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Metro Movie Script

Writer(s) : Randy Feldman

Genres : Action, Drama, Thriller

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                                         "METRO"

                                      Screenplay by

                                      Randy Feldman

                                      SHOOTING DRAFT

                

               FADE IN:

               CLOSEUP OF SCOTT ROPER

               He's listening to the stretch call of a horse race, and he's 
               into it.

                                     TRACK ANNOUNCER (O.S.)
                         ...at the top of the stretch it's 
                         Cozy Girl in front with Backtrack 
                         coming on... Cozy Girl by a length, 
                         Backtrack closing...

                                     ROPER
                         Come on. Stay up there, Cozy Girl...

               The CAMERA GRADUALLY pulls back to reveal that Roper is 
               driving his Trans Am across the Bay Bridge. HELICOPTER SHOTS 
               give a soaring view of the San Francisco skyline.

                                     TRACK ANNOUNCER (O.S.)
                         At the eighth pole it's Cozy Girl by 
                         half a length... Backtrack closing...

               INT. CAR - DAY

               Roper's police radio SQUAWKS.

                                     DISPATCHER (V.O.)
                         One-one-four to Roper.

               He picks up the radio.

                                     ROPER
                         Dig in, Cozy Girl...
                              (into the radio)
                         Roper go.

                                     DISPATCHER (V.O.)
                         One-four, Roper. Code 2.C.P. 4th and 
                         Grand.

                                     TRACK ANNOUNCER (O.S.)
                         It's Cozy Girl holding on... Cozy 
                         Girl and Backtrack...

                                     ROPER
                         I'm en route. E.T.A. in five.

               He tosses the radio down. Punches the accelerator.

                                     ROPER
                         Stay up there, Girl...

                                     TRACK ANNOUNCER (O.S.)
                         Cozy Girl in front by a neck... Now 
                         a head...

               EXT. TRANS AM - DAY

               Weaving through traffic on the bridge.

                                     ROPER (V.O.)
                         Where's the damn wire?!

                                     TRACK ANNOUNCER (O.S.)
                         Here comes the wire... and... 
                         Backtrack gets up in the last jump. 
                         Cozy girl a very game second.

                                     ROPER (V.O.)
                         SHIT!

               The Trans Am streak off toward the city.

               EXT. BANK - DOWNTOWN - DAY

               A hostage situation. Police barricades. Dozens of squad cars, 
               ambulances, spectators, SWAT team. It's a stalemate. Roper's 
               Trans Am pulls to a stop at the barricades. He hops out, 
               weaves through the spectators and past the barriers.

               A FEMALE DETECTIVE, EIKO KIMURA, rushes up to him.

                                     KIMURA
                         Hi, Roper.

                                     ROPER
                         Hi, Kimura. Where's the command post?

               Kimura points to the diner in the middle of the block. Roper 
               heads toward it. As they walk Kimura briefs him...

                                     KIMURA
                         The suspect came in shortly after 
                         the bank opened. Botched robbery. A 
                         teller hit the silent alarm. He took 
                         seven hostages. Shot one -- the guard. 
                         He's still alive. So far he's asked 
                         for...

                                     ROPER
                         ...a car.

                                     KIMURA
                         That's right, and a plane waiting at 
                         the airport. If he doesn't...

                                     ROPER
                         ...get 'em, he's going to start 
                         shooting hostages in five minutes...

                                     KIMURA
                         That's right.

                                     ROPER
                         What's the suspect's name?

                                     KIMURA
                         Earl.

               INT. DINER - DAY

               Across from the bank. This is where the "command post" is 
               setup. About a dozen cops and the accompanying support staff 
               are here. Lieutenant SAMUEL BAFFERT is in charge. Roper 
               saunters in.

                                     ROPER
                         Hello, guys.

                                     BAFFERT
                         Hello, Roper. Glad you could join 
                         us.

               Roper walks over to the counter where Baffert is standing.

                                     ROPER
                         Do we have a profile on Mr. Earl?

               Baffert hands him a folder. Roper opens it.

                                     BAFFERT
                         This guy is no genius.

               Roper scans the profile.

                                     ROPER
                         They're not usually graduate students.

                                     BAFFERT
                         SWAT wants to go in.

                                     ROPER
                         What's the rush? They haven't killed 
                         anybody yet this week?

               Roper refers to the folder.

                                     ROPER
                         We got a guy who's probably on drugs. 
                         He's got a record of 459's and he 
                         was busted on possession. But he's 
                         never been busted on a major felony. 
                         What's his demeanor?

                                     KIMURA
                         Well he's a little fucking agitated -- 
                         he ripped the phone out.

                                     ROPER
                         I have to go face to face.

                                     BAFFERT
                         No -- you can't do that.

                                     ROPER
                         You got 7 hostages in there, 1 of 
                         them's wounded -- We don't know how 
                         bad it is -- The guy ripped the phone 
                         out -- SWAT said he's got a gun to 
                         the head of a female hostage. If 
                         SWAT makes entry now, you're gonna 
                         lose 1 hostage, maybe 2. I gotta go 
                         in. Maybe I can see what's going on 
                         in there.

                                     BAFFERT
                         I don't know.

                                     ROPER
                         He's never offed anybody. His rap 
                         doesn't show any violence.

                                     BAFFERT
                         Not that we know of.

                                     ROPER
                         We don't know how much time we have. 
                         If I can get in to talk to him -- 
                         maybe we won't lose anyone.

                                     BAFFERT
                         Maybe we can get a throw phone in 
                         there.

                                     KIMURA
                         SWAT says it's broken -- The perp in 
                         the last situation rendered it 
                         inoperable.

                                     BAFFERT
                         What do you mean?

                                     KIMURA
                         He urinated on it and shorted out 
                         the circuits.

                                     ROPER
                         We gonna stand here and talk about 
                         it or let the guy in there bleed to 
                         death.
                              (beat... beat)
                         Give me a dozen donuts.

               Roper pulls out his gun and places it on the counter.

               EXT. STREET - DAY

               Roper eats the donut as he crosses toward the bank.

               EXT. ROOFTOP ACROSS THE STREET - DAY

               A team of two SWAT TEAM MEMBERS, FORBES IS A SPOTTER AND 
               MCCALL IS A SHARPSHOOTER. KEVIN MCCALL, is the one we're 
               interested in. He's 25 years old, handsome, all American. 
               He's the best the SWAT team has.

               He crouches motionless, staring through the scope of his 
               rifle, watching as Roper calmly walks toward the bank.

                                     FORBES
                         What do you think he's got in the 
                         bag?

                                     MCCALL
                         Donuts.

                                     FORBES
                         You can't take a guy down with a 
                         donut.

               INT. BANK - DAY

               A tense situation. A wild-eyed, white punk, fuck-up of a 
               BANK ROBBER, EARL, is holding a pretty, young TELLER around 
               the neck with a cocked gun held to her temple.

               The other bank employees are cowering on the floor. A few 
               are giving aid to the wounded bank guard who is half-conscious 
               and oozing blood from his side.

               Roper strolls right through the front door and walks toward 
               Earl, very sociable.

                                     ROPER
                         Hi, Earl, I'm Scott Roper. Wanna 
                         donut? I ate the glazed but there's 
                         a bunch of chocolate and a --

               Earl swipes the donuts out of Roper's hand and starts frisking 
               Roper for weapons with his free hand. The other hand still 
               has the gun poised at the young teller's head.

                                     ROPER
                         I'm a negotiator, Earl. I don't carry 
                         a weapon.

               Roper smiles reassuringly at the pretty teller. It seems to 
               help. Earl finishes patting Roper down, straightens back up 
               and puts his hand around the teller's neck.

                                     EARL
                         Where's the car?

                                     ROPER
                         I need to get something straight 
                         first.

               Roper looks over at the other bank employees huddled on the 
               floor.

                                     ROPER
                         Who's the manager?

               A balding, middle-aged MAN sheepishly raises his hand.

                                     MANAGER
                         I am.

               Roper takes a step toward him.

                                     ROPER
                         When did you start keeping longer 
                         hours?

                                     MANAGER
                         Last spring.

                                     ROPER
                         Really! Because I've been thinking 
                         of moving to this branch. It would 
                         be really convenient for me --

                                     EARL
                         HEY, SHUT UP!

               Earl wags his gun against the Teller's ear.

                                     EARL
                         Do you want me to start killing 
                         people?!

               Roper holds his hand up defensively.

                                     ROPER
                         It's my job to see that no one gets 
                         killed, Earl... Including you.

                                     EARL
                         Then where's my FUCKING car!

               Earl is pouring sweat. His gun hand is shaking uncontrollably.

                                     ROPER
                         I'm getting it, Earl, but we have to 
                         do this the right way.

               Roper keeps his eyes locked on Earl. His voice is calm.

                                     ROPER
                         First I need you to point that gun 
                         away from --
                              (to the teller)
                         What's your name?

                                     TELLER
                              (voice trembling)
                         Debbie...

                                     ROPER
                         Point the gun away from Debbie.

                                     EARL
                         Debbie's brains are going to be 
                         splattered all over the floor if I 
                         don't see a car in five minutes!

               Roper takes a long look at Earl. The guy is a hair trigger.

                                     ROPER
                         Alright! But let's be clear about 
                         one thing. If you kill someone, I 
                         can't help you. The SWAT guys will 
                         take you out.

               Earl glances at the army of cop cars poised outside. Reflects 
               for a moment on the reality of the situation.

                                     EARL
                         What are my chances of getting out 
                         of here?

               Roper calmly moves toward where the wounded guard is laying.

                                     ROPER
                         Not bad. Last month, a guy robbed a 
                         bank in Daly City...

               Roper crouches down, smiles at the blurry-eyed guard.

                                     ROPER
                         How ya doin'?

               The guard groans. He's not doing very well. Roper peels back 
               the bloody handkerchief, takes a look. Winces.

                                     ROPER
                              (to Earl)
                         ...Cops gave him a car, and he lost 
                         them on the freeway.

               Earl is encouraged by that.

                                     EARL
                         Really?

                                     ROPER
                         Absolutely. Bank robbers are generally 
                         your smartest criminals.

               Roper looks directly into Earl's eyes.

                                     ROPER
                         He didn't kill anybody, though.

               Roper bends over the guard.

                                     ROPER
                         This is gonna hurt.

               He grabs the guard under the arms and starts dragging him 
               across the floor. The guard MOANS piteously.

                                     EARL
                         Hey, leave him alone. What are you 
                         doing?

               Roper keeps dragging the guard toward the front door.

                                     ROPER
                         It's part of my negotiator's oath. 
                         If there's an injured party and I 
                         can help them, I'm duty bound by my 
                         oath to do that. You can shoot me if 
                         you want, but the next negotiator in 
                         here is going to tell you the same 
                         thing.

               Earl is unsure what to do, but he guesses an oath is an oath. 
               He lets Roper drag the guard to the door.

                                     ROPER
                         I'll be right back, Earl. Point that 
                         gun away from Debbie.

               Earl compliantly moves the gun away from the teller's head, 
               then re-thinks and jerks it back against her temple.

               EXT. BANK - DAY

               Roper drags the guard out the front door and deposits him on 
               the sidewalk. Two SWAT OFFICERS rush up to give aid. One of 
               them is Jennings.

                                     ROPER
                              (whispering to Jennings)
                         Give me your gun.

               (NOTE: The method of disarming Earl is still to be determined) 
               Jennings inconspicuously pulls his gun out and slips it to 
               him. Roper quickly cocks it and shoves it in his waistband 
               under his shirt and vest.

                                     ROPER
                         I haven't had to shoot anyone in 
                         three years.

                                     JENNINGS
                         Why not keep the streak alive?

                                     ROPER
                         Because this strung-out junkie is 
                         too stupid to get out of this without 
                         killing somebody.

               INT. BANK - DAY

               Earl watches Roper through the window. He can only see Roper's 
               back. He's getting very agitated.

                                     EARL
                              (yelling)
                         HEY, WHAT THE FUCK ARE YOU DOING OUT 
                         THERE!

               The two cops hustle off with the wounded guard, and Roper 
               calmly walks back into the bank. Stops about five paces from 
               Earl.

                                     ROPER
                         As a rule, I need one hostage released 
                         as show of good faith.

               Roper glances at Debbie. Gun pressed against her head. Tears 
               start rolling down her cheeks. She's being tremendously brave.

                                     ROPER
                         Give me Debbie.

               Earl squeezes the gun even tighter against the side of her 
               head.

                                     EARL
                         Take the old guy.

               The other hostages watch this exchange tensely.

                                     ROPER
                         The Old Guy? What kind of show of 
                         faith is that? I want Debbie.

                                     EARL
                         Am I gettin' the car?

                                     ROPER
                         You're gettin' the car.

               Earl thinks about it, his gun hand twitching. He points at 
               two of the female employees cowering against the counter.

                                     EARL
                         Take them.

               Roper decides that this is the best he's going to get.

                                     ROPER
                         You two, leave.

               The two women don't need any extra encouragement. They jump 
               up and rush out the front door.

               EXT. ROOFTOP - DAY

               McCall and Forbes watch through their rifle scopes as the 
               two released hostages are whisked away by uniformed cops.

                                     FORBES
                         This guy is good.

                                     MCCALL
                         That's what they say.

               INT. BANK - DAY

                                     ROPER
                         That was fine, Earl. Now I'm going 
                         to get your car.

               Roper turns around and walks toward the front door. He stops 
               and looks over his shoulder.

                                     ROPER
                         Oh, there's one last thing.

               Earl looks like he's right on the edge.

                                     EARL
                         What?!

                                     ROPER
                         You want a convertible or hardtop?

               Earl thinks about that for a beat...

                                     ROPER
                         Hardtop.

               Roper turns around, starts walking again. He keeps his eyes 
               focused on the reflection of Earl in the front window of the 
               bank.

                                     ROPER
                              (without turning around)
                         Manual or automatic?

                                     EARL
                         Automatic.

                                     ROPER
                         You got it.

               In one swift motion, Roper turns, aims and FIRES!...

               One SHOT. It tears into Earl's shoulder. One inch from 
               Debbie's neck. Earl is blown back against the counter. Debbie 
               shrieks at the top of her lungs.

               SWAT guys pour in from every entrance. YELLING for everybody 
               to "GET DOWN"! Pointing guns. They pounce on Earl.

                                     EARL
                         I give up! I give up!

               Roper goes to Debbie, puts his arm around her and gently 
               leads her out of the bank.

               EXT. ROOFTOP - DAY

               McCall and Forbes still have their rifles trained on the 
               bank door. Their police radio squawks...

                                     RADIO
                         The situation is secured. Suspect in 
                         custody. Repeat. Situation secured.

               McCall lowers his rifle as Roper guides Debbie through the 
               wave of cops rushing into the bank.

               EXT. STREET - SHORT TIME LATER

               Roper is exiting the bank and putting back on his gun when 
               he hears the sound of a CAMERA SHUTTER. He turns to see 
               VERONICA (RONNIE) TATE holding the camera. She snaps one of 
               Roper with Earl in the b.g. being placed in a squad car.

                                     RONNIE
                         There's one for the front page.

               Roper puts his hand over his heart as if stricken with love... 
               which he in fact is.

                                     ROPER
                         Ronnie, why are you torturing me? I 
                         can't live without you.

               Ronnie rolls her eyes. She doesn't take Roper all that 
               seriously.

                                     RONNIE
                         Don't start.

               She slings the camera over her shoulder and starts to walk 
               off. Roper dogs her.

                                     ROPER
                         This baseball player you're going 
                         out with...
                              (shaking his head)
                         He's no good for you.

                                     RONNIE
                         Really?! He's a wonderful guy. He 
                         makes two million a year, and he 
                         worships me.

                                     ROPER
                         I worship you.

                                     RONNIE
                         You worship yourself.

                                     ROPER
                         Ronnie, forget this what's-his-name.

                                     RONNIE
                         Greg.

                                     ROPER
                         Did you know he's already got a bad 
                         knee? In another 10 years you're 
                         going to be pushing him around in a 
                         wheelchair.

               Ronnie stops. Looks him in the eye.

                                     RONNIE
                         You know what I think? I think you 
                         only want me now, because I'm with 
                         somebody else.

                                     ROPER
                         Who cares what you think. I want you 
                         back and that's all that matters.

               Ronnie smiles, but offers no response.

                                     ROPER
                         Let me take you out tomorrow night... 
                         Pleeease.

                                     RONNIE
                         I'm going out with Greg tomorrow.

                                     ROPER
                              (frowning)
                         This Greg is really getting in my 
                         way.

               Roper gets down on his knees.

                                     ROPER
                         Please. I'm begging you.

                                     RONNIE
                         Oh, I've got to get a shot of this.

               She takes the lense cap off her camera. Roper primps his 
               hair to make sure he looks good for the picture... CLICK! 
               Suddenly Roper notices that his Trans Am is being towed. He 
               rushes over to his car.

                                     ROPER
                         Hey, that's my car.

               A REPO MAN stands off to the side watching dispassionately.

                                     REPO MAN
                         Not anymore. Now it belongs to Silver 
                         Hills Financial.

               Roper sadly watches the tow truck drive off with his beloved 
               Trans Am.

               INT. METRO DIVISION HEADQUARTERS - DAY - RAINING

               Lots of activity. Officers in cubicles; talking on phones; 
               typing reports on computers. Most are plain-clothed. Roper 
               weaves through the room. Passes by Baffert's desk.

                                     ROPER
                         Hey, Baffert, what's the story for 
                         tonight?

               Baffert pulls two tickets for the Warriors' game out of his 
               pocket.

                                     BAFFERT
                         Floor seats.

                                     ROPER
                         You're my hero.

                                     BAFFERT
                         Dinner's on you.

                                     ROPER
                         Deal.

               INT. HALLWAY - DAY - RAINING

               A quiet contrast to the squadroom. This is the executive 
               branch of Metro. All the big-wigs are officed here. Roper 
               walks down the carpeted hall. No one here except Kevin McCall 
               quietly sitting outside Captain Solis' office. Roper and 
               McCall make brief eye contact. Roper thinks nothing of it. 
               He goes into the Captain's office.

               INT. CAPTAIN SOLIS' OFFICE - RAINING

               CAPTAIN FRANK SOLIS is on the phone. There's a file on the 
               desk in front of him. He motions Roper to sit down.

                                     SOLIS
                         He just walked into my office.
                              (looks over at Roper)
                         The Chief says, "Good work this 
                         morning. Congratulations."

               Roper smiles as he sits down.

                                     ROPER
                         Tell him to give me a raise.

                                     SOLIS
                              (into the phone)
                         He says, "Thank you very much."
                              (a beat)
                         I'll discuss it with him right now... 
                         Good-bye, Chief.

               Solis hangs up. Looks across the desk at Roper. A long pause. 
               He knows he's got leverage.

                                     SOLIS
                         Roper.

                                     ROPER
                         What?

                                     SOLIS
                         Are you going to make this hard for 
                         me?

                                     ROPER
                         Depends. What's up?

                                     SOLIS
                         There's been some concern about you 
                         continuing to work without back-up.

                                     ROPER
                         Define concern.

               Solis dumps his cards on the table.

                                     SOLIS
                         What if you die and no one can do 
                         what you do as well as you do it?

                                     ROPER
                         Your concern is heartwarming.

                                     SOLIS
                         It's been decided that you take on 
                         another partner and train him to be 
                         able to take over for you.

                                     ROPER
                         Is that what the guy in the Sunday 
                         School suit is doing outside?

                                     SOLIS
                         His name's Kevin McCall. Every Metro 
                         Captain agrees that he's their top 
                         sharp-shooter and most likely to 
                         succeed.

               Roper grabs McCall's folder off the desk.

                                     ROPER
                         Let me see that.

               Roper scans it.

                                     ROPER
                         Tested high on his intellectual 
                         aptitude... Not as high as me but... 
                         National marksman finalist... Attended 
                         N. Y. C... Went to college. Very 
                         impressive. F.B.I. sniper school... 
                         Mayorial commendation.

               INT. HALLWAY - SAME - RAINING

               McCall turns around in his chair. He can see Roper and Solis 
               through the glass walls of the office, but he can't hear 
               their voices.

               INT. SOLIS' OFFICE - SAME - RAINING

                                     ROPER
                         "Additional Skills": Biathelete, 
                         marathoner, lip-reading, speaks 
                         Spanish...

               Roper throws the folder back on the desk.

                                     ROPER
                         Great, send him to the Marines. This 
                         guy's not a negotiator. He'll quit 
                         in two weeks.

                                     SOLIS
                         You let us worry about that.

                                     ROPER
                         Is there going to be an expression 
                         of your appreciation?

                                     SOLIS
                              (gloomily)
                         What kind of appreciation are we 
                         talking about?

                                     ROPER
                         The financial kind. I figure I'm 
                         going to be working extra hours. All 
                         sorts of overtime... training 
                         sessions... Not to mention the extra 
                         stress...

                                     SOLIS
                         What do you think would be in order?

                                     ROPER
                         Like ahh... I don't know...
                              (boldly)
                         Five thousand dollars.

                                     SOLIS
                              (calmly)
                         Okay, I think I could swing that.

               Uh-oh, Roper thinks maybe he sold short.

                                     ROPER
                              (quickly)
                         And a car.

                                     SOLIS
                         Hey, you just got a five thousand 
                         dollar raise. Get a car of your own.

                                     ROPER
                         You know you've got nothing but cars 
                         down there in impound.

                                     SOLIS
                         Impound isn't a rent-a-car company.

                                     ROPER
                              (firmly)
                         The car is part of the deal.

                                     SOLIS
                         What happened to your Trans Am?

               Solis gets up and taps the glass, motions for McCall to come 
               in.

                                     ROPER
                         Repoed this morning.

                                     SOLIS
                              (relenting)
                         I'll provide you with transportation.

                                     ROPER
                         And even if this doesn't work, I 
                         want all the money. These SWAT guys 
                         don't have the temperament. They 
                         don't have the background...

               McCall enters the office.

                                     ROPER
                              (instant character 
                              change)
                         Hey, glad to meet you. I've heard 
                         nothing but good things about you...

               Roper reaches out. They shake hands.

                                     MCCALL
                         Same here. I've watched you in action. 
                         Very impressive.

                                     ROPER
                         You've got a lot of hard work ahead 
                         of you if you want to be a negotiator.

                                     MCCALL
                         I'm ready to do it.
                              (a beat)
                         And I'm going to be here more than 
                         two weeks.

               Roper's face darkens.

