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Heist Movie Script

Writer(s) : David Mamet

Genres : Crime, Drama, Thriller

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                                                    March, 1999




                               GENE HACKMAN



                                   HEIST



                              A SCREENPLAY BY
                                DAVID MAMET



                           COPYRIGHT � 1998, 1999
                                   BY DAVID MAMET




ROSENSTONE/WENDER AGENCY

3 E. 48th St.   N.Y.C.

FADE IN:

EXT RAILROAD OVERPASS DAY.

A LOW FLYING PLANE, MAKING ITS FINAL APPROACH.

ANGLE CU.

A WELL-BUILT MAN IN HIS FORTIES, JOE MOORE, IN HORN RIMMED GLASSES
AND MOUSTACHE, LOOKS UP, AT THE PLANE.

CAMERA TAKES HIM TO AN OLD STONE OVERPASS OVER A RAILROAD TRACK.

HE CARRIES A FOLDED MAP.     HE LOOKS AROUND, AS IF LOST.

ANGLE.

MOORE, STANDING AT THE SIDE OF A TWO LANE SEMI-SUBURBAN ROAD.      HE
LOOKS DOWN AT HIS MAP.

SOUND OF A TRAIN APPROACHING.

ANGLE

ON MOORE, OVER HIM AS A TRAIN STREAMS BY BENEATH THE OVERPASS.

ANGLE.

ON MOORE, AS HE NODS, AND STARTS BACK TOWARD A PARKED STATIONWAGON.

ANGLE INS.

WE SEE    THE FOLDED MAP CONTAINS A YELLOW LEGAL PAD. MOORE GLANCES
AT HIS    WATCH, AND MAKES A NOTATION IN THE PAD. HE FLIPS BACK
PAGES    ON THE PAD TO SHOW IT IS FULL OF NOTATIONS. WE SEE A SKETCH
OF THE    RAILWAY OVERPASS.

ANGLE

ON MOORE, AS HE STARTS TO GET INTO THE STATIONWAGON. HE LOOKS
AROUND ONE LAST TIME, SHRUGS, AS IF TO SAY "SO BE IT," AND GETS
INTO THE CAR.

ANGLE INT THE CAR.

MOORE, SITTING. A POLICE CAR, SIREN AND LIGHTS ON.      ROARS PAST
OUTSIDE. MOORE NODS, LOOKS AT HIS WATCH.

HE STARTS THE CAR. PUTS THE PAD DOWN NEXT TO HIM, IS ABOUT TO
DRIVE OFF, WHEN HE GETS ANOTHER THOUGHT, AND OPENS THE PAD AGAIN.

MOORE LOOKS AROUND.    SIGHS, SHRUGS, AND PUTS THE CAR IN GEAR.

                                                    DISSOLVE TO:

EXT. COMMERCIAL STREET. A METAL CANE ON THE SIDEWALK, A PAIR OF
MAN'S LEGS. THE SUNLIGHT GLINTS OFF THE CANE.

PAN UP, PAST THE CANE, TO REVEAL.

                                                                 2.


EXT. LIMOUSINE. DAY.

A BEAUTIFUL COMMERCIAL STREET. FULL OF BOUTIQUES, POSH CARS, AND
FOLKS STROLLING DOWN THE STREET. TWO MEN, JOE MOORE, AND BILLY
BLANE, A WELL-BUILT MAN OF SIMILAR AGE, BOTH IN FINE BUSINESS SUITS,
BOTH WEAR LEATHER GLOVES, STROLL DOWN THE STREET. MOORE WALKS WITH
THE AID OF A HEAVY METAL CANE.

                        MOORE
                (AS HE LOOKS AROUND)
           What makes the world go around?

                        BLANE
           ...you tell me.

                         MOORE
           Gold.

                        BLANE
           Some people say Love.

                         MOORE
                (NODS)
           It is love.   It is Love of Gold.

                        BLANE
           ...easy to get the gold, hard to get it home.

                        MOORE
           ...waal, so it takes a little bit of
           thought...

ANGLE CU

ON MOORE, AS HE LOOKS ACROSS THE STREET.

ANGLE HIS POV.

A POSH JEWELRY STORE. A UNIFORMED GUARD EXITS THE STORE, CLOSING
THE METAL GRATE BEHIND HIM.

ANGLE. ON BLANE AND MOORE. AT THEIR     LIMOUSINE. BLANE FEEDS THE
PARKING METER. AND HELPS MOORE INTO    THE BACKSEAT. OVER THEM, IN
THE B.G., WE SEE THE GUARD DISAPPEAR   AROUND A CORNER. MOORE
LOOKS DOWN AT HIS WATCH AS HE ENTERS   THE CAR.

ANGLE

ON BLANE, AS HE GETS INTO THE DRIVER'S SEAT.

BLANE LOOKS OUT OF THE WINDOW.

INT FAST-FOOD COFFEESHOP DAY.

ANGLE, INSERT.

A TRAY WITH FIVE ESPRESSO SHOTGLASSES ON IT.

                                                               3.


A WOMAN'S HAND FILLING THE LAST OF THE FIVE.

ANGLE

THE UNIFORMED GUARD, AT THE COUNTER, CHATTING WITH ANOTHER SERVER.

                         CASHIER
                 (TO GUARD)
            ...what's yours?

THE WOMAN POURING THE DRINKS RUBS HER TEMPLES, AND SIGHS.

                         WOMAN
            ...Five Cappuccino...

                         CASHIER
            ...that ought to keep you up...

THE GUARD AND THE CASHIER LAUGH.

                         CASHIER (cont'd)
            ...eleven ninety-two...

ANGLE

ON THE WOMAN, A SMALL 'VISINE-LIKE' BOTTLE FROM HER POCKET, TIPS
HER HEAD BACK, AND MOVES AS IF TO PUT THE DROPS IN HER EYES.

ANGLE XCU

WE SEE THAT THE CAP IS STILL ON THE BOTTLE.

ANGLE.

SHE LOWERS THE BOTTLE AND TAKES OFF THE CAP, AND PUTS SEVERAL DROPS
INTO EACH OF THE DRINKS BEFORE HER.

ANGLE

ON THE WOMAN AS SHE PASSES THE TRAY FULL OF DRINKS OVER THE COUNTER
TO THE GUARD.

                         WOMAN
            ...you have a nice day.

SHE LOOKS UP AT THE WALLCLOCK, AND ADDRESSES HERSELF TO THE CASHIER.

                         WOMAN (cont'd)
            I've got a break...

THE CASHIER NODS.

CAMERA TAKES THE WOMAN BACK INTO THE EMPLOYEE'S AREA, WHERE SHE
TAKES DOWN A LARGE SHOULDERBAG, AND FISHES A PACK OF CIGARETTES AND
A LIGHTER OUT OF IT. SHE BEGINS TO LIGHT A CIGARETTE.

THE CASHIER TURNS BACK TO LOOK AT THE WOMAN.

                                                                  4.


                      CASHIER
         ...Din't they tell you can't smoke in here...

THE WOMAN NODS, AS IF TO SAY, 'I FORGOT. I'M SORRY.' SHE TAKES
THE BAG, PUTS IT OVER HER SHOULDER, AND STARTS OUT OF THE
COFFEESHOP.

ANGLE, EXT THE COFFEESHOP.

A SMALL PARKING AREA, A DUMPSTER, THE WOMAN COMES OUT, SMOKING THE
CIGARETTE. CAMERA HINGES HER AROUND THE CORNER, INTO A SMALL
ALLEYWAY. IN THE ALLEYWAY SHE TAKES A THIN GRAY RAINCOAT OUT OF THE
BAG, AND PUTS IT ON. IT COVERS HER STORE UNIFORM. SHE TAKES A
PIN FROM HER HAIR AND LETS HER HAIR FALL. SHE TAKES A LARGE PAIR
OF SUNGLASSES FROM THE GLASS AND PUTS THEM ON.

ANGLE, INT THE LIMOUSINE.

BLANE, IN THE DRIVER'S SEAT, JOE MOORE IN BACK.

ANGLE ON MOORE.   HOLDING A SMALL YELLOW SHEET.

ANGLE INS:   IT IS THE DRAWING OF THE RAILROAD OVERPASS.

ANGLE

ON BLANE MAKING A CALCULATION ON THE SHEET.

BLANE SEES SOMETHING OUT OF THE WINDSHIELD, AND INDICATES IT TO
JOE MOORE, WHO NODS AND PUTS AWAY THE YELLOW PAD.

                      BLANE
         Showtime, Circus Time.

ANGLE, THEIR POV.

THE GUARD, HOLDING THE TRAY OF COFFEES, ENTERING THE
JEWELRYSTORE.

ANGLE

ON THE GUARD. AS HE IS BUZZED THROUGH A DOUBLE GRATE.      CAMERA PANS
TO REVEAL THE WOMAN COMING OUT OF THE ALLEYWAY.

CAMERA TAKES HER ACROSS THE STREET. WHERE SHE PASSES THE LIMOUSINE,
AS SHE DOES SHE OPENS HER HAND, SHOWING HER OPEN HAND TO THE
LIMOUSINE.

ANGLE INT THE LIMOUSINE.

                      BLANE
         ...I see five.

                      MOORE
         Five is correct.
              (HE LOOKS DOWN AT HIS WATCH.)

                                                                   5.


ANGLE EXT THE JEWELRY STORE.

WE SEE THE GUARD INSIDE, DRINKING COFFEE WITH THE SALESPEOPLE, A
GUARD ENTERS FROM THE REAR OF THE STORE, AND TAKES A COFFEE.

WE SEE IN THE REFLECTION, THE WOMAN IN THE SUNGLASSES AND
RAINCOAT LOOKING IN THE WINDOW OF THE JEWELRY STORE, SHE ADJUSTS
HER HAIR, AND TURNS.

ANGLE INT THE LIMOUSINE, WHICH IS PULLING UP TO THE CURB.

WE SEE THE WOMAN TURNING AWAY FROM THE JEWELRY STORE, AND NODDING
AT THE LIMOUSINE.

ON THE WOMAN, AS SHE CONTINUES DOWN THE STREET. SHE TAKES A
LARGE PAPERBAG FROM HER SHOULDERBAG, AND DUMPS IT IN A TRASH
RECEPTACLE.

IN THE LIMOUSINE BLANE STARTS TO OPEN THE DOOR.

                       MOORE
               (LOOKING AT HIS WATCH)
          No wait.
               (PAUSE)
          Alright.

ANGLE EXT THE LIMO.

BLANE GETS OUT OF THE DRIVER'S SEAT, AND HURRIES AROUND TO OPEN
THE REAR DOOR.

MOORE IS HELPED OUT OF THE REAR SEAT, AND HANDED A METAL CANE BY
BLANE.

THEY START ACROSS THE SIDEWALK TOWARD THE DOUBLE GRATE OF THE
JEWELRYSHOP. BLANE HOLDING MOORE'S ELBOW.

AS THEY REACH THE FRONTDOOR. A HEAVYSET MAN ALSO WEARING LEATHER
GLOVES, CARRYING SEVERAL BEAUTIFULLY WRAPPED PINK PACKAGES
APPROACHES THE DOOR.

THERE IS THE SOUND OF AN EXPLOSION.     THE THREE MEN TURN THEIR
HEADS.

ANGLE.   AT THE DOOR TO THE SHOP.

ANGLE THEIR POV, DOWN THE STREET, THERE IS A FIRE RAGING AND A VAST
COLUMN OF SMOKE POURING FROM THE TRASH RECEPTACLE.

ANGLE

AT THE DOOR TO THE STORE. THE THREE MEN, MOORE AND THE HEAVYSET
MAN, PINCUS, PUT, STOCKINGMASKS OVER THEIR HEADS.

MOORE TAKES A SMALL ELECTRONIC LOOKING CONTRAPTION FROM HIS
POCKET, AND HOLDS IT UP TO THE GRATING, THE GRATING POPS OPEN.

BLANE NODS AT THE TWO OTHER MEN WHO START INTO THE STORE.

                                                                  6.


THEY TAKE OFF THEIR LEATHER GLOVES REVEALING SURGICAL GLOVES
UNDERNEATH.

ANGLE, ON PINCUS, AS HE RESTRAINS MOORE.   BOTH LOOK INSIDE THE
STORE.

ANGLE, THEIR POV.

ON THE COUNTER, ONE CAPPED, UNOPENED COFFEE CONTAINER, AND A YOUNG
WOMAN, SALESGIRL, STANDING BESIDE THE COUNTER, TERRIFIED.

ANGLE

ON THE TWO MEN. BEAT. PINCUS REACHES FOR A GUN. MOORE SHAKES HIS
HEAD NO. THEN MOORE TAKES OFF HIS MASK, AND MOTIONS TO PINCUS
WHO HESITATES FOR A SECOND, THEN HANDS A SMAL OBJECT TO MOORE.

MOORE PROCEEDS INTO THE STORE.

CAMERA FOLLOWS HIM IN, TO SHOW A GUARD SLUMPED UNCONSCIOUS ON THE
FLOOR.

                      MOORE (cont'd)
         ...what is it, I'm a doctor...
              (HE KNEELS AT THE HEAD OF THE
               FALLEN MAN)
         Come here, hold his head up. Now...

THE YOUNG WOMAN COMES OVER, MOORE TAKES OUT THE OBJECT PINKY
PASSED HIM, A SMALL CANISTER, AND SPRAYS THE WOMAN IN THE FACE.
SHE SLUMPS TO THE FLOOR. MOORE MOTIONS PINKY INTO THE SHOP.

ANGLE EXT THE STORE.

SEVERAL BYSTANDERS ARE MOVING TOWARD THE FIRE. ONE COMES UP TO
BLANE, AS IF TO ENTER THE STORE. BLANE PUTS HIS HAND TO HIS EAR,
AS IF LISTENING TO AN EARPIECE, AND POINTS AT THE FIRE, SHAKING
HIS HEAD.

                      BLANE
         Move along, please... This area must be
         secure while the Secretary's on the
         street... just move alone...

ANGLE INT THE STORE.

PINCUS HAS REMOVED THE COVER FROM HIS PACKAGES, REVEALING THEM TO BE
A LARGE RECEPTACLE.

CAMERA PANS HIM ACROSS A COUNTER, OVER WHICH COUNTER WE SEE SLUMPED
THE FORMS OF THE TWO SALESPEOPLE. PINCUS POINTS AT THE DESK. MOORE
NODS. IN THE B.G. WE SEE MOORE HIT A BUZZER UNDERNEATH A DESK.

A PANEL IN THE WALL SWINGS OPEN, AND WE SEE A LARGE WALK IN SAFE
BEHIND, ITS DOOR OPEN.

IN THE FOREGROUND THE HEAVYSET MAN IS SHOVELLING THE CONTENTS OF
THE DISPLAY CASES INTO HIS CARRYALL.

                                                                  7.


ANGLE

ON MOORE IN THE WALK IN SAFE, AS HE CONSULTS A SMALL INDEX CARD
TAKEN FROM HIS POCKET.

HE WALKS TO THE SLUMPED FORM OF AN EMPLOYEE, AND TAKES A KEY FROM
AROUND HER NECK, MOVES TO THE SAFEBOXES IN THE REAR.

THE KEYS DO NOT WORK. MOORE NODS AS IF TO SAY, "WELL, THAT WOULD
HAVE BEEN TOO EASY..."

HE UNSCREWS A SECTION OF HIS METAL CANE, AND REMOVES SMALL SURGICAL
TOOLS, HE OPENS NOW ONE AND NOW ANOTHER OF THE SMALL SAFE BOXES AND
EMPTIES THEM INTO THE CARRYALL. MOORE WIPES HIS FOREHEAD WITH HIS
ARM AS HE WORKS.

                      HEAVYSET MAN (PINCUS)
              (VO)
         ...two minutes...

MOORE NODS.

PINCUS MOTIONS UP, THEY BOTH LOOK UP AT A TELEVISION CAMERA...

ANGLE

A BLACK AND WHITE IMAGE--THE TWO MEN--PINCUS IN A STOCKINGMASK,
MOORE SEEN PLAINLY, AS IF THROUGH THE SURVEILLANCE CAMERA...

ANGLE

MOORE NODS, FINISHES SCOOPING THE CONTENTS OF THE BOXES INTO THE
CASE.

HE LOOKS AT HIS WATCH, AND UP, AGAIN, AT THE TV CAMERA.

                      PINCUS
         Forty seconds...

MOORE NODS, CAMERA TAKES HIM ALONG A WALL OF CABINETS, HE OPENS NOW
ONE, AND NOW ANOTHER, DISSATISFIED...

ANGLE, HIS POV.

AN ELECTRONIC CABINET.   SEVERAL TAPEDECKS, BEHIND A METAL, LOCKED
GRATING.

THE TAPEDECK BEHIND IT, ITS LIGHTS GLOWING.

                      PINCUS (cont'd)
         ...thirty seconds...

ANGLE

ON MOORE, WHO USES THE TOOLS IN HIS CANE, TO ATTEMPT TO OPEN THE
GRATING.

                                                                   8.


THE GRATING DOES SO, BUT HIS TOOL SLIPS, SHATTERING THE TAPEDECK
BEYOND. ITS LIGHTS GO OUT.

                      PINCUS (CONT'D)
         Ten seconds...

ANGLE, ON MOORE, AS HE TRIES, FURIOUSLY, TO DESTROY THE TAPE
MACHINE, TO GET TO THE TAPE.

ANGLE INS.   XCU.   THE TAPE MACHINE.   MOORE SMASHING AT IT.

                      PINCUS (CONT'D)
         ...that's it, that's gotta be it...

MOORE CONTINUES TRYING TO PRY LOOSE THE TAPE.

ANGLE

PINCUS, PULLING MOORE AWAY.   THE HEAVYSET MAN PUTS THE PINK PACKAGES
CAMOUFLAGE ON HIS CASE.

ANGLE, CU ON MOORE, AS HE LEAVES THE BACK ROOM.

ANGLE HIS POV.

THE TAPE MACHINE.

ANGLE: IN BLACK AND WHITE, AS IF THROUGH THE VIDEO SURVEILLANCE
CAMERA--THE MEN LEAVING THE STORE.

                                                    DISSOLVE TO:

EXT THE DECK OF A SLOOP IN THE OCEAN, DAY

A MAGNIFICENT 60-FOOT WOODEN SAILBOAT. A BEAUTIFUL DAY, LIGHT
CHOP. A FLORID FELLOW IN HIS FIFTIES, SMOKING A CIGAR, AT THE
WHEEL.

ANGLE

A BEAUTIFUL YOUNG WOMAN, THE SAME    WOMAN WE SAW IN THE PREVIOUS
SEQUENCE, IN SHORTS AND A T-SHIRT,    AND SUNGLASSES, NEAR THE MAST OF
THE SAILBOAT. BEYOND HER A MARKER     BUOY AND BEYOND A SMALL HARBOR
AND MARINA. SHE TURNS TOWARD THE     CAMERA.

                      WOMAN
              (FRAN. CALLING BACK)
         Y'got your marker, five, six hundred yards.
              (PAUSE)
         Y'might want to start your turn.

ANGLE

ON THE FLORID MAN, AS HE NODS. AND BENDS TO LOOK UNDER THE SAIL.
HE IS BLINDED BY A FLASH OF LIGHT. HE SCREWS UP HIS EYES.

ANGLE, HIS POV.

                                                                  9.


THE LIGHT, BOUNCING OFF A GLEAMING RAIL.   THE MAN FLINCHES.

ANGLE: ON THE BOAT, AS IS COMES UP INTO THE WIND, THE SAIL
LUFFS, AND THE BOAT BEGINS TO ROCK.

ANGLE: FRAN COMING UNDER THE SAIL BOOM, GOES HURRIEDLY, TO THE
WHEEL, AND MOVES TOWARD THE MAN. PUSHING HIM OUT OF THE WAY, AND
CORRECTING THE COURSE OF THE BOAT.

ANGLE:

                      FLORID MAN
              (SMILING)
         ...you lookin to make friends...?

                       FRAN
         No.   I've got my friends...

THE MAN MOVES TO THE WHEEL AGAIN, AND FRAN HOLDS HIM OFF.

                      FRAN
         You put this boat on the rocks, you bought
         it.

                      FLORID MAN
         I got the sun in my eyes.

ANGLE

AS FRAN TAKES THE WHEEL.

ON THE BOAT, AS IT HEELS AND TURNS, PASSING THE RED MARKER BUOY
INBOUND FOR THE HARBOR.

INT SHIPYARD DAY.

A SMALL MARINA.   THROUGH THE OPEN DOORS WE SEE THE MARINA BEYOND.

GLEAMING, MOLTEN METAL IS BEING POURED INTO A SMALL MOULD BY A
WORKMAN.

JOE MOORE, NOW WITHOUT MOUSTACHE AND GLASSES, WITH LIGHT, GREYING
HAIR, IN A CHEAP SPORTCOAT, COMES OVER, AND GIVES THE WORKMAN A FEW
DIRECTIONS. THE WORKMAN NODS. CAMERA TAKES MOORE PAST SEVERAL
BOATS IN THE SHED, IN VARIOUS STAGES OF DISASSEMBLY. OUT OF THE
SMALL SHED, AND TO THE PIER OF THE MARINA, WHERE WE SEE FRAN TYING
UP THE SLOOP, AND THE FLORID MAN DESCENDING THE GANGPLANK.

                      MOORE
         What do you think?

                      FLORID MAN
         Think you're too old for that girl--How'd
         you ever get a girl like that...?

                                                                10.


                      MOORE
         I won her in a raffle...

                      FLORID MAN
         No, I'm serious. What's a girl like hh...

                       MOORE
              (SHRUGS)
         She's got this "father" thing.   You like the
         boat?

                      FLORID MAN
         Waal... your price is rather high...

                      MOORE
         I'll tell you what, then why'nt you go build
         one...

                      FLORID MAN
         No offense, no offense, I told you I liked
         the boat.
              (TO FRAN)
         What is he, a touchy fella...?

                      FRAN
         You have to ask him.

                      FLORID MAN
              (TO MOORE)
         What I'd like to do: I'll take'er out
         again, me and some people... The Weekend...?

FRAN, IN THE B.G. COMES DOWN THE GANGPLANK.

                      MOORE
         ...we'll be here...

ANGLE, ON FRAN, AS SHE TURNS HER BACK ON THE FLORID MAN, AND
STANDS CLOSE TO MOORE, HER FACE SURPRISED, MOORE IGNORES HER.

                      MOORE (cont'd)
         ...we'll be here.

                      FLORID MAN
         ...I like this boat...

                      FRAN
         ...Mister Fletcher, tell you what, you put
         down your deposit, we're gonna fit you one
         out. Your specs.

                      FLORID MAN
         I don't want you, fit me one out, I want to
         buy this one here. This is a hell of a boat.

                      FRAN
         Well, this one's not for sale.

                                                               11.


                      FLORID MAN
         Everything's for sale. I'm gone tell you
         what: you want, sell the boat to me, this
         weekend, you want to name your price, we'll...
              (HE HANDS FRAN A BUSINESS CARD AND
               SCRIBBLES ON THE BACK OF IT.)

                       FRAN
              (SMILES)
         Well, Mr. Fletcher, this weekend, we're gone
         on a little trip, but...

                      FLORID MAN
         How often do you see a live one...? I'm
         talking cash. You want a premium, I'm going
         to pay your premium, and I...

FRAN DISASSOCIATES HERSELF FROM THE FLORID MAN (MR FLETCHER)

                         FRAN
         Excuse me...

SHE WALKS TOWARD MOORE

                      MOORE
         What do you want me to bring you back?

                      FRAN
         You just come back... Stay in the shadows.

                      MOORE
         Everybody's lookin' in the shadows.

                      FRAN
         Then where's the place to be...?

                      MOORE
              (AS HE SQUINTS AT THE SUN, HE
               PUTS ON HIS SUNGLASSES)
         Place to be's in the Sun...

                      FRAN
         Well, then, you stay there, then...

BEAT.

HE TAKES HER TO HIM AND KISSES HER.

                      FLETCHER
              (IN THE B.G. JOCULARLY)
         ...pretty little girl like that, wouldn't stay
         away too long...

MOORE EXCHANGES A LOOK WITH FRAN.

SOUND OF A CARHORN.   THEY BOTH TURN.

ANGLE, THEIR POV.

                                                                12.


A CAB, EXT, THE MARINA.

ANGLE

FRAN AND MOORE, HE SHRUGS, STARTS TO TURN.   FRAN PUTS A HAND ON
HIS ARM.

                       FRAN
         Stay here.   Let Bobby do it...

                      MOORE
              (AS HE KISSES HER AGAIN)
         You take care, Baby. I'll see you tonight.

HE TURNS TOWARD THE CAB.

INT BOXING GYM DAY.

SOUND OF SPEEDBAGS, AND ROPESKIPPING.

TWO YOUNG MEN SPARRING IN THE SMALL, DARK, DIRTY GYM.

ANGLE

BLANE, IN HOODED SWEATSHIRT AND JEANS, SMOKING A CIGAR, LOOKS DOWN,
FROM A WOODEN BALCONY, ON THE GYM BELOW.

BEHIND HIM WE SEE MOORE ENTER THE BALCONY, AND WALK SILENTLY,
AND STAND TWO FEET BEHIND THE CHAIR. BEAT.

                      BLANE
         You shouldn't sneak up on a fella like that.

                      MOORE
         ...what's he likely to do...?

                      BLANE
         He's likely to do all sorts of unpredictable
         shit.

BLANE TURNS, AND THE TWO START DOWN THE RICKETY STAIRS TO THE
MAIN FLOOR.

ANGLE

MOORE TURNS. TO SEE TWO WORKMEN UNBOLTING A SMALL METAL PIPE
SCAFFOLDING, ON WHICH HANG SOME OLD HEAVYBAGS.

                      BLANE (cont'd)
         Yeah, I was going, put in some new equipment.

                      MOORE
         What'd you, come into some money?

BLANE SMILES.

ON THE MAIN FLOOR OF THE GYM, A WIZENED OLD MAN SITS AT A SMALL
COATROOM.

                                                                 13.


BLANE GESTURES AND THE MAN THROW HIM AN OLD LEATHER JACKET, AND
HANDS HIM A LARGE BOXING GYM BAG. MOORE AND BLANE EXIT THE GYM.

EXT 47TH STREET DIAMOND DISTRICT.    NYC DAY.

BLANE AND MOORE WALKING DOWN THE STREET. THEY PASS INTO A BUILDING
WHICH WE SEE ADVERTISED AS GOLDENSOHNS DIAMOND MART.

                      BLANE
         Where you goin to go with the gelt?

                      MOORE
         You know where I'm going.     Me and the girl,
         gone get on the boat.

                      BLANE
         You gone go South somewhere... rub yourselves
         all over, Cocoa butter...

                      MOORE
         ...that's right.

                      BLANE
         Get one of them cocker spaniel dogs, pull down
         your bathingsuit...

                      MOORE
         ...that's right...

                      BLANE
         ...stick your white ass out at the world...

                      MOORE
         I worked for it.
              (PAUSE)
         What're you gonna do...?

                      BLANE
         I'm gonna open a carwash, n'torch it for the
         insurance... hold on a second...

ANGLE THEIR POV.

TWO UNIFORMED POLICEMEN, WALKING DOWN THE STREET, OUT OF A DELI.
BLANE AND MOORE TURN.

BEAT. THE POLICE TURN AWAY FROM BLANE AND MOORE.     BLANE AND MOORE
PROCEED.

ANGLE INT GOLDENSHON'S DIAMOND MART.

BLANE AND MOORE ENTER. BLANE HOLDS THE DOOR OPEN FOR AN EXITING
MATRON. THEY PROCEED DOWN THE AISLES OF STALLS AND JEWELS.

CAMERA TAKES THEM TO A HEAVYSET FELLOW STANDING IN FRONT OF A DOOR.

                                                               14.


INT OFFICE SUITE DAY.

