		BUDDY
	Outside of that.

INTERCUTTING FOLEY & BUDDY

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

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

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

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

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

		FOLEY
	You tell your sister about it?

		BUDDY
	Just hung up.

		FOLEY
	How long you talk to her?

		BUDDY
	Two hours.

		FOLEY
	How long were you with the girl?

		BUDDY
	Forty-five minutes.

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

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

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

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

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

INT. RIPLEY'S CELL - DAY

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

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

		RIPLEY
	What's to think about?

		FOLEY
	You goin' right back to work?

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

He tears a picture off the wall...

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

Foley stares at the photograph of sea life.

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

Foley looks at Ripley, who extends his hand.

		RIPLEY (CONT'D)
	See you on the outside, Jack.

INT. FOLEY'S HOTEL ROOM - DAY

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

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

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

		VOICE (PHONE)
	Atheneum Hotel.

		FOLEY
	Karen Sisco, please.

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

		FOLEY
	Thank you.

He dials the next number...

		VOICE
	Best Western...

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

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

		KAREN
	Moselle Miller?

		MOSELLE
	What do you want?

		KAREN
	I'm looking for Maurice.

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

		MALE VOICE
	Moselle.  Who you talking to?

		MOSELLE
	Lady looking for Maurice.

		MALE VOICE
	What's she want?

		MOSELLE
	Hasn't said.

		KAREN
	That's not Maurice?

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

		MALE VOICE
	Ask what she want with him?

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

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

		MALE VOICE
	How do I know?

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

		KENNETH
	The State, huh.  Who's fighting?

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

		MOSELLE
	You like to sit down?

		KAREN
	Thanks.

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

		KAREN (CONT'D)
	I'm looking for a friend of mine I think
	Maurice knows.

		MOSELLE
	You not with probation, one of those?

		KAREN
	No.

		MOSELLE
	You a lawyer?

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

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

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

		KAREN
	He said he stayed here last November.

		MOSELLE
	Here?  In this house?

		KAREN
	He said he stayed with Maurice.

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

		KAREN
	     (beat)
	Your dog was killed?

		MOSELLE
	Got run over by a car.

		KAREN
	What did you call it?

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

		MOSELLE
	Was a she, name Tuffy.

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

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

		KAREN
	The State Theater?

		VOICE
	What you want with Maurice?

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

		MOSELLE
	She looking for a man name of Glenn.

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

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

		KAREN
	You're a fighter?

		KENNETH
	How you know that?

		KAREN
	I can tell.

		KENNETH
	I was...

He moves his head in what might be a feint.

		KENNETH (CONT'D)
	Till I got my retina detached two time.

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

		KAREN
	What'd you fight, middleweight?

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

		KAREN
	Flyweight.

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

		KAREN
	You're not my type.

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

		KAREN
	Just a minute.

Her hand goes into her bag next to the chair.

		KENNETH
	Bring your own rubbers with you?

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

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

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

		KAREN
	I have to go, Kenneth.

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

		KAREN (CONT'D)
	Maybe we'll see each other again, okay?

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

		KENNETH
	We gonna tussle first.

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

		KENNETH (CONT'D)
	God damn...

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

		KENNETH (CONT'D)
	What's wrong with you?

		KAREN
	You wanted to tussle, we tussled.

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

		KAREN (CONT'D)
	I wrote my hotel number on there -- in
	case you run into Glenn.

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

EXT. RICHARD RIPLEY'S HOUSE - DAY

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

INT. BUDDY'S CAR - SAME

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

		BUDDY
	Now that's a really big house.

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

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

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

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

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

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

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

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

Foley looks at him.

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

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

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

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

		BUDDY
	You might not have a choice.

Foley looks at him.

		BUDDY (CONT'D)
	They put a gun on you, you'll go back.

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

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

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

INT. RIPLEY ENTERPRISES PERSONNEL OFFICE - DAY

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

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

		FOLEY
	Great.

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

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

		FOLEY
	What?

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

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

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

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

		FOLEY
	What is this?

		MR. HEARN
	Your uniform.

		FOLEY
	My what?