                                     ROPER
                         Don't go reading my lips, man. That's 
                         an intrusion. Save that shit for the 
                         sniper school. Comprende?

                                     MCCALL
                         Sorry... Habit.

                                     SOLIS
                              (intervening)
                         Let's move past this, gentlemen.

               Roper smiles.

                                     ROPER
                         We're already past it, aren't we, 
                         Kevin?

                                     MCCALL
                         If you say so.

                                     SOLIS
                         Then you'll have to excuse me. I 
                         have other work to do.

               Roper and McCall head out the door.

                                     SOLIS
                         Roper...

               Roper turns back around.

                                     SOLIS
                         About the transportation issue... 
                         You check with the impound sergeant.

               Roper smiles. Total victory.

               INT. HALLWAY - DAY - RAINING

               MOVING with Roper and McCall.

                                     ROPER
                         You ever been in a hostage situation?

                                     MCCALL
                         Only at the very end.

                                     ROPER
                         How do you feel after a shooting.

                                     MCCALL
                              (self-assured)
                         Like it had to be done.

               They enter the squadroom, wind through the cubicles.

                                     ROPER
                         It rarely has to be done.

                                     MCCALL
                         I've rarely shot anyone.

                                     ROPER
                         SWAT is a lifesaving unit, you know.

                                     MCCALL
                              (flatly)
                         I know.

                                     ROPER
                         Try to remember that.

               They arrive at Roper's desk.

                                     ROPER
                         Okay, "Dead Eye", lesson one...

               Roper grabs an empty soda bottle from a neighboring desk. He 
               takes the cap off a ball point pen and drops it into the 
               empty bottle. He places the bottle on his desk.

                                     ROPER
                         Extract that pen cap without touching 
                         or moving the bottle.

               McCall looks at the bottle quizzically.

                                     MCCALL
                         What's the point of this?

                                     ROPER
                         A little exercise in lateral thinking. 
                         The obvious solution isn't always 
                         the only solution... See you tomorrow.

               Roper grabs his jacket and walks off, leaving McCall to ponder 
               the problem. McCall looks over at another cop who has been 
               observing. The cop shrugs his shoulders. He hasn't got a 
               clue. McCall sits down and thoughtfully peers into the bottle.

               OMITTED

               Sequence omitted from original script.

               INT. UNDERGROUND GARAGE - NIGHT

               Roper and Baffert walking past the row of cars, including 
               Solis' cadillac, searching for Roper's "new" transportation... 
               Roper is holding the keys in his hand.

                                     BAFFERT
                         Mind if we make a stop on the way? 
                         We busted Frank Antonucci on 
                         possession. He gave us a lead on 
                         that Polk Street jewelry heist.

                                     ROPER
                         "Phoney Frank"? Don't waste your 
                         time. He'd tell you his granny was 
                         in on the Kennedy assassination if 
                         he could dodge a collar.

                                     BAFFERT
                         I still gotta do it. Wasting time is 
                         half my job.

                                     ROPER
                         Yeah, okay.

               Roper is looking at the numbered parking spaces.

                                     BAFFERT
                         This SWAT guy might be a good idea. 
                         He may be able to take a little 
                         pressure off you. I worry about you.

                                     ROPER
                         You worried about me, too? The chief's 
                         worried about me. Solis is worried 
                         about me. Maybe you guys should start 
                         some kind of organization.

                                     BAFFERT
                         Speaking of which. I saw you talking 
                         to Ronnie this morning. Why can't 
                         you get it back together with her. 
                         You've gotta be out of your mind not 
                         to get with that one.

                                     ROPER
                         It's not me. It's her. She's going 
                         out with this baseball player -- 
                         Greg Barnett.

                                     BAFFERT
                              (impressed)
                         No shit! He's good!

                                     ROPER
                         Fuck him. He swings at anything in 
                         the dirt. I could strike him out.

                                     BAFFERT
                         Don't give up on her. You're getting 
                         to the age when you ought to be 
                         thinking about these things.

               Roper bends over like an old man.

                                     ROPER
                         Yep, my rheumatism's been acting up.

               They arrive at their destination. A parking space with a 
               1957 DODGE PICKUP.

                                     BAFFERT
                         This is it. Space 742.

               Roper looks at the pickup truck in disbelief.

                                     ROPER
                         Then he didn't say 742. He must have 
                         said 724 or something, because this 
                         can't be right.

               Baffert unlocks the pickup and offers the keys to Roper who 
               is crossing to the truck.

                                     ROPER
                         Oh man! What am I, Red Foxx? I'm not 
                         riding in this shit. I can't roll in 
                         no shit like this.

               He takes the keys from Baffert who moves around to the 
               passengers side. He opens the door.

                                     BAFFERT
                         Where's the stereo?

                                     ROPER
                         Fuck the stereo. What's that smell?

                                     BAFFERT
                         Come on. Just get in. We gotta go.

               EXT. MARKET STREET - NIGHT

               The pickup in traffic.

               OMITTED

               Sequence omitted from original script.

               EXT. KORDA'S BUILDING - NIGHT

               It's a four story twenties style walk-up. It's evening now. 
               The pickup pulls to a stop out front.

               INT. PICKUP - NIGHT

               Baffert pulls out a slip of paper.

                                     BAFFERT
                         Apartment 306.

                                     ROPER
                         You want me to go up with you?

                                     BAFFERT
                         Nah, It probably won't turn up 
                         anything. I'm just gonna talk to 
                         him.

                                     ROPER
                         Good. I don't want to be late.

               Baffert gets out. Roper grabs his cell phone.

                                     ROPER
                         You want anything on the game?

               Baffert turns back around.

                                     BAFFERT
                         What's the line?

                                     ROPER
                         It was Warriors plus 6 this morning.

                                     BAFFERT
                         I'll take half of your action.

               Baffert goes into the building. Roper dials his cellular 
               phone. Beep! Beep!

               DETAIL SHOT

               A message on the display reads: RECHARGE BATTERY.

               Roper looks around. There's a payphone across the street. He 
               gets out of the truck and crosses to it.

               INT. BUILDING - NIGHT

               Third floor hallway. Nice, middle class place. Well kept up. 
               Baffert walks over to room 306. Knocks.

               INT. KORDA'S APT. - NIGHT

               Jazz is playing. MICHAEL KORDA sits motionless in a chair 
               listening to the music. There's a KNOCK. Korda responds as 
               if pulled from a trance. He rises and moves to the door.

                                     KORDA
                         Who is it?

                                     BAFFERT (V.O.)
                         It's Lieutenant Sam Baffert from the 
                         San Francisco Police Department.

               A slight hesitation from Korda. He glances around the 
               apartment. For what reason, we don't know. Maybe to make 
               sure there's nothing incriminating around. He opens the door.

                                     KORDA
                         What happened? Is there a problem?

                                     BAFFERT
                         May I come in? I would just like to 
                         ask you a couple of questions.

               Korda steps aside and lets Baffert enter. Korda closes the 
               door. Baffert scans the place. Not bad. He listens to the 
               music. A smile grows on his face.

                                     BAFFERT
                         Count Basie?

               Korda smiles back. Another jazz aficionada.

                                     KORDA
                         Duke Ellington. "Things Ain't What 
                         They Used To Be", recorded July 30, 
                         1945.

                                     BAFFERT
                         Yeah... Yeah... Now I can hear it.

               Korda goes to the stereo, turns it down. Duke Ellington plays 
               low.

                                     BAFFERT
                         Where did you find an old recording 
                         like that?

                                     KORDA
                         Used record shop down on Turk Street. 
                         I was in there looking for some Robert 
                         Johnson.
                              (searching for the 
                              name)
                         Memories... Memory Lane or 
                         something...

                                     BAFFERT
                         I've got to stop in there... Mr. 
                         Korda, do you know Frank Antonucci?

                                     KORDA
                         You mean Frank who owns the bakery 
                         down the street?

               Baffert smiles.

                                     BAFFERT
                         No, this is a different Frank. This 
                         is a man who deals in jewelry. Stolen 
                         jewelry usually. You wouldn't know 
                         anybody like that?

               Korda drifts to the other side of the room. Takes a look out 
               his front window...

               HIS POV

               Nobody there. Just the truck.

                                     KORDA
                         I certainly wouldn't.

               He says it as if the very idea disturbs him. He turns away 
               from the window. Baffert feigns a coughing spell.

                                     BAFFERT
                         Could I please have a little water?

                                     KORDA
                              (the perfect host)
                         Of course.

               Korda heads toward the kitchen area. Baffert uses this as an 
               opportunity to drift around the room. Do a little snooping.

                                     BAFFERT
                         The reason I'm asking you is because 
                         we arrested him with some stolen 
                         jewelry. It was traced to the robbery 
                         of a store down on Polk Street. He 
                         said he was fencing it for you.

               Baffert notices something in the trash can.

               HIS POV

               Several glassine envelopes used for raw jewels. They have 
               jeweler's markings on them indicating gem weight and grade.

               INT. KITCHEN

               Korda, pouring the water, notices Baffert's discovery, but 
               his face betrays nothing.

                                     KORDA
                              (calmly)
                         There's obviously some mistake. I 
                         have a cousin who has had run-ins 
                         with the law.

               Korda re-enters the room with the glass of water.

                                     KORDA
                         Perhaps for his own reasons he 
                         entangled me in this... situation.

                                     BAFFERT
                         This cousin of yours... What's his 
                         name?

                                     KORDA
                              (forthrightly)
                         Clarence Teal.

               They look at each other a beat. Korda is still holding the 
               water.

                                     KORDA
                         Your cough seems to be better.

               A real repressed tension here. Someone's about to get hurt. 
               Baffert takes the glass of water.

                                     BAFFERT
                         Thank you.

               He takes a sip. Korda watches him like a cobra. Baffert puts 
               the glass down on the table.

                                     BAFFERT
                         Well, I'm on my way to the game. I 
                         appreciate your cooperation, Mr. 
                         Korda.

               Korda smiles. Baffert walks to the door. Opens it to leave...

                                     KORDA
                         Lieutenant...

               Baffert turns back around.

                                     KORDA
                         Do you believe that story about Robert 
                         Johnson...? That he made a deal with 
                         the devil at the crossroads?

               Baffert muses along with Korda.

                                     BAFFERT
                         Could be.

               Baffert moves off down the hall and Korda closes his door.

               INT. HALLWAY - NIGHT

               Baffert gets into the elevator.

               INT. ELEVATOR - NIGHT

               Baffert takes out his cell phone. Dials.

                                     BAFFERT
                              (as the elevator 
                              descends)
                         Hello, Judge Stone... This is 
                         Lieutenant Samuel Baffert. I'm at a 
                         suspect's residence. I'm requesting 
                         a telephonic search warrant in 
                         connection with an armed robbery at 
                         a jewelry store. There's visible 
                         evidence on the premises. Glassine 
                         envelopes with jeweler's markings 
                         were seen in the trash can...

               The elevator hits the first floor.

                                     BAFFERT
                         ...I believe a full search of the 
                         premises will turn up some stolen 
                         property...

               The elevator opens.

               Korda is standing there with a knife.

               Baffert has no time to react...

               The knife hand slashes forward... Stabbing the chest and 
               slashing across the throat.

               EXT. BUILDING - NIGHT

               Korda calmly exits the building as Roper crosses the street, 
               returning from the payphone. Neither of the men take any 
               particular notices of each other. A WOMAN carrying her 
               groceries enters the building.

               Roper gets to the truck. A SCREAM from inside the building.

               INT. BUILDING - NIGHT

               Baffert is laying in the open elevator, knife wounds to his 
               neck and chest. Roper rushes over to him. It doesn't look 
               good.

               The woman with the groceries is standing halfway up the first 
               flight of stairs. Frozen. Roper pulls out his gun and rushes 
               by her up the stairs.

                                     ROPER
                              (to the woman)
                         Get an ambulance!

               INT. THIRD FLOOR HALLWAY - NIGHT

               Roper arrives at the top of the stairs. Korda's door is ajar. 
               Duke Ellington can be heard faintly.

               INT. KORDA'S APT. - NIGHT

               Roper nudges the door open, takes a step inside, gun ready... 
               No one there. Suddenly, from the hallway, the click of a 
               door. Roper races out.

               INT. HALLWAY - NIGHT

               Roper sprints to the door at the end of the hall, KICKS it 
               open. Gun aimed.

               INT. APT. 302 - NIGHT

               A five year old stares up at him. Scared stiff. Roper holds 
               up a reassuring hand, and, as quickly as he arrived, he 
               leaves.

               EXT. BUILDING - NIGHT

               Roper burst out the front. Down the stairs to the sidewalk. 
               Looks both ways down the street... Realizes in dismay that 
               Korda is long gone. A SIREN approaches.

               INT. SOLIS OFFICE - NIGHT - RAIN

               Angle outside window to Roper sitting in a chair by the window 
               looking out to the rain. Solis is in the b.g. on the phone.

                                     SOLIS
                              (on the phone)
                         Yes sir. Every resource will be 
                         brought to bear. We will find this 
                         guy... Yeah, he's here now. I'll 
                         tell him.

               Solis hangs up the phone.

                                     SOLIS
                         The chief says to tell you how sorry 
                         he is. He knew Sam Baffert was a 
                         good man.

                                     ROPER
                              (still looking out 
                              window)
                         He said he was just going up to talk 
                         to him. He said...
                              (beat; turning to 
                              Solis)
                         I want to be put on this case.

                                     SOLIS
                         I can't do that.

                                     ROPER
                              (emphatic)
                         I want to be put on this case.

                                     SOLIS
                         You know I can't assign you to this. 
                         You're much too close to it. You 
                         were much too close to Sam. The 
                         department will take care of it.

                                     ROPER
                         Who's running it?

                                     SOLIS
                         Roper...

                                     ROPER
                         Who's running it!

                                     SOLIS
                         Kimura and Glass will head the 
                         investigation.

               Roper turns to leave.

                                     SOLIS
                         Scott. Go home. Get some sleep.

               Roper pauses at the door. Then pulls out two basketball 
               tickets and lays them on the table in Solis' office. He exits.

                                                                    CUT TO:

               INT. METRO OFFICE AREA - NIGHT

               Two detectives. A female named KIMURA and a tall guy named 
               GLASS, try to make a getaway as they see Roper coming.

                                     ROPER
                         Hey, hey, hey...

               Roper intercepts them.

                                     ROPER
                         Anything on Korda so far?

                                     KIMURA
                         Solis said to keep you clear of this.

               Roper responds louder than necessary with a half turn toward 
               Solis' hallway.

                                     ROPER
                         I don't give a damn what Solis said.
                              (to the detectives)
                         If you get a lead, I want to know.

               OMITTED

               Sequence omitted from original script.

               EXT. SAN FRANCISCO STREET - NIGHT - RAINING

               Roper's pickup drives by.

               INT. PICKUP

               Thru the windshield. We see Roper as the windshield wipers 
               flap back and forth. His face seems dazed and lost.

               INT. RONNIE'S HALLWAY - NIGHT

               Roper knocks. Ronnie's cheerful voice can be heard.

                                     RONNIE (O.S.)
                         Just a minute.

               Roper makes no effort to pull himself together. The door 
               opens and Ronnie's face registers surprise. She's dressed 
               casually in jeans, a nice shirt, but wears make-up and 
               earrings.

                                     RONNIE
                         Hey.

                                     ROPER
                         Hey yourself. Came by to see Troy.

                                     RONNIE
                              (like hell)
                         A little late for that, Scottie. 
                         He's asleep.
                              (smells his breath)
                         Jack Daniels?

                                     ROPER
                         I'm not drunk. Yet.

                                     RONNIE
                         Maybe you should be.

                                     ROPER
                         You heard.

               She nods, sympathetic, but doesn't leave the doorway.

                                     RONNIE
                         Yeah. I'm sorry.

                                     ROPER
                         Can I come in?

               Ronnie opens the door reluctantly.

               INT. RONNIE'S HOUSE - NIGHT

               Roper enters. Instantly we see he's at home here. He hangs 
               his coat in the closet, puts his keys on the table, notices 
               a photograph on the wall. Quite imposing. Very unique style.

                                     ROPER
                         That a new picture?

                                     RONNIE
                         About 4 months old. I'm working in a 
                         new style.

               Roper gazes at it indifferently. He falls silent. Thoughts 
               turned inward. Suddenly, TROY, (the dog), bounds in. He's 
               ecstatic to see Roper. He puts his front paws on the couch 
               and his head in Roper's lap.

                                     ROPER
                         Hey, Troy. How ya doin' boy?
                              (to Ronnie)
                         He heard my voice.

               Roper smiles briefly, pats the dog, taking comfort from his 
               presence. His words are light. His tone isn't.

                                     ROPER
                         How's the good dog. I miss you buddy. 
                         You miss me?

               Ronnie watches them, suddenly showing the sadness she's 
               carefully buried.

                                     ROPER
                         He misses me.

               She nods. A moment's silence.

                                     ROPER
                         I won't stay long. I had to talk to 
                         someone.

                                     RONNIE
                              (a bit surprised at 
                              his openness)
                         You don't usually talk to anyone 
                         when you're hurting.

                                     ROPER
                         It was my fault. I was right 
                         downstairs. I should have gone up 
                         with him.

                                     RONNIE
                         Scott, You can't save everyone.

                                     ROPER
                         I've proved that, didn't I?

               She's not coming closer. She wants to, but she won't do it. 
               She seems uneasy, glances towards the door. Roper rises.

                                     ROPER
                         Oh, hell, forget it. This won't work.

                                     RONNIE
                              (gentle)
                         What do you want from me?

                                     ROPER
                         Something I guess I can't have 
                         anymore.

                                     RONNIE
                         Don't try to make me feel guilty. 
                         The whole time we were together, you 
                         went out of your way to prove you 
                         didn't need me. Now, suddenly, for 
                         one night, you need me again. I can't 
                         do it. I can't be more than your 
                         friend. Because I know what will 
                         happen. In a few weeks you'll be 
                         back on top, and you'll shut me out 
                         just as soon as you don't need me 
                         again.

                                     ROPER
                              (surprised, hurt)
                         You think I didn't need you?

                                     RONNIE
                         If you did, you never showed it.

                                     ROPER
                         Ronnie...

               He reaches for her and she looks like she might give in to 
               him, but at that moment there's a KNOCK ON THE DOOR. Ronnie 
               pulls back, confused and guilty.

                                     ROPER
                         You expecting someone?

               Her silence is the answer... A flash of pain from Roper.

                                     ROPER
                         This day just keeps getting better.

               Ronnie watches as he searches for his keys in his pockets.

                                     RONNIE
                              (soft)
                         They're on the table where you always 
                         leave them.

               He grabs the keys as she opens the door. GREG stands outside 
               waiting. He's a big, good looking guy with a smile on his 
               face.

                                     GREG
                         Hey, baby, I thought maybe you were...

               Greg's smile fades as he sees Roper.

                                     ROPER
                         I was just leaving.

               Roper strides past Greg who remains in the doorway. Ronnie 
               makes brief eye contact with Greg, but then moves past him 
               to follow Roper. She calls after him.

                                     RONNIE
                         Scottie... take care of yourself.

               Roper doesn't look back. He just goes.

               EXT. PIER 26 - EARLY MORNING

               A huge warehouse. Sun coming up over the East Bay, CLARENCE 
               TEAL rides up on a HARLEY MOTORCYLE, carrying a large cup of 
               coffee to go. He enters the warehouse.

               INT. WAREHOUSE - SAME

               Car and Boat parts stacked in aisles ten feet high. Clarence 
               shuffles through to his watchman's quarters which are 
               connected to the end of the warehouse.

               INT. WATCHMAN'S QUARTERS - SAME

               Built on pilings with a panoramic view of the bay. Korda is 
               waiting behind the door as Clarence enters. He seizes Clarence 
               from behind and slams him against the wall and spins him 
               around. Hot coffee soaks the front of Clarence's shirt.

                                     KORDA
                         If you weren't family I'd kill you.

               Clarence is scared. He offers no defense.

                                     KORDA
                         You told Antonucci that shit came 
                         from me.

                                     CLARENCE
                         So that we could get the best price. 
                         He's got respect for you. He's gonna 
                         try to lowball me, Mike.

               Korda tosses Clarence down onto the cot.

                                     KORDA
                         You fucking idiot! Why do you think 
                         I use you?... To be a walking 
                         advertisement.

                                     CLARENCE
                         I'm sorry, Mike. I never heard of 
                         LaMarra flipping on anyone before. 
                         He said he had the cops paid off. 
                         Antonucci never flipped on anyone 
                         before. He had the cops paid off.

                                     KORDA
                         Not the fucking cop that showed up 
                         at my door!

                                     CLARENCE
                         What happened, Mike.

                                     KORDA
                         You don't want to know.

               Tears start to come to Clarence's eyes.

                                     CLARENCE
                         I'm sorry, Mike.

               Clarence sincerely feels bad. It's kind of touching in a 
               twisted way. Korda moves over to the window to keep from 
               striking Clarence again. He looks off across the bay.

                                     KORDA
                         God damn it! I still needed to case 
                         that fucking store. It's too risky 
                         to show my face now.

                                     CLARENCE
                         I got a couple thousand bucks. You 
                         could leave town.

                                     KORDA
                         Leave town? They're going to know me 
                         in fucking Des Moines now!...
                              (a beat)
                         They got over ten million in jewels 
                         in that place. That's freedom, man. 
                         I could go anywhere I want.

               Clarence watches Korda warily. Things are beginning to add 
               up in his head.

                                     CLARENCE
                         Did you kill him, Mike?

               Korda turns to Clarence with a penetrated stare that answers 
               the question. Clarence is shaken by that. He starts to whimper 
               again.

                                     CLARENCE
                         I'm sorry, Mike. I'm really sorry...

               We're talking major fear here...

               Korda moves to him and we think he's going to bash him around 
               again, but, surprisingly, he hugs Clarence's head against 
               his chest.

                                     KORDA
                         It's not your fault you're stupid.

               Tears of relief from Clarence.

               INT. METRO DIVISION HEADQUARTERS - DAY

               Roper enters the squadroom. His mood is contained. He walks 
               to a desk where Kimura and Glass are huddling.

               A couple desks over, McCall is reclining in Roper's chair, 
               reading a book entitled, "Strategies and Counter Measures in 
               Hostage Situations". On the desk in front of him is the bottle 
               with the pen cap still in it.

                                     ROPER
                              (to Kimura and Glass)
                         What do you got on Korda?

                                     KIMURA
                         We ran a search on relatives. He has 
                         a cousin in town -- Clarence Teal. 
                         Smalltime thief. Last known address 
                         was on Pine Street. He moved out a 
                         month ago. We've got a couple leads 
                         on him to check out.

