| "Out of Sight" | 专题辅导
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| 日期：2006-8-8 20:38:45 | ||||||||||||||||||||||||||||||||||||||||||||||||
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"Out of Sight"
Screenplay by
Scott Frank
from the novel by
Elmore Leonard
White Final: 08/05/97
Blue Revised: 09/17/97
Pink Revised: 11/11/97
Green Revised: 12/15/97
Goldenrod Revised: 12/16/97
Buff Revised: 03/17/98
Salmon Revised: 03/23/98
BLACK
We hear TRAFFIC, some STREET NOISES, then...
FADE IN: A MIAMI STREET - DAY
The financial district. Lots of people in suits. A shaky,
spasmodic ZOOM IN finds...
JACK FOLEY -- forty, big, focused expression -- as he rips a
tie from around his neck and throws it down in the gutter. He
starts across the street, now peeling off his suitcoat and
dropping that, too, right there on the asphalt as we then...
WHIP PAN OVER TO REVEAL: A BANK ACROSS THE STREET
As Foley goes inside, we then...
CUT TO: A PRINTED BROCHURE THAT READS...
LOOKING FOR MONEY?
YOU'VE COME TO THE RIGHT PLACE.
We then PULL BACK TO REVEAL that we're now...
INSIDE THE BANK
as Foley stands at a counter holding the above CREDIT APPLICATION
while he studies the bank layout.
Foley watches a MAN IN A SUIT, carrying an 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 f | ||||||||||||||||||||||||||||||||||||||||||||||||
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