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

		FOLEY (CONT'D)
	Are you kidding me?

RICHARD RIPLEY'S OFFICE

View.  Wet bar.  Huge fucking aquarium.

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

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

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

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

		FOLEY
	A security guard?  Are you fucking
	kidding me?

Ripley considers Foley a moment, then...

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

Foley says nothing.

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

Still Foley says nothing.

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

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

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

Two massive SECURITY GUARDS appear in the doorway...

		FOLEY
	Hey, what job he promise you guys?

		GUARD
	There's two ways we can do this.

		FOLEY
	Yeah?  What are they?

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

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

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

EXT. RIPLEY'S BUILDING - FLORIDA - DAY

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

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

THE BANK ACROSS THE STREET

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

					  CUT TO:

INT. BUDDY'S CAR - DAY

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

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

		BUDDY
	Yeah, and I better call my sister.

CUT TO: THE SNOWSTORM

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

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

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

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

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

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

		KAREN
	Thanks anyway.

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

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

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

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

She glances at the table, the other two watching.

		EXECUTIVE GUY (CONT'D)
	And I won.  Hi, I'm Philip.

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

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

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

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

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

She just looks at him.  So sure of himself.

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

She says nothing to him.

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

		KAREN
	Andy?  Really.  Who gives a shit?

He gives her a sympathetic expression.

		ANDY
	Want to tell me what happened?

		KAREN
	Beat it, will you?

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

		VOICE
	Can I buy you a drink?

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

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

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

		FOLEY
	I'm Gary.

She hesitates, then shakes his hand...

		KAREN
	I'm Celeste.

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

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

		FOLEY
	I can go to the bar.

		KAREN
	Don't leave me.

		FOLEY
	Those guys bother you?

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

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

		KAREN (CONT'D)
	Help yourself.

She watches him take a sip, smack his lips.

		FOLEY
	You like bourbon?

		KAREN
	Love it.

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

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

		FOLEY
	Is that how you think of yourself?

		KAREN
	What, as a sales rep?

		FOLEY
	A girl.

		KAREN
	I don't have a problem with it.

		FOLEY
	I like your hair.  And that suit.

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

		FOLEY
	You did?

		KAREN
	It smelled.

		FOLEY
	Having it cleaned didn't help, huh?

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

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

This stops her, throws her off balance.

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

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

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

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

		KAREN
	Well, does it make sense to you?

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

		KAREN
	Or once.

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

		FOLEY
	Why don't we get out of here.

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

INT. ELEVATOR - NIGHT

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

INT. HER HOTEL SUITE

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

		KAREN
	How'd you find me?

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

		KAREN (CONT'D)
	Oh, God...

		FOLEY
	I called your room from downstairs.

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

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

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

		FOLEY
	It would be worth the risk.

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

		KAREN
	You like taking risks.

		FOLEY
	So do you.

He kisses her now, puts his arms around her.

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

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

		KAREN (CONT'D)
	Sooner or later...

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

		KAREN (CONT'D)
	You really wear that suit.

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

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

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

		FOLEY
	She did, huh.

		KAREN
	You kept touching me, feeling my thigh.

		FOLEY
	Yeah, but in a nice way.

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

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

		KAREN
	He killed a police officer.

He stops.  Looks at her.

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

		KAREN
	You believe that?

		FOLEY
	Why not?

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

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

As he kisses her on the neck.

		KAREN (CONT'D)
	What were you gonna do with me?

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

		KAREN
	You waved to me in the elevator.

She's loosening his tie, unbuttoning his shirt.

		FOLEY
	I wasn't sure you caught that.

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

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

They look at each other a moment.

		FOLEY (CONT'D)
	You know I saw you on the street.

		KAREN
	Where?

		FOLEY
	Outside Adele's.

He starts to kiss her again, but--

		KAREN
	You were going to see her?

		FOLEY
	To warn her about Chino.

		KAREN
	So she did help you?

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

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

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

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

		KAREN
	Come on.

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

INT. BEDROOM - SAME

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

		KAREN
	Are you gonna leave your tie on?

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

		FOLEY
	My God, look at you.