                                     ROPER
                              (rapid fire)
                         Did you check out DMV for any vehicles 
                         registration?

                                     KIMURA
                         Being faxed over now.

                                     ROPER
                         How about the record room for any 
                         incident reports? He might be a 
                         victim. We can get medical records. 
                         Check with burglary detail and see 
                         if anyone else knows him, knows his 
                         habits.

                                     KIMURA
                         Roper...

                                     ROPER
                         And what about bars? We can talk to 
                         neighbors to see what bars he 
                         frequents.

                                     KIMURA
                         Roper, we're into it...

               Suddenly Solis appears at their side.

                                     SOLIS
                         We've had this conversation once, 
                         Roper. You're not active on this 
                         case.

               Roper looks at him icily.

                                     SOLIS
                         It's in everyone's best interest.

               McCall, Kimura, Glass all watch this confrontation tensely. 
               After a beat, Roper gives in. Indicates his compliance. Solis 
               heads back to this office.

                                     ROPER
                              (softened)
                         You guys are doing good work.

               He moves toward the desk. McCall gets up when he sees him 
               coming.

                                     MCCALL
                         I'm sorry about your friend. I had a 
                         friend in SWAT killed. I know how it 
                         can be.

                                     ROPER
                         I appreciate your concern. Let's 
                         leave it at that.

               McCall respectfully drops it. Roper looks down at the soda 
               bottle.

                                     ROPER
                         I don't see much progress here.

               McCall holds up a finger. Not so fast. He picks up a pot 
               from a nearby "Mr. Coffee" machine. It's filled with water. 
               He takes the water and slowly pours it into the bottle.

               CLOSE ON THE BOTTLE

               The pen cap floats to the top and McCall plucks it out without 
               touching or moving the bottle.

                                     ROPER
                         Very nice... You get an "A". Notice... 
                         No force required. No damage.

               Just then a SERGEANT calls to Roper across the squadroom.

                                     SERGEANT
                         Roper, domestic disturbance at 472 
                         6th Street. Possible hostage 
                         situation.

               McCall grabs his duffel bag. Roper starts away from the desk, 
               then notices the book on "Hostage Strategies". He looks at 
               the title, then makes a demonstration of dropping it in the 
               trash can. He and McCall head out.

               EXT. MARKET STREET - DAY

               The pickup is weaving through traffic.

               INT. PICKUP - DAY

               Start on one of those air freshener evergreen trees hanging 
               from the rear view mirror. PULL BACK to show a police bubble 
               flashing on the dashboard.

               Roper weaving through traffic. McCall is sitting calmly as 
               ever.

                                     ROPER
                         So, McCall, how come you ended up in 
                         San Francisco?

                                     MCCALL
                         They recruited me. Promised me fast 
                         advancement.

                                     ROPER
                         Recruited you from where?

                                     MCCALL
                         National Marksman Competition.

                                     ROPER
                         With your qualifications you must 
                         have had a lot of offers. Why here?

                                     MCCALL
                         Furthest point I could find from New 
                         York.

                                     ROPER
                         You don't like New York?

                                     MCCALL
                         Spent my whole life there. I just 
                         wanted to get out for a while.

                                     ROPER
                         You'd never been out of New York?

                                     MCCALL
                         Been to Toronto. My mother was born 
                         there.

                                     ROPER
                         How did you like Toronto?

                                     MCCALL
                         It was okay.

                                     ROPER
                         You're a real excitable sort, aren't 
                         you?

                                     MCCALL
                         You caught me on an "up" day.
                              (a beat)
                         How about you? How did you end up in 
                         San Francisco?

                                     ROPER
                         I grew up in Oakland... Crossed the 
                         Bay Bridge and here I was.
                              (a beat)
                         So you're looking for "fast 
                         advancement".

                                     MCCALL
                         Is there something wrong with that?

                                     ROPER
                         I'm not sure.

               EXT. 6TH STREET - DAY

               Several Patrol Cars are parked in front of an unappealing 
               apartment building. A crowd has begun to gather. UNIFORMED 
               POLICEMEN hold them back. TWO COPS are questioning a man 
               wearing only green slacks. No shirt. No shoes. Just the 
               slacks. He is very agitated.

               The pickup screeches up. Roper and McCall hop out. Roper 
               flashes his badge to the OFFICER in charge. (OFFICER #1)

                                     ROPER
                         Roper. Metro Division. Hostage 
                         Negotiator. Give me the short version.

                                     OFFICER #1
                         Husband came home. Found that guy 
                         and his wife "in flagrante". Now 
                         he's holding her at knife point.

                                     ROPER
                         Which apartment?

               The Officer points up to the third floor.

                                     OFFICER #1
                         That one with the bars on the windows.

               Roper nods. Walks back over to the pickup. Looks up. Eyeballs 
               the building.

                                     ROPER
                         How are we gonna get him out of there?

                                     MCCALL
                         We could fill it with water.

               Roper throws him a look. McCall walks to the back of the 
               pickup, reaches into the cab and digs around in his duffel 
               bag.

                                     ROPER
                              (to Officer #1)
                         Have you evacuated anyone?

                                     OFFICER #1
                         Only that floor.

                                     ROPER
                         Is the hostage injured?

                                     OFFICER #1
                         Don't know. She keeps screaming to 
                         stay out. He keeps screaming to stay 
                         out. We decided to stay out.

                                     ROPER
                         Well, there's a good amount of 
                         agreement on that.

               McCall slams the truck door, sniper rifle in hand.

                                     MCCALL
                         I'll take "highground" until SWAT 
                         gets here.
                              (surveying the area)
                         I can get a good sight-line from 
                         that roof across the street.

               McCall marches off across the street.

                                     ROPER
                         Remember, Quick Draw, we're trying 
                         to limit the force here.

               McCall calls back over his shoulder.

                                     MCCALL
                         I know my job.

               At that moment, a scream echoes down from the third floor 
               window. Roper heads for the front door of the building.

               INT. APT. HALLWAY/STAIRCASE - (ACROSS THE STREET)

               McCall bounds up the stairs of the building to the rooftop.

               INT. 6TH ST. APARTMENT BUILDING HALLWAY - DAY

               The screams are getting more panicky. Roper comes down the 
               hall quickly. The door to the apartment is open. It's been 
               that way since the guy in the green slacks fled. Roper hurries 
               toward the door.

               INT. APARTMENT - DAY

               The WIFE is in bra and panties and the HUSBAND is 6'4". He's 
               giving her a good beating. It's a studio apartment. Unmade 
               bed. Belongings strewn all over. Window open with sun 
               streaming in, and a good view of the building across the 
               street. We hear ROPER'S VOICE from out in the hall.

                                     ROPER (V.O.)
                         I'm coming in. I'm not armed.

               The husband snatches his wife by the hair and holds a knife 
               to her throat.

                                     WIFE
                              (shrieking)
                         No, Raymond!

                                     RAYMOND
                              (to Roper)
                         Stay the fuck out of here!

               But Roper steps into the apartment. Sees the wife. Face 
               swollen. Knife to her neck. The enraged husband, contemplating 
               murder. One inch from committing the act. Roper doesn't bat 
               an eye.

                                     ROPER
                         I know how you feel, Ray.

                                     RAYMOND
                         You don't know shit, and I suggest 
                         you leave.

               He presses the knife against the wife's throat. She winces. 
               Her chest heaves.

                                     ROPER
                         I can't leave, Ray. It's part of my 
                         negotiator's oath. Once I'm in the 
                         room with the hostage, I have to 
                         stay.

                                     RAYMOND
                         You don't want to see what I'm going 
                         to do to her.

                                     ROPER
                         Let me show you something, Ray.

               Roper reaches into his pocket and pulls out his wallet. He 
               extracts a photo.

               CLOSEUP PHOTO

               Wife. Two kids. A little dog-eared. Nice touch.

               ROPER

               holds it up so Raymond can see it.

                                     ROPER
                         Same thing happened to me, man. She 
                         cheated on me, but I forgave her. 
                         You know why?

                                     RAYMOND
                         I ain't interested in your life story.

                                     ROPER
                         Because I was partially to blame. I 
                         wasn't around as much as I should 
                         have been. I forgot how to love her.

                                     RAYMOND
                         She's the one to blame. Not me.

               EXT. ROOF ACROSS THE STREET - ON MCCALL

               In prone position. Rifle in hand. Eye to scope.

               POV THROUGH SIGHT

               of Raymond's open window.

               INT. RAYMOND'S APARTMENT

               Everyone where we left them. Roper looks at Ray with utter 
               sincerity.

                                     ROPER
                         Ray, think about how she looked when 
                         you married her. Think about how 
                         happy you were. Don't lose that, 
                         man. Don't give up everything.

                                     RAYMOND
                         What am I giving up? I'm laid off 
                         last year. I'm down to my last 
                         unemployment check. I'm out on the 
                         streets looking for work and this 
                         bitch is banging some asshole in my 
                         bed.

               And now Ray is crying. Blubbering actually. And he's not 
               that coherent.

                                     RAYMOND
                         I'm down at Consolidated and I'm 
                         begging. I'm saying I'll take half 
                         my pay. Eight years, man. I don't 
                         even have to work the loading docks 
                         anymore. I'll do maintenance. "We're 
                         cutting back. We're streamlining, 
                         Ray. West Central's running things 
                         now. It's out of our hands" Fuck 
                         them! Fuck them! FUCK THEM!
                              (deep sigh)
                         I'm gonna kill her and then I'm gonna 
                         kill myself, 'cause I don't wanna 
                         live anymore.

               Roper reaches out to him.

                                     ROPER
                         Ray, if you walk out of here with 
                         me, I'll get you a job.

                                     RAYMOND
                         Doing what? Cleaning toilets?

                                     ROPER
                         I can't guarantee you what it will 
                         be. But I swear on my life, I'll 
                         find you work.

                                     RAYMOND
                         And why the fuck would you do that 
                         for me?

                                     ROPER
                         Not for you, Ray. For me. A close 
                         friend of mine was killed this week. 
                         The way I figure it, I stop you from 
                         doin' what you said, I'm one up on 
                         body count.

                                     RAYMOND
                         Who the fuck are you, Mother Teresa?

                                     ROPER
                         My name's Scott Roper.

               Ray stares blankly at Roper's outstretched hand, the knife 
               clutched tightly in his fist... The wife squeezes her eyes 
               closed. Everything waits for an excruciatingly long beat... 
               Then...

                                     RAYMOND
                         I need my coat.

               It's on a coat rack in the corner. But to get there he has 
               to pass by the window. Ray drops his wife on the bed, turns 
               and goes to get his coat.

               He crosses in front of the window... Reaches for the coat. 
               POP! A bullet slams into his skull. Ray falls to the floor. 
               The wife runs out of the room, screaming!

                                     ROPER
                         NOOOO!!

               He rushes over to Ray. Circle of blood soaking into the 
               carpet. Ray's empty eyes. His hand still wrapped in his coat. 
               He was dead instantly. Roper slams his fist into the wall. A 
               couple of cops, guns drawn, arrive at the doorway. Roper 
               bolts out of the room... Pounds down the hallway... Pounds 
               down the stairs... down another flight...

               EXT. APT. BLDG.

               McCall comes across the street. Roper sees McCall, cool as 
               ever. Rifle slung over his shoulder. Roper steps into his 
               path.

                                     ROPER
                         WHO THE FUCK DO YOU THINK YOU ARE?

               McCall gives no answer. He pushes past Roper and continues 
               into the building.

               INT. APT. BUILDING - HALLWAY - DAY

               Roper follows, screaming his head off.

                                     ROPER
                         Do you think because the police 
                         department issued you a sniper rifle, 
                         it makes you God! What the fuck goes 
                         on in your head?

               McCall, still stone-faced, reaches the apartment. Yellow 
               "crime scene" tape is being placed across the doorway. Cops 
               are tiptoeing around, surveying evidence. McCall ducks under 
               the tape. Roper follows.

               INT. APT. - DAY

               McCall goes over to Ray's body. Crouches down. Roper comes 
               up behind him. McCall picks up the coat covering Ray's arms. 
               Clutched in Ray's hand is a gun "Saturday night special" 
               variety. McCall looks up at Roper.

                                     MCCALL
                         SWAT is a lifesaving unit, remember? 
                         I just saved a life. Yours.

               Roper doesn't miss a beat.

                                     ROPER
                              (still angry)
                         You think I've never had a gun pulled 
                         on me?! You think every fucking time 
                         someone pulls a gun they use it?!

               McCall gets to his feet.

                                     MCCALL
                         Eighty-five percent of domestic 
                         disturbances of this nature end in 
                         murder/suicide.

                                     ROPER
                              (fiercely)
                         Not the ones I'm at.

               McCall and Roper glare at each other. Toe to toe. A beat. 
               McCall's face softens just perceptibly.

                                     MCCALL
                         Sorry. My mistake.

               He walks out of the room. Roper whips the sheet off the bed, 
               contemplates the gun gripped in Ray's hand... Then tosses 
               the sheet over Ray's dead body.

               INT. METRO DIVISION - NIGHT

               Roper seated in the hallway, waiting outside a door marked 
               "Internal Affairs". Things are quiet. Roper stares at the 
               floor. Waiting.

               The door opens. McCall comes out, escorted by two internal 
               affairs INVESTIGATORS. One of the investigators pats him on 
               the back.

                                     INVESTIGATOR
                         Looks like a clean shoot. Go home 
                         and get some rest.

               McCall shakes hands with the investigators and they disappear 
               back into the office. Roper approaches McCall. He's cooled 
               off considerably. Even a tad friendly.

                                     ROPER
                         Come on. Let's go for a drink.

                                     MCCALL
                         I don't really like to drink.

                                     ROPER
                         You have to. It's a tradition.

                                     MCCALL
                         Well, if I have to, I have to.

               INT. BILLY GOAT TAVERN - NIGHT

               A neighborhood bar. Roper and McCall are playing pool. Half-
               finished beers are on a nearby table. McCall is bent over 
               the table trying to make a particularly tricky shot. Roper 
               studies him.

                                     ROPER
                         You got a girlfriend?

                                     MCCALL
                         Why? You like my ass?

               McCall misses the shot.

                                     ROPER
                         Better than your pool game.

               Roper lines up his shot.

                                     ROPER
                         You wouldn't want to put a small 
                         wager on this, would you?

                                     MCCALL
                         I don't gamble.

               Roper smiles. Sinks his shot. Moves around the table.

                                     MCCALL
                         Yeah, I've got a girlfriend.

                                     ROPER
                         You living together?

                                     MCCALL
                         She's back in Jersey... going to 
                         graduate school.

                                     ROPER
                         Explain how that works.

                                     MCCALL
                         She's going to come here when she 
                         graduates and then we're gonna get 
                         married.

                                     ROPER
                         She grow up in Livingtston, too?

                                     MCCALL
                              (as if that were 
                              unthinkable)
                         No, no, no...
                              (a beat)
                         She's from Hoboken.

                                     ROPER
                         Oh, "city girl". Don't you ever long 
                         for companionship with her such a 
                         long way away in New Jersey?

                                     MCCALL
                         We see each other every couple of 
                         months.

                                     ROPER
                         Every couple of months, huh?

               A couple of months sounds like an awful long time to Roper.

                                     ROPER
                         That's a lot of commitment. I admire 
                         that.

                                     MCCALL
                         Do you really?

                                     ROPER
                         No. Actually I think it's fucking 
                         crazy, I don't know if I could do 
                         it.

                                     MCCALL
                         Thanks for clearing that up.
                              (a beat)
                         I hear your former girlfriend is 
                         going out with Greg Barnett.

                                     ROPER
                         Where did you hear that?

                                     MCCALL
                         Around. Barnett's tough competition.

                                     ROPER
                         Yeah, well that's a sore subject, 
                         and therefore out of bounds to a 
                         young sprout of a hostage negotiator 
                         under my tutelage.

               A beat and then McCall realizes that this comment is a major 
               acknowledgement of acceptance from Roper. Roper misses his 
               shot. Picks up his beer glass.

                                     ROPER
                         Lesson two, "Dead Eye"... should 
                         have been lesson one. Never exchange 
                         yourself for a hostage.

                                     MCCALL
                         I think I can handle that one.

                                     ROPER
                         Yeah, you think so, but it comes up.

               Roper takes a drink of beer. Nears the bottom of his glass. 
               Calls to the BARTENDER.

                                     ROPER
                         Zack, another round.

               Roper turns back to McCall.

                                     ROPER
                         My partner gave himself in exchange 
                         for a ten year old girl. He got caught 
                         in the crossfire. Two dead. My partner 
                         and the bad guy...
                              (takes the last sip)
                         Weird thing is, if he was alive, 
                         he'd probably do it again.
                              (a beat)
                         Some people never learn.

               Roper puts down his glass.

                                     ROPER
                         You think you can learn, McCall?

                                     MCCALL
                         I think so.

               Roper nods. Maybe he can.

               INT. ROOM - DAY

               We're looking at a door. It's not clear where we are. McCall 
               enters. We only see his face. Determined.

                                     MCCALL
                         I'm Officer McCall, what's going on?

               REVERSE ANGLE

               It's a training room. It's built to approximate a convenience 
               store. Several mannequins are placed around the room to 
               represent a hostage situation. The "BAD GUY" has a walkie-
               talkie strapped around his neck. Roper's voice CRACKLES out 
               of it.

                                     BAD GUY
                         What the fuck do you think is going 
                         on, turdhead? I'm about to waste 
                         everyone in this place.

               McCall hesitates, trying to figure out a response. He seems 
               stiff and awkward.

                                     MCCALL
                         H... how can I help you? Tell me 
                         what...
                              (looks off to his 
                              right)
                         I feel stupid talking to a dummy.

               Roper enters the training room from a side door. He's holding 
               the other walkie-talkie.

                                     ROPER
                         What did you think? I'm going to let 
                         you practice on real people?

               Roper comes up beside him.

                                     ROPER
                         First things is, don't say, "What's 
                         going on?" Everybody knows what's 
                         going on. I come into this situation, 
                         I say,
                              (addressing the 
                              mannequin)
                         "I'm glad to see nobody's hurt. That's 
                         good. I'm here to help you."
                              (turns back to McCall)
                         Second: You hesitated. Don't hesitate. 
                         If you're thinking, talk while you're 
                         thinking, or else he's going to think 
                         you're plotting. Which you are. If 
                         he thinks you're plotting, you're 
                         going to make him nervous. You don't 
                         want him nervous. Got that?

                                     MCCALL
                         No.

                                     ROPER
                         It'll come. Try again.

               INT. TRAINING ROOM - MOMENTS LATER

               ANGLE ON THE DOOR. McCall comes in. The room has the same 
               set-up. McCall takes a look around. Launches immediately 
               into...

                                     MCCALL
                         My name's McCall. I'm a hostage 
                         negotiator. I'm here to help you.

               Roper's voice crackles back at him hostilely.

                                     ROPER (V.O.)
                         How are you going to help me?

               McCall's confidence is growing.

                                     MCCALL
                         Tell me what you need.

                                     ROPER (V.O.)
                         I need you to bring me the scumbag 
                         who ran off with my wife so I can 
                         cut off his nuts.

               Now he's stumped.

                                     MCCALL
                              (hesitantly)
                         I can't do that.

                                     ROPER (V.O.)
                         Then get out of my face you worthless 
                         piece of frogshit.

               McCall looks up to his right.

                                     MCCALL
                         Is all the name calling necessary.

               Roper re-enters the training area.

                                     ROPER
                         Nah, I just throw that in because I 
                         enjoy it.

                                     MCCALL
                              (exasperated)
                         So what do I say to this guy?

                                     ROPER
                         You could say something like,
                              (addressing the dummy)
                         "Tell me what the scumbag's name is. 
                         Maybe we can work something out."

                                     MCCALL
                         What? Bring somebody in so he can 
                         cut his nuts off?

               Roper turns to McCall.

                                     ROPER
                         If you want to be a successful 
                         negotiator, you've got to learn to 
                         lie.

                                     MCCALL
                         I'm not good at lying.

                                     ROPER
                         Get good at it.

                                     MCCALL
                         It's against my nature.

               Roper gives him an amused smile.

                                     ROPER
                         You know the ten commandments?

                                     MCCALL
                         Yes.

                                     ROPER
                         What's the first commandment?

                                     MCCALL
                         Thou shall have no other God before 
                         me.

               That's not the answer Roper wanted.

                                     ROPER
                         Okay, forget that. What's the main 
                         one.

               McCall is tired of guessing.

                                     MCCALL
                         You tell me.

                                     ROPER
                         Thou shall not kill... You've killed, 
                         right?

                                     MCCALL
                         Yes.

                                     ROPER
                         Why?

                                     MCCALL
                         To save lives.

                                     ROPER
                         So why would you hesitate to lie to 
                         save lives?

               McCall can't argue with that one. Roper turns and heads back 
               to the side door.

                                     ROPER
                         Let's try it again.

               INT. TRAINING ROOM - LATER

               McCall comes through the door. Hands in the air. The setup 
               in the room has been changed a bit. The bad guy is behind 
               the counter. Several hostages in various positions on the 
               floor.

                                     MCCALL
                         My name's McCall. I'm unarmed.

                                     ROPER (V.O.)
                         Okay, stop.

               Roper comes through the side door.

                                     ROPER
                         Close your eyes.

               McCall is surprised by the command but closes them. Roper 
               turns him away from the hostage scene.

                                     ROPER
                         What did you see?

                                     MCCALL
                              (rapid-fire)
                         A dirtbag behind the counter holding 
                         a sawed-off. A Berretta nine 
                         millimeter in his belt. A female 
                         hostage, red dress, on the floor in 
                         front of the cereal display. Male 
                         hostage, jeans and blue checked shirt, 
                         three feet to her right. Another 
                         male hostage, white pants, green 
                         shirt, Nikes, laying in front of the 
                         magazine rack. A female dirtbag with 
                         a gun under her shirt, sitting against 
                         the beer cooler, trying to pass 
                         herself off as a hostage, and there's 
                         a special on toilet-paper, four for 
                         a buck twenty-nine.

               McCall opens his eyes. Roper's impressed.

                                     ROPER
                         Very good. You've got good eyes. 
                         That's important.