THE GYMCASE IS PLACED DOWN ON A HEAVY DESK. MOORE SITS IN A CHAIR,
BLANE STANDS BEHIND HIM IN THE SMALL SPARSELY FURNISHED ROOM, ACROSS
FROM BERGMAN, A FELLOW WHO LOOKS LIKE A GANGSTER. BERGMAN OPENS THE
CASE.

ANGLE INS: THE CASE IS FULL OF OLD BOXING EQUIPMENT--GLOVES, A
SPEED BAG, ETC. A HAND COMES INTO THE SHOT, TAKES OUT A KNIFE, AND
RIPS OPEN THE SPEEDBAG--WE SEE THE GLINT OF JEWELS INSIDE. THE
KNIFE PROCEEDS TO OPEN OLD BOXING GLOVES, ETC. ALL ARE FULL OF
JEWELS.

ANGLE

THE MEN AT THE DESK.    SOUND OF A DOOR OPENING.

IN THE B.G. A DARK, HANDSOME YOUNG MAN IS SEEN OPENING THE DOOR TO
THE OUTSIDE.

BERGMAN MOTIONS HIM TO TAKE THE CASE AND LEAVE, THE MAN (BELLA) NODS
AND BEGINS TO DO SO.

                      BERGMAN
              (INTRODUCING HIM)
         My nephew, Jimmy.

                      MOORE
         I met him a long time ago.
              (NODS)

                        BERGMAN
         Did you...?

                      MOORE
         Yeah, I think I did.

BEAT.

BLANE AND MOORE EXCHANGE A LOOK, THE DARK YOUNG MAN IS HANDED THE
GYMCASE. HE CLOSES THE DOOR LEAVING BERGMAN, BLANE, AND MOORE
ALONE. MOORE NODS, TO INDICATE, "IT'S ALRIGHT," AND BLANE BEGINS,
RELUCTANTLY, TO LEAVE.

                      BERGMAN
         You should of shot the girl.

                       MOORE
              (SHRUGS)
         You know, you're right...

BERGMAN SHRUGS, AS IF TO SAY "WELL, THAT'S WATER UNDER THE BRIDGE."

                      BERGMAN
         On the other thing, Good News! We got the
         go ahead, we got a date. I got a firm date on
         the swiss thing.

                                                                 15.


                       MOORE
         I'm burnt.   They got my picture.

                       BERGMAN
              (SHRUGS)
         They got your picture in drag.     Witcher
         warpaint on.

                      MOORE
              (SHAKES HIS HEAD)
         --I got to go.

                      BERGMAN
         You goin down, a Body Shop?
              (HE RUNS HIS HANDS OVER HIS
               FACE.)

                      MOORE
         Yeah, I'm gonna have'em pound the dents out.

                      BERGMAN
         ...old as you are, it's a good deal.

                      MOORE
         Waal, they're honorable scars.

                      BERGMAN
         That they are and indeed they are.     How you
         doing, Bobby?

                      BLANE
         Well, you're looking at it.

                      BERGMAN
         Anything you guys want, you're here? Y'want
         to get a present for the Little Lady...

THERE IS A KNOCK AT THE DOOR. BELLA, THE YOUNG HANDSOME MAN
ENTERS WITH THE GYM BAG AND A PIECE OF PAPER, AND WALKS TOWARD
BERGMAN. BERGMAN TAKES THE PAPER, AND SMILES.

                      BERGMAN
         No, you're the Boss Hog, Joe.

                      MOORE
         Kind of you to say so.

                      BERGMAN
              (OF THE SLIP OF PAPER)
         Nobody... gets the goods like you...

                      MOORE
         Anybody can get the goods, the tough part's,
         getting away.

                      BERGMAN
         Uh huh.

                                                               16.


                      MOORE
         Plan a good enough getaway, you could steal
         Ebbetts Field.

                      BERGMAN
         Ebbet's Field's gone...

                      MOORE
         What'd I tell ya...?
              (BERGMAN HANDS HIM A SLIP OF
               PAPER. OF THE SLIP OF PAPER)
         Higher than the estimate.
              (HE PASSES THE PAPER TO BLANE)

                      BERGMAN
         And half of that's yours.     You n'your team.

                      MOORE
         Yeah, why're you telling me that?

                      BERGMAN
         ...I told you we're on for the "other"
         thing? The Swiss thing?

                      MOORE
         ...why're you telling me that, Bill? That
         half of it's mine. I know half of it's
         mine. Because, you'll remember, me and my
         crew? Went in there and got it.
              (PAUSE)

                      BERGMAN
         ...the other thing?

                      MOORE
         ...you remember that?

                      BERGMAN
         It's the shot of the century.

                      MOORE
         Yeah--well, it's a shame...

                      BERGMAN
         I'm locked into it. It's such a beautiful
         deal, Joe... we waited so long.

HE PUTS HIS ARM AROUND MOORE, AND WALKS HIM INTO THE OUTER OFFICE,
WHERE WE SEE BLANE AND BELLA AND SEVERAL BODYGUARD TYPES.

                      BERGMAN (CONT'D)
         ...I put myself, n'my friends in hock, set
         the deal up...

                      MOORE
         I need my money. I owe the crew...
              (PAUSE)
         I owe my crew, Bill...

                                                             17.


                      BERGMAN
         If it was me...

                      MOORE
         Yeah, if it was you n'if it was me.     I owe my
         crew.
              (PAUSE)
         And I got to go.
              (PAUSE)
         I got to get outta town.

                      BERGMAN
         You should of popped the girl... Look:
              (HE PICKS UP A SHEAF OF PAPERS
               FROM HIS DESK.)
         This Swiss thing? After how long we
         waited...?

                      MOORE
         Woulda shoulda coulda.

                      BERGMAN
         ...I was a publisher man, I'd publish the
         plans... it's the Mona Lisa.

                      MOORE
         You're too kind.

                      BLANE
         Why don't you publish the plans?

                      BERGMAN
         Yeah, no, I'm saying, that's what I would do,
         f'I was in the book business. Unfortunately,
         I'm a thief, so, I have to do that thing.
         You understand... Joe:

                      MOORE
         What is it I understand...?

                      BERGMAN
         You understand my position.

                      MOORE
         Here's mine? I did the job. Me and my
         crew. We brought you the swag, we're going to
         take our cut.

                      BERGMAN
         Well, look here, it's the Golden   Rule. You
         know the Golden Rule. Whoever's    got the
         Fucken Gold, he gets to make the   Rule... Huh?
              (PAUSE)
         Huh...? Look: The normal course      of events...

ANGLE

ON MOORE, AS HE EXCHANGES A LOOK WITH BLANE

                                                                   18.


THEY LOOK AT THE GYMBAG.      BLANE STARTS TO EDGE TOWARD THE GYMBAG.

                         BERGMAN (cont'd)
            ...let's all remember where we are...

                         BLANE
                 (AS HE MOVES TOWARD THE BAG)
            ...that's very literary.

BELLA PUSHES HIM BACK.

                         BELLA
            Look here, Pal... Look here, Pal... You're
            the help...

                           BLANE
            I'm what...?

                           BELLA
            ...you're...

                         BLANE
            I'm the "help," motherfucker? You were
            sitting behind a desk, we were on the street,
            it seems to me. Furthermore:

ANGLE, HIS POV, INSERT, THE GYMBAG.      WE SEE ONE OF THE BODYGUARDS
MOVE IN FRONT OF IT.

ANGLE

MOORE AND BLANE AS BELLA PUSHES BLANE AWAY FROM THE GYMBAG.      BLANE
PUNCHES HIM, HE FALLS TO THE GROUND. BLANE PULLS A PISTOL.

ONE OF    THE THUGS NEXT TO BLANE PULLS A PISTOL, AND POINTS IT AT
BLANE    WHO BATS IT OUT OF THE WAY. THE GUN DISCHARGES. BLANE STEPS
UP TO    THE THUG AND HITS HIM IN THE HEAD WITH THE GUNBUT. THE THUG
FALLS    TO THE FLOOR.

                         BLANE (cont'd)
                 (AS HE MOVES TOWARD THE GYMBAG)
            You wanna play "O.K. Corral?" Is this the
            plan of the Day? You wanna go dress warmly,
            n'go play Outside? Go for it. Go for it,
            motherfucker: you know where I am, I'm right
            here...
                 (PAUSE)

                         BERGMAN
            Yeah. You're a pitbull.
                 (TO MOORE)
            Your friend's a pitbull.

                         MOORE
            What do you want, we're supposed to do, sit
            back, put our feet up while you fucken rob
            me?

                                                          19.


                      BERGMAN
         I'm in HOCK to my PEOPLE for the TOYS, all the
         TOYS YOU told me you need, do the Other
         thing...

                        MOORE
         I got to go.

                      BERGMAN
         While I what? Go WEE WEE all the way home to
         my ? Go WEE WEE all the way home to
         my Backers? You told me this:
              (HE HOLDS OUT HIS HANDS FOR A
               LIST)
         the Truck, two Trucks, the stuff the Train,
         the plans? ... you told me, "Go Out, Spend
         the Money," I did. Now:

                      MOORE
         What do you want from me?   They got my face
         on a Cereal box...

                      BERGMAN
         I want you do do the Swiss job.
              (PAUSE)

                      MOORE
         Gimme our cut, we worked for, my crew, we do
         the Swiss Job.

                      BERGMAN
         Well, now, that's bullshit, Joe, you know
         that, you just tol me you're goin travelling--
         I give you the Money now, and you're gone.
         You gone play me for some kind of sucker? The
         other job. It's set up.

                      BLANE
         You trine to play us for, you over-the-hill,
         short-weight motherfucker...

                      BERGMAN
              (TO MOORE)
         ...I don't think your friend likes me...

                      BLANE
         Like you? I'd like you to spend the rest of
         your life with me... RIGHT NOW...
              (HE DRAWS A PISTOL AND POINTS IT
               AT BERGMAN)
         RIGHT NOW, MOTHERFUCKER. HERE YOU ARE: YOUR
         WEIGHT AND FATE. How 'bout that... how
         'bout that...?

SEVERAL OF THE THUGS DRAW THEIR WEAPONS.

                      BERGMAN
         ...alright... alright... let's just...

                                                                  20.


                      BLANE
         How about that, n' we'll let someone else
         clean up...

BLANE MOVES TOWARD THE GYMBAG.

                      BLANE (cont'd)
         How about them rosy'red apples...?

                      MOORE
         Bag's empty...
              (PAUSE)
         The bag's empty, Billy...
              (PAUSE)
         Put the bag down, it's empty...

BLANE OPENS THE GYMBAG AND WE SEE THAT IT IS EMPTY--HE LOOKS TO
MOORE FOR DIRECTIONS.

                      MOORE (cont'd)
         Alright.

                      BLANE
         What?

                      MOORE
         I said alright.
              (PAUSE)

                      BERGMAN
         ...you'll do the Swiss Job?

                      MOORE
         No.

                      BERGMAN
         Well, then, it's not alright.     What are you
         telling me...?

                      MOORE
         I'm telling you I'll think about it.
              (PAUSE)
         Lemme think about it.

THE THUG STARTS TO RISE FROM THE FLOOR.    BLANE ADDRESSES HIM.

                      BLANE
         ...don't get up.

                      BERGMAN
         You think about it, Joe. I got your money
         sitting for you, right here. You do the job,
         and I swear to you...

BLANE AND MOORE BACK OUT OF THE ROOM.

                                                             21.


INT BEDROOM NIGHT. MOORE AND FRAN, ON THE BED. WRAPPED IN A SHEET.
MOORE IS STANDING AT THE WINDOW, WEARING PAJAMA BOTTOMS.

ANGLE HIS POV.

HIS SAILBOAT, IN THE MARINA BELOW.

ANGLE, ON MOORE, AS HE TURNS BACK TO FRAN.

                        FRAN
         ...alright:    what if we...

MOORE HOLDS UP HIS HAND FOR HER TO BE QUIET.    BEAT.

                        MOORE
         I'm sorry...

                      FRAN
         ...what do you tell me?     What is it you tell
         me?

                      MOORE
         What is it I tell you?

                      FRAN
         "Any situation, stand it on its head."

                      MOORE
         Izzat right...

                      FRAN
         So:  stand it on its head.
              (PAUSE)
         What if we...

MOORE INTERRUPTS.

                      MOORE
         Sell the beat.
              (PAUSE)
         Call the guy, sell the boat.

ANGLE ON FRAN AS SHE DIALS THE PHONE.

                      MOORE (cont'd)
         You quote him our figure, sell it to him for
         cash.

                        FRAN
         For cash?

                      MOORE
         That's the sweetener.

                      FRAN
         I don't get it.

                                                                 22.


                      MOORE
         You say "cash," he knows we're hungry. He'll
         counter ten, twenny percent less, you kick
         around, and accept it.

                      FRAN
         Where's he gonna get the cash at night?

                      MOORE
         Let him get it tomorrow.   You bring him the
         title for the boat.

                      FRAN
         And you?
              (ON THE PHONE)
         Hello, Mr. Fletcher...? Could you, I'm
         looking for Mr. Robert Fletcher.
              (PAUSE)
         Would you tell him Fran, from Moore Marine.
              (SHE LOOKS AT MOORE)

                      MOORE
         ...I'll meet you in Mexico.

                      FRAN
         How're you going to Mexico...?

                      MOORE
              (PAUSES, AS IF AT THE OBVIOUS)
         ...I'm taking the boat.
              (BEAT)
         I'm not proud...

                      FRAN
         F'you're taking the boat, Baby, take the boat
         tonight...

                      MOORE
         I ain't going til I make sure we're goin get
         the money...

FRAN GESTURES FOR HIM TO BE QUIET, AS THERE IS SOMEONE ONE THE
LINE.

                      FRAN
         Well, would you tell him...

                      MOORE
         ...I can't go down there with nothing...

                      FRAN
         What're you gonna do about the Other Guys?

                      MOORE
         We're gonna play some ringolevio.     I'm gonna
         need your help--Look here:

                                                               23.


INT NYC DELICATESSEN DAY

MIDTOWN BUSY DELI. PINCUS AND BLANE SEATED AT A BOOTH IN THE REAR
OF THE DELI, DRINKING COFFEE.

                      PINCUS
         You know, in many ways, it isn't their
         arrogance that hurts, it's the money.

                        BLANE
         Yeah?    What were you gonna do with the money?

                      PINCUS
         I was gonna buy a scooter for my niece. You
         know, this's the goddamndest thing I ever saw:
         They got his face on tap, he's got to Steal
         Away like the Arabs.

                      BLANE
         ...with what?

                      PINCUS
         Well, what about Times Two. If they stiffed
         him on Monday, what're they gonna do on
         Wednesday...

                        BLANE
         Joe?    He's got something in reserve.

PINCUS SHRUGS, AS IF TO SAY "MAY IT BE SO."

                      BLANE (cont'd)
         He's got something in the Hole. He wouldn't
         change his mind without a diversion.

                      PINCUS
         ...may it be so.

                      BLANE
         ...and a back-up plan...

ANGLE, ON BELLA, WHO IS WALKING BACK THROUGH THE DELI, TOWARD THE
BOOTH HOLDING PINCUS AND BLANE.

BELLA STOPS, SHEILDED BEHIND SOME COATS.

ANGLE HIS POV.

THE OTHER TWO MEN IN THE BOOTH.

                      PINCUS (cont'd)
         ...b'cause, b'cause I've spent my cut, the
         last thing...

                      BLANE
         ...you hold tight with the Crew...

                                                                  24.


                      PINCUS
         ...I hold tight with the Crew, the Crew holds
         tight with me, is all I'm...

BLANE PERCEIVES BELLA, AND PINCUS STOPS TALKING.

BLANE LOOKS UP, ALL TURN.

ANGLE, THEIR POV.    BELLA, AT THE BOOTH.

                      BELLA
         How're we all today?

                      BLANE
         F'we got somewhere to go, let's go.

ANGLE

THE GROUP IN THE BOOTH RISES, BELLA MOTIONS THEM OUT OF THE FRONT
OF THE STORE.

ANGLE EXT 47TH STREET, DIAMOND DISTRICT, DAY.

THE GROUP EMERGES FROM THE DELI.

ANGLE INT.   A GOLD AND JEWELRY SHOWROOM.

BERGMAN BEHIND THE COUNTER, TALKING TO A MAN AT AN OPEN SAFE, THE
MAN IS HANDLING SEVERAL GOLD COINS.

ANGLE INS.

BERGMAN'S HAND, HOLDING THE COINS.

ANGLE

BERGMAN, LOOKS UP.

ANGLE HIS POV.

ACROSS THE STREET, THE GROUP, AND BELLA, MOTIONING MOORE ACROSS THE
STREET.

ANGLE, EXT, THE GOLD AND JEWELRY SHOWROOM.   BERGMAN COMES OUT,
COMING ACROSS 47TH STREET.

IN THE B.G. WE SEE A BUNCH OF SCANDINAVIAN LOOKING TOURIST,
EACH WITH HIS MAP, CAMERA SLUNG AROUND THE NECK, ET CETERA, WALKING
DOWN THE STREET.

WE SEE BERGMAN, CROSSING THE STREET, LOOKING AROUND.

ANGLE

PINCUS, BELLA, AND BLANE, BLANE IS SCANNING THE STREET, HE TURNS
BACK IN THE DIRECTION OF BERGMAN, AND NODS.

ANGLE HIS POV

                                                               25.


BEHIND BERGMAN, ONE OF THE TOURISTS DETACHES HIMSELF FROM THE GROUP
AND WALKS UP BEHIND BERGMAN. CAMERA TRACKS WITH THEM, AS MOORE
(THE TOURIST) TAKES BERGMAN'S ARM, AND THEY WALK DOWN 47TH STREET.

BEAT

                        MOORE
         Alright.

                      BERGMAN
         You'll do the job?

                      MOORE
         That's right.

                      BERGMAN
         I'm sorry I put you in a position.

                      MOORE
         It's very sporting of you to say so.

                        BERGMAN
         Well...

                      MOORE
         I'm going to need some walking-around money.
              (BERGMAN NODS)
         And I'm going to need my men's share, on the
         last job.

                      BERGMAN
         That's not unreasonable.

                      MOORE (cont'd)
         Give it to me
               (HE HOLDS OUT HIS HAND.)

                        BERGMAN
         ...now?

                      MOORE
         ...you got it in your pocket.

BERGMAN SIGHS, TAKES OUT AN ENVELOPE, AND SHOWS IT TO MOORE.

                      BERGMAN
         ...you're ahead of me every turn.    How about
         that.

                        MOORE
         ...stunning.

                      BERGMAN
         ...the date holds, you got the shipment on the
         fourteenth.

                      MOORE
         ...how do I insure my cut?

                                                               26.


                      BERGMAN
         I swear to you...

                      MOORE
         ...you lost your amateur standing. Here's
         what the thing is: I go with the gold.
              (PAUSE)
         I go with the gold, or there's no deal.
         I take my half, you take your half on site,
         we're done.
              (PAUSE)

                        BERGMAN
         ...so be it.

                       MOORE
         Now:   what's your little surprise.

ANGLE, OVER THEM, ONTO THE GROUP OUTSIDE THE DELI, AS WE SEE THAT
THEIR WALK HAS TAKEN MOORE AND BERGMAN AROUND THE BLOCK.

                      BERGMAN (cont'd)
              (MOTIONING AT BELLA AS THEY JOIN
               THE OTHER GROUP)
         ...my boy goes on the job with you.
              (PAUSE)

                      MOORE
         ...he's got terrible manners.

                      BERGMAN
         Nobody's perfect.
              (PAUSE)

THE TWO HAVE WALKED UP TO PINCUS AND BLANE.

                      MOORE
              (TO BERGMAN)
         Gettim over here...
              (BERGMAN MOTIONS TO BELLA)

                      BELLA
              (PAUSE)
         ...I'm sorry for what I said.

                      BLANE
         ...what'd he say...?

                      BELLA
              (PAUSE)
         I'm sorry for what I said.
              (PAUSE MOORE MOTIONS TO BLANE)

                      BLANE
         Well, you were prolly just overcome by the
         heat of the moment. Is that the thing?

                                                              27.


                      BELLA
         ...that's right.

                      MOORE
         Okay, so You called us one, we called you
         one. The way you get along's you're gonna go
         along.
              (TO BERGMAN)
         Okay, we're done negotiating, gimme the money
              (BERGMAN HANDS HIM AN ENVELOPE)
         I'll see you on the fourteenth...

MOORE AND BLANE START TO WALK AWAY.

                      BLANE
         You going to take that lame onna job?

                      MOORE
         I'll tell you what, you make the decisions,
         and I'll bitch at you. It's Fun to Play
         Pretend!

                      BLANE
         You going to roll over for these guys, I got
         to walkaway... It's one thing, put your head
         in the Lion's Mouth. It's another thing,
         put your head in the Lion's Mouth and shoot
         yourself. I...

                      MOORE
         You do whatever the fuck you have to do...

MOORE STARTS TO WALKAWAY FROM THE GROUP, FOLLOWED BY BLANE.

                      MOORE
         You want to show me another way?

                      BLANE
              (OF BELLA, AS HE STOPS MOORE)
         ...why does he go with the gold?

                       BERGMAN
         Y'ever split a piece of cake? One kid gets
         to cut the cake, the other gets to choose.
         We're gonna get the gold. Your guy gets to
         go, my guy gets to go.
               (PAUSE)

                      MOORE
         Then we go together.

                      BERGMAN
         You go with the gold. That's the deal.
              (PAUSE. BLANE AND MOORE START TO
               WALKAWAY)

                      BLANE
         You're losing a step, Joey.

                                                                 28.


                       MOORE
         Zat so?

                      BLANE
         Time was, you wuun't of asked him.

                      MOORE
         Yeah, well, the time was I was the Law West
         of the Pecos.

                       BLANE
         And now...?

                      MOORE
         And now the Time Was, I got to get out of
         Town.

HE TURNS BACK, HANDS THE ENVELOPE TO PINCUS.

                      MOORE (cont'd)
              (SOTTO, TO PINCUS)
         Okay it's on.

                      PINCUS
              (AS HE TAKES THE ENVELOPE)
         I'll take care of it.

PINCUS TURNS BACK TO EXCHANGE A PRIVATE WORD WITH MOORE.

                      MOORE
         You wanna wash any laundry out inna
         street...? ...you said you were gone take
         care of it, take care of it.
              (PAUSE, WHILE PINCUS HESITATES)
         ...are you in or out...?

PINCUS EXCHANGES A LOOK WITH BLANE.    SHRUGS, AND NODS AND WALKS
OFF.

MOORE, TO BLANE.

                      MOORE (cont'd)
         Is he going soft on me...?

                      BLANE
              (PAUSE)
         He'd never go soft on you, Joey...

                      MOORE
         Well, then. What's the thing?     Am I missing
         something...?

                      BLANE
         He's just countin' the tricks, and the tricks
         don't add up. Tricks don't add up. These
         guys. You get the gold, they never let you
         walk away wi... why would you want to...
              (PAUSE.
                      (MORE)

                                                               29.


                      BLANE (cont'd)
               RECOGNITION LIGHTS UP BLANE'S
               FACE)
         We ain't doin the job. Izzat it? You're just
         going to take the up front money, walk away.
              (PAUSE)

                      MOORE
         I got to Bobby...

                      BLANE
         I know you do.

                       MOORE
         Tick tock.

                       BLANE
         No, I know.

                      MOORE
         The cops got me on tape.   I got to go...
              (PAUSE)

                      MOORE
         But everybody gets his cut from the Jewelry
         store.

                      BLANE
         Yeah, thanks, but after which, what're you
         going to live on?

                      MOORE
         I'm trine a figure out a way, get somebody,
         throw me inna briar patch.

MOORE TURNS BACK TO BELLA.

                      MOORE (cont'd)
         Awright, you want to go to work...?

BELLA WALKS UP TO THE GROUP.

BLANE SEES SOMETHING OVER MOORE'S SHOULDER.

ANGLE HIS POV.

THE TWO POLICEMEN WE SAW EARLIER, WALKING THEIR BEAT, ONE LOOKS IN
MOORE'S DIRECTION, AND DOES A DOUBLE TAKE, AND THEN KEEPS LOOKING
AT MOORE.

ANGLE

ON MOORE AND BLANE, MOORE STARTS TO HALF-TURN, BLANE PUTS HIS ARM
ON MOORE'S ELBOW, AND STARTS TO WALK HIM AWAY.

                      BLANE
              (SOTTO)
         ...just keep walking...

                                                               30.


BLANE TURNS BACK, AND LOOKS AT PINCUS, WHO STANDS IN THE MIDDLE OF
THE BLOCK, HE TUGS ON HIS EAR, AND INCLINES HIS HEAD SLIGHTLY TOWARD
THE TWO POLICEMEN, ONE OF WHOM IS WALKING, TENTATIVELY, TOWARD
MOORE.

ANGLE, ON PINCUS, WHO IS TURNED AWAY.

ANGLE

ON BLANE, WHO IS STILL TRYING TO SIGNAL PINCUS.

HE SHAKES HIS HEAD MINUTELY, AND TURNS BACK TO MOORE.

                      BLANE (cont'd)
              (SOTTO)
         ...walk on... just walk on...

ANGLE

ON THE TWO POLICEMEN, WHO ARE WALKING TOWARD BLANE AND MOORE, WE
SEE MOORE DETACH HIMSELF FROM BLANE, AND CONTINUE WALKING, TURNING
THE CORNER.

ANGLE

ON BLANE, AS HE WALKS UP TOWARD A PASSERBY. HE TAKES A PIECE OF
PAPER OUT OF HIS POCKET, AS IF LOOKING FOR DIRECTIONS.

                      BLANE (cont'd)
         ...excuse me... excuse me...

THE PASSERBY IS CROSSING THE STREET, BLANE STEPS OUT INTO THE
STREET. WE HEAR THE BLARING OF CAR HORNS, AND THE SQUEAL OF BRAKES.

ANGLE

ON BLANE, AS A CAR RUNS INTO HIM.

BLANE HITS THE HOOD OF THE CAR.

ANGLE

ON HIS HAND, AS IT COMES DOWN, WITH A THUMP, ON THE HOOD OF THE
CAR.

HE ROLLS OFF THE HOOD, AND ONTO THE GROUND.

ANGLE

ON THE TWO POLICEMEN, TURNING TO THE SOUND OF THE ACCIDENT.

IN THE B.G. WE SEE MOORE, TURNING THE CORNER.

ANGLE

ON BLANE, ON THE GROUND, HOLDING HIS LEG.

                                                                 31.


                      BLANE (cont'd)
         ...oh god... oh god...

ANGLE ON THE CROWD OF ONLOOKERS, AS THE POLICEMEN KNEEL TO BLANE.
BLANE STARTS TO HIS FEET. IN THE BACK OF THE CROWD WE SEE PINCUS,
WHO LOOKS ON FOR A SECOND, AND THEN MELTS AWAY.

ANGLE

SIDEWALK, PASSERBY.   MOORE WALKING IN THE STREET.   PINCUS COMES UP
BEHIND HIM.

                      PINCUS
              (SOTTO)
         ...he's okay.

                      MOORE
         Yeah, well, you know, that was his road
         game.

                      PINCUS
         He's too old for that.

                       MOORE
              (SHRUGS)
         It's his job. Let's get to work.

INT SMOKEY WORKINGMAN'S BAR NIGHT.

                      FRAN
              (IN BLUE JEANS, ON A PAYPHONE)
         ...an if, an if... well, why didn't you, no,
         wait a sec... wait a second, f'it's about
         your wife, F'It's about your wife, why
         din'tcha... no, wait a... will you WAIT, what
         I'm saying, if the whole thing is about
         your wife, you know what, you know what, the
         hell with it.

SHE HANGS UP, SHE GOES TO THE BAR, TWO PACES AWAY, AND SITS NEXT
TO A MIDDLEAGED WOMAN.

                      FRAN (cont'd)
              (TO BARTENDER)
         Could I have another, please...?

                      BARTENDER
         Hope you're not driving tonight.

