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Deep Cover Movie Script

Writer(s) : Michael Tolkin, Henry Bean

Genres : Action, Crime, Thriller

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                                        DEEP COVER


                                        Written by

                              Michael Tolkin and Henry Bean


                                         Story by

                                      Michael Tolkin

                                      SHOOTING DRAFT

                

               EXT. CLEVELAND STREET - NIGHT (1970)

               Rain. Christmas lights. A rusted out '56 Lincoln rattles 
               down the bleak boulevard. In it: JOE STEVENS, an angry, black 
               man in his late 20's, beside him his 10-year-old son, JOE 
               JR.

               Joe Jr. stares out the window at passing: boarded buildings, 
               whores with raincoats over their heads trying to flag down a 
               john, a black Santa, a knot of drinkers. Breaking the silence:

                                     JOE STEVENS
                         Your mother okay?

                                     JOE JR.
                         Yes, sir.

               They stop at a light. Joe Stevens tries to furtively snort a 
               little something. He spots Joe Jr. watching.

                                     JOE STEVENS
                              (firm, without irony)
                         Don't you do this shit, boy. Don't 
                         you ever fuckin' touch it, you hear 
                         me?

               Joe Jr. stares, silent; Joe Jr.'s about to hit him.

                                     JOE STEVENS
                              (continuing)
                         You hear me, goddam it?

               The boy nods. Satisfied, Joe Sr. draws in the stuff. It makes 
               him feel good, strong, worried and determined all at once.

                                     JOE STEVENS
                              (continuing; charged 
                              up)
                         What do you want for Christmas?

                                     JOE JR.
                         I don't know.

                                     JOE STEVENS
                              (light changes; he 
                              accelerates)
                         You don't know?? You gotta know what 
                         you want, boy, if you ever expect to 
                         get it.

               A sudden charm to his bravado. Joe Jr. smiles uncertainly. 
               Joe Sr. grins back, pulls up in front of a liquor store.

                                     JOE STEVENS
                              (continuing)
                         Wait here. This won't take a minute.

               Joe Jr. doesn't notice or doesn't remark that his father, 
               just before entering the store, draws a handgun from beneath 
               his coat.

               The boy gazes dreamily at the street. The lunatic Black Santa 
               marches by, ranting to himself ("Then the white man say..."). 
               The RAIN HAMMERS on the roof and windshield. Joe Jr. breathes 
               on the glass, fogging the scene.

               From the store: MUFFLED GUNFIRE.

               Joe Jr. looks that way. Another GUNSHOT, then:

               His father comes out the door clutching money in one hand. 
               He strides toward the car with a reckless pride. He doesn't 
               notice:

               The liquor store door opens behind him.

               A SHOTGUN BLAST. Joe Stevens' guts splatter onto the car 
               windshield. A look of terrible amazement; he sinks to his 
               knees.

                                     JOE JR.
                         Daddy!!

               He jumps from the car, kneels by his father.

               The STORE OWNER (47, Slavic) drags the gun toward them, 
               bleeding profusely.

                                     STORE OWNER
                              (enraged, almost to 
                              tears)
                         Fuckin' niggers... fuckin' niggers...

               JOE STEVENS

               looks at the money in his hand: two 20's, two 5's.

                                     JOE STEVENS
                         Fifty bucks... fifty goddam bucks.
                              (looks up at his son)
                         I'm sorry...

               He stuffs the blood-soaked bills in the boy's shirt pocket 
               and dies. Joe Jr. looks up at...

               THE STORE OWNER

               Bloody, nearly unconscious, he aims the shotgun at the boy 
               who is too frightened to move.

                                     JOE JR.
                         Please, Mister...

               The man dies on his feet. As he falls backward, he pulls the 
               trigger, the BLAST shattering the car windows.

               Cop cars SQUEAL up. Uniformed cops leap out, guns drawn, 
               survey the scene. Then one notices Joe Jr., staring motionless 
               at his father and the store owner, dead together. ON HIS 
               EYES:

                                                               DISSOLVE TO:

               THOSE SAME EYES

               -- but older, harder, colder. They're concentrating on a 
               paper before him.

               TITLE: 17 YEARS LATER

               CLOSEUP - THE MINNESOTA MULTIPHASIC PERSONALITY INVENTORY

               Hundreds of TRUE/FALSE questions...

               1.) I have never indulged in any unusual sexual practices. 
               (T/F)

               2.) I have often felt that strangers were looking at me 
               critically. (T/F)

               3.) When I was young I occasionally stole things. (T/F)

               Joe Stevens marks these TRUE, FALSE, FALSE then comes to:

               4.) A person's station in life is at least partially 
               determined by his race. (T/F) We are:

               INT. A ROOM - DAY

               Thirty-seven Black Cleveland police officers (many in uniform, 
               including Joe) are taking the MMPI. Some roll their eyes at 
               the questions. Some try to copy answers. Others, like Joe, 
               work with rapid concentration.

               But he gets stuck on #4. Marks it false. Erases it. Marks it 
               true. Erases that. Ponders. Goes on to: #5. At times I hear 
               so well it bothers me. (T/F) He marks that true.

               INT. INTERVIEW ROOM - DAY

               GERALD CARVER, 36, an ambitious government lawyer with a 
               relaxed, vaguely hip manner, looks over the file of the 
               ingratiating BLACK OFFICER sitting across the desk from him.

                                     CARVER
                         Officer Leland? You know the 
                         difference between a black man and 
                         nigger?

               Leland is startled, insulted, but doesn't want to blow the 
               interview. He smiles weakly, shakes his head no.

                                     CARVER
                              (continuing; pleasant 
                              smile)
                         Yeah, most niggers don't.

               Stung, Leland tries to laugh. Carver puts his file aside, 
               picks up another.

                                     CARVER
                              (continuing)
                         Nice to meet you.

               INT. SAME - ANOTHER INTERVIEW

               A SECOND BLACK OFFICER is powerfully built, politically 
               conscious, takes no shit. Carver's leafing through his file.

                                     CARVER
                         So, Winston, what's the difference 
                         between a black man and a nigger?

               Winston is out of his chair before the question is finished, 
               drags Carver by the shirt front halfway across the desk and 
               hisses into his face:

                                     WINSTON
                         Who the fuck do you think you're 
                         talking to?

               Carver smiles cheerfully past Winston's cocked fist.

                                     CARVER
                         Thanks for coming in.

               Nonplussed by this cool dismissal, Winston stalks out. Carver 
               picks up the next file, unfazed.

               INT. SAME - ANOTHER INTERVIEW

               Joe Stevens watches Carver reading his file and waiting for 
               an answer. When none is forthcoming, Carver glances up, finds 
               Stevens looking right back at him.

                                     STEVENS
                         The nigger's the one who falls for 
                         your bullshit.

               He says it pleasantly, without belligerence. Carver smiles: 
               he's found his man. He offers his hand.

                                     CARVER
                         Gerald Carver, United States District 
                         Attorney. Call me Gerry.

               INT. A DARKENED ROOM - DAY/NIGHT

               ON A TV SCREEN: a grainy black-and-white tape, date and time 
               stamped at the bottom. A grungy street, palm trees. The light 
               from the monitor dimly illuminates Carver and Stevens.

               On SCREEN the CAMERA finds: A MAN in jeans, sneakers and 
               sweatshirt on a street corner.

                                     STEVENS
                         He ought to be wearing a sign.

                                     CARVER
                         You can tell he's a cop?

               Stevens laughs: it's obvious.

               A real DRUG DEALER joins the cop. UNDERCOVER COP: "You got 
               it?" DEALER: "In the motel, right over here..." The Cop's 
               uneasy, keeps glancing back toward the CAMERA as they go.

                                     STEVENS
                         He keeps looking for his back-up. 
                         Now, the other guy knows it, too.

                                     CARVER
                         Then why's he taking him to the room?

                                     STEVENS
                              (why else?)
                         To rip him off.

               Carver studies Stevens in the darkness, impressed.

               ON SCREEN: The figures disappear into the motel. We hear 
               their voices. DEALER: "Here, try some of it." UNDERCOVER 
               COP: "Uhh... No, I don't..." DEALER: "Why not, you 
               sonofabitch?" Two bursts of SOUND DISTORTION.

               A plainclothes cop, TAFT, (black, stocky, powerful) bolts 
               from behind the CAMERA, sprints toward the motel. The CAMERA 
               wobbles after him.

                                     STEVENS
                              (continuing)
                         Too late.

               ON SCREEN: The CAMERA (jerky, hand-held) nears the open motel 
               door. Taft is bent over the Undercover Cop's body.

                                     TAFT
                         Oh, Bobby... Jesus, Jesus...
                              (to the CAMERA)
                         Get an ambulance -- and back up. 
                         Now!

               He slams the wall, starts past the CAMERA. Carver pushes the 
               pause button; the tape freezes on a jerky image of Taft's 
               face.

                                     STEVENS
                              (focussed on Taft)
                         Who is he?

                                     CARVER
                         Charles Taft. LAPD Narcotics.

                                     STEVENS
                         He's a good cop.

                                     CARVER
                         He's a great cop. Two [names citation] 
                         and a [another citation]. As tough 
                         as they come and twice as honest.

               Carver watches Stevens watch Taft, smiles at something.

                                     STEVENS
                         But the cops aren't getting it done 
                         here, are they? Gotta try something 
                         new...

               He opens a manila envelope, dumps the contents on the desk: 
               driver's license, social security card, high school 
               transcript, prison records... all in the name of William G. 
               Hull. No photos.

                                     STEVENS
                              (continuing)
                         Who's John Hull?

                                     CARVER
                         You are. If you want to be.
                              (off Stevens)
                         Most undercover guys don't know what 
                         they're doing because it's a day 
                         gig.
                              (indicates dead cop 
                              on TV)
                         I need somebody who goes under and 
                         stays there; six months, a year, 
                         five years...

                                     STEVENS
                         What does he have to do?

                                     CARVER
                         Buy drugs. Sell drugs. Feed me 
                         information.

                                     STEVENS
                         He's a snitch.

                                     CARVER
                         He's a drug dealer. A criminal. A 
                         scumbag. But for the right side.
                              (beat)
                         I want you to come to Los Angeles on 
                         loan to the Justice Department as a 
                         federal agent. Your experience there 
                         will be credited toward your seniority 
                         here. And you'll come back to 
                         Cleveland a P3 or higher.

                                     STEVENS
                              (uncomfortable)
                         I can't do that. I've got a wife and 
                         kids.

                                     CARVER
                         You're separated from your wife, 
                         she's filled for divorce. You see 
                         your kids every other weekend.

               Stevens takes a breath: this is awkward to explain.

                                     STEVENS
                              (almost a confession)
                         All my life I've stayed away from 
                         that stuff. I've never touched drugs.

                                     CARVER
                              (tolerant)
                         Come on, a little grass...?

                                     STEVENS
                         Not grass. Not nothing. I never even 
                         had a drink.
                              (his motto)
                         Never have, never will. You don't 
                         understand. I made a choice in my 
                         life.

                                     CARVER
                         What's to understand? You saw your 
                         father killed when you were ten, and 
                         you decided you wouldn't be like 
                         that.
                              (off Stevens' surprise, 
                              Carver grins)
                         I'm God, I know everything. You wanted 
                         to be a good boy, so you became a 
                         cop. Hiding out in uniform... That's 
                         why you got the hard-on for Taft.

                                     STEVENS
                         It's not that simple.

                                     CARVER
                              (opening Joe's file; 
                              as if reluctantly)
                         I'll tell the truth, Joe. You're 
                         never going to be a Taft.

                                     STEVENS
                         I don't believe that.

               But he does.

                                     CARVER
                              (looks at MMPI results)
                         You ever take a look at your 
                         psychological profile? You score 
                         almost like a criminal.
                              (reading)
                         "Resents authority..."

                                     STEVENS
                         I do not.

                                     CARVER
                         "...Exaggerated moral standards, but 
                         with no underlying value system." 
                         Look at the anger, the repressed 
                         violence, it's almost off the scale...

                                     STEVENS
                         Let me see that...

               Carver hands him the scores which are, of course, just 
               clusters of numbers. Stevens is upset, though oddly 
               unsurprised, as if this only confirmed his secret fears.

                                     CARVER
                         Why'd you join the force?

                                     STEVENS
                              (awkward, but felt)
                         I wanted to be of use.

                                     CARVER
                         Well, now you can be. You won't be 
                         Taft, but maybe you'll be something 
                         more... interesting.
                              (sits back)
                         There's a man named Ramon Gallegos 
                         who supplies 60% of the cocaine to 
                         the West Coast. He's smart, smooth, 
                         and sufficiently elusive that we 
                         don't even have an adult photograph 
                         of him. However, his uncle is Hector 
                         Guzman, an important Latin American 
                         political figure. Gallegos uses 
                         Uncle's connections to get product 
                         into the country, and everyone we've 
                         sent after him has ended up like 
                         that...

               Indicates dead body on TV.

                                     STEVENS
                         Why would I be different?

                                     CARVER
                         You already are, that's the point...
                              (indicates file, test 
                              scores)
                         You've got the ability and the 
                         personality to go underground and 
                         blend in completely. That's what the 
                         others couldn't. Some part of them 
                         showed. That's why they're dead. 
                         See, there's only one rule in this 
                         game.

               Stevens raises his eyebrows: what?

                                     CARVER
                              (continuing)
                         Don't blow your cover.

               EXT. WORKING CLASS CLEVELAND NEIGHBORHOOD - DAY

               Stevens parks outside a small, well-maintained house. As he 
               gets out, he spots a GROUP OF KIDS (black and Hispanic) 
               playing down the street. He's not pleased about that.

                                     STEVENS
                              (calls to them)
                         Joe-J, Carmen...

               A BOY, 7, and a GIRL, 5, (both light-skinned) run to him 
               shouting, "Daddy," jump into his arms, competing for 
               attention, as if they haven't seen him in ages.

                                     STEVENS
                         What were you doing with those kids?

                                     JOE-J & CARMEN
                         Playing...

                                     STEVENS
                              (displeased)
                         Your mom lets you play with them?

                                     JOE-J & CARMEN
                         Yes, sir... Yes, sir.

               His strictness has already sobered their enthusiasm. Sensing 
               this, he attempts to embrace them which he can do only 
               awkwardly.

               Meanwhile, his wife, TERRY (Southern white) has come out the 
               screen door. She and Stevens bristle at each other.

                                     STEVENS
                         I thought we talked about this. The 
                         older brother up there's got a sheet 
                         with --

                                     TERRY
                         Lay off it. They're just kids...

               Both are ready to fight, but restrain themselves. A big 
               Polynesian, TITO comes out the door.

                                     TITO
                         Hey, Joe.

                                     STEVENS
                         Tito...

               A moment of surprise, then he gets it. He looks to Terry. 
               She gives a little shrug, refusing to be embarrassed.

               INT. KITCHEN - FIVE MINUTES LATER

               Stevens is trying to seem interested in Carmen's little 
               drawings.

                                     STEVENS
                         They're real nice, honey. Is that a 
                         horse?

                                     CARMEN
                              (exasperated)
                         Daddy! It's a bunny...

               She puts her arms around him.

                                     CARMEN
                              (continuing)
                         I don't want you to go away, Daddy.

                                     STEVENS
                         It's my work. I've got to.

               Over her shoulder he sees Terry sitting with a subdued Joe-
               J. Her face seems to say, "See, I told you..." Avoiding this 
               accusation, Stevens notices a bruise on Carmen's arm.

                                     STEVENS
                              (continuing)
                         What happened to you there, baby?

                                     CARMEN
                         Tito did it.

                                     STEVENS
                              (instantly outraged)
                         He hit you?!
                              (up in a fury)
                         God damn it, what's he doing touching 
                         her? I'm gonna...

               Terry intercepts him on his way out of the room.

                                     TERRY
                         She was running behind his chair 
                         when he got up. It was an accident.
                              (he's uncertain)
                         A complete... total... accident.

               Stevens looks at Carmen who giggles. He's humiliated by his 
               own temper, attempts to calm himself. Terry puts a sympathetic 
               hand on his shoulder.

                                                               DISSOLVE TO:

               EXT. LOS ANGELES - AERIAL SHOT - DAY

               The immense sprawl, the arterial flow of the freeways, the 
               blinding light. We DESCEND...

               INT. TRAIN STATION - UNDERGROUND - DAY OR NIGHT

               People getting off, among them the former Joe Stevens, now 
               known as JOHN HULL. He's carrying a suitcase.

               INT. TRAIN STATION/EXT. STREET - DAY

               Hull goes up the stairs onto a downtown street.

               EXT. ANOTHER STREET - DAY

               South L.A. neighborhood. A 13-year-old BLACK YOUTH selling 
               drugs through a car window. Hull walks by. He's at ease, 
               looking around, his manner subtly announcing that he belongs 
               here, just as in the train station he seemed to belong among 
               the commuters.

               EXT. TRANSIENT MOTEL - COURTYARD - DAY

               A fat BLONDE WOMAN (61, large white glasses, tiny shoes) 
               leads Hull down a corridor.

                                     BLONDE WOMAN
                         Television mostly. I was on "Sky 
                         King" twice, "Ramar of the Jungle." 
                         That was a silly show. The jungle 
                         was mostly flats...

               They pass an open door where a 6-year-old boy, JAMES, a 
               latchkey, sits on the stoop playing Gameboy; inside, his 
               mother, BELINDA, a broken down whore, is doing her nails and 
               drinking Pepsi. She looks up, bats her lashes at Hull.

                                     BLONDE WOMAN
                              (continuing)
                         You want my advice, I'd stay away 
                         from that bitch.

               She opens the door to the room across the hall. A dump. Hull 
               walks in, drops his duffle: he'll take it. The Blonde lounges 
               in the doorway. He closes the door.

               INT. ROOM - DAY

               Hull empties his pockets on the dresser. Looks at his money, 
               room key, identification. Looks at himself in the mirror. He 
               touches his clothes, his face, tries on different expressions.

               (NOTE: Throughout the film, Hull continually checks himself 
               out in mirrors, both to adjust his appearance to the 
               circumstances and as if in an attempt to recall who he 
               "really" is.)

               EXT. 79TH AND FIGUEROA - TWILIGHT

               On the seam between South-Central and USC. Lots of people 
               out: children, students, dealers, whores. Hull with a new 
               haircut.