               INT. CONFERENCE ROOM - DAY

               Roper and McCall are sitting in the dark watching a video 
               tape. It's grainy footage of a hostage situation in a sporting 
               goods store. A negotiator confronted with a gunman holding a 
               ten year old girl hostage. The negotiator holds his hands 
               out imploringly... Carefully moves toward the gunman. The 
               negotiator exchanges himself for the little girl. The gunman 
               grabs the negotiator around the neck, holds the gun to his 
               head. The little girl runs out of the picture to safety.

               Roper remains dead silent during all this. McCall looks over 
               at him. The blue light flickers over Roper's motionless face.

                                     MCCALL
                         Was that your partner?

               Roper nods.

                                     MCCALL
                         Why did he do it?

                                     ROPER
                              (quietly)
                         Because he knew the little girl had 
                         zero chance of survival and his 
                         chances would be a little better... 
                         We had a plan, but SWAT opened up 
                         too early. He got caught in the 
                         crossfire.
                              (a sad beat)
                         Let's move on... Notice this. Always 
                         use the eyes to keep the connection. 
                         It almost like hypnosis. That's the 
                         most important thing. Create a 
                         connection. You're always on their 
                         side...

               McCall watches him for a beat, then turns his attention back 
               on the screen.

               EXT. GOLDEN GATE RACETRACK - DAY

               Beautiful day. Roper and McCall leaning against the rail at 
               the walking ring. The horses are being paraded and saddled. 
               Roper scrutinizes them with an expert eye. McCall seems 
               totally disinterested.

                                     ROPER
                         You know why I like the track?

                                     MCCALL
                         You're a compulsive gambler?

               Roper ignores that.

                                     ROPER
                         Because there are a multitude of 
                         possibility's. Everything is there 
                         to see if you know what to look for. 
                         You have to read the conditions, 
                         just like in a hostage situation.

               Roper points across the ring to a particular horse.

                                     ROPER
                         See the four horse. Dropping in class. 
                         No works. Front wraps. Looks like 
                         he's broken down. But notice the 
                         woman in the sun hat. She's the owner. 
                         She wouldn't have come if her horse 
                         was broken down. He's live. We use 
                         him.

               McCall listens indifferently.

                                     ROPER
                         See the favorite? Tail up. Washy. He 
                         doesn't want to run today. Cross him 
                         off... Now the Six looks good. On 
                         his toes. Coat shiny. This 
                         trainer/jockey combo does well. We 
                         can't leave him out.
                              (turns to McCall)
                         What do you think?

                                     MCCALL
                         I have two words for you... Seek 
                         help.

                                     ROPER
                         I have three words for you... Ex-ac-
                         ta.

               INT. BETTING WINDOWS - DAY

               Roper is buying tickets. McCall is with him, watching the 
               other bettors, the odds board, all the monitors... Strange 
               place. Roper finishes and turns away from the window. Hands 
               McCall a ticket.

                                     ROPER
                         I bought you a four-six exacta box. 
                         You owe me twenty bucks.

                                     MCCALL
                              (puzzled)
                         I do.

               EXT. SEATING AREA - DAY

               Roper and McCall pass by a gambler.

                                     GAMBLER
                         Hey, Roper.

                                     ROPER
                         How you doin', Marv?

               They sit down in a box right up front.

                                     ROPER
                         We need the 4 and 6 to finish to 
                         first and second.

                                     MCCALL
                              (no enthusiasm)
                         Fine.

               Roper uses his binoculars to watch the horses warm up on the 
               backstretch.

                                     MCCALL
                         I'm told that newspaper photographer 
                         is your former girlfriend.

               Roper looks over at him. What's this about?

                                     ROPER
                         Ronnie... Yeah, so.

                                     MCCALL
                         Now she's going out with Greg Barnett?

                                     ROPER
                         So what do you want?... An autograph.

                                     MCCALL
                         I don't know why she'd pick him over 
                         you.

               Roper throws McCall a skeptical look.

                                     MCCALL
                              (straight-faced)
                         I'm just practicing my lying.

                                     ROPER
                         Still needs work.

                                     MCCALL
                              (downcast)
                         You're right. I'll never be as good 
                         a liar as you.

                                     TRACK ANNOUNCER (O.S.)
                         And they're racing!

               ON THE TRACK

               The horses spring from the gate. (The track announcer's call 
               plays through race)

               IN THE STANDS

               Roper watches intently through the binoculars. McCall sits 
               impassively.

                                     ROPER
                         Okay, we're in good shape. We're in 
                         good shape.

               McCall looks across the track.

                                     MCCALL
                         The 6 horse is last.

                                     ROPER
                         That's okay. That's his style.

                                     MCCALL
                         To run last?

                                     ROPER
                         To run late!

               Roper follows the horses into the turn.

                                     ROPER
                         The favorite's fading. I told you he 
                         wasn't going to run today... The 
                         four horse has got the lead!

               McCall sits like a wax figure.

                                     MCCALL
                              (cynically)
                         The 6 horse is still last.

                                     ROPER
                         He'll be running at the quarter pole.

               ON THE TRACK

               The horses head into the stretch. The FOUR is on the lead 
               and the SIX is starting to unleash a big run. Passing horses 
               with every stride.

                                     ROPER (V.O.)
                         There he goes.

               IN THE STANDS

               McCall sits forward slightly.

                                     MCCALL
                         They need to run first and second?

                                     ROPER
                         Yeah, first and second.

               Roper gets to his feet.

               ON THE TRACK

               The horses thunder down the stretch. The FOUR horse is in 
               front and the SIX is coming on from behind.

               IN THE STANDS

               Roper is on his feet screaming.

                                     ROPER
                         Come on, Russell! Come on, Russell.

               McCall jumps to this feet and joins him.

                                     MCCALL
                         COME ON RUSSELL!...
                              (to Roper)
                         Who the fuck's Russell?!

                                     ROPER
                         The jockey!

                                     MCCALL
                         COME ON, RUSSELL!

               Roper and McCall cheer together.

               ON THE TRACK

               The FOUR horse crosses the finish line in front. The SIX 
               horse is flying... Needs to beat one horse to be second... 
               He's running out of room... With one last surge he hits the 
               wire and... It's too close to call.

               IN THE STANDS

               McCall, really excited, turns to Roper.

                                     MCCALL
                         We won!

                                     ROPER
                              (disheartened)
                         We lost.

                                     MCCALL
                              (confidently)
                         We won.

                                     ROPER
                         How much you wanna bet?

                                     MCCALL
                         You want to bet on whether you won 
                         your bet? This is getting sick.

               ANGLE ON TOTE BOARD

               As the photo finish light goes out and the numbers come on... 
               4-6-8. They won.

               IN THE STANDS

                                     ROPER
                         Yes!

               High fives.

                                     ROPER
                         That's eight hundred bucks.

               INT. BET/CASH WINDOW - DAY

               Roper and McCall collect their money. Four hundred a piece, 
               not bad. McCall pockets his money.

                                     MCCALL
                         How long you been coming here?

                                     ROPER
                         About six years. My partner took me.

                                     MCCALL
                         Is it always like this?

                                     ROPER
                         Occasionally you lose.

               Suddenly Roper's BEEPER goes off. He checks it, takes out a 
               cellular phone and dials.

                                     ROPER
                              (into the phone)
                         Roper here.
                              (he listens)
                         I'm on my way.

               He hangs up and turns to McCall.

                                     ROPER
                         We gotta go.

               EXT. JEWELRY STORE - UNION SQUARE - DAY

               Marble facade. Tastefully reinforced windows and door. 
               Choppers circle overhead. Both ends of the street are sealed 
               off. Barricades are up. Spectators and news crews crowd behind 
               those. Numerous police circulate. This is a major operation 
               in full swing.

               INT. TRAVEL AGENCY - COMMAND CENTER - DAY

               It's across the street from the jewelry store. Second story. 
               The walls are plastered with travel posters. A poster of 
               Tahiti is the most prominent. Members of police and SWAT are 
               standing over a blueprint of the jewelry store spread out on 
               a table. Right behind them is a TV monitoring the front of 
               the store. Solis is at another desk, on the phone. He's 
               talking to the suspect.

                                     SOLIS
                         We're working on that, Joe. These 
                         things aren't quite that simple.

               EXT. STREET - DAY

               Roper and McCall push through the barricades and come walking 
               down the cordoned-off street. McCall takes a look at the 
               jewelry store. Well fortified, foreboding.

                                     MCCALL
                         This does not look good.

               Roper looks over there, gives no reaction. They reach Solis' 
               convertible Cadillac. It's parked out front of the travel 
               agency building.

                                     ROPER
                         See this. Solis has me driving the 
                         shit-mobile, and he picked this up 
                         straight out of impound for fourteen 
                         grand. Probably worth thirty.

                                     MCCALL
                         Police corruption. It's everywhere.

               INT. COMMAND POST - DAY

               Roper and McCall enter. McCall joins the men who are studying 
               the blueprint. Roper stands by Solis and listens, takes note 
               of the poster of Tahiti. Looks inviting.

                                     SOLIS
                         This will take time to setup. I'll 
                         have to get authorizations.
                              (he listens)
                         Okay, you relax, and I'll --

               Solis pulls the phone away from his ear. Joe has obviously 
               hung up.

                                     ROPER
                         What do we got?

                                     SOLIS
                         32 minutes ago the silent alarm went 
                         off, then the fire alarm. A unit was 
                         a block away, and the suspect got 
                         trapped inside.

                                     ROPER
                         Any verification on numbers.

                                     SOLIS
                         We've only seen and talked to one 
                         suspect. He calls himself "Joe". 
                         There's two jewelers, two salespeople, 
                         the manager, a security guard, and 
                         an elderly woman. This particular 
                         store is where they do a lot of 
                         jewelry making and repair. They have 
                         anywhere from 8 to 10 million in raw 
                         stones on any given day, so they 
                         sure as shit didn't just wander in. 
                         They knew what they were coming for.

                                     ROPER
                         What have you promised them?

                                     SOLIS
                         Just that I'd talk to my superiors.

               McCall returns from checking out the blueprints.

                                     ROPER
                         Any good points of entry?

               McCall shakes his head.

                                     MCCALL
                         The place is designed to be a vault.

               Roper picks up the cellular phone. It dials automatically.

                                     ROPER
                              (into the phone)
                         My name's Roper. How are you people 
                         doing in there?
                              (he listens)
                         Solis is off the job now, Joe. I'm 
                         the guy authorized to give you 
                         whatever you want.
                              (listens)
                         That's right, but first I need to 
                         come down there to talk to you.

               INT. JEWELRY STORE - DAY

               We don't see anything but the suspect on the other end of 
               the phone. He's wearing a ski mask and gloves. Totally 
               unrecognizable to the audience. We will find out soon that 
               he is, in fact, Korda. He appears very cool and collected.

                                     KORDA
                         You don't have to come here.

               INT. COMMAND CENTER - DAY

                                     ROPER
                         Yes, I do. That way there's no 
                         misunderstandings. I need to make 
                         sure no one's hurt, then we can take 
                         care of business.

               A long pause... Then a bit sinister.

                                     KORDA (V.O.)
                         Alright, Roper. You want to come... 
                         come.

                                     ROPER
                         Good. I won't be armed. We gotta 
                         operate on trust here. We're going 
                         to wrap this up and have you guys 
                         out of here as soon as possible.

               Roper clicks off the phone. He already doesn't like the sound 
               of this guy.

               EXT. STREET OUTSIDE JEWELRY STORE - DAY

               Roper, bulletproof vest, hands in the air, walks across the 
               eerily deserted street straight toward the jewelry store. 
               It's quiet now. The choppers have been pulled back.

               Roper reaches the sidewalk right in front of the store. Korda 
               cracks the door open.

                                     KORDA
                              (warningly)
                         Stay there.

               Roper stops in his tracks.

                                     ROPER
                         I'm going to put my hands down, okay.

               Roper slowly lowers his hands.

               INT. COMMAND CENTER

               Everybody watching through the window.

               EXT. JEWELRY STORE - DAY

               Korda takes a half step out the doorway. The gloved hand 
               that is visible is not holding a weapon. The other half of 
               his body is hidden inside the doorway. He wears jeans, a 
               black shirt, and black Nike tennis shoes. He stares fiercely 
               from behind the ski mask. There's no sign of fear in him.

                                     KORDA
                         Are you in charge, Roper?

                                     ROPER
                         Yep.

                                     KORDA
                         I want a car. Like a four wheel drive. 
                         I want it in perfect condition. I 
                         want a uniformed cop to drive it up 
                         right here. I want him to leave the 
                         engine running and walk to the end 
                         of the street. Then we'll come out. 
                         I don't want any remote control 
                         devices in it. I know all the tricks. 
                         If it's not in perfect condition, 
                         and I mean if its even low on wiper 
                         fluid, I'm going to kill somebody 
                         and we're gonna start again.

               Korda lets that sink in.

                                     KORDA
                         I want a plane waiting at the airport. 
                         I'll tell them where I want to go 
                         when I get there.

                                     ROPER
                         Is that all?

                                     KORDA
                         For now that's all.

                                     ROPER
                         You'll get it. But, Joe, I want you 
                         to do something for me. Let me take 
                         a look around inside. Make sure 
                         everybody's okay.

                                     KORDA
                         No. You just do shit for me right 
                         now.

               Korda's eyes glare from behind the ski mask. He's an ominous 
               figure.

                                     ROPER
                         Joe, I'm doing a lot for you. I think 
                         you could give me something to cement 
                         the deal... One hostage.

                                     KORDA
                         I'll give you something.

               Korda pulls a wadded-up handkerchief out of his pocket and 
               tosses it to Roper. Roper unwraps the handkerchief.

               DETAIL SHOT

               It's a human ear.

                                     KORDA
                         In fifteen minutes it'll be a bigger 
                         piece. I assume there are no 
                         "misunderstanding".

               Roper is as serious as we've ever seen him.

                                     ROPER
                         I understand you completely.

               Korda disappears back behind the door.

               EXT. COMMAND CENTER - DAY

               Roper trudges back in. Things are more active now. Logistical 
               officers are making flow charts. Photos of the hostages are 
               being posted on a bulletin board. Roper approaches Solis, 
               McCall and the SWAT CAPTAIN who are anxiously waiting for 
               his report.

                                     ROPER
                              (flatly)
                         We're going to have to take this guy 
                         out.

               That draws a long silence. That's something Roper rarely 
               says.

                                     SOLIS
                         Can't we wear him down?

               Roper hands Solis the handkerchief with the ear in it. Solis 
               eyes it with dismay.

                                     ROPER
                         I believe there's at least one 
                         fatality in there already. The fire 
                         alarm was probably set off by gunfire. 
                         I believe he's working alone, both 
                         from his conversation and the fact 
                         that he wouldn't come out beyond the 
                         doorway. He was holding a gun on the 
                         hostages while he was talking to me. 
                         His demeanor is calm and controlled, 
                         that's what really scares me. The 
                         other bad news is that he also 
                         indicated a familiarity with our 
                         techniques.
                              (a beat)
                         So, do you want to go in or wait for 
                         him to come out?

               McCall calmly offers his opinion.

                                     MCCALL
                         Let him come out. Too many unknowns 
                         in there.

               Solis nods. That'll be the plan.

                                     MCCALL
                         When we drive up the car, make sure 
                         it's at an angle about three feet 
                         from the curb.
                              (to SWAT Captain)
                         Put our best man "highground", Twenty 
                         degree down angle.

               The SWAT Captain motions and turns to one of his UNDERLINGS.

                                     SWAT CAPTAIN
                         Have Anderson prep it and notify us 
                         when he's on line.

               The underling hurries off to take care of it. Solis looks at 
               Roper dejectedly.

                                     SOLIS
                         I feel this thing going sideways on 
                         us.

               Roper tries to buck him up.

                                     ROPER
                         There is some good news. He's wearing 
                         a ski mask, so he's protecting his 
                         identity and hasn't determined to 
                         kill all the hostages...
                              (big pause)
                         Yet.

               INT. JEWELRY STORE - DAY

               The jewel thief pulls off his ski mask to reveal he is Korda. 
               His face is sweaty. Hair matted. ANGLE WIDENS to show five 
               very scared hostages: A JEWELER, middle-aged, balding. The 
               male MANAGER, good-looking, thirties, three piece suit. TWO 
               SALESGIRLS, nicely dressed, late twenties. A FEMALE CUSTOMER, 
               gray-haired Hillsborough matron. They are all seated against 
               the wall. There are two fatalities lying on the floor. The 
               guard and one of the jewelers.

               Korda points his gun at the manager and the other jeweler 
               and motions to the dead bodies.

                                     KORDA
                         Drag them behind the counter.

               The two men reluctantly get to their feet and commence the 
               grim task. The two salesgirls watch Korda fearfully. The 
               older female customer seems to be in a lesser state of 
               reality. Her eyes are a bit far away.

               Korda moves over to the remaining display cases that haven't 
               been looted. With the barrel of his gun, He SMASHES the glass, 
               reaches in and picks out the jewelry. He dumps it in an open 
               satchel already half-filled with packets of raw gemstones 
               and gold chains. Suddenly, the older woman customer gets to 
               her feet. She seems fairly out-of-it. Maybe in shock. She 
               starts walking toward the front door frowning with 
               dissatisfaction.

                                     WOMAN CUSTOMER
                         I'm not staying here another minute.

                                     SALESGIRL #1
                              (panicky)
                         No, Mrs. Dotson.

               Korda rushes around the display case.

                                     KORDA
                         Come here, hag.

               He grabs a handful of the woman's coiffed gray hair and drags 
               her away from the door. She shrieks. The manager takes a 
               step toward Korda.

                                     MANAGER
                         Leave her alone!

               Korda pistol whips her across the forehead and drops her 
               unconscious to the floor then turns the gun on the manager.

                                     KORDA
                         You're a brave one, aren't you?

               The manager glares at him. He's about Korda's size. He thinks 
               about making a run at him.

                                     SALESGIRL #2
                              (pleading)
                         Sit down, Doug.

               A long beat... The manager sits back down on the floor with 
               the other hostages. Salesgirl 1 is giving aid to the old 
               woman. Korda looks down at her.

                                     KORDA
                         If she's not conscious when it's 
                         time to leave, I'll have to kill 
                         her.

               Korda goes back to the display cases to collect the rest of 
               the gems.

               EXT. STREET - DAY

               Cops clear spectators out of the way as a green FORD EXPLORER 
               RUMBLES through the barricade and heads down the deserted 
               street.

               INT. COMMAND CENTER - DAY

               Roper and McCall at the window, attention fixed on the store. 
               The Explorer crawls to a stop in front of the jewelry store. 
               Parks at a slight angle. The uniformed police officer gets 
               out, leaving the engine running, and walks off back to the 
               barricade.

                                     ROPER
                         Okay. Time to give this fucker a 
                         call.

               Roper picks up the phone, waits. Everybody tensely watching 
               the store.

               OMITTED

               Sequence omitted from original script.

               INT. BUILDING - SAME

               A sniper team watching the store from a third floor window.

               INT. COMMAND CENTER - SAME

               Roper holding the phone. It's still ringing.

               EXT. ROOFTOP - DIFFERENT BUILDING - SAME

               Another sharpshooting team. Poised. Waiting.

               EXT. ANOTHER ROOFTOP - SAME

               And still another sharpshooter team.

               INT. COMMAND CENTER - SAME

               The phone is still ringing.

                                     ROPER
                         This fucker's not answering.

               Just then, the front door of the jewelry store swings open. 
               A spray of white vapor shoots out the doorway. Korda is 
               discharging a fire extinguisher.

                                     MCCALL
                         There's your answer. He's smart.

                                     ROPER
                         He's cutting down the visibility.

                                     MCCALL
                         And doing a very good job of it.

               A thick cloud of white hangs over the sidewalk obscuring the 
               front of the jewelry store. Roper puts down the phone.

                                     MCCALL
                         Come on. Give us one clean shot.

                                     SWAT CAPTAIN
                              (into his radio)
                         All positions, you have the green 
                         light.

                                     MCCALL
                         They're out.

               Roper grabs a pair of binoculars.

               HIS POV

               Through the haze, we catch glimpses of the hostages circled 
               around the figure in the ski mask. They slowly shuffle toward 
               the Explorer.

               McCall watches intently.

               EXT. ROOFTOP - SAME

               A sniper watches through his scope. Finger poised on the 
               trigger.

               ANGLE THROUGH THE SCOPE

               Low visibility through the haze. The figure in the ski mask 
               wavers in and out of the crosshairs, shielded momentarily by 
               the jeweler, then he flashes back into the crosshairs. The 
               sniper tries to lock him in.

               INT. COMMAND CENTER - ROPER'S POV - BINOCULARS - SAME

               The figure in the ski mask leans slightly and Roper catches 
               a glimpse of the hostage right behind him. Roper recognizes 
               him instantly.

                                     ROPER
                         It's Korda.

               McCall sees him now, too.

                                     MCCALL
                         They switched clothes.

               Roper drops the binoculars and grabs his police radio.

                                     ROPER
                              (urgently)
                         Hold your fire! Hold your fire!

               Too late. A SHOT rings out. The figure in the ski mask goes 
               down, hit by the bullet.

                                     ROPER
                         Shit! Where'd that shot come from? 
                         Hold your fire!

               More SHOTS ring out.

               DOWN ON THE STREET

               The white vapor cloud swirls. The hostages, spattered with 
               blood, scream and scatter. The figure in the ski mask lies 
               dead on the sidewalk. Korda, dressed in the manager's three 
               piece suit, holding the satchel of jewels in one hand and 
               his gun in the other FIRES back at the snipers. He grabs 
               salesgirl 1 and drags her into the Explorer.

               INT. COMMAND CENTER

               Roper sees Korda move toward the car with one of the hostages.

                                     MCCALL
                         He's got the girl.

                                     ROPER
                         Damnit!

               As Roper turns into the room he notices a set of keys on 
               Solis' desk.

                                     ROPER
                              (grabbing the keys; 
                              to Solis)
                         Are these yours?

                                     SOLIS
                         Yeah, they are but...

                                     ROPER
                              (to McCall)
                         Come on!

               As Roper and McCall move toward the door...

                                     SOLIS
                         Roper, what are you going to do? 
                         Don't take my...

               And Roper and McCall are gone.

                                     SOLIS
                         ...car.

               DOWN ON THE STREET

               Police come rushing onto the street. Guns drawn. The Explorer 
               ROARS off down the block. Roper and McCall burst out of the 
               command center building, leap into Solis' Cadillac and tear 
               off after the van. McCall is behind the wheel.

               OMITTED

               Sequence omitted from original script.