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

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

		FOLEY (CONT'D)
	You having fun?

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

FADE OUT.

CUT TO: KAREN

Eyes open, serious now.

REVEAL

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

		FOLEY
	You coming back?

		KAREN
	I'm just going to the bathroom.

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

INT. BATHROOM - SAME

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

INT. BEDROOM - SAME

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

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

		FOLEY
	Why are you mad?

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

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

		KAREN
	I don't know.

He raises the covers, but she just stands there.

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

She comes over and sits down on the bed.

		KAREN
	You're not dumb.

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

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

		FOLEY (CONT'D)
	You getting serious on me now?

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

		FOLEY
	     (beat)
	You know.

And he kisses her.

EXT. DETROIT - DAY

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

INT. KAREN'S HOTEL ROOM - SAME

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

		KAREN
	Oh, for Christ sake, grow up.

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

INT. SITTING ROOM - SAME

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

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

INT. FOLEY'S HOTEL ROOM - DAY

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

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

		FOLEY
	I saw Karen Sisco.

Buddy turns to him.

		BUDDY
	And she saw you?

		FOLEY
	Yes, she did.

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

		FOLEY
	You know how I felt about her.

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

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

		BUDDY
	You find out?

		FOLEY
	Yeah, I did.

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

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

		FOLEY
	I don't know.

INT. KAREN'S HOTEL ROOM - DAY

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

INT. STATE THEATER - NIGHT

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

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

		MAURICE
	Stick and jab, stick and jab!

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

		WHITE BOY BOB
	You drink like a girl.

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

INT. THEATER - SAME

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

ON GLENN

As he pushes his chair back.

		GLENN
	I got to go take a piss.

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

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

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

EXT. STATE THEATER - PARKING LOT - SAME TIME

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

INT. TOWN CAR - SAME TIME

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

		KAREN
	Glenn, are you trying to steal this
	car?

		GLENN
	Jesus, I don't believe it.

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

He raises his empty hands.

		GLEN
	I don't have the keys.

		KAREN
	I see that.

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

		KAREN
	You're not?

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

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

		GLENN
	Jesus.  How'd you know about Snoopy?

Karen looks at him, shakes her head.

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

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

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

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

		KAREN
	What's going on, Glenn?

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

		KAREN
	But I thought the whole thing was your
	idea?

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

		KAREN
	Ripley?  You mean the wall street guy?

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

		KAREN
	And is Foley a part of this?

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

		KAREN
	Why's that?

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

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

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

		KAREN
	Gee, I wonder why not.

		GLENN
	I'm freezing my ass off.

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

		GLENN
	Really?

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

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

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

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

EXT. PARKING LOT - SAME

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

INT. THEATER - SAME

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

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

Foley and Buddy remain standing.

		MAURICE (CONT'D)
	Kenneth, this is Mr. Jack Foley and
	this is Mr. Buddy, famous bank robbers.

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

		FOLEY
	Who's sitting here?

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

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

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

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

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

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

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

		FOLEY
	We're leaving.

		MAURICE
	The fuck you talking about?

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

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

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

		FOLEY
	I thought everything.

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

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

Foley looks at Maurice now.

		MAURICE (CONT'D)
	Soon as we leave here.  Stop home and
	pick up what we need and go do it.

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

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

		FOLEY
	I wasn't asking permission.

Foley walks up to the bar with Buddy.

		FOLEY (CONT'D)
	They want to go tonight, before Glenn
	gets in any trouble, opens his big
	mouth.

		BUDDY
	Whatta you wanna do?

Foley takes out his lighter, begins playing with it.

		BUDDY (CONT'D)
	You know they gonna set us up.

		FOLEY
	I get that feeling, yeah.

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

Foley looks at him a moment, then...

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

		BUDDY
	Half for doing what?

		FOLEY
	Getting me out of Glades for starters.

		BUDDY
	And who watches your back?

ON MAURICE

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

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

EXT. MAURICE'S HOUSE - NIGHT

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

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

INT. VAN - NIGHT

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

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

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

		FOLEY
	So you've done this before, huh?

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

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

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

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

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

		MAURICE
	Hey.  You learn from doing.

