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Miami Vice Movie Script

Writer(s) : Michael Mann, Anthony Yerkovich

Genres : Action, Crime, Drama, Thriller

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                         MIAMI VICE




                        Written  by

                        Michael Mann



                    Based on "Miami Vice"

                         created by

                     Anthony Yerkovich






                                                       First Draft
                                                           9/22/04
                                                              WGAw




                                                  FADE IN:

   FADE IN:

   EXT. OCEAN - CLOSE UP:  WATER - MORNING LIGHT

   We are at the delicate interface between ocean and
   air...liquid and gas...the event horizon where molecules
   evaporate.  This interchange is ethereal.  Then, low
   frequencies rumble through depths...louder...closer, now...
   And the ocean surface is torn by a 46-foot catamaran and the
   ROAR of 2,700 horsepower, rocketing at us at 140 knots...

   OFFSHORE RACER:  "BORN TO WIN"

   in PROFILE.

   AERIAL:  "BORN TO WIN"

   ...has a canopy, low like a B-1 bomber and extends a half
   mile.  It launches off two-foot swells, goes airborne, pushes
   to 150 knots with another 1,100 RPM left...

   INT. RACE BOAT - SONNY CROCKETT

   pilots the "Born to Win" in full helmet.  On the throttle and
   flaps is RICARDO TUBBS...

   EXT. OCEAN - "BORN TO WIN"

   leads the frontrunners towards a finish line demarcated by a
   couple of $10 million yachts loaded with media.  At the last
   moment occurs a small power loss, and "Born to Win" gets
   nosed into second place by the 46-foot Skater, "Goddess"...

                                                  CUT TO:

   EXT. MARINA - "BORN TO WIN" - LATER

   thunders to the dock, throttled down at low revs.  The canopy
   is up.  Crockett and Tubbs' helmets are off.  Dockhands tie
   it off.  It's the same crowd you catch at a Grand Prix:  nine-
   figure money, tall, Northern Italian women and minor German
   princesses with Swiss educations, no bimbos and no questions
   about asset origins.  The exception is "Born to Win's"
   sponsor, a blonde, dreadlocked, bearded 6'4" SWITEK.  He
   looks like a dot-com entrepreneur who got out in time.  Next
   to him is a blonde Ukranian lady with high cheekbones.  We'll
   see her again.

   WINNING CIRCLE - CROCKETT + TUBBS

   in second position to the Japanese driver and throttle man of
   "Goddess," neither of whom speak English.  The #3 boat,
   "Bicardi Silver," was driven by David Scott and throttled by
   John Tomlinson...

   CROCKETT + TUBBS

   leave the winning circle among Asian and Mexican
   billionaires.  As the small crowd breaks up...

   A DEEPLY-TANNED PLAYER

   named NICHOLAS in Vuarnet wraparounds and buzz-cut white hair
   glides by...

                        NICHOLAS
                  (low)
             Burnett, what's crackin'?

                        CROCKETT
             Nothing.

                        TUBBS
             Maxin' and relaxin'.

                        NICHOLAS
                  (doesn't believe them)
             Sure.  Change your mind; get
             inclined?  Let me know...

   Whatever Nicholas is soliciting, Crockett and Tubbs don't
   want.  (Nicholas brokers "go-fast" runs, moving loads from
   offshore into South Florida.  Among guys who pilot offshore
   race boats, there are one or two who've never run a load, but
   no one's found them yet.)  Meanwhile...

                                                  CUT TO:

   INT. ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT

   A couple-hundred-thousand-dollars worth of granite and steel.
   Off-screen a restaurant-grade Sub-Zero opens with a hiss.
   Fan starts.  Beyond the kitchen we SEE through a dining room
   to a den.  A chair is overturned.  We HEAR muffled sounds.
   We SEE feet extend through a door jamb.  Someone's on the
   floor.  A television is playing, distantly.

   INT. DEN - SEE FAMILY PICTURES

   so close they almost come to life.  A Venezuelan family, two
   boys and a girl in a pool.  Maria, Alonzo, the two boys at
   their sister's baptism.  And we see holding the baby daughter
   is Riccardo Tubbs.

   A family dinner at a South American restaurant.  Tubbs sits
   with the youngest daughter on his lap.  Maria is on the other
   side of him.  This is the image that almost comes to life.
   We hear the vivacious latin ambience late on a Sunday
   afternoon when families take the grandparents and have
   dinner.

   INT. KITCHEN - SUB ZERO REFRIGERATOR

   MOVE from the bright glare of the interior ONTO

   the broad neck of a MAN.  A Viking is tattooed there.  The
   image morphs into a naked woman presenting her rear to a
   muscled biker next to a chopper above a swastika residing
   between shoulder blades.  SS lightning bolts are on his neck.
   PULL BACK from this MAN, who is bent into the frig because
   he's hungry.  His head is shaved and he's naked from the
   waist up.  A BLACK HEFTY GARBAGE BAG is tied around his
   waist.  Yellow industrial gloves are on his hands.  Something
   bad is happening in this house...

                                                  CUT TO:

   INT. HELICOPTER - NIGHT

   It's a Sikorski skimming across the water of Biscayne Bay on
   a moonlit night at living-room level past stilt houses.

   RICARDO TUBBS

   pilots the chopper past the brightly lit windows of high-rise
   Collins Avenue condos for the fugitive rich...and heads
   towards the MacArthur Causeway.

                        CROCKETT
             What's our deal?

                        TUBBS
             Backup in case the Russians get
             physical.

                        CROCKETT
             How lucky's Miss Universe gotta be?

                        TUBBS
             Skin has to touch skin.  That's the
             requirement for the warrant.  Then
             he makes a credible excuse and he                        
             stops....
                  (beat)
             Her crew blackmailed and asset-
             stripped the last mark down to his
             social security...                                       

   In the back - her long copper legs stretched out under a
   short skirt - is GINA CALABRESE.

                        GINA
             This I gotta see...
                  (beat)
             ...the "make up an excuse and stop"
             part.

                        CROCKETT
             Have faith.

                        GINA
             I have faith.  In horoscopes and
             fortune cookies...

                        TUBBS
             So?

                        GINA
             Switek pulling this off...?  That's
             not faith; that's delusional...

   Wearing enough of nothing to hide the micro .380, which Gina
   checks right now.  There's a round in the chamber.

   AERIAL:  THE SIKORSKI crosses past the stacks of $5 million
   condos to a landing pad on a roof.  The Miami of the '80's,
   that twilight-zone frontier built on coke-fueled cash flow,
   is over.  The frontier development stage is passed.  It has
   BECOME Casablanca.  Anything goes; everything has a price.

                                                  CUT TO:

   EXT. ROOFTOP LANDING PAD - WIDE

   The chopper rockets in, settles.

   INT. UTILITY STAIRCASE

   Crockett, Tubbs and Gina descend to the 25th-floor penthouse,
   the target.  As Crockett and Tubbs continue down to 24, she
   looks over her shoulder at Tubbs...

                        TUBBS
             Damn, girl...

   INT. SURVEILLANCE APARTMENT (ONE FLOOR BELOW THE TARGET)
   PENTHOUSE - CROCKETT + TUBBS - NIGHT

   enter.  Two surveillance technicians, RICK and FRANK, are
   glued to a monitor showing a bedroom in which nothing
   happens.  LT. CASTILLO is there, out of a past somewhere
   between CIA and the Jesuits...

   Referring to the monitor on which there are NO PEOPLE in an
   EMPTY BEDROOM.

   They are watching air move.

                        TUBBS
             This is exciting...

                        RICK
             That's 'cause nothing is happening.

                        CROCKETT
             No shit...?

                        FRANK
                  (it goes past him)
             Yeah.  This is their
             surveillance...how they video their
             marks?  See, we jacked their fiber
             optics, like we piggybacked their
             signal.  Get it?

                        TUBBS
             Cooool...

   They exit to...

   INT. PENTHOUSE CONDO - CROCKETT + TUBBS

   are met at the door by security, who recognizes them, and are
   welcomed by their host, UGO.  This is the Baccardi Cup After-
   Party.  The same players from the marina...