                      FRAN
         Well, I hope I am driving tonight, and I run
         into some fucked abutment IF THAT'S WHAT
         THEY'RE CALLED, and
              (HE GIVES HER A DRINK)
         Thank you...
              (SHE DRINKS)

                                                                32.


                       MIDDLE AGED WOMAN
          ...take it easy, Baby... stuff'll eat your
          stomach lining...

                       FRAN
          Yeah, but I get to drink it first...
               (SHE SHAKES HER HEAD)
          Can I ask you something...

ANGLE.   ON BELLA, SITTING IN THE BACK OF THE BAR, WATCHING FRAN.

HE TAKES OUT A POLAROID CAMERA AND TAKES A PICTURE.

                       WAITRESS
               (TO BELLA, AS SHE PUTS DOWN A
                DRINK NEXT TO HIS EMPTY GLASS)
          ...see anything you like...?

EXT RAILROAD OVERPASS. DAY.

A STATIONWAGON, PARKED BY THE SIDE OF THE ROAD.

ANGLE INT.   BELLA AND BLANE AND PINCUS, IN THE STATIONWAGON.

BLANE HOLDS A NOTEPAD, AND IS TALKING TO BELLA, WHO IS TAKING OUT A
MOBILE PHONE.

                       BLANE
               (AS HE LOOKS AT A   POLAROID PICTURE
                OF THE WOMAN WE   SAW IN THE BAR)
               (READING OFF THE   NOTEPAD)
          ...what's the woman's   name...?

                        BELLA
          Croft.   Betty Croft.

                       BLANE
          ...and she's on what shift...?

ANGLE, ON PINCUS, AS HE DIALS HIS NUMBER, AND MOTIONS BLANE TO BE
SILENT. HE LOOKS AT HIS WATCH.

                       BELLA
               (RECITING)
          She's on the swingshift. She's got two kids.
          She's got an ulcer. Betty Croft...
               (TO PHONE)
          I got to report a Bomb throat, I got to
          report, you've got a bomb in...

ANGLE

UNDERNEATH THE OVERPASS.   WE SEE THE HIGHWAY ABOUT, AND THE
STATIONWAGON.

                                                               33.


MOORE, WEARING A HARDHAT, AND CARRYING A CLIPBOARD, IS PACING OFF
THE TRACK. HE GLANCES AT HIS WATCH. NODS. KEEPS PACING. HE
MAKES A NOTATION IN HIS CLIPBOARD.

ANGLE

MOORE, CLIMBING THE BANK, UP TO THE ROADGRADE, TOWARD THE
STATIONWAGON.

ANGLE, INT THE STATIONWAGON.    BLANE AND BELLA.

                      BELLA
         What's the story on your pal?

                      BLANE
         He was born, he suffered, he died.
              (PAUSE)

                      BELLA
         How long's he been with the girl?

                      BLANE
         What business is it of yours?

                      BELLA
         How long's he been with her...?

                      PINCUS
         How long is a chinaman's name.
              (PAUSE)

                      BELLA
         Can he do the thing?

                      BLANE
         He was doing the thing before you were born.

                      BELLA
         Well, you see, that's what, that's what
         troubles me.
              (PAUSE)

                      BLANE
         Maybe you wanna pray about it.

                      BELLA
         No, I'm not a religious man.

                      BLANE
         That's a shame. Who's got the Uniforms...?

                      PINCUS
         ...I got em...

                      BLANE
         ...the rental trucks...?

                                                              34.


MOORE WALKS UP TO THE CAR, AND HOLDS A CONFERENCE, LEANING IN THE
WINDOW. HE STARTS TO SPEAK, AND A PLANE SCREAMS OVER, HE LOOKS UP
AND PAUSES.

                      BLANE (cont'd)
         Whaddaya got?

                      MOORE
         I got to redo some of these figures.

                      BELLA
         They worked out on the plan, why all a sudden
         now, you...

                      MOORE
         Because, lemme explain it to you: because
         when it starts to go sour, someby's gonna be
         pissing their shit, look'n around, shoot
         someb'y inna head, I'd like to have an
         alternative idea, is the explanation.
              (PAUSE)

TWO POLICE CRUISERS SCREAM BY, LIGHTS FLASHING. BLANE AND MOORE
LOOK AT EACH OTHER AND NOD. MOORE MAKES A NOTE ON HIS CLIPBOARD.

                      MOORE (CONT'D)
         One minute twenty seconds...

                      BELLA
         ...why should it go sour?

MOORE SHAKES HIS HEAD IN DISBELIEF.

                      BELLA (cont'd)
         No, no. No. Teach me something: why should
         it go sour. Was that such a stupid...?
              (PAUSE)

                      MOORE
         Y'ever cheat on a woman?
              (PAUSE)
         Your girl, something...
              (PAUSE)
         Stand her up?

                       BELLA
         ...what...?

                      MOORE
         D'you ever do that?

                       BELLA
         Yeah.

                      MOORE
         When you called her up, d'you have an excuse?

                                                                   35.


                        BELLA
          Yeah.

                       MOORE
          What is she didn't ask?   What was your
          alibi, a waste of time?

BEAT.   MOORE WALKS AWAY.

                       BELLA
          What was that about?

                       BLANE
          Well, you see, that's why he's running the
          crew, n'you're somebody's fucken nephew--
               (PAUSE)
          You don't do anything without: a diversion
          and a back-up plan. Wu'un that your
          question...?

BELLA SHRUGS.

                         BLANE (cont'd)
          Now:    why'd you ask about his wife...?

PAUSE. THERE IS THE SCREECH OF A TRAIN WHISTLE. IN THE B.G. WE SEE
MOORE MAKE A NOTATION, AND WAVE TOWARD BLANE. IN THE STATIONWAGON
BLANE MAKES A NOTE ON A CLIPBOARD, AND WAVES BACK.

IN THE B.G. WE SEE MOORE BECKONING, AND BLANE GETS OUT OF THE CAR.

ANGLE, EXT, THE OVERPASS.    BLANE AND MOORE WALKING TOWARD EACH
OTHER.

MOORE LOOKS BACK TOWARD BELLA, IN THE CAR.    AND LOOKS QUESTIONINGLY
AT BLANE.

                       BLANE (cont'd)
          Yeah, he's holding up. What're you...?

                       MOORE
          I found a Hotwalker for him.

                        BLANE
          ...Fran...?

                       MOORE
          Well, it could be...

                       BLANE
          I don't mean to 'pry'

                       MOORE
          ...then don't pry.
               (NODS, GESTURES TO THE CLIPBOARD)
          I have to redo the figures on the train...

THEN HE SEES SOMETHING OVER BLANE'S SHOULDER.

                                                                36.


ANGLE, HIS POV

ANOTHER CRUISER, WHICH BRAKES, AND SLOWS DOWN, TO EYE THE
STATIONWAGON.

ANGLE

ON BLANE AND MOORE

                      MOORE (cont'd)
              (TO HIMSELF. SOTTO)
         Don't move the car... don't move the car...

                      BLANE
              (WHO IS TURNED AWAY FROM THE
               CRUISER)
         ...is he moving the car...?

ANGLE

ON THE STATIONWAGON, WITH BELLA PUTTING IT IN GEAR, AND MOVING IT
TOWARD BLANE AND MOORE. WE SEE THE POLICE CRUISER TURN IN, TO CUT
THE TWO MEN OFF FROM THE STATIONWAGON.

ANGLE

ON MOORE AND BLANE. AS BLANE OPENS HIS JACKET TO REVEAL A PISTOL
IN HIS WAISTBAND. WE SEE MOORE SHAKE HIS HEAD MINUTELY.

ANGLE.

THE POLICE CRUISER, ROLLING UP BETWEEN THEM AND THE STATIONWAGON.
A YOUNG TROOPER GETS OUT OF THE CAR.

TROOPER WALKS TOWARD THEM UNBUTTONING THE SAFETY SNAP ON THE
HOLSTER. HE LOOKS WARILY AT BELLA AND BLANE.

ANGLE, TIGHT TWO ON MOORE AND BLANE.

                      BLANE (cont'd)
              (TO HIMSELF)
         Oh, maaan...

                      MOORE
              (SOTTO)
         Is he getting out of the car...?

BLANE TURNS.   ANGLE, HIS POV

THE DRIVER'S DOOR OF THE STATIONWAGON OPENING.

ANGLE

BELLA GETTING OUT OF THE DRIVER'S DOOR.   HE TAKES A PISTOL FROM
THE SEAT BESIDE HIM.

ANGLE

                                                                 37.


BLANE AND MOORE.   BLANE NODS TO HIM.

MOORE SHAKES HIS HEAD IN DISGUST. HE REACHES INTO HIS PANTS POCKET
AND EXTRACTS A MINI-AUTO PISTOL THE SIZE OF A HALF-A-DECK OF CARDS.

ANGLE: INS:   HE CYCLES THE ACTION, JACKING A SHELL INTO THE
CHAMBER.

HE PUSHES PAST BLANE.

MOORE WALKS UP TO THE TROOPER, PUTTING THE HAND WITH THE MINI-
PISTOL IN HIS POCKET.

                      MOORE
         Hey: what the hell...? What the hell...?
         Scuse me, scuse me, officer, we were sposed to
         have a detail, doing security for us...

BLANE TAKES HIM BY THE ARM.

                      BLANE
         ...Bobby...?
              (MOORE PULLS AWAY)
         No, it's no big deal, but we're standing out
         here...

                      TROOPER
         ...who did you...?

                      BLANE
              (PULLING MOORE AWAY)
         Forget about...

                      MOORE
         No, it burns my butt... we're out there,
         we're out there, side-of-the-road, workin' on
         the highway, for...
              (TO THE TROOPER)
         I know it's not you, I'm sorry, I know it's
         not you, but...

                      TROOPER
         ...who did you...?

                      BLANE
         ...our boss talked to...

                      MOORE
         If this was the first time...

                      BLANE
         Hey, forget about it, we'll sort it out back
         at the office...

BLANE AND MOORE WALK AWAY FROM THE TROOPER.

                                                                38.


                      BLANE (cont'd)
              (SOTTO)
              (TO MOORE)
         ...He ain't sure yet...
              (MOORE WALKS BACK TO THE TROOPER.)

HE CONTINUES WALKING MOORE BACK TOWARD THE STATIONWAGON.

                      MOORE
              (TO THE TROOPER)
         I'm sorry, I know it's not you, but...

                      TROOPER
         Hey, nothing to it. If...

                      MOORE
         But it's not the first time... we're sposed
         to have police pro...

                      BLANE
         We'll call from the office.
              (TO TROOPER)
         He didn't mean any offense... He didn't mean
         any offense.
              (TO MOORE, AS HE WALKS AWAY)
         ...the man's only doing his job...

MOORE BRUSHES BLANE'S ARM OFF.

BLANE WALKS AHEAD OF MOORE, GETS INTO THE DRIVER'S SEAT.   BLANE
LOOKS IN THE REARVIEW MIRROR.

ANGLE HIS POV.

MOORE WALKS AWAY, AND THEN, BACK TO THE TROOPER.

ANGLE

ON PINCUS AND BELLA IN THE CAR

WE SEE BELLA LOOKING IN THE REARVIEW MIRROR. HE STARTS TO REACH
INSIDE HIS JACKET, AND EXTRACT A PISTOL. PINCUS PUTS HIS HAND ON
BELLA'S ARM.

                      PINCUS
         ...keep it together... keep it together...

                      BELLA
         ...can he cool the guy out...

                      PINCUS
         Just pick up your clipboard, and make like
         you're writing in it.

                      BELLA
         Izzit gonna be cool...?

                                                               39.


                      PINCUS
         ...my motherfucker is so cool, when he goes
         to bed, sheep count him...

ANGLE

EXT THE CAR. ON MOORE AND THE TROOPER AS BLANE GETS INTO THE CAR.
AS MOORE, OBVIOUSLY APOLOGIZING, SHAKES HANDS WITH THE TROOPER, AND
THEN STARTS TO WALK AWAY. CAMERA TRACKS WITH MOORE, AS HE TAKES
OUT A PACK OF CIGARETTES AND A MATCH. ANGLE, INS.

ON HIS HANDS, AS THEY SHAKE SO BADLY HE CAN HARDLY LIGHT THE
CIGARETTE.

ANGLE, INT.   THE CAR.   AS MOORE GETS INTO THE BACKSEAT.

                      MOORE
         I'm trina... I'm trina...
              (TO BELLA)
         You fucken lame, you want to leave me dead,
         th'whole crew, the side of the highway?

                         BELLA
         I...

                      MOORE
         You fucken cowboy, I oughta
              (TO MOORE)
         Tell me why I don't leave him out inna ditch
         somewh...
              (TO PINCUS)
         Get us the fuck outtahere.

PINCUS MOVES BEHIND THE WHEEL, AND THE CAR BEGINS TO DRIVE OFF.

                      BLANE
              (SHRUGS SHOULDERS)
         Hey, I vote we do...

                      MOORE
         ...put you down like the fucken dog you
         are... you gonna come, shoot your way to
         stardom? Don't do any...

                         BELLA
         ...I only

                      MOORE
         I don't want you to do anything unless and
         until... we hit the City, ditch the car.

                         BELLA
         ...I'll...

                      MOORE
         You do it, you do it.
              (PAUSE)
         You do it, Pinky...

                                                                 40.


HE WIPES HIS HAND OVER HIS MOUSTACHE.    TAKES OFF HIS HARDHAT, AND
WIPES THE SWEAT FROM HIS BROW.

INT BOAT REPAIR SHOP NIGHT

A SPRAY OF SPARKS FROM A WELDING UNIT.

ANGLE

ON MOORE, AS HE PUTS UP THE SHIELD ON A WELDER'S MASK, WIPES HIS
BROW, PUTS THE SHIELD DOWN AGAIN, AND CONTINUES CUTTING WITH AN
ACETYLENE TORCH ON A LARGE, INDUSTRIAL AIR-CONDITIONING UNIT.

ANGLE

IN THE B.G. A RYDER RENTAL TRUCK.

ANGLE.   ON PINCUS AND BLANE, AS A LONG ASSEMBLY TABLE.

BLANE HOLDS A LEGAL PAD, AND IS MAKING NOTATIONS ON IT.

HE SPEAKS TO PINCUS, AS CAMERA PANS OVER THE TABLE, HOLDING ON
BLANE'S HANDS AS HE CHECKS THE VARIOUS PROPS.

WE SEE: A SECURITY GUARD'S UNIFORM. A LEATHER BADGECASE, HOLDING
A GOLD BADGE, SEVERAL SMALL METAL CANNISTERS, A TOOLKIT, A UTILITY
BELT HOLDING TOOLS. SEVERAL WALKIE TALKIES.

PINCUS AND BLANE CONVERSE, V.O.

                       PINCUS
          The thing of it is, the thing of it is, it's
          a question of redistribution...

                        BLANE
          How's that?

                       PINCUS
          The question: how do we get the money from
          there to here... it's just a question in
          logistics.

                       BLANE
          "What is the robbing of a bank, compared with
          the founding of a bank?"

                       PINCUS
          Who said that?

                       BLANE
          Anybody ever applied for a loan.

ANGLE

ON THE TWO, AS BLANE HANDS THE CLIPBOARD TO PINCUS.

                       PINCUS (cont'd)
          ...load it up?

                                                                  41.


BLANE NODS. THEY BEGIN HAULING THESE PROPS AND SUPPLIES INTO THE
TRUCK, AND LOADING THEM INTO THE "FALSE" (HOLLOW) ENGINE.

BLANE LOOKS OUT OF THE BACK OF THE TRUCK.

ANGLE, HIS POV.   A CAR PULLS UP OUTSIDE THE SHED.   BELLA GETS OUT.

ANGLE

ON BELLA, AS HE WALKS INTO THE SHED.   HE TAKES OUT AN ENVELOPE.

ANGLE, ON BLANE, WHO OPENS THE ENVELOPE.    TO REVEAL CASH INSIDE.

                      BELLA
         ...expenses for the truck, and...

                      BLANE
         Yeah, I got it. I got it.     Okay.

BELLA WALKS OFF, AS FRAN ENTERS FROM THE "LIVING" AREA OF THE
BOATSHED, HOLDING TWO CUPS OF COFFEE.

FRAN STARTS TO OPEN HER MOUTH, SMILING, AS HE STARTS TO PUT DOWN
THE CUP OF COFFEE, MOORE GIVES HER AN INFINITESSIMAL SHAKE OF HER
HEAD. AND MOTIONS TOWARD BELLA. FRAN NODS IN AGREEMENT, AND, NOT
BREAKING HER STRIDE, WALKS TOWARD BELLA.

                      BELLA
              (TO FRAN)
         Well, then...

                      FRAN
         ...that's right.
              (PAUSE)

                      BELLA
         ...long time.
              (PAUSE)

                      FRAN
         ...that's right.

ANGLE

ON MOORE, LOOKING AT THEM.

ANGLE, HIS POV:

BELLA AND FRAN, IN THE B.G., BELLA CHATTING FRAN UP.

ANGLE

ON BLANE AS HE WALKS OVER TO MOORE, AT THE WELDING STATION.     HE
HANDS MOORE THE ENVELOPE.

                      BLANE
         The plan gonna work?

                                                               42.


                      MOORE
         It's gonna work if we make it work.   How's
         Fran doing?

                      BLANE
         Looks like he maybe wantsa take her to the
         Prom.

MOORE SMILES, AND NODS.

                      MOORE
         Well, it's always the pretty girl stays
         home, innit?

                      BLANE
         Izzat what they said in the White
         Community...?

                      MOORE
         That's what I hear.

                      BLANE
         And I hear, if you get a goose, it keeps the
         fox off the chickens.
              (LOOKS AT FRAN AND BELLA)
         What does that lady see in you, by the way?

                      MOORE
         I'm very resilient.

                      BLANE
         Yeah, so's Gumby.

                      MOORE
         I got a more striking profile.

PINCUS WALKS UP.   HE AND BLANE WALK ACROSS THE SHOP FLOOR, BLANE
LIMPS SLIGHTLY.

                      BLANE
         They're gonna leave that on the cutting room
         floor, Buenos Aires.

                      MOORE
         I never liked the way I looked anyway...

                      PINCUS
              (AS HE LOOKS OVER HIS SHOULDER AT
               FRAN AND BELLA, SOTTO)
         ...seems to be coming along nicely.

                      BLANE
              (SOTTO)
         My boy there, like to Fertilize the Flowers.

                      PINCUS
         ...how's your leg?

                                                                43.


                      BLANE
         You should see the other guy...

                      PINCUS
              (TO MOORE)
         ...when we do the switch, the Highway...

MOORE SHAKES HIS HEAD, INDICATING BELLA.

                      PINCUS (cont'd)
         ...he can't hear...

                      MOORE
         ...he can't hear what you don't say...

                      PINCUS
         I'm gonna be as quier as an ant pissing on
         cotton.

MOORE FIRES UP THE TORCH, AND BEGINS CUTTING AGAIN.

ANGLE, IN THE B.G. FRAN AND BELLA.

BLANE WALKS PINCUS AWAY FROM MOORE.

                      BLANE
              (SOTTO)
         Don't think it, Baby. Don't think it: Don't
         be as quiet as an ant pissing on cotton, don't be
         quiet as an ant thinking about pissing on
         cotton. You be quiet as an ant not even
         thinking about pissing on cotton.

THEIR WALK TAKES THEM TO BELLA AND FRAN.    FRAN IS LAUGHING.

                      FRAN
         ...our friend was telling me "What Made Him a
         Criminal..."

                      BLANE
         I'll get the beer and pretzels.

                      BELLA
         ...what made you a criminal?

                      BLANE
         Nobody made me a criminal.     I am a Criminal.

MOORE WALKS OVER.

                      MOORE
         How we doing?

HE GATHERS THEM AROUND A TABLE.

                      BLANE
         How you doing?

                                                               44.


                       MOORE
          I'm done.
               (PAUSE)
          Well, that's it them.

MOORE GETS UP, CAMERA TAKES HIM TO THE RYDER TRUCK. HE OPENS THE
BACK, AND WE SEE HIM OPEN WHAT APPEARS TO BE THE SOLID MOTOR, WHICH
IS REVEALED TO BE HINGED AND HOLLOW.

BLANE FOLLOWS HIM, AND HANDS HIM SEVERAL FIREARMS, WHICH HE
SECRETS IN THE HOLLOW SPACE.

                       MOORE (cont'd)
          You got the detonators?

BELLA HOLDS UP SEVERAL PUTTY COLORED PACKAGES OF PLASTIQUE, WHICH HE
TAKES OFF OF THE TABLE, BEARING THE PROPS.

                       BELLA
          ...din we check'em?

                       MOORE
          I know we checked'em. What I'm doing, I'm.
          I'm asking you a question.

                       BELLA
          What happened to Check It an Forget it?

                       MOORE
          Yeah, well, I went to the Other camp, which
          is Fuss it to Death, and Fuck it into a
          Cocked Hat, or do you want to run the
          show...?

PAUSE.   THEY EXCHANGE A LOOK.

BELLA WALKS AWAY SHAKING HIS HEAD.

                       BLANE
          Then we ready to Go Do it?

                       PINCUS
          I'm ready to go do it, you know why? I never
          liked the Swiss in any case. You know
          why? They make those little clocks, two
          cocksuckers come out of them, little
          hammers, hit each other on the head.
               (PAUSE)
          What kind of sick mentality is that?

ANGLE, ON BLANE AND BELLA, AS BELLA LOOKS OVER AT MOORE.

ANGLE.   ON BELLA, AS HE WALKS OVER TO FRAN.

THEY BOTH LOOK BACK AT MOORE, WHO IS LOADING UP THE TRUCK.

                       BELLA
          Z'he gonna hold up?

                                                              45.


                      FRAN
         Why would you put a man in a position, he's
         got no way out?

                      BELLA
         What is that, your philosophy?

                      FRAN
         That's right.

                      BELLA
         ...what is it to you?

                      FRAN
         ...he's my Husband.

                      BELLA
         Whose fault is that, you wanna think about
         it? Listen:...

                        MOORE
                (IN THE B.G.)
         I...

ANGLE, ON BELLA, AS HE TURNS.

                      BELLA
         ...you gonna make an Impassioned Speech?

                        MOORE
         Yeah:    Let's go get the money.

                      BLANE
              (TO BELLA AND PINCUS)
         You clean the place down, n'y'thing'll burn,
         burn it..., nobody's coming back here, nothing
         that we need, don't leave it f'somebody else.

PINCUS LIGHTS A FIRE IN A 55 GALLON DRUM.

ANGLE, ON MOORE, AS HE WALKS TO THE FRONT OF THE SHED, AND LOOKS
OUT AT HIS BOAT.

FRAN COMES UP BEHIND HIM.

                      FRAN
         Z'it gonna work?

                      MOORE
         It's either gonna be a monumental heist, or a
         real amusing anecdote.
              (PAUSE)

                      FRAN
         ...I love you, Joe...

                        MOORE
         Why?

                                                              46.


                      FRAN
         You know why? Because you're thorough.

                      MOORE
         I hope to tell you...

SHE TURNS TO WALK BACK INTO THE SHED. HE TURNS TO LOOK AT HER.
IN THE B.G. WE SEE PINCUS FEEDING PAPERS INTO THE FLAMES.

ANGLE. EXT THE BOATSHED, ON THE GROUP, BLANE MOORE, PINCUS AND
BELLA, AS THEY WALK TOWARD THEIR CARS.

PINCUS IS ON THE PHONE IN THE B.G. (ON A CELLPHONE)

MOORE STOPS TO LOOK AT HIS BOAT.

                      BELLA
         You gonna miss it?

                        MOORE
         What?

                        BELLA
         Your boat?

                      MOORE
         Well, it's a nice boat.

                      BELLA
         Hey, baby, after this job, you're gone have
         enough money, make this look like a Boat inna
         Bathtub.

                      MOORE
         That's right.

PINCUS GOES TOWARD MOORE EXCITEDLY.

                      MOORE (cont'd)
         ...what is it?

                      PINCUS
         ...they found the car.

                        MOORE
         ...what car?

                      PINCUS
         ...the car we used at the Overpass. The cops
         found it, I heard it on the police band.

                      MOORE
         ...they found it, how'd they find it?    I tole
         you to it? I tole
         you to ditch it in...

                       PINCUS
         I, I.   I stopped off to see my niece, I...

                                                          47.


                      MOORE
         Did you wipe it down...?

                      BLANE
         You sonofabitch, what do you mean, you stopped
         off to see your...

                      MOORE
         Did you wipe it down...?

                      BELLA
         ...what does this do to the Job...?

                      BLANE
         Man, you din't wipe it down, they're gonna
         be on you, they're gonna be on all of us...

                      BELLA
         ...what about the Job...?
              (PAUSE)

                      MOORE
         The job stands...

                      PINCUS
         ...I'm sorry, Joe.

                      MOORE
         Shut up. The job stands.
              (HE LOOKS AROUND)
         This joint is burnt.

                      BLANE
              (TO BELLA)
         Come with me...

                      MOORE
         Meet at the Overpass.

                      BELLA
         ...the job stands...?

                      MOORE
         The meet at the overpass.   The 14th...

                       PINCUS
         Joe.   Joey, I...

                      MOORE
         Get him out of here.

                      PINCUS
         ...I don't see how they could of found the
         car...

BLANE STARTS MOVING BELLA OVER TO A CAR.

                                                               48.


                       BELLA
               (AS HE GETS INTO A CAR)
          You go on...

WE SEE BELLA AND BLANE, IN TWO SEPARATE CARS, BEGIN TO DRIVE OFF.
WE SEE MOORE, IN FOREGROUND, BEGIN TO WALK BACK TOWARD THE
BOATSHED, AND PINCUS, IMPLORING, HANGING ON HIS ARM.

ANGLE, TIGHT ON PINCUS AND MOORE.

                       PINCUS
          Joe. Joe, I swear to God.      I swear to God,
          I... are they gone...?

                       MOORE
               (LOOKS OVER PINCUS SHOULDER)
          They're gone.

                       PINCUS
          Well, then, you get gone, too.

                       MOORE
          ...that's right.

BEAT.   THEY EMBRACE.

MOORE TAKES OUT THE MONEY ENVELOPE.

                       PINCUS
          You take care, Pally.

                       MOORE
          You get his cut to Bobby...?
               (PINCUS NODS)

                       PINCUS
          You gonna be Okay?

                       MOORE
          I'm okay now.

                       PINCUS
               (OF THE ENVELOPE)
          Yeah? What do you do for cash?

                       MOORE
          ...we're taking down the Boat guy.

                       PINCUS
          You're taking down the boat guy...

                       MOORE
          That's right.

                       PINCUS
          That's your case money...

                                                             49.


                      MOORE
         It's enough, get us away...

                      PINCUS
         And then Aloha.

                      MOORE
         That's right.
              (PAUSE)

                      PINCUS
         S'a shame, you know what, we din't get a
         chance, actually do the thing. The Swiss
         job. At's a beautiful plan.

                      MOORE
         So was World War One.

                      PINCUS
         ...no, it's a beautiful plan, Joe.     You're the
         maestro.

                      MOORE
         Yeah, well, it's all in a lifetime...

                      PINCUS
         Izzat so?

                      MOORE
         That's what they tell me.
              (PAUSE)

                      PINCUS
         See you, Joe.

                      MOORE
         I'll send you a Papaya.

                      PINCUS
         They're good for digestion.

                      MOORE
         Say good-bye to your niece.

PINCUS PINCHES MOORE ON THE CHEEK.

THEY EMBRACE.

                      PINCUS (cont'd)
         Joe, you're the motengator.

                      MOORE
         Cute, huh?

                      PINCUS
         ...cute as a pail full of kittens...

                                                               50.


PINCUS GETS INTO HIS CAR. MOORE CHECKS HIS WATCH, AND GETS INTO
HIS CAR. CAMERA FOLLOWS MOORE ONTO HIS BOAT, WHERE WE SEE HIM
BEGIN CASTING OFF LINES.

INT THE BOAT'S CABIN

WE HEAR A THUMP.   ON THE DECK.   MOORE LOOKS UP.