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

		MAURICE (CONT'D)
	You know how to use one a these?

		FOLEY
	I've seen 'em used on TV.

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

INT. KAREN'S CAR - SAME

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

EXT. STREET - SAME

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

INT. VAN - NIGHT

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

		BUDDY
	Slow down.

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

		BUDDY (CONT'D)
	Get ready to grab the wheel when I
	shoot this asshole.

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

		MAURICE
	Do like he says, man.  Slow down.

EXT. KAREN'S CAR - NIGHT

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

		KAREN
	Shit --

INT. KAREN'S CAR - SAME

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

EXT. RICHARD RIPLEY'S HOUSE - NIGHT

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

INT./EXT.  VAN - RIPLEY'S HOUSE

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

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

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

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

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

Now the front door opens...

		MAURICE (CONT'D)
	Here we go.

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

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

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

		FOLEY
	Go on in the house before you get hurt.

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

		FOLEY (CONT'D)
	There's still time, take me up on my
	offer.

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

INT. HOUSE - FOYER - SAME

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

		WOMAN
	I work here.  I'm the maid.

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

		WOMAN/MAID
	Fuck off.

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

		MAURICE
	Not yet.  Where's Mr. Ripley?

		MAID
	I told you, he isn't here.

		MAURICE
	Out for the evening?

		MAID
	He's in Florida.  Palm Beach.

		MAURICE
	     (beat)
	When's he due back?

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

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

		MAURICE
	You here all by yourself?

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

Foley catches the hesitation, glances at Buddy.

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

		MAID
	I don't have any idea.

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

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

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

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

Kenneth puts his arm around the maid.

		KENNETH
	What's you name, mama?

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

		MAURICE
	First money, then pussy.

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

		FOLEY
	You ever wear one of these?

		BUDDY
	I don't ski.

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

INT. KAREN'S CAR - NIGHT

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

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

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

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

INT. BEDROOM - SAME TIME

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

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

		WHITE BOY BOB
	Hey--

Maurice and Kenneth look over expectantly.

		WHITE BOY BOB (CONT'D)
	I found a rubber.

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

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

		MAURICE (CONT'D)
	Where's Foley?

		BUDDY
	Checkin' the other rooms, like you
	said.

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

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

		MAURICE (CONT'D)
	Kenneth, fuck the radio, put on a CD.

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

		MAURICE
	Just pick one, put it on.

INT. UPSTAIRS HALLWAY - SAME

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

INT. DOWNSTAIRS HALLWAY - SAME

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

THE KITCHEN - SAME

Where White Boy Bob enters, calls out tentatively.

		WHITE BOY BOB
	Uh, Foley?

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

		WHITE BOY BOB (CONT'D)
	Cool.

INT. HALLWAY (DOWNSTAIRS) - SAME

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

INT. LIBRARY (DOWNSTAIRS) - SAME

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

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

		FOLEY
	They cut the lines, Richard.

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

		RIPLEY
	Foley?  That you?

		FOLEY
	How are you, Richard?

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

		FOLEY
	Maurice Miller, couple of his friends.

		RIPLEY
	Maurice?  From Lompoc?  Good God.

Ripley moves to the doorway.

		RIPLEY (CONT'D)
	Have they got Midge up there?

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

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

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

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

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

EXT. BLOOMFIELD HILLS - ROAD - SAME

As Karen slowly negotiates her way through the snowstorm.

INT. RIPLEY'S BEDROOM - SAME

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

		MAURICE
	How do I look, mama?

		MAID
	Like a fag.

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

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

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

		MAURICE (OS)
	Motherfucker!

He sticks his head out of the closet.

		MAURICE (CONT'D)
	I found the safe.

Buddy backs out of the room.

EXT. RICHARD RIPLEY'S HOUSE - SAME

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

		MAURICE
	White Boy!  Get your ass up here!

White Boy Bob hurries back into the house.

INT. RIPLEY'S LIBRARY - SAME

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

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

		FOLEY
	You gonna write me a check?

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

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

		BUDDY
	They found the safe.