               EXT. POLICE BARRICADES - DAY

               The Explorer comes barreling toward it. Spectators scatter. 
               Two squad cars SCREECH up behind the barricades, trying to 
               block Korda's escape. The Explorer PLOWS through the metal 
               barricades. BASHES the squad cars out of the way. And screams 
               off around the corner.

               OMITTED

               Sequence omitted from original script.

               EXT. STREET - DAY

               The Explorer careens up an alley and bursts into the congested 
               traffic of a side street. HONK-SCREECH! A Toyota swerves to 
               miss it and broadsides a parked car. The Explorer fishtails 
               off down the street.

               INT. VAN - DAY

               The salesgirl is terrified. Korda checks the rear view mirror. 
               No one on his tail... At first. Then the Cadillac comes 
               speeding up behind...

               INT. CADILLAC - DAY

               Roper and McCall have the Van in sight, about a block ahead. 
               Roper picks up the radio.

                                     MCCALL
                         Suspect heading west on Sutter now 
                         passing Jones. Can we get an 
                         intercept?

               A voice comes back.

                                     VOICE (V.O.)
                         R-32-David. We are proceeding south 
                         on Hyde. Will intercept.

               INT. VAN - DAY

               Korda has one eye on the road and the other on the rear view 
               mirror. The Cadillac is making up ground.

               UP AHEAD

               a squad car SCREECHES into the intersection and smokes to a 
               stop. Korda jerks the wheel, pulls a SCREAMING right turn 
               and heads up the hill.

               EXT. STREET - DAY

               The Cadillac is only about a hundred feet behind the van... 
               Brakes SQUEALING, it swerves around the corner in pursuit.

               THE VAN

               hits the top of the hill and goes airborne... SLAMS back 
               down to the pavement.

               INT. VAN - DAY

               Korda floors it, and we get a frightening view out the 
               windshield as they head straight downhill. The salesgirl is 
               beyond petrified.

               THE CADILLAC

               reaches the top of the hill. Going fast.

               INT. CADILLAC

               As it rocks forward violently. Front bumper slamming against 
               the pavement. McCall sees the van ahead. Hammers the 
               accelerator. No fear.

               VAN

               Korda sees traffic ahead... Intersection jammed. He pulls a 
               hard left.

               THE VAN

               cuts straight across the corner... up on the sidewalk... 
               shears a mailbox... a row of newspaper machines fly through 
               the air... The van speeds off down a one-way street...

               THE CADILLAC

               arrives at the intersection a few seconds later... 
               Intersection still jammed... People now standing on the corner 
               gawking at the damage. The Caddy SCREECHES to a stop. McCall 
               HONKS... The people scatter... The Cadillac drives through 
               the corner.

               THE VAN

               Wrong way down a one-way street. Cars coming right at us in 
               every angle. Frantic HONKING. Salesgirl SHRIEKS. Tires 
               SMOKING... No way to avoid collision... Except Korda pulls a 
               left an instant before impact... The van speeds back up the 
               hill.

               THE CADILIAC

               Down the same one way street... Comes up on the head-on 
               traffic, now stopped, paralyzed with fear from the near 
               collision with Korda...

               EXT. STREET - DAY

               The Cadillac roars around the corner and heads up the hill.

               INT. VAN

               Korda, checking the rear view mirror. The Caddy is a short 
               distance behind. Attention still focused behind, Korda enters 
               an intersection, running a red light... CROSS-TRAFFIC... 
               Korda stiffens... Pulls on the wheel

               THE STREET

               The van swerves... But not quick enough... GRINDING metal... 
               SHATTERING glass... The van rolls over another car...

               BRIEF CUT - LOOKING OUT THROUGH THE WINDSHIELD

               Korda and the salesgirl tossed about as the van does a 
               dizzying roll...

               THE VAN

               ...and CRASHES back down to the street upside down. After a 
               beat, Korda crawls from the wreckage carrying the satchel of 
               jewels. The salesgirl does not emerge. He spots a cable car 
               reaching the top of the hill and starting its long descend. 
               He heads toward it...

               INT. CABLE CAR

               As Korda comes toward them from the wreckage, some of the 
               passengers view him uneasily.

               THE CADILLAC

               hits the top of the hill just in time for Rope and McCall to 
               see Korda leap onto the moving cable car.

               CABLE CAR

               other passengers give Korda room. They can sense that he is 
               not here merely for the ride. Korda looks out the back...

               Roper and McCall haven't lost track of him. The Cadillac is 
               making up ground on the cable car.

               Korda moves to the back exit, pulls his gun and FIRES off a 
               couple of shots at the Caddy.

               INT. CADILLAC

               A bullet fractures the windshield. McCall swerves.

               BACK ON THE CABLE CAR

               That makes up the minds of many of the passenger. They leap 
               off the cable car.

               Korda takes aim on the Caddy again and FIRES!

               The brakeman charges down the aisle while Korda has his 
               attention focused out the back and tries to shove him off 
               the cable car...

               Almost works... but Korda is able to hang on by one hand... 
               He swings around toward the Brakeman who turns involuntarily 
               as he sees the barrel of the gun pointed at him... BANG! 
               Korda shoots him in the back.

               The brakeman staggers down the aisle and slumps across the 
               brake lever, releasing it more.

               EXT. UNDER CABLE CAR

               The brakes are stressed.

               EXT. STREET

               Now driverless, the cable car picks up speed... Broadsides a 
               car... Pushing it into parked cars...

               THE CABLE CAR

               Korda and the remaining passengers are rocked around.

               THE CABLE CAR

               THUNDERS towards us... Filling the FRAME...

               A SIDE ANGLE

               Shows the cable car leaving the wreckage in its wake.

               CADILLAC

               It passes the smashed car. McCall looks at the speedometer 
               as he paces the cable car. It's going at 45 mph.

                                     MCCALL
                         What the fuck is going on.

                                     ROPER
                         I don't know, but I've got to get on 
                         there.

                                     MCCALL
                         You're crazy.

                                     ROPER
                         Pull up alongside.

               EXT. INTERSECTION

               The cable car barrels through... Plows into two cross-traffic 
               cars... Knocks them aside... Keeps picking up speed.

               THE CADILLAC

               Weaves through the wreckage... Makes up ground on the cable 
               car, trying to pull alongside.

               THE CABLE CAR

               For the moment, Korda is not shooting at the Caddy. His 
               attention is now focused downhill as...

               KORDA'S POV

               The cable car nails another vehicle sending it spinning off 
               to the side.

               THE CADDY

               dodges the spinning car... Jumps up onto the sidewalk... 
               Mows down parking meters... Jumps back onto the street.

               THE CABLE CAR

               Korda leans out the door, takes aim at the Caddy... Another 
               jammed intersection up ahead...

               INT. CAR OF MAN TRAPPED IN INTERSECTION

               He sees the cable car coming in his rear view mirror. He 
               bails out...

               THE CABLE CAR

               SLAMS into the back of the car. Major impact.

               THE CABLE CAR

               Korda and the passengers are thrown to the floor.

               THE REAR-ENDED CAR

               Tumbles down the hill... Hits a car coming uphill and rolls 
               into a parked car.

               THE CADILLAC

               Speeds up alongside the cable car. Roper climbs over the 
               windshield, onto the hood and leaps onto the cable car.

               INT. CABLE CAR

               Korda sees him coming. FIRES. Roper dives out the other side 
               of the cable car.

               CABLE CAR

               Roper hanging off the side. He gets his gun out of his 
               holster...

               Up ahead, a car pulls away from the curb...

               Roper swings around to get back into the relative safety of 
               the cable car. As he does his gun is raked out of his hand 
               by the car which avoids a collision by a millimeter.

               CABLE CAR

               Korda aims as Roper re-enters...

               CABLE CAR

               As it CRASHES into the back of a car turning left.

               Everyone is thrown toward the front of the car. Korda's gun 
               goes flying. Roper dives on top of him. They trade punches. 
               McCall is in b.g. with the Caddy pacing the cable car.

               INTERSECTION

               Pedestrains bolt out of the way as the cable car streaks 
               through...

               THE CABLE CAR

               Roper hammers Korda into unconsciousness. Outside McCall is 
               honking and yelling like crazy. Roper looks over... McCall 
               points ahead...

               ROPER'S POV

               The cable car.

               ROPER

               Leaps to the brake lever. Pulls on it.

               ANGLE UNDER THE CABLE CAR

               The clamp tries to slow the descent. It whine and smokes... 
               Then disintegrates before our eyes.

               THE CABLE CAR

               Roper feels the lever go slack in his hands. The cable car 
               is speeding toward the end of the line... No way to stop 
               it... Roper turns and takes a running leap into the Caddy...

               INT. CADDY

               He lands in the passenger seat. Roper pounds his foot down 
               on the accelerator. The Caddy lunges ahead of the cable car... 
               McCall can't figure out what he's doing. Roper yanks the 
               steering wheel hard right...

               EXT. STREET

               The Caddy collides with the front of the cable car. Tires 
               SCREAM. The steel wheels CLATTER. A cloud of burning rubber 
               forms. The cable car grinds forward pushing the Cadillac... 
               But it's working. The cable car is slowing.

               BOTTOM OF STREET

               The crowd now sees the Caddy and cable car bearing down on 
               them. General hysteria as they flee.

               THE CABLE CAR

               Korda regains consciousness. Sees what's going on. He grabs 
               the satchel and bails out of the cable car...

               STREET

               ...Onto the hood of a passing taxi. The taxi slams on its 
               brakes. Korda rolls off the hood, picks himself up and runs 
               into an underground garage.

               THE CABLE CAR

               Grinding to a halt just short of the end of the line. Roper 
               grabs McCall's gun off the seat and leaps out of the Caddy 
               to pursue Korda. People approach to ogle the two vehicles in 
               astonishment.

               INT. GARAGE - DAY

               Roper moves up an interior stairway, gun in "ready" position. 
               He knows Korda is somewhere in the parking structure. He 
               glides up the stairway to the third level. Checks back over 
               the rail... No one around... Then a sound from inside the 
               garage... Footsteps maybe.

               Roper carefully opens the door... Swings in with his gun...

               INT. THIRD LEVEL - GARAGE

               Lots of cars, but no one in sight. Roper moves quickly to 
               the protection of a row of cars... He crouches down. Scans 
               beneath the cars... No sign of Korda.

               Roper searches between two rows... Comes up beside a van... 
               Thinks he hears something stirring inside. Whirls a gun toward 
               the window.

               A dog lunges at the CAMERA... Snarling... baring teeth... 
               Roper moves on.

               NEW ANGLE

               As a BMW crawls through the parking structure. Roper steps 
               into the FOREGROUND, right into its path, gun visible. The 
               BMW rolls to a stop. Roper approaches with caution.

               Roper comes up beside the car and sees a very frightened 30 
               year old blonde. Roper takes a check out of the backseat.

                                     ROPER
                         Sorry, go.

               INSIDE THE CAR

               The woman rolls up the window and hits the gas. She drives 
               off.

               INT. GARAGE

               Roper stands in the middle of the garage and takes a final 
               scan... He has the discouraging feeling that Korda might 
               have escaped.

               He heads toward the exit... Suddenly a SCREECH of tires... 
               Roper whirls to see a sedan bearing down on him. He drives 
               and FIRES! Bullets shatter the windshield.

               The car continues toward Roper. He has to roll out of the 
               path of the car. The car swerves past Roper. Tries to make 
               it down the ramp. Roper fires again, taking out the rear 
               window and a rear tire. The car slides along the guard rail 
               and continues down to the next level. Roper runs after it.

               GARAGE - 2ND LEVEL

               As the car reaches the next level, Korda loses control and 
               piles into a parked car.

               Korda crawls out of the car clutching his precious satchel 
               of jewels. Dazed, he staggers away from the wreck.

               Roper moves to him with a face grim as death. He strips the 
               satchel from Korda's hand and slams him against the open car 
               door. Korda goes to his knees. Roper holds the barrel of his 
               gun right up between Korda's eyes.

                                     ROPER
                         Give me one reason why I shouldn't 
                         kill you right here.

               Korda stares back at Roper defiantly. He knows a cop won't 
               kill him in cold blood...

               What he doesn't know is that Roper doesn't give a shit about 
               those rules at this moment.

                                     ROPER
                         You know Sam Baffert was a friend of 
                         mine. He had a wife... and he had a 
                         daughter.

               Korda stares past the barrel of the gun.

                                     KORDA
                         I don't give a shit about you or 
                         your fucking friends.

               And that makes Roper even angrier... But he keeps it all 
               inside. His expression is as cold as a San Francisco night.

               He yanks back hard on Korda's hair. Pushes the gun tighter 
               against Korda's forehead. He's on the verge of executing 
               this guy.

                                     KORDA
                         You can't kill me like this.

                                     ROPER
                         What if you and me got into a 
                         struggle... and my gun went off?

               In a flash, Roper points the gun upward and fires off a SHOT!

                                     ROPER
                         Could I kill you then?
                              (beat, beat)
                         Could I kill you then?

               Roper jams the gun back under Korda's chin. A pull of the 
               trigger would send a bullet straight up through Korda's skull. 
               And now Korda is fully convinced. He squeezes his eyes closed. 
               Face straining so hard, he looks like he's going to burst 
               out of his skin.

               ANGLE - MCCALL

               moving across garage into position.

                                     MCCALL
                         Roper! Put it down!... Put it down 
                         man, we got him.
                              (beat)
                         Come on... Put it down.

               Long, long beat. Roper eases up and Korda smiles. Just when 
               we feel the scene is over, Roper turns back quickly and kicks 
               Korda in the stomach, then grabs Korda by the hair, pulls 
               his head back and shoves the gun in his face.

                                     ROPER
                         We do this shit by the book, but you 
                         ain't gonna be smiling.

               Korda is doubled up coughing, spitting up blood. Roper walks 
               away as McCall moves in to put the cuffs on Korda.

               OMITTED

               Sequence omitted from original script.

               INT. METRO DIVISION - NIGHT

               Roper is sitting in a cubicle doing paperwork. A group of 
               reporters and photographers move down the hallway adjoining 
               the squadroom. One of them is Ronnie. Through the glass walls, 
               she notices Roper sitting alone at the computer. She bids 
               good-night to the reporters and comes into the squadroom.

                                     RONNIE
                         You weren't at the press conference.

               Roper keeps tapping away at the computer.

                                     ROPER
                         I wanted to get this out of the way.

                                     RONNIE
                         You got a bet on the game tonight?

                                     ROPER
                         As a matter of fact, I do.

               She nods knowingly.

                                     RONNIE
                         It's already started.

                                     ROPER
                         I was going to catch the last half 
                         on TV.

               Ronnie watches him for a moment. He stops typing, looks at 
               her and smiles. She suddenly becomes self-conscious. Guess 
               it was something she was thinking.

                                     RONNIE
                         Good-night.

               She turns abruptly to leave. Roper finds himself rising from 
               his chair.

                                     ROPER
                         You having dinner with Mr. Baseball?

               She turns back around.

                                     RONNIE
                         Greg is on a road trip. I was just 
                         going to make some pasta.

               He takes a few steps toward.

                                     ROPER
                         That kind with the garlic and the 
                         oil that I like so much?

                                     RONNIE
                         No. The kind from Kraft, with the 
                         macaroni and the cheese.

                                     ROPER
                         I've been craving that stuff all 
                         week.

                                     RONNIE
                         And it's hard to get.

               He looks at her innocently.

                                     RONNIE
                         Just dinner.

               OMITTED

               Sequence omitted from original script.

               INT. KITCHEN - NIGHT

               Ronnie is making macaroni. Roper helps to prepare a dressing 
               to go with the salad. He is mixing oil, vinegar, sugar and 
               spices. He lets her have a taste.

                                     ROPER
                         What do you think?

                                     RONNIE
                         Mmm, needs a little something.

                                     ROPER
                         What are you talking about? This is 
                         it. This is the stuff right here.
                              (beat; he tastes)
                         Well, maybe just a pinch more sugar.

                                     RONNIE
                         Yeah that's it.

                                     ROPER
                         Why don't you just stick your finger 
                         in and stir it up.

                                     RONNIE
                              (laughing)
                         Scottie...

               There is a long pause as he looks at her.

                                     ROPER
                         What would you say if I quit gambling?

               Ronnie stirs the macaroni.

                                     RONNIE
                         I'd say you'd be miserable... It's 
                         not the gambling. It's what the 
                         gambling got in the way of. The track 
                         is where you'd take your troubles 
                         instead of sharing them with me...

               Ronnie puts the lid on the macaroni. There is a beat before 
               she continues.

                                     RONNIE
                         Scottie, remember the day you lost 
                         that hostage in union square. You 
                         came over that night and we made 
                         mad, crazy love. But I didn't even 
                         know what happened... 'til I heard 
                         it on the news the next morning.

                                     ROPER
                         It's because I wanted to keep you 
                         away from that world.

                                     RONNIE
                         It's not that world. It's your world. 
                         It's part of who you are.

                                     ROPER
                              (beat)
                         Veronica, it's not easy for me... I 
                         don't know if I can change overnight. 
                         But what I'm telling you is that I 
                         want to share everything with you, 
                         because I don't ever want to be 
                         without you again.

               The dog yawns. They laugh. Roper moves closer to her. He 
               kisses her and she responds.

               INT. RONNIE'S BEDROOM - NIGHT

               The lovemaking is over. Roper is gazing at the ceiling, 
               thinking. Ronnie is cuddled around him. A comfortable 
               moment...

                                     ROPER
                         What about Greg? What are you gonna 
                         tell him?

                                     RONNIE
                         It's okay. We broke up.

                                     ROPER
                              (surprised)
                         When?

                                     RONNIE
                         Just now.

               INT. COUNTY JAIL VISITING ROOM - DAY

               Clarence Teal, Korda's cousin sits in front of the plexiglass 
               wall. He's edgy, fidgety. Clarence doesn't like to make visits 
               to jail.

               Korda, wearing prison clothes, is led in by a guard. Korda 
               takes a seat at the other side of the plexiglass wall and 
               picks up the receiver. Clarence picks up his receiver.

                                     CLARENCE
                         How ya doin', man?

               Korda grips the phone, leans forward and stares through the 
               wall.

                                     KORDA
                         You gotta do something for me... 
                         this fucker, Roper, he's gotta 
                         girlfriend. She works at the 
                         newspaper. I want you to take care 
                         of her.

               Clarence is totally unnerved by this request.

                                     CLARENCE
                         Hey, Michael, that's not my thing.

               Korda glares at him murderously.

                                     KORDA
                         You gotta do this for me. I'm in 
                         here because of you.

                                     CLARENCE
                         Man, what's this about? Ya know, you 
                         were robbing a store. It wasn't 
                         personal. It was his job.

                                     KORDA
                              (exploding)
                         Fuck you! You know what he did to 
                         me?!...

               Korda starts to draw the attention of the guard. He controls 
               himself, lowers his voice. But the viciousness is still there.

                                     KORDA
                         He held a gun to my head and said he 
                         should kill me right then... He made 
                         me...

               He doesn't finish that thought.

                                     KORDA
                         You do this for me Clarence.

               Clarence is getting very upset.

                                     CLARENCE
                         Don't make do it, Mike.

                                     KORDA
                         Are you going to turn on me too? Who 
                         helped you when you were strung out? 
                         Who gave you money? Who bailed you 
                         out of jail?

                                     CLARENCE
                         I won't get away with it.

                                     KORDA
                         Nobody knows who you are. Make it 
                         look like a robbery.

               Clarence holds back tears, because he knows he's going to 
               have to do this.

               EXT. RONNIE'S HOUSE - NIGHT

               A gray San Francisco evening. It starts to rain.

               INT. RONNIE'S KITCHEN - NIGHT

               She's cooking some kind of sauce. She has a taste.

               EXT. RONNIE'S HOUSE - NIGHT

               A subjective POV watching through the window as she moves 
               around the kitchen.

               INT. KITCHEN - NIGHT

               Ronnie pours some oil in a pan. The phone RINGS. She crosses 
               the kitchen to answer it.

               INT. PICKUP - NIGHT

               Roper on his cell phone. Paco is on the seat beside him.

                                     ROPER
                         Hi, I'm going to stop at the corner 
                         for some wine.

               Roper notices the rain, searches for the windshield wiper 
               switch.

               INT. RONNIE'S KITCHEN - NIGHT

                                     RONNIE
                         How's Paco doing?

               INT. PICKUP - NIGHT

                                     ROPER
                         He was going nuts at the park. He 
                         met this very attractive poodle. 
                         They made plans to meet again next 
                         weekend.

               Paco sits there panting. Roper pulls the pickup over in front 
               of the store.

               INT. KITCHEN - STORE

                                     RONNIE
                         Okay, dinner will be ready when you 
                         get here.

               She hangs up.

               EXT. RONNIE'S HOUSE - NIGHT

               Through the window we watch her cross back to the stove.

               INT. KITCHEN - NIGHT

               Ronnie lifts the lid on the sauce. Stirs. It spatters on her 
               blouse. She regards the stain with dismay. Puts the lid back 
               on and leaves the kitchen.

               INT. HALLWAY - NIGHT

               Ronnie unbuttons her blouse as she moves to the...

               INT. BEDROOM - NIGHT

               She takes off the blouse, goes to the closet door... throws 
               it open. She looks around. Something's not right. She takes 
               a step into the closet and finds what she's looking for -- A 
               laundry basket -- tucked away in the corner. She puts the 
               soiled blouse in the hamper and takes a fresh one off a 
               hanger. She buttons the clean blouse as she walks to...

               INT. BATHROOM - NIGHT

               Dark. She turns on the light. She goes to the mirrored 
               medicine cabinet.

               IN THE REFLECTION

               Behind her the shower curtain is drawn, fluttering ever so 
               slightly. She opens the medicine cabinet. Takes out some 
               perfume. Dabs some on her neck. She puts back the bottle and 
               closes the cabinet. We fully expect someone to be standing 
               right behind her in the reflection... There's no one there. 
               She turns off the light as she walks out of the bathroom.

               INT. HALLWAY - NIGHT

               Ronnie walks back to the kitchen... Notices something on the 
               floor further down the hallway... What is it? She moves 
               closer... And now we get to the POV that tells us someone is 
               in the house... Watching her through a cracked doorway.

               BRIEF CUT

               A hand opening a buck knife. Water drips from the fingers.

               BACK IN THE HALL

               Ronnie bends down. It's a wet spot. Like half a shoeprint. 
               She reaches down to touch it...

               BUZZZZZ!!!! The oven timer. She hurries back to the kitchen.