CAMERA TAKES MOORE UP ONTO THE DECK, WHERE FRAN HAS PLACED A LARGE
SUITCASE. MOORE TAKES IT DOWN INTO THE CABIN. FRAN FOLLOWS.

                      MOORE
         I would of done that.

                      FRAN
         No, I'm the Frontier Wife.

                      MOORE
         ...that's right...

                      FRAN
         You ready to go?

                      MOORE
         Soon as we get the money.      Call the guy.   Get
         us the money...

FRAN TAKES OUT A CELL PHONE.   MOORE SHAKES HIS HEAD.

                       MOORE (cont'd)
         Landline.

HE COMES UP ON THE DECK.

ANGLE

MOORE AND FRAN, ON THE DECK, WALKING TOWARD THE MARINA.

                      FRAN
         You'll miss the guys.

                      MOORE
         Buncha Old Men, talkin' about Old Touches...

                      FRAN
         ...that's right...

                      MOORE
         Cuttin up Old Touches, th'time So and So
         overslept. You know what...?

                      FRAN
         No, but you do.

                                                              51.


                      MOORE
         Then I'll tell you what, is pee ess, if my
         name's on the thing, then whose fault is it
         in the First Place, we're having, fight our
         way Back to Even.

                       FRAN
         Well.   You've been kicking yourself some...

                      MOORE
         ...that's right.

CAMERA TAKES THEM UP INTO THE LIVING QUARTERS. MOORE GOES
THROUGH THE DRAWER OF A DESK. AS FRAN PICKS UP A PHONE AND DIALS.

                      MOORE (cont'd)
         In a contest of Cunning, a Stupid Person will
         get the better of a Smart one Every Time...
         Who said that...?

                      FRAN
         You did, Baby...

                       MOORE
         Well.   Help me remember it, huh...?

                      FRAN
         ...that's right...
              (PAUSE)

                      MOORE
         You know, we're goin' down there with
         nothing...

                      FRAN
         We'll get the boat money...

                      MOORE
         ...yeah?

                      FRAN
         That's enough to start over.

                      MOORE
         Is it enough for you...?

                      FRAN
         The Lord hates a coward...
              (SHE REACTS TO THE TELEPHONE)
              (TO PHONE)
         Mr. Mr. Fletcher -- Mr. Robert Fletcher...
         Well, do you... he asked me to call him back
         at... Thank you...
              (TO MOORE)
         How you doing?

                      MOORE
         I'm about ready to go South.

                                                           52.


                      FRAN
         South we go, Baby.

                      MOORE
         ...that's right.

                      FRAN
              (LOOKING AROUND)
         You set to walk away from it?

                      MOORE
         Hey, I got you, what do I care...?

                      FRAN
              (ON PHONE)
         Hello Mr...

                      MOORE
              (SOTTO)
         Smile at the man, tell im cash, I'm coming to
         get the money. Right now... find out where
         he...
              (FRAN NODS)

                      FRAN
         Hello, Mr. Fletcher, I... This is Fran,
         from... Yes, I'm sorry to... you gave me this
         number. On your ccc... Yes, I'm... Well, no,
         yes, I'll be glad to call back Monday, but we
         aren't going to have a boat... but we, we
         just had a situation where, if, No, I
         realize that, Sir, I don't want to keep you
         from your pl... I'm calling, because you told
         me that...
         Well, it could wait till Monday, but we have
         another buyer interested in the bbb...

ANGLE, ON MOORE, NODDING HIS ENCOURAGEMENT TO HIM.

                      FRAN (cont'd)
         I'm calling to say that if, if you want to
         make a cash, an immediate cash deal, at the
         figure which... Well, thank you, sir, that is
         exactly my attitude.

SHE SMILES AND NODS AT MOORE, HE SMILES BACK.

                      FRAN (cont'd)
         Superior... Well:

SHE LOOKS TO MOORE FOR DIRECTION.

                      MOORE
              (SOTTO)
         Tell him what he needs to hear.

SHE OFFERS THE PHONE TO MOORE, WHO SHAKES HIS HEAD "NO."

                                                                   53.


                         FRAN
                 (TO PHONE)
            Could, you, could you, hold...

SHE COVERS THE MOUTHPIECE.

                         MOORE
            Flirt with the guy.

                         FRAN
                 (COVERING THE MOUTHPIECE, TO
                  MOORE)
            No problem. Can we meet him at His Bank.

                          MOORE
            Superior.   You get the address.   When?

                         FRAN
                 (TO MOORE)
            I caught him going out of town, he... he
            wants to meet next...

                         MOORE
            Right now. Right now, tell him we got
            another buyer, we...

ANGLE.   SHE LOOKS OVER MOORE'S SHOULDER.

ANGLE XCU

FRAN LOOKING FRIGHTENED.

ANGLE HER POV

OVER MOORE, HE SEES SOMETHING OVER HER SHOULDER.       MOTIONS HER TO
KEEP TALKING.

ANGLE

MOORE POV. OVER HER SHOULDER, THROUGH A PLATEGLASS WINDOW, INTO
THE SHED, INTO THE DARK MACHINESHOP/FOUNDRY AREA OF THE BOATYARD.

A DARK FORM, A MAN MOVING.

ANGLE

ON FRAN, AS SHE BEGINS TO LOWER THE PHONE, AS SHE LOOKS AT
MOORE.

ANGLE, ON MOORE, AS HE LEAVES THE BEDROOM AREA THROUGH A BACKDOOR.

ANGLE FRAN, ON THE PHONE.

                         FRAN (cont'd)
            ...hello... hello...?

ANGLE ON MOORE, GOING OUT THE BACK DOOR, GESTURING HER TO MOVE
AWAY FROM THE WINDOW.

                                                                 54.


ANGLE, ON FRAN, AS SHE CONTINUES TALKING, MOVING OUT OF THE SHOT.

ANGLE

ON THE PHONE CORD JACK, IN THE WALL, AS IT PULLS OUT OF THE WALL.

ANGLE

ON MOORE CLIMBING DOWN AN IMPROVISED STAIRWAY-LADDER, TO THE LEVEL
OF THE BOATYARD, IN THE B.G., WE SEE FRAN, STILL TALKING ON THE
PHONE, MOVING OUT OF THE WINDOW.

ANGLE

MOORE, MOVING THROUGH THE MACHINESHOP AREA, PAST SEVERAL MOTORS AND
MARINE TRANSMISSIONS, HUNG FROM THE CEILING ON HOISTS.

ANGLE

THE FORM OF THE MAN, SILHOUETTED IN THE LIGHT FROM THE OPEN SHED
DOOR, LEADING TO THE MARINA. ANGLE, ON MOORE COMING UP BEHIND THE
MAN, MOORE LOOKS OUT OF THE SHED, CHECKING FOR THE PRESENCE OF
OTHERS. HE TURNS BACK, AND COMES UP BEHIND THE MAN IN THE SHADOWS.

                      MOORE
         ...would you move into the light...? No,
         don't turn around. Just move into the
         light...

ANGLE

FROM THE FRONT, THE MAN MOVES FORWARD, AND WE SEE IT IS BELLA,
THE YOUNG MAN FROM BERGMAN'S OFFICE.

ANGLE

FROM THE REAR, WE SEE BELLA WALK FORWARD TO A GLASSED OFFICE
AREA. WE SEE HIS REFLECTION, AND, BEHIND IT, MOORE'S REFLECTION.

WE SEE MOORE STICK A PISTOL BACK INTO THE WAISTBAND OF HIS PANTS.

                      MOORE (cont'd)
         What do you want?
              (PAUSE)
         What're you, the Social Service Lady?
              (PAUSE)

                      BELLA
         ...I...

                      MOORE
         ...what did you, come to take the Baby
         back...?

HE MOTIONS HIM FORWARD, INTO THE OFFICE AREA.    MOORE FOLLOWS HIM
AND TURNS ON THE LIGHTS.

                                                                55.


                       MOORE (cont'd)
          What do you want?

BELLA WALKS TO A WORKTABLE.

ANGLE:   ON MOORE, AS HE EXCHANGES A LOOK WITH FRAN.

                       BELLA
          I forgot my copy of the plans.
               (PAUSE)

                       MOORE
          How about that.
               (HE LOOKS AT BELLA AND THEN AT
                FRAN)
               (PAUSE)

                       BELLA
          You got to do the job, Joe.
               (PAUSE)
          Lookit me like I'm your Good Angel.   You
          can't walk away from it.

ANGLE, AS MOORE LOOKS AT FRAN.

                       FRAN
               (ON PHONE)
          Hello... Hello...?

                       MOORE
          ...try him back...

                         FRAN
          ...hello...?

ANGLE, ON FRAN, AS SHE FOLLOWS DOWN THE CORD, TO WHERE IT HAS
PULLED OUT OF THE WALL.

                       MOORE
          ...call him back...

IN THE B.G. FRAN REDIALS THE PHONE.

                       BELLA
          You got to do the job...

                       MOORE
          Hold on, here...
               (HE WALKS OVER TO FRAN.)

                       FRAN
               (ON PHONE)
          Mr. Fletcher. I... I was just talking with
          him. I... well, can you give me that
          number...? Well, can you re... can you
          reconnect mmm...
               (PAUSE)
          I... I see.

                                                                56.


SHE HANGS UP. SHE AND MOORE EXCHANGE A LOOK.   SHE SHAKES HER
HEAD. MOORE WALKS BACK DOWN TOWARD BELLA.

                      MOORE
         Din't you just make yourself dispensable?

                      BELLA
         You got to do the job. Can you shoot me and
         walk away from it? You know they'll kill you.

                      MOORE
         You my self-help program...?

MOORE TURNS TO LOOK AT FRAN, WHO SHAKES HER HEAD.

                      BELLA
         You gone shoot me, go on the run, with
         nothing? With that pretty little thing?

                      MOORE
         That would be my wife.

                       BELLA
         Is that so?

                      MOORE
         That's correct.

                      BELLA
         What does she see in you, anyway?

BELLA TURNS TO LOOK AT FRAN.

                      BELLA (cont'd)
         ...you must be hung like Man of War...

MOORE LUNGES FOR HIM AND GRABS HIM BY THE THROAT.

                      MOORE
         You wanna play the dozens. Here you go: They
         called, there was a bookkeeping error at the
         Hospital, you died at birth. Your turn...

                      FRAN
         Joe, leave him...

                     MOORE
         Eh? Cat got your tongue?   You wanna make
         peace.

                       FRAN
         ...Joe

                      MOORE
         Don't you know when a man's whipped, for
         chrissake?

                                                                 57.


MOORE WALKS BACK TOWARD HIS WIFE.   HE MAKES A "TELEPHONE" GESTURE,
AND LOOKS A QUESTION AT HER.

                       MOORE (cont'd)
          ...the boat guy?

                       FRAN
          ...slipped off.

                       MOORE
          Call him back.
               (PAUSE)
          Get him back.

                       FRAN
          ...he's gone.
               (PAUSE)
          I'm sorry, Joe.

                       MOORE
               (TO BELLA)
          Get up.

                       BELLA
          What're you gonna do.

                       MOORE
          I'm gonna be Don Ameche in a taxi, honey.
               (PAUSE)
          Get up.

                          BELLA
          ...and what?

                          MOORE
          Get out.
               (PAUSE)
          Get out.

BEAT.   BELLA RETREATS.

MOORE LOOKS AT FRAN.

                       MOORE (cont'd)
          You wanna tell me what I'm going to do...?
               (PAUSE)

                          FRAN
          I...

MOORE WAVES HER OFF, AS IF TO SAY, "I'M THINKING..."

INT DARK BOXING GYM NIGHT.

A YOUNG FIGHTER HITTING THE HEAVY BAG.   IN THE DARK GYM.   HE
LOOKS AROUND.

ANGLE, HIS POV.

                                                                  58.


MOORE, MOVING THROUGH THE DARK GYM.

ANGLE INT. SMALL EQUIPMENT ROOM.

ANGLE INS.

A DOORKNOB.   A SMALL PILE OF QUARTERS RESTING ON THE TOP.

THE KNOB TURNS, AND THE QUARTERS FALL OFF, CLATTERING ONTO THE
FLOOR.

ANGLE INT THE ROOM.

BLANE, IN HIS UNDERWEAR, COMING OFF OF A COT. HE THROWS OFF A
BLANKET REVEALING A SMALL SHOTGUN, WHICH HE LEVELS AT THE DOOR.

ANGLE

THE DOOR, SWINGING OPEN, NO ONE BEYOND.    WE HEAR MOORE'S VOICE.

                      MOORE
         It's me, put it away.

ANGLE

ON MOORE, AS HE WALKS INTO THE ROOM.   TO CONFAB WITH BLANE.

                      BLANE
         ...the fuck you doing, sneaking in on a man,
         middle of the

MOORE NODS, HALF-CLOSES THE DOOR.

ANGLE EXT THE GYM.

SEMI-INDUSTRIAL AREA. FRAN, STANDING BY THE GYM'S DOOR.      SEVERAL
SMALL CHILDREN PLAYING UNDER A STREETLIGHT.

ANGLE

ON FRAN, AS SHE COMES INTO THE GYM, AND STANDS, WATCHING THE
BOXER, WHO IS GOING BACK TO HITTING THE HEAVY BAG. HE TURNS TO
LOOK AT HER.

                      BOXER
         What you doin here?

                      FRAN
         Well, you know, I'm with my friends...

                      BOXER
         I don't see nobody else here...

                      FRAN
         No, that's right...

ANGLE, ON HER, POV.

                                                                 59.


MOORE AND BLANE, THROUGH THE HALF OPENED DOOR, AS BLANE FINISHES
DRESSING.

                      BLANE
         Baby, you shuunt be on the streets, the first
         place...

                      MOORE
         ...what's the move...?

                      BLANE
         The move is:
              (PAUSE)
         The move is we got to get the gold.

BLANE MOVES OUT OF THE ROOM.

WE FIND HIM AND MOORE ON THE SECOND FLOOR RICKETY BALCONY
OVERLOOKING THE SMALL GYM BELOW. WE SEE FRAN BELOW

MOORE AND BLANE COME DOWN THE STAIRS.

THEY MEET FRAN.   AND BLANE STARTS DRIVING THEM IN THROUGH A SMALL
DOOR.

ANGLE INT GARAGE.

BLANE TURNS ON THE LIGHTS TO REVEAL A SMALL    FILTHY GARAGE. AN OLD
RUSTED PICKUP TRUCK, ONE WHEEL GONE, UP ON    A JACK. STREETLIGHT
COMING IN THROUGH DIRTY WINDOWPANES SET IN    THE GARAGE DOOR. AS
THEY ENTER THERE IS A NOISE OUTSIDE, MOORE    FLINCHES.

                      BLANE (cont'd)
         ...kids on the street. Always kids on the
         street.

THEY MOVE TO A BENCH. WHERE BLANE STARTS FILLING A PERCOLATOR
FROM A UTILITY SINK. MOORE SITS ON SOME OLD, DISCARDED BOXING
EQUIPMENT--A DISASSEMBLED SET OF PIPES, WHICH STILL HOLD AN OLD,
ROTTEN, LEATHER "HEAVYBAG."

                      MOORE
         I can't go for the gold til I can see how to
         get it home...

                      BLANE
         Well, then, we just got to think a little
         harder.

                     FRAN
             (AS SHE ENTERS THE ROOM.)
         Yes. That's right.

                      BLANE
         The nephew don't come back, the first place,
         you're down on the Tropic Isle.
              (PAUSE)
         You shoulda left him on the side of the road.

                                                 60.


             MOORE
Uh huh... why'd you leave him the plans?

             BLANE
Why'd I leave him what?

             MOORE
Why'd you leave him the plans?

            BLANE
What...?

             MOORE
He forgot his "cheat sheet."     S'why he came
back.

             BLANE
Yeah, no, he din't forget his cheatsheet,
cause I got it right here.
     (HE RUMMAGES IN THE GYMBAG, AND
      PRODUCES SEVERAL SMALL FOLDERS)
What'm'I, going to go leaving papers in the
hands of some lame? Are you kidding me...?
He said what?

             MOORE
He said that's why he came back.

             FRAN
He came back for me
     (PAUSE. THEY TURN TO LOOK AT
      HER.)
He came back to make sure I was okay.
     (PAUSE)
I knew him from before.

             MOORE
Well, hell, for the luvva god, we're going to
do something, let's do it. Okay. Okay:
Fran:

            FRAN
Yes.

             MOORE
You want to suit up?

             FRAN
...that's right.

             BLANE
What's the shot?

             MOORE
     (TO FRAN)
You got to Kiss Rings.

                                                               61.


                      FRAN
         ...you point me.

INT LOWER MIDDLE CLASS TRACT HOUSE KITCHEN NIGHT.

SHOT FROM THE KITCHEN INTO A SMALL HALLWAY.

PINCUS, KISSING GOODNIGHT TO A LITTLE GIRL, THE LITTLE GIRL'S MOTHER
COMES INTO THE SHOT, AND LEADS HER OFF. THE LITTLE GIRL WEARS A
BATHROBE.

ANGLE

ON PINCUS AS HE COMES INTO THE KITCHEN.

ANGLE, HIS POV

MOORE, SITTING AT THE KITCHEN TABLE, BLANE NEXT TO HIM, A CUP OF
COFFEE AHEAD OF HIM, STARING DOWN AT SOME SHEETS OF PAPER.

PINCUS SITS DOWN, AND PICKS UP A LEGAL PAD.    PAUSE.

MOORE PICKS UP A PHONE, LISTENS FOR "DIALTONE," REPLACES IT.

                      MOORE
              (OF THE PLANS IN FRONT OF HIM)
         What're we forgetting...?

                      BLANE
         How did we get away with the Gold?

                        MOORE
         Oh yeah.
              (PAUSE)

                      PINCUS
         Robert the Bruce. Watched this Spider, try,
         three hours, to spin this web...

                        MOORE
         Uh huh...

                      PINCUS
         Til finally...

                        MOORE
         Yeah?

                      PINCUS
         He succeeded.
              (PAUSE)

                      BLANE
         That's the worst story I've ever heard.

ANGLE, ON MOORE, AS HE SITS THINKING, WITH PINCUS AND BLANE IN THE
B.G.

                                                                 62.


                       PINCUS
              (SHRUGS)
         And it gave him the Idea.     To conquer
         Scotland.

                      BLANE
         I don't get the connection.

MOORE LOOKS AT HIS WATCH.   THE PHONE RINGS.   MOORE PICKS UP THE
PHONE.

                      MOORE
              (TO PHONE)
         Put him on.

INT MANSION NIGHT.

THE SUMPTUOUS STUDY OF BERGMAN'S HOUSE. BERGMAN, IN ROBE AND
PYJAMAS. A BODYGUARD IN A SUIT, BELLA, AND FRAN. THE BODYGUARD
PASSES THE PHONE TO BERGMAN.

                      BERGMAN
              (TO PHONE)
         Are you fucken with me? Are you fucken with
         me, or are you done fucken with me? Because
         I've just "financialized" the problem, and
         you've just become more trouble than you're
         worth.
              (PAUSE)
         She says you're gonna do the job. You said
         that before, why now? What is it, all a
         sudden...?
              (PAUSE)
         Everyone needs money. That's why they call it
         "money..."
              (PAUSE)
         Well, let me add this sweetener. You do the
         job. You do the job, r'else I turn you over,
         I drop a fucken dime on you, you're so hot, I
         on'y got to dial five digits. How strict is
         that? How strict is that, you fucken lame?
         ...I'm sorry that I have to speak this way,
         in front of a Woman... were it not for who,
         I'd waste your fucken ass. You said you're
         goin' the job? Do the job, you're done with
         the Charade. Save your bold moves for the
         brilliant players.
              (HE HANGS UP)
              (TO FRAN)
         I'm sorry for my language.

                      FRAN
         Well, it's only words.

                      BERGMAN
         That's absolutely right.

BERGMAN MOTIONS BELLA TO HIS SIDE, THEY WALK INTO A KITCHEN AREA
WITH FRAN IN THE B.G.

                                                63.


             BERGMAN (cont'd)
     (TO BELLA. SOTTO)
You're in my position, what do you do?
     (PAUSE)
What did she tell you?

               BELLA
He's scared.

             BERGMAN
I've never known him scared.

             BELLA
She says he's getting old.

             BERGMAN
...she said that...

             BELLA
He's broke. He's made. The cops're looking
for him. He don't want to go out there with
nothing.
     (PAUSE)
She says that he'll do the job.

             BERGMAN
...she does...

             BELLA
...she...
      (HE HESITATES)

               BERGMAN
...please...

             BELLA
I think, the thing, she came to plead for
him.

               BERGMAN
...she did.    She came to plead for him?

               BELLA
I think so.

             BERGMAN
The sonofabitch screwed me once, he's gone
screw me again. Why, why, why would she think
that I'd believe her?

             BELLA
She came to me...

               BERGMAN
To you.
     (PAUSE)
Ah.

                                                                 64.


                       BELLA
           ...yes.

                        BERGMAN
           He put her up, to come to you.

                        BELLA
           I think she came to me on her own.
                (PAUSE)

                        BERGMAN
           Well, no, but as Rational Men, don't we
           have to "doubt" her?

                        BELLA
           She thinks the guy's weak, he's scared, she's
           scared, I think she's sincere.

                        BERGMAN
           Then, let me put a question to you: you had
           the job... you had the job... how would you
           test her sincerity...?

ANGLE

ON FRAN.   AS BERGMAN AND BELLA REEMERGE.

                        BERGMAN (cont'd)
           Okay, we're All on One Team, all arrayed
           against a Common Enemy? Thank you for coming,
           I'm an old Man, I'm going to bed...

                        BELLA
                (TO FRAN)
           I'm going to see you back.
                (HE TAKES HER BY THE ARM.)

ANGLE EXT THE MANSION, VARIOUS CARS PARKED IN THE CIRCULAR DRIVEWAY.
BELLA WALKS FRAN TO HER CAR. HE STARTS TO GET IN.

                        FRAN
           I'll be alright...

                        BELLA
                (AS HE WALKS OVER TO HER SIDE OF
                 THE CAR)
           Hey, you're alright now...

HE GRABS HER AND GOES INTO A CLINCH. SHE RESISTS FOR A MOMENT,
CAMERA PANS THEM AS BELLA TAKES HER BEYOND THE DRIVEWAY TOWARD A
POOLSIDE CABANA.

INT PINCUS'S KITCHEN DAWN. LEANED BACK AGAINST THE WALL. BLANE
ASLEEP AT HIS CHAIR. PINCUS PLAYING SOLITAIRE. MOORE SITTING.
HOLD.

MOORE KICKS THE CHAIR, SO THAT BLANE COMES FORWARD, AND AWAKE.

                                                               65.


                      MOORE
         ...get me the name of a freight forwarder.

                       BLANE
         ...what?

                      MOORE
         ...a freight forwarder.
              (HE THROWS HIM A YELLOW PAGES)
         Okay. Alright.

AS BLANE LOOKS THROUGH THE YELLOW PAGES MOORE GRILLS PINCUS.

                      MOORE (cont'd)
         ...what's the Lady's name?

                      PINCUS
         ...Mrs. Croft.

                      MOORE
         What do we chat her up about?

                        PINCUS
         She   is active in the church choir. She has
         had   her job for sixteen years. Last time I
         saw   her, she had stomach problems... what's
         the   response time on the tow truck...?

                      BLANE
         Average, forty five minutes.

                      MOORE
              (SHAKES HEAD)
         Too quick...
              (PAUSE)
         On the day. Half hour before the thing,
         call up, three false breakdown calls. Keep'em
         buys.

                      PINCUS
         ...that's right...

                      MOORE
         You got to givvem breakdown calls on actual
         vehicles, which means you'll have to go to
         the Rental...

ANGLE, ON PINCUS, LOOKING AT HIM AS IF TO SAY "DO YOU THINK YOU'RE
PLAYING WITH CHILDREN...?"

                      BLANE
              (AS HE LOOKS THROUGH THE YELLOW
               PAGES)
         What, what kind of "freight do you want
         to..."

                                                                 66.


                      MOORE
              (AS HE TAKES OUT HIS PAD AND
               PENCIL AND BEGINS TO DRAW))
         ...look here:

INT POOLSIDE CABANA DAY.

FRAN AND BELLA, FINISHING DRESSING.

                      BELLA
         ...and how's he getting his share away...?

                      FRAN
         ...what difference, you're going to screw it
         out of him anyway...

                      BELLA
         ...what are you telling me...?

FRAN SHAKES HER HEAD AND STARTS OUT OF THE CABANA.    BELLA FOLLOWS
HER.

INT BOATSHED DAY

MOORE IS APPLYING "SKINS," (I.E. REMOVABLE COVERINGS) TO THE SIDE OF
A VAN, ADVERTISING IT AS THE VAN OF A SECURITY COMPANY. BLANE
ARRIVES, CARRYING SEVERAL UNIFORMS, IN PLASTIC, DRY CLEANERS WRAP.

                      MOORE
         ...take the wrappers off, hang em in the air,
         get the drycleaning smell out.

HE LOOKS UP AS FRAN AND BELLA ENTER.

                      MOORE (cont'd)
         ...where have you been...?

                      BELLA
         ...tucking Betty Croft in...

                      BLANE
         What's she, out all night partying...?

                      BELLA
         She's a wild, wild woman...
              (HE HANDS MOORE A POLAROID, HE
               TOOK AT THE BAR.)

                      MOORE
              (AS HE TAKES THE PHOTO, AND
               STUDIES IT.)
         Alright, then. No Hard Feelings...?

                      BELLA
         ...last thing in the World...

ANGLE, C.U. MOORE, LOOKING AT FRAN.

                                                                  67.


FRAN COMES OVER TOWARD MOORE, WHO IS HOLDING A YELLOW PAD.

                        FRAN
         ...I...

                      MOORE
         ...I don't give a fuck. The only thing is:
         Get the Gold. Get the gold, Baby. Get the
         Gold. They ain't gonna pay for Yardage...

HE LOOKS DOWN.

ANGLE, INS. HIS POV

THE YELLOW LEGAL PAD, WITH THE SKETCH OF THE RAILROAD OVERPASS.

                                                   DISSOLVE TO:

EXT THE RAILROAD UNDERPASS.    NIGHT.

ANGLE INS: A MAN'S HANDS, IN WORKGLOVES, HOLD THE SKETCH OF THE
UNDERPASS, COVERED IN FIGURES.

ANGLE: MOORE, IN WORKCLOTHES, WALKING DOWN FROM UNDERNEATH THE
UNDERPASS, TO THE LEVEL OF THE TRACKS. HE TURNS AND LOOKS UP AT THE
UNDERSIDE OF THE VAULT.

ANGLE

ON THE TRACK.    MOORE WALKS INTO THE SHOT, PACING OFF STEPS DOWN THE
TRACKS.

ANGLE.

IN THE SCRUB ALONGSIDE THE BANKS, HE WALKS UP AND SITS NEXT TO
A BLACK NYLON BACKPACK. HE CHECKS HIS WATCH.

EXT RAILROAD OVERPASS NIGHT.

A SMALL TRUCK, IT'S SIDES PAINTED TO ADVERTISE A SECURITY COMPANY,
GOES OVER THE OVERPASS.

ANGLE INT THE TRUCK.

BELLA AND, BLANE, DRESSED IN COVERALLS, ADVERTISING A SECURITY
COMPANY.

ANGLE, INT THE TRUCK.

BLANE, LOOKING OUT OF THE WINDOW.

BELLA, CHEWING GUM, TAKES OUT THE PACK, AND BEGINS CHEWING
ANOTHER PIECE.

                      BLANE
         ...you feeling?

                                                             68.


                        BELLA
         I'm fine...

                      BLANE
         Sometimes, th'drenaline, hits you, gives you
         the shakes...

                        BELLA
         I'm alright.

                      BLANE
         I'm saying, some people, adrenaline, gives'em
         the shakes... some people, mistake it for
         cowardice...
              (PAUSE)

                        BELLA
         I'm fine.