               EXT. ANOTHER, SIMILAR CORNER - DAY

               Dealers (most in mid-teens) meeting cars, making transactions. 
               All this casually observed. EDDIE comes up the street, 
               reciting his version of an old street toast.

                                     EDDIE
                         On the day of the King's castration, 
                         all the counts and no accounts were 
                         down on the deck with Georgia Tech 
                         taking turns in the back seat...

               Those dealers not at car windows, gather around. He never 
               speaks to them, goes on declaiming as he exchanges drugs for 
               money.

               Hull watches, talking to another street person. His appearance 
               continues to change: clothes, posture, walk, gestures subtly 
               conform to the environment, a bit like Zelig. Throughout the 
               film his appearance shifts, depending on who he's with. We 
               always recognize him, but each time he's different.

               He walks up to a dealer, makes a quick buy and keeps going. 
               But he sees them and is seen.

               INT. AN OFFICE - NIGHT

               Hull drops eleven foil balls on a green blotter. Carver counts 
               out money for him.

               INT. HULL'S MOTEL ROOM - DAY

               He sits at the window, eating a burrito, watching little 
               James play in the courtyard.

               EXT. STREET - EVENING

               Hull approaches another Dealer, the 13-year-old seen earlier 
               (angelic face). Like Hull, he's trying to act tough.

                                     HULL
                         Whatta you got?

                                     13-YEAR-OLD DEALER
                              (voice just changing)
                         Nickel rock, dime rock. Excellent 
                         shit.

               Hull exchanges a folded twenty for two foil balls. He walks 
               off. He has gone twenty feet when...

               RED RANGE ROVER

               SQUEALS to a stop opposite the Dealer.

               A huge young black man, IVY (23, all in red with a red 
               headband), leans out the passenger window, shouting at the 
               13-year-old.

                                     IVY
                         What the fuck I tell you about being 
                         here?

               Everyone turns to look, but Hull's view is blocked.

                                     13-YEAR-OLD DEALER (O.S.)
                         No, wait...

                                     IVY (O.S.)
                         Too fuckin' late.

               POPPING noises. Ivy is waving an automatic weapon. Everyone 
               on the street but Hull has hit the ground.

                                     IVY
                              (enjoying it, shouting)
                         Get down, motherfuckers!

               Ivy laughs and fondles a girlfriend as the car ROARS off. He 
               sees Hull, pretends to fire, laughs as Hull, too, ducks. 
               When Ivy's gone, he runs to where a CROWD has gathered 
               around...

               THE 13-YEAR-OLD

               lying in the street, a bullet hole in his head, eyes open. 
               He twitches and kicks, blood pulsing from the neat wound. 
               Then he's dead. The faces around him (young, old, many races) 
               watch with a variety of emotions.

                                     CROWD
                         Who is he?... Why'd they shoot him?... 
                         Ivy did him, man... He's in the wrong 
                         fuckin' place... That poor boy... 
                         Get his beeper...

               Cops push through to the body. As the crowd disperses, Hull 
               can't take his eyes off the boy. When he finally does, he 
               sees Eddie, drink in hand. Their eyes meet, and Eddie, a 
               rapper, raises his eyebrows in brief acknowledgment of sorrow.

                                     EDDIE
                              (sadly)
                         He done done, ain't he?

               EXT. LEWAZZ - NIGHT

               TITLE: TWO WEEKS LATER

               A bar with a neon bird for a sign. Hull enters.

               INT. LEWAZZ - NIGHT

               A racial mix. Hull takes a seat at the bar. Stuffed birds 
               line the lintel above the bottles. A female BARTENDER (long 
               red nails) greets him familiarly.

                                     BARTENDER
                         How's it going, John?

                                     HULL
                         I'm in there.

               Without being asked, she sets him up a Dry Sack with a long 
               red straw. (NOTE: He never touches the drink.) Hull's 
               appearance has continued to change. His clothes have become 
               flashier, he has an earring, the start of a goatee.

               Eddie approaches the bar compulsively reciting one of his 
               toasts.

                                     EDDIE
                              (to himself)
                         "Where's the Queen," said the King. 
                         "She's in bed with laryngitis." "Is 
                         that bastard still in town?... Fuck 
                         the Queen," said the King, and ten 
                         thousand knights straaaained at their 
                         utmost...
                              (to the bartender)
                         Pina colada times two and a white 
                         wine.

               He goes on muttering under his breath, tapping his foot like 
               any crankhead. He notices Hull, greets him as someone he 
               can't place but knows he's seen around.

                                     EDDIE
                              (continuing)
                         How you doin', Dudley...

               Tries to remember name.

                                     HULL
                         John.

                                     EDDIE
                         John, man, right...

               Clasp hands. Eddie takes his drinks, carries them to...

               A TABLE

               where he rejoins a white man, DAVID ELIAS (30s, slick, 
               powerful) and a well-dressed BLACK WOMAN (mid-20s, good-
               looking). She gets the wine.

               Elias rises to let her out. As the woman passes Hull on her 
               way to the restrooms, their eyes meet: an instant of perfect 
               chemistry. He's struck. Her features open, grow sensual for 
               a moment, but then, as if seeing something she doesn't like, 
               her eyes flick away, and she walks by as if he weren't there.

               INT. CARVER'S OFFICE - NIGHT

               (NOTE: Hull invariably meets Carver in this anonymous room, 
               distinguished only by the green blotter and a view of the 
               city. This simple regularity suggest visits to a psychiatrist, 
               Carver probing, testing, teasing, trying to draw Hull out. 
               And they feel like therapy, at once a respite and a torment.)

               More foil balls on the blotter beside boxes of 3x5 
               photographs. Photos of Eddie and David Elias are up on a 
               corkboard, the beginning of a pyramid.

                                     HULL
                         Eddie something... a motormouth... 
                         he supplies the street dealers... 
                         buys from him...
                              (reads name on back 
                              of photo)
                         David Elias... who apparently buys 
                         from a guy named Barbolla or 
                         something. But I haven't seen him.

               Carver produces a photo of a handsome Latin in his 50s, pins 
               it on the board above Elias.

                                     CARVER
                         Barbosa, Felix.

                                     HULL
                         There was also a woman, but she's 
                         not here.
                              (as Carver reaches in 
                              a drawer)
                         I saw a kid killed. Twelve, thirteen 
                         at the most. Turf war.

               Carver shrugs: these things happen. He hands Hull a lot of 
               cash, much more than expected. Hull does understand.

                                     CARVER
                         Get to Elias. Then to Barbosa.

                                     HULL
                         You can't rush this stuff.

                                     CARVER
                         Rush it, please. I want art, John, 
                         not reality. Budget hearings start 
                         in April, and I need Gallegos by 
                         then. They won't give us funding for 
                         three ounce buys.

                                     HULL
                         We're not just doing this for the 
                         funding, are we?

                                     CARVER
                         Without funding, we aren't doing it 
                         at all.

               TITLE: TWO WEEKS LATER

               INT. CRACK HOUSE - DAY

               Virtual darkness save splinters of light between the curtains. 
               Pipes burn here and there in the gloom. Ten or fifteen 
               crackheads huddle around a battery-operated TV on which Tom 
               Brokaw is narrating an NBC documentary on drugs. A 12-year-
               old sits against a wall too stoned even for television.

               Hull approaches Eddie, regally installed on an automobile 
               bench seat-cum-sofa, a lit pipe in one hand. We barely notice 
               the redhead kneeling between his legs, face buried in his 
               crotch. He greets Hull from wrecked bliss. They know each 
               other now.

                                     EDDIE
                         My man, Dudley, he's so fud-ley...

               Hull greets Eddie, some of the others, drops familiarly onto 
               an adjacent auto seat. The patrons are making fun of Brokaw, 
               laughing, exchanging fives.

                                     HULL
                         Eddie, man, I need...

               Eddie holds up a hand telling Hull to wait. His mind is 
               elsewhere. His features contract in brief concentration.

                                     CHORUS OF COMMENTS
                         Whatever happened to that Drug Czar 
                         motherfucker?... He gave up 'cause 
                         he finally realized he didn't know 
                         nothing about any of that shit...

               More laughter, etc. Eddie's concentration peaks, breaks off 
               into a sigh and a smile.

               Eddie sings a satisfied little song...

               The redhead rises from Eddie's crotch, and we see it's a 
               boy, seventeen going on death; he might have been pretty a 
               year ago.

               Eddie passes him the crack pipe, lets him suck greedily for 
               a few seconds before ripping it out of his scabrous mouth 
               and offering it to Hull, who, with a grimace that gets laughs, 
               declines. The others continue to watch and comment on the 
               speech.

                                     EDDIE
                         So what is it you need so bad, blood? 
                         Need, need, need??

                                     HULL
                         A whole K, quick as you can get it.

                                     EDDIE
                              (impressed, a trace 
                              of envy)
                         Comin' in the world, Dudley.

                                     HULL
                              (winning grin)
                         All because of my man...

               Eddie likes that, holds out a hand. Hull hits it.

                                     EDDIE
                         Give me a day.

               Hull nods, rises.

                                     EDDIE
                              (continuing)
                         Stick around, let the bitch Hoover 
                         you, too.

               Indicating redhead.

               In all these scenes, Hull acts indifferent to the horror, 
               but here the effort costs him. He masters his disgust with a 
               joke.

                                     HULL
                         Only if you Clorox him first.

               Everyone laughs, even the boy.

               EXT. STREET - NIGHT

               Eddie comes out the back door of a building, is immediately 
               collared by Taft (the cop on the videotape). He's in his mid-
               40s, stocky, balding.

                                     TAFT
                              (cheerful, gregarious)
                         Eddie Shitface! Where you been, boy?

               Eddie breaks free, runs three feet before HERNANDEZ (a 
               muscular Mexican) knees him in the groin. Eddie crumples.

                                     TAFT
                              (continuing)
                         Eddie, I don't think I introduced 
                         you to my new partner, Michael 
                         Hernandez...

                                     HERNANDEZ
                         Pleased to meet you, Mr. Shitface...

               EXT. STREET - NIGHT

               Eddie folded over his wounded nuts. Hernandez and Taft sit 
               on crates to either side. The drugs they've taken from him 
               are neatly arranged on a garbage can lid.

                                     HERNANDEZ
                         You have the right to remain silent... 
                         You have the right to an attorney... 
                         You have the right to go back to 
                         Ontario for eight-to-ten on a second 
                         offense...

                                     EDDIE
                              (in several kinds of 
                              pain)
                         Oh, man, I can't go back in there, I 
                         just can't.

                                     TAFT
                              (soothing)
                         'Course you can't, child, 'course 
                         you can't. That's why you're gonna 
                         start giving us some help.

               EXT. DAVID ELIAS'S HOUSE - NIGHT

               A pleasant, Santa Monica neighborhood. Spanish style house.

               INT. ELIAS'S HOUSE - NIGHT

               Pleasant, tasteful. Elias's wife, NANCY, (dressed like the 
               attorney she is) sits in an alcove-study reading a real estate 
               contract through half-glasses. Elias himself is helping his 
               daughter, MIRANDA, 7, with her homework. He is 38, with the 
               body and bearing of a powerful man.

                                     ELIAS
                         Again. Three times four.

                                     MIRANDA
                         Seven.

               Elias is not a sweet Daddy. It should make us uncomfortable 
               to watch him push his daughter.

                                     ELIAS
                         No. You're adding again, you have to 
                         multiply. Three and four is seven. 
                         Three times four is...

                                     MIRANDA
                         Twelve.

                                     ELIAS
                         Three times five.

               The DOORBELL.

                                     NANCY
                         Can you get that?

                                     MIRANDA
                         Eight.

                                     ELIAS
                              (getting up; more 
                              about the answer 
                              than the door)
                         Damn it.

                                     MIRANDA
                         Why can't I just use a calculator?

               INT./EXT. FRONT DOOR - NIGHT

               Three men: FELIX BARBOSA (whose photo we saw in Carver's 
               office). Barbosa is a veteran of the coke business, but he's 
               doing too much of the drug now; he's sweating, paranoid, 
               unstable. With him is GOPHER, early 60s, a wizened high-voiced 
               old con who Barbosa keeps the way Spanish kings kept dwarfs, 
               for amusement and luck; like the court jester, Gopher can 
               say anything he wants without fear. Behind them is an Hispanic 
               kid, CHINO, 17, a thug.

               Elias knows them all, but is not happy to see them at his 
               door.

                                     ELIAS
                         What are you doing here?

                                     BARBOSA
                         We've got a problem, David.

                                     ELIAS
                         Call me on the phone.

                                     BARBOSA
                         Your friend Eddie just started bending 
                         over for the cops.

               This is very bad news. Elias murmurs a shaken, "Shit..." and 
               steps outside, half-closing the door behind him.

                                     BARBOSA
                              (continuing)
                         They busted him, and he's dealing to 
                         save his ass.

                                     GOPHER
                         Which is how he'll lose the skinny 
                         little thing.

                                     ELIAS
                         Did he give us up?

                                     BARBOSA
                         Not yet, but he will if he has to, 
                         and eventually he'll have to.

                                     MIRANDA (O.S.)
                         Daddy! I thought we were doing my 
                         homework.

                                     ELIAS
                         I don't think he'd talk about us. 
                         He'd try not to.

                                     BARBOSA
                         If we whack him, he definitely won't.

                                     MIRANDA (O.S.)
                         Daddy!!

                                     ELIAS
                              (to Miranda)
                         Just a second.
                              (to Barbosa)
                         Not yet. Let me check on this, first.

                                     BARBOSA
                              (taunting)
                         Nobody said you had to do the dirty 
                         work, David. I'll take care of --

                                     ELIAS
                         Felix, if he's a problem, we'll kill 
                         him. I'll kill him myself.

               He doesn't realize until it's too late that Nancy has just 
               then opened the front door to see where he went. They look 
               at each other, a terrible moment: she knows what he does, 
               hates it, can't bring herself to leave him, hates herself 
               for that.

                                     ELIAS
                              (continuing)
                         Nancy, get out of here.

                                     NANCY
                         For you; it's Eddie.

               She hands him a cordless phone, goes inside closing the door.

                                     BARBOSA
                         You got a tasty wife, David. No wonder 
                         you don't want us coming here.

                                     ELIAS
                              (warning him)
                         Don't talk about her that way.

               Barbosa laughs.

                                     GOPHER
                         He can't help it, David, it's his 
                         nature.

                                     ELIAS
                              (into phone, chipper)
                         Eddie... Sure, man, what do you need?

               INT. A BOXING GYM - NIGHT

               Elias joins Eddie and Hull to one side. In the b.g. two guys 
               sparring.

                                     EDDIE
                         David, this is John, John, David. 
                         Eddie, this is Eddie. Everybody ready?

                                     HULL
                              (to Elias)
                         So what's this, you want to meet me?

                                     ELIAS
                              (charming, touch of 
                              mockery)
                         I like to know the important 
                         customers.

               Hull makes a show of weary patience, gestures: here I am.

                                     ELIAS
                              (continuing)
                         You're taking a lot of weight for a 
                         guy we hardly know. Where're you 
                         moving this stuff, John? We haven't 
                         seen you around. We like to have a 
                         sense who your customers are.

                                     HULL
                         Ah, come on, man, do Macy's tell the 
                         Gimbel motherfuckers?

                                     ELIAS
                              (beat; watches him)
                         Eddie, forget this guy, he's a cop.

               He gets up, walks away.

               ON HULL

               He's blown it. He's been made. The crushing failure. He 
               rallies himself to indignation.

                                     HULL
                         What is this shit, Eddie? I thought 
                         you were the man.

               Eddie's sickened, wants to get paid, owes Taft a bust.

                                     EDDIE
                         Nobody's the fuckin' man. Go to your 
                         place. I'll call you.

               EXT. GYM/INT. A VAN - CONTINUOUS TIME

               Taft and Hernandez, watching the gym. Hull comes out, looks 
               up and down the street carefully. Taft sits up, pays 
               attention.

                                     TAFT
                         This is our collar?

               Hernandez grunts.

                                     TAFT
                              (continuing)
                         Who is he?

                                     HERNANDEZ
                         Some scumbag...

               But Taft clearly thinks there's something different about 
               Hull. He's not sure what, but it troubles him. (NOTE: Hull 
               makes a little move that Taft will later realize was a cop's 
               move. For now he can't quite place it.)

               EXT. PARKING LOT - CONTINUOUS TIME

               Eddie pleading his case to Elias.

                                     EDDIE
                         He's no cop, David. He's an animal. 
                         You see his eyes? You never see a 
                         cop with those eyes. I know this 
                         shit, man, you don't.

                                     ELIAS
                              (giving him an opening)
                         What's going on, Eddie?

                                     EDDIE
                         Twenty-six thousand cash is what. We 
                         need it, David. We're behind.

               Elias studies Eddie: is he a rat? Elias hopes not, but he's 
               going to find out. He hands a fat Federal Express envelope 
               through the window.

                                     ELIAS
                              (a warning)
                         I want him to get it all, Eddie.

               Eddie bows in gratitude, hurries off.

               EXT./INT. HULL'S MOTEL - NIGHT

               Hull's unlocking his door when Belinda, the hooker across 
               the hall, comes out to talk. Her 6-year-old, James, watches, 
               silent.

                                     BELINDA
                              (a crackhead)
                         Mr. Hull... Mr. Hull...

                                     HULL
                              (wearily)
                         What's happening, Belinda?

                                     BELINDA
                         Now you know, Mr. Hull, I was to the 
                         welfare this afternoon, but the bus, 
                         you know what I'm saying?... the one 
                         bus, and then the other, and when I 
                         got there they'd gone and changed 
                         the time on me, without notification. 
                         They's supposed to give notification, 
                         ain't they? They said I got a thing 
                         in the mail, but I don't remember, I 
                         don't think they sent it, so now I'm 
                         off the welfare, plus I forgot to 
                         take James for his shot... for the 
                         school? Which otherwise they let him 
                         go. And he's gotta learn, he's gotta 
                         learn, don't he, Mr. Hull, you tell 
                         him, so's he can better hisself.

               Hull slouches in the doorway, fingers to his eyes.

                                     HULL
                              (to James)
                         You had any food today, James?