   OVER CROCKETT + TUBBS

   enter an 8,000-square-foot penthouse...offshore racer types,
   players, So Bee models...

                        UGO
             Runnin' the Biscayne 200?

   Crockett wanders off...

                        TUBBS
             If a coupla new exhaust manifolds
             show up...

   CROCKETT

   approaches a bar and female bartender...

                        CROCKETT
             Gin and Tonic.  Plymouth or
             Boodles.

                        BARTENDER
                  (Scandinavian accent)
             Lemon or lime?

                        CROCKETT
             Lemon doesn't go in Gin and Tonics,
             darlin'.  Where ya' from?

                        BARTENDER
                  (leaning in)
             Gottingen.  That's in Sweden.

                        CROCKETT
             You in Miami workin' on your
             complexion...?

   She's beautifully bronzed.

                        BARTENDER
                  (laughs)
             No.  I was in Namibia...

                        CROCKETT
             Doing...?

                        BARTENDER
             With the United Nations High
             Commission on Refugees.  Famine
             relief.

   Gina's listening on her personal comms.

                        CROCKETT
             Really?  I did refugee relocation
             in Somalia.  But they transferred
             me out after I was wounded...

   Gina rolls her eyes as she crosses by Tubbs.

                        GINA
             Only African he ever "relocated"
             was a $2,000-an-hour Nigerian model
             for Gucci, and he got wounded when
             she took an NBA draft choice to the
             Super Bowl instead of him...

                        TUBBS
             He did volunteer one time...

                        TRUDY
                  (entering)
             For a massage parlor bust?
                  (beat)
             Why am I here...?

   TRUDY JOPLIN is a tall African-American.  She whispers into a
   small mic.  If you looked closely, she's ripped...as if steel
   cables moved under her smooth skin.  She slides past Tubbs
   and Gina...

                        TUBBS
                  (low)
             ...to backup Switek.  But only if
             it gets lethal.

                        TRUDY
             That's impossible.

                        TUBBS
             Why?

                        TRUDY
             Because you cannot kill him.

   SWITEK

   all white bling, is arguing with his blade-thin, glassy-eyed,
   adrenaline junkie partner, ZITO.  Approaching is "Miss
   Ukraine."  High cheekbones suggest one of Genghis Khan's
   horsemen found her maternal ancestor as attractive as Switek
   finds her...

   Tubbs clocks three beefy Russians in a corner, one is
   unusually fit.

                        TUBBS
             And there's Dmitri...

                        CROCKETT
             The honey trap.  And there's the
             honey.

                        TUBBS
             Hello, Miss Ukraine...

   MISS UKRAINE brings Switek his glass of champagne...  She
   whispers something in his ear...and is led towards a back
   bedroom.  Gina ambles over.

                        TRUDY
                  (to Crockett)
             Eleven to seven he blows it.

                        CROCKETT
                  (whispers)
             Twenty on my man...

                        TRUDY
             You're giving away your money,
             fool...

   Tubbs opens his Moto as if he's about to make a call...Trudy
   looks over his shoulder.  What we see is the feed from the
   monitor in the surveillance room downstairs.

   CLOSER: TUBBS'S MOTO

   Two blonde people starting to get naked.  Switek and Miss
   Ukraine.  A second call comes in.  Tubbs ignores it.

                        TUBBS
                  (to Zito)
             You bet your partner?

                        ZITO
             Sure.  Switek versus primal impulse
             from the amygdala.  Higher thinking
             versus the lizard brain.  Tectonic
             plates of libido confront the
             cognitive.

                        GINA
             Oh, bullshit.  She cops his joint.
             He pushes the button.

                        TRUDY
             What's so fucking difficult?

   THEIR FACES.  They watch.  And...Crockett's cell phone rings.
   He separates from the group...

                        CROCKETT
             Yeah...?

                        STEVENS (O.S.)
             Sonny...?

                        CROCKETT
             Yeah.

                        STEVENS (O.S.)
             Where's Riccardo?

                        CROCKETT
             On the phone.

                        STEVENS (O.S.)
             I'm sorry.  I'm sorry, Sonny...

   EXT. BALCONY - CROCKETT - NIGHT

   enters.  He's come outside to hear better.

   In the background Gina shakes her head about Switek.  He blew
   it.  Trudy looks at Crockett and sees Crockett's focused,
   hearing...

                        CROCKETT
             Who is this?

                                                  INTERCUT
                                                  WITH:

   INT. BENTLEY - ALONZO STEVENS - NIGHT

   He's cruising at 85.  He's floating in a magnolia leather
   interior.  But it's bloodstained from his nose and mouth.
   He's been beaten.  His white shirt is torn.  He doesn't
   care...

                        STEVENS
                  (voice cracks)
             It's fucked up.  I'm sorry...

                        CROCKETT
                  (recognizing him)
             Alonzo?
                  (beat)
             What are you talking about?  Where
             are you...?

                        STEVENS
             They had me from the gate.

                        CROCKETT
             I don't understand...

   Crockett's alarmed.  He catches Tubbs' eye and waves him
   outside...

                        STEVENS
             I gave up nothing on you guys.
             Don't worry.  I kept you and Rico
             out of it.  Only the Feds.  They're
             on their own...it's all their deal,
             anyway, so fuck 'em.

                        CROCKETT (O.S.)
             Alonzo, what's goin' on?!

                        STEVENS
             After I check on Francine and the
             boys, then I'm gone.  Sonny, tell
             Rico I'm so sorry.  I wanted you to
             know...

   Tubbs joins Crockett on the balcony.

                        CROCKETT
             Where are you?

                        STEVENS (O.S.)
             ...look after her.  Ask Rico to.
             Okay?  Do that for me.  I had to do
             it.  They had me from the gate.
             Do that.  Whatever you can do for
             them.  Okay?
                  (breaks)
             Look what I did to them, Sonny...!

                        CROCKETT
             Alonzo...!

                        STEVENS (O.S.)
             Goodbye.

   Crockett's phone goes dead.

                        TUBBS
             What is it?

                        CROCKETT
             Alonzo...

                        TUBBS
             Stevens?

                        CROCKETT
                  (nods)
             Something's wrong.

   Crockett's entering a number while...

                        TUBBS
                  (dialing)
             I'll try Francine...

   Meanwhile Crockett HEARS...

                        MACHINE VOICE
                  (recording)
             Federal Bureau of Investigation.
             Our office hours are...
                  (Crockett punches three-
                   digit code)

                        FBI AGENT VOICE
             F.B.I....

                        CROCKETT
                  (cuts him off)
             This is Detective Crockett.  Miami-
             Dade P.D.  Patch me through to your
             Special Agent in Charge, James
             Fujima?  It's an emergency...

                        FBI AGENT
             He'll be in on Monday...

                        CROCKETT
             I said, "emergency."  If he's not
             reachable, who's running the
             weekend?  The ASAC?

                        FBI AGENT
             We don't give that out...

                        CROCKETT
             Listen carefully.

   Crockett compels himself to be patient.  Meanwhile, Tubbs has
   struck out with Alonzo's home phone.

                        CROCKETT (cont'd)
                  (into Nextel)
             An informant who is working one of
             YOUR cases right now called me.
             YOU may have a problem.  So get me
             somebody on the other end of this
             telephone who knows what the hell
             I'm talking about...!

   Meanwhile...

                        TUBBS
                  (into phone)
             C'mon...

                        VOICE (O.S.)
             Miami-Dade PD Tech...

                        TUBBS
                  (into phone)
             Bobby G.  The firefly we used to
             have on Alonzo Stevens' Bentley,
             check if it still runs; if so,
             launch Air Support.  Locate the
             Bentley...
                  (pause, listens)
             I don't know...we haven't worked
             with him for six months...

                        CROCKETT
                  (waits, then hears a click
                   on his Nextel)
             Hello?

                        FUJIMA (O.S.)
             This is Agent James Fujima.

                        CROCKETT
             Detective Crockett.

                        FUJIMA (O.S.)
             What's your Miami PD badge number?

                        CROCKETT
             4-4-7 Charlie 12-92.

                        FUJIMA (O.S.)
                  (pause)
             Okay.  What's up?