HE TAKES OUT A SCAPULAR, HOLDS IT, AND SAYS A SMALL PRAYER

HE LOOKS OVER AT BLANE.

                      BLANE
         ...nothing wrong with prayer.
              (PAUSE)

                      BELLA
         ...you think so...?

                      BLANE
         I was in this firefight? One time?
         Motherfucker, always carried a bible, next to
         his heart. And we used to mock him. But
         that bible stopped a bullet.

                        BELLA
         No shit.

                       BLANE
         My hand to god. That bible, stopped a bullet,
         would have ruined that fucker's heart.
               (PAUSE)
         And had he had another bible, in front of
         his face, that man would be alive today.
         What time you got?

                      BELLA
         Five eighteen.

                      BLANE
         ...make the call.

BELLA TAKES OUT A CELLPHONE AND DIALS.

                      BELLA
              (ON PHONE)
         Hello? I've, hello?
                      (MORE)

                                                                 69.


                      BELLA (cont'd)
         I've got one of your trucks...? The, the
         engine quit on me... Hello? Yeah, the..., I
         got a delivery I have to... from when?
         Well, it's twenty after fi... I'm on, where
         am I? I'm on Industrial and two-oh-seventh,
         well, your truck's dead...

ANGLE, EXT THE TRUCK.

THE TRUCK STOPS AT THE OVERPASS.      BLANE HOPS OUT.

ANGLE. IN THE SCRUB. ALONGSIDE THE BANK. THE BLACK BACKPACK
MOORE LEFT EARLIER. BLANE PICKS IT UP. CAMERA PANS HIM BACK TOWARD
THE OVERPASS.

ANGLE INS.

INSIDE THE SPAN OF THE STONE OVERPASS. A SMALL ELECTRONIC LOOKING
DEVICE. BLANE'S HAND COMES INTO THE FRAME, HOLDING IT. HE AFFIXES
IT TO THE STONE, FLIPS A SWITCH. A REDLIGHT BEGINS TO GLOW ON
THE DEVICE.

ANGLE

EXT THE SECURITY TRUCK AT THE SIDE OF THE ROAD, BY THE
OVERPASS. BLANE, RUNNING BACK TOWARD THE TRUCK.

ANGLE INT THE SECURITY TRUCK.

                      BELLA (cont'd)
              (ON PHONE)
         to fix the...

BLANE GETS INTO THE TRUCK

                      BLANE
         ...let's go...

                      BELLA
              (ON PHONE)
         ...would you do that?       Thank you...

ANGLE EXT.

THE TRUCK.   PULLING OUT INTO THE ROAD.

INT COMMUTER TRAIN COACH.    DAWN.

AN OLD TIRED CONDUCTOR WALKING DOWN THE AISLE. PAST A SLEEPING
BUSINESSMAN. THE BUSINESSMAN WALKS, TO REVEAL IT IS MOORE. HE
STRETCHES, LOOKS OUT THE WINDOW. AND WALKS BACK IN THE CAR,
HOLDING HIS BRIEFCASE.

ANGLE INT.   THE LAVATORY.

MOORE ENTERS, HE TAKES A SMALL BOX FROM HIS BRIEFCASE, TURNS A
DIAL, AND AFFIXES IT TO THE CEILING.

                                                                  70.


EXT SUBURBAN STATION DAWN.

THE TRAIN SLOWING DOWN. MOORE ALIGHTS FROM THE LAST CAR, A
STATIONWATON PULLS UP FROM THE EMPTY PARKING LOT, MOORE WALKS
TOWARD IT.

INT A BANK OF PHONES DAY

PINCUS, IN A BUSINESS SUIT. STANDING BY WHAT APPEARS TO BE A LARGE
SAMPLE CASE, WAITING AT A BANK OF PHONES. HE LOOKS AT HIS WATCH.

EXT AIRPORT DEPARTURES DRIVEWAY.

THE STATIONWAGON PULLS UP.    FRAN DRIVING, AND MOORE RIDING.   HE GETS
OUT, WEARING COVERALLS.

MOORE LOOKS DOWN AT THE POLAROID PICTURE WE SAW EARLIER.

ANGLE

ON A COFFEETRUCK PARKED OUTSIDE AN EMPLOYEE'S ENTRANCE.

A FORTYISH WOMAN IN A SECURITY GUARD'S UNIFORM IS DRINKING COFFEE,
ONE OF A NUMBER OF AIRPORT EMPLOYEES.

                      WOMAN
              (MRS. CROFT)
         ...of my ulcer--Doctor said it's... it isn't
         the caffeine, but the acids in the coffee
         that...

ANGLE

ON MOORE, WALKING UP TO THE WOMAN.     HE CONSULTS A PIECE OF PAPER.

                      MOORE
         Mrs. Croft?
              (PAUSE)
         Betty Croft...?

                        MRS. CROFT
                (SOMEWHAT SURPRISED)
         Yes?

                         MOORE
              (AS    SHE DRAWS HER ASIDE)
         My name    is... could I see some identification,
         please?     My name is Wilson, I'm with the
         F.A.A.     Could I see your badge, please?

MRS. CROFT TAKES OUT AN EMPLOYEES BADGE AND SLIPS IT TO HER UNIFORM.

                      MRS. CROFT
         ...just coming to work...

                      MOORE
         I understand. ...I believe we've met before,
         on my last...?
                      (MORE)

                                                                  71.


                      MOORE (cont'd)
              (HE CHECKS HER NAME AGAINST A
               LIST ON A CLIPBOARD. HE TAKES
               OUT A BADGE AND SHOWS IT TO HER.)
         ...You are on Gate twenty-one this morning?

                      MRS. CROFT
         ...that is correct, Sir.

                      MOORE
         We will be conducting a Security Check. I
         will be coming through the metal detector in
              (HE CHECKS HIS WATCH)
         approximately ten minutes. I will be quote
         Armed, and carrying a toolkit in which are
         hidden three potentially lethal or dangerous
         items. This is a test of the security
         personnel and of the apparatus under your
         control. Now. I must caution you that, from
         that time to this you will be under covert
         surveillance, and should you attempt to
         communicate

                      MRS. CROFT
         I wouldn't...

                      MOORE
               (SHRUGS)
         ...you've been warned. Now: the guard under
         your supervision will be graded on the
         following:

ANGLE, INT THE AIRPORT CONCOURSE.

PINCUS, DRESSED AS A SECURITY GUARD. STANDING BY A BANK OF
PHONES. A YOUNG MOTHER WITH A CHILD COMES UP TO ASK DIRECTIONS OF
HIS. HE DIRECTS THEM, AND TOUCHES HIS HAT, AND THEY MOVE OFF.

ANGLE EXT, AIRPORT DRIVETHROUGH.

AT THE STATIONWAGON.

MOORE LEANS IN, AND TAKES A LARGE TOOLCASE OUT OF THE BACK.

IN THE B.G. WE SEE MRS. CROFT.     STILL STANDING BY THE COFFEETRUCK.

FRAN LOOKS UP.

                      FRAN
         Here they come.

MOORE LOOKS IN THE REARVIEW MIRROR.

ANGLE HIS POV

THE SECURITY TRUCK, PULLING INTO THE DRIVETHROUGH AREA.

ANGLE

FRAN AND MOORE.   AS FRAN LOOKS OUT OF THE WINDOW.

                                                                 72.


                         FRAN (cont'd)
            Where's the girl...?

MOORE LOOKS AROUND.

                         MOORE
            ...yeah... okay... okay... it's okay.

ANGLE

ON MOORE, AS HE WALKS TO THE SECURITY GATE.

ANGLE, HIS POV.

THE SECURITY WALKTHROUGH.    A METAL DETECTOR, A GUARD SEATED AT A
CONSOLE.

MOORE LOOKS AROUND.    HE LOOKS AT HIS WATCH.

HE TURNS BACK OUT TOWARD THE STREET.

ANGLE.   HIS POV.

THE SECURITY TRUCK.    PULLING UP.

ANGLE

ON MOORE.    AS HE WALKS TOWARD THE COFFEETRUCK.

                         MOORE (cont'd)
                 (TO THE COFFEEMAN)
            What happened to Betty? Betty Croft...?

                         COFFEEMAN
            Hey, I don't know... she...

                         MOORE
            Gimme a cuppacoffee.

ANGLE

ON MOORE AS HE TAKES THE COFFEE AROUND THE SIDE OF THE COFFEETRUCK.
HE PUTS IT UP ON THE HOOD.

HE SCANS THE AREA.    THE SECURITY TRUCK IS GETTING CLOSER.

                         MOORE (cont'd)
                 (TO COFFEEMAN)
            Gimme one of those...
                 (MOORE POINTS)

THE COFFEEMAN HANDS MOORE A SMALL OBJECT.

MOORE TAKES A WRAPPED PACKAGE OUT OF HIS POCKET.

ANGLE INS.

                                                                73.


WE SEE IT IS A FOIL WRAPPED CONDOM PACKET.   MOORE TAKES OUT THE
CONDOM.

MOORE TURNS AWAY FROM THE COFFEETRUCK.

ANGLE INS.

MOORE DIGS IN HIS POCKET AND TAKES OUT A VERY SMALL AUTOMATIC
PISTOL. HE PUTS THE PISTOL IN THE CONDOM, AND TIES IT SHUT, HE
DROPS THE CONDOM INTO THE STEAMING COFFEE. HE STARTS TOWARD THE
SECURITY GATE.

ANGLE

ON MOORE, CARRYING A CASE OF TOOLS, AS HE WALKS TO AN EMPLOYEE'S
ENTRANCE, SEVERAL EMPLOYEES IN WORK WEAR, STREAMING IN. MOORE TAKES
AN EMPLOYEE'S BADGE, AND AFFIXES IT TO HIS COLLAR.

ANGLE INT SECURITY SHED.   EMPLOYEES STREAMING THROUGH THE METAL
DETECTOR.

MOORE PUTS HIS STEAMING COFFEE ON TOP OF THE MACHINE, AND PASSES
THROUGH.

                      SECURITY GUARD.
         ...up early or up late.

                      MOORE
              (OF THE COFFEE)
         Not up at all, till I get that down...

                      SECURITY GUARD.
         I heard that.

                      MOORE
         Where's the, uh, where's the girl's usually
         here, your Supervisor? They lett'n you play
         all ? They lett'n you play
         all by yourself?

                      SECURITY GUARD.
         Na, she's got this stomach thing.   Least
         little...

                      MOORE
         Uh huh...

                      SECURITY GUARD.
         ...least little thing, sets her off...

MOORE STANDS WAITING FOR HIS CASE OF TOOLS TO COME THROUGH THE X-
RAY MACHINE.

MOORE PICKS IT UP, AND GOES BACK TO TAKE HIS COFFEE, AND START OUT
OF THE DOOR, INTO THE AIRPORT. HE LEAVES HIS CASE BEHIND HIM.

ANGLE EXT THE AIRPORT DRIVE-THROUGH.

                                                               74.


WE SEE THE STATIONWAGON PULLING OUT, AS, IN THE B.G., WE SEE THE
SECURITY TRUCK PULLING INTO THE ARRIVALS AREA.

ANGLE

IN THE STATIONWAGON, AS FRAN LOOKS DOWN AT HER WATCH.

ANGLE

PINCUS, AT THE BANK OF PHONES, HE DOES THE SAME, AS HE TALKS ON
THE PHONE.

                      PINCUS
              (TO PHONE)
         I have to inform you we have placed three
         bombs... Three bombs. Inside your facility.

HE HANDS UP THE PHONE AND CAMERA AT A BAGGAGE HANDLING AREA SHOWS
HIM GOING INTO A MEN'S ROOM. MOORE RETRIEVES THE PISTOL FROM HIS
COFFEECUP. HE STARTS BACK TOWARD THE SECURITY AREA. AS HE WALKS
HE TAKES APART THE FLASHLIGHT HANGING IN THE UTILITY BELT AT HIS
WAIST, HE REMOVES A SMALL CANNISTER FROM THE BATTERY AREA.

ANGLE

INT PASSENGER CONCOURSE.

PINCUS, COMING OUT THE MEN'S ROOM, WEARING THE UNIFORM OF A GUARD.
AS HE COMES OUT OF THE DOOR, WE SEE HE HAS LEFT HIS UTILITY CASE
BEHIND.

ANGLE INT THE SECURITY SHED.

THE GUARD TURNS, AS MOORE REENTERS.

ANGLE ON MOORE, TO SHOW HE HOLDS THE PISTOL DOWN ALONG ONE THING,
THAT HE HOLDS THE CANNISTER ALONG THE OTHER.

                      MOORE
         ...how tired I am, I left my...
              (HE GESTURES AT THE TOOLCASE HE
               HAS LEFT BEHIND)

THE GUARD TURNS TO MAKE A JOKE.

MOORE WALKS UP TO HIM, AND DISPLAYS THE SMALL PISTOL.

                      MOORE
         Please tell me the code for the main gate.

                      GUARD
              (LOOKING AT THE PISTOL)
         Who the hell d'you think you're kidding with
         that lll...

MOORE SHOOTS THE PISTOL TOWARD THE GUARD'S FOOT.

                                                                 75.


                      MOORE
         Please tell me the code.

ANGLE

IN THE CONCOURSE. PINCUS, DRESSED AS A GUARD, EXTRACTS A SMALL SHIM
FROM A LEATHER HOLDER. HE STARTS TOWARD A SECURITY DOOR. AN
AIRLINE EMPLOYEE IN UNIFORM ENTERS BEFORE HIM.

AS HE STARTS TOWARD THE DOOR, THERE IS AN EXPLOSION BEHIND HIM, AND
SMOKE FILLS THE HALL.

                      PINCUS
         ...hold that door... hold that door...

THE AIRLINE EMPLOYEE HOLDS THE DOOR OPEN AND PINCUS ENTERS.

INT SECURITY SHED, DAY.

MOORE IS GLANCING AT THE VIDEO DISPLAYS. WE SEE ON ONE OF THE
DISPLAYS, THE SECURITY TRUCK TURNING TO ENTER THE SECURITY GATE
AREA.

ANGLE

ON MOORE, AS HE DISCONNECTS THE VIDEO, AND WE SEE THE SCREEN GO
BLANK. HE TURNS TO SHOW PINCUS, COMING INTO THE SHED BEHIND HIM.

WE HEAR ON THE LOUDSPEAKER.

                      LOUDSPEAKER
         Attention... Attention, we have a code Four,
         and a Fire. I repeat, a code Four, and a
         Fire, at...

ANGLE

ON THE SECURITY TRUCK, AS THE GATES SWING OPEN, AND IT ENTERS THE
SECURITY AREA.

ANGLE

ON PINCUS, AS HE TAKES A SEAT AT THE SECURITY CONSOLE. AND MOORE
GETS ONTO THE SLOW MOVING SECURITY TRUCK. WE SEE THE SECURITY
GATES CLOSE BEHIND IT.

EXT AIRPORT DAY.

THE TAIL OF A PLANE WITH A HUGE SWISS CROSS AS PART OF ITS LOGO.

CAMERA PANS TO SHOW IT IS A CARGOPLANE, MARKED AEROHELVETICA.

ANGLE INT THE COCKPIT, AEROHELVETICA CARGO PLANE.

THE PILOT IS CONVERSING WITH SOMEONE ON THE RADIO.   HE SPEAKS
ENGLISH WITH A FOREIGN ACCENT.

                                                                    76.


                      PILOT
         ...clearance for...
              (BEYOND, ON THE TARMAC, WE SEE
               THE SECURITY TRUCK COMING
               TOWARD THE PLANE.)
         ...Yes. Aero, 294. Requests permission to
         take the Active...
              (PAUSE. HE LISTENS. NODS)
         Aero 294 for runway two-six.
              (TO HIS CO-PILOT, IN GERMAN)
         Let's get out of here...

ANGLE, INT THE COMMUTER CAR LAVATORY.    THE SMALL DEVICE AFFIXED TO
THE CEILING.

ANGLE EXT THE OVERPASS.    WE SEE A TRAIN APPROACHING IN THE
DISTANCE.

ANGLE

THE SMALL ELECTRONIC DEVICE ON THE UNDERSIDE OF THE STONE ARCH.

WE SEE THE LIGHT GO FROM STEADY RED TO BLINKING RED.

ANGLE THE OVERPASS.   AS THE TRAIN APPROACHES.   THE ARCH EXPLODES.

ANGLE

THE CAB OF THE TRAIN.     AS THE ENGINEER SEES THE ARCH CRUMBLING
BEFORE HIM.

ANGLE

THE TRAIN SLOWING DOWN, BRAKES SCREECHING.

ANGLE

IN THE LAVATORY, AS THE DEVICE EXPLODES.

ANGLE

EXT THE TRAIN, TO SHOW THE TRAIN SLOWING, AND THE LAST CAR
SPOUTING FLAMES. CAMERA CRANES UP TO SHOW THE TRAIN STOPS.

JUST BELOW A BANK OF LANDING LIGHTS, AND, BEYOND, IS THE AIRPORT.

ANGLE

INT THE JET COCKPIT

THE JET IS TAXIING, AND, IN THE B.G., WE SEE THE FLAMES FROM THE
BURNING COMMUTER TRAIN CAR.

                      CO-PILOT
              (IN GERMAN)
         ...what the hell is that...?

                                                                  77.


THE PILOT MOTIONS "KEEP QUIET."    HE PUTS HIS HAND TO HIS EARPHONES.
AND LISTENS.

                       PILOT
          Affirmative. 294, to return to Area A
               (PAUSE)
          294.
               (TO COPILOT)
          Back to the barn...

HE LOOKS DOWN.

ANGLE HIS POV

THE SECURITY TRUCK, COMES ALONGSIDE, AND KEEPS STATION WITH THE
MOVING PLANE. WE SEE, FROM THE PILOTS POV, MOORE, IN THE TRUCK,
MOTIONING, "BACK TO THE GATE."

ANGLE ON THE PILOT

                       PILOT (cont'd)
                (TO HIMSELF)
          ...yes. We understand...

HE SIGHS. AND MOTIONS TO     THE CO-PILOT, WHO PROCEEDS BACK INTO THE
CARGO AREA. CAMERA TAKES     HIM PAST SEVERAL LARGE CRATES MARKED
"MACHINE PARTS" TO HYWEST    FOUNDRY, PAST SEVERAL LARGE METAL
CONTAINERS. TO THE CARGO     DOOR. WE SEE THE PLANE JOLT TO A STOP.
THE CO-PILOT ENTERS A CODE    IN A PANEL NEAR THE DOOR. AND THE DOOR
SLIDES OPEN TO REVEAL THE    SECURITY TRUCK BELOW, AND TWO MEN GETTING
OUT OF IT.

ANGLE

ON THE TARMAC. MOORE, IN A SECURITY UNIFORM, HOISTS HIMSELF UP ONTO
THE HOOD OF THE CAR, AND INTO THE CARGO DOOR.

ANGLE

ON BLANE AND BELLA, BELOW, BELLA STARTS TO FOLLOW MOORE.     BLANE
RESTRAINS HIM.

                       BLANE
          ...stick with the program.    Stick with the
          program...

ANGLE.   INT THE CARGOPLANE.

ON MOORE, AS HE WALKS PAST THE CRATES OF MACHINE TOOLS AND THE
UNMARKED METAL CRATES, TOWARD THE COCKPIT.

ANGLE.   INT THE COCKPIT.

AS THE PILOT TURNS AROUND.

AS MOORE ENTERS.

                                                                 78.


                         MOORE
            ...we have a report of...

                         PILOT
            Yes, we're getting it over the radio...

MOORE TAKES A SMALL BATON FROM HIS BELT AND CLOUTS THE PILOT AND
THEN THE COPILOT WITH IT. BLANE MOVES UP TO HIM. TAKES A ROLL OF
GAFFTAPE FROM HIS BELT, AND BEGINS BINDING THE TWO MEN TO THEIR
SEATS, FIRST GAGGING THEM WITH THE TAPE.

                         MOORE
            ...make sure they're breathing...

ANGLE. IN THE CARGO AREA. ON BLANE. BEYOND HIM WE SEE MOORE
STANDING OVER THE TWO SPRAWLED FORMS OF THE PILOT AND THE CO-
PILOT.

ANGLE

ON MOORE, AS HE REMOVES A KEY FROM THE NECK OF THE CO-PILOT, AND
WALKS BACK TO MOORE, THEY OPEN ONE OF THE METAL CASES.

ANGLE, INT THE METAL CASE. IT IS FILLED WITH LARGE INGOTS COVERED
IN BURLAP. MOORE HANDS OPEN ONE TO REVEAL IT IS GOLD. THE GOLD
INGOT IS STAMPED CREDIT NATIONAL DE GENEVE.

ANGLE

ON MOORE.

AS HE DETACHES A SMALL CONVEYOR FROM THE INTERIOR OF THE CARGO
AREA, AND LOWERS IT DOWN TO THE BACK OF THE SECURITY TRUCK.

ANGLE

IN THE SECURITY TRUCK. BELLA, ACCEPTS THE CONVEYOR. THE BELT OF
THE CONVEYOR BEGINS TO MOVE, AND THE COVERED IGNOTS TO DESCEND DOWN
THE SLIDE.

ANGLE.   ON BELLA AS HE UNCOVERS ONE OF THE INGOTS, TO REVEAL IT IS
GOLD.

BLANE DROPS DOWN NEXT TO HIM.

                         BLANE
            ...let's get with it...

HE AND BELLA MOVE TO THE HUGE ENGINE HELD IN THE BODY OF THE TRUCK.
THEY PIVOT IT OPEN, AND BEGIN TO FILL THE EMPTY INTERIOR WITH THE
COVERED BARS.

ANGLE INT THE CARGOPLANE.

MOORE LOADING THE COVERED INGOTS ONTO THE CONVEYOR.   HE LOOKS AT
HIS WATCH.

INT SECURITY SHED DAY.

                                                                   79.


ON PINCUS, DRESSED AS A SECURITY GUARD. AS HE LUGS THE UNCONSCIOUS
GUARD ACROSS THE FLOOR, AND INTO A LAVATORY. HE CLOSES THE DOOR,
AND STARTS BACK TOWARD HIS POSITION AT THE SECURITY CONSOLE.

AS HE STARTS BACK, TWO STATE TROOPERS PULL UP IN THEIR CRUISER.     AT
THE MAIN GATE. THEY HONK THE HORN.

ANGLE, ON PINCUS, AS HE PROCEEDS OUT TO THEM. WE SEE ONE OF THE
POLICEMEN IS HOLDING HIS BADGEHOLDER OUT OF THE WINDOW, TOWARD THE
VIDEO CAMERA. PINCUS WALKS UP TO THE CAR.

                      TROOPER
         Get the gate open...

                      PINCUS
              (AS HE MAKES A NOTATION ON A
               CLIPBOARD)
         I got to take down your badge nnn...

                      TROOPER
              (AS HE GESTURES AT THE
               VIDEOCAMERA)
         I'm holdin' it up to the damn...

                      PINCUS
         ...the video's out.

HE STARTS BACK TOWARD THE SECURITY SHED.     ONE OF THE TROOPERS
FOLLOWS.

                       TROOPER
              (IN CAR)
         Get the gate open...?

ANGLE

INT THE SECURITY SHED.   PINCUS COMING BACK IN, FOLLOWED BY THE
OTHER TROOPER.

                      TROOPER (cont'd)
         Can we get the gate open...?

                      PINCUS
         You're looking at me doing it...

PINCUS PUNCHES NUMBERS INTO THE BOARD, AND WE SEE THE GATE SWING
OPEN BEYOND THEM. THE TROOPER, IN THE B.G. STARTS TO OPEN THE DOOR
TO THE LAVATORY.

                      TROOPER
         ...who's been through here...?

                       PINCUS
         Well I.   I can tell you who's...

                      TROOPER
              (AS HE WALKS TOWARD THE LAVATORY)
         Gimme a list of any...

                                                                 80.


                      PINCUS
         I put it on, it's all on the computer, n'the
         computer went down...

THE TROOPER STARTS TO OPEN THE DOOR TO THE LAVATORY

                      PINCUS (cont'd)
              (SCREAMING)
         Don't touch the door. For Godsake. Don't
         touch the door-- din't you hear, on the rrr...
         one guy, got his arm blown off, the bombsquad
         said not to...

ANGLE, EXT, THE TARMAC

MOORE IN THE CARGOPLANE. LOOKS AROUND. HAULS UP THE CONVEYOR,
PUNCHES A BUTTON ON THE CONTROL PANEL, THE HATCH STARTS TO CLOSE.

ANGLE EXT THE PLANE.

ON THE TARMAC, THE TRUCK. WE SEE, INTERIOR. BELLA AND BLANE,
SWINGING CLOSED THE HOLLOW ENGINE, THEY PULL THE REAR DOOR OF THE
TRUCK CLOSED. AS MOORE JOINS THEM, IN THE CAB OF THE TRUCK.

ANGLE INT THE CAB OF THE TRUCK.

BLANE, HOLDS UP A WALKIE TALKIE, WHICH IS SPOUTING SECURITY UPDATES.
HE NODS AT MOORE TO SAY "I THINK WE ARE ALRIGHT."

ANGLE, THEIR POV

THE SECURITY GATE AHEAD OF THEM. THE TROOPER'S CRUISER PARKED
INSIDE OF IT. BLOCKING THE EXIT.

ANGLE

THE THREE MEN IN THE TRUCK.

BEAT.

                      MOORE
              (TO BELLA, WHO IS DRIVING)
         Honk the horn.
              (PAUSE)
         ...what'm I telling you...?

BELLA HONKS THE HORN, TENTATIVELY.

ANGLE, THEIR POV THE TROOPERS, ONE IN THE CAR, ONE INSIDE THE
SECURITY AREA, TALKING WITH PINCUS.

ANGLE

INSIDE THE TRUCK.   AS MOORE LEANS OVER AND LEANS ON THE HORN.

ANGLE

                                                                 81.


THE TROOPER IN THE CAR SIGHS, AND PULLS HIS CAR UP, SO THAT THE
TRUCK CAN PASS.

ANGLE EXT THE SECURITY SHED. AS PINCUS MOVES PAST THE TROOPER, TO
THE TRUCK, WHICH IS MOVING THROUGH THE SECURITY AREA.

                      PINCUS
              (TO THE TROOPER)
         Would you please, would you please...?
              (TO THE TRUCK)
         Excuse me. Excuse me... No one is to leave
         this...

                      BLANE
              (CALLING OUT OF THE TRUCK)
         ...would you get out of the way...?

                      PINCUS
         I'm trying to do my job, I'm
              (APPEALING TO THE POLICE OFFICERS)
         I am a, like you, just like you, I am trying
         to do my Sworn...

ANGLE, ON PINCUS, AS HE SEES SOMETHING, IN THE POLICE CRUISER.

ANGLE HIS POV.   TAPED TO THE VISOR OF THE POLICE CRUISER.

INS. OF A SHOT OF MOORE (A PHOTO TAKEN FROM AND WHICH WE
RECOGNIZE AS TAKEN IN THE VIDEO AT THE JEWELRY STORE, I.E., MOORE
LOOKING UP AT THE VIDEOCAMERA.)

ANGLE, ON PINCUS, LOOKING AT THE SHOT.

HE WIPES HIS FOREHEAD. AND CONTINUES TALKING TO THE TROOPERS
WHILE HE PASSES AN INFINITESIMAL "GET OUT OF HERE..." SIGNAL
TOWARD THE SECURITY TRUCK.

ANGLE

IN THE TRUCK.    AS THEY DRIVE THROUGH THE GATES.

                      BLANE
         Don't look back... don't look back...

                      BELLA
         How's he... how is he...?

                      BLANE
         Well, that's just gonna have to be as it
         is...
              (HE TAKES OUT A CELLPHONE AND
               DIALS AS HE SPEAKS.)
              (INTO PHONE)
         I got a broke down truck, excuse me, I called,
         could I speak to your supervisor please...? I
         got one of your trucks, engine failure, I
         called first at Five, five twenty, this...
         this is my forth call... Right outside the
         Airport.
                      (MORE)

                                                                   82.