               INT. RONNIE'S KITCHEN - NIGHT

               She turns off the timer and pulls some chicken out of the 
               oven. She puts it down on the counter and cross to the 
               refrigerator. She opens the door and looks inside. The 
               refrigerator door obscures half the FRAME... She digs around 
               for something... We're sure that when she closes the door, 
               he's going to be behind it... She takes out a head of lettuce 
               and... Closes the door... Still no one there.

               She turns... Clarence is standing there. Dripping wet. Ronnie 
               shrieks... The knife flashes forward... She grabs the lid 
               from the sauce pan and CLANG... Fends off the blade. She 
               bolts for the hallway. Clarence grabs her by the blouse... 
               RIP! She pulls away.

               IN THE HALLWAY

               She races down the hall. Clarence lunges into FRAME. She 
               goes down... He goes down... the knife goes skidding down 
               the hallway... Ronnie scrambles to get it... Clarence has 
               her by the ankle... She claws for the knife... Just out of 
               reach.

               EXT. RONNIE'S HOUSE - NIGHT

               Roper's pickup pulls up in front. He gets out. Paco jumps 
               out behind him. It's raining harder. They hurry up the walkway 
               toward the house. Suddenly Roper realizes he forgot the wine. 
               He goes back to the truck. Paco pads after him.

               Roper opens the driver's side door, reaches in and grabs the 
               wine. He closes the door, starts away, but pauses to check 
               himself in the window.

               Suddenly, a floodlight comes crashing through Ronnie's front 
               bay windows. It SPARKS and FLASHES. Still plugged in, it 
               bungees to a stop hallway down the front of the house. 
               FLICKERING and FLASHING.

               Roper rushes toward the house... Crashes through the front 
               door... Up the stairway... Paco bounds after him... Roper 
               hits her front door running... Wham! He bounces off. He 
               shoulders it again... The door doesn't give... He pulls out 
               his gun... BAM! BAM! Shoots off the lock.

               INT. RONNIE'S APT. - NIGHT

               A QUICK SHOT of Clarence's hand grabbing the knife.

               INT. STAIRWAY - NIGHT

               Roper kicks open the door. Charges in.

               INT. RONNIE'S LIVING ROOM - NIGHT

               Ronnie is laying on the floor, gasping for air. Choke marks 
               around her throat. Roper rushes to her side. Paco is on his 
               heels.

                                     ROPER
                         You okay?!

               She nods. Points out the back way.

                                     ROPER
                              (to Paco)
                         Stay.

               The dog obediently stays with Ronnie. Roper dashes out the 
               back.

               EXT. BACK OF RONNIE'S - NIGHT

               Raining more heavily now. Roper bursts out onto the back 
               porch. Sees Clarence leaping off the last rung of the fire 
               escape to the alley. Roper flies down the fire escape... 
               Vaults the last flight and races after Clarence.

               EXT. STREET - NIGHT

               Clarence sprints down the block... Through the intersection... 
               HONK! SCREECH! A car barely misses him. It does a one-eighty 
               on the rain-slick pavement. Clarence disappears into the 
               shadows. Roper arrives a beat later... Streaks through the 
               intersection... Into the shadows.

               EXT. ANOTHER STREET - NIGHT

               This one is steep. Clarence huffs and puffs as he labors. He 
               shoots into a doorway. Tries the door. Locked. He looks back. 
               Roper is coming. Relentless. He rushes across the steep 
               street. Almost slips on the reflective asphalt. Roper spots 
               him crossing and picks up the pace. He can see that Clarence 
               is faltering.

               NEAR THE TOP OF THE HILL

               Clarence staggers into an alleyway...

               EXT. ALLEYWAY - NIGHT

               Narrow, dark and dripping with rain. Roper arrives at the 
               mouth of the alley. Gun ready, he moves cautiously, eyes 
               adjusting to the darkness. The PATTER of rain off the 
               rooftops. His FOOTSTEPS. No other sound.

               He reaches the end of the alley... A brick wall. No way out. 
               Or so it would seem. However, Clarence is nowhere in sight. 
               Roper turns back. Brick walls tower on both sides, rising 
               into darkness. Roper checks a steel door. Locked. He checks 
               another one on the opposite side of the alley. Also locked. 
               Where did Clarence go? He moves back toward the misting light 
               of the street... Slowly...

               The FAINT RATTLE of a fire escape... And Clarence leaps down 
               out of the shadow. Slashing with the knife. He catches Roper 
               across the arm.

               Rips through his clothes right down to the skin. Roper's gun 
               CLATTERS under a parked car and into the street. Clarence 
               has first jump. He scrambles into the street, around the car 
               and grabs the gun...

               Roper dives over the hood of the car and knocks Clarence 
               down before he can aim. They roll into the middle of the 
               street. Both have a death grip on the weapon. Clarence fights 
               like a trapped animal. Thrashing desperately. Roper pins him 
               on his back, but can't pry the gun out of his fingers.

               WIDER SHOT

               Headlights radiate over the crest of the hill. Coming quickly. 
               Roper sees this. He rolls out of the way, abandoning the 
               battle for the gun. Clarence struggles to his knees. Turns 
               the weapon on Roper... A speeding cab lunges over the top of 
               the hill. Clarence turns, trapped in the searing headlights. 
               Tires squeal. Brakes lock. Clarence is transfixed... WHAM! 
               He's launched through the air like a ragdoll... His body 
               lands limply 30 feet down the street. The CABBY gets out of 
               his vehicle.

                                     CABBY
                         Jesus Christ. What was he doing?!

               Roper walks down the hill to the body. The cabby follows.

                                     CABBY
                         There was no way I could miss him.

               Roper ignores the cabby. He looks down at Clarence's body, 
               contemplating something.

                                     CABBY
                         This isn't my fault.

                                     ROPER
                         Shut the fuck up!

               The cabby immediately clams up.

                                     ROPER
                         Get on your radio and get the police 
                         here.

               Roper stares at Clarence's body, steel-eyed.

               INT. COUNTY JAIL VISITING ROOM - DAY

               Korda is led in again. An expression of surprise registers 
               on his face when he sees who's waiting for him.

               KORDA'S POV

               Roper is sitting stoically behind the plexiglass wall.

               KORDA

               Dons a smug expression and takes a seat. He picks up his 
               receiver as Roper picks up his.

                                     ROPER
                         If you try again to hurt me or anyone 
                         I know, I'm going to have you killed.

               Korda feigns total innocence.

                                     KORDA
                         What in the world are you talking 
                         about, Mr. Roper?

               Roper takes out a photograph and holds it up against the 
               glass.

                                     ROPER
                         Here's a picture of your cousin 
                         Clarence. That gentleman standing 
                         over him is the coroner.

               Korda's face tightens. He drops the innocent act. His 
               countenance is now a study in hate.

                                     KORDA
                         I used to have an apartment, a car, 
                         jewelry. I had a fucking eight 
                         thousand dollar watch. Now look what 
                         I have.

               He motions around.

                                     KORDA
                         You're threatening me? You think I 
                         give a fuck? You think you can scare 
                         me off?
                              (a laugh)
                         Why don't you come in here and kick 
                         my ass? Get some of your guard friends 
                         in here to help. I'd like that.

               Roper glares at him mounting rage.

                                     KORDA
                              (smirking)
                         He really shook you up, didn't he?... 
                         I've got ten years worth of appeals 
                         to figure out how to fuck with you. 
                         Who knows? Maybe some scumbag lawyer 
                         will get me out on a technicality.

               Roper sits there, suddenly feeling powerless.

                                     KORDA
                         You came here to threaten me? That's 
                         a laugh. Maybe you should BEG me... 
                         Go ahead. Get down on your knees.

               Roper leaps from his chair and smashes the receiver against 
               the plexiglass wall.

                                     ROPER
                         You motherfucker, I swear I'll kill 
                         you!

               The guard rushes over and restrains Roper. Wrestles him away 
               from the glass wall. Roper pushes him off and gathers himself. 
               He gives Korda one last stare. Korda sits there smirking 
               back at him... Roper turns his back and walks out.

               INT. ROPER'S OFFICE - DAY

               McCall is practicing his negotiating techniques in a mirror.

                                     MCCALL
                         I'm here to help you.

               Not quite right. He adjusts his stance. This time puts a 
               little hand movement into it.

                                     MCCALL
                         I'm here to help you. Talk to me.

               He's still not satisfied.

               OMITTED

               Sequence omitted from original script.

               INT. ROPER'S OFFICE - DAY

               Captain Solis pokes his head in the door, he's been looking 
               for McCall.

                                     SOLIS
                         We got a situation at the V.A. 
                         Hospital. The responding officer has 
                         requested a negotiator.

                                     MCCALL
                         Where's Roper?

                                     SOLIS
                         He's on his way. Get over there.

               EXT. VETERAN'S HOSPITAL ROOFTOP - DAY

               A VETERAN wearing green fatigue is dangling another WHEELCHAIR 
               BOUND VET over the edge. Fourteen floors up. The two front 
               wheels are literally hanging out there in space.

                                     VET #1
                              (rambling incoherently)
                         I can't fight this technology. They 
                         have microprocessors made in totally 
                         sterile environments. I've seen those 
                         places. Everyone is dressed in white. 
                         It's like paper clothing, man. They're 
                         not even human.

               Vet 2 is struggling to stay in the chair and not be tipped 
               into the street 150 feet below. He is, needless to say, very 
               panicky.

                                     VET #2
                         Dave, don't do this, bro. Pull me 
                         in. We'll do a few laps in the park 
                         and figure out some other way.

               But he's not getting through to his friend.

                                     VET #1
                         I can't help this, man. Do you have 
                         any idea what those microchips look 
                         like? How small they are when they 
                         put them in your brain?

               INT. STAIRWELL - DAY

               Leading to the roof. A COUPLE OF COPS and MEMBERS OF THE 
               HOSPITAL STAFF peek out at the vet as he continues to rant 
               and rave. McCall arrives at the top of the stairs. OFFICER 
               #4 sure looks happy to see him. McCall takes a peek out onto 
               the roof. He isn't happy about what he sees.

                                     OFFICER #4
                         When we got here, he was already 
                         doing his balancing act. I was talking 
                         to him, but it made him more agitated 
                         so I backed off.

                                     MCCALL
                         Why is he up there?

                                     OFFICER #4
                         Something about a microchip in his 
                         brain.

                                     MCCALL
                         Who is he?

               A NURSE answers him.

                                     NURSE HERRIN
                         David Adler. He likes to be called 
                         Dave. The other guy is Walter 
                         Sinclair.

               We hear the urgent cry of the vet in the wheelchair.

                                     VOICE (V.O.)
                         Somebody help me out here. Somebody 
                         stop him.

               The nurse turns to McCall.

                                     NURSE HERRIN
                         What are you waiting for?

                                     MCCALL
                         Another negotiator is on his way.

                                     NURSE HERRIN
                         We can't wait for another negotiator. 
                         You have to do something.

                                     MCCALL
                         What about the doctors?

                                     NURSE HERRIN
                         He hates all the doctors. He says 
                         they're in on the conspiracy.

                                     VET #1 (O.S.)
                         Where is everybody? He's going to 
                         kill me!

               McCall takes a deep breath and steps out onto the roof.

               EXT. ROOF - DAY

               McCall moves slowly across the tar paper roof. Clouds overhead 
               threaten rain. Vet 1 turns to him suddenly, wobbling the 
               wheelchair. Vet 2 shrieks and nearly goes over. McCall's 
               heart jumps into his mouth.

                                     DAVE
                         Get the fuck out of here!

               McCall is tense and stiff. He stammers.

                                     MCCALL
                         I... I'm Kevin. I 'm here to help 
                         you, D... Dave.

                                     DAVE
                         You can't help me, man.

               So much for McCall's opener. Now what?

                                     WALTER
                         He's high on something, man. Give 
                         him some thorazine or something.

               Dave ignores Walter.

                                     DAVE
                         No one can help me. They're 
                         controlling my mind.

               McCall moves a couple steps closer.

                                     MCCALL
                         Who's controlling your mind?

                                     DAVE
                         Whoa!... The government. They control 
                         everybody's mind. You're too fucking 
                         stupid to know that?

               McCall fumbles for the right response.

                                     MCCALL
                         This has nothing to do with Walter.

                                     DAVE
                         They want Walter dead!

               EXT. STREET BELOW - DAY

               Cops keep spectators back from the building. Fire trucks and 
               rescue vehicles are on the scene. Everybody looking straight 
               up watching the wheelchair with its occupant dangling over 
               the side of the building.

               EXT. ROOF - DAY

               Walter sits stock still in the wheelchair drenched with sweat, 
               eyes closed, praying.

                                     MCCALL
                         Dave, look at me.

               Dave obliges. He looks at McCall with eyes that have lost 
               the battle for sanity. McCall is momentarily frozen by those 
               eyes. Beads of sweat have formed on his forehead.

                                     MCCALL
                         Tell me what's wrong.

                                     DAVE
                         Particles, man. I feel them all the 
                         time. I feel them in my arms and 
                         legs man, that's how they punish me.

                                     MCCALL
                         How can I help you with the particles?

                                     DAVE
                         It's not just the particles man, 
                         it's the whole fucking machine, this 
                         is how they get assassins to operate. 
                         It's been this way since the cuban 
                         missile crisis.

               Dave starts to look over into the street, he tips Walter 
               forward, Walter shrieks in mortal fear. White knuckles the 
               armrests of his wheelchair and then:

                                     MCCALL
                              (blurting out)
                         They have less power over you if you 
                         look into my eyes.

                                     DAVE
                         Huh?

               McCall even surprises himself with that one. It was a sheer 
               act of desperation. He holds his breath and waits to see 
               what the effect is. Dave turns back around.

                                     DAVE
                         Huh?

               EXT. STREET - THAT MOMENT

               Roper's truck comes speeding down the street, lurches to a 
               halt. He leaps out and speaks to a FIREMAN.

                                     ROPER
                         Whata ya got?

                                     FIREMAN
                         Some nuts dangling a guy over the 
                         edge in a wheelchair.

                                     ROPER
                         Can you get a net out here?

                                     FIREMAN
                         Negative. It's 14 floors up. No nets 
                         gonna hold a fall from that high up.

               EXT. ROOF - DAY

               McCall nods slowly. Sweat pouring off him.

                                     MCCALL
                         We've been onto them for a long time.

               A glimmer from Dave. Maybe McCall is a kindred spirit.

                                     MCCALL
                         Let me show you something.

               Now he's got Dave's interest. McCall slowly takes out his 
               beeper.

                                     MCCALL
                         See this. I'm jamming them, Dave. 
                         I'm jamming their frequency so they 
                         can't control your mind anymore. 
                         Don't you feel that? You don't have 
                         to do what they say.

               Dave listens to his head.

                                     WALTER
                         He's jamming them, Dave. Pull me 
                         back in.

                                     MCCALL
                         You see, the particles are gone, 
                         they can't punish you anymore.

               Dave tries to feel for particles. Tears form in Dave's eyes.

                                     DAVE
                         Tell my dad.

                                     MCCALL
                         Tell him what, what do you want me 
                         to tell him?

                                     DAVE
                         Tell my dad I'm sorry about the watch.

                                     MCCALL
                         I'll tell him. Where does he live. 
                         We'll get him on the phone right 
                         now.

               Dave is suddenly lost in thought again. His expression turns 
               to a frown:

                                     DAVE
                         I hate fucking Springfield.

                                     MCCALL
                         Is that where you're family lives?

               Then with sudden swiftness.

                                     DAVE
                         I still hear them, man. You can't 
                         jam them. They've got the technology, 
                         man. They've got the satellites, 
                         Jack. They keep shooting beams off 
                         those satellites. What power do I 
                         have?

               Dave pushes the wheelchair forward. McCall LUNGES for the 
               wheelchair but doesn't make it. Walter SCREAMS as he falls.

                                     MCCALL
                         NOOOO!

               WALTER AND HIS WHEELCHAIR

               freefall down toward earth in SLOW MOTION. The wheelchair 
               turns end over end. People SCREAM as Walter IMPACTS with the 
               pavement. The wheelchair CRASHES down nearby.

               OMITTED

               Sequence omitted from original script.

               EXT. ROOF - DAY

               McCall looks over the edge at Walter's twisted body below. 
               Then he grabs Dave and wrestles him down, cuffing his hands 
               behind his back. The Cops and Medical Staff Members rush out 
               to restrain.

               INT. LOBBY - DAY

               The crowd is dispersing. Roper is talking with some of the 
               other cops. McCall storms out of the Vet Hospital and down 
               the stairs. Roper moves toward him.

                                     ROPER
                         McCall!

               No response. McCall gets into his ND Sedan car and fires it 
               up.

                                     ROPER
                         McCall!

               Roper races over and manages to jump in just as the car 
               screeches away from the curb.

               BAY BRIDGE - DAY

               McCall doesn't even seem to have registered that Roper is in 
               the car with him. He drives. Stone-faced. Roper studies him 
               for a beat.

                                     ROPER
                         Where are we going?

               INT. CAR - DAY

               Moving POV thru windshield of car, we see a freeway sign 
               that says "Golden Gate Racetrack."

               EXT. RACETRACK

               Establish grand stands.

               OMITTED

               Sequence omitted from original script.

               INT. BETTING AREA - DAY

               McCall pounds over to the betting window. Roper leans up 
               against the window beside him. Watches.

                                     MCCALL
                         Give me a twenty dollar four-six 
                         exacta.

                                     TELLER
                         The six is scratched.

               This throws McCall for a beat.

                                     MCCALL
                         Then give me a fucking four-seven 
                         exacta.

               The teller punches out the ticket. McCall takes the ticket 
               and pounds over to box seat area. Roper follows a couple of 
               steps behind, giving him some space.

               EXT. BOX SEAT AREA - DAY

               McCall sits down in the same box as the last time. Roper 
               sits down next to him.

               EXT. TRACK - DAY

               The horses go into the gate.

               EXT. BOX SEAT AREA - DAY

               McCall watches intently as the horses spring from the gate. 
               (The track announcer's call plays over the scene.)

                                     MCCALL
                         Come on four horse! Come on Seven 
                         horse!

               Roper isn't watching the horse. He's watching McCall. Watching 
               him redirect all his pent up emotion. Understanding exactly 
               how he feels.

               McCall is screaming his head off.

                                     MCCALL
                         Come on four-seven... Come on... 
                         Come on... Come on...

               The horses cross the wire. The four and seven finish mid-
               pack. McCall hangs his head in despair. He didn't give a 
               shit about the race. He looks inconsolable.

                                     ROPER
                         It might have happened no matter who 
                         was up there.

                                     MCCALL
                         Bullshit! Would it have happened to 
                         you?

                                     ROPER
                         Maybe... There's one thing you have 
                         to remember... You don't create the 
                         situations. You can only try to save 
                         people from them.

                                     MCCALL
                         I thought I could do it. I was so 
                         damn sure of myself. But I didn't 
                         know what to say. The words wouldn't 
                         come. My mouth turned to mush. You 
                         make it look so easy, Roper. But it 
                         is not. It's not easy.
                              (beat)
                         It's a different job than looking 
                         through the rifle scope.

                                     ROPER
                         That it is.

               A long silent beat.

                                     MCCALL
                         How many have you lost?

                                     ROPER
                         I look at it as how many I've saved. 
                         That's the way you've got to look at 
                         it.

                                     MCCALL
                         And what about the ones you don't 
                         save?

                                     ROPER
                         You live with it... and they haunt 
                         you. It doesn't leave.

                                     MCCALL
                         And what if you can't live with it?

                                     ROPER
                         You've got to decide that for 
                         yourself.

               McCall squeezes his eyes closed. He can still see that vet 
               falling to his death. Roper can see McCall's pain.

                                     ROPER
                         I've lost three. One of them was my 
                         partner. I think about them every 
                         time I go into a situation.
                              (a beat)
                         There's a million people in this 
                         city with all kinds of twisted shit 
                         going on in their heads, and the 
                         bitch of this job is that we expect 
                         to go out every day and do the 
                         impossible -- to somehow control all 
                         this craziness... and we can't.
                              (a beat)
                         Nobody's faulting you for this, 
                         McCall. My advice is you let yourself 
                         off the hook.

               McCall hears him but is still undecided.

                                     MCCALL
                         I don't know... I don't know...

               Roper gets up, stands over McCall, puts a hand on his 
               shoulder.

                                     ROPER
                         Let's get out of here.

               McCall slowly gets up and they walk out.

               INT. JAIL - DAY

               It's a small interview room. Korda sits opposite bail bondsman 
               JOHN HAWKINS (white, grizzled, forty).

                                     HAWKINS
                         What the fuck... You bring me all 
                         the way over here to tell me you've 
                         got no collateral! What do I look 
                         like to you -- Santa Claus? I'm a 
                         bail bondsman!

                                     KORDA
                         No, no, see what I'm sayin' is, I've 
                         got the --

                                     HAWKINS
                         Pick up a fucking phone for chrissake! 
                         You think I got time for this crap?

                                     KORDA
                         Hey, hey, I got shit on the outside. 
                         I got somebody cashing it in for me 
                         and --

               Hawkins gets up and goes to the door.

                                     HAWKINS
                         Gimme a fuckin' break.

                                     KORDA
                         Alright, alright, look, man, look, 
                         just leave me your card. I can get 
                         it to you by tomorrow night.

               Hawkins looks at him skeptically for a beat. Then pulls out 
               his BUSINESS CARD and hands it to him. He walks out the door 
               as we HOLD on Korda -- pocketing the card.

               EXT. POSTRIO - NIGHT

               Establishing shot.

               INT. POSTRIO - NIGHT

               CLOSE-UP of a glass of wine being poured. PULL BACK to reveal 
               Roper and Ronnie all dressed up for a special evening. The 
               waiter hovers as Roper tastes the wine.

                                     ROPER
                              (snootily)
                         It has a nice "nose".

                                     WAITER
                         The special this evening is braised 
                         sweetbreads with a white truffle 
                         sauce on cracked bulgar.

               Roper looks at him a long beat.

                                     ROPER
                         That's my favorite.
                              (smiles)
                         Why don't you give us a minute.

               The waiter retreats. Roper looks across the table at Ronnie 
               as she sips her wine.

                                     ROPER
                         You like this place?

                                     RONNIE
                         It's very nice.

                                     ROPER
                         I guess you realize that there's 
                         something special that I want to 
                         talk to you about.

               She didn't realize that. Now she's getting nervous.

                                     RONNIE
                         There is?

                                     ROPER
                         For the last week things have been 
                         going pretty well between us. I think 
                         we've been doing a good job getting 
                         intimate and all that stuff...