                        CROCKETT
             A C.I. we cut loose to your Joint
             Interagency Task Force.  Name of
             Alonzo Stevens.  Now, he's YOUR
             informant.  Stevens, called us.  I
             haven't spoken to him for six
             months.
             I do not know what case you have
             him on.  I do not know what he is
             talking about.  But whatever he is
             doing for you, it sounds like it is
             going bad.  Right now...

                        FUJIMA
             How do I discuss operations over an
             open line?

                        CROCKETT
             How do I know?
                  (beat)
             I got the call from Alonzo on an
             open line.  That is the hand we
             have been dealt at this moment, at
             eleven-forty-seven o'clock Friday
             night.  Okay?  I am trying to alert
             you, here.
                  (beat)
             You know whether or not...you have
             a thing goin' down.  I do not.
                  (beat)
             But we know this guy.  I think you
             know this guy.  Normally, he is
             cool.  Tonight he is distraught.
             That is atypical.  That engenders
             foreboding.  Do you understand the
             meaning of the word "foreboding"?
             As in badness is happening to your
             deal right fucking now?

                                                  CUT TO:

   EXT. ABANDONED METAL SHED, INDIAN RIVER - WIDE - NIGHT

   Nothing.  Rusting marine parts and corrugated metal fall into
   weeds next on a channel of the Indian River.  It cuts through
   inner-city Miami.  Distant noise.  But...

   INT. METAL SHED - ARYAN BROTHERS

   in low light are strapping up.  Kevlar vests go over tattooed
   arms and chests.  Glimpses of swastikas.  Handguns in
   waistbands.  SMGs (Small Machine Guns) slung from shoulders
   over white shirts, business-suit jackets.  Everybody wears
   surgical gloves.  Shoes are industrial.

   REAR SHOT:  TWO OF THE BROTHERS

   are leaving.  One carries a very long rifle with a flash
   suppressor.  It is a bolt action .50 caliber Burrows.

   NEARBY ON THE RIVER

   is a second Aryan Brother sniper team with an identical
   weapon aimed at an empty lot a thousand yards away across the
   Indian River...

   INT. METAL SHED

   Two Suburbans and an Escalade pull out...

                                                  CUT TO:

   EXT. INDIAN RIVER - EMPTY LOT

   Caribbean freighters seized by US Customs rust at the bank.
   MOVE IN.  Two Cadillacs are parked.  Waiting.  A door opens.
   An interior light comes on.  MOVE CLOSER.  Two Russian
   slickster types.  Patient.  One looks at a watch.  The other
   triggers his cell phone.  A meeting is imminent.

                                                  MEANWHILE:

   INT. FBI OFFICE - RAC JAMES FUJIMA - NIGHT

   Empty except for the FBI Agent in a sweatsuit carrying files,
   as if he stopped by when Crockett's call came in.  He's on a
   computer.  He picks up the phone...

                        FUJIMA
             Guy's involved in a "meet"...

                        CROCKETT
             "Buy and walk"?  "Buy and bust"?
             "Reverse undercover"?  What?

                        FUJIMA
             Meet and greet.  "I flash you some
             of mine, you flash me some of
             yours?"

                        CROCKETT
             And the deal goes down at another
             place at another time.

                        FUJIMA
             That's right.

                        CROCKETT
             ...so there's no industrial-
             strength HRT weapons team out there
             tonight?

   Crockett puts his Nextel on "speaker" so Tubbs can hear, too.

                        FUJIMA
             Correct.  Flash samples.  Flash
             cash.

                        TUBBS
                  (into phone)
             Haitian, Dominican, Russian,
             Israeli?

                        FUJIMA
             White supremacist types.

   Crockett's impatient.

                        CROCKETT
             OMGs, Mongols, Nazi Low-Riders,
             prison gangs?

                        FUJIMA
             NLR, we think.  I wanna know...

                        TUBBS
                  (sarcastic)
             Oh, good...

                        FUJIMA
             ...what else, what else did he
             indicate to you?  I need to know
             everything he said.

                        CROCKETT
             He is saying they had him from the
             gate.  He is saying to my partner
             and I and to his family "goodbye."
             What does that tell you?

                                                  CUT TO:

   INT. MIAMI-DADE P.D. CHOPPER - SWITEK + ZITO

   in the back seat get lucky.  The pilot reacts as the
   TECHNICIAN in the copilot seat has picked up a signal from
   the FIREFLY...the LOCATOR...on Alonzo's Bentley.

                        SWITEK
                  (keys radio; too much
                   static, tries cell phone)
             Sonny, we got him...

   INT. BLACK SIKORSKY CHOPPER - CROCKETT + TUBBS

   Tubbs pilots it while Crockett gets the location of Alonzo's
   car and repeats it into the headset to Tubbs as the...

   EXT. SKY OVER MIAMI - C + T'S SIKORSKY - NIGHT

   banks hard left and heads for north 95 towards Lauderdale.
   Meanwhile...

                                                  CUT TO:

   EXT. INDIAN RIVER - WIDE:  THE DEAL - NIGHT

   Three Aryan Brothers in business suits get out of the rear of
   the Escalade and Suburban with a driver in each.  Our two
   "Russians" approach from their Cadillac with a backup
   Cadillac and one driver on the other side.

   CLOSER:  ARYAN BROTHERS.  Friendly.  Hip-hop culture has
   invaded White Supremacist gangs.  Buzz cuts.  Goatees.  A
   couple of diamond earrings.

                        RUSSIAN #1
             ...sample now is okay.  And we want
             sample load when we do deal...

                        ARYAN BROTHER
             Sure, man.

                        RUSSIAN #1
             What inventory you can supply...?

                        ARYAN BROTHER #1
             Meth.  Glass, ice, K's, E's,
             Mitsu's, Ames, Ex...whatever you
             need.  Coke?  Tonnage.  And
             Colombian H.  But give us a heads
             up...

   The Aryan Brother pops him a couple of vials.

                        ARYAN BROTHER #1 (cont'd)
             Ice.  Spectra-analyze that shit.
             And party-on with the coke.  You
             are looking at ninety-two percent
             pure...none of that jumped-on
             powder they sell up in New
             Yorioo...

                        ARYAN BROTHER #2
             Yeah...
                  (beat)
             Now, let's see the green...

   One of the Russians puts his hand on a weapon as the other
   opens up a Nike sports bag.

                        RUSSIAN
             Never seen money before?  This is
             called "money."

   Aryan Brother #1 reaches into the bag at the wrapped stacks
   of hundreds.  Flips through a couple, takes one or two at
   random.  Russian nods for him to go ahead.

                        ARYAN BROTHER #1
             Okay.  You got lotsa green.  We got
             all the goodies.  We party.
             Larry'll call you in the AM and
             talk money, quantity, time and
             place...

   WIDEN.  Everybody goes back to their cars.  As the two
   "Russians" get into theirs, Aryan Brother #1 turns from the
   running board of the Escalade with his driver's door open.

                        ARYAN BROTHER
             Hey, Ivan!  I forgot to ask you
             something, my brother...

   He looks at his partner and nods, who says something into a
   Nextel.

                        ARYAN BROTHER (cont'd)
             ...they have a decent death-benefit
             program in the FBI?

   For the Russians in the car, time freezes.  As they start
   to react, they're blown up by .50 caliber rounds from the two
   sniper positions.  The .50 caliber rounds go right through
   car bodies, sheet metal, upholstery, glass, human flesh,
   bone, more upholstery and metal and out the other end.
   Another round goes through the passenger door, through the
   passenger, through the driver, out the driver door and into
   the night...

   WIDE

   The three Aryan Brothers approach the steaming cars with the
   chopped-up occupants and take the gym bag full of cash.  The
   Escalade driver dons night-vision goggles.  They load up and
   drive off as we hear the "thump, thump" of Air Support and
   some distant sirens.  Meanwhile...

                                                  CUT TO:

   INT. MIAMI-DADE CHOPPER - SWITEK + ZITO - NIGHT

   at 170 knots watching a thermographic image of Alonzo
   Stevens' car on a monitor weave through traffic northbound on
   the 95...  SEE Tubbs' Sikorsky beyond Switek + Zito as it
   swoops from a higher altitude right past the Miami-Dade
   chopper, banks and dives for the freeway.