                                     JAMES
                              (disclaiming any need)
                         I had Ding-Dongs.

                                     HULL
                              (sighs, gives him 
                              money)
                         You go to the Mexican place over 
                         there, and get the chicken tostada 
                         or the beef and bean burrito or both. 
                         And a milk.

                                     JAMES
                         I don't like milk. I want a --

                                     HULL
                              (an order)
                         You get the milk! And get something 
                         for your mother, too.
                              (to Belinda)
                         What do you want?

                                     BELINDA
                         Now, Mr. Hull, if you just --

                                     HULL
                              (to James)
                         Two tostadas, two burritos, two milks.

               Gives him another bill. The boy runs off.

                                     BELINDA
                         You now, I look out for my James 
                         best I can, Mr. Hull, but it's hard. 
                         Now you like the boy, don't you?

               Hull grunts.

                                     BELINDA
                              (continuing)
                         I know you do. And I was thinkin' if 
                         you wanted to take care of him, that 
                         might be good for him. Give him a 
                         male figure to look up to.

                                     HULL
                         Look, Belinda, I can't...

                                     BELINDA
                         If you could just give me something 
                         for him. Say five thousand dollars...
                              (off Hull's shock)
                         Or maybe four thousand. I couldn't 
                         give up my boy for less than four 
                         thousand...

               Hull is rescued from this horror by the ringing PAY PHONE. 
               He runs down the hall, grabs it.

                                     HULL
                         It's me. I'm here... Where?... five 
                         minutes.

               He dashes past Belinda into his room.

                                     BELINDA
                         Or you could just give me a part 
                         now...

               He closes the door, takes the money Carver gave him out from 
               behind the mirror, dashes back outside. As he rushes by:

                                     BELINDA
                              (continuing)
                         Let me do somethin' for you, Mr. 
                         Hull. Let me do a little somethin' 
                         for you.

               He keeps going. The Blonde Woman addresses Belinda.

                                     BLONDE WOMAN
                         No solicitin' in the halls. I told 
                         you that before.

                                     BELINDA
                              (spunkier than we've 
                              seen)
                         I ain't doin' shit. Bitch...

               EXT. TACO STAND - VENICE AND LA BREA - NIGHT

               A handful of customers under a mud sky. The THROB of a distant 
               helicopter. Hull pulls into the lot beside Eddie's BMW.

               He climbs into the BMW, tosses Eddie a brown envelope; money 
               spills onto his lap. Eddie does a quick count, produces the 
               Fed Ex envelope. The usual white stuff.

               Hull's about to taste when the chopper swoops in with a sudden 
               blinding overhead light. A BULLHORN booms down like the voice 
               of God.

                                     AMPLIFIED VOICE
                         This is the police. Remain inside 
                         the vehicle. Place your open hands 
                         against the windshield so that they 
                         are clearly visible...

                                     HULL
                         Christ...

                                     EDDIE
                              (a strategy)
                         Spread the floor, Dudley.
                              (rap sound effects 
                              with rhythmic head 
                              spasms)
                         A-ga, a-ga, a-ga, a-ga...

               Eddie starts the car, and Hull rolls out the passenger door 
               as the BMW races across the lot.

               Two black-and-whites and an unmarked converge on the stand.

               Hull can't reach his car. He vaults a metal rail and runs 
               off between two buildings.

               Hernandez jumps out of an unmarked and races after him. Taft 
               speeds the car out onto the street.

               HULL

               running. Police and SIRENS pursuing. He hurls the Fed Ex 
               envelope into a dumpster. HELICOPTER light sweeps over him.

               As he cuts around a building, Taft opens a car door right 
               into his face. Hull goes down hard.

                                     TAFT
                              (into car radio)
                         Thank you kindly...

               He waves at the helicopter which goes away, kneels over Hull 
               who is twitching spastically on the ground, gasping for air. 
               Hernandez arrives carrying the Fed Ex envelope.

                                     TAFT
                              (continuing)
                         How you doin', child?...

               Hull is astonished to look up and see Taft looming over him, 
               the man he remembers from the videotape. He tries to speak:

                                     HULL
                              (barely audible)
                         You...

                                     TAFT
                              (briefly puzzled)
                         Me? Of course, it's me. You know me?

               Hull shakes head, winces.

                                     TAFT
                              (continuing)
                         Hurts, huh?

               Hull tries to curse.

                                     TAFT
                              (continuing)
                         Here, I want to show you something. 
                         You have kids?

               He takes out his wallet, opens it to pictures of his two 
               children, a boy and a girl, seven and eight.

                                     TAFT
                              (continuing)
                         These are mine. Aren't they the most 
                         beautiful children you ever saw?

               Hull groans, twists in pain. Taft sticks the pictures in his 
               face. Hull is affected by the children despite everything.

                                     TAFT
                              (continuing)
                         Yeah, I know, they kind of leave you 
                         speechless. So let me ask, if someone 
                         put a gun to your baby's head, 
                         wouldn't you kill him if you could?

               Hull just looks up.

                                     TAFT
                              (continuing)
                         Me, too. And you're the bastard with 
                         the gun.

               He takes the Fed Ex envelope from him.

                                     HULL
                              (hoarse; his first 
                              words)
                         You know the difference between a 
                         nigger and a black man?

                                     TAFT
                         Don't jive me, boy.

                                     HULL
                         The nigger's the one covers Whitey's 
                         ass by puttin' the brothers in jail.

               Taft yanks him hard to his feet; Hull cries out in pain.

                                     TAFT
                         You ain't my brother.

               INT. COURTROOM - NIGHT

               Hull is led in with other handcuffed PRISONERS. Carver is 
               here, catches Hull's eye. Hull shakes his head; doesn't want 
               Carver to intercede. A woman PUBLIC DEFENDER (26, attractive, 
               harried) addresses the prisoners.

                                     PUBLIC DEFENDER
                         Hi, I'm Shelley Weissbrod. This is 
                         only an arraignment, a preliminary 
                         hearing, but if you don't have money 
                         for an attorney, the Public Defender's 
                         office can...

               Hull is listening to this when a BAILIFF taps his shoulder.

                                     BAILIFF
                         You've got counsel. Over there.

               Puzzled, Hull sees the back of a suit conferring with a 
               PROSECUTOR. The suit turns. It's DAVID ELIAS who smiles, 
               offers his hand. Hull is stunned. Elias enjoys that.

                                     HULL
                         You're a lawyer??

                                     ELIAS
                         I'm your lawyer.

                                     HULL
                         Who hired you?

                                     ELIAS
                              (smiles)
                         It's pro bono. If you don't want me, 
                         there's Shelley. She's good. She 
                         just can't provide special services...

                                     HULL
                         Like what?

                                     VOICE (O.S.)
                              (calling the next 
                              case)
                         John Hull...

                                     ELIAS
                         Getting your case called first.

               Elias addressing the court.

                                     ELIAS
                              (continuing)
                         Your Honor, I believe the preliminary 
                         police toxicology report will show 
                         that the substance seized from my 
                         client was Mannitol, a baby laxative. 
                         We move for immediate dismissal.

               Hull is surprised at this news. The Judge looks to the 
               Prosecutor who waives objection. Gavel.

                                     ELIAS
                              (continuing; to Hull)
                         We're out of here, Dude.

               As they walk toward the back, Taft approaches Hull. There's 
               already a deep pull between these two, and in Taft's presence, 
               Hull can't sustain the tough street act. We almost see the 
               little boy inside him.

                                     TAFT
                              (to Hull, amused)
                         Baby laxative, they sold you some 
                         bad shit.

                                     DRUNKEN PRISONER
                              (to Hull)
                         You have a constipated baby, and 
                         you're in jail? What kind of a father 
                         are you?

                                     TAFT
                         A father who don't know his own 
                         children, ain't that right?

               A long look between them, broken when Elias takes Hull's 
               arm, leads him away. Elias cheerfully greets a couple of 
               hookers waiting arraignment. Hull furtively grabs his sleeve.

                                     HULL
                              (under his breath)
                         You sold me Mannitol, motherfucker.

                                     ELIAS
                              (under his)
                         If it hadn't been, asshole, you'd be 
                         in jail right now... Come on, I want 
                         you to meet some people.

               EXT. LEWAZZ - NIGHT

               After hours. The place is closed. A couple of cars in the 
               lot. Elias's BMW pulls in.

               INT. LEWAZZ - NIGHT

               Deserted except for one table where Eddie, Barbosa, Gopher 
               and Chino are eating shrimp. They look up as Hull and Elias 
               approach. Eddie's astonished to see Hull.

                                     EDDIE
                         Dudley, Dudley, Fo-Fudley...

                                     ELIAS
                         Surprised to see him, Eddie?

               Eddie looks around, uneasy.

                                     ELIAS
                              (continuing)
                         John got busted and kept his mouth 
                         shut. Can't say that for everybody, 
                         can we?

                                     EDDIE
                         What are you saying? Are you saying 
                         me? Are you saying something about 
                         me?

                                     GOPHER
                         Tell the truth, Eddie. Be honorable. 
                         It's all you got left.

                                     EDDIE
                         Shut up, you little faggot.

                                     ELIAS
                         The cops made you give them somebody. 
                         We know it.

               Eddie looks around. Everybody's looking at him. He considers 
               lying, but realizes it's pointless.

                                     EDDIE
                         All right, so what? I mean, so what, 
                         man? You got the money. Twenty-six 
                         G. Twenty-six, David. Count it.

                                     ELIAS
                         Next time you might trade us.

                                     EDDIE
                         Never.
                              (turns to Barbosa)
                         Never, Felix, never. Come on, man, 
                         you know I'd never...

               Hull observes Barbosa become the power center.

                                     BARBOSA
                              (softly)
                         I know you never will.

                                     EDDIE
                         Felix, no. Don't be... I'm worth 
                         money to you. Let me give you money.

                                     BARBOSA
                         Why? You don't owe me anything.

                                     EDDIE
                         Another twenty-six grand... Just to 
                         show you... Fifty.

                                     BARBOSA
                         Why not a hundred?

                                     EDDIE
                              (that's so much)
                         A hundred??? Felix...

               Barbosa's impassive.

                                     EDDIE
                              (continuing)
                         Okay, a hundred.

                                     BARBOSA
                         Give it.

                                     EDDIE
                         Tomorrow. Twenty-four hours.

                                     BARBOSA
                         Now. Ten seconds.

                                     EDDIE
                         Felix, I need time. I --

                                     BARBOSA
                         One... two...

                                     EDDIE
                         I don't have it right now. But I can --

                                     GOPHER
                              (sadly)
                         Then goodbye, Eddie. I forgive you 
                         for what you said to me.

                                     EDDIE
                              (pleading)
                         Twelve hours. Tomorrow morning.

                                     BARBOSA
                         Six... seven...
                              (to Elias)
                         You want to do it, David?

               Elias looks stricken. Barbosa laughs. Eddie jumps up. Hull 
               turns away, can't bear to watch this.

                                     BARBOSA
                              (continuing)
                         Nine...

               EDDIE

               grabs the first thing he lays eyes on, a tiny snail fork and 
               plunges it into Barbosa's neck.

               As if it were a fly bite, Barbosa flings the table aside 
               and, with a long knife already in his hand, guts Eddie from 
               groin to breast bone. Eddie falls like a suddenly emptied 
               sack.

               Elias can't help gasping.

               Hull looks away, hiding his horror.

               Barbosa rips the fork out of his neck and hurls it at the 
               body.

                                     BARBOSA
                         Piece of shit!

               Elias stares at Eddie's body, transfixed. Horrified, 
               fascinated, afraid, in awe. Barbosa turns to Hull.

                                     BARBOSA
                              (continuing)
                         What'd you think?

                                     HULL
                         At least it was clean.

                                     BARBOSA
                              (pleased, to Elias)
                         What about you, bar mitzvah body? 
                         First time you saw somebody die?

                                     ELIAS
                              (eyes fixed on the 
                              body)
                         No.
                              (catching breath)
                         At camp... when I was fourteen... a 
                         friend of mine was water skiing... 
                         The motorboat ran him over... A junior 
                         counsellor was driving.

                                     BARBOSA
                         You should kill a man some day, David, 
                         it's liberating...
                              (walking out)
                         Summer camp. I'm in business with 
                         somebody who went to summer camp.

               Everyone else is silent, grave.

               INT. ELIAS'S HOUSE - KITCHEN - EARLY MORNING

               Through sliders we see a small pool. Elias and Hull sit over 
               uneaten omelets. Both still shaken by the previous scene.

                                     ELIAS
                         Eddie, man... He was always nice to 
                         my daughter.

                                     HULL
                         How'd a guy like you get into this?

                                     ELIAS
                         The way most drug lawyers do: clients 
                         paid me in product, and I had to 
                         move it. Soon I was doing more dealing 
                         than law. But this was '83, '84, 
                         there was so much money we thought 
                         it would never end.

                                     HULL
                         Yeah. And now...?

                                     ELIAS
                         The road gets rougher. Cocaine's a 
                         dying business.

                                     HULL
                         Then what are we doing here?

                                     ELIAS
                         People are always going to want to 
                         get high. Every society has ways to 
                         alter consciousness.

                                     HULL
                         Because they can't bear reality.

                                     ELIAS
                              (smiles)
                         We all need our delusions, only the 
                         means change: psychedelics, opiates, 
                         prayer, orgies, human sacrifice...

                                     HULL
                         What's next?

               Elias puts a finger to his lips.

                                     HULL
                              (continuing)
                         Why aren't you selling it?

                                     ELIAS
                         I know how to make it and market it. 
                         But I need capital. That's the only 
                         reason I'm hanging out with an asshole 
                         like Barbosa.
                              (feels his hatred of 
                              Barbosa)
                         And because I can't get to the big 
                         guys.

                                     HULL
                         Who are the big guys?

                                     ELIAS
                         Gallegos, et cetera.

                                     HULL
                              (reacts to the name)
                         Why can't you get to them?

                                     ELIAS
                         What do you care?

               Hull shrugs: he doesn't.

                                     ELIAS
                              (continuing)
                         Anyway, designer drugs have a bad 
                         name: ice, ecstasy, tar -- there's a 
                         limited market for Parkinson's 
                         disease. But what about completely 
                         safe, almost legal, terrific shit 
                         you can go to work on and do your 
                         job better than you ever did it 
                         straight?

                                     HULL
                         Sounds like a dream.

               They hear someone coming.

                                     ELIAS
                              (closing the subject)
                         In dreams begin responsibilities.

                                     HULL
                         Tell me about this new shit.

                                     ELIAS
                         Some other time, John, when we know 
                         each other better.
                              (as Miranda enters 
                              kitchen)
                         Hey, bunnela.
                              (she snuggles against 
                              him; Elias enjoys it)
                         Five times two.

                                     MIRANDA
                         It's too early. Don't bother me.

               He hugs her, kisses her, much more openly affectionate than 
               Hull was with his own children. Hull notices that.

                                     MIRANDA
                              (continuing; head in 
                              her father's chest)
                         Seven.

               Elias whispers in her ear.

                                     MIRANDA
                              (continuing)
                         Oh, yeah... Ten... Who's he?

                                     ELIAS
                         That's my friend, John. This is 
                         Miranda.

                                     HULL
                         Hi, Miranda.

               Miranda gives Hull a shy greeting. Nancy hurries into the 
               kitchen, handsome, busy, ready for work.

                                     NANCY
                         Come on, honey...

                                     ELIAS
                         Nancy, this is John.

               Nancy nods briefly in Hull's direction. Elias kisses Miranda 
               who grabs the back-pack her mother proffers, and they go 
               out. When they're gone:

                                     ELIAS
                              (continuing; on Nancy's 
                              chilliness)
                         That's not about you. It's, she's... 
                         judgmental about what I do.

               When they're gone, he opens louvered doors onto a 
               washer/dryer, takes a sports bag off a shelf, gives it to 
               Hull. Hull looks inside. White powder. He tastes. Real. He 
               hefts the bag.

                                     HULL
                         That's more than I bought.

                                     ELIAS
                         Half we owe you. The other half's on 
                         consignment. A token of our esteem.

                                     HULL
                         You're having trouble moving it.

               Elias doesn't deny it.

                                     HULL
                              (continuing)
                         Make me your partner. I'll help you 
                         get your capital.

                                     ELIAS
                         I don't need a partner. I need a 
                         salesman.

               INT. CARVER'S OFFICE - DAY

               Now in daylight. Two separately wrapped kilograms of crack 
               cocaine on the green blotter.

                                     CARVER
                         I can't buy this much shit. I haven't 
                         got it in the budget.

                                     HULL
                         What am I supposed to do with it?

                                     CARVER
                         You're a drug dealer, John. Deal 
                         drugs.

               Hull just looks at him. Carver doesn't blink.

                                     HULL
                         You know how this goes, Gerry. It 
                         won't stop here. You know what they're 
                         going to ask me to do pretty soon, 
                         to prove I'm down. What am I supposed 
                         to do then?

                                     CARVER
                         Don't blow your Carver.

               Hull: a moment of horror as he realizes what Carver is saying.

               MUSIC -- A DRUG DEALING SEQUENCE

               INT. HULL'S APARTMENT - NIGHT

               He's filling glass vials with crack. Hundreds of them. It's 
               tedious work. He spills some, curses. He stops. He can't 
               believe he's doing this. He goes on doing it.

                                     CARVER (V.O.)
                         You're still thinking like a cop, 
                         John. Forget that. Cross the line. 
                         Be what you are. You're a criminal. 
                         You don't give a shit about other 
                         people. You're just trying to survive.

               INT. CRACK HOUSE - DAY

               Hull doling out vials to DEALERS seen earlier with Eddie.

                                     HULL (V.O.)
                         I can't do this shit. I just can't.

               EXT. A STREET - DAY

               DEALERS going up to cars as before, only now they're Hull's 
               dealers. A well-dressed Black businessman buys from his BMW.

                                     CARVER (V.O.)
                         But you want to be of use. You want 
                         to get drugs off the street, don't 
                         you?

                                     HULL (V.O.)
                         That's why I'm here.

               EXT. SAME - ANOTHER TIME

               Another sale: Teenagers on foot.

                                     CARVER (V.O.)
                         Well, this is the cost. Pay it or go 
                         grow flowers someplace.