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

		BUDDY
	Yeah, hi.  Nice house.

		RIPLEY
	Thank you.

INT. BEDROOM - CLOSET DOORWAY - SAME

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

		MAURICE
	We gonna open up this fucker...

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

		MAURICE (CONT'D)
	Jesus...!

EXT. HOUSE - SAME TIME

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

INT. STUDY - SAME

As Buddy and Ripley look up.

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

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

INT. BEDROOM

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

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

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

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

		MAID (CONT'D)
	Richard's birthday.

EXT. HOUSE - SAME

As Karen cautiously makes her way towards the front door.

INT. BEDROOM - SAME

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

		MAURICE
	...the fuck is this...

		WHITE BOY BOB
	Are they dead?

He looks at White Boy Bob...

		MAURICE
	Go find Foley.  NOW!

INT. RIPLEY'S STUDY - SAME

As Foley leans forward in the chair now...

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

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

Ripley sags, closes his eyes.

		BUDDY
	Damn--

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

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

		RIPLEY
	Five point two.

		BUDDY
	They look like plain old rocks.

		FOLEY
	They sure do.

He gets up, looks at Buddy.

		FOLEY (CONT'D)
	Go get a bag.

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

		FOLEY (CONT'D)
	I were you, I'd get up and run.

		RIPLEY
	I'm not leaving Midge.

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

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

Foley looks at Buddy.  Now what?

		BUDDY
	C'mon.

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

		FOLEY
	Good luck, Richard.

		MAURICE (OS)
	Someone down here?

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

		MAURICE (CONT'D)
	Well, if it isn't the Ripper hisself.

		RIPLEY
	Are those my suits?

		MAURICE
	Where you been hiding, Dick?

EXT. HOUSE - SAME

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

AT THE VAN

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

		BUDDY
	Okay.

Buddy straightens up, looks at Foley.

		BUDDY (CONT'D)
	Come on.

		FOLEY
	Shit.

		BUDDY
	What?

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

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

		FOLEY
	And then they'll kill 'em.

		BUDDY
	At least.

Foley looks at the diamonds in the bag.

		FOLEY
	We made it, didn't we?

		BUDDY
	All you gotta do is get in.

Again Foley looks at the diamonds, then...

		FOLEY
	I'm going back inside.

		BUDDY
	I'll go with you.

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

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

		BUDDY
	Jack --

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

Buddy just looks at him.

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

Foley turns to go.

		BUDDY
	Hey...

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

		FOLEY
	Now get outta here.

KAREN

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

INT. RIPLEY'S HOUSE - THE FOYER - SAME

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

INT. RIPLEY'S STUDY

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

		RIPLEY
	     (hears the scream)
	Midge.

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

		RIPLEY
	Foley's got it.

		MAURICE
	Where the fuck is Foley?

INT. UPSTAIRS HALL - SAME

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

		FOLEY
	Midge?

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

INT. KITCHEN (DOWNSTAIRS) - SAME TIME

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

INT. HALLWAY (UPSTAIRS) - SAME

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

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

INT. RIPLEY'S STUDY - SAME

As Ripley tries to get away...

		RIPLEY
	Midge!

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

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

INT. RIPLEY'S BEDROOM - SAME

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

		MAID
	     (cold)
	Where's Dick?

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

INT. UPSTAIRS HALLWAY - SAME

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

		WHITE BOY BOB
	Hold it, asshole!

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

		WHITE BOY BOB (CONT'D)
	Drop the gun.

Nowhere to go, Foley has to comply.

		WHITE BOY BOB (CONT'D)
	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 (CONT'D)
	Maurice!  I got Foley!

INT. RIPLEY'S BACK STAIRCASE - SAME

As Maurice starts up the backstairs...

		WHITE BOY BOB
	Maurice!  Up here!

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

INT. STAIRCASE - SAME

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

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

		FOLEY
	     (finally)
	You learn from doing.

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

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

INT. DOWNSTAIRS HALLWAY - SAME

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

INT. UPSTAIRS HALLWAY - SAME

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

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

		FOLEY
	Not until recently.

		MAURICE
	     (still coming)
	Nervous?