   EXT. FREEWAY

   Tracking with Stevens' Bentley from the front.

   The black Sikorsky is almost on the Bentley's hood.  Tubbs
   racks the chopper sideways so that Alonzo can see Crockett in
   the copilot seat...

   CLOSER:  CROCKETT

   has his handgun out and is waving Alonzo over to the
   shoulder.  Tubbs keeps the chopper almost blocking Alonzo's
   Bentley.  Alonzo pulls over.  Tubbs wheels around and lands
   on the shoulder.  They approach...

   ALONZO STEVENS

   exits the Bentley and walks toward Crockett and Tubbs.  He
   holds his hand out to keep them at a distance.

   Freeway traffic roars past.  Crockett and Tubbs don't get too
   close, heeding Alonzo's warning...

                        TUBBS
                  (incensed, over traffic
                   noise)
             What the hell did you do?

                        STEVENS
             The Feeb gig was I front a coupla
             undercover, Russian-speakers to
             them.  One's ATF.  And broker the
             deal.  Set up the meet with the NLR
             types...

   Stevens takes a low-resolution E-mailed image from his pocket
   and hands it to Tubbs.  Tubbs looks up, shocked, hands it to
   Crockett.  Stevens' head rotates loosely on his
   shoulders...his mind's elsewhere...



   CROCKETT'S POV:  IMAGE

   Alonzo's wife, Francine, is bound - clothes torn - to a chair
   in a TV room.  On the floor are two young boys bound with
   plastic ties.  Paper bags are over their heads.  Francine's
   eyes are as large as saucers.  Around her neck is a necklace
   of C-4 explosive connected to a detonator.

                        STEVENS (cont'd)
                  (shouts)
             So I gave them up, man!  Gave up
             the Feds!  Gave up everything
             I knew.  Now I got to go home...

                        CROCKETT
             How'd they get onto you?

                        STEVENS
             How do I know?  But it was from the
             get-go.  Knew the FBI had run me
             into them.
                  (beat)
             Sonny, I gotta go...!

                                                  MEANWHILE:

   INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT

   and a Miami PD SWAT team crash through the front door.
   Another team through the back.  Trudy in a tactical vest is
   second in with a 12-gauge.  The house is empty.  Gina and
   other detectives hang in the rear.  First SWAT team "clears"
   the living room, dining room.  Second clears the kitchen,
   maid's quarters...

   INT. ALONZO STEVENS' HOUSE - DOOR TO DEN - NIGHT

   ...last room to clear...center of the house.  SWAT teams
   appear around corners.  Weapons up.  The looks on their faces
   tell us nobody is here...nobody alive...and what they see
   gives even these veterans pause as blood pools around the
   legs of a family and overturned chairs.  Alonzo didn't save
   anyone.

                        TRUDY
                  (after changing channel)
             Hello, Sonny...?

   EXT. FREEWAY - TUBBS

   on police radio listens to a message from Trudy while...

                        STEVENS
                  (to Tubbs)
             I gotta, I gotta go...!

                        TUBBS
             Alonzo...

                        STEVENS
             What...?

                        TUBBS
                  (voice cracks)
             Alonzo, you don't need to go home.

   Now Alonzo knows.

                        STEVENS
             They said they wouldn't hurt them,
             wouldn't hurt them if...

                        TUBBS
             They lied.

                        CROCKETT
             They been known to do that...

   Alonzo Stevens has a strange look in his eyes.  He looks at
   Crockett and Tubbs, as if to say something.  He doesn't.
   Crockett and Tubbs walk towards him, to reach him...to
   console him...

   BUT ALONZO STEVENS

   backs away.  Looks at them sadly.  And before they can stop
   him, he steps out onto the freeway, opens his arms, and
   embraces the front bumper of a 70 m.p.h. 18-wheeler.

   INT. MERCEDES CL-500 - CROCKETT + TUBBS - NIGHT

   Grim, silent, race through Miami traffic to the crime scene
   we know is ahead because...

   OVER TUBBS' SHOULDER we see all the lights from two dozen
   emergency vehicles a quarter mile ahead.  Death is not
   procedural or casual, not when it's somebody you know, like
   an informant you worked cases with.  Cell phone rings.

                        TUBBS
             Yeah.

                        CASTILLO (V.O.)
             What's your twenty?

                        TUBBS
             Quarter mile away.  We see the
             lights...

                        CASTILLO (V.O.)
             Turn around.

                        TUBBS
                  (taking cell)
             We know these people...!

                        CASTILLO
             Grieve elsewhere.

                                                  CUT TO:

   INT. PARKING STRUCTURE, TOP FLOOR - ANGRY MEN - 3 A.M.

   in a concrete space.  We've entered mid-scene.

                        FUJIMA
             We're not certain...

                        CASTILLO
             You said Nazi Low-riders...?

                        FUJIMA
             We're not certain!

                        TUBBS
             C'mon, man!

                        FUJIMA
             We think NLR.  We don't know!
             Alonzo only fronted as a broker for
             our guys to make the meet.  He
             wasn't deep into the crew.

                        CROCKETT
             White gangs...?  It doesn't track.

                        TUBBS
             White gangs is tweakers and a
             crystal meth lab in a trailer park.
             Bounce around the old lady Saturday
             night and get your recidivist ass
             busted back...

                        FUJIMA
             Not anymore.  This is a distribution
             network out of South Florida,
             moving poly-drug loads, crystal
             meth through coke, to Nashville,
             Atlanta, Memphis, Cleveland.  And
             computer fraud, identity theft.
             It's like that.

                        CASTILLO
                  (to the point)
             Tell them what you want.

                        FUJIMA
             They knew about Alonzo, before he
             made a move on them.  They had our
             operation.  They've cut into us.

                        CROCKETT
             How?

                        FUJIMA
             We don't know.

                        TUBBS
             Break your encryption?  Hack your e-
             mail?  Employee databases?
             Somebody on the inside?

                        FUJIMA
             We don't know.  And that's the
             point.  Maybe there's a mole.
             Whatever, it's a disaster.  And	
             it's a Joint Interagency Task
             Force.  I have DEA, ATF, U.S.
             Customs components in on it.  So
             the penetration could be from any
             one agency.  What we do know is I
             have to suspend operations right
             now from undercover work through
             interdictions 'cause I have to
             assume our Operational Security is
             blown.

                        TUBBS
             As in, your ass is dead in the
             water.

                        FUJIMA
             But Miami PD wasn't part of the
             J.I.T.  And from what Alonzo said,
             he didn't give you up.

                        CROCKETT
             So what do you want?

                        FUJIMA
             To recruit you.

   Pause.

                        CASTILLO
             ...I didn't want you around the
             crime scene because it's crawling
             with federal law enforcement.  We
             don't know who's straight up, who's
             not...

                        CROCKETT
             Recruit us to do what?

                        FUJIMA
             Get into business with this crew,
             identify them.  Illuminate their
             network.  If you're lucky, discover
             their source, how they penetrated
             us.  We'll indict and take it from
             there...

                        CROCKETT
             How do we do that?  Make a buy?
                  (wry)
             That went well...

                        TUBBS
             Reverse undercover?  WE supply to
             them?

                        FUJIMA
             They got a steady stream of supply.
             So, no...

                        CROCKETT
             From whom...?

                        FUJIMA
             A Colombian producer.  Named
             Archangel de Jesus Montoya-Londono.

                        CROCKETT
             Never heard of him.

                        FUJIMA
             From the North Valle area.  New.
             Low-level, we think.

                        TUBBS
             Aryan brothers are not going to
             change-up suppliers.  So...

                        CROCKETT
             Transpo?  How they bringing the
             loads in...?

                        FUJIMA
             They're not.  They collect in
             Miami.  Montoya, the producer,
             handles deliveries.  That's his
             end, and he varies the routes.  We
             got some FLIR off an AWAC of a
             coupla go-fast boats, on one run,
             that's all.

   Fujima boots up his military-spec laptop to view the FLIR
   video.  Meanwhile...