               EXT. HULL'S MOTEL - ANOTHER TIME

               He comes out of the motel talking to a Dealer we've seen 
               above.

                                     HULL
                         You can't back down with them. You've 
                         got to project strength, from inside, 
                         you know?

               The Dealer nods. Across the street Hull sees:

               A blue sedan. Taft and Hernandez. Taft gives Hull a little 
               nod and grin.

               EXT. STREET - ANOTHER TIME

               Hull sitting in an aging Trans Am, making entries in a 
               notebook. Across the street he watches:

               A PREGNANT WOMAN (19), a squawling baby in arms, buying from 
               one of his Dealers.

               He kicks the dash in frustrated anger. Under the MUSIC:

                                     HULL
                         Cocksucker...

               As soon as the woman's gone. He goes over to the Dealer, 
               slaps his head, slaps it again. Under the MUSIC:

                                     DEALER
                              (hurt, confused)
                         What'd you do that for?

                                     HULL
                              (walking off)
                         'Cause I can, motherfucker, 'cause I 
                         can.

               EXT. SAME - ANOTHER TIME

               A white housewife making a buy from a new mini-van, a baby 
               in the car seat.

               EXT. STREET - TWILIGHT

               Two USC football players (letter jackets, huge) hassling 
               BIJOUX, a woman dealer, pushing her, she pushes back, curses.

               Suddenly Hull comes running up, shoves them apart. He's 
               yelling, pointing a finger in their faces. Elias comes up 
               behind, calmer.

               Hull is smaller than either USC kid, but they back down as 
               he curses them. Under MUSIC:

                                     HULL
                         ...Touch her again, motherfuckers, 
                         I'm gonna mess you up.

               A brief scuffle. Hull decks one USC, and Elias pulls him 
               off. The kids leave. Elias doubles over with laughter. Hull 
               yells at Bijoux and walks off.

               EXT. APARTMENT HOUSE - DAY

               Hull (looking at written address) knocks on a door. It's 
               opened by a beautiful, dark-skinned black woman in a skimpy 
               robe. She looks at him with disarming frankness. He thinks 
               he must be in the wrong place.

                                     HULL
                         Is David Elias here?

                                     ELIAS (O.S.)
                         Momentito...

               Through the door we see him emerge from a bedroom stepping 
               into his loafers, buttoning his shirt. He gives the woman 
               along, dark kiss, caressing her body.

                                     ELIAS
                         Jacqueline, ho-ney...

               She laughs, closes the door. As he and Hull walk to the 
               street, Elias sings happily to himself:

                                     ELIAS
                              (continuing)
                         "Who's making love to your old lady... 
                         while you're out make love...?"
                              (cheerful)
                         How come I like balling black chicks 
                         so much?

                                     HULL
                         'Cause you're a racist asshole. You 
                         feel like you're fucking a slave, 
                         and it gets you off.

                                     ELIAS
                         Oh, don't mau mau me with the Malcolm 
                         X shit. Tell me you're not chasin' 
                         white pussy every chance you get.

                                     HULL
                         I don't dig white women.
                              (knowing that's a lie)
                         Even if I did, it wouldn't mean the 
                         same thing.

                                     ELIAS
                         Sure, it'd be the slave fucking the 
                         master. Hegel talks about it. Just 
                         like me, but the other way around.

                                     HULL
                         Fuck Hegel. Who the fuck is Hegel? 
                         Some smart-ass kike that talks 
                         backwards?

               Elias laughs, gets into Hull's car. Hull's angry, takes a 
               beat before he gets in.

                                     ELIAS
                         Everybody digs the other, John. They 
                         dig their own, and they dig the other.

                                     HULL
                         Does your wife dig black guys, David? 
                         Did she fuck Eddie? Does she want to 
                         fuck me?

                                     ELIAS
                              (mock-terrified)
                         Ooo... you mean with that great big 
                         purple dick of yours? I hope not. 
                         She'd never be impressed with my 
                         little thing again.

                                     HULL
                         You think what impresses her now is 
                         your dick?

                                     ELIAS
                              (musing)
                         What does impress her?

               Hull can't help laughing. He starts the car.

               EXT. BETTY'S STORE - DAY

               Elias and Hull approach. Hull's carrying a satchel and wearing 
               a new leather jacket.

               INT. JEWELRY STORE - DAY

               As they go in, Elias switches the OPEN sign to CLOSED and 
               turns the latch. The store is filled with Latin American 
               folk art, particularly masks which line the walls.

               BETTY STONE, the woman Hull saw with Elias at the bar, comes 
               out from the back. She is 27, a bad girl trying to dress the 
               way she thinks a banker who went to Vassar dresses for 
               success. She's also a little strung out.

               She and Hull recognize each other at once, (a brief reprise 
               of that moment of perfect chemistry) but she avoids his gaze.

                                     ELIAS
                         Betty, this is John, my new associate.

                                     MCCUTCHEON
                         Your new Eddie. I hear the old one 
                         wore out.

                                     ELIAS
                         Factory recall. John's going to be a 
                         good customer. He does a lot of wash.

               Hull puts the satchel on a display case. Betty still won't 
               look at him, opens the satchel, begins a quick count. She 
               does this with a speed and sureness that suggests high test 
               scores.

                                     HULL
                         So how's this place work?

               Betty doesn't answer, so Elias covers the awkwardness.

                                     ELIAS
                         Betty wires the money to a store in 
                         Aruba in payment for things they 
                         never sent her. They deposit the 
                         money in a bank there that turns 
                         around and loans her money she never 
                         has to repay. That way it doesn't 
                         turn up as income for the IRS. Welcome 
                         to the laundromat.

                                     MCCUTCHEON
                         David, you talk too much.

                                     ELIAS
                         She doesn't trust you.

               Hull has taken down a mask, puts it over his face, looks in 
               a mirror.

                                     HULL
                         How much is this?

                                     MCCUTCHEON
                         More than you can afford.

                                     HULL
                         I'll take it.

               She produces a vial of coke, looks questioningly at Elias.

                                     ELIAS
                         By all means.

               She draws out six lines. Elias does two.

                                     MCCUTCHEON
                              (offering him the 
                              straw)
                         Come on, Eddie 2... you're up.

                                     HULL
                         No, thanks.

               NOTE: Betty is acutely attuned to Hull, and in his refusal 
               she senses -- albeit unconsciously -- two things: first, 
               that he doesn't trust himself on drugs, therefore, he's a 
               dangerous guy and, therefore, exciting; and, second, more 
               important, the refusal bespeaks a repudiation of the violence 
               and danger and, thus, a longing for goodness. Despite the 
               seeming contradiction, she finds this even more attractive. 
               But because she feels herself to be bad, his goodness seems 
               only a judgment against her, and so she thinks she hates 
               him.

                                     MCCUTCHEON
                         Who is he, my mother?

                                     HULL
                              (smiles)
                         Never have, never will.

               Betty ignores him, does her lines.

                                     MCCUTCHEON
                              (taunting Hull)
                         Oooh... Cocaine, I love it and I 
                         hate it and I love it. The disease 
                         is the cure.

               She can't help looking at Hull who's looking at her. She and 
               Elias are stoned; he's not.

                                     MCCUTCHEON
                              (continuing)
                         Don't look at me. Elias, tell him 
                         not to look at me. I don't like the 
                         fucker.

               But Elias is too busy vacuuming up Hull's leftovers.

                                     ELIAS
                              (sniffling)
                         John's an ascetic Negro; he wants to 
                         make sure you know he's not a jungle 
                         bunny.

                                     HULL
                         Watch your mouth, David.

                                     ELIAS
                         But he's got another side. You should 
                         seen him on the street the other day 
                         with these two USC kids. Do the spade 
                         bit for her, John.
                              (black accent)
                         I'm gonna mess you up, muthafugga...

               He sticks his finger in Hull's face just like Hull with the 
               boys.

                                     HULL
                         Don't call me a spade. And don't 
                         tell me to play black.

               He says it gently, but Betty hears the edge.

                                     ELIAS
                              (hurt, disappointed)
                         Come on, John, you do it so well.
                              (falling into it)
                         Ah ain't playin', muthafucka. Ah 
                         ain't playin'.

               Hull glares; Elias refuses to be intimidated.

                                     ELIAS
                              (continuing)
                         Don't fuckin' dis me, muthafucka. 
                         Fucka... fucka... fucka a... fucka 
                         b... fuck b-hive... fucka, fucka, 
                         fucka...

               Elias dances around repeating "fucka" until it's almost 
               musical.

               Hull picks him up and slams into a wall.

                                     HULL
                         Say it again, and I'll kill you.

               Elias throws Hull back against a display case. He's strong 
               and unafraid. They're ready to fight.

                                     MCCUTCHEON
                         Grow up, assholes!

               This half snaps them out of it. Still glowering, they slowly 
               relax, release each other.

               EXT. STREET - NIGHT

               Hull sits in the Trans Am eating a sandwich and watching the 
               street as a DEALER leans in the window telling his sob story. 
               There's an authority to Hull's manner that tells us he may 
               not like this job, but he knows how to do it.

                                     DEALER
                         ...The guy ripped me off, man, so I 
                         don't got the money, I don't got the 
                         stuff and --

                                     HULL
                              (eyes on street)
                         You gotta pay anyway.

                                     DEALER
                         Oh, but, man...

               As he raps on, comical pathos, Hull spots in his side 
               mirror...

               THE RED RANGE ROVER

               coming slowly this way. Ivy in the passenger window, the 
               barrel of an automatic weapon glinting in the streetlight.

                                     HULL
                         Shit...

               Hull glances up: Bijoux is selling on the next corner.

               The Range Rover passes the Trans Am. Ivy leans out.

               Hull flings open the Trans Am door, throwing the Dealer to 
               the ground. He jumps from the car:

                                     HULL
                              (continuing)
                         Bijoux!!

               She turns. Sees Ivy. She puts out her hands to block the 
               shots. The SOUND of the gun is inaudible. The barrel bounces 
               slightly. Bijoux sprawls backward.

               Bijoux: dead on the sidewalk, limbs askew, bleeding from 
               many wounds.

               Hull, standing over her, covers her face.

               EXT. SAME - MUCH LATER THAT NIGHT

               The body has been taken away, the crowd has cleared. Elias 
               sits on the hood of the Trans Am. Hull stands, staring down.

                                     ELIAS
                         It wasn't your fault.
                              (no response)
                         What could you have done?

                                     HULL
                         She worked for me. I'm supposed to 
                         protect her.

               Elias knows that's true, and it leads to another truth.

                                     ELIAS
                         We have to kill him.

               Hull looks up.

                                     ELIAS
                              (continuing)
                         Or we lose all authority with the 
                         other dealers. And one of them'll 
                         kill you.

               Hull looks up, startled.

                                     ELIAS
                              (continuing)
                         You've got to assert now, or you're 
                         dead.

               Hull sees the truth of that and slowly nods.

                                     ELIAS
                              (continuing)
                         And if we kill Ivy, we control this 
                         whole territory.

                                     HULL
                         That guy who works for Barbosa can 
                         do it, Chino.

                                     ELIAS
                         No. If we use Chino, it's Barbosa 
                         who's asserting. It'll be Barbosa's 
                         territory.
                              (again: his hatred of 
                              Barbosa)
                         It's gotta be us.

                                     HULL
                         Right.

                                     ELIAS
                         And if it's us, it's gotta be you.

               Meaning he can't do it. Hull knows that. A long beat on Hull's 
               face as he reaches the inevitable decision.

                                     HULL
                              (to himself)
                         Don't blow your cover.

                                     ELIAS
                         What?

                                     HULL
                         If I do this, we're partners. Equal 
                         partners on everything.

               Elias offers his hand. Hull stands up, a sudden resolve.

                                     HULL
                              (continuing)
                         Let's go.

                                     ELIAS
                              (afraid)
                         Now...?

               But Hull is already moving.

               EXT. STREET/INT. ELIAS'S CAR - NIGHT

               Hull and Elias driving, looking for Ivy. Elias double parks 
               by two prostitutes.

               We STAY in the car with Hull who's silent, frightened, keeps 
               trying to warm his hands.

               Outside, Elias is talking and laughing with the prostitutes. 
               We see them point. He gives them money, kisses. They laugh. 
               He gets back in the car.

               EXT. A DANCE CLUB - NIGHT

               The Range Rover parked in front. Elias's car stops. MUSIC 
               pounds from inside. Then one CONTINUOUS SHOT:

               They pass the club, other store fronts... Turn at the 
               corner... Turn into an alley... Down the alley past the same 
               buildings... The rear door of the club... To the next 
               street... Turn... Turn... onto the original street, back to 
               the front of the club. They stop again.

                                     HULL
                         Go wait around back.

               Elias nods. A beat. They look at each other.

                                     ELIAS
                         I want to see you in that alley.

               Hull's so terrified he seems calm. With an air of submitting 
               himself to fate, he gets out and walks into the club.

               INT. CLUB - NIGHT

               Crowded and BOOMING and strobe lit. Hull pays the cover and 
               climbs a staircase to a...

               CIRCULAR BALCONY

               that overlooks the dance floor. On stage: a RAP ACT with its 
               throbbing beat and below Hull a sea of dancers.

               Hull circles the balcony. It isn't hard to pick out Ivy -- 
               he's all in red, dancing with the woman we saw him with in 
               the Range Rover the first time.

               Hull reaches the steps again and starts down, keeping his 
               eye on Ivy. The number ends. In the pause before the next 
               one, Ivy can be seen excusing himself, heading toward the 
               rear of the club.

               The next number begins. People dance. Hull pushes his way 
               through the dancers to...

               INT. REAR OF CLUB - A SHORT HALLWAY - NIGHT

               leading toward the rear door they saw from the alley.

               MOVING DOWN THE HALL

               A woman's room. A men's room. Hull goes into...

               INT. MEN'S ROOM - NIGHT

               Ivy is pissing into a urinal. He's so huge he seems to take 
               up all the space in the tiny room. Hull stares at him, unable 
               to look away.

               He notices Hull. All dialogue is UNDER the POUNDING MUSIC.

                                     IVY
                         What're you looking at?

               Hull stares at Ivy's face. Ivy considers this rude.

                                     IVY
                              (continuing)
                         You want to suck it, bitch?
                              (offers his dick)
                         Or drink it?

               Laughing, he turns, urinates on Hull's pants. Hull doesn't 
               move.

                                     IVY
                              (continuing; 
                              recognizing him)
                         Oh, I know you. You're the bitch 
                         whose whore I wasted tonight, ain't 
                         you?

               Somebody pushes on the outside of the door. Hull holds it 
               closed with his back.

                                     IVY
                              (continuing)
                         I gotta take care of you, too, huh?

               He reaches into his pants for the butt of a gun.

               Hull is frozen.

               Ivy starts to draw it out.

               Hull steps forward, grabs Ivy's gun arm. With his other hand 
               he clumsily pulls a silenced .22 from inside his jacket, 
               puts it in the underside of Ivy's jaw and SHOOTS twice. Ivy's 
               brains spray upward onto the wall, and he slides straight to 
               the floor. Hull steps out into...

               INT. SHORT HALL - NIGHT

               An Hispanic busboy coming out of the kitchen sees him and 
               the gun in his hand, freezes.

               Hull walks past him and out the back door. From inside we 
               see Hull go down three steps, stumble in the drive and fall 
               to his knees, the gun CLATTERING away from him.

               A couple that had been making out, stops, looks.

               It takes Hull a moment to gather himself. He picks up the 
               gun, gets into Elias's car. It drives away.

               INT. HULL'S MOTEL ROOM - NIGHT

               Alone, he looks at his face in the mirror. As if he doesn't 
               know the person there.

               With a knife, he draws out something hidden inside the wooden 
               backing of the mirror. A manila envelope. He empties it onto 
               the dresser:

               Mementos among which we see, carefully preserved, the blood-
               soaked bills his father gave him. Hull ignores them and picks 
               up...

               PHOTO OF HIS CHILDREN

               He smooths out the folds, stares at it as if trying to fix 
               this in his thoughts.

               EXT. MOTEL COURTYARD - PAY PHONE - DAY

               Hull on the phone. He's unusually excited, even moved.

                                     HULL
                         ...Carmen, it's me. It's Daddy...

               INT. HULL'S HOUSE - CLEVELAND - DAY

               Carmen on the phone, jumping up and down with excitement.

                                     CARMEN
                         Daddy!!

                                     HULL (V.O.)
                              (through phone)
                         Hi, baby. How are you? I miss you!

                                     CARMEN
                         What?

                                     HULL (V.O.)
                         I miss you...

                                     CARMEN
                              (thrilled)
                         I miss you, too, Daddy...

               EXT. MOTEL COURTYARD - DAY

               Hull pressing the phone to his face, trying to master his 
               emotions.

               GRAINY 16MM FILM - A LABORATORY MAZE

               A lab rat with a metal electrode protruding from its head, 
               is running a maze at high speed. A VOICE explaining things.

                                     VOICE
                              (young, nasal, too 
                              smart)
                         The maze leads in two directions. At 
                         one end the rat can obtain a food 
                         pellet. At the other...
                              (pointer indicates 
                              each end)
                         ...it receives electrical stimulus 
                         to a very specific area of the 
                         cerebellum...

               The rat reaches this second destination, pushes a bar, is 
               stimulated. A lab worker (white coat, gloves) picks up the 
               animal, replaces it at the start. It runs the same route.

                                     VOICE
                              (continuing)
                         This rat, like 86% of the others in 
                         the experiment, chose the electrical 
                         stimulus repeatedly and exclusively. 
                         It continued to do so until it died 
                         of malnutrition.

               ANOTHER SHOT -- the rat dead.

               INT. A LABORATORY - DAY OR NIGHT

               A 21-year-old RENEGADE from the Cal Tech chemistry department 
               (red hair, freckles, glasses held together with electrical 
               tape), a brilliant nerd. He picks up...

               A MOLECULAR MODEL

               Colored balls stuck together with wooden dowels.

                                     CAL TECH
                         This is an addictive amphetamine 
                         with time-space distortion, delusions 
                         of grandeur -- or maybe they're real -- 
                         tending to be impulsive, sometimes 
                         violent behavior. Psychotropic 
                         adaptation for late monopoly 
                         capitalism. It's illegal, and you 
                         can buy it on any street corner.

               He tears off some of the balls, sticks on new ones.