                         BLANE (cont'd)
                 (PAUSE)
            Industrial and 2-0-seventh, I... Yes, thank
            you. I'm an attorney... could I have your
            name please...? Could I have your name,
            please, because I'm going to have to speak
            to your supervisor...

ANGLE

ON MOORE, AS HE STEALS A GLANCE BACK AT PINCUS.

ANGLE HIS POV

ON PINCUS, TALKING WITH THE TWO TROOPERS.

INT THE CARGOPLANE DAY

THE THREE METALLIC CRATES OPEN, PAN PAST THE "MACHINE PARTS"
CRATES, ONTO THE TWO MEN IN THE COCKPIT. THE PILOT STARTS TO
STIR, GROGGILY.

ANGLE EXT

ON THE VAN AS IT COMES ONTO A SMALL ACCESS ROAD.    WE SEE THEIR
AIRPORT IN THE B.G.

ANGLE

EXT THE STATIONWAGON, DRIVEN BY FRAN, PULLING INTO THE ARRIVALS
AREA. SHE DRIVES SLOWLY BY THE SECURITY GATE.

ANGLE HER POV

IN THE B.G. WE SEE PINCUS STILL TALKING TO THE TROOPERS.

ANGLE

ON PINCUS, AS HE STEALS A GLANCE AT HIS WATCH.     HE LOOKS UP.

ANGLE HIS POV

IN THE B.G., FRAN, DRIVING THE STATIONWAGON SLOWLY.

ANGLE, INT, THE SECURITY STATION.

ONE OF THE TROOPERS GETS A CALL ON THE WALKIE-TALKIE.

                         TROOPER
                 (INTO THE WALKIE)
            Four nine, go.
                 (PAUSE)
            Where...? Oh shit...

HE HURRIES OUT TO THE CAR.    HE TURNS BACK, TOWARD PINCUS.

                         TROOPER (cont'd)
                 (CALLING)
            Aerohelvetica. Cargo...?

                                                               83.


                        PINCUS
          Bay Five.   Go Left.   Bay Five...

WE SEE THE TROOPERS IN THE CAR HURRY OFF.

PINCUS STARTS STRIPPING OFF HIS SECURITY UNIFORM, AS WE WALKS OUT
OF THE SECURITY SHED, TOWARD FRAN IN THE CAR.

ANGLE INT THE STATIONWAGON AS PINCUS GETS UP, AND MOTIONS FRAN TO
DRIVE QUICKLY. WE HOLD ON THE STATIONWAGON LEAVING THE AIRPORT
DRIVETHROUGH.

                       FRAN
          How...?

ANGLE. THE STATIONWAGON DRIVING PAST A ROW OF ORANGE-VESTED
ROADWORKERS, WHO ARE LAYING TAR ON THE ROADWAY.

THE STATIONWAGON SLOWS.

ANGLE INT THE CAR.

                       PINCUS
          Wait wait wait wait wait.
               (HE GESTURES HER TO STOP)

ANGLE EXT THE STATIONWAGON.

ON PINCUS AS HE TAKES A TRASH BAG, AND THROWS IT INTO A ROADSIDE
TRASH CONTAINER.

ANGLE

ON THE VAN, AS IT PULLS INTO A PARKING GARAGE.

ANGLE -

A MOSTLY EMPTY FLOOR OF THE PARKING GARAGE.

THE VAN PULLING UP.

MOORE AND BLANE GET OUT, AND START TO LOOK DOWN TOWARD THE AIRPORT.

MOORE LOOKS AT HIS WATCH. BLANE GOES TO THE SIDE OF THE VAN,
HESITATES, AND LOOKS AT MOORE.

                       BLANE
          ...where's your explosion...?

                       MOORE
               (HE LOOKS AROUND, THEN, TO
                BLANE)
          Do it...

BLANE NODS TO MOORE, AND THEY BEGIN TO STRIP THE "SKINS" OFF THE
SIDE OF THE SECURITY TRUCK, TO REVEAL IT IS A RYDER RENTAL TRUCK.

ANGLE INT THE TRUCK

                                                                   84.


MOORE OPENS THE BACK PANEL, HE REMOVES A LARGE GARBAGE BAG.       AND
ACCEPTS THE REMOVED SKINS AND LICENSEPLATES FROM BLANE.

IN THE FRONT WE SEE BELLA, GETTING OUT OF HIS SECURITY UNIFORM.

AND, IN THE REAR, BLANE AND MOORE DOING THE SAME.

MOORE OPENS THE FAKE ENGINE, AND STUFF THE UNIFORMS, ET CETERA,
INSIDE.

                      BELLA
              (LOOKING BACK)
         Here she comes...

ANGLE ON BLANE, AS HE TURNS.

ANGLE, HIS POV.

THE STATIONWAGON, COMING UP THE RAMP.    FRAN AND PINCUS IN IT.

ANGLE

ON THE MEN IN THE TRUCK.

ON MOORE, AS HE LOADS THE MATERIALS INTO THE ENGINE.

                      MOORE
         Is he with her...?

                      BLANE
         Yeah he's there.

HE PICKS UP ONE OF THE BARS FROM THE FAKE ENGINE AND PULLS OFF THE
COVERING, TO REVEAL IT IS GOLDEN. HE SMILES

                      BLANE (cont'd)
         Yeah, he's there.

THE STATIONWAGON PULLS UP BY THE TRUCK.     PINCUS GETS OUT AND WALKS
TO THE BACK OF THE TRUCK.

                      MOORE
              (TO PINCUS)
         Where's my diversion...?

                      PINCUS
         I... I threw it in the garb... Joe:     Joe,
         Listen:

                      MOORE
         Where's my explosion, I'm up here naked...

                         PINCUS
         Joe:     they got your...

HE LOOKS INSIDE THE TRUCK.     HE TAKES OUT AND LOOKS AT THE HALF-
OPENED BAR OF GOLD.

                                                              85.


                      PINCUS
         Joe... they got your...

BLANE SHOWS HIM THE GOLDEN BAR.

                      PINCUS (cont'd)
         Go sell chocolate, you Heidi Motherfuckers.
         Go see Cookoo Clocks. WE GOT YOUR GOLD...

ANGLE

ON BLANE, AS HE TAKES THE ROLL OF TAPE FROM HIS BELT, AND TAPES
THE COVERING AGAIN OVER THE BAR. HE REPLACES THE BAR, AND MOORE
SHUTS UP THE FAKE ENGINE.

                      FRAN
              (TO MOORE)
         How'd it go?

                      BLANE
         It got a little tight in there.

                      PINCUS
              (TO MOORE)
         They got your photo.

                        MOORE
         Who?

                        PINCUS
         The Staties.    I saw it in the car.   I.

                       MOORE
         Forget it.   Let's...

BLANE MOVES TO A SEDAN, WHICH THEY ARE PARKED, TAKES OUT KEYS, OPENS
IT, AND BEGINS PUTTING ON A SUITCOAT AND A HAT WHICH ARE FOUND ON
THE SEAT.

                      BELLA
         ...they got your photo...?

                      MOORE
         Yeah, well, that's a Hazard of the jjj...

                      BELLA
         You can't go through the roadblock if...

                      MOORE
         I told you on the day, they had me, you...

                      BELLA
         Yeah, but you... I can't have you going
         through the...

                      MOORE
         I stay with the gold.

                                                              86.


                      FRAN
         Joe, he's right if...

                      MOORE
         You're gonna side with the guy, you're gonna
         side against me? You gonna talk against me,
         Fran?

                      FRAN
         I'm saying...

                      BELLA
         Fuck it... if they got you on film I am not
         going through that with the gold and you in
         the truck.

                      MOORE
         I stay with the gold.
              (PAUSE)
         I stay with the gold.

                      BELLA
         They got you on film, you got to go.     You'll
         never make the road block... Joe...

                      MOORE
         I got to go with the gold.

                      BELLA
         You know, your wife said it...

ANGLE, ON BLANE, AS HE LOOKS OUT OF THE PARKING GARAGE.

ANGLE, HIS POV.

ON THE ACCESSROAD, SEVERAL STATE POLICE CARS, SETTING UP A
ROADBLOCK.

                      BLANE
         Joe, we gotta go.

                       MOORE
         You go.   See you at the rendezvous...

ANGLE ON BLANE, AND PINCUS, WHO IS TAKING CLOTHES FROM THE SEAT OF
THE SEDAN. HE STARTS TO GET IN. REACHES BACK, AND HANDS PIECES OF
PAPER TO MOORE.

                      PINCUS
         ...parking tickets, you've been here two
         days...

HE GETS INTO THE SEDAN, AND THE SEDAN PULLS AWAY.

MOORE STARTS TO GET INTO THE VAN.

                      BELLA
         ...you're burnt.

                                                               87.


                      MOORE
         Then we'll all go together.

                      BELLA
         I do not see the percentage...

                      MOORE
         You don't have to, Baby...

                      FRAN
         ...you can't make the Roadblock, Joe...

                      BELLA
         You're burnt, for chrissake.   You're fucken
         burnt Old Man... What're you,  telling your
         Beads "I go with the Gold"...  Look here: You
         tell me: what're they gonna   be looking
         harder at? You tell me, you   here with us, or
         you in an empty car.
              (PAUSE)
         You tell me.
              (PAUSE)
         You tell me? You follow us.     Through the
         roadblock, for chrissake.
              (PAUSE)
         Eh? You follow us thr...

MOORE TURNS TO BLANE.

                      BLANE
         You're burnt, Joe. You're burnt.     It's the
         wise thing. What do you lll...?

                      MOORE
         I follow you to the rendezvous...
              (TO FRAN)
         Gimme the keys...

SHE PASSES THE KEYS TO BELLA, WHO HANDS THEM TOWARD MOORE.

                      PINCUS
         ...Joe, get in the c...

ANGLE, ON MOORE, AS HE ADDRESSES FRAN, AS SHE GETS INTO THE TRUCK.

                      MOORE
         ...stay with the ggg...
              (HE LOOKS DOWN AT THE KEYS. WE
               SEE THEY ARE NOT THE SAME KEYS
               WHICH FRAN HANDS TO BELLA)
              (TO BELLA)
         You palmed the keys, you palmed the keys, you
         motherf...

HE LOOKS DOWN AT THE KEYS IN HIS HAND. HE GRABS BELLA'S WRIST, AND
TURNS IT OVER TO SHOW A SECOND SET OF KEYS IN BELLA'S HAND.

                                                                  88.


                        MOORE (cont'd)
           ...what's, what's the deal, you're gonna
           leave me, alone, in the...

THERE IS A SOUND OF AN EXPLOSION. MOORE TURNS HIS HEAD, WE SEE
BEYOND AND BELOW HIM, THE GARBAGE CAN, BURSTING INTO FLAMES, AND
SPOUTING SMOKE.

ANGLE, ON BELLA, AS HE TAKES OUT HIS PISTOL AND CLOUTS THE
DISTRACTED MOORE.

ANGLE XCU.

ON FRAN.

                        FRAN
           ...no...

                        BELLA
           Get in the truck. Get in the truck... Get in
           the truck...

ANGLE

HE FORCES HER INTO THE VAN.

ANGLE

THE VAN COMING DOWN THE RAMP.

ANGLE INT THE VAN.    BELLA DRIVING, COMING UP ON THE CASHIER'S
BOOTH.

                        BELLA
                (TO FRAN)
           Gimme the ticket.
                (PAUSE)
           Gimme the ttt...

                        FRAN
           ...you left'em up there with Joe...

ANGLE, AT THE CASHIER'S BOOTH.

                        CASHIER
           ...morning...

                        BELLA
           I, uh...

                        FRAN
                (SOTTO)
           ...get us out of here...

                        BELLA
           I seem to've lost my ticket...

                                                                89.


                         CASHIER
         Oh, man.     I'm sorry.

                        BELLA
         ...just...

                      CASHIER
         Look, f'you c'n show me some... something,
         your airline ticket, something...

                      BELLA (cont'd)
         ...just tell me what the full freight is,
         for...

                      CASHIER
         Sure, but, between you 'n me? They give me
         some leeway, so, f'you c'n show me some
         "Proof," 'bout, how long...

                      FRAN
         Just, would you just, however long, the...

                      CASHIER
         ...lost Ticket charge, hundred fifty dollars.
         I don't think you...

FRAN DIGS IN HER POCKET, AND STARTS PAYING HIM.

                      CASHIER (cont'd)
         I'm telling you, I hate to...

                      FRAN
         We're in a hurry...

THE CASHIER SHRUGS.

                      CASHIER
         ...you must be some kind of rich...

HE HANDS THEM A RED RECEIPT, WHICH IS PRINTED "STAYS OVER 72 HOURS.
LOST TICKET CHARGE. PAID."

ANGLE

ON BELLA, AS HE TAKES THE RECEIPT, AND THROWS IT ON HIS DASHBOARD,
AND DRIVES OFF.

ANGLE, ON MOORE, ON THE PAVEMENT, AS HE STIRS, AND SHAKES HIS
HEAD...

ANGLE

ON THE VAN, COMING OUT OF THE PARKING GARAGE, AND ONTO THE ACCESS
ROAD.

ANGLE

ON THE VAN, GOING ONTO THE SHOULDER OF THE ACCESSROAD.

                                                                     90.


BELLA JUMPS OUT OF THE VAN, AND RAISES THE HOOD. HE TAKES OUT A
SCREWDRIVER, AND USES IT TO DISCONNECT SEVERAL WIRES.

HE WALKS BACK TO THE VAN.

                      FRAN
         You didn't have to hit him...

                      BELLA
         Yea? When'd you get so tough.        You didn't
         used to be so tough...

                         FRAN
         I...
                 (SHE SEES SOMETHING IN THE
                  REARVIEW MIRROR)

ANGLE BELLA'S POV.

A WRECKER TRUCK COMING DOWN ALONG THE ROAD.      IT VEERS ONTO THE
ACCESS ROAD, AND PUTS ON ITS FLASHES.

ANGLE

BELLA AND FRAN

                      BELLA
         Yeah, that's about as close as I ever want it
         to be...

                      FRAN
         ...why did you have to hurt him...?

                      BELLA
         ...hey, din't we make that decision...?

ANGLE

AS THE MAN FROM THE WRECKER BACKS HIS TRUCK UP TO THE HOOD OF
THE RENTAL TRUCK.

FRAN COMES OUT TO TALK TO HIM.

                      FRAN
         Where the, where the hell, excuse me. Good
         morning. We've been sitting here, since...

THE MECHANIC FROM THE WRECKER ADVANCES TOWARD THEM.

                      MECHANIC
         I'm sorry, we've got a full day... I got four
         false calls this morning, four false calls.
         I...

HE STARTS TO OPEN THE HOOD.

                                                                91.


                      FRAN
         That's not going to do you a whole raft of
         good. That's dead as Kelsey's nuts...

ANGLE

SEVERAL COP CARS ESTABLISHING THE ROADBLOCK. WE SEE TWO OF THE
COPS GET INTO A CRUISER, AND PULL UP TOWARD THE WRECKER AND THE VAN.

ANGLE

ON BELLA AND FRAN IN THE VAN.   BELLA TAKES OUT A CIGARETTE.

                      FRAN (cont'd)
         Don't smoke the cigarette.

                      BELLA
         ...what kind of people try to look calm...?

ANGLE INT THE POLICE CRUISER. AS IT COMES UP ON THE TOWTRUCK,
WHICH IS HAULING UP THE "BROKEN" RENTAL TRUCK.

ONE OF THE OFFICERS GETS OUT OF THE STOPPED CRUISER AND WALKS
TOWARD THE TRUCK, THE OTHER STAYS ON THE RADIO, AND THEN FOLLOWS.

                      OFFICER ONE
              (AS HE APPROACHES THE GROUP
               AROUND THE TWO TRUCKS)
         Morning,

ANGLE ON OFFICER TWO AS HE WALKS AROUND TO THE BACK OF THE TRUCK.

                      OFFICER TWO
         ...would you stand away, please...?

OFFICER TWO MOVES INTO THE BACK OF THE TRUCK, CAMERA FOLLOWS TO
SHOW HIM WALKING UP TO THE OTHER SIDE.

ANGLE EXT THE TRUCK.

                      OFFICER ONE
              (TO FRAN)
         How long has this truck been here?

                      FRAN
              (TO THE MECHANIC)
         Ask him...

                      MECHANIC
         ...the, uh, we got the first call at...

                      FRAN
         We've been here since...

                                                                   92.


                        OFFICER ONE
           One moment, please.

                        MECHANIC
           We got the breakdown call at five-twenty,
           this.

                        FRAN
           This is great, this is great, a four hour
           breakdown n'i'm gonna get arrested, all in
           One Swell Day. Whatsa Charge...?

                        OFFICER TWO
                (AS HE COMES BACK AROUND FROM THE
                 BACK, COMING UP TO FRAN.)
           ...what you hauling...?

                        FRAN
           Marine 'quipment.

                        OFFICER TWO
           Marine what...?

                        OFFICER ONE
           ...would you open the rear, please...?

ANGLE

ON FRAN.   AS SHE GETS DOWN, AND WALKS THE COP TO THE BACK.

                        FRAN
           ...it's an auxiliary engine, some rich guy's
           toy...

SHE OPENS THE REAR OF THE VAN.      THE POLICEMAN STARTS INVESTIGATING
THE ENGINE.

                          OFFICER
           ...some toy.

                        FRAN
                (TAKES OUT A STICK OF GUM AND PUTS
                 IT IN HER MOUTH.)
           ...maybe he's compensating fr'something...
                (OFFERS A STICK OF GUM TO THE
                 COP, WHO DECLINES)
           what's the deal, what're you looking for...?

ANGLE

ON OFFICER TWO AND BELLA, WHO IS IN THE CAB.

                        OFFICER TWO
           How long you been out here...?

                        BELLA
           Broke down, this morning, five, five
           fifteen...

                                                                93.


                      OFFICER TWO
         What'dja eat...?

                      BELLA
         Nothing, you know, nothing to eat... nothin'
         to eat but luckies...

HE REACHES FOR CIGARETTES ON THE DASHBOARD.

ANGLE INS.   WE SEE THE LARGE RED RECEIPT PARKING OVER 72 HOURS,
ETC.

ANGLE

ON BELLA AS HE TAKES THE CIGARETTE AND LIGHTS IT, HE PUTS THE
MATCHES BACK ON THE DASH, NEXT TO SOME PAPERWORK.

                      OFFICER ONE
         ...you been sitting out here all morn...?

ANGLE

ON FRAN, AS SHE WALKS UP, FOLLOWED BY THE OTHER COP.

                      FRAN
         You guys wanna wave your magic wand n'make
         it different, that's awright with me...

                      BELLA
         ...look at the paperwork...

HE STARTS TO REACH FOR THE CLIPBOARD.

ANGLE, FRAN'S POV INS.   THE RED LATE TICKET SLIP ON THE
DASHBOARD.

ANGLE

ON THE OFFICER ONE, AS HE REACHES INTO THE CAB FOR THE PAPERWORK.

                      FRAN
         Yeah. Lookit the paperwork.    Tell you what,
         keep the paperwork.

SHE REACHES PAST HIM, PICKS UP THE RED RECEIPT, TAKES OUT HER GUM
AND PUTS IT IN THE PAPER, CRUMPLES IT, AND TOSSES IT ONTO THE
FLOOR OF THE CAB.

                      FRAN (cont'd)
         ...lest you need to Throw me in Jail,
         f'sitting in a Truck...

                      OFFICER ONE
         Back's clean...

                      FRAN
         Hey, y'gonna leave, just when we're gettin'
         to know each other...?

                                                                   94.


                      OFFICER TWO
         Duty calls...

                      FRAN
         Ships-in-the-night...
              (SHE SHRUGS)

ANGLE

EXT THE WRECKER.

THE MECHANIC CLOSES THE HOOD, WE SEE THE TWO COPS WALKING BACK TO
THEIR CRUISER. THE WRECKER STARTS TO DRIVE OFF, WE SEE ONE OF
THE COPS WAVE TO THE OTHERS AT THE BARRICADE, AND WE SEE THE WRECKER
PASS THROUGH.

ANGLE INT THE PARKING GARAGE.

MOORE, HOLDING A DIRTY HANDKERCHIEF TO HIS BLEEDING HEAD.

LOOKS OUT AT THE ACCESSROAD.

ANGLE HIS POV.

THE WRECKER AND THE TRUCK PASSING THROUGH THE ROADBLOCK.

INT PARKING GARAGE. DAY.

MOORE, RISING TO HIS FEET.     HOLDS A HANDKERCHIEF TO HIS HEAD.

HE WALKS TO THE EDGE OF THE PARKING GARAGE PARAPET, AND LOOKS OUT.

ANGLE HIS POV.

THE TRUCK, DOWN, BELOW, ON THE ACCESS ROAD, PASSING THROUGH THE
ROADBLOCK, TOWED BY THE WRECKER.

ANGLE

AT THE ROADBLOCK, THE COPS WAVING THE WRECKER THROUGH.

ANGLE

IN THE PARKING GARAGE.   MOORE, TURNS AWAY FROM THE EDGE, AND WALKS
BACK, UNSTEADILY.

CAMERA TAKES HIM TOWARD THE STAIRCASE.

ANGLE THE DRIVETHROUGH, GROUND LEVEL, AIRPORT.

A SMALL FIRETRUCK IS PARKED BESIDE THE WASTE CAN, WHICH IS SPEWING
SMOKE, TWO FIREFIGHTERS ARE PUTTING OUT THE FIRE, POLICE ARE
DIRECTING TRAFFIC AROUND IT.

SEVERAL ROADCREWMEN, THE ROADCREW WE SAW EARLIER.     ARE SITTING ON
THE CURB, AND WATCHING.

ANGLE

                                                                   95.


ON MOORE, AS HE EMERGES FROM THE CONCRETE STAIRWELL. HE LOOKS
AROUND. HE PICKS UP AN ORANGE VEST AND A HARDHAT FROM A PILE AT THE
BARRICADE OUTSIDE THE STAIRWELL. HE TIES THE HANDKERCHIEF AROUND
HIS HEAD, HE SHUCKS OFF HIS SPORTCOAT, AND SHIRT, AND PUTS THE VEST
ON OVER HIS T-SHIRT. HE PUTS ON THE HARDHAT.
HE PICKS UP A HOE, AND STARTS SLOWLY WALKING DOWN THE ROAD, AWAY
FROM THE FIRE AND POLICE.

                                                    DISSOLVE TO:

INT RENTAL TRUCK GARAGE DAY.

FRAN SIPPING COFFEE, INSIDE A SMALL "ADMIN" SHED. IN THE B.G. WE
SEE THE VARIOUS TRUCKS BEING SERVICED. BELLA, TALKING WITH A
MECHANIC, COMES BACK INTO THE SHED. HE COMES AND SITS NEXT TO HER
ON A BENCH, THEY SPEAK IN UNDERTONES.

FRAN NODS HER APPRECIATION.

A SUPERVISOR COMES IN.

                      SUPERVISOR
         I'm sorry, I believe It'll take us four or
         five hours to... you know, f'you want, I'll
         be glad, transfer your load...

                      BELLA
         ...thank you, but we got that thing
         palletted in there, pretty good, and... I,
         uh, I don't want to change it, I'd rather
         wait.

                      SUPERVISOR
         No problem, just thought I'd make the
         offer...

HE WITHDRAWS.    PAUSE.

                      BELLA
         I figure, we can't be any safer than in here.

                      FRAN
         ...you think pretty good on your feet.

                      BELLA
         ...I think pretty good off my feet, too.
              (PAUSE)
         F'you remember...
              (PAUSE)
         You remember that...?

HOLD ON FRAN, LOOKING AT HIM.

INT DINER DAY.

A POV, ACROSS AN INDUSTRIAL STREET, THE RENTATRUCK GARAGE.

                                                                  96.


WE SEE THE OPEN BACK OF THE TRUCK, AND THE ENGINE IN IT.

IT IS RAINING.

ANGLE

FRAN AND BELLA, IN A BOOTH AT THE GARAGE.   BELLA LOOKS BACK AT
FRAN.

                      BELLA
         ...what is it?

                      FRAN
         Why'd you have to hit him?

                      BELLA
         ...to make him see my point of view.
              (PAUSE)

                      FRAN
         Is he going to be alright?

                      BELLA
         Well, you know, he's gonna have a headache.
              (PAUSE)
         Or is that what you're asking?
              (PAUSE)
         In which case, we're way past that. Don't you
         think?
              (PAUSE)
         Because lemme run this down to you: And you
         tell me the error in my logic. One: an old
         man. On the run. Might as well have his
         face on a Postage Stamp. N'he's looking for
         his money. Two: You and me. For example:
              (HE LOOKS ACROSS AT THE TRUCK)
         And the prize in the Crackerjack.
              (PAUSE)
         And a wet afternoon to kill. Talking about
         it.

                        FRAN
         I.    Uh... let's get out of here...

SHE GETS UP.

                      BELLA
              (AS SHE FOLLOWS HER)
         I'm getting too close to you?

                      FRAN
         Yeah, you're gettin' too close to me.

                      BELLA
         Uh huh. What? I took the thrill out of
         "slumming..."

                      FRAN
         Let's get to the Rendezvous.

                                                                 97.


                      BELLA
         ...we're going to the rendezvous.

                      FRAN
         Let's get there.

                      BELLA
         We got twelve hours.

                      FRAN
         Yeah, no, let's go now.

                      BELLA
         The truck's broken.

                      FRAN
         Tell'im what's wrong with it.

SHE STARTS FOR THE ENTRANCE, BELLA FOLLOWS HER.

                      FRAN (cont'd)
         Tell im, you had this same problem one time,
         your truck, and maybe it's the same th...

                      BELLA
         ...why don't we just?

                      FRAN
              (TURNING TO HIM)
         Because if you sold everybody else out, why
         wouldn't you sell me out?

                      BELLA
              (PAUSE)
         You remember the reason for that...
              (SHE STARTS ACROSS TO THE GARAGE.
               HE FOLLOWS HER.)

INT. CHEAP HOTEL ROOM.   NIGHT.

MOORE, IN A T-SHIRT, LOOKING IN THE MIRROR. HE HAS A BAD CUT ON
HIS FOREHEAD. AND HE HAS FIRST-AID SUPPLIES SPREAD OUT IN FRONT
OF HIM ON THE BUREAU, UNDERNEATH THE MIRROR.

HE WINCES AS HE APPLIES IODINE, AND A BANDAGE.

HE TAKES A PANCAKE MAKEUP OUT OF A SMALL PAPER BAG, AND BEGINS
SPREADING IT OVER THE BANDAGE ON HIS FOREHEAD.

ANGLE

ON THE CHEAP, UNSLEPT-IN BED IS A DUFFLEBAG, IN IT WE SEE THE
SECURITY GUARD UNIFORM, AND THE F.A.A. INSPECTORS BADGE.

WE SEE A MAN'S HANDS COME INTO THE SHOT AND TAKE A CLEAN SHIRT OUT
OF THE DUFFLEBAG.

                                                                 98.


ON THE BED NEXT TO THE DUFFLEBAG ARE A WET AND BLOODY SHIRT AND
UNDERSHIRT.

ANGLE

ON MOORE, AS HE PUTS ON THE CLEAN SHIRT. HE REACHES IN THE BAG
AND TAKES OUT HORNRIM GLASSES, AND PUTS THEM ON. HE STUFFS THE
BLOODY CLOTHING INTO THE DUFFLEBAG.

CAMERA TAKES HIM TO THE BUREAU, WHERE HE PUTS THE BANDAGES ET
CETERA, INTO THE DUFFLEBAG.

HE LOOKS AROUND THE ROOM. PICKS UP THE DUFFLEBAG, AND A SMALL
ATTACHE CASE WHICH RESTS AT THE DOOR.

HE OPENS THE DOOR, AND PEERS OUT INTO THE HALL.