                        TUBBS
             Track with me, here...
                  (beat)
             They knew the "Russians" were
             undercover Feeb?  They should have
             no-showed.  But, no, these guys
             show anyway, and commit murder upon
             federal officers.  And steal all
             your money...
                  (beat; to Fujima)
             What does that say to you?

                        CROCKETT
                  (speculating)
             It says, "We do not fear you."
                  (to Fujima)
             It says, "Fuck off and die."  It
             says, "We get down for
             recreation..."

   Fujima's Dell laptop glows to life.  Two almost
   indistinguishable boats and their wakes are SEEN.

                        CROCKETT (cont'd)
             Blow that up...

   Crockett's attention goes to something atypical he spots
   about the wake emerging behind each boat.  He exchanges a
   look with Tubbs.  But they say nothing.

                        TUBBS
                  (to Crockett)
             So?

                        CROCKETT
             We could try to run loads into
             these guys.
                  (to Fujima)
             Run a few loads for Montoya into
             South Florida.  Into this group.

                        FUJIMA
             You need to consider a few issues.

                        CASTILLO
                  (to Crockett + Tubbs)
             ...you'd be operating outside
             territorial United States.  Your	
             badges do not count.  You have no	
             authorization to carry weapons.  If
             you're busted, it could take a long
             time to get you re-patriated.  And	
             there's no backup...	
                  (to Fujima)
             And you will share with them all	
             your intel on Montoya...	

                        FUJIMA
             Sure.

                        CASTILLO
             I mean full disclosure.	

                        FUJIMA
             Of course.  From my side, I don't	
             WANT to know anything about what
             you're doing or how you do it...
                  (to Castillo)
             So let me know if we're on...

   Fujima splits.  Castillo waits until Fujima's car pulls away.

                        CASTILLO
                  (to Tubbs)
             About the Stevens family, I'm
             sorry.  I know you were close to
             them.

                        TUBBS
             I was the kids' godfather.

                        CASTILLO
                  (intuits)
             And...?

                        TUBBS
             "And" what?

                        CASTILLO
             I got to know.  There is never any
             room for "personal"...	

                        CROCKETT
                  (for Tubbs)
             He is fine.  And we know the jokes.
             When it gets vengeful, things get	
             messy.  When they get messy the
             wrong people die...
                  (beat)
             Everybody gets it.

                        CASTILLO
             Good.

                        TUBBS
             And the answer is "yes."
                  (beat)
             Before she met Alonzo, once upon a
             time, a long time ago.
                  (beat)
             You bet it was personal.

   ...and is now compartmentalized in the past.

                        CASTILLO
             Okay.
                  (to Crockett)
             What'd you spot...?

                        CROCKETT
             Three wakes off the back of those
             boats.  Who runs three Sterling
             engines off a deep-V hull?

                        TUBBS
             Sal Maguda.

                        CASTILLO
             He any good?

                        TUBBS
             Oh, yeah...

                        CASTILLO
             So what's gonna persuade Montoya to	
             change off Sal Maguda running his	
             deliveries...?

   It's a rhetorical question.

                                                  CUT TO:

   EXT. INDIAN RIVER - THERMAL IMAGE OF TWO DEEP V-HULL GO-FAST
   BOATS - NIGHT

   They're two feet out of the water on their dry dock, next to
   a Marine Shed.

   It's an unlikely location because derelict factories, cheap
   apartments, weeds and marine scrap metal are the
   neighborhood.

   EXT. SURVEILLANCE LOCATION - CROCKETT + TUBBS

   and a SWAT team in the weeds across the river.  They include
   SGT. JEAN-LOUIS BASTIDE, a Haitian in dark sweats.  They all
   are in plain clothes.

                        BASTIDE
             Odile, she say they're pregnant...

   We don't know what that means, yet.

                        TUBBS
             Yeah?  Okay.  Only Jean-Louis and I
             do the talking...

                                                  CUT TO:

   INT. MARINE SHED - DOOR - NIGHT

   Both steel doors EXPLODE as if their molecular structure,
   itself, disintegrated from one BLAST of Tubbs M-40 grenade-
   launcher firing a canister of ball bearings like a king-size
   shotgun on steroids as...

   GUARDS

   react, but Crockett draws down on one with an AK-47.  Bastide
   wounds the second GUARD who had drawn down his H & K.  A
   Third Guard begs to live in French Patois.  They own the
   place.  And Crockett sees...

   800 individually-wrapped bricks of North Valle Colombian
   cocaine are on a table.

                        TUBBS
             Comme on dit...
             (Like they said...)

                        JEAN-LOUIS
             Charger et les recoit d'ici...
             (Load 'em up and get out of
             here...)

                        BAD GUY
             You crazy?  Que fais-tu?

                        TUBBS
             Que faisons-nous?  De qu'a-t-il
             l'air, fou!  Nous voulons tous
             votre drugs.
             (What are we doing?  What's it look
             like we're doing, fool?  We are
             stealing all your dope.)

   Suburban crashes through the wreckage of the door and backs
   to the table.  Jean-Louis and SWAT #1 start throwing bricks
   into the back.  Tubbs with Crockett exit.

   EXT. MARINE SHED - DRY DOCK - CROCKETT + TUBBS

   approach the two deep V-hull go-fast boats with three engines
   off the back.  Tubbs cracks the breech of the grenade
   launcher and loads a 40-millimeter shell, while he strolls
   down the dock...

   CROCKETT

   tosses two Willie Peters (white phosphorus grenades) into the
   boats.  Tubbs fires the M-40 at a third boat, which explodes
   flame, followed by...

   TWO CARNATIONS OF WHITE PHOSPHORESCENCE

   destroy the smuggler's Strykers, which we saw in Fujima's
   video.  Crockett + Tubbs have just put Sal Maguda out of
   business.  They walk away and around the side of the shed,
   disregarding the curious citizens of Little Haiti, come to
   watch the fireworks...

                                                  CUT TO:

   INT. MERCEDES CL 600 ON A MIAMI STREET - CROCKETT + TUBBS -
   BRILLIANT DAYLIGHT

   drive.  Crockett reaches into a paper bag full of cell phones
   and grabs one.  He dials up a number, grabs another and hands
   it to Tubbs.

                        CROCKETT
                  (in the phone)
             Hey, Sailor...
                  (pause)
             Yeah, I'm good.
                  (beat)
             Got a hole in the
             calendar...looking to charge up the
             cash flow.
                  (waits)
             Yeah, later.

   Crockett struck out.  While...

                        TUBBS
                  (into phone)
             Hey, Nicholas, my ace.  Wha's up?

                        NICHOLAS (V.O.)
             You know.  Same old...

                        TUBBS
                  (into phone)
             We got idle all of an instant.  You
             got something from somewhere that's
             got to go someplace, somewhen,
             which is not too distantly in the
             future...?

   INT. COLLINS AVENUE CONDO - NICHOLAS - DAY

   ...the guy with the white hair.

                        NICHOLAS
             It is fortuitous that you called...

                                                  CUT TO:

   EXT. LA PERLA DISTRICT OF SAN JUAN, PUERTO RICO - TWILIGHT

   Corrosion and decay.  People look coldly at us.  Malevolence
   and malefaction on every corner.  No one's picked up the
   garbage for a month.  Poverty in the Caribbean half-light...

   CROCKETT & TUBBS

   cross the street to CAMERA from their rental car.  The La
   Perla section was a 16th Century haven for pirates.  It's had
   little civic improvements in 400 years.

   They enter a nightclub - shabby neon.

   INT. NIGHTCLUB - CROCKETT + TUBBS - TWILIGHT

   There are no customers.  They're cautious.  Men stop them
   and frisk them.  They expected that.

                        CROCKETT
             We're from Nicholas to meet Jos�...

   They're waved to the rear.  They start towards a back table.
   A small group of people wait...

   OVER CROCKETT + TUBBS APPROACHING:  JOS� "COCHI LOCO" YERO

   He's a former right-wing Colombian paramilitary from the
   North Valle near the Pacific coast.  He runs operations,
   communications and security.  He has cold eyes and a corpulent
   face.  He's notorious for using torture to ferret-out
   informants.  Right now he watches these two Americans
   approach.  Security people are on either side of him.