               Now she's really worried.

                                     RONNIE
                         Yeah?

                                     ROPER
                         ...Let me just show you.

               Roper reaches into his coat pocket.

                                     RONNIE
                         Scottie, we should think this over 
                         before we...

               He pulls out two airline tickets.

                                     ROPER
                         Tahiti.

               Ronnie is immensely relieved.

                                     RONNIE
                         Ohhh... A vacation... Yeah that sounds 
                         like a great idea.

               Roper notices her relief and for the first time realizes 
               what she was thinking.

                                     ROPER
                         Oh you thought I was going to ask 
                         you...

               Ronnie averts her eyes, a bit embarrassed.

                                     ROPER
                         Oh, no-no-no-no-no... Let's go to 
                         Tahiti first and see if that works 
                         out...

               Roper picks up his menu and peruses it.

                                     ROPER
                         I assume you're having your usual -- 
                         the "air dried venison".

               INT. HALLWAY JAIL - DAY CLOSE ON

               The wheels of a laundry cart, moving slowly down the hall. A 
               white metal door slides open, and the cart passes through.

               INT. PROPERTY ROOM JAIL - CONTINUOUS

               As the cart rolls into the room TILT UP to see

               KORDA

               pushing the cart. He stops. A GUARD (guard #3) stands with 
               his back to Korda. He's on the phone.

                                     KORDA
                         Got another load.

                                     JAIL GUARD #3
                         Rack 'em up.
                              (into the phone)
                         Look, man, if it doesn't make it 
                         down here by five it's not my problem.

               As the guard continues, Korda hangs several garment bags, 
               zipped and tagged, onto an ELECTRIC TROLLEY -- similar to 
               the kind used by dry-cleaners to move clothing.

                                     KORDA
                         All done.

               Korda pushes a button and the trolley STARTS TO MOVE. The 
               guard, still on the phone, buzzes open the door.

               ON THE GUARDS BACK

               We hear Korda wheeling the cart out the door.

               CLOSE ANGLE

               on the door sliding shut.

               ON THE GUARDS BACK - CLOSE

               Hold a beat. PANNING SLOWLY around the room to FIND -- suit 
               bag's moving on the trolley. BOOM DOWN to FIND Korda's feet 
               just as they lift off the ground and disappear behind the 
               bags.

               ANGLE ON KORDA

               hanging onto the trolley as it moves along the wall and then 
               down through an opening in the floor and into...

               INT. BASEMENT JAIL - CONTINUOUS

               as it loops around a large room, carrying him toward the 
               back wall. The metal ridges of the trolley CUT into his 
               fingers, drawing blood. Then he drops down, and quietly 
               rummages through other bags of clothing. He tries on a pair 
               of pants but they come up to his ankles. He looks like he's 
               about to go wading. As he rips them off and reaches for 
               another pair...

                                                                    CUT TO:

               INT. LONG HALLWAY JAIL - LATER

               Korda appears around a corner, dressed in street clothes, 
               holding a CLIPBOARD -- moving steadily toward camera.

               KORDA'S POV - DOWN THE HALLWAY

               A female civilian EMPLOYEE heading in his direction. As they 
               pass he nods and she nods back. Then Korda passes through a 
               door at the end of the hallway and into...

               OMITTED

               Sequence omitted from original script.

               INT. CELL BLOCK - CONTINUOUS

               The door closes behind him and locks with the loud SNAP of 
               metal.

               Slowly, with deliberate steps, he moves down the corridor 
               toward the door at the other end, past the first GUARD (guard 
               #3) -- enclosed in bullet proof glass.

               TRACKING - KORDA'S FEET

               step by step. The voices of prisoners, muffled behind thick 
               glass.

               CLOSE ON KORDA'S FACE

               trying to stay cool, his heart pounding. Then...

                                     A VOICE (O.S.)
                         Hey!

               Korda FREEZES, then slowly turns to FIND... A prison GUARD 
               (#1) moving toward him.

               THE GUARD POV - MOVING CLOSER AND CLOSER TO KORDA

                                     KORDA
                         ...Yeah?

               The guard then stops in front of him and holds up his hand.

                                     JAIL GUARD #1
                         You dropped your card.

               Korda takes THE CARD given to him by the bail bondsman.

                                     JAIL GUARD #1
                         You guys are the scum of the earth.

                                     KORDA
                         Just tryin' to make a living.

               Korda turns and walks out the door into...

               INT. SECURITY ROOM - CONTINUOUS

               It's the final step before getting out of the building. A 
               small room with another GUARD (Latino; guard #2) behind glass, 
               and several TV monitors. A BLACK WOMAN (forty-five) is arguing 
               with a LATINO GUARD.

                                     JAIL GUARD #2
                         I don't know what to tell you, mam, 
                         your brother ain't here. Try San 
                         Bruno.

                                     WOMAN
                         I just came from San Bruno -- they 
                         sent me here!

                                     JAIL GUARD #2
                         I'm sorry. Then I don't know where 
                         he is.

               Korda, fidgeting behind the woman impatiently, holds up his 
               card...

                                     KORDA
                         Listen, can I just sign outta here?

                                     WOMAN
                         What do you mean, you don't know 
                         where he is?! You can't just lose 
                         somebody!

                                     JAIL GUARD #2
                              (to Korda)
                         Who are you again?

                                     KORDA
                         Johnny Hawkins. Bail Bonds. I gotta 
                         be over at county in fifteen minutes, 
                         alright?

                                     JAIL GUARD #2
                         Johnny who?

                                     WOMAN
                              (to Korda)
                         Can you believe these people?

                                     KORDA
                         It's the criminal justice system. 
                         What can I tell ya? It's a mess.

               The guard shoves the sheet under the glass.

                                     JAIL GUARD #2
                         Alright, alright, just sign.

               Korda signs the sheet. The guard pushes a button. The metal 
               lock SNAPS, and the door POPS open. Korda takes his card and 
               sticks it in the woman's coat pocket.

                                     KORDA
                         If you find him, gimme a call.

               And Korda walks out.

               EXT. JAIL SALLY PORT - CONTINUOUS

               It's a small parking area, with security gates on either 
               end, and a ceiling of heavy steel wire open to the sky. There 
               are three or four CARS parked against the wall. Korda checks 
               inside the first car, looking for keys and finds none. Then 
               the second, and the third until...

                                     A VOICE (O.S.)
                         Hey!

               Korda turns sharply to find the LATINO GUARD (guard #2), 
               holding a clipboard, walking quickly toward him.

                                     JAIL GUARD #2
                         Hold on a second here.

                                     KORDA
                         Is there a problem?

               The guard walks up to him. They're standing between the cars.

                                     JAIL GUARD #2
                         You signed out twice.

                                     KORDA
                         I what?

                                     JAIL GUARD #2
                         Look, why don't you just come on 
                         back inside for a second.

                                     KORDA
                         Wait a minute, lemme see that.

               As the guard shows him the sign-in sheet, Korda removes the 
               PEN from his own clipboard.

                                     KORDA
                         Well, that's funny, I wonder how 
                         that happened.

               In a flash, Korda PLUNGES the pen DEEP into the guard's 
               throat. The BLOOD jumps out of his throat, onto the window 
               of the car as the guard, gagging in stunned silence, slumps 
               to ground. He then falls backward between the two cars, 
               drowning in his own blood.

               OMITTED

               Sequence omitted from original script.

               INT. RONNIE'S HOUSE LIVING ROOM - NIGHT

               Empty. New front door. Unpainted. Frame splintered from when 
               Roper shot it open. We hold a beat... HEAR ROPER & RONNIE 
               coming up the stairs. Laughing. The door opens. They enter.

                                     ROPER
                         How come in those foreign movies the 
                         young girl is always with some fat, 
                         old guy.

                                     RONNIE
                         In Europe women find older men very 
                         sexy.

               Roper closes the door.

                                     ROPER
                         When I get old and fat, I'm moving 
                         to Europe.

               Ronnie suddenly remembers something.

                                     RONNIE
                         I forgot to leave food for Paco. 
                         He's probably starving.

               She walks back toward the kitchen. Roper takes a seat on the 
               couch. Flips on the TV. Rubs the back of his neck.

                                     ROPER
                         Damn, my eyes are tired from reading 
                         that movie.

               FOLLOWING RONNIE

               She moves down the hall to the kitchen.

                                     RONNIE
                              (doggie voice)
                         I'm sorry, Paco. I forgot --

               But Paco isn't lying on his pillow like she expected. Curious.

                                     RONNIE
                         Paco?

               She turns around walks back down the hall... Where could he 
               be?... She walks into the bedroom.

                                     RONNIE
                         Paco?

               He's not in here either... She walks back into the hallway. 
               Frowns.

               SUDDEN CUT

               A figure leaps out of the bathroom doorway!... Big scare. 
               It's Paco. He nearly knocked her over. He stands on his hind 
               legs, paws on her shoulders. Breathing in her face.

                                     RONNIE
                         Paco, have you been eating my face 
                         soap, again?

               RACK FOCUS

               Roper standing at the other end of the hallway. Tense as a 
               wire. Gun at his side. One look at his demeanor tells Ronnie 
               something is very wrong.

                                     RONNIE
                              (very concerned)
                         What is it, Scottie?

               Roper untenses. Puts away his gun.

                                     ROPER
                         Korda escaped.

                                     RONNIE
                         And you think he'll...

               Her voice trails off. He can see she's worried now, too.

                                     ROPER
                         Hey, I'm on edge a little. Let's 
                         relax. I'm sure he's just going to 
                         try to get out of town. Anyway we 
                         leave tomorrow.

               He puts his arms around her waist.

                                     ROPER
                         Why don't we do some of that European 
                         movie stuff.

               She puts her arms around his shoulders.

                                     RONNIE
                         I don't think you're old and fat 
                         enough for me.

                                     ROPER
                         Use your imagination.

               EXT. RONNIE'S HOUSE - NIGHT

               ANGLE looking up at her window... The light goes out.

               EXT. RONNIE'S DOORSTEP - DAY

               A suitcase THUMPS to the ground. Looks like somebody packed 
               for a six month trip around the world.

               ANGLE WIDENS

               McCall grimaces as he lugs the bag toward the truck.

                                     MCCALL
                         You sure you packed everything? Maybe 
                         you forgot your bowling ball.

               Ronnie stands on the doorstep.

                                     RONNIE
                         I sent that ahead, wise guy.

               Paco is on the sidewalk exploring from tree to tree. Roper 
               calls to Ronnie from the stairway.

                                     ROPER (V.O.)
                         Why don't you come back up with me, 
                         Ronnie.

                                     RONNIE
                         I think I'll stand out here in the 
                         sun.

               INT. STAIRWAY - DAY

               Roper is still very edgy.

                                     ROPER
                         It's better if you stay inside.

               She climbs up the stairs toward him.

                                     RONNIE
                         You've got to calm down --

               OMITTED

               Sequence omitted from original script.

               INT. RONNIE'S HALLWAY - SAME

               Roper reaches the top of the stairs.

                                     ROPER
                         Ronnie, come on baby, we gotta go. 
                         Time to get movin'.

               INT. RONNIE'S APT. - SAME

               Roper moves into the room, listening. There's no response.

                                     ROPER
                              (continuing)
                         Ronnie?

               She doesn't answer. He calls out again, moving through the 
               living room.

                                     ROPER
                              (continuing)
                         Ronnie, where are you? Time to go.

               No answer, the room is very quiet. Roper eases his PISTOL 
               out from under his shirt, moving more urgently now, checking 
               out the bathroom, bedroom...

                                     ROPER
                              (continuing)
                         Ronnie.

               Then he HEARS Paco, WHINING. He moves around the entrance to 
               the kitchen. The back door is open, Paco standing in the 
               doorway. Roper rushes forward, quickly looking outside, the 
               alley way empty. He senses a presence behind him, spinning... 
               McCall standing in the doorway to the kitchen.

               Roper's lowers the weapon...

                                     ROPER
                              (continuing)
                         She's gone.

               McCall sees on the kitchen table, a folded piece of GLASSINE 
               PAPER, just like the one Korda gave Roper at the jewelry 
               store.

                                     MCCALL
                              (nodding)
                         Scott...

               Roper sees it, approaching, barely able to unfold the edges, 
               a momentary tremble in his hand.

                                     ROPER
                         That son of a bitch. If he...

               We PUSH IN as his fingers open the paper... revealing inside 
               a MICRO CASSETTE TAPE.

                                     ROPER
                              (continuing; to himself)
                         He's fucking with you, Scott, be 
                         cool... keep your head.

                                                                    CUT TO:

               CLOSE ON a TAPE RECORDER, Korda's VOICE heard over the 
               speaker.

                                     KORDA (V.O.)
                              (filtered)
                         I got your lady, Roper.
                              (laughs)

               Roper and McCall are listening closely to the tape.

                                     KORDA (V.O.)
                              (continuing)
                         You got something that belongs to 
                         me, and I want it back.
                              (beat)
                         Twelve-fifteen, Mare Island, North 
                         Entrance off Dixon. Building twenty-
                         eight, by the dry docks.
                              (beat)
                         I so much as smell another cop, I'll 
                         be sending you parts of this bitch 
                         for a month.

               Roper punches off the tape.

                                     ROPER
                         He's gonna kill her no matter what. 
                         If I take him these jewels he's gonna 
                         kill me and her.

                                     MCCALL
                         So what do you want to do?

                                     ROPER
                         That's a chance I gotta take.

                                     MCCALL
                         Then we better get moving... But 
                         there's no way we can get the jewels 
                         out of evidence.

               Roper stares at him, the wheels beginning to turn...

                                                                    CUT TO:

               OMITTED

               Sequence omitted from original script.

               INT. POLICE PROPERTY/EVIDENCE ROOM - DAY

               Roper is standing at the counter to the steel-caged property 
               room. On the other side is FRANK, the property sergeant on 
               duty. The two men speak in hushed, urgent tones...

                                     FRANK
                         Scott, we go back a long way but you 
                         can't expect me to do this!

                                     ROPER
                         Frank, this guy is a psychopath and 
                         he's got Ronnie. It's the only way 
                         I'm going to get close to him.

                                     FRANK
                         Then go to the Lieutenant or the 
                         D.A. with it, for Christsakes. You're 
                         asking me to put my fucking job on 
                         the line!

                                     ROPER
                         They'll never approve it, you know 
                         that. Besides, I involve the 
                         department and she's dead. I got one 
                         chance with this guy, Frank, alone.
                              (beat)
                         He killed Sam and he'll kill her.

               Frank just stares at him, compassion and anger tearing at 
               him.

                                     ROPER
                              (continuing)
                         What if it were Mary?
                              (beat)
                         You'd break every fucking rule in 
                         the book... wouldn't you?

               Frank continues to stare at him, a long beat.

                                     FRANK
                         I hope to God I never have to make 
                         that decision...

               He pushes back from the counter.

                                     FRANK
                              (continuing)
                         ...and this conversation never 
                         happened. I never saw you today. Now 
                         I gotta go take a leak.

               He turns and walks away. Roper looks down, SEEING that the 
               drawer beneath Frank's counter has been left slightly open.

               Roper reaches over, easing it further open -- inside a set 
               of KEYS. He looks around, then takes the keys.

                                     ROPER
                         I owe you one, Frank.

               He walks down the hallway.

                                                                    CUT TO:

               INT. ROPER'S PICKUP - DAY

               CLOSE ON the SATCHEL Korda used in the robbery.

               WIDEN TO REVEAL Roper and McCall, Roper at the wheel, McCall 
               reading a folded MAP featuring MARE ISLAND.

                                     MCCALL
                         Mare Island is an abandoned shipyard, 
                         cranes, high buildings... he'll be 
                         in place where he can see everything.
                              (to Roper)
                         How are we going to get me in there?

                                     ROPER
                         Good question.

               Roper thinks a moment, then turns, looking out the back of 
               the pickup, in the bed a loose CANVAS TARPAULIN. He and McCall 
               study the tarp a beat, then turn, looking at each other...

               EXT. MARE ISLAND - DAY

               WIDE VIEW reveals the immensity of the abandoned facility. 
               At one end near the chain link fence, Roper's pickup 
               approaches the gate.

               EXT. MARE ISLAND - NORTH GATE - DAY

               Roper cautiously drives toward the gate -- the CHAIN securing 
               the gate has been cut. Roper swings open the gate.

               As he drives past we see that the bed of the truck has been 
               loosely covered with a TARP.

               Roper drives on, winding through the maze of roadways, huge 
               buildings and equipment dwarfing the truc PRODUCTION NOTE: 
               The idea is to take us into the facility to sell that it's 
               abandoned, immense, eerie in it's scale -- a ghost town. We 
               end up wherever we want for the next scene.

               INT. ROPER'S PICKUP - DAY

               As he rounds a corner, approaching the dry dock area, huge 
               CRANES and mothballed SHIPS in the b.g. He parks near a 
               building, a weathered SIGN reading: BLD 28. Roper shuts off 
               the engine, leaving the keys in the ignition. Taking the 
               satchel he opens the door.

               EXT. DRY DOCK AREA - DAY

               Roper steps out, eyes scanning the buildings, the cranes... 
               Korda could be anywhere up there, watching.

               INT. BUILDING - UPPER LEVEL - DAY

               KORDA'S POV through the filthy windows, Roper far below, 
               standing beside his pickup.

               EXT. ROPER - DAY

               As he moves away from the truck, holding the satchel.

                                     ROPER
                         Korda!

               In response he HEARS Korda's VOICE, eerie, almost a whisper, 
               coming from everywhere and nowhere as if emanating from the 
               ground and the buildings all at once.

                                     KORDA (O.S.)
                              (filtered)
                         Nice of you to make it, Roper. Take 
                         your jacket off, put it on the hood.

               Roper complies, his eyes searching the buildings, where is 
               his voice coming from?

                                     KORDA (O.S.)
                              (continuing)
                         Now, over to the chains, to your 
                         left.

               Roper SEES a chained off section nearby. Roper takes a few 
               steps when Korda's voice stops him...

                                     KORDA (O.S.)
                              (continuing)
                         But first, let's have a look under 
                         the tarp. Pull it back.

               A momentary anxious look from Roper, then he walks to the 
               bed of the truck, pausing a moment, gripping the cover before 
               whipping it back, revealing... Ronnie's LUGGAGE.

                                                                    CUT TO:

               LOW ANGLE BENEATH THE TRUCK

               McCall supported under the frame by a makeshift HARNESS around 
               his waist and legs.

                                     KORDA (O.S.)
                         All right, move it.

               McCall watches as Roper heads away, then releases the harness, 
               lowering himself to the ground. Quickly he moves the SMOKING 
               LEATHER GLOVES he was wearing, burned by contact with the 
               hot exhaust pipe.

               ROPER

               Reaches the the chained area, REVEALING an empty DRY DOCK, 
               easily one hundred feet deep and five hundred long.

               At the bottom of the dry dock is a PORTABLE RADIO, the 
               acoustics of natural amphitheater so intense you could hear 
               a whisper -- the source of Korda's voice.

                                     KORDA (O.S.)
                              (continuing)
                         Throw in and your piece.

               Roper tosses his PISTOL into the dry dock.

                                     KORDA (O.S.)
                         And your back up.

               Roper removes the PISTOL from his ankle HOLSTER, tossing it. 
               Korda's VOICE cuts the eerie silence.

                                     KORDA (O.S.)
                              (continuing)
                         Walk under the cranes and down the 
                         alleyway. At the end, turn right. 
                         Building thirty-six.

               The RADIO CLICKS OFF.

               Roper walks towards the megalith CRANES, passing under them, 
               then heads down the alleyway created by the tall buildings.

               EXT. ROPER'S TRUCK - DAY LOW ANGLE BENEATH THE TRUCK

               McCall, his RIFLE CASE on his chest, watches as Roper turns 
               the corner and heads down the alley way.

               OUTSIDE THE TRUCK

               McCall rolls out, scrambling for the cover of the building. 
               Slinging the case over his shoulder he finds a LADDER leading 
               up the side of the building, beginning to climb.

               EXT. ROPER - DAY

               Walking down the alley way, nearing the end.

               EXT. ROOFTOP - BUILDING - DAY

               McCall moving along the edge, looking down. He spots Roper, 
               moving fast to keep him in sight.

               He comes to the edge of the building, having to walk across 
               a narrow RAMP to get to the next building.

               He looks down, Roper turning the corner, McCall moves on, 
               removing the RIFLE from its case as he goes.

               EXT. ROPER - DAY

               Leaves the alleyway, a complex of hanger-like buildings 
               revealed. To his far right is a building, a SIGN reading: 
               BLD 36. He clutches the satchel, heading towards it.

               EXT. ROOFTOP - BUILDING - DAY

               McCall negotiating another precarious crossing between 
               buildings. He spots Roper, eyes quickly searching the roof 
               tops and buildings for the sniper's position. He sees it, 
               across the way, a location covering the buildings where Roper 
               is now walking. He heads out.

               EXT. ROPER - DAY

               Walking towards building 36, passing by a towering, glass 
               fronted building on his right, his eyes are searching the 
               roof tops of the buildings around him.

                                     ROPER
                              (to himself)
                         Where the hell are you, McCall?

               As Roper passes a set of partially open ROLLING DOORS to the 
               glass-fronted building, he's startled by Korda's VOICE from 
               within:

                                     KORDA (O.S.)
                         Right there, Roper.

               Roper's eyes go to building 36, still fifty yards away.

                                     ROPER
                         Shit.

               Roper stops, slowly turning towards the doors.

                                     KORDA (O.S.)
                         Come on in, there's someone just 
                         dying to see you.

               Roper hesitates. He turns a bit in profile, eyes searching.

                                     ROPER
                              (loudly)
                         Where are you?

               EXT. HIGH VANTAGE POINT - DAY

               POV TELESCOPIC SIGHT: Focusing on Roper, his lips moving... 
               McCall, heaving for breath, has just dropped down into 
               position, providing a view of Roper and the inside of the 
               glass fronted building.

                                     MCCALL
                         Right here, Scott.

               He touches the LASER SIGHTING attachment to his scope, a red 
               beam activated...

               ROPER - DAY

               From inside the building Korda's VOICE:

                                     KORDA (O.S.)
                         Get your ass in here, Roper.

               Just as Roper starts to move he SEES the red laser DOT on 
               the back of his hand -- McCall is up there, right behind 
               him. Roper moves inside.

               MCCALL - DAY

               Lying prone inside the operator's booth, steadies his RIFLE, 
               looking through the scope.