		FOLEY
	A little.

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

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

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

INT. RIPLEY'S STUDY - SAME

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

INT. UPSTAIRS HALLWAY - SAME

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

INT. STUDY - SAME

As Karen answers her phone, checks Ripley...

		KAREN
	Hello?

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

		KAREN
	Oh-kay...

INT. UPSTAIRS HALLWAY - SAME

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

Foley gets up, runs back to the bedroom.

INT. RIPLEY'S BEDROOM - SAME

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

		FOLEY
	Shit...

INT. STAIRWELL - SAME

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

INT. RIPLEY'S BEDROOM - SAME

As Foley, exasperated, stands back up...

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

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

		MIDGE (CONT'D)
	It's empty.

Foley just looks at her.

INT. STAIRWELL - SAME

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

INT. RIPLEY'S BEDROOM - SAME

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

INT. STAIRWELL - SAME

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

		KAREN (OS)
	Maurice--

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

EXT. HOUSE - SAME TIME

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

INT. RIPLEY'S BEDROOM - SAME

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

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

		KAREN (OS)
	Jack?

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

		KAREN (OS) (CONT'D)
	I know you're up there.

INT. FOYER - SAME

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

		KAREN
	Come on, Jack -- don't.

		FOLEY
	Pretend I'm somebody else.

		KAREN
	You think I'd shoot you?

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

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

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

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

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

		KAREN
	Don't do this.  Please.

They stand there staring at each other.

		FOLEY
	No more time outs.

He raises the guns.  She sadly shakes her head.

		KAREN
	You win, Jack.

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

		CRUZ
	Karen, I told you not to--

		KAREN
	Wait, I know him --okay?

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

		KAREN (CONT'D)
	I'm sorry, Jack, but I can't shoot
	you.

		FOLEY
	You just did, for Christ sake.

		KAREN
	You know what I mean.

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

		KAREN (CONT'D)
	I wish things were different.  I'm
	sorry, Jack.

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

		MIDGE
	Richard!

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

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

Foley just looks at him.

EXT. BUSY STREET - NIGHT

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

INT. CAB - SAME

Buddy suddenly gets in, bangs on the bulletproof glass.

		BUDDY
	The airport.

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

				     DISSOLVE TO:

EXT. KAREN'S HOTEL - MORNING

The sun is out.  The sky is clear.

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

INT. KAREN'S HOTEL ROOM - MORNING

Karen on the phone.  Her suitcase on the bed.

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

INT. MARSHALL SISCO'S SITTING ROOM - SAME

Marshall on the phone...

		MARSHALL
	You gonna go get him?

		KAREN
	It's possible.  Why?

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

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

		MARSHALL
	My little girl, the tough babe.

Karen hangs up, stares thoughtfully out the window.

INT. PRISON CELL - DAY

Where Foley stands staring out of his window.

		VOICE
	Foley.

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

INT/EXT. PRISON STATION GARAGE - DAY

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

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

INT/EXT. VAN - SAME

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

		KAREN (OS)
	Jack?

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

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

She pushes A ZIPPO THROUGH the grate.

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

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

		FEDERAL MARSHAL
	Jack Foley meet Hejira Henry.

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

		FOLEY
	Hejira?  What kinda name is that?

		HEJIRA
	Islamic.

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

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

		FOLEY
	The flight?

		HEJIRA
	The brothers in Leavenworth gave me
	the name.

		FOLEY
	You were at Leavenworth, huh?

		HEJIRA
	For a time.

		FOLEY
	Meaning?

		HEJIRA
	Meaning time came, I left.

		FOLEY
	You busted out?

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

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

		HEJIRA
	That time?

		FOLEY
	There were others.

		HEJIRA
	Yeah.  That was the ninth.

		FOLEY
	     (really interested)
	The ninth?

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

		FOLEY
	You must be some kinda walker, Henry.

		HEJIRA
	Hejira.

		FOLEY
	And so now you're off to Glades.

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

		FOLEY
	     (looks at Karen)
	She did, huh.

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

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

		HEJIRA
	Like what?

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

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

CUT TO BLACK.

 
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