                        JOS� YERO
                  (extends hand)
             Jos�...

                        CROCKETT
             Sonny Burnett...this is my partner,
             Rico.

                        JOS� YERO
             Sit.

   As Crockett sits, he notices that at a table a few to the
   side is a woman.  This is ISABELLA.  Behind glasses, she
   seems immobile, filled with intelligence, well-dressed in
   subdued Tom Ford and staring at him.  Reading him.  Crockett
   holds the look that extra beat and turns back to business...

                        CROCKETT
                  (to Security)
             Dos caf�.

   He's security, not a fucking waiter.  But Yero nods.
   Security fetches coffee, anyway.

                        TUBBS
             So lay it out, my brother...

                        JOS� YERO
             Nicholas said you okay.  That's
             nice.  But how I know if you any	
             good?

                        CROCKETT
             What...?

                        JOS� YERO
             Who you run loads for?  Cause other	
             than Nicholas, you knows you?

   Tubbs looks at Crockett.  They thought it was a done deal.	

                        CROCKETT
                  (dark)	
             My mommy and daddy know me.

   Isabella tilts her head imperceptibly.

                        TUBBS
             And we didn't come down here to	
             audition.  Business auditions for	
             us...
                  (beat)
             ...and know who we are and know	
             they want their load run by us	
             before Nicholas calls.

                        CROCKETT
             That way we do not waste AvGas or
             our motherfucking time.

   Yero's security reacts to the tone and raises weapons.  A few
   start up out of their chair as...

   ZITO + SWITEK

   appear at the door, SMGs from shoulder straps.  Zito flips a
   D14 hand grenade which Crockett snatches out of the air,
   pulls the pin and slams on the table.  Everyone FREEZES.

   Only Crockett's hand pressure restrains the clip.

                        CROCKETT (cont'd)
                  (goes right up in Yero's
                   face)
             You want to "know" shit?  Who the	
             fuck are you?  You got a side deal	
             with U.S. Customs to open up the	
             coast in a few spots...in exchange
             you flip them some gringo runners?
             Like us...?

                        TUBBS
             You wearing a wire?	

   Tubbs rips open Yero's shirt.

                        CROCKETT
             Or DEA?  The Feeb?	

   Yero's shirt...open to the waist.  No wire.  Yero's furious.

   Yero's people have weapons pointed their way.  They outnumber
   Switek and Zito.  Slack's taken up on triggers.  It's on the
   edge.  And the edge is overloaded.  Tubbs reads that, warns
   Yero...

                        TUBBS
             People gonna walk into this place
             and say, "Ola, hijo!  That some	
             crazy wallpaper.  Whew...it wild!	
             Is that a Jackson Pollack?"

                        CROCKETT
             "No, viejo.  That was Jos� Yero,
             splattered all over his
             motherfucking wall."

                        TUBBS
             So we can close each other's eyes
             right now.  Real easy.  Real fast.
                  (pause)
             But, then, nobody makes any
             money...	

   Yero gestures his security to calm down....one notch.
   Crockett and Tubbs still hold the grenades.

   Then Crockett opens his shirt.  No wires.  So does Tubbs.	

   Pause.

                        JOS� YERO
                  (flat)
             Equipment?

                        TUBBS
             Slow and low, Adam A-500s...
                  (Yero looks quizzical)
             ...carbon composite, stealthy, 1400
             nautical-mile range, thousand ki
             payload...all the way to Caravels
             and 727's from a source country to
             a transshipment point.  Small
             freighters.  We've done
             containers...

                        CROCKETT
             And specialize in very fast go-fast
             boats for coastal runs.

                        TUBBS
             What kind of weight?

                        JOS� YERO
             We don't talk weight.  We talk
             logistics.

   Isabella sits, watching this.  She drinks her coffee.

                        JOS� YERO (cont'd)
             You get longs and lats for the
             pickup.  Open ocean.  You run it
             in.  On shore, our people receive
             the loads.

                        CROCKETT
                  (interrupts)
             The people on shore who handle a
             load we run are our people, not your	
             people.  No tweakers, dopers, first-	
             timers we don't know.  They didn't
             do time with us, they ain't doing
             crime with us.	

                        TUBBS	
             What you get from us is a date.  A
             place.  "In the parking lot of a
             Jack-in-the-Box in north Miami."  At
             such-and-such time, an eighteen-	
             wheeler will be there.  Keys in the
             ignition.  Ready to roll.  You pick	
             it up.  And you drive it...
                  (waves his left hand)
             ...away.

                        CROCKETT	
             Money thing is done in advance in	
             places where there are no guns.	                        
             Because when money and guns get	
             together, there is violence...

                        JOS� YERO
             You afraid of violence?

                        CROCKETT	
             I am not John Wayne.  There is no	
             "S" on his chest.  We get down if	
             the play calls for it.  But we are
             into business and making money.	

                        TUBBS	
             And violence is extra.  And
             expensive.  So how much weight you
             looking to move?

                        JOS� YERO
             Nothing.  'Cause how you do	
             delivery on the beach, I don't
             like.  Maybe this does not work.

                        CROCKETT
             Then it don't work.

                        TUBBS
             What happened to the last
             transporter you had?

                        JOS� YERO
             What do you care?

                        TUBBS
                  (to Crockett)
             Do we need this...?

                        CROCKETT
                  (rises)
             Red light, green light, Jos�?

                        JOS� YERO
                  (doesn't answer, leans
                   back)
             I'm also called "Cochi Loco."  That
             means "Crazy pig."  'Cause I
             enforce security and get people to	
             tell me what I need to know.  That	
             part of what I do, you never want	
             to find out about.
                  (pause)
             Other people will negotiate the	
             money and go or not go.  Not me...

                        TUBBS
             Then what were we talking to you
             for?

                        JOS� YERO
             I had to lay eyes on you.

                        CROCKETT
             And...?

   Isabella watches Crockett...

                        JOS� YERO
                  (to Tubbs)
             You seem okay.
                  (to Tubbs re: Crockett)
             But him?  I don't like... how he	
             looks...

   Everything goes from tense to lethal.  Has Yero made them?

                        TUBBS
             What do I care what you think about
             how he looks?  You wanna fuck my	
             partner or do business?

                        JOS� YERO
             Wait by the phone.
                  (pause)
             You get a call.  Or maybe you
             don't.  Until then, piss off back
             to where you come from...

   Crockett flips the hand grenade and catches it with his left
   hand...and he drops it in front of Jos� Yero.  It spins on
   the table.  He had reinserted the pin.  And they back out.

                                                  CUT TO:

   INT. MIAMI SAFE HOUSE - TUBBS IN THE SHOWER - NIGHT

   Contemplative.  Offscreen a door opens.  Entering is Gina
   Calabrese.  She's naked.  She washes his back.  She dumps too
   much shampoo on his head.  He tries to clear it from his
   eyes.  Laughs.  They start to make love under the water, in
   the steam, through the misted glass, offscreen we hear an
   engine rumble...

   CLOSER:  GINA

   Somebody's coming.

                        TUBBS
             ...Sonny can wait.

   Tubbs and Gina are not random lovers, they're in love.  The
   look in her eyes, the openness is pure femininity behind the
   Bronx presentation.  She smiles, touches the side of his
   face.

   EXT. SAFE HOUSE, ON THE INDIAN RIVER - CROCKETT - NIGHT

   ties up a 75' Sun Seeker.  It looks like a 38' deep-V
   offshore racer on growth hormones.  Crockett's alone, as dusk
   fades over the '60's ranch house on the river.  It's under
   tropical trees, with one strip of white neon utility lighting
   outlining the flat eave.

   INT. SAFE HOUSE, KITCHEN - CROCKETT

   let himself in.  He's at a kitchen stool at the counter when
   Tubbs enters in sweats.

                        TUBBS
             Anything?

                        CROCKETT
             Nothing.

   Gina enters in a robe...

                        GINA
                  (beat)
             "Hi, Gina.  Hi, Sonny."

                        CROCKETT
             Hi, Gina.
                  (putting shopping bag on
                   table)
             This is from Frick and Frack.
             Trudy?