ANGLE, IN THE HALL, MOORE EXITING THE ROOM, CLOSES THE DOOR BEHIND
HIM, LOCKS IT. WE SEE HE IS ATTIRED IN A CHEAP SPORTCOAT, WITH A
NEW PEN PROTECTOR FULL OF PENS IN ITS POCKET.

CAMERA TAKES HIM DOWN THE HALL TO AN INCINERATOR SHOOT.   HE PUTS THE
DUFFLEBAG AND THEN THE KEY INTO THE INCINERATOR SHOOT.

INT CAB OF THE RENTAL TRUCK. DESERTED COUNTRY ROAD.   NIGHT.    BELLA
DRIVING, FRAN RIDING SHOTGUN.

HOLD

                      BELLA
         S'alot of money we've got back there.
              (PAUSE)
         I said...

                       FRAN
         Yes.   Thank you. I know what you said.

                      BELLA
         What're you, filled with Remorse,
         something...?

                      FRAN
              (LOOKING OUT OF THE WINDOW)
         ...this is our exit.

                      BELLA
         Are you filled with remorse...?

                       FRAN
         ...not yet.

                      BELLA
         Well, good, cause...

                      FRAN
         This is the exit for the meet.

ANGLE HER POV

                                                               99.


THE RAINY NIGHT HIGHWAY, DIVIDING, AN OFFRAMP SHOWN A HALF MILE
AHEAD.

ANGLE INT THE TRUCK

                      FRAN (cont'd)
         ...this is the...

                      BELLA
         Yes, Indeed it is, but I'm going to tell you
         something...

SHE GRABS FOR THE WHEEL.

                      BELLA (cont'd)
              (AS HE PUSHES HER AWAY)
         Take your hands off the wheel...

ANGLE, EXT. THE TRUCK AS IT SWERVES TOWARD THE SIDEROAD, AND THEN
BACK ONTO THE MAIN ROAD.

ANGLE INT THE CAB.

                      BELLA (cont'd)
         What are you, nuts? Are you nuts? We're
         going to... I'll tell you what we're gonna do.
         We're gonna...

                       FRAN
         ...alright.

                      BELLA
         ...we're gonna. That lame, that old lame you
         were with... he was... what did you think he
         was? He was a non-starter... what did you
         think...
         what way in hell was he going to go home with
         the gold? Based on what Fairy tale...? YOU
         knew that... only one who didn't know that
         was...

ANGLE EXT THE TRUCK. THEY PASS BY A ROADSIDE SERVICE AREA, A GAS
STATION, A LIT-UP COUNTRY DINER-LOUNGE BESIDE IT.

ANGLE INT THE TRUCK

BELLA AND FRAN

AS FRAN LOOKS OUT OF THE WINDOW.

                      FRAN
         You missed the exit for the meet.

                      BELLA
         Well, yeah, no, I told you... we aren't going
         to the Meet.
              (PAUSE)
         You know we aren't going there.
                      (MORE)

                                                           100.


                      BELLA (cont'd)
              (PAUSE)
         Why would we want to go there...?

                      FRAN
         What am I, just going to go off with you
         forever?

                      BELLA
         You want me to tell you why...?

                      FRAN
         Take me to the Meet.

                      BELLA
         There is no meet, for the luvva God.   You know
         that.
              (PAUSE)
         You know that.
              (PAUSE)
         You know that...

                      FRAN
         I need a drink.

                      BELLA
         Yeah. I'll get you a drink, and here's a
         bracer... We left the meet at the Airport.
         We left the Meet, your guy went out, got his
         picture on the Videott... and let's cut out
         the Shucking and the Jivin': what kind of
         man, sends you to me, sends his wife to me...
         to "distract" me... Oh? Surprise! I was All
         Taken In... How About That... What a fool I
         am... Would I do that to you?
              (PAUSE)
         Would I do that to you...? Except pee ess,
         who liked it?
              (PAUSE)
         So, Old Times Sake, I'm gonna tell you
         something, why'nt we cut the nonsense, and Say
         What It Is?
              (PAUSE)

                      FRAN
         ...I need a drink.     Turn around.

                      BELLA
         ...nothing simpler.

                      FRAN
         I, uh, I need some time, I need a little time,
         to...

BELLA ADJUSTS THE CAR INTO A U-TURN.

                      BELLA
         We're gonna siddown, and I'll draw you the
         scheme of it, the New Thing, on a Napkin.

                                                                  101.


HE LOOKS OUT OF THE WINDSHIELD.

ANGLE, HIS POV, AROUND A TURN AHEAD, THE COUNTRY DINER-LOUNGE WE
PASSED EARLIER, IN FRONT OF IT, A POLICE CRUISER.

ANGLE, INT THE TRUCK.

                        BELLA (cont'd)
            uh oh...

HE TWISTS THE WHEEL VIOLENTLY.

ANGLE, EXT THE TRUCK.

THE TRUCK STARTS TO SKID ON THE RAIN-SLICKED HIGHWAY, IT CROSSES
TO THE FAR SIDE OF THE ROAD, AND GOES INTO A DITCH.

THE TRUCK TUMBLES IN THE DITCH AND ENDS, ON ITS SIDE.

ANGLE

IN THE SCRUB WOODS ON THE SIDE OF THE ROAD. THE TRUCK, ON ITS SIDE,
THE SIDE PANELS CRUMPLED, THE BACK SPRUNG OPEN.

ANGLE INT THE TRUCK

BELLA AND FRAN.    HE CHECKS HER FOR INJURIES.   SHE IS SHOCKY.

HE HELPS HER OUT OF THE TRUCK.

ANGLE EXT

THE WRECKED TRUCK. IN THE RAIN. IN THE FAR B.G. THE LIGHTS OF THE
DINER, AND THE POLICE CRUISER. BELLA REACHES BACK INTO THE TRUCK,
TURNS OFF THE ENGINE AND THE LIGHTS.

HE WALKS AROUND TO THE BACK OF THE TRUCK.

ANGLE HIS POV

THE BACK DOOR SPRUNG OPEN, THE FAKE ENGINE OPEN, AND THE COVERED
BARS LYING ALL OVER THE BACK OF THE TRUCK.

ANGLE

ON BELLA AND FRAN, AS SHE COMES AROUND THE BACK OF THE TRUCK.

BELLA STANDS, INDECISIVE, LOOKING AT THE COVERED BARS.     HE STARTS TO
REACH IN FOR THEM.

                        FRAN
            leave it.

PAUSE

BELLA LOOKS AT HER, AMAZED.    HE STARTS TO GATHER THEM UP.

                                                                   102.


                      FRAN (cont'd)
         Leave it... walk away from it.     For godsake...

BELLA STARTS SCOOPING UP THE BARS, AND CARRYING THEM BACK INTO THE
WOODS. FRAN MOVES TO STOP HIM.

                      FRAN (cont'd)
         Walk away from it... what are you going to
         ...come on. Come on...
              (SHE GESTURES BACK AT THE COPCAR)
         Are you crazy...

                      BELLA
         ...we can get a few, we can bury the bars, if
         we bury the bars in the...

                      FRAN
              (PULLING ON HIM)
         For godsake, walk away from it.     Leave it...

                     BELLA
         Okay. Look: we fit'em back into the
         container. We... come on, come on...

HE LOOKS BACK OVER HIS SHOULDER AT THE COPCAR. HE WORKS HIS WAY
BACK INTO THE TRUCK, AND STARTS REPLACING THE GOLDBARS IN THE
CONTAINER.

                      FRAN
              (BEHIND HIM)
         Come on...

                      BELLA
              (HE REACHES FOR A FLASHLIGHT FROM
               THE GLOVE COMPARTMENT, TO HELP
               HIM)
         The truck's clean, for chrissake, the truck's
         clean: we put it back together, we calla
         towtruck -- am I gone to walkaway from all
         this gold...?

HE IS PLAYING HIS BEAM ON THE GOLDBARS.    PAUSE.

ANGLE, HIS POV.   INS.

HE PICKS UP ONE OF THE BARS. THE WRAPPING IS TORN.     HE SHINES THE
LIGHT ON IT, TO REVEAL IT IS A DULL LEADEN COLOR.

HE PICKS UP NOW ONE AND NOW ANOTHER    OF THE GOLD BARS. AND DRIPS THE
COVERING OFF OF THEM. EACH ONE IS     LEAD. HE PICKS UP THE ONE BAR
WHICH WAS OPENED AND RESEALED WITH    TAPE, TO SHOW IT IS GOLD. HE
STRIPS OFF THE WRAPPING. HALF THE     BAR IS GOLD, THE REST OF IT IS
LEAD.

HE STARTS RIPPING THE COVERS OFF THE BARS VIOLENTLY.       ALL THE REST
ARE LEAD.

ANGLE

                                                                    103.


ON BELLA, AS HE TURNS TO LOOK AT FRAN.

ANGLE, HIS POV.    ON FRAN.    STANDING BEHIND HIM IN THE RAIN.

ANGLE

ON FRAN, AS SHE BACKS AWAY FROM BELLA, BACK INTO THE WOODS.

ANGLE

ON BELLA, AT THE TRUCK, AS HE CONTINUES RIPPING OFF THE COVERINGS.

HE TURNS AROUND.

ANGLE HIS POV.

ON FRAN, AS SHE DISAPPEARS INTO THE WOODS.

ANGLE INT THE WOODS.

FRAN RUNNING IN THE DARK WOODS.     SHE SLIPS, AND FALLS.   WE SEE
BELLA, RUNNING BEHIND HER.

SHE PICKS HERSELF UP, BEGINS TO RUN AGAIN. SHE STOPS, HER JACKET
AND PURSE CAUGHT ON A TREE. SHE TRIES TO FREE HERSELF, SHE LOOKS
BACK AT THE MAN GAINING ON HER.

SHE TAKES OFF HER JACKET AND RUNS ON.      HOLD ON HER JACKET AND
PURSE STRAP ON THE TREE.

EXT ROADSIDE DINER, NIGHT.

THE PARKINGLOT, THE POLICE CRUISER PARKED OUT FRONT.

FRAN EMERGES FROM THE WOODS, AND RUNS ACROSS THE PARKING LOT AND
INTO A BACK DOOR OF THE DINER.

INT DINER NIGHT.

THE POLICEMAN AND A COUPLE OF CUSTOMERS AT THE COUNTER.

FRAN ENTERS THROUGH THE BACK DOOR.     SHE PROCEEDS TOWARD A
PHONEBOOOTH.

SHE STARTS TO DIAL.    BEAT.    SHE REACHES FOR HER PURSE, IT IS GONE.

SHE DIGS IN HER PANTS.    FINDS NOTHING.

ANGLE AT THE COUNTER.

FRAN WALKS UP.    ALL TURN TO LOOK AT HER.

                      FRAN
         Yeah, well, Can I, uh, can I make a credit
         card call on that phone?

                      COUNTERMAN
         No, I don't think so.

                                                                104.


                        FRAN
                (SHE NODS)
           Then, anybody got a coin...?
                (PAUSE)

ANGLE.    SHE LOOKS OVER AT THE POLICEMAN, WHO IS LOOKING AT HER.

                        FRAN (cont'd)
                (TO THE COP)
           Excuse me, what are you looking at, All Due
           Respect?

                        COP
                (PAUSE)
           I was wondering, Maam, if you needed any
           assistance.

                        FRAN
           Well, thank you, Sir. It would be nice, to
           meet a gentleman... to meet a gentleman for
           once in my life... But I, uh... I, uh...

ANGLE XCU ON FRAN, AS SHE LOOKS BACK.

ANGLE, HER POV.

AT THE BACK OF THE DINER, BELLA, COMING THROUGH THE DOOR, AND
STOPPING BEHIND SOME CRATES, IN THE BACK.

ANGLE

ON FRAN

                        FRAN (cont'd)
           I, uh... thank you, I just need to uh...

THE POLICEMAN SLIPS SOME CHANGE ACROSS TO HER.

                        FRAN (cont'd)
                (AS SHE LOOKS BACK AT THE PHONE)
           In fact, you know, I'm fine... I had a fight
           with my husband... and he said... I said...
           "then let me out of the car..." ...
           and he did...
                (SHE STARTS TO CRY)

A WAITRESS COMES OVER AND SITS BY HER.

                        FRAN (cont'd)
           ...that was the stupidest thing... the
           stupidest thing that...

THE WAITRESS GESTURES TO THE POLICEMAN THAT SHE WILL TAKE CARE OF
IT.

THE COP NODS, AND PUTS DOWN SOME MONEY FOR THE CHECK, AND GETS UP.

ANGLE

                                                                      105.


ON THE COP, AS HE PROCEEDS TOWARD THE CRUISER.

A TRUCKER PAYS HIS CHECK AND WALKS AFTER HIM.

ANGLE,

ON BELLA, AS HE WATCHES.      CAMERA TAKES HIM AROUND THE OUTSIDE OF
THE DINER.

ANGLE

ON BELLA, AS HE WATCHES THE POLICEMAN DEPART.

ANGLE INT THE DINER.

AS BELLA REENTERS THROUGH THE BACK DOOR.

ANGLE HIS POV.

FRAN, DEPARTING THE FRONT OF THE DINER, TALKING WITH A TRUCKER,
AS THE TRUCKER HELPS HER UP INTO HIS CAB.

ANGLE

BELLA. HOLD. HE PICKS UP THE PHONE.       DIGS FOR SOME CHANGE, AND
PUTS IT IN THE PHONE.

HE LOOKS DOWN.

ANGLE INS.

THE HALF GOLD, HALF LEAD BAR.     SOUND OF DIALLING.

                                                       DISSOLVE TO:

EXT RAINY HIGHWAY.   NIGHT.    A SMALL TRUCK.

ANGLE INT THE SMALL TRUCK.

BLANE AND MOORE IN THE TRUCK.     BLANE DRIVING.

MOORE TOUCHES HIS HEAD INJURY.

                      BLANE
         How you doing?

                      MOORE
         I ain't feeling too well.

BLANE LOOKS AT SOMETHING UP AHEAD.     MOORE TURNS.

ANGLE HIS POV.

A SECURITY CHECKPOINT, A BARRIER, A GUARD COMING FORWARD.

                                                               106.


ANGLE EXT THE TRUCK.

THE SECURITY GUARD COMES OUT.

BLANE HAND HIM A SLIP OF PAPER. THE SECURITY GUARD CHECKS IT, MAKES
A CALL ON A WALKIE, AND WAVES THEM THROUGH A BARRIER WHICH RISES TO
ADMIT THEM.

ANGLE

ON THE TRUCK.   ENTERING WHAT IS NOW SHOWN TO BE THE CARGO AREA OF
THE AIRPORT.

ANGLE

THE TAIL OF THE AEROHELVETICA PLANE, THE LARGE SWISS CROSS. TILT
DOWN TO SHOW SEVERAL TRUCKS SURROUNDING IT, A POLICE CRUISER, AND
THE TRUCK BEARING MOORE AND BLANE, PULLING UP TO THE PLANE.

ANGLE

ON THE TARMAC. MOORE GETS OUT, AS BLANE REVERSES THE TRUCK. BLANE
WALKS UP TO A SMALL GROUND OF COVERALLED WORKERS, AND TWO COPS.

THERE IS A CONVEYOR RUNNING FROM THE PLANE DOWN TO THE GROUND,
AND SEVERAL CONTAINERS ON THE GROUND.

BLANE PRESENTS A SHEAF OF PAPERWORK TO ONE OF THE COVERALLED MEN.

                      BLANE
         ...Hywest Foundry?

HE LOOKS AROUND, AS IF CONFUSED BY THE POLICE ACTIVITY.

                      OFFICIAL
              (EXPLAINING)
         We had a robbery of the pll...

                      MOORE
              (OF HIS INVOICE. VERY CONCERNED)
         Could you check my numbers, Please...?

                      TROOPER
              (OVERHEARING)
         Yeah, no, they got what they came for, Pal.
         It wasn't yours...

MOORE LOOKS CONFUSED. HE TURNS TO THE COVERALLED OFFICIAL FOR HELP.
THE OFFICIAL CONSULTS THE PAPERWORK, AND BIDS MOORE FOLLOW HIM UP
THE CONVEYOR.

ANGLE, IN THE AREOHELVETICA PLANE.

SEVERAL WORKERS INSIDE. THE OFFICIAL, LEADS MOORE TO THE CONTAINERS
MARKED 'HYWEST FOUNDRY.' HE POINTS THEM OUT AND MOTIONS TWO OF THE
WORKERS TO START THEM ONTO THE CONTAINER.

                                                                    107.


                         MOORE
            ...thank God.

                         TROOPER
            ...precious stuff, huh?

                         MOORE
            It would mean my job...

ANGLE

THE HYWEST FOUNDRY CONTAINERS COMING DOWN THE CONVEYOR, AS BLANE
OPENS THE BACK OF HIS TRUCK FOR THEM. HE LOOKS UP.

ANGLE, HIS POV.

MOORE, STANDING IN THE OPEN HATCH OF THE SWISS PLANE.

ANGLE CU.

MOORE.   WITH A SLIGHT GRIN.     NODS AT BLANE.

EXT CITY RESIDENTIAL STREET DAY.

AN OLD STYLE STREET OF    SMALL BUNGALOWS. A SMALL GIRL     BEING WALKED
DOWN TO THE CURB BY HER    MOTHER, WHO IS HANDING HER A    LUNCHBOX.
PINCUS WALKS OUT OF THE    HOUSE BEHIND THEM, HE SHAKES    HANDS AND
MAKES HIS GOODBYES WITH    A YOUNG FELLOW WHO IS HOLDING    A CUP OF
COFFEE.

ANGLE

TIGHT ON PINCUS, THE MOTHER AND THE YOUNG GIRL (WHOM WE SAW EARLIER,
IN THE KITCHEN SCENE...) AT THE CURB. AS THE MOTHER ADJUSTS THE
COLLAR ON THE CHILD.

                         MOTHER
            ...Uncle Donn to get up so early in the
            morning, Walk you to the Bus Today.

                         PINCUS
            Glad to do it, glad to do it, glad to do it.

                         MOTHER
                 (AS PINCUS GIVES HER A PECK ON
                  THE CHEEK)
            ...come over for dinner, Thursday.

                         PINCUS
            Waal, we're gonna have to see...

HE TAKES THE CHILD OUT OF THE FRAME.

ANGLE

TRACKING BACK BEFORE PINCUS AND THE GIRL, AS THEY WALK.

                                                                108.


                      GIRL
         ...come to dinner.

                      PINCUS
         We're gonna have to see.

                      GIRL
         You always say that, and it means you won't.

                      PINCUS
         Well, it's possible, it's possible, you see,
         that my 'business'...

                        GIRL
         ...uh huh...

                      PINCUS
         ...that I might have to go 'travelling' for a
         while...

                      GIRL
         Why can't you do your business here?

                      PINCUS
         Wish I could, Baby. Fact it. Fact is:          I got
         to get out of here, this morning.

                      GIRL
         This morning?

                      PINCUS
         That's when my plane leaves.

                      GIRL
         ...there's the bus...

WE SEE THE YELLOW SCHOOLBUS PULLING UP TO A SIGN, AND SEVERAL
CHILDREN GETTING INTO IT.

                      PINCUS
         Well, there you go. Times change. My day,
         all kids, had to walk all the way to school.

                       GIRL
         Yes.   But the streets were safer.

                      PINCUS
         Izzat so...?
              (HE BENDS DOWN AND GIVES HER A
               KISS)
         You take care of yourself, kid...

                      GIRL
         Bye, Uncle Donny...

SHE GETS UP INTO THE BUS.      HE WAVES HER GOODBYE.

ANGLE, CU.   ON PINCUS, WAVING GOODBYE.     HE TURNS.

                                                                    109.


ANGLE

AS HE TURNS HE FINDS A THUG AND BERGMAN STANDING BEHIND HIM.

A BLACK SEDAN IS AT THE CURB BEHIND BERGMAN, ANOTHER THUG STANDS BY
THE BACK DOOR, AND OPENS IT.

BEAT.

                      PINCUS
         Good day for the race.

                      BERGMAN
         What race is that?

                      PINCUS
         The Human Race.
              (PAUSE. HE LOOKS AFTER THE BUS)
         Kids growing up, so on...
              (PAUSE)
         Hope of the Future.

                      THUG
         Get in the fucken car.

PINCUS SIGHS, HE STARTS TOWARD THE CAR.     AND THEN TURNS TO RUN.
THE THUG PUTS THE ARM ON HIM.

                      BERGMAN
         Get in the car.

                                                     DISSOLVE TO:

INT SHIPYARD SHED. DAY.

THE HYWEST CORP CONTAINER. OPENED. ON BLANE, WHO IS SWEATING,
COMES INTO THE FRAME. CAMERA TAKES HIM INTO THE CONTAINER, WHERE WE
SEE WHAT IS THE LAST SEVERAL SCORE WRAPPED INGOTS.

BLANE PICKS UP SEVERAL, AND CAMERA HINGES HIM TO A WORKTABLE, ON
WHICH WE SEE MANY GOLD INGOTS, BLANE STRIPS THE FELT COVERING OFF
THE NEW INGOTS TO REVEAL THEM STAMPED CREDIT NATIONAL DE GENEVE.

HE TAKES THE WRAPPINGS AND TOSSES THEM INTO A FIRE, BURNING IN THE
BOTTOM OF A KILN. BLANE CLOSES THE DOOR.
TILT UP TO SHOW MOORE, WHO IS TAKING A GOLD INGOT, AND PUTTING IT
INTO A CAULDRON, IN WHICH IS MOLTEN GOLD. HE WEARS A WELDER'S
MASK.

HE FLIPS UP HIS MASK.     AND WIPES HIS FOREHEAD.   HE CHECKS HIS
WATCH.

                      MOORE
              (TO BLANE)
         ...where's pinky...?

                                                              110.


INT GARAGE DAY.

PINCUS, TIED TO A CHAIR, IS BEING INTERROGATED BY BERGMAN AND HIS
THUG.

                      BERGMAN
         Where's the Gold?

                      PINCUS
         Well, I, uh, I, uh, I, you know, I'm
         reluctant to tell you.

ANGLE

ON BERGMAN, BEHIND HIM IS SEATED BELLA.

                      BERGMAN
         When we put it to you.
              (PAUSE)
         You know when we put it to you, you're gone
         be telling us the gross national product of
         Bolivia...

                       PINCUS
         ...hey...

                      BERGMAN
         You're gonna be telling us the area codes,
         Belgium and Luxembourg...

                       PINCUS
         Hey, look:   Z'all I know...

ANGLE INS.   BERGMAN PICKS UP THE HALF LEAD, HALF GOLD BAR.

ANGLE

ON BERGMAN

                      BERGMAN
         This is all you know. This is all you know...
         This is all you know.
         N'we got you, going to St. Croix
              (HE HOLDS UP A TICKET)
         Where's your share? How do you pick up your
         share, and where's the meet? WHERE'S THE
         MEET...?
              (BERGMAN PICKS UP THE HALF GOLD
               BAR TO THREATEN PINCUS)

                      PINCUS
         What're you, gonna hurt me...?

                      BERGMAN
         Yeah, no, actually
              (TO PINCUS)
         No, I'm not going to hurt you.   No.
                      (MORE)

                                                             111.


                      BERGMAN (cont'd)
         But tell a guy, m fulla admiration.     What was
         the deal? What was the deal?

                      PINCUS
         The way you're looking at the deal the deal
         was we get away with the gold. Cute huh?

                       BERGMAN
         Yeah, no.   It's charming.   And then what?

                      PINCUS
         We, uh, we "slip away."

                      BERGMAN
         You "slip away." Me and my guys go to the
         Meet, we find a truck full of Pig Iron. Zat
         the thing?

                      PINCUS
         Well, you know, Joe figured, you weren't never
         going to the Meet.

                      BERGMAN
         He did... And where's the Gold.     Where's the
         Gold all this time?
              (PAUSE)
         Y'know? Your guy din't get it in     his head,
         fly off on a Variation, we're out    on the Patio
         right now, and everybody's got a    Margarita.
         Where's the Gold?

                        PINCUS
         ...You know:

                      BERGMAN
         Yeah, no, where's the Gold, what's the Back-up
         Plan...?

                      PINCUS
         You can understand my reluctance to tell you.

                      BERGMAN
              (TO HIS THUGS)
         Take him and show him something...

INT SHED DAY.

THE DOOR TO THE KILN, OPEN, THE FIRE DIED DOWN TO ORANGE EMBERS, IN
THE B.G.

THE OPEN, EMPTY HWYEST CONTAINERS.

THE DOOR OPEN, SHOWING THE MARINA.

AND MOORE STANDING ON THE DECK OF THE SAILBOAT.

HE WIPES THE BRIGHT BRONZE RAIL, THE SUN GLINTS OFF OF IT.

HE GETS DOWN ONTO THE DOCK.

                                                               112.


ANGLE.

ON MOORE AS HE WALKS BACK INTO THE SHED.

WHERE WE SEE BLANE, WHO IS SHUTTING DOWN THE FIRE IN THE FURNACE
UNDER THE CRUCIBLE. BLANE LOOKS AT HIS WATCH.

                         BLANE
          Fran...?

                       MOORE
          No, she won't be calling in till she ditches
          the guy.

                       BLANE
          How's she gonna ditch him?

                       MOORE
          She could talk her way outta a sunburn.

BLANE LOOKS AT HIS WATCH

                       BLANE
          ...and then where's Pinky...?

                       MOORE
          Let's finish up...

INT SERVICE STATION RESTROOM DAY.

PINCUS.   HOLDING A CELLPHONE TO HIS FACE, TALKS INTO THE CELLPHONE.

                         PINCUS
                 (TO PHONE)
          Joe.
               (PAUSE)
          ...Yeah. How you doing?
               (PAUSE)
          Just to check in.
               (PAUSE)
          Fine. Finest kind.
               (PAUSE)
          Yeah, no, I saw the truck go through, too.
          Innit. See you at the meet.
               (HE HANDS THE PHONE TO A THUG, WHO
                WE NOW SEE IS STANDING BESIDE
                HIM. THE THUGS REDIALS THE PHONE
                AND HANDS IT TO PINCUS.)
          Yeah.
               (PAUSE)
          Yeah. Checked in.
               (PAUSE)
          The meet is at.

ANGLE INT BERGMAN'S OFFICE.

                       BERGMAN
               (ON THE PHONE)
          ...and where's the Gold...
                       (MORE)

                                                                113.


                       BERGMAN (cont'd)
               (PAUSE. BERGMAN, LISTENS,
                SMILES.)
          ...you're shitting me... Hah. Yeah.   yeah.
          Well, no, thank you...

ANGLE EXT THE SERVICE STATION.   ANOTHER BODYGUARD TYPE.   KNOCKING ON
THE DOOR.

ANGLE, INT THE RESTROOM.

                       PINCUS
          ...alright...?

                       THUG
          Yeah, alright.

HE OPENS THE DOOR TO THE OUTSIDE.

ANGLE EXT THE RESTROOM

THE THUG NODS 'ALRIGHT' TO THE BODYGUARD TYPE, WHO MOVES TO REVEAL
HE HOLDS PINCUS'S NIECE BY THE ARM. THE BODYGUARD BEGINS TO WALK
HER OFF.

WE SEE THE DOOR TO THE RESTROOM CLOSE. HOLD. WE HEAR A SHOT.
THERE IS A PAUSE. AND THE THUG COMES OUT OF THE RESTROOM DOOR AND
LETS THE DOOR SWING CLOSED BEHIND HIM.

ANGLE AT THE FOUNDRY DAY.

ON MOORE, AS HE WALKS OVER TO BLANE, STILL HOLDING THE PHONE.

                       BLANE
          Pinky Called.

                         MOORE
          Yeah.

                       BLANE
          What's the report?

                       MOORE
          Says he's fine.

                       BLANE
          He said so, huh?

                       MOORE
          That's what he said.

                       BLANE
          Well...
               (BEAT. BLANE CLAPS HIM ON THE
                SHOULDER)

HOLD.   MOORE SHRUGS.

                                                                  114.