                                     CAL TECH
                              (continuing)
                         This increases energy, attention, 
                         cognitive powers, yet with a smooth, 
                         almost opiate-like emotional surface. 
                         Ideal for the post-political, post-
                         rationalist global marketplace and 
                         24 hour lifestyles. It's completely 
                         legal and can only get it here, in 
                         my lab.

                                     ELIAS
                              (to Hull, proudly)
                         Randy's a genius. His professor told 
                         him he could win the Nobel prize.

                                     CAL TECH
                         Nobel prizes are for wussies.

                                     HULL
                         What does this shit do to you?

                                     CAL TECH
                         I'm on it now. It's like cocaine 
                         only better.
                              (offers him powder on 
                              a slide)
                         Want some?

                                     HULL
                         I don't take drugs.

                                     CAL TECH
                              (unoffended)
                         Your mistake. This is designed for 
                         the top end of the market. For people 
                         who want to master reality, not avoid 
                         it. Because it's synthetic, you don't 
                         grow it, refine it, or -- best of 
                         all -- import it.

                                     ELIAS
                         What would it take to manufacture 
                         this stuff in quantity?

                                     CAL TECH
                         With a million dollars, I could 
                         produce enough for a limited market 
                         at about two bucks a pop.
                              (makes a face: fair)
                         But then with five million, or better 
                         yet ten, the cost would drop to thirty 
                         cents, and we'd have enough for the 
                         whole world.

                                     ELIAS
                         I'm going to put two hundred fifty 
                         thousand into your corporate account. 
                         You cheat me, Randy, I'll use your 
                         bladder for a bagpipe.
                              (to Hull, with a 
                              vengeance)
                         We're going to put Barbosa out of 
                         business.

               Elias is very happy. He leads Hull out.

               INT. CARVER'S OFFICE - DAY

               On the pyramid chart there's a black border around Ivy's 
               photo, as around Eddie's. A photo of Hull is now on the board 
               beside the one of Elias. Hull stares out the window, lost in 
               thought.

                                     CARVER
                              (dismissive)
                         Synthetic shit?? Sounds like a 20/20 
                         segment...

               Hull shrugs: it's not that important. Carver turns to his 
               real interest.

                                     CARVER
                              (continuing)
                         So, what was it like?

                                     HULL
                              (still looking out)
                         What was what like?

                                     CARVER
                         Popping Ivy...

                                     HULL
                         You knew.

                                     CARVER
                         I'm God, remember?

                                     HULL
                              (looks back out)
                         Then you should know how it was.

               Carver smiles, but he's non-plussed by Hull's new detachment.

                                     CARVER
                         You didn't clear it with me. You're 
                         getting independent. That's good.

               Hull smiles.

                                     CARVER
                              (continuing)
                         How're we coming on Gallegos?

                                     HULL
                         He supplies Barbosa. To get to him 
                         we'll have to take quantity.

                                     CARVER
                         Then you've got to --

                                     HULL
                         That's what killing Ivy did. I'll 
                         get to him soon.

               Carver's impressed.

                                     HULL
                              (continuing)
                         Is that it?

                                     CARVER
                              (seeing him to the 
                              door)
                         I want you to get a new apartment. 
                         Something expensive.

                                     HULL
                         I like where I am.

                                     CARVER
                         That shithole? You're big time now. 
                         Act it. And get some clothes. Spend 
                         money. Have fun. That's an order.

               INT. HULL'S MOTEL - OFFICE - DAY

               Hull in a new, expensive suit, gives the big Blonde Woman 
               cash.

                                     HULL
                         Whether I'm here or not, no one else 
                         uses that room. And change the linen 
                         twice a week, just like now.
                              (starts to go, stops, 
                              more money)
                         And make sure James gets what he 
                         needs. And something for you.

               He adds another bill. She smiles.

               INT. A RENTED CONDOMINIUM - DAY

               Views, open space, expensive furnishings. Hull (in another 
               fancy suit) is hanging a couple of Betty's masks. He's 
               meticulous about their placement.

               Elias wanders out from the other rooms, looking around.

                                     ELIAS
                              (impressed, envious)
                         Nice place. Nice suit.

               Hull has a moment of self-consciousness about the suit, checks 
               himself out in a mirror -- a private moment.

               Elias flops on a couch, puts his feet on an antique coffee 
               table.

                                     HULL
                         Hey...!

               He hurries over, lifts Elias feet to the floor. Hull brushes 
               the wood, inspects it carefully, fusses, worries... Elias is 
               amused.

                                     ELIAS
                         You pick all this shit out yourself?

                                     HULL
                         A Jewish lady in the store helped 
                         me.

                                     ELIAS
                              (mock touched by racial 
                              harmony)
                         Aw... Very nice. Understated. I'm 
                         impressed.

               Hull starts to place stacks of cash in a briefcase. He's 
               momentarily mesmerized by all the money.

                                     HULL
                              (to himself)
                         Fifty bucks, fifty fucking bucks...

                                     ELIAS
                         You sold it all?

               Hull nods.

                                     ELIAS
                              (continuing)
                         I'll order a couple more keys from 
                         Barbosa.

                                     HULL
                         Order ten.

                                     ELIAS
                         Ten??

                                     HULL
                         Better twenty.

                                     ELIAS
                              (afraid of that)
                         I don't want to push it.

                                     HULL
                         I do. We've got a bigger territory, 
                         we need more product. I want to deal 
                         directly with Gallegos. It would 
                         save us money.

                                     ELIAS
                         Barbosa'll never let us near him.

               Hull closes the briefcase, ushers Elias toward the door. 
               He's going out, too.

                                     HULL
                         If we buy twenty, Gallegos'll come 
                         to us himself.

                                     ELIAS
                         How do you know?

                                     HULL
                         When I bought a key from Eddie, you 
                         came to me.

               Elias laughs, surprised, afraid.

                                     HULL
                              (continuing)
                         Who's above Gallegos?

                                     ELIAS
                         Guzman, but he's... Don't ask so 
                         many questions.

                                     HULL
                         How else will I learn?
                              (hint of a threat)
                         Call Barbosa, David, put in our 
                         order... Because we have to split 
                         this, and there isn't enough here 
                         for both of us.

               Elias feels the threat.

               EXT. BETTY'S JEWELRY STORE - NIGHT

               Despite the CLOSED sign, a light's on inside. Hull knocks. 
               No response. He keeps knocking without let-up until:

                                     BETTY'S VOICE
                              (annoyed)
                         Nobody's home, go away.

               He knocks harder. Finally she appears in the doorway, stopping 
               short when she sees it's him. She's immediately aware of 
               white streaks on her grey suit. she tries to brush them off.

                                     MCCUTCHEON
                              (doesn't want to let 
                              him in)
                         Look, I'm tired, why don't you...

               Hull holds up the briefcase. She sighs, unlocks the door.

               INT. BETTY'S OFFICE - NIGHT

               A bill counter toting up the cash. She watches it fixedly to 
               avoid looking at him, but she feels the chemistry.

                                     MCCUTCHEON
                         Why do you look at me like that?

                                     HULL
                         How do I look at you?

                                     MCCUTCHEON
                         Like you know something I don't. 
                         Like you're better than me.

               That catches Hull off-guard, and he responds with a candor 
               she didn't expect.

                                     HULL
                         I don't think I'm better than you. I 
                         don't think I'm better than anybody.

               She's startled by this remark and instinctively drawn to 
               him.

                                     HULL
                              (continuing)
                         But I do know something... You can't 
                         stop thinking about me.

               Embarrassed, she looks away. He takes her hand, and at his 
               touch something yields to her. She lets him draw her to him. 
               His kiss is strangely tender, searching. It turns Betty on 
               incredibly. She melts into him.

                                     MCCUTCHEON
                         Let's go back here...

               She leads him into...

               THE SMALL OFFICE

               She's sweet and loving, but her sweetness scares her. He's 
               all over her, but she pulls back for a moment. There is a 
               couch and before it a coffee table with coke scattered on a 
               plate.

                                     MCCUTCHEON
                              (indicates coke)
                         Do this... do it with me.

               She offers him a straw. He doesn't take it.

                                     MCCUTCHEON
                              (continuing)
                         This is where I'm at. You want to be 
                         with me, it's gotta be there.

                                     HULL
                         I don't do that.

                                     MCCUTCHEON
                         Never have, never will.

                                     HULL
                         It's for fuck-ups.

                                     MCCUTCHEON
                         What do you think, you're not a 
                         nigger? You're a nigger as much as 
                         me.

                                     HULL
                         More.

               She's angry, hurt, confused, wants to love him, but feels he 
               won't let her, or she won't let herself. It's torment. Finally 
               she's released by a KNOCK on the door. She goes out to...

               THE FRONT OF THE STORE

               Lets in Elias. He smells the tension.

                                     ELIAS
                              (amused, jealous)
                         Having fun?
                              (neither answers; to 
                              Hull)
                         I talked to Barbosa. He'll see us 
                         now.

               Hull turns to Betty. Both want to go that way instead of 
               this, but events are leading somewhere else. He follows Elias 
               out.

               EXT. A SALSA CLUB - NIGHT

               MUSIC pouring into the darkness.

               INT. CLUB - NIGHT

               Kids dancing to a live STAGE ACT. High in a wall: a lit 
               window.

               INT. THAT ROOM - NIGHT

               Very different from the club. A comfortable room with a bar, 
               tables, filled with men much older than the dancers below. 
               Barbosa and Gopher at the bar with Elias and Hull. Chino and 
               other SHADOWY FIGURES lurk in the room's depths.

                                     BARBOSA
                         Ten kilos? You're always late on 
                         two.

                                     HULL
                         Not ten... twenty.

               Barbosa's impressed.

                                     HULL
                              (continuing)
                         The more we have, the more we can 
                         move. There're markets we can't open 
                         because we don't have the inventory.

               Barbosa's coked to the eyeballs, mean and dangerous.

                                     BARBOSA
                         Finally some balls on this team...
                              (taunting Elias)
                         Come work for me, John. I'll give 
                         you your own franchise. You can supply 
                         Elias, lean on him when he's late.

                                     ELIAS
                         Go fuck yourself.

               Barbosa laughs.

                                     HULL
                         I'm with David.

                                     BARBOSA
                         Why? He give you his "designer drugs" 
                         pitch. He's never going to do it. 
                         He's a shmuck.

                                     ELIAS
                         Don't talk to me that way.

                                     BARBOSA
                         I'm not talking to you at all. I'm 
                         talking to John.

                                     GOPHER
                         It's the cocaine. Don't listen to 
                         him. Felix, you've had enough...

                                     BARBOSA
                         Shmuck.

               Elias goes for him. He's fast and strong, and it takes Chino 
               and Hull to pull him off.

                                     GOPHER
                         Praise God they don't let guns in 
                         here.

                                     CALMING VOICES
                         "None of that in here..." "Take it 
                         outside..."

               Barbosa's laughing, but his cheek is flecked with his own 
               blood, and his eyes are dead.

                                     BARBOSA
                         David, you've been working out, you're 
                         getting strong. Are you quick, too?
                              (shadow boxes)
                         Come on, I'll give you a shot at me.

                                     ELIAS
                         Any time, any place.

                                     BARBOSA
                         Right here, right now. Do this.

               He puts his hands out, palms up.

                                     ELIAS
                         This? What is this?

                                     BARBOSA
                         You know, you slap me, I slap you.
                              (mimes that game)
                         Come on, it's fun. Like summer camp.

               It doesn't look fun. Elias glances at Hull for guidance.

                                     HULL
                         Don't waste your time.

                                     BARBOSA
                         Stay out of this.
                              (to Elias)
                         Come on, you can do it, David, you're 
                         not a shmuck.

               Elias puts his hands out, palms up. Barbosa covers them with 
               his own. ON THE HANDS: Barbosa's broad, muscular with thick 
               gold rings and a Rolex; Elias's paler, slighter, a wedding 
               band and a slim watch.

                                     BARBOSA
                              (continuing)
                         Slap my hands. Just slap them.

               Elias looks Barbosa in the eye. He's trying to be a snake, 
               but he's more the mouse. He looks away and as he does tries 
               to...

               Slap him with both hands but hits only...

               Air. The room breathes. Barbosa turns his rings so the big 
               surfaces point down.

                                     BARBOSA
                              (continuing)
                         Now it's my turn.

                                     GOPHER
                         It's Barbosa's turn. He's gonna kill 
                         the white boy.

                                     ELIAS
                         One more.

                                     BARBOSA
                         No, you went, Davey, now it's my 
                         turn. First to four wins, like the 
                         World Series.

               Elias covers Barbosa's palms with his own.

                                     GOPHER
                         Oh, God, I can't look.

               ON THE HANDS: Barbosa tenses his hands. Elias yanks back. 
               Barbosa's hands haven't moved.

                                     BARBOSA
                         You remember the rules? If you flinch, 
                         I get to hit you.

               He slaps Elias across the face. Hull starts forward. A knife 
               appears. He stops.

                                     BARBOSA
                              (continuing)
                         Again, shmuck.

               Elias covers Barbosa's hands. Barbosa tenses. Elias holds 
               firm, and Barbosa quickly slaps both hands, hard. Elias 
               doubles over, holding his hands in pain.

                                     GOPHER
                         One.

                                     ELIAS
                         That was two.

                                     BARBOSA
                         No, this is two.

               He slaps him again, a stinging crack. Elias looks to Hull, 
               but they're across a canyon. Hull lowers his eyes.

                                     GOPHER
                         Oh, and it hurts. Mercy, it hurts.

               ON THE HANDS. Barbosa moves his hands a millimeter, and Elias 
               flinches again. Barbosa smacks him across the face. The sound 
               reverberates through the room. Now even Gopher is silent. 
               Tears run from Elias's eyes, blood from his mouth, but he 
               doesn't move.

                                     GOPHER
                              (continuing)
                         Three.

                                     A VOICE
                         Felix! No mas. Finito.

               A MAN

               steps forward out of the shadows. He is young, mid-30's, 
               handsome, European features, beautifully dressed, accompanied 
               by a guard we'll know as MOLTO. Someone murmurs to someone 
               else:

                                     SOMEONE
                         Gallegos...

               Hull reacts. Their eyes meet.

                                     GOPHER
                         The fight is over! The Ambassador 
                         from the South has spoken!

                                     ELIAS
                              (refusing any mercy)
                         One more.

               Barbosa shakes his head, ashamed now in front of Gallegos.

                                     ELIAS
                              (continuing)
                         One more! We're not finished!
                              (people are silent)
                         Four was the match.

               He holds out his hands. Barbosa resumes the stance, then 
               waits, waits, waits, and finally brings both hands down, 
               terribly hard, the sound of the slap is awful.

                                     BARBOSA
                         Four.

                                     HULL
                         Okay, that's it. Get away.

               Hull leads Elias to the door right past Gallegos. Their gazes 
               meet again. As they go out they hear Gallegos BERATING Barbosa 
               in furious Spanish.

               INT. STAIRCASE - NIGHT

               Trembling, Elias holds his bloody hands against his chest, 
               as Hull leads him in silence down the steps.

                                     ELIAS
                         Look at me. Look at me, damn it!

               He barely whispers, but it's like a shout. Hull, who'd been 
               avoiding his gaze, forces himself to look. Elias's humiliation 
               is so profound it almost ennobles him. Finally:

                                     HULL
                         Why did you do it?

                                     ELIAS
                         I needed it. They taught me what I 
                         needed to know. That I'm not part of 
                         them, and I never will be. That they 
                         don't respect me. That I don't deserve 
                         respect. Because I'm a shmuck, John. 
                         I'm a shmuck...

               He laughs a terrible laugh. The door behind them opens, and 
               Barbosa appears with Gopher. Everyone is ready for death, 
               but:

                                     BARBOSA
                         David, I'm sorry. It's a crazy time, 
                         and... you know... I'm doing a little 
                         too much coca... I'll buy your kid a 
                         pony... anything you want... Let's 
                         forget about it.

               He comes down the stairs, offers his hand. Elias will never 
               forget about it, but he silently takes the hand, holds them 
               in his own bloody paws, looking directly into Barbosa's face.

               Barbosa becomes uneasy, manages to extract his hand. Elias 
               and Hull continue down and out the door. Gopher gushes to 
               Barbosa.

                                     GOPHER
                         I am so proud of you. You can be 
                         cruel, and you can be kind. And just 
                         now you were kind. Proud, proud, and 
                         more proud. That's me.

                                     BARBOSA
                         Shut up.

               INT. BOXING GYM - NIGHT

               Barbosa, Gopher with Hernandez, Taft's partner. Now we know 
               Hernandez is corrupt: that's how they knew Eddie was talking.

                                     BARBOSA
                         I got nothing to give you, my man. 
                         I'm an il-liquid son of a bitch.

                                     HERNANDEZ
                         Felix, I keep telling them, "I have 
                         informants down there, I'm working 
                         guys, I can't say who..." If you 
                         don't have money, give me busts, or 
                         they're gonna start wondering about 
                         me.

                                     GOPHER
                         They're already wondering.

                                     BARBOSA
                              (deadpan)
                         You can have Gopher.

                                     GOPHER
                         Oh Gawd...

                                     BARBOSA
                         How about a lawyer?

                                     GOPHER
                              (knows who he means)
                         Felix, don't do this.

                                     HERNANDEZ
                              (he knows, too)
                         Great, lawyers are great, Jewish is 
                         best. But I need spades, too. The 
                         politicians want dark facts to scare 
                         the suburbs so they'll vote 
                         Republican.

                                     BARBOSA
                         Lawyers and spades; I got the 
                         trifecta: two dealers and a girl who 
                         does their wash. Two niggers and a 
                         kike; all Democrats.

                                     HERNANDEZ
                         You're my man. And afterwards...

               Hernandez rubs thumb against fingers.

                                     BARBOSA
                         When this is over, I'll send you to 
                         Hawaii, Maui. It's very beautiful in 
                         Maui, it's a very spiritual place.

                                     HERNANDEZ
                         I just want money.

               And he's gone.

                                     GOPHER
                         I wouldn't trust that man when he's 
                         out of rifle range.

               Barbosa looks tired.

                                     GOPHER
                              (continuing; 
                              premonition of 
                              disaster)
                         Don't do this, Felix. It'll go wrong. 
                         Kill Elias if you have to, honey, 
                         but don't set him up for this. It 
                         damages your prestige.