                        TUBBS
                  (re:  bag)
             What do we got?

   Crockett pulls out three overly-large cell phones...

                        CROCKETT
             Satellite.  New encryption.
             Supposedly sharper than the G...
                  (to Gina)
             How good's our background?

   Tubbs and Crockett look at the Mac screen as Gina boots it
   up.  Gina's fingers tap dance on the keyboard.

                        GINA
             You're so not the PD, if you got
             busted on a DUI, you're in serious
             trouble...you're bad men back to
             grammar school.
                  (to Tubbs)
             San Quentin.  Pelican Bay.
                  (to Crockett)
             Marine Corps.  Statesville.
             Pelican Bay, where you guys hooked
             up.  Now you're too smart and too
             fast to get jacked again...

                        CROCKETT
             How will it stand up?

                        GINA
             If they ran the rental car or lease
             on this place...even if it's EPIC
             database in El Paso...they'd have
             to work through the layers of
             bullshit three weeks deep.  Then
             they'd find your deeper, hidden
             criminal selves...

   INT. LIVING ROOM - BAD 3 AM TELEVISION - LATER

   No one's watching it.

   INT. BEDROOM - GINA

   asleep.  Tubbs' eyes are wide open, staring...

   INT. SECOND BEDROOM - ECU:  PAGER

   lights up.  Beeps.  Crockett's hand grabs it.  It's the
   summons from Jos� Yero.

   INT. KITCHEN - GINA - PRE-DAWN

                        GINA
                  (Lazily)
             What am I supposed to do after I
             get my nails and hair done...?

                        TUBBS
             Reality TV and stay by the phone.	
             That's what all wives-in-crime
             do...

   He leans over and kisses her.  She holds firmly the back of
   his neck and looks into his eyes.

                        GINA
             Be...careful...  You hear me?

   He winks at her in assurance and he's gone.  Her lazy smile
   drops off.  "Careful"...she's not so sure he will be...

                                                  CUT TO:

   INT. LEAR 55 JET - TUBBS PILOTS

   Crockett in the copilot seat.  Switek and Zito are in the
   back, barely awake.  Zito hands out coffee.  Switek's
   stashing weapons behind the fuselage upholstery.  Tubbs is
   clearing US air space as we...

   EXT. SKY - AERIAL:  LEAR JET

   rockets through cumulonimbus against a black sky up to 35,000
   feet.

                        TUBBS
             Where we meeting 'em...?

                        CROCKETT
             Port-Au-Prince.

   EXT. PORT-AU-PRINCE AIRPORT, RUNWAY - LEAR JET - DAWN

   touches down, drives towards us...  Turns towards commercial
   aviation facility...

   CLOSER:  HATCH

   opens.  Switek and Zito emerge to rental cars with two car-
   rental clerks waiting...

                                                  CUT TO:

   INT. PORT-AU-PRINCE HOTEL ROOM - DOOR - DAY

   Crockett and Tubbs make a careful entry.  Hands on weapons,
   carrying bags...

                        CROCKETT
             What do we got?

                        TUBBS
             Five minutes...

   We see TRADECRAFT.  They clear the room.  They check for bugs
   and external surveillance.  They pull curtains.  Tubbs from a
   bag pulls a scanner.  Under the two beds.  Behind the
   picture.  The lamp.  The telephone.  Meanwhile...

   CROCKETT

   "traps" the room to reveal if it had been searched while they
   were gone.  He aligns the suitcase perfectly parallel on the
   bench.  A matchstick goes against the closed closet door.  A
   ballpoint pen is leaned against the telephone.

                        TUBBS (cont'd)
             ...show time.

   From his bag Tubbs pulls a Smith & Wesson J-frame hammerless
   in .357 Magnum.  He holsters this on his ankle.  A Remington
   780 shotgun with pistol grip, sawed-off to a 12-inch barrel
   gets slung on a bungee-cord shoulder strap under his right
   arm.  .9mm under his shirt in his waistband and two spare
   magazines clipped to his belt.

   CROCKETT

   loads a .45 "race" gun with rounded sights and a magna-ported
   barrel, cross-drawn, and a blunt .45 Para-Ordnance in the
   small of his back.  They're ready.

   INT. CORRIDOR - THEIR DOOR

   opens.  Crockett "traps" that door, too, with a small piece
   of tape.

   CROCKETT + TUBBS

   All of it tells us that where they are and where they're
   going is a high wire act without a net.  No backup.  Their
   badges don't work.  There is no law; there is no order.  They
   are in a state of nature where people get killed for their
   shoes.

                                                  DISSOLVE
                                                  TO:

   EXT. PORT-AU-PRINCE CEMETERY (HAITI) - CROCKETT + TUBBS -
   LATE AFTERNOON

   wait.  Shadows on white limestone monuments.  Bird songs.

                                                  DISSOLVE
                                                  TO:

   WHITE MAUSOLEUMS - DUSK

   They wait.  And wait.  And nothing happens.

                        TUBBS
             They watching us watching them
             watching us waiting for them?  Or
             what?

                        CROCKETT
             Who knows...

   Still apprehensive, concluding they're victims of a "no-
   show"...

                        TUBBS
             That's it.

   They split.

                                                  CUT TO:

   INT. HOTEL - THIRD FLOOR CORRIDOR - CROCKETT + TUBBS -
   TWILIGHT

   approach their door.  Crockett stops.  The tape "trap" is
   torn.  Weapons appear in their hands.  Someone's been here.

   INT. HOTEL ROOM - CROCKETT + TUBBS

   enter stealthily.  Then, they relax.  They need not have
   bothered being so careful about detecting a clandestine
   surveillance.

   OVER CROCKETT + TUBBS

   The room is overtly destroyed.  Not one piece of furniture is
   unbroken.  Walls have been opened.  Pictures ripped.
   Curtains.  Their stuff's strewn all over.  And, then...

   DOORS CRASH

   in.  HAITIAN PARAMILITARY in soccer jerseys and shorts with
   assault rifles...

   BEDROOM DOORWAY - FOUR MORE PARAMILITARY

   AK's are aimed at Crockett and Tubbs' heads.  Crockett's .45
   and his Para-Ordnance are in each hand.  Tubbs' shotgun is
   aimed at the front door, his .9mm at the men streaming in the
   windows.  Frozen moment.  A woman's voice...

                        ISABELLA (O.S.)
                  (to Crockett)
             Put your guns on the table...
                  (enters, sits)
             If we wanted you dead, you would no
             longer be drawing breath in Miami.
             We wouldn't have brought you all
             the way here.

                        CROCKETT
             Really?  So, what is this, a party?

   Crockett + Tubbs put down their weapons.

                        TUBBS
             We'll have room service wipe up the
             furniture...and bring drinks.

   Isabella says something in French.  The Cops ease-up.
   Isabella's personal security frisks Crockett + Tubbs and
   remain.  Paramilitary leave.

                        CROCKETT
             Glad we came.  This place is a lot
             of fun if you're Doctors Without
             Borders.  So...?

   Isabella takes off her glasses.  She's Afro-Cuban.

                        ISABELLA
             I run down the numbers.  Nothing is
             very negotiable.  Small loads?  We
             pay three thousand a ki.
             We pay your fuel costs up front
             plus ten percent.  The next ten
             percent on U.S. landfall.

                        TUBBS
             Define small.

                        ISABELLA
             Two, three thousand a ki.
             Two thousand ki's, your end is
             $6,000,000.
                  (beat)
             Complex transshipments or dealing
             with containers, these have front-
             loaded costs we pickup.
                  (beat)
             For this kind of weight, the
             balance of 80% is when our buyer
             picks up the load.
                  (beat)
             Transactions are offshore.  Dollars
             or euros.  Secure internet
             transfers.  We have lists of Cayman
             and Isle of Man banks infiltrated
             by IRS, to be avoided...
                  (beat)
             No transactions of cash or other
             banking instruments take place on
             U.S. soil...
                  (beat)
             That's the deal.

                        CROCKETT
             I thought we had to meet the Man.

                        ISABELLA
             You do.

                        CROCKETT
             When?

                        ISABELLA
             Right now.

   As she leaves...