                      MOORE
         Good of him to keep in touch.

MOORE STARTS TO WALK TOWARD THE BOAT.

INT CLOTHES BOUTIQUE DAY.

FRAN, IN A DRESSINGROOM. GETTING OUT OF HER BEDRAGGLED CLOTHES,
SHE LOOKS OUT THROUGH THE DOOR.

ANGLE HER POV.

A YOUNG WOMAN, WHO HAS JUST EMERGED FROM AN ADJACENT DRESSINGROOM,
IN A NEW DRESS WITH A TAG ON IT. SHE TALKS TO A SALESGIRL, WHO
TAKES HER OUT OF THE DRESSING AREA.

ANGLE

ON FRAN, IN HER UNDERWEAR, AS SHE RETREATS BACK INTO THE DRESSING
ROOM AND THROWS HERSELF WITH ALL HER WEIGHT AGAINST THE PARTITION,
CRASHING INTO THE NEXT DRESSINGROOM.

ANGLE HER POV

THE OTHER WOMAN'S CLOTHES AND PURSE IN THE DRESSINGROOM.

INT ENGINEROOM THE SAILBOAT DAY.

MOORE TINKERING.

EXT THE DECK OF THE SAILBOAT, DAY. MOORE GOES TO THE COCKPIT AND
TRIES THE STARTER. THE ENGINE DOES NOT START. CAMERA TAKES HIM
DOWN TO THE ENGINEROOM.

ANGLE INT BOUTIQUE, DAY.

FRAN, DRESSED IN THE OTHER WOMAN'S CLOTHES, EXITING THE STORE,
CAMERA HINGES HER AROUND A CORNER, AND TO A PAYPHONE.

ANGLE, INT THE ENGINE ROOM.

MOORE, TINKERING WITH THE ENGINE.     THE ENGINE SPUTTERING.

ANGLE INS, THE CELLPHONE, IN THE POCKET OF HIS JACKET, WHICH IS HUNG
ON A HOOK IN THE ENGINEROOM. BLINKING.

ANGLE

AT THE PAYPHONE. FRAN. REDIALS THE NUMBER.       HOLD.   THEN SHE LOOKS
AT HER WATCH AND HAILS A PASSING CAB.

EXT SAILBOAT DAY.

MOORE, ON THE DECK OF THE SAILBOAT.     AS HE CONNS IT AROUND A MARKER,
AND IN TOWARD A PIER.

THE SUN GLINTS OFF THE RAILING.

                                                                    115.


EXT HIGHWAY DAY.

A TAXICAB. TURNING INTO A PIER AREA. A SMALL MARINA. A SMALL
POWERBOAT BEING BACKED INTO THE WATER BY A SUBURBAN. THE CAB
ENTERS THE AREA, AND FRAN GETS OUT, AND PAYS THE CABBIE OFF. SHE
TURNS TOWARD THE WATER.

ANGLE, HER POV.    THE SAILBOAT.     FAR OUT BEYOND THE END OF A LONG
PIER.

ANGLE

THE PIER.    FRAN RUNNING DOWN THE PIER TOWARD THE BOAT.

AT A SMALL CABANA, NEAR THE END OF THE PIER.       FRAN.   SITTING ON A
BENCH, LOOKING OUT AT THE SAILBOAT.

ANGLE

ON THE BOAT. AS MOORE PULLS IT UP TO THE END OF THE PIER.         JUMPS
DOWN, AND TIES UP THE BOAT.

                         MOORE
            How're you doing? Blane's Okay.      Billy's
            Okay, Pinky called, he...
                 (PAUSE)

HE LOOKS AT FRAN.    HOLD.

BERGMAN AND HIS CREW EMERGE FROM THE SMALL CABANA.

MOORE TURNS BACK TOWARD THE BOAT.       A THUG YELLS AT HIM AND PULLS A
PISTOL. HE STOPS.

                         BERGMAN
            Yeah, yeah, what there was a change in
            Plans...? You couldn't get to me to tell me?

                         MOORE
            Let my wife go.

                         BERGMAN
            Do you mind if I say something personal?
                 (PAUSE)
            You wife's a whore. She'n'you, 've fucked
            this perfect little plan, into...

MOORE STEPS TOWARD BERGMAN.      A THUG CLUBS MOORE TO THE GROUND.

                         BERGMAN    (cont'd)
            Get up. Get up, get     up, you contrary
            motherfucker. I was     going to make you rich.
            I was going to make    you rich. The Swiss
            Score. And look how     you treat me. Cause you
            got to be Too Smart.     You got to be too smart.
            Don't you?

MOORE RISES TO HIS FEET.

                                                                116.


                      BERGMAN (cont'd)
         You just gotta complicate it That Last Bit.
              (PAUSE)
         Well. Do you want to wrap it up, or you want
         to stand around out here, guess my Real Name?

                      MOORE
         What is your real name?

                      BERGMAN
         It's Rumplestiltskin.

                      MOORE
         What was it before you changed it?

THE THUG HITS MOORE AGAIN.

                      FRAN
         Don't hurt him...

                      BERGMAN
         You had to go out on a limb -- you had to go
         out on a limb, Didn't you...? Didn't you...

                      MOORE
         Let the girl go, I'll give up the gold.

                      BERGMAN
         Yeah, we had, basically, we had in mind a
         different deal... a different deal. How bout
         that, I hear, if you're flexible, it Keeps you
         Young.

                      MOORE
         I'll give up the Gold, Me and the girl leave
         on the boat.

                      BERGMAN
         Well, that's very sentimental.   But what if
         the gold's on the boat.

                      MOORE
         Search the boat.

BERGMAN TAKES OUT A SMALL KNIFE, AND BEGINS TO CLEAN HIS NAILS.

                      BERGMAN
         Yeah, no, I don't got to search the boat.

ANGLE

ON BERGMAN, AS HE BECKONS SEVERAL OF THE THUGS ONTO THE BOAT.

                      BERGMAN
         Yeah, no, your wife just made another deal.
         The deal she made, we get the gold, we let you
         live. Whaddaya think?

                                                           117.


PAUSE.   AS MOORE LOOKS AT FRAN.

                       MOORE
          You let me walk away.

                       BERGMAN
          That's right.

                        MOORE
          Me and her.

                       BELLA
          Well, not quite.

                       MOORE
          What did you do to her...

HE LOOKS AT FRAN.

                       FRAN
          I gave you up, Baby.     I gave up the gold.
               (PAUSE)

                       BERGMAN
          Yeah, that's what we did for her, we let you
          live.

                       FRAN
          I gave you up. I had to.

                       BERGMAN
               (TO THE THUGS)
          Let's get this boat out of here.
               (TO MOORE)
          We're letting you live cause it makes the
          broad happy. That's what she traded us for
          the gold.

                       MOORE
          Hold on, hold on, let's siddown...

                       BERGMAN
          Oh, yeah, let's siddown. You fucken dog inna
          manger, we sit here a little long enough, the
          Boys in Blue come visit, n'there goes the
          neighborhood...

                        MOORE
          One second.   Hold on...

                       BERGMAN
          You're bust, Baby. You got Broke... go cry
          a little
               (TO MOORE, SOTTO)
          You fortunate motherfucker, she don't step up,
          you're gone stay here, for, like, a little bit
          of forever...

                                                                118.


                      BERGMAN (cont'd)
         ...this way you walk away, you Lucky Dog.

                      MOORE
         Take the gold. Take the gold off, leave me
         the boat.

                      BERGMAN
         Don't make me lose my respect for you. By the
         way, we already had the gold. Pincus gave it
         up. That's what she traded for your life.
              (PAUSE)
         She's got a very commercial mind...

BELLA STARTS TO TAKE FRAN AWAY, BACK DOWN THE PIER.    WE SEE A BLACK
CAR, DRIVING DOWN THE PIER, TOWARD THE GROUP.

BERGMAN BECKONS A HENCHMAN, AND POINTS AT THE BOAT.

                      BERGMAN (cont'd)
         ...take it back to the boatyard
              (HE MAKES A DIALING MOTION)
         Get a number, call'im up, we need a private
         slip, what do you call it, a shed. Tell'im
         we'll pay in cash. Get the thing squared
         away, we'll take the gold out...
              (THE HENCHMAN STARTS TO GO OFF,
               NODDING)

                      BELLA
              (TO MOORE)
         You don't want to stay here, pal. They're
         coming for you... they're coming for you...

HE STARTS PUTTING FRAN INTO THE CAR.

                      FRAN
              (TO BERGMAN)
         Leave him some money. Give him some money...
         don't let him go out there with nothing...
              (SHE GETS INTO THE CAR.)

ANGLE CU ON FRAN AS BELLA PUTS HER INTO THE CAR.

                      FRAN (cont'd)
         I'm sorry, baby.

ANGLE, ON MOORE, AS HE TURNS, AND WE SEE THE CAR DRIVE OFF.

                      BERGMAN
         Yeah, we don't want, to send you out there
         broke... here: go buy yourself something
         nice... You don't mind if I pay you in
         Gold...?

HE STEPS OVER TO THE BOAT, FLOATING ALONGSIDE THE DOCK.    HE TAKES
HIS CLASP KNIFE, AND APPLIES IT TO THE SHINING RAIL.

ANGLE INS.

                                                                   119.


THE BLADE BENDS ON THE RAIL.

ANGLE ON BERGMAN, AS HE GETS ONTO THE BOAT. HE WALKS TO ONE RAIL
AND TRIES TO CARVE IT WITH HIS KNIFE. NOTHING HAPPENS. HE WALKS
TO ANOTHER RAIL, AND TRIES THE SAME.

ANGLE INS. THE KNIFE. THE BLADE BENDING ON THE RAIL.        MORE
PRESSURE IS EXERTED. THE BLADE SNAPS.

ANGLE

ON BERGMAN.   WHO GESTURES FOR ANOTHER KNIFE.   THE HENCHMAN DOES NOT
UNDERSTAND.

                      BERGMAN (cont'd)
         A knife, gimme another knife...

THE HENCHMAN HANDS HIM A KNIFE. BERGMAN TRIES NOW ONE AND NOW
ANOTHER OF THE RAILINGS. THE KNIFE CANNOT RAISE SHAVINGS ON ANY OF
THEM.

ANGLE

ON BERGMAN, AS HE LOOKS BACK AT THE SHORE.

                      BERGMAN (cont'd)
         ...I don't... I need you to tell me where
         the gold is.

BERGMAN GETS OFF THE BOAT, AND ADVANCES ON MOORE, WHO IS STANDING ON
THE PIER.

                      BERGMAN (cont'd)
         Where's the gold?

                      MOORE
         Where would you like it to be...?

BERGMAN GESTURES TO THE THUGS, WHO TAKE HOLD OF MOORE'S ARMS.
MOORE LOOKS AROUND WILDLY AT THE DESERTED PIER. BERGMAN ADVANCES
ON MOORE, HOLDING THE KNIFE.

                      BERGMAN
         What is it, with your pal...?

AS BERGMAN NEARS MOORE, MOORE TURNS, BREAKING THE HOLD OF THE TWO
MEN. HE HITS ONE IN THE THROAT, KICKS AT THE OTHER, AND STARTS
TO RUN. ONE OF THE THUGS PULLS A PISTOL, AND SHOOTS AT MOORE, AND
MOORE FALLS TO THE PIER, GRASPING HIS SHOULDER, HE GETS SLOWLY UP,
AND FACES BERGMAN, AND THE THUGS, WHO STAND ON THE PIER ALONGSIDE
THE SAILBOAT. MOORE LOOKS AROUND.

                        BERGMAN (cont'd)
         And then   where is he now. Your  running buddy?
         No, It's   all over, and I need to know:
         Where Is   The Gold. I hate to do  anything as
         dramatic   as "counting to Three," but... ONE:
                        (MORE)

                                                                  120.


                      BERGMAN (cont'd)
              (HE HOLDS OUT HIS HAND. A
               HENCHMAN PUTS A PISTOL INTO IT.)

AS HE SPEAKS, MOORE KEEPS TURNING, SO THAT THE SUN IS BEHIND
MOORE, AND SHINING INTO THE EYES OF BERGMAN AND HIS ACCOMPLICES,
WHO NOW STAND WITH THEIR BACKS TO THE BOAT.

                      BERGMAN (cont'd)
         Two... why must you, oh, God, why in the
         world must you, why in the hell, a guy like
         you, would you put me in a position... Aahh,
         the Hell with it, life is too short, you
         know what? Fuck you...

HE RAISES HIS ARM TO FIRE. BEHIND HIM WE SEE BLANE EMERGE FROM THE
SAILLOCKER ON THE BOAT'S DECK, BLANE HOLDS A SHOTGUN. HE SHOOTS
BERGMAN AND THE TWO THUGS, ONE OF THE THUGS TURNS AND FIRES AT
BLANE, WHO IS WOUNDED. BLANE FIRES AGAIN AT THE THUG, AND STUMBLES
ON TO THE PIER, AND FALLS BACKWARD INTO THE WATER BETWEEN THE BOAT
AND THE PIER.

ANGLE

ON MOORE, WHO MOVES JERKILY,     TO THE SIDE OF THE PIER. HE TRIES
TO PUSH THE BOAT AWAY, TO GET     TO BLANE IN THE WATER. HE UNTIES
THE LINE WHICH HOLDS THE BOAT     TO THE PIER, AND PUSHES THE BOAT
AWAY. HE THROWS THE LINE TO      BLANE, WHO USES IT TO LIFT HIMSELF UP
ONTO THE PIER.

THE TWO MEN SIT FOR A MOMENT, CATCHING THEIR BREATH.

                      MOORE
         How you doing?

                         BLANE
         I'm leaking?
              (PAUSE)
         You hurt?

MOORE NODS. HE STANDS, AND HELPS BLANE TO HIS FEET. MOORE PICKS
UP THE SHOTGUN. THEY LOOK AROUND, BEHIND THEM, THE SAILBOAT IS
DRIFTING OUT TO SEA.

THEY START DOWN THE PIER. STEPPING OVER ONE OF THE BODIES OF THE
THUGS. THE SECOND THUG LOOKS UP.

                         THUG
              (WEAKLY)
         I... I...

BLANE KICKS HIS BODY OVER THE SIDE OF THE PIER, INTO THE WATER.

MOORE STEPS OVER THE DYING BERGMAN.

                       BERGMAN
         Cute.   Very cute.

MOORE WALKS OVER HIS BODY, AND HE AND BLANE CONTINUE DOWN THE
PIER.

                                                                  121.


                      BERGMAN (cont'd)
         Don't you want to hear my dying words...?

MOORE TAKES THE SHOTGUN FROM BLANE, AND STEPS BACK TO BERGMAN.

                       MOORE
         I just did.

HE SHOOTS BERGMAN, HANDS THE SHOTGUN BACK TO BLANE, AND THE TWO
HEAD OFF, HELPING EACH OTHER DOWN THE PIER.

                                                   DISSOLVE TO:

INT INDUSTRIAL DINER. DAY.

MOORE, HIS ARM IN A SLING, NOW WEARING A BEARD, SITTING IN A BOOTH,
DRINKING COFFEE.

                       BLANE
              (VO)
         I hear...

MOORE LOOKS UP, BLANE, WALKING WITH A CANE, SLIDES INTO THE BOOTH
OPPOSITE HIM.

                      BLANE (cont'd)
         I hear if you put milk into it, it lesses the
         chance of stomach distress.

                      MOORE
         Hey, you can't worry about every little
         thing...

THEY BOTH SIT, LOOKING OUT THE WINDOW.

A WAITRESS COMES BY WITH A COFFEEPOT.

                       WAITRESS
         Heat it up?

                      MOORE
              (AS HE RISES)
         No, I think we gotta be moving on.

ANGLE EXT THE DINER, AS THE TWO WALK ACROSS AN INDUSTRIAL AREA.

                      BLANE
         Too bad about Pinky.

                      MOORE
         Ain't that so.

                      BLANE
         ...always made me laugh.

                                                              122.


                      MOORE
         Well, what more can you say of anyone?

                      BLANE
         Nothing...

BEAT. THEY CONTINUE WALKING ACROSS THE STREET TO REVEAL THEY ARE IN
THE INDUSTRIAL AREA OUTSIDE THE BOXING GYM. THERE ARE MANY KIDS
PLAYING IN THE STREET.

                      BLANE (cont'd)
         Robert the Bruce...

                      MOORE
         Yeah?

                      BLANE
         Why'd they call him Robert "The" Bruce...

                      MOORE
         ...what?

                      BLANE
         Why'd they call him Robert "The" Bruce?
              (PAUSE)

                      MOORE
         Because he asked them to.

BLANE NODS.

                      BLANE
         Y'go to that Plastic Surgeon, don't lettem put
         you all the way under. I knew a guy in
         Statesville, went to get his face fixed, woke
         up, sucker'd given him a pair of tits.

                      MOORE
         Yeah, that's no bargain.

                      BLANE
         Well, he landed back inside, he never had to
         want for Cigarettes...

BLANE TAKES OUT A SLIP OF PAPER, AND HANDS IT TO MOORE.   MOORE LOOKS
AT IT.

                      MOORE
         Send your cut there...?

                      BLANE
         Wire it there, when you get where you're
         going.

                      MOORE
         That I will, Pal.

                                                                123.


                      BLANE
         I hear it's nice down there in the Sun.

                      MOORE
         Zat where I'm going?

                      BLANE
         Wherever it is, Brother, don't come back.
              (BEAT. MOORE NODS.)

BLANE EMBRACES MOORE. BEAT. BLANE HANDS HIM THE KEY TO THE
GARAGE. AND WALKS OFF. WE SEE BLANE WALK ACROSS THE STREET, A
CONVERTIBLE PULLS UP, DRIVEN BY A VERY BEAUTIFUL YOUNG WOMAN. BLANE
GETS INTO THE PASSENGER SEAT AND MOTIONS HER TO DRIVE.

ANGLE C.U. MOORE LOOKING ON.

ANGLE: HIS POV, ON BLANE'S CAR, AS IT DRIVES OFF, BLANE TURNS BACK
TO LOOK AT MOORE ONE LAST TIME, THEN SHRUGS AND TURNS FORWARD.

ANGLE, ON MOORE, AS HE WALKS ACROSS THE STREET, TURNS A CORNER AND
STANDS BEFORE A GARAGE DOOR.

MOORE USES THE KEY AND OPENS A SMALL DOOR SET INTO THE OVERHEAD
DOORS OF THE GARAGE. HE ENTERS THE DARK GARAGE.

ANGLE INT THE GARAGE.

A NEWISH TRUCK, WITH A LARGE ENGINE LASHED ONTO ITS BED. THE ENGINE
IS PAINTED IN FRESH BLACK PAINT. BEHIND IT, THE OLD BATTERED PICKUP
TRUCK, UP ON A JACK, ITS BED FULL OF THE RUSTED PIPES OF THE
DISCARDED BOXING EQUIPMENT, AND THE OLD ROTTEN LEATHER "HEAVYBAG."
MOORE TAKES OUT A PACK OF CIGARETTES AND A LIGHTER, HE IS ABOUT TO
LIGHT A CIGARETTE, WHEN HE LOOKS OVER AT THE NEW TRUCK.

HE PUTS THE CIGARETTES DOWN ON THE OLD TRUCK, BENDS   DOWN, AND PICKS
UP A CAN OF BLACK PAINT. HE WALKS TO THE NEW TRUCK    AND APPLIES
TOUCHUP PAINT TO THE ENGINE LASHED IN THE BACK. HE    NODS AT IT,
AND THEN, SATISFIED, HE TAKES A TARP AND COVERS THE   ENGINE.

HE GETS INTO THE NEW PICKUP TRUCK AND STARTS IT.

WHILE IT WARMS UP HE GOES TO THE FRONT OF THE GARAGE, WIPING THE
BLACK PAINT OFF OF HIS HANDS WITH A RAG. HE RAISES THE SHED DOOR,
TO REVEAL FRAN STANDING THERE.

HE SMILES AND KISSES HER AND TAKES HER BACK TOWARD THE NEW PICKUP
TRUCK. HE OPENS THE PASSENGER DOOR.

                      MOORE
         Yeah, I knew you'd show.

                      FRAN
         Good, good plan, baby...

                      MOORE
         Yeah, I wouldn't clear my throat, without a
         backup plan...

                                                              124.


                      FRAN
         That's the right way to do it.

                      MOORE
         End of the day, though, end of the day,
         what's the important thing...?

                      FRAN
         That's right.

                      MOORE
         What's the important thing...?
              (PAUSE)

                      FRAN
         Shame about Pinky...

                      MOORE
         You heard.
              (OF TRUCK)
         Come on, get in.

                      FRAN
         Y'all loaded up?

HE LIFTS THE TARP TO REVEAL THE ENGINE, COATED IN BLACK PAINT,
SITTING THERE. HE RECOVERS IT.

                      MOORE
         C'mon, get in, we'll talk on the road.     You
         heard about Pinky...

                       FRAN
         Yeah.   I heard. I'm sorry about that.

                      MOORE
         Yeah, well, it just went bad there, that
         little bit. Dinnit...?

                        FRAN
         Yes, It did.

MOORE TOUCHES THE BRUISE ON HIS HEAD.

                      MOORE
         ...yes, it did... it got kind of convincing.

                      FRAN
         ...and, so, you got hurt.

                      MOORE
         Well, you can't do it halfway, can you...?

                      FRAN
         No, anything you do, you got to do full-out.
         Don't you?

                                                               125.


                      MOORE
         Indeed you do.

                      FRAN
         And, sometimes...
              (PAUSE)

                      MOORE
              (TOUCHES HIS FOREHEAD, AND THE
               BRUISE, WINCES)
         Then, that's just the Price.

                      FRAN
         That's right. That's what you taught me.
         That's part of it.

                      MOORE
         Well, but didn't you do great. Played it down
         to the last recorded syllable...

                      FRAN
         I went to a good school.

                      MOORE
         Never seen it done n'y better.   You hotwalked
         that dude so good.

                      FRAN
         ...thank you, Joe.

                      MOORE
         Cooled him out the livelong day.   You made it
         look so real.

HE MOVES TO THE FRONT OF THE SHED. AND TURNS OUT THE LIGHTS.    HE
WALKS BACK TOWARD FRAN, WHO IS STANDING AT THE TRUCK.

                      MOORE (cont'd)
              (TO HIMSELF)
         ...yes, you did.

                      FRAN
         Well, you know...
              (PAUSE)

                      MOORE
         ...what d'you mean, "that's part of it?"

                      FRAN
         I don't get you?

                      MOORE
         I was talking about Pinky.

                     FRAN
         Uh huh.

                                                                  126.


                      MOORE
         I said we paid the price.         And you said.   We
         paid part of it.
              (PAUSE)

                        FRAN
         Yes.    That's right.

                      MOORE
         ...what's the rest of it...?
              (PAUSE)
         What's the rest of it...?

ANGLE XCU MOORE.   AS HE LOOKS AT FRAN.

ANGLE

FRAN, AS SHE LOOKS BEYOND MOORE.

ANGLE ON MOORE AS HE TURNS.       BELLA IS STANDING BEHIND HIM.

BELLA HOLDS A PISTOL. HE MOVES TO MOORE, AND HE FRISKS HIM, AND
FINDS NOTHING, AND TAKES A STEP AWAY.

ANGLE, ON MOORE, AS HE LOOKS FROM BELLA TO FRAN.

                          MOORE (cont'd)
         Oh.
                (PAUSE)

                      BELLA
         Well. They don't always leave with the Ones
         they came In with.

                          MOORE
                (PAUSE)
         Oh.

BELLA LOOKS AT THE TRUCK.     HE LOOKS INQUIRINGLY, AT FRAN.

                      FRAN
              (TO MOORE)
         It was dead, anyway.
              (PAUSE)
         You know it was.

                          MOORE
         Was it...?

                      FRAN
              (PAUSE)
         You shouldn't of sent me to him.

                      MOORE
         Well, you can't think of everything.
              (PAUSE)

                                                              127.


                        MOORE
         I'm sorry.
              (PAUSE)

                        FRAN
         Well...

                        MOORE
         I'm sorry...

                      FRAN
         You knew it was over...

                      FRAN (cont'd)
              (TO BELLA)
         ...it's in the back.

BELLA WALKS TO THE BACK OF THE TARP, RAISES A CORNER, LOOKS IN.

HE LOOKS AT HIS HANDS, AND TAKES OUT A HANDKERCHIEF, AND WIPES OFF
THE BLACK PAINT. HE LOWERS THE TARP DOWN.

                      MOORE
              (OF BELLA)
         Why dun' he shoot me?

                      FRAN
         Cause it's over. It's all done.    That's the
         deal.

                      MOORE
         He ain't gonna shoot me?

                        FRAN
         No.

                      MOORE
         Then he hadn't aughta point a gun at me.
              (PAUSE)
         It's insincere...

MOORE SITS DOWN ON AN UNOPENED WOODEN BOX, IN THE DOORWAY OF THE
GARAGE.

                      MOORE (cont'd)
         Oh, God, I'm tired...

                      FRAN
              (TO MOORE)
         I'm sorry, Baby.

                       MOORE
         Well, no.   You told me, "you knew him
         before."

                      FRAN
         That's right. I did.
              (TO BELLA)
                      (MORE)

                                                                128.


                      FRAN (cont'd)
         Get in and drive
              (TO MOORE)
         I'm sorry.

                      MOORE
         You said that.
              (PAUSE)
         Well.
              (PAUSE)
         You must be under quite a lot of stress.

                        FRAN
         Hmm.

                      MOORE
         It was a pretty plan, though, wunnit...?

                      FRAN
         Cute as a Chinese baby...

                      MOORE
         Thanks for everything.
              (FRAN GETS UP INTO THE TRUCK)

                      FRAN
         You'll be alright.

                      MOORE
         You think so?

                      FRAN
         You always are.
              (PAUSE)

                      MOORE
         Well, I missed this trick, though, didn't
         I...?

                      FRAN
         ...the best laid plans of mice and men...

                        MOORE
         ...what?

                      FRAN
         I said Nobody's Perfect.
              (PAUSE)
         You take care.
              (TO BELLA)
         Alright, let's go.

THE TRUCK DRIVES OFF.

ANGLE

ON MOORE, AS HE SLOWLY SHAKES HIS HEAD.   HE SIGHS.   HE WALKS BACK
INTO THE SHED.

                                                               129.


HE WALKS TO THE OLD ABANDONED PICKUP, WHERE HE LEFT HIS CIGARETTES
AND LIGHTER. HE TAKES OUT A CIGARETTE, AND HOLDS IT TO HIS LIPS.
HE HESITATES. HE CRUMBLES IT, AND THROWS IT TO THE FLOOR. LOWERS
THE PICKUP TO THE GROUND, USING THE HYDRAULIC JACK.

HE SIGHS, AND SLAMS THE TAILGATE ON THE OLD METAL FRAME OF THE
BOXING EQUIPMENT. THE TAILGATE DOES NOT CLOSE. HE SLAMS IT AGAIN.
AND IT CLOSES.

HE WALKS OVER AND GETS IN THE CAB OF THE OLD PICKUP.

ANGLE

THE OLD METAL FRAME IN THE BED OF THE PICKUP TRUCK. WE SEE THAT THE
TAILGATE HAS JAMMED ONTO THE OLD METAL PIPES, AND THE PIPE'S PAINT
HAS CHIPPED TO REVEAL THAT THE PIPE IS GOLD, AND WE SEE, ON
THE BASE OF THE PIPE, WHERE THE PAINT HAS CHIPPED, FAINTLY, THE
LETTERS CREDIT INTERNATIONAL DE GENEVE.

ANGLE

ON MOORE, IN THE TRUCK, AS IT PULLS OUT OF THE GARAGE.

                                                         FADE OUT.




-----------------

HEIST

A SCREENPLAY BY DAVID MAMET

COPYRIGHT � 1998, 1999

BY DAVID MAMET

C/O HOWARD ROSENSTONE

ROSENSTONE/WENDER. N.Y.C.


                                                         MARCH, 1999