               Barbosa faces his cocaine. He tries to resist the pull, then 
               yields. He does another line. It's his friend. He loves it. 
               He picks up a cellular phone, dials.

                                     BARBOSA
                         David, you're awake, I'm impressed... 
                         I'm sorry about what happened... 
                         Listen, I'll get you twenty boxes, 
                         like you wanted. You were right, you 
                         should have what you need... Tomorrow 
                         night... Bring your partner and that 
                         girl with the store, Betty... I need 
                         her advice on something. I want us 
                         to have fun, like we used to. We'll 
                         go to that shrimp place, okay?... 
                         Good... Me, too, David.
                              (hangs up; does another 
                              line; drawing it 
                              deep into him)
                         Yes!

               INT. CARVER'S OFFICE - BEFORE DAWN

               Hull jacked up, excited, pleased with himself. As he paces, 
               Carver observes his beautiful suit, shoes, expensive watch. 
               He looks much better than Carver.

                                     HULL
                         We're getting twenty kilograms 
                         tomorrow.
                              (notes the lightening 
                              sky)
                         Tonight. I made it happen. I pushed 
                         Elias, now he doesn't make a move 
                         without me.

                                     CARVER
                         You run Elias.

                                     HULL
                         I control him. Barbosa's selling it 
                         to us because he thinks I can move 
                         it...
                              (now the big news)
                         And last night I met Ramon Gallegos.

               Carver sits up fast. Hull likes that.

                                     HULL
                              (continuing)
                         We're getting the dope from him; 
                         it's still coming through Barbosa, 
                         but Gallegos will approach me soon 
                         on his own. We're going to get him, 
                         Gerry. We're going to bring him and 
                         the whole thing down.

               Carver sits back, grimaces.

                                     HULL
                              (continuing)
                         What's your problem?

                                     CARVER
                              (looking out window)
                         My problem? My problem is that you 
                         don't really know what's happening.

                                     HULL
                              (sardonic)
                         Oh, so, tell me what's happening, 
                         Gerry.

                                     CARVER
                         Barbosa is setting you up tonight.

                                     HULL
                         Bullshit.

                                     CARVER
                         He's dealing you to Taft and 
                         Hernandez. You're going to be taken 
                         down as you receive the drugs. They're 
                         putting together the arrest team 
                         right now.

               That rocks Hull. He is up, pacing.

                                     HULL
                         What do we do?

                                     CARVER
                         You stay away. We're going to take 
                         them down.

                                     HULL
                         Who? Elias and Betty? Don't be silly.

                                     CARVER
                         My boss wants a bust right now. He 
                         goes before the oversight committee 
                         next week. He needs something to 
                         justify the budget.

                                     HULL
                              (imploring)
                         I'll get him something. Give me ten 
                         days, and I'll get him Gallegos on a 
                         plate.

                                     CARVER
                         Too late. The whole thing's set up.

                                     HULL
                         Gerry, what are you telling me? I 
                         need Elias... and Betty. You arrest 
                         them, and you're throwing away 
                         everything I've set up.

                                     CARVER
                         It's out of my hands.

               Hull walks out.

                                     CARVER
                              (continuing)
                         John, don't go near that bust.

               EXT. 96TH STREET NEAR THE AIRPORT/INT. A CAR - NIGHT

               Elias (no sleep) driving. Betty in front. Hull in back.

                                     HULL
                         We shouldn't go to them. Maybe them 
                         come to us.

                                     ELIAS
                         He wouldn't.

               They pull into the lot of a boarded up restaurant where 
               Barbosa and Chino stand outside of a limousine.

               EXT. BEHIND AN AIRPORT MOTEL - NIGHT

               Taft and Hernandez in the same van that was outside the gym 
               earlier. They're watching THROUGH BINOCULARS, night scopes. 
               They spot Elias's car.

                                     HERNANDEZ
                              (whispering into radio)
                         Here they are. Nobody move until we 
                         see the green suitcase.

               EXT. PARKING LOT - NIGHT

               The two groups meeting. Barbosa gives Betty a courtly kiss.

                                     BARBOSA
                              (flirtatious)
                         I'm sorry for dragging you out so 
                         late, but I have to be careful.

                                     MCCUTCHEON
                         It gives me confidence.

               HULL

               watching planes descend into the airport, nervous. He knows 
               what's coming, but how does he handle it?

                                     HULL
                         Let's see what we've got.

               Elias takes a satchel out of the rent-a-car trunk. Chino 
               opens the limousine's trunk. Inside is an over-sized day-glo 
               green plastic suitcase. He is about to pick it up.

                                     HULL
                              (continuing; spotting 
                              the police van in 
                              the adjacent lot)
                         Don't touch it.

               Everyone looks at him, then the direction he's looking.

                                     BARBOSA
                         What is this?

                                     HULL
                         Something's wrong. What's that van 
                         doing there?

               Everyone looks. They can barely see the van. Hull pulls a 
               gun.

                                     HULL
                              (continuing)
                         This is a bust. The minute we take 
                         the stuff, they'll be over us.

                                     BARBOSA
                         He's crazy, David. I thought you 
                         were the crazy one, but it's him.

               Hull puts the gun to Barbosa's head, addresses Chino:

                                     HULL
                         Chino, pick up the suitcase and give 
                         it to Elias. I'll only kill him if 
                         something goes wrong.

               Chino moves to pick up the suitcase.

                                     BARBOSA
                         No!!

               Everyone looks at Hull amazed, even Chino.

                                     ELIAS
                              (softly)
                         Fucking A, John...

                                     HULL
                         Okay, everybody in the car.

               He throws the money in the limo truck, slams the lid. He's 
               running the show now, and everyone knows it. He's winging 
               it, but confident and strangely calm.

               Elias, energized by Hull's command, grabs Barbosa and throws 
               him toward the limo.

               HERNANDEZ'S POV THROUGH NIGHT SCOPE

                                     TAFT
                         We have a problem.

                                     HERNANDEZ
                         Shit! Shit! Shit!
                              (aiming rifle; Hull 
                              in sights)
                         Enough of this...

                                     TAFT
                         No!

               EXT. TWO CARS - NIGHT

               Hull shepherding everyone into the limo. He glances toward 
               the van. On instinct. He pulls Chino to him.

               A RIFLE SHOT

               Chino's head explodes. Betty screams.

                                     BARBOSA
                              (screaming at van)
                         Don't shoot... Don't shoot...

               INT. VAN - NIGHT

               Taft hurling Hernandez against the wall.

                                     TAFT
                         Goddam it, what the hell are you 
                         doing?

               EXT. TWO CARS - NIGHT

               SIRENS. GUNFIRE. Elias drags Barbosa into the limo. Hull 
               throws Betty into the front seat. The limo takes off.

               EXT. STREET/INT. LIMO - DRIVING - NIGHT

               Hull driving, Betty up front. Elias with a gun on Barbosa in 
               back. Hull slaloms the limo through police GUNFIRE. Windows 
               are blown out. Glass everywhere.

                                     MCCUTCHEON
                              (weeping)
                         I asked for this... I asked for it... 
                         It's my fault...

                                     HULL
                              (calm, eyes on road)
                         Relax. We'll make it.

               She looks at him, stunned yet soothed by his certainty.

                                     BARBOSA
                         He's a cop. He has to be. How else 
                         would he have known?

                                     HULL
                         If I was cop, you'd be face down 
                         back there.

                                     MCCUTCHEON
                         How did you know?

                                     HULL
                         The whole thing smelled. Changing 
                         his mind about the stuff. Meeting us 
                         way out here. And I'd seen cops in 
                         that van before. Hernandez is dirty, 
                         that's who he's using.

                                     ELIAS
                              (to Barbosa)
                         Get out of the car.

               He starts to open the door.

                                     HULL
                         David, not now.

                                     ELIAS
                         Yes, now!

               INT. TAFT AND HERNANDEZ'S CAR - NIGHT

               Racing. Taft at wheel, raging at Hernandez.

                                     TAFT
                         Who are you, man? Who the fuck are 
                         you?

                                     HERNANDEZ
                              (stonewalling)
                         I'm me.

               INT. LIMO - DRIVING - NIGHT

                                     ELIAS
                         He traded us to the cops. Just like 
                         Eddie. Eddie, who was nice to my 
                         daughter, had to die because that's 
                         the rule. And you were vulgar about 
                         my wife, Felix, so at the very least 
                         the same rule applies to you.

                                     BARBOSA
                         I'll give you money. I'll give you a 
                         million. Anything you want.

                                     ELIAS
                         I want you to get out of the car. 
                         Get out of the fucking car. Out of 
                         the fucking --

                                     MCCUTCHEON
                              (near tears)
                         No, no... we can't do this.

                                     HULL
                              (turning around from 
                              front seat)
                         Stop it, David, or we're...

               Elias wheels on him, sticks the gun in his face:

                                     ELIAS
                              (in a fury)
                         Look at my hands!

               He holds them up: swollen, black and blue, cut up.

                                     ELIAS
                              (continuing; to 
                              Barbosa, softly)
                         Get out of the car.

               Barbosa's frozen. Elias grabs his hand, SHOOTS a bullet 
               through. Barbosa screams...

                                     MCCUTCHEON
                         No!

                                     HULL
                         Goddammit!

               Elias wheels on them, swinging the gun from one to the other.

                                     ELIAS
                         Stay out of this, or you'll die. 
                         You'll both die. Everyone'll die.

               His fury makes anything seem possible. He pushes open the 
               door. Trembling, Barbosa starts to climb out.

               The limo enters a tunnel, police still in pursuit.

               Halfway out, Barbosa stops.

                                     BARBOSA
                         I can't...

               Elias SHOOTS him in the butt. He shrieks, jerks forward. The 
               cops are getting close behind.

               Other cops waiting at the far end of the tunnel.

               Hull hits the brakes, spins a 180 into the opposite lane.

               Barbosa is flung out of the car and plastered by a succession 
               of fishtailing vehicles.

               Hull speeds back the other way. They're going straight at:

               INT. VAN - COMING STRAIGHT AT THEM - NIGHT

               Taft and Hull, the two drivers, lock eyes. It's chicken, but 
               more than that. Two men set against each other who, for some 
               reason, want to be friends.

               At the last instant, the van swerves away, but:

               ELIAS AIMING AT TAFT

               Taft sees the gun too late. He can do nothing.

               Hull's gaze follows Taft's. He sees Elias, deliberately 
               swerves, sending the SHOT wild.

               INT. LIMO - RACING - NIGHT

                                     ELIAS
                         I had him!

                                     HULL
                         You want to kill a cop?? Don't be 
                         stupid.

               The limo speeds away.

               EXT. STREET/INT. LIMO - DRIVING - NIGHT

               The windows shot out. Hull and Betty silent, shaken. Elias 
               charged up, happy.

                                     ELIAS
                         Everything is different. We're the 
                         Colombians now.
                              (radiant)
                         This is the greatest night of my 
                         life. Terrible but great. Felix was 
                         right...

                                     MCCUTCHEON
                              (appalled)
                         About what?

                                     ELIAS
                         He said I should kill a man. He was 
                         right.

                                     MCCUTCHEON
                         My God.

                                     ELIAS
                         Barbosa was a roach. Do you miss 
                         him? Will anybody in the world miss 
                         him?

                                     MCCUTCHEON
                         Are you a roach, too?

                                     ELIAS
                              (happily)
                         Yes. Thank God.

                                     MCCUTCHEON
                              (to Hull)
                         What about you?

               He's silent, keeps driving. She's had enough.

                                     MCCUTCHEON
                              (continuing)
                         Stop the car.

               Hull looks at her.

                                     MCCUTCHEON
                              (continuing)
                         Stop it!

               He brakes to a stop. She jumps out, leans back in.

                                     MCCUTCHEON
                              (continuing)
                         No more laundering, no more anything. 
                         I'm finished with this.

               And she disappears into the night. Elias watches her go. 
               Hull resumes driving.

                                     ELIAS
                         She knows too much. We have to kill 
                         her.

                                     HULL
                         No! She's with me. She's not going 
                         to talk.
                              (looks at Elias)
                         You touch her, I'll kill you.

                                     ELIAS
                         She's your responsibility then.

               Hull accepts it.

                                     ELIAS
                              (continuing)
                         We're going to get the money now, 
                         John. Enough for the new drug. We're 
                         going to be rich. We're going to be 
                         so rich that we're going to leave 
                         the world of ordinary people and 
                         going to a higher realm. I mean that.

                                     HULL
                         They're going to come after us.

                                     ELIAS
                              (matter-of-fact)
                         It's a hardball game. We're hardball 
                         players.

               EXT. COMMERCIAL STREET - EAST L.A. - NIGHT

               Hernandez comes out of a bodega with groceries, wine and a 
               woman. He nuzzles her as he lets her into his car. As he's 
               getting behind the wheel, Molto (Gallegos' guard) stops the 
               door from closing. The conversation is entirely in SPANISH.

                                     HERNANDEZ
                         It wasn't my fault.

                                     MOLTO
                         It never is.

               He SHOOTS him in the head. Hernandez slumps against the wheel. 
               The woman screams. Molto walks away.

               EXT. AN APARTMENT COMPLEX/INT. BETTY'S APARTMENT - DAWN

               Hull finds a door, pushes the buzzer. Betty looks through 
               the glass. She's afraid of him.

                                     MCCUTCHEON
                         Don't kill me. I'm not going to talk. 
                         I swear. Please.

               Then she looks closer and sees not murder in his face, but 
               need. She opens the door. Without a word, he gathers her to 
               him. She can't resist him now. Her mouth is everywhere on 
               him.

               INT. HER BEDROOM - DAWN

               Betty gasping in the wake of pleasure, turning her face away 
               from him, she feels so exposed.

                                     MCCUTCHEON
                         Don't look...

               She hides her face in his neck.

               INT. SAME - LATER

               They lie in each other's arms, relaxed together for the first 
               time. A wonderful, unprotected openness.

                                     HULL
                              (softly)
                         Tell me about you.

                                     MCCUTCHEON
                              (half-kidding)
                         Everything worth knowing you just 
                         found you.

               He laughs. They begin to make love again. Suddenly: AN EXTRA 
               HAND stroking Betty's hair. She gasps. A gun in Hull's ear. 
               Another in her face. Guns all around.

                                     HULL
                         Don't hurt her.

               Hands pull him out of bed, leave her there alone. We see 
               Molto, two or three others.

               EXT. A CEMETERY - MORNING

               RAMON GALLEGOS lays a bouquet of white lillies on a grave. 
               He kneels, whispers a prayer, crosses himself.

               He rises and walks to where Molto and the other guards hold 
               Hull and Elias. Gallegos is in his thirties, more European 
               than Barbosa. He has a distinctly mild manner.

                                     ELIAS
                         Who's grave?

               An impudent question, but Elias seems strangely bright-eyed 
               despite the guns held on him.

                                     GALLEGOS
                         My wife's. She died of leukemia three 
                         years ago.
                              (looks around)
                         I like to be among the dead. They 
                         never interrupt you.
                              (turning to them)
                         Felix Barbosa started out as a skinny 
                         fourteen-year-old fucking Yankee 
                         businessman in Bogata hotels. He 
                         grew up. He made himself strong and 
                         rich, but getting there made him 
                         sick, and that killed him. So he 
                         lost everything for the same reason 
                         he'd gotten it in the first place. 
                         Now we'll see if you can do as well.

               A PRIEST going by greets Gallegos who responds warmly. They 
               chat a minute in SPANISH. The Priest leaves.

                                     GALLEGOS
                              (continuing)
                         Felix owed me one million eight 
                         hundred thousand dollars.

               He addresses this to Hull; Elias feels left out.

                                     GALLEGOS
                              (continuing)
                         When you killed him, you bought the 
                         debt; now you owe it to me; you get 
                         to keep thirty percent, like he did. 
                         You have three days.

               Gallegos turns to leave.

                                     HULL
                         Who did Barbosa collect from?

                                     GALLEGOS
                         If you don't know, you shouldn't 
                         have killed him.

               He notices Hull's earring: two tiny dice, the spots made of 
               minuscule jewels. Unembarrassed, he fingers it.

                                     GALLEGOS
                              (continuing)
                         Cute... Can I have that?

               Without waiting for an answer, he yanks it out of Hull's ear 
               and walks away, leaving Hull bleeding through his fingers 
               before a stone cross.

               EXT. A GHETTO STREET - NIGHT

               A club on the corner. THROUGH A WINDOW we see a RAP ACT on 
               the stage, their MUSIC pumping out onto the street. Hull 
               pulls up in a Jaguar. He and Elias go through a door adjacent 
               to the club.

               INT. BUILDING HALL/INT. GOPHER'S ROOM - NIGHT

               The MUSIC is still audible here, though muffled. Elias and 
               Hull are pushing at door Gopher is trying to hold closed.

                                     GOPHER
                         I don't want you in here. You killed 
                         the man, and I loved him. I don't 
                         want to have anything to do with 
                         you.

               Elias kicks it open, and they enter Gopher's tiny, miserable 
               domain. He's wearing some sort of negligee and an immense 
               naked woman fills his bed. We still hear the MUFFLED MUSIC.

                                     GOPHER
                              (continuing; apoplectic)
                         I'm a sixty-three-year-old man! I'm 
                         a grandfather! Would you hit a sixty-
                         three-year-old white man? Would you 
                         hit your own grandfather?

                                     ELIAS
                              (slaps him against 
                              wall)
                         Listen, you fucking monkey, you know 
                         who owed him money, and we know you 
                         know. Tell us or --

               Hull pulls him off. Elias is angry. They struggle.

                                     HULL
                         He'll tell us. Gopher, just...

               Meaning: deal with me or deal with Elias.

                                     GOPHER
                         You can't tell anyone it was me.

               The MUSIC continues OVER the following sequence:

               INT. CRACK HOUSE - DAY

               Elias arguing with a dealer. He slaps him around.

               TIGHT ON HANDS

               Money is exchanged. The money is stuffed in a satchel.

               INT. A LAW OFFICE - DAY

               A well-dressed lawyer (30's) talking with clients, a 
               distinguished couple in their 60's.