               TELESCOPIC POV: He can see Roper enter, his field of vision 
               limited inside the building where the light penetrates, the 
               room cast in HARD SHADOWS.

               He MOVES to the windows, all either painted white or so 
               obscured with grime and dirt he can only see vague shapes 
               and shadows inside. He MOVES BACK to the opening, Roper now 
               just inside.

                                     MCCALL
                         Stay cool, real easy...

               INT. MACHINE SHOP - DAY

               Cavernous and dark, a jungle of huge MACHINES, LATHES and 
               EQUIPMENT once used in the design of nuclear submarines.

               Roper moves a few feet inside, remaining in the light and 
               keeping his face in three-quarter profile to McCall's 
               position.

                                     ROPER
                         Where is she, Korda? I want to see 
                         her.

               From the darkness beyond...

                                     KORDA
                         Walk to the table.

               Roper walks to a steel SHOP TABLE.

                                     KORDA (O.S.)
                              (continuing)
                         Open your shirt.

                                     ROPER
                         I'm not wearing a wire. This is just 
                         between you and me.

                                     KORDA (O.S.)
                         Shut the fuck up and do what I say!

               Roper puts down the satchel, unbuttoning his shirt, holding 
               it open.

                                     ROPER
                         Satisfied?

                                     KORDA (O.S.)
                         Open the bag, dump everything on the 
                         table.

               Roper opens the bag, the JEWELRY and the dozens of GLASSINE 
               ENVELOPES spill out onto the table. He lays the satchel on 
               its side, the bottom facing Roper. Taped to the bottom is a 
               short barreled .45 AUTOMATIC.

                                     ROPER
                         It's all there.

                                     KORDA (O.S.)
                         Spread it out.

               Roper spreads the pile out across the top of the table.

                                     ROPER
                         Only the jewels, Korda, you've got 
                         my word.

               A long beat...

                                     KORDA (O.S.)
                         Show me something.

               Without looking Roper reaches to the pile of GLASSINE 
               ENVELOPES...

               CLOSE ON ROPER'S HAND

               Palmed in his hand, the ENVELOPE containing Ronnie's diamond.

               Roper, without looking, 'digs' into the pile, holding up the 
               GLASSINE ENVELOPE between his fingers, still holding the 
               palmed envelope. He starts to toss the envelope in his 
               fingers...

                                     KORDA (O.S.)
                              (continuing)
                         Not that one.

               Roper hesitates, then drops the envelope, his hand moving 
               over the pile...

                                     ROPER
                              (continuing)
                         Right there, the one in front... 
                         yeah, that one. Toss it.

               Roper reaches for the envelope.

               CLOSE ON ROPER'S HAND

               As he flips the palmed envelope into his fingers with the 
               skill of a card shark, exchanging it for the one Korda 
               indicated. He tosses it across the room...

               From the shadows Korda's hand reaches out, picking it up. A 
               long beat.

                                     KORDA (O.S.)
                              (continuing)
                         I'm impressed. I didn't think you 
                         could do it. What did you have to 
                         do, steal them?

                                     ROPER
                         Yeah.

                                     KORDA (O.S.)
                              (wry)
                         That's not going to look too good on 
                         your service record.

                                     ROPER
                         I'll worry about that. Let's get on 
                         with it.

               Korda LAUGHS as he slowly emerges from the darkness.

                                     KORDA
                         My sentiments exactly.

               EXT. MCCALL'S TELESCOPIC POV - DAY

               On the floor he SEES a shadow cast - Korda. He moves to the 
               windows... inside the vague, blurred OUTLINE of a man. His 
               scope goes back to the satchel and the .45 taped to the 
               bottom.

                                     MCCALL
                         Wait for the right moment, Scott...

               INT. MACHINE SHOP - DAY

               Korda moves closer to the light, tossing an ATHLETIC BAG to 
               Roper, in his hand an AUTOMATIC PISTOL.

                                     KORDA
                         Fill it up. Just in case there's a 
                         homing device in the other one.

               Roper slides the jewels into the second bag, eyeing the .45 
               on the bottom of the satchel.

                                     KORDA
                              (continuing)
                         Now bring it over here.

               Roper hesitates, but all he can do at this point is play for 
               time, he moves forward...

               EXT. MCCALL'S POV - DAY TELESCOPIC SCOPE

               Watching Roper as he moves away from the satchel and the 
               gun.

                                     MCCALL
                         Oh, shit...

               He moves the SCOPE ahead of Roper, SEEING Korda's shadow 
               cast on the floor, still unable to see him.

                                     MCCALL
                              (continuing)
                         All right, Scott, bring him out.

               INT. MACHINE SHOP - DAY

               Roper growing closer to Korda's position.

                                     KORDA
                         That's far enough. Bag on the floor.

               Roper hangs onto the bag -- there's 'four million in jewels' 
               in there -- all he has to bargain with.

                                     ROPER
                         I've kept my end. Ronnie first.

               Korda reacts in mock surprise.

                                     KORDA
                         Oh, shit, in all the excitement I 
                         almost forgot. She right here...

               A LIGHT SWITCH is thrown, a bank of lights behind him coming 
               ON, illuminating a massive FLAT BED CIRCULAR LATHE. Roper's 
               eyes in horror go to...

               RONNIE

               Tied to the lathe bed spread eagle. Some distance from her 
               body a CUTTING DEVICE is positioned over the lathe bed.

               Roper looks into Ronnie's terrified eyes.

                                     ROPER
                         Be cool, Ronnie, I'm gonna get you 
                         out of this.

               He turns back, Korda grinning at him.

                                     KORDA
                         No shit, this I gotta see...

               Korda swings into position a CONTROL BOX, the buttons held 
               down with TAPE.

               Korda pulls free the tape, the huge lathe beginning to TURN, 
               very slowly, the cutting device activated... if the table 
               keeps turning, Ronnie's body will soon be under the blade.

               (PRODUCTION NOTE: Lathe will be cutting into a section of 
               steel plate, demonstrating what will happen to Ronnie.

               Korda presses the STOP BUTTON, the lathe stopping. He releases 
               his finger again, the lathe turning. He stops it.

               We can see that Korda is immensely proud of his 'creation', 
               his focus more on sadistic payback than anything else at 
               this point.

                                     KORDA
                              (continuing)
                         Fuckin' cool, huh? I rewired the 
                         switch. You see, you have to keep 
                         your finger on the button or the 
                         little lady gets cut...

               He releases the button, the lathe turning towards the cutting 
               device. He stops it again, holding the button.

                                     KORDA
                              (continuing; grins)
                         Right in half.

               He eases towards Roper, extending his arm on the control 
               box, holding the button down.

               EXT. MCCALL'S POV - DAY

               Through the SCOPE, he can see Korda as he steps into view.

               The CROSSHAIRS settle on Korda's upper forehead.

                                     MCCALL
                         Hold it right there...

               His finger tightens on the trigger...

               INT. MACHINE SHOP - DAY

               Korda holds the control box towards Roper.

                                     KORDA
                         But then, that's not my problem.

               He releases the button and the box, the lathe turning, Korda 
               grinning at Roper...

               EXT. MCCALL'S POV - DAY

               The RED DOT centered on Korda's forehead...

                                     MCCALL (O.S.)
                         Light's out, fucker...

               And then Roper's HEAD fills the scope, the red dot GLOWING 
               on the back of his head.

               In shock, McCall releases his finger...

                                     MCCALL
                         Jesus!

               INT. MACHINE SHOP - DAY

               Roper moving to the control box, pressing the stop button, 
               stopping the lathe...

                                     KORDA
                         You see, it's out of my hands.

               Roper looks at the box, Ronnie's life literally in his 
               hands...

               OMITTED

               Sequence omitted from original script.

               EXT. MCCALL'S POV - DAY

               Through the SCOPE, Roper's head blocking the shot to Korda.

                                     MCCALL
                         Roper, move...

               EXT. MACHINE SHOP - DAY

               But Korda bends down, picking up the BAG, stepping back away 
               from Roper, clearly out of McCall's line of fire.

                                     KORDA
                         Well, hate to run but I've got a 
                         plane to catch. You take good care 
                         of the little lady, hear?

               As Korda walks down the corridor of the huge machine shop, 
               we now SEE a CAR parked near the end facing us. Korda suddenly 
               stops, turning, gesturing to the car.

                                     KORDA
                              (continuing)
                         How careless of me. You see, there's 
                         only one way out of here, and you're 
                         standing right in the way.
                              (grins)
                         You could move, but then...

               He shakes his head at Roper.

                                     KORDA
                              (continuing)
                         Sure hate to be in your shoes.

               He turns, walking quickly towards his car, TALKING, LAUGHING, 
               to himself.

               Roper looks to the car, then back at the SATCHEL where the 
               .45 is still taped to the bottom. But Roper can't move, unable 
               to change his position more than a foot or two. He looks 
               around him, no way to stop the lathe if he releases the 
               button.

               EXT. MCCALL'S POV - DAY

               He can see Roper holding the box, but nothing else.

                                     MCCALL
                         What the hell's going on?

               INT. MACHINE SHOP - DAY

               Now Korda reaches his car, hopping inside, STARTING it up. 
               In desperation Roper looks back at the satchel, then turns, 
               calling out...

                                     ROPER
                         McCall, stop him, stop the car!

               Korda REVVING the engine...

               EXT. MCCALL'S POV - DAY

               McCall reading Roper's lips...

                                     MCCALL
                         What car?

               He swings the SCOPE up but the back of the machine shop is 
               blocked by his vantage point.

               Then he HEARS the faint SQUEALING of tires. He lowers his 
               scope, holding, waiting...

               INT. MACHINE SHOP - DAY

               Korda at the end of the long building, beginning to 
               accelerate.

               ROPER

               Turns toward McCall's position...

                                     ROPER
                         McCall!

               The CAR now screaming down the long corridor...

               EXT. MCCALL'S POV - DAY

               McCall still can't see the car...

               INT. MACHINE SHOP - DAY

               The car now closing in on Roper, but Roper holds his ground...

                                     ROPER
                         McCall, shoot the son of a bitch!

               INT. KORDA'S CAR - DAY

               Korda bearing down on Roper.

                                     KORDA
                         Bye, bye, cop...

               ROPER

               Holding his position, eyes widening in fear...

               EXT. MCCALL'S TELESCOPIC POV - DAY

               The CAR comes into view, the CROSSHAIRS on the windshield... 
               but the glare off the window is obscuring any shot of Korda. 
               McCall takes aim and FIRES...

               INT. KORDA'S CAR - DAY

               The bullet punches through the window, catching Korda's left 
               shoulder, BLOOD flying. Korda whips the wheel in shock...

               INT. MACHINE SHOP - DAY KORDA'S CAR

               Spinning out of control, hitting a table piled with MACHINE 
               PARTS, sending them flying...

               But the car is now swapping ends, still flying right towards 
               Roper, who can't move...; who won't move.

               The car flies past him, the SIDE MIRROR catching Roper's 
               shirt, tearing it, a flash of BLOOD from his arm...

               The car then collides with a series of PIPES crossing the 
               floor, STEAM erupting in every direction as the car then 
               slams into several PROPANE BOTTLES stacked near the benches, 
               a series of EXPLOSIONS ripping through the building. . .

               ROPER

               Thrown to the floor by the explosions, releasing the button, 
               as...

               THE CAR

               Hits the GLASSED-IN ROLLING DOORS.

               EXT. MCCALL'S POV - DAY

               The CAR explodes from the building, GLASS FLYING, the car 
               rolling, flipping over, coming to a rest on its wheels, 
               driver's side away from McCall's position.

               INT. MACHINE SHOP - DAY ROPER

               On the floor, recovering. He catches a quick glimpse of the 
               bottom section of the lathe, a GEARBOX, the gears turning...

               THE LATHE

               Turning, the cutting blade inching towards Ronnie...

               ROPER

               Staggers to his feet, grabbing the control box, pressing the 
               button... nothing happens, the lathe still turning, SPARKS 
               coming out of the box, it's SHORTING... Only a few more 
               seconds...

               Desperately his eyes search the floor, SEEING a HUGE WRENCH. 
               He grabs the wrench, jamming it between the GEARS in the 
               gearbox, the gears shuddering violently, threatening to crush 
               the wrench...

               Roper runs to Ronnie's side, frantically pulling at her bonds, 
               the cutting blade now paused an inch away from her...

               THE GEARBOX

               Hammering and clanking, the wrench can't last a heartbeat 
               longer...

               ROPER

               Pulls the last of the restraints away...

               THE GEARBOX

               Just as the massive gears crush the wrench, the table 
               turning...

               THE LATHE

               The blade passing directly over Ronnie's position as Roper 
               hauls her away, holding her in his arms.

               EXT. MACHINE SHOP - DAY MCCALL'S TELESCOPIC POV OF CAR

               Korda is slumped over the wheel. He looks dead. McCall slings 
               his rifle over his shoulder and moves towards a DRAIN PIPE 
               attached to the side of the building.

               INT. MACHINE SHOP - DAY

               Roper holding Ronnie, easing her away from the still turning 
               lathe.

                                     RONNIE
                         Scottie, Scottie...

                                     ROPER
                         It's all over, babe, it's all over.

               EXT. MACHINE SHOP - DAY

               McCall slides to the ground via the drain pipe, but...

               KORDA'S CAR

               Korda is not quite dead...

               The door eases open, Korda rolling to the ground, bag in one 
               hand, AUTOMATIC in the other. He looks up, SEEING McCall.

               He OPENS FIRE, McCall hitting the deck and taking cover as 
               BULLETS hit the wall around him.

               McCall whips out his REVOLVER, RETURNING FIRE, a GUN BATTLE 
               ensuing.

               INT. MACHINE SHOP - DAY ROPER

               HEARING the shots outside, hauls Ronnie out of the way, 
               keeping her low to the ground.

                                     ROPER
                         Stay here, don't move.

                                     RONNIE
                         Scottie...

                                     ROPER
                         Do it!

               He pushes her towards the cover of some machines, then 
               crouching low to the floor, recovers the .45 from the bottom 
               of the satchel. He heads out towards the other side of the 
               cavernous, machine-choked building.

               EXT. MACHINE SHOP - DAY MCCALL

               FIRES a round at Korda, then trying to close in on the car, 
               runs from his cover into the opening...

               KORDA

               Leaps up and FIRES, McCall taking a slug in his leg, knocking 
               him to the ground. The SLIDE to Korda's AUTOMATIC has kicked 
               open, out of bullets. He drops the gun, picks up the BAG and 
               runs alongside the machine shop.

               ROPER

               Exits the machine shop, SEEING McCall on the ground, Korda 
               nowhere in sight. Combat-style Roper runs to McCall, dropping 
               to his side.

                                     ROPER
                         McCall, you all right?

                                     MCCALL
                              (in pain)
                         I'm okay. Korda... went down the 
                         side of the building...

                                     ROPER
                         Stay put.

               Roper sprints towards the building, racing alongside it, 
               catching a glimpse of Korda just as he disappears around the 
               other end. Roper charges on...

               EXT. MACHINE SHOP - REAR - DAY

               Korda runs past the building, still clutching the BAG. He 
               runs past another building, heading towards the dry dock 
               area and Roper's pickup. A moment later Roper emerges from 
               the machine shop just in time to see Korda round the corner 
               of the next building.

               KORDA

               Clearing the building sees Roper's PICKUP. He runs to it, 
               jumping inside, finding the KEYS in the ignition. He starts 
               the truck, pulling out, just as Roper runs into view.

               ROPER

               With the truck accelerating towards him he raises and FIRES, 
               two bullet holes in the front WINDSHIELD, missing Korda, the 
               truck still speeding towards him. Roper's gun jams. Roper 
               leaps, sliding forward on the hood, almost falling as he 
               grabs on to the empty window frame and the windshield wiper 
               blades for support, his WEAPON flying from his hand.

               KORDA

               Speeds around the buildings and down the alleyways, whipping 
               from side to side, trying to shake Roper off, Roper hanging 
               on for dear life.

                                     ROPER
                              (shouting)
                         Give it up, Korda, you got away with 
                         nothing! Nothing but a bag of shit! 
                         It's all fake!

               Korda can't help but look at the OPEN BAG beside him.

                                     ROPER
                              (continuing)
                         Go on, you stupid fuck, look at it! 
                         It's all shit! A hundred dollars 
                         worth of glass!

               Korda reaches in, grabbing a handful of the COSTUME JEWELRY. 
               He can't believe it, it's all fake!

                                     KORDA
                         You fuck!!!

               Korda goes crazy, slamming the truck into the side of a 
               building, trying to throw Roper, but Roper hangs on.

               Korda then caroms off the sides of buildings, left, right, 
               SPARKS flying, then smashes into BOXES, CRATES, anything he 
               can see stacked alongside the road way, but Roper stays put, 
               clinging on with all he's got, swinging from side to side to 
               avoid the obstacles.

               Then Korda SEES ahead a huge pile of BOXES, WOOD FRAMING, 
               PALLETS, TRASH, stacked at the side of a building. He hammers 
               the pedal, driving the right side of the truck into the 
               pile... BOXES, WOOD, PAPER, DEBRIS flying everywhere, through 
               the open fron window as well, Korda shielding his eyes with 
               his arm as OBJECTS fly around in a mad flurry inside the 
               cab...

               ROPER

               In the maelstrom lets go his grip, grabbing the upper frame 
               of the window and assisted by the speed of the truck, rolls 
               over the top of the cab, landing in the bed of the truck 
               along with BOXES, LUMBER, and TRASH.

               KORDA

               Clears his eyes, looking up, Roper is gone! He LAUGHS 
               hysterically... he knocked him off!

               ROPER IN THE BED OF THE TRUCK

               Leaning out the passenger's side SEES they are approaching 
               the dry dock area.

               In the bed of the truck, along with the BOXES, SUITCASES and 
               other objects, he sees several long 2x4's. Grabbing a BOARD 
               he braces himself against the cab and then in one swift 
               movement, stands, swinging to the driver's side, driving the 
               2x4 through the side window, through the steering wheel, 
               past the dash and catching the tip of the ACCELERATOR PEDAL, 
               pinning it to the floor.

               As Roper releases the board it WEDGES inside the door frame, 
               locking the wheel and the accelerator, the engine SCREAMING 
               wide open. Korda reacts in panic...

               Roper clings to the cab, looking over the top, the DRY DOCK 
               looming towards them. He prepares to jump...

               KORDA

               Suddenly SEES the approaching dry dock. He jams on the brakes, 
               but it's not enough, the truck racing towards the edge...

               IN SLOW MOTION THE TRUCK

               Vaults over the edge of the dry dock as Roper runs down the 
               bed, leaping off the tail gate, arms windmilling as he goes 
               airborne...

               The truck plummets towards the bottom...

               ROPER

               Lands in a huge pile of CARGO NETS and CARDBOARD BOXES, piled 
               near the edge of the dry dock...

               KORDA

               SCREAMS in wide-eyed terror as...

               THE TRUCK

               Hits the bottom of the dock, EXPLODING into flames.

                                                               DISSOLVE TO:

               EXT. TAHITI - DAY

               Roper and Ronnie lay on a gorgeous white sand beach, drinking 
               from coconuts with umbrellas in them.

                                     RONNIE
                         I've never seen sea so blue. Tahiti 
                         is magnificent, Scottie.

                                     ROPER
                         Yeah, I could get used to this 
                         Paradise shit.

               Roper hails a waitress, serving the hotel guests.

                                     ROPER
                              (to waitress)
                         I'll have another Pena Colada. And 
                         this time could you shave the ice, 
                         please.

                                     WAITRESS
                         Oui, Monsieur. Right away.

               Roper stretches back into his chaise lounge, adjusting his 
               Ray Bans. A purring cat without a care in the world.

                                     RONNIE
                         Scottie?

                                     ROPER
                         Hmm?

                                     RONNIE
                         I've been thinking.

               TWO GORGEOUS FRENCH GIRLS unstring their bikinis, flopping 
               topless on the beach in front of them.

                                     ROPER
                         Hmm?

                                     RONNIE
                         Things have been going pretty well 
                         between us, haven't they?

                                     ROPER
                              (sensing something's 
                              up)
                         Yeah.

                                     RONNIE
                         You've changed you know. I don't 
                         think there's anything you can't do 
                         once you put your mind to it.

               Uh-oh. He removes his shades to get a better look at the 
               curve ball.

                                     RONNIE
                         I was just thinking...
                              (here it comes)
                         There's something special I want to 
                         talk to you about.
                              (he's listening)
                         I think it's time we went to a whole 
                         other phase in our relationship.
                              (pointedly)
                         A deeper level.

                                     ROPER
                              (no longer relaxed, 
                              sitting up)
                         A deeper level?

                                     RONNIE
                         That's right. We've got to bare it 
                         all. Here and now. 'Cause I think 
                         I'm finally ready to go for it...

                                     ROPER
                              (cutting her off at 
                              the pass)
                         Whoa! Wait a minute, Ronnie. Hold 
                         on. I know it's beautiful here. The 
                         sun, the sand, the sea and all that 
                         nature shit can really get to you. 
                         But we've got to keep our perspective 
                         here. This place isn't real. This 
                         isn't reality.

                                     RONNIE
                         Scott...

                                     ROPER
                         I mean I said this trip should be a 
                         'roadtest'.

                                     RONNIE
                         ...the hell are you talking about?

                                     ROPER
                         I'm talking about... What are you 
                         talking about?

                                     RONNIE
                         I'm talking about me 'n' you stripping 
                         down on this beach and gettin' you 
                         know... 'naked in Tahiti'.

                                     ROPER
                         You talkin' about gettin' 'nekked?'
                              (off her look)
                         Shit, I thought you were talkin' 
                         bout, you know... the "M" word.

                                     RONNIE
                         You thought I was talking about 
                         getting married?!

               She laughs her amazing laugh.

                                     RONNIE
                         I'm talking about taking our clothes 
                         off, silly. You said you would.

               AD LIBS dialogue below as CAMERA CRANES BACK and we ROLL 
               CREDITS over...

                                     ROPER
                         You crazy? With all those people 
                         around?

                                     RONNIE
                         Know what you are?! You're a prude, 
                         Roper.

                                     ROPER
                         The hell I am!

                                     RONNIE
                              (amused)
                         Prude.

                                     ROPER
                         First you want me to put on one of 
                         those skinny ass bathing suits -- 
                         tongs or thongs or whatever you call 
                         them -- with my butt cheeks wrapped 
                         around a piece of dental floss... No 
                         way.

               Over her laughter we...

                                                                  FADE OUT:

                                         THE END