               The door BANGS open and a secretary is unable to restrain 
               Hull and Elias as they charge into the room. The lawyer is 
               up on his feet, but Hull shoves him around as Elias politely 
               explains to the clients that this will only take a moment.

               TIGHT ON SATCHEL

               Hull's hands thrust more money in. It's getting full.

               INT. A MOTORCYCLE REPAIR SHOP - NIGHT

               A biker in leathers on hands-and-knees spitting blood onto 
               the cement floor. Hull stands over him, fists clenched.

               INT. A CAR TRUNK

               A satchel stuffed with money is latched, set next to another 
               latched one. A third is opened, money and jewelry dumped in.

               EXT. STREET - NIGHT

               Hull looking into the trunk. Elias is beat.

                                     HULL
                         Where the hell is all the money? 
                         We're still a million short.

                                     ELIAS
                         I gotta get laid.

                                     HULL
                         David, we've got thirty-six hours.

                                     ELIAS
                              (slams trunk, moves 
                              toward door)
                         Pick me up at Jacqueline's in the 
                         morning.

                                     HULL
                         Sooner than that.

               Elias gets in the car and drives off. Hull turns and a dark 
               American sedan pulls up alongside. Carver behind the wheel.

                                     CARVER
                              (an order)
                         Get in.

               INT. CAR - NIGHT

                                     HULL
                              (as he gets in)
                         What are you doing here? You're going 
                         to get me killed.

               Carver peels away fast. He's very angry, frightened, too, 
               but that's hidden.

                                     CARVER
                         Where the hell have you been?

                                     HULL
                         Doing my job.

               There's an indifference to Carver's authority we haven't 
               heard before. Hull isn't even aware of it, but Carver is.

                                     CARVER
                         You violated a direct order to stay 
                         away from that bust. As a result, a 
                         police informant is dead, a state 
                         senator was critically injured in 
                         the tunnel pile up and a city 
                         policeman was subsequently murdered.

                                     HULL
                         I didn't blow my cover.

                                     CARVER
                         Don't get smart with me, motherfucker.

                                     HULL
                         Don't be a shmuck, Gerry. I'm talking 
                         to Gallegos. I'm collecting his money. 
                         We can set him up right now.
                              (NOTE: Carver arrives 
                              somewhere and parks. 
                              To be discussed, but 
                              let's say, for now, 
                              that we are:)

               EXT. SANTA MONICA PARKING STRUCTURE - OVERLOOKING OCEAN - 
               NIGHT

               They get out of the car. Carver takes out a flask, has a 
               drink, offers it to Hull who declines.

                                     CARVER
                         Never have, never will.
                              (puts the flask away)
                         I want you to give me your gun. You're 
                         coming in right now.

                                     HULL
                              (doesn't understand)
                         Coming in where?

                                     CARVER
                         Your assignment has been terminated. 
                         You're not going out there again. If 
                         I have to, I'll put you in custody.

                                     HULL
                              (uncomprehending)
                         I'm going to have Gallegos in two 
                         days.

               Carver says nothing. Suddenly Hull understands.

                                     HULL
                              (continuing)
                         You're protecting him. You're 
                         protecting Gallegos.

               Carver snorts: ridiculous.

                                     HULL
                              (continuing)
                         No, of course. That's why you wanted 
                         to bust Elias and Betty. I was getting 
                         close, and you wanted to cut this 
                         off then... What is he, the new 
                         Noriega? Helps you fight commies, so 
                         you let him sell drugs to the niggers. 
                         Two birds with one stone.

                                     CARVER
                         You violated orders, so you're 
                         through. Don't make a conspiracy 
                         theory out of it.

                                     HULL
                              (laughs)
                         I'm through...? Then, I might as 
                         well have a drink after all.

               Surprised, Carver reaches for the flask. As he does, Hull 
               grabs him, pushes him out over the edge of the building, 
               holds him there.

                                     HULL
                              (continuing)
                         Now tell me the truth or they're 
                         going to decide your troubles got 
                         the best of you.

               Carver struggles. Hull pushes him out farther. Carver dangles.

                                     CARVER
                         You're insane.

                                     HULL
                         All the more reason to do what I 
                         say. Jesus, Ger, I'm having trouble 
                         holding on...

                                     CARVER
                         All right!

                                     HULL
                         Say it!

                                     CARVER
                         It's the State Department.

               Hull pulls him back in. Carver slumps against the wall, drinks 
               greedily. Hull lets him for a moment, then takes the flask 
               away.

                                     CARVER
                              (continuing)
                         I told you, Gallegos's uncle is a 
                         big deal down there.

                                     HULL
                         Guzman.

                                     CARVER
                         Guzman, right. Our government supports 
                         Guzman because he's a moderate. That's 
                         a right-winger who's pro-U.S.
                              (he doesn't like it 
                              either)
                         If Gallegos got busted here, it would 
                         hurt Guzman's political career there. 
                         It's politics, John, not drugs.

                                     HULL
                         Drugs is politics. Politics is 
                         drugs...
                              (sickened)
                         Christ, Gerry, I dealt drugs. I killed 
                         a man. Others died. What did I do 
                         all this for? For nothing.

                                     CARVER
                         I'm going to Washington, John. I'll 
                         bring you with me. We'll have clout, 
                         money...

                                     HULL
                              (outraged)
                         I didn't do this for clout or money. 
                         You said we were gonna do some good.

                                     CARVER
                         We tried.

                                     HULL
                         Trying's for college boys.
                              (his head on fire)
                         If all there is is power and money... 
                         If all there is... then what am I 
                         doing here? 'Cause I can get more 
                         power and money out on the street, I 
                         got more there already, than I'd 
                         ever get kissing your ass in 
                         Washington...

                                     CARVER
                         But you can't do that, John. It's 
                         not you.

                                     HULL
                         Me? There is no me. We took care of 
                         that. First I was a cop pretending 
                         to be a dealer. Now I'm just a dealer 
                         pretending to be a cop. Why not stop 
                         pretending...? Quit the force. Be a 
                         dealer.

                                     CARVER
                         It's not that simple.

                                     HULL
                         My assignment's already terminated. 
                         All I have to do is quit. I hereby 
                         quit.
                              (lifts the flask)
                         My first one.
                              (drinks)
                         Not so bad.

               He slips the flask in his pocket, gets in the car, starts 
               engine.

                                     CARVER
                         Don't blow your cover.

               Hull drives off, leaving Carver alone on the roof.

               INT. BETTY'S APARTMENT - NIGHT

               She lets him in, sees the distress in his face.

                                     MCCUTCHEON
                         What's the matter?

               He shakes his head, drops onto the couch. He takes out the 
               flask, offers it to her. She shakes her head.

                                     HULL
                         Who are you, my mother?

               He laughs, takes a drink. She's surprised, says nothing.

                                     MCCUTCHEON
                         Tell me.

                                     HULL
                         Tell you what?

                                     MCCUTCHEON
                         What you came to say.

                                     HULL
                         What did I come to say?

                                     MCCUTCHEON
                         Then tell me anything. Something 
                         about you. Something real.

                                     HULL
                              (long beat; another 
                              drink)
                         When I was young, I occasionally 
                         stole things.
                              (laughs to himself)
                         My father died when I was ten. Right 
                         in front of me.

               The revelation is so sudden it surprises Hull as much as 
               Betty.

                                     HULL
                              (continuing)
                         Heart attack. He just fell down. He 
                         said, "I love you," then died in my 
                         arms.

                                     MCCUTCHEON
                         Oh, baby...

               She holds him, and he lets himself be held.

                                     MCCUTCHEON
                              (continuing)
                         Tell me what's going on, John?

                                     HULL
                              (doesn't want to talk 
                              about that)
                         You're not doing the stuff anymore, 
                         are you?

               Pulls playfully at her nose.

                                     MCCUTCHEON
                         No. Don't change the subject.

                                     HULL
                         How is that?

                                     MCCUTCHEON
                         It's hard. John...!

                                     HULL
                              (trying to tell without 
                              telling)
                         Things are getting, they're getting 
                         a little... confusing. I had certain 
                         plans, and people haven't come through 
                         exactly as they promised.

                                     MCCUTCHEON
                         What do you expect with those people?

                                     HULL
                              (laughs)
                         It's not just those people. It's... 
                         it's bigger than that. It's of 
                         everybody. Present company excluded.

                                     MCCUTCHEON
                         You've got to stop this, John, you 
                         know that. You gotta get out.

                                     HULL
                         I can't.

                                     MCCUTCHEON
                         Of course, you can.

                                     HULL
                              (almost angry)
                         No! This is what I'm supposed to do.

                                     MCCUTCHEON
                         Supposed to? Who said you're supposed 
                         to?

                                     HULL
                         The whole fuckin' world. You think I 
                         didn't try something else? But 
                         everything funnels you right back 
                         here. Like it's where you had to go 
                         all along.

                                     MCCUTCHEON
                         But you know what you're doing, don't 
                         you, selling this stuff? Doing to 
                         our own.

                                     HULL
                         If I tried to get out now, they'd 
                         kill me.

                                     MCCUTCHEON
                              (tortured)
                         I can't be with somebody's who 
                         involved in drugs.

               He nods. He knows. He's even happy about it. But she won't 
               yield. Finally he gets up and walks back out the door.

               EXT. GOPHER'S BUILDING - 4 A.M.

               The neighborhood is reminiscent of the one where Joe Stevens 
               Sr. was killed. The rap club still pumps MUSIC onto the 4 
               A.M. streets where whores, junkies, children, teenagers with 
               beepers and Nikes, welfare mothers roam as if it were daytime 
               anywhere else. Their eyes, yearning, sullen, vital, hopeless 
               and hoping stare at...

               HULL

               Everyone knows what he is: the Black Man with the Big Car. 
               They don't remember when he was just another hustler making 
               street buys. Now they hate him, revere him, want to be him, 
               not caring what it entails. Every eye follows as...

               He and Elias cross the street toward Gopher's door. Hull's 
               eyes don't go right or left. He's a driven man now.

               INT. GOPHER'S ROOM - NIGHT

               Gopher has just been roused from sleep. A light in his face, 
               Hull and Elias looming over him.

                                     HULL
                         There've got to be more. We have a 
                         million two, we owe Gallegos one 
                         eight.

                                     GOPHER
                         I told you everyone. Everyone who 
                         owed him, everyone he... One eight? 
                         He's lying. Barbosa barely owed him 
                         a million.

               Hull and Elias look at each other.

               INT. BETTY'S STORE - MORNING

               Taft is showing her photocopies of phone bills, bank 
               transactions, invoices. She's obviously upset.

                                     TAFT
                         I got every money transfer, every 
                         phone call, all your laundry tickets.

                                     MCCUTCHEON
                              (miserable)
                         What do you want?

                                     TAFT
                         John Hull.

                                     MCCUTCHEON
                         I can't!

                                     TAFT
                         Or you'll go away 'til you're a dried 
                         up old woman, and when you come out, 
                         ain't nobody gonna want you.

               She covers her face.

               EXT. EAST L.A. STREET/INT. CAR - DAY

               Elias driving a car we haven't seen before and snickering to 
               himself at some private joke.

                                     HULL
                         What are you laughing at?

               Elias shakes his head: nothing. He laughs. They pull into 
               the lot beside a movie theater.

               INT. THEATER - DAY

               A Technicolor Spanish melodrama is winding to its lurid end. 
               A door in back opens, and a burst of daylight reveals Hull 
               and Elias being brought in by a guard and met by Molto.

               Molto and the guard frisk them, take their guns and money 
               satchels, make them wait a moment until...

               The movie ends.

               The house lights come on revealing Ramon Gallegos as the 
               only spectator in the theater. He beckons. Molto and the 
               guard bring Hull and Elias down the aisle to him.

               Gallegos looking in the satchels. A tense moment.

                                     HULL
                         It isn't one eight.
                              (off Gallegos)
                         It's a million one. That's all Barbosa 
                         owed, it's all we're paying.

               Gallegos is stern for a moment, then laughs.

                                     GALLEGOS
                         Big brass balls. Collecting money 
                         makes you strong.

               Everybody relaxes. Gallegos scribbles something on a piece 
               of paper, hands it to the guard who feeds it into a fax 
               machine.

                                     ELIAS
                         What's that?

                                     GALLEGOS
                         I'm telling our suppliers they got 
                         paid. They'll be very happy. I'm 
                         happy.

                                     ELIAS
                         And we're happy. Everybody's happy. 
                         It's a happy world.

               Elias seems a bit mad, but no one minds. He and Hull are 
               ready to go. He gestures to Molto, wants his gun back.

                                     GALLEGOS
                         So, how can I express my gratitude 
                         for a job well done?

                                     ELIAS
                         We want Barbosa's business.

               Gallegos gestures to Molto to give them the guns.

                                     GALLEGOS
                         Done. Of course.

                                     ELIAS
                         And, also, your business. All this. 
                         Your money, your dope, everything.

               Hull looks at Elias; what's going on?

                                     GALLEGOS
                              (smiles)
                         You're tougher than I thought, but 
                         not that tough.

                                     ELIAS
                         How tough is enough?

               He brings up the gun and SHOOTS Gallegos in the head.

               Hull and the guards are frozen. Then everyone goes for a 
               gun. Elias SHOOTS the guard. Hull has his gun to Molto's 
               head and screams at Elias:

                                     HULL
                         No!

               Meaning don't shoot him. But Elias has no intention of doing 
               so.

                                     ELIAS
                              (breathless)
                         Thank you, John. I couldn't have 
                         done that without you.

                                     HULL
                              (barely able to speak)
                         Jesus Christ...

               He can't believe it: the guy he's been after the whole time 
               is dead on the floor.

                                     ELIAS
                         You taught me to take my work 
                         seriously.

                                     HULL
                         What's going on here, David?

                                     ELIAS
                         We're taking over.

                                     HULL
                         You're doing too much stuff.

                                     ELIAS
                         No, I'm very clear. I'm very, very 
                         clear.
                              (to Molto)
                         Ahora, usted nos assistamos. Enteindo?

               Molto nods.

               EXT. THEATER PARKING LOT/INT. CAR - DAY

               Hull, Elias and Molto getting into their car. Molto is 
               recalcitrant. Elias pistol whips him. Hull stops him.

               EXT. SAN FERNANDO VALLEY/INT. CAR - DAY

               The car passes through a development of suburban homes. They 
               enter a driveway. Two boys play in the yard.

                                     ELIAS
                              (to Molto)
                         Donde esta?

               Molto is silent. Elias FIRES a bullet right between his feet. 
               Molto jumps. The boys turn. Hull grabs the gun away. We feel 
               the toll Elias's madness is taking on him.

                                     HULL
                         What the fuck's the matter with you?

                                     ELIAS
                         It works, John. It works.

               And, indeed, Molto is pointing to a Winnebago parked at the 
               rear of the property.

               EXT. REAR OF PROPERTY - DAY

               Winnebago. With a tire iron, Hull snaps off the padlock that 
               holds the rear door closed. He opens the door. Money gushes 
               out. He slams it closed.

                                     HULL
                         Jesus...

               He, Elias and Molto are on hands and knees scooping it up.

               SAME - LATER

               Molto tied to a tree. Elias is giving him instructions while, 
               strangely, removing Molto's shoes and socks.

                                     ELIAS
                              (to Molto)
                         Disce a Senor Guzman que...
                              (his Spanish isn't 
                              good enough)
                         ...that we have his money, and we're 
                         willing to talk as soon as he comes 
                         to town. We'll know how to reach 
                         him. Okay?

               Molto just glares at him. Elias smiles, takes the shoes and 
               socks and all the contents of Molto's into the Winnebago, 
               and he and Hull drive away, leaving the car behind.

               EXT./INT. A PARKING GARAGE/INT. WINNEBAGO - EVENING

               The Winnebago enters the garage, Elias greeting the attendant, 
               "Hey, Frank." Frank waves him in.

               The garage is filled with various RVs. Hull pulls the 
               Winnebago into an empty spot beside Elias's car and gets 
               out. Elias remains in the cabin making calculations.

                                     ELIAS
                         Approximating the cubic capacity and 
                         depending on the denominations of 
                         the bills, it's somewhere between 
                         fifty million and two hundred million 
                         dollars. Right back there.

               As he does, Hull checks his gun, walks around behind the 
               vehicle and prepares to shoot Elias in the back of the head 
               through the open window. Elias finishes his money report, 
               and sits there as if unaware of Hull, but:

                                     ELIAS
                              (continuing; not 
                              turning around)
                         Think I'm crazy?

                                     HULL
                         Yes.
                              (blowing up, gun still 
                              on him)
                         I can't believe you got us into this. 
                         All of fucking Latin America is going 
                         to be after our asses, including 
                         Renaldo Guzman who's friends with 
                         fucking George Bush.

                                     ELIAS
                         I know they're coming after us. I 
                         want them to. We'll give them the 
                         money, but we'll make a deal for 
                         ourselves. We'll get what we need 
                         for the synthetic drugs. I've thought 
                         it all out. I've been thinking it 
                         out for years.

               Hull uncocks the gun, rubs it against his burning face. Elias 
               turns around, embraces him.

                                     ELIAS
                              (continuing)
                         We're going to have everything. Don't 
                         you want everything, John?

                                     HULL
                         They're going to get your family, 
                         David. They'll kill your wife and 
                         daughter.

                                     ELIAS
                              (serene)
                         Nancy and Miranda left the country 
                         two days ago.

                                     HULL
                         You knew about this then?

               Elias smiles.

                                     HULL
                              (continuing)
                         What about Betty?

               EXT. BETTY'S JEWELRY SHOP - EVENING

               A car SQUEALS to a stop. Molto and three thugs smash through 
               the glass door. They disappear into the store where things 
               can be heard BREAKING. They emerge a moment later, jump into 
               the car.

               EXT. SYNAGOGUE - EVENING

               Hull's car races up. He jumps out, dashes toward the building.

               INT. SYNAGOGUE SOCIAL HALL - EVENING

               Forty PEOPLE on folding chairs. Hull enters on a dead run. 
               He stops short when he sees:

               BETTY

               at the front. He signals to her, but she's already saying:

                                     MCCUTCHEON
                         Hi, my name is Betty.

                                     EVERYONE IN THE ROOM
                         Hi, Betty!

                                     MCCUTCHEON
                         My name is Betty, I'm a drug addict. 
                         And I've been clean for nineteen 
                         days.

               The room bursts into APPLAUSE. She sees Hull at the back; he 
               signals to her, but she goes on.

                                     MCCUTCHEON
                              (continuing)
                         I've been using drugs and selling 
                         them, and I've wanted to stop for a 
                         long time, and the only way I did 
                         was because I met a man I loved and 
                         who loved me. I know that's not what 
                         I'm supposed to say. I'm supposed to 
                         say there was a higher power, and 
                         maybe there was, behind it all, but 
                         this man is strong and his love made 
                         me strong enough that I could start, 
                         or at least think about a life that 
                         didn't have drugs in it...

               She's looking right at Hull as she speaks. He's torn between 
               the danger he knows she's in and his emotion at what she's 
               saying.

               EXT. SYNAGOGUE - EVENING

               Hull hurrying Betty toward his car. She's protesting.

                                     MCCUTCHEON
                         I've got to get clothes.

                                     HULL
                         You can't go back.

               INT. HULL'S CONDO - EVENING

               Molto and men pouring through it. In frustration, Molto 
               smashes the table Hull had fussed over when Elias put his 
               feet up.

               EXT. MOTEL COURTYARD - NIGHT

               Hull and Betty hurry toward his room carrying shopping bags, 
               a newly bought suitcase. They see...

               COPS

               They freeze, turn, ready to bolt. But more cops behind them. 
               A panic, yet no one's coming after them. They walk on. The 
               cops are going into and coming out of Belinda's room.

               INT. BELINDA'S ROOM - NIGHT

               The fat Blonde Woman is talking to a policewoman. James sits 
               on the bed staring at...

               BELINDA

               who lies dead on a floor littered with crack vials. Hull 
               picks up a vial, holds it up to the Blonde Woman with a 
               question.

                                     BLONDE WOMAN
                              (nodding)
                         She got a fever and just burned up. 
                         She just burned up all of a sudden. 
                         It must have been bad stuff.

                                     MCCUTCHEON
                              (indicating James)
                         He shouldn't be here.

                                     BLONDE WOMAN
                              (takes his hand)
                         Come on, James, we'll go get a 
                         burrito.

               The boy allows himself to be led out. Betty looks at Hull 
               who's in a private hell.

               EXT. COURTYARD - NIGHT

               Hull and Betty are about to enter Hull's room. The door is 
               ajar.

               INT. HULL'S ROOM - NIGHT

               Taft stands at the dresser. He's found Hull's collection of 
               memorabilia and is looking at the photo of his children.

                                     TAFT
                         Cute kids...

                                     HULL
                              (angry at the invasion)
                         Give me that.

               He snatches away the photo, but not before Betty sees it. 
               She reaches out her hand. He reluctantly turns it over to 
               her.

                                     TAFT
                         Tell me something, who the fuck are 
                         you?

               Hull doesn't answer, collects the rest of his things, 
               including the bloody money, stuffs it back in the envelope.

                                     TAFT
                              (continuing)
                         'Cause I don't think you're quite 
                         the asshole you're trying to be.

                                     HULL
                         Look, Mr. Taft, that's your name, 
                         right? Leave me alone. I got things 
                         on my mind.

                                     TAFT
                         I'd think you would. You better have 
                         your goddamn life on your mind, or 
                         it's gonna get away from you. It's 
                         gonna burn up like that poor woman 
                         across the way. Like all of you's 
                         gonna burn...

                                     HULL
                         And what do you do, Mr. Taft, except 
                         chase bad guys up and down the street 
                         with your dirty partner, never 
                         catching anybody important?

                                     TAFT
                         I do what I can. Do you do what you 
                         can?
                              (Hull says nothing)
                         Maybe my partner was dirty. Maybe 
                         the chief's dirty. And the mayor. 
                         And the President. Maybe God Himself's 
                         taking something on the side. That's 
                         their problem. But I'll bust 'em if 
                         I can.

                                     HULL
                              (without force)
                         Get out of my room.

                                     TAFT
                         Don't deny who you are.

               He leaves. Hull turns to Betty who is still holding the photo 
               of his children. He gently takes it, looks at it, seems to 
               draw both succor and pain from it.

               He gets out Carver's flask and tries to drink, but it's empty.

                                     HULL
                         They're my children. They live in 
                         Cleveland with their mother. I'm 
                         divorced from her. I haven't seen 
                         them in... some time. I want to, but 
                         I haven't been able to arrange it.

                                     MCCUTCHEON
                         How much else don't I know about 
                         you?

                                     HULL
                              (trying to make a 
                              joke)
                         Everything else... Everything else 
                         is... I don't know.

                                     MCCUTCHEON
                         Taft has all the evidence about my 
                         laundering.

               Hull's upset.

                                     MCCUTCHEON
                         He's going to put me in jail for a 
                         long time unless I give you up.

                                     HULL
                         Do it.

                                     MCCUTCHEON
                         I can't. So, I've got to get away. 
                         Far away. But I need money.

                                     HULL
                              (laughs)
                         Money? I got money...

               He empties his pockets of all that gushed out of the 
               Winnebago, empties a satchel as well until it fills the room 
               like snow.

               EXT. MOTEL - NIGHT

               Hull putting Betty into an airport limousine.

                                     HULL
                              (to the driver)
                         International terminal.
                              (to Betty)
                         I'll meet you there in a week.

               She kisses him. He's about to close the door. She stops it.

                                     MCCUTCHEON
                         You know the first time, when I saw 
                         you in the bar...?

                                     HULL
                              (smiles at the memory)
                         You wouldn't even look at me.

                                     MCCUTCHEON
                         'Cause I knew what you were thinking. 
                         You were judging me.

                                     HULL
                         No, I wasn't, I was...

                                     MCCUTCHEON
                         You were. Your eyes were like an 
                         angel in my heart telling me I should 
                         be good, and I didn't want to hear 
                         it.

               This news startles Hull, yet, strangely, he senses its truth, 
               and the sweetness is more than he can bear.

                                     MCCUTCHEON
                              (continuing)
                         That's you, too. Maybe this is you, 
                         I don't know, but I know that's you.

               She closes the door. The car pulls away.

               In an unmarked car up the street, Taft picks up the radio.

               EXT. A LATIN AMERICAN CONSULATE - DAY

               A limousine pulls into the gate and disgorges RENALDO GUZMAN, 
               55, and his wife, 25. They're shown into the consulate.

               The limousine pulls out onto the street and parks. Gopher 
               appears, knocks on the driver's window. It comes down. They 
               chat briefly in Spanish. Gopher opens up a cellular phone.

               INT. A HOTEL ROOM - SANTA MONICA - DAY

               Overlooking the ocean. Hull pacing nervously, Elias relaxed, 
               reading the paper.

                                     HULL
                         What if we forget all this? Take ten 
                         million each and disappear. Leave 
                         the country. New identities, new 
                         lives...

                                     ELIAS
                         What's the matter, John? Having 
                         doubts?

                                     HULL
                         Yeah.

               A phone RINGS. Elias picks up his own cellular.

                                     ELIAS
                         Yes... Where?... No! No way... We 
                         pick the time and place... Otherwise 
                         no meet...
                              (looks to Hull who 
                              nods his agreement)
                         Got a pencil?

               EXT. CONSULATE - LIMO - DAY

               Gopher hands a piece of paper to the limo driver. He walks 
               away...

               AROUND THE CORNER

               As he's about to get into a car, Taft grabs him. Gopher is 
               surprised and not pleased.

               EXT. PARKING GARAGE - NIGHT

               Where Hull and Elias left the Winnebago. Guzman's limo 
               approaches. Frank, the attendant, waves it on.

               INT. GARAGE - NIGHT

               The limo climbs the ramps until it comes to Elias's car, 
               parked where the Winnebago was; the Winnie is nowhere in 
               sight. The limo pulls alongside.

               Hull and Elias get out. Molto gets out of the limo. Then 
               Renaldo Guzman.

                                     ELIAS
                         We have a proposal to make. We regret 
                         what happened to your nephew...

                                     GUZMAN
                         Say what you have to say.

                                     ELIAS
                         We all know that your cousin's 
                         business is coming to an end. Costs 
                         have climbed while profits and the 
                         market --

               Guzman waves: get to the point.

                                     ELIAS
                              (continuing)
                         We have developed a new product: 
                         simpler, cheaper to manufacture, 
                         superior quality and completely 
                         synthetic. Therefore, no growing, no 
                         refining, no peasants, no importing, 
                         no customs agents... Here's a detailed 
                         prospectus with anticipated cash 
                         flow and so forth.

               He hands a copy to Guzman and the lawyer.

                                     GUZMAN
                              (to Molto, teasing 
                              Elias)
                         The racist Americans just want to 
                         cut us poor Hispanics out of the 
                         market.

                                     ELIAS
                         There are no Americans anymore, Mr. 
                         Guzman, you know that. No Hispanics, 
                         no Japanese, no blacks, no whites, 
                         no anything. There are only rich 
                         people and poor people. We're rich, 
                         so we're on the same side.

               EXT. GARAGE - NIGHT

               Taft with Gopher in his car.

                                     TAFT
                         Do they have money in there?

                                     GOPHER
                         I don't know.

                                     TAFT
                         They wouldn't meet here otherwise.

               Gopher shrugs; a decision: Taft picks up his radio.

                                     TAFT
                              (continuing)
                         Okay, everybody, here's the play...

               INT. GARAGE - NIGHT

                                     ELIAS
                         We're prepared to give you 80% of 
                         the money. The remainder you invest 
                         in our business with proceeds paid 
                         out according to the figures there.

               He indicates the prospectus that Guzman has been looking 
               through.

                                     GUZMAN
                         This looks interesting. I'd have to 
                         confirm everything, of course. Do 
                         you have a sample of the product?

               Elias produces one. Guzman gestures to Molto. Molto samples 
               it. Molto's eyes widen.

                                     MOLTO
                         Buy it!

                                     GUZMAN
                         Where is our money?

               Elias hands him a key, points to a different Winnebago. Molto 
               takes the key, unlocks the back: money. He signals okay to 
               Guzman.

               Suddenly: SIRENS. Police cars wail into the garage. The THWACK-
               THWACK and sweeping light of a helicopter descend toward the 
               roof (though we never see the copter).

                                     GUZMAN
                              (continuing; anger)
                         You set this up.

                                     HULL
                         They're after us, not you.

               Everybody scatters. The garage is a labyrinth of cement 
               stairwells, ramps, hundreds of RVs to hide between, under 
               and so forth... Lots of NOISE, lights, but mostly we see 
               Hull and Elias dodging here, avoiding the action.

               INT. ANOTHER PART OF THE GARAGE - NIGHT

               Molto caught between the lights. He draws his gun. GUNFIRE. 
               He's cut down.

                                     TAFT
                              (screaming)
                         Where are the rest of them?

               EXT. PARKING GARAGE - NIGHT

               Cars with rotating dome lights, but not many cops.

               Hull and Elias emerge from a shadowy doorway and make their 
               way at a casual pace beyond the perimeter of police cars, 
               quickly mingling with other spectators. They continue down...

               EXT. A QUIET SIDE STREET - NIGHT

               Strolling now. Elias elated, uncontained joy.

                                     ELIAS
                         We did it. Twenty million. Twenty 
                         fucking million. We're going to have 
                         synthetics. We're gonna be rich. 
                         We're gonna...

               Hull stops walking and just stands there.

                                     ELIAS
                              (continuing)
                         What's the matter, John? Be happy. 
                         Your whole life has just been solved.

                                     VOICE
                              (behind them)
                         Stop! Police!

               In one motion, Elias draws his gun, turns and FIRES.

               The figure goes down. Elias can't believe he hit him.

               Hull starts toward the figure.

                                     ELIAS
                              (heading the other 
                              way)
                         John, where are you going?

               Taft -- on the ground.

                                     HULL
                         Oh, Jesus, no...

               He drops to his knees. Blood oozes from Taft's chest.

                                     ELIAS
                         John, what the hell are you doing? 
                         Let's get out of here.

               Hull tries to hold closed the wound. The posture duplicates 
               Hull with his dying father. He feels for a pulse. For breath.

                                     HULL
                              (distraught)
                         He's dying.

                                     ELIAS
                         Let him die. Let him die twice. Come 
                         one.

               He pulls at Hull who won't go. Hull does mouth-to-mouth. 
               Taft opens his eyes, looks up at him.

                                     HULL
                         [Says to Taft whatever a CPR-trained 
                         policeman would say in this 
                         situation.]
                              (to Elias)
                         Get help.

                                     ELIAS
                         Are you kidding me?

                                     TAFT
                              (to Hull, getting it)
                         Oh, man, you're a cop. You're a cop, 
                         aren't you?

                                     HULL
                              (with difficulty, as 
                              if against his will)
                         Yeah, I'm a cop. I'm a fucking cop...

                                     ELIAS
                              (laughs)
                         Oh, really? Where's you badge?

                                     HULL
                         I don't have one. I'm undercover. 
                         Get help, David.

                                     ELIAS
                         John, that's a cop. He tried to kill 
                         you.

                                     HULL
                         He didn't know.

                                     ELIAS
                         Oh, he didn't know. I don't know. 
                         Maybe you don't know. Maybe you think 
                         you're a cop because... because...

                                     HULL
                         Drop the gun, put your hands against 
                         the car. Spread your legs... Police!

               Taft grunts once, stiffens.

                                     HULL
                              (continuing)
                         My God! Please...

               The pulse is gone. Hull begins to perform CPR.

                                     ELIAS
                         Okay, let's say you're a cop. Be a 
                         cop.

               Hull keeps doing CPR.

                                     ELIAS
                              (continuing)
                         We've still got the money. We put it 
                         into Randy's chemistry set. In five 
                         years we're worth five hundred million 
                         each, minimum. You'll be one of the 
                         richest black men in America. Richer 
                         than Cosby. Who gives a shit how you 
                         got it? You think the white ones 
                         were honest?

               Hull keeps working on Taft.

                                     ELIAS
                              (continuing)
                         Is this asshole all that stands 
                         between you and greatness? Let me do 
                         you a favor.

               He puts a gun to Taft's head and FIRES. In a reflex, Hull 
               draws his own gun, SHOOTS Elias in the stomach. Stunned, he 
               wobbles backward a few steps. Sits on the street.

                                     ELIAS
                              (continuing)
                         Gee, John, that's kind of an extreme 
                         reaction.

               Hull is stunned he did it. And this finally attracts the 
               police who see a black man with a gun who just shot a white 
               man.

               Hull goes to Elias who's dead. A POLICEMAN pulls him off, 
               beating him with a gun.

                                     POLICEMAN
                         Fucking nigger...

               INT. LOS ANGELES COUNTY JAIL - DAY

               Hull, bandaged, wearing prison blues, walking with Carver.

                                     HULL
                         What about Guzman?

                                     CARVER
                         He vanished, thank God, or we'd both 
                         be in deep doo-doo. At least you got 
                         Gallegos.

                                     HULL
                         Elias did. And everything goes on as 
                         before.

                                     CARVER
                         That's the drug game. Plus a change... 
                         I want you to come back to work for 
                         me. You'll beat all charges on a 
                         technicality and go back to who you 
                         were.

                                     HULL
                         Who was I, Ger?

                                     CARVER
                         Does anyone really know?

                                     HULL
                         I have other things to do.

                                     CARVER
                         Like travel? Tangiers, maybe?

               Hull looks at him; how did he know?

                                     CARVER
                              (continuing)
                         I'm God, remember?

               He beckons him. He walks him over to a cell. Through a one-
               way window they see:

               BETTY

               alone in the cell, unaware she's being watched.

                                     CARVER
                         Go back to work, she walks out of 
                         here. Otherwise, she's up on multiple 
                         counts, and I'll see to it the judge 
                         runs them consecutively.

               Hull just looks at him. Carver shrugs apologetically.

               INT. ANOTHER ROOM

               Absolutely white. Not a window, not a stick of furniture. 
               The only deviation is Hull in prison blues.

               The door opens, Betty comes in wearing prison yellows. She 
               sits on a nearly invisible chair. They know they're being 
               watched.

                                     MCCUTCHEON
                         They want me to testify against you. 
                         I said I wouldn't.

                                     HULL
                         You have to. It's all set up. That's 
                         how you're getting off.

               She shakes her head in cynical understanding. How difficult 
               it is to get back to an honorable life.

               He takes her hand.

                                     HULL
                              (continuing; with 
                              difficulty)
                         My father didn't have a heart attack.

               She looks at him.

                                     HULL
                              (continuing)
                         He was shot robbing a liquor store. 
                         Trying to rob it. I lied about that.

                                     MCCUTCHEON
                         Baby, why are you telling me this?

                                     HULL
                         I had to start somewhere... There're 
                         other things you don't know...

               AN IRIS SHOT - HULL AND BETTY

               Silent. Kissing. Beginning to make love. Hull extracts 
               himself, gives the finger to the POV and stuffs a bit of 
               tissue in the iris, blocking our view.

               EXT. ROOM - DAY

               Carver takes his eye from the now obscured peephole.

               EXT. A CEMETERY - DAY

               A funeral. Taft's wife and children (from the wallet photo) 
               leave the graveside with the rest of the funeral party.

               When everyone is gone, Hull approaches the grave. From his 
               pocket, he removes the four blood-soaked bills his father 
               gave him, and wedges these among the stems of flowers that 
               already cover the plot.

               He's silent a moment, then he gets up. He joins Carver who's 
               standing with Hull's children. The kids each take his hand, 
               they walk together.

                                     CARVER
                         Betty walked out of court free this 
                         morning. That's my side of the deal.

                                     HULL
                              (to the children)
                         You two run on ahead.

               They do. Hull watches them go.

                                     CARVER
                         Her probation gets revoked the minute 
                         you fuck up. I want you to stay away 
                         from her altogether.

                                     HULL
                         You know the difference between a 
                         black man and a nigger?

               Carver smiles, shakes his head. He likes a good joke. Hull 
               punches him so hard in the stomach that he goes to his knees.

                                     HULL
                              (continuing)
                         The nigger's the one who'd even think 
                         about doing what you tell him.

               He walks away. Still on his knees, doubled over, Carver 
               whispers after him:

                                     CARVER
                         Don't blow your cover.

               FADE OUT.

                                         THE END