   INT. MERCEDES - CROCKETT + TUBBS - NIGHT

   in the back seat on a rural road.  Isabella is not with them.
   One of her Russians is.  In the front seat, his SMG is ready;
   his eyes never leave Crockett and Tubbs.

   EXT. ROAD - CARAVAN

   A military Hummer in the front carries Isabella with her
   security.  Behind is a crew cab with bench seats loaded with
   Haitian paramilitary.

   INT. MERCEDES - TUBBS

   They approach a town.  He nudges Crockett.  A police
   roadblock's ahead.

   CROCKETT

   has seen something else.  He indicates the pager on his
   waist.

   TUBBS' POV:  PAGER - NO SIGNAL

   That's what's surprising.  Tubbs pulls his cell phone.
   Meanwhile, they're slowing down for the police roadblock.
   Crockett gets tense...

   TUBBS

   watches.  His cell's SIGNAL STRENGTH INDICATOR steps down to
   zero.

   EXT. POLICE ROADBLOCK - COPS

   stop the caravan.  Is this turning bad?

   INT. CAR - CROCKETT

   alarmed.

   EXT. ROADBLOCK - HAITIAN COPS

   check under the vehicles with mirrors.  See all the weapons.
   Salute.  Usher the convoy past.

   INT. MERCEDES - CROCKETT + TUBBS

   exchange a look.  Then they get it.  The cops work as
   security for the narcotrafficker.  The caravan advances
   towards a major intersection.  This one is blocked-off by
   Haitian military.

   EXT. SECOND CHECKPOINT - CAR DOOR

   is snatched open.  Haitian soldiers search Crockett and
   Tubbs.  They defer to the Russian-speaking security.
   Mercedes pulls forward...

   CROCKETT

   eyes his pager; Tubbs his cell phone: no signal in an urban
   area?  Blocking signal traffic is something the CIA does over
   Baghdad.  It's not supposed to be happening in Haiti on a
   dope deal.

   CROCKETT + TUBBS

   SEE a third circle of security approach.

   PRIVATE-SECTOR TYPES IN BUSINESS SUITS

   carrying automatic weapons, some more casually dressed, some
   with night-vision goggles.  The vehicles stop.

   EXT. TOWN SQUARE

   Crockett and Tubbs are directed to get out.  They're pushed
   around and searched.  A working class Glaswegion Scot, a
   couple of 5'10" Brits are off to the side with short hair and
   shoulders that are too deep and faces like Rugby players (ex-
   SAS).  Russians are ex-KGB.  Languages overheard:  smatterings
   of Russian, Hebrew and English.  Crockett and Tubbs look at
   each other:  they get it.  This is the cream of private
   sector security.  And it says top dollar infrastructure.

   THEY + WE SEE:  EXT. TOWN SQUARE

   Four avenues lead in.  Each avenue is blocked.  The square is
   closed down to vehicles and pedestrians.  Locals have
   disappeared.  In the center of the square are FOUR MATCHING
   BLACK SUBURBANS.

   CROCKETT

   gestures to Tubbs to look up.  They see...

   ROOFTOPS:  TWO-MAN TEAMS - SNIPER + SPOTTER

   with night-vision goggles...

   CROCKETT + TUBBS

   are clean.

   CROCKETT, TUBBS + ISABELLA

   cross through a no-man's land.  It feels like being in the
   open in Kosovo.

   TUBBS

   checks out the first Suburban's uplink satellite dish on a
   hydraulic mast.  The rear's converted into computer equipment
   sitting in ruggedized racks...

   INT. SECOND SUBURBAN - WIDE

   Doors open.  The interior has been converted into a
   luxurious, limo-like office with swivel seats.  Isabella
   followed by Crockett and Tubbs enter.  It's occupied by
   ARCHANGEL DE JESUS MONTOYA-LONDONO.  He's not flashy.  He has
   smooth skin, slightly opalescent, black eyes.  His right arm
   is normal length, but shriveled.

                        MONTOYA
             Please take that seat on the
             side...

                        TUBBS
             Thank you.

                        MONTOYA
                  (polite, friendly)
             Excuse me because I am very busy
             and have many things to do, so this
             will be brief.  Yes?
                  (beat; not waiting)
             We will try you on a "run."  One.
             To build trust.  We do a thousand
             kis.  In all matters, when you work
             for us, you must do exactly what
             you say you will do.
                  (beat)
             In this business with me, if you
             say you will do a thing, you must
             do exactly that thing.
                  (beat)
             Then?  You will prosper beyond your
             dreams and you can live in Miami in
             millionaire style.
                  (beat)
             If you are arrested, there will be
             lawyers made available to you in
             the United States.  You will use
             them.  Anything you need, you will
             be provided by me.  It cost you
             nothing.  You will contact and work
             through Jos� Yero on logistics and
             communications.  To do with money,
             you will work through my wife,
             Isabella...

   Crockett notices that Montoya lightly holds her hand.  It's
   confident.  And he sees the slight smile on Isabella's face
   as she watches he and Tubbs...

                        MONTOYA (cont'd)
             More than I, in finance and
             business, she is very dangerous.  I
             look forward to our doing work
             together.  Whether we do or not, it
             is unlikely we will meet again.  So
             I extend my best wishes to your
             families...
                  (to Tubbs)
             Particularly to your beautiful
             wife.
                  (beat)
             Thank you for making this long trip
             to see me...

   Dismissed, they exit.

   EXT. TOWN SQUARE - EXTREMELY CLOSE:  TUBBS

   Subterranean alarms are going off.  Tubbs finds himself in
   this small city, occupied by narcotraffickers and their
   security in the middle of nowhere.  Urgency agitates Tubbs.
   He controls it...

   CROCKETT

   in the town square, now, too.  But Isabella stayed inside
   Montoya's Suburban.  Now, she lowers her window.

   ROADBLOCKS

   break up.  Montoya's Suburbans pull out.  The security cordon
   deforms.  It all disappears around them.  It leaves only the
   Mercedes, a driver, and Crockett and Tubbs...

   CLOSER:  CROCKETT

   looks after the caravan.

   CROCKETT'S POV:  ISABELLA'S EYES

   in the side-view mirror on the passenger side.  She is
   looking at him.

   CROCKETT

   holds that look.

   ISABELLA'S EYES IN THE MIRROR

   holds his.

   CROCKETT

   Sound deadens.  His attention is on the woman in the
   mirror...until it's broken by Tubbs' attention to his cell
   phone.

   TUBBS' CELL PHONE

   Signal strength returns.  Tubbs punches in numbers.

                        TUBBS
                  (low)
             ...who did we just meet?

   He waits.  A phone rings.  It's picked up by Gina.

                        GINA (O.S.)
             Hello...?

   Tubbs is relieved...

                        TUBBS
             You okay?

                        GINA
             Yeah.

                        TUBBS
             You sure?

                        GINA
             Yes.  What's up?

                        TUBBS
             Nothing.  Calling to say hi...
             What's up with you?

                                                  INTERCUT WITH:

   INT. SAFE HOUSE, KITCHEN - GINA

                        GINA
             Bored.

   To Tubbs, that's good news.

                        TUBBS
             Okay...see you soon.

                        GINA
             ...and thanks for the flowers.

   EXT. HAITIAN TOWN SQUARE - TUBBS

                        TUBBS
             What flowers?

                        GINA
             The bouquet, here.  Five-hundred
             dollars worth of roses...yellow.

   Pause.

                        TUBBS
             There a note?

   Pause.

                        GINA
             You mean with the flowers...?

                        TUBBS
             What's it say?

                        GINA
             "Salutations from the south..."

   A deep chill.

                        GINA (cont'd)
             I...I thought it was from you.
   
   And, now, she gets it.  Gina is in the kitchen.  Alone, in
   their secret safe-house location.  She and Tubbs have nothing
   to say.  He looks to Crockett.  The message from Montoya-
   Londono is clear:  I know you.  I can reach out and locate
   you our yours.  Anytime.  YOU ARE NOT SAFE.

                        TUBBS
             We're on our way...

   INT. KITCHEN - GINA - NIGHT

                        TUBBS (O.S.)
                  (forced casual)
             So why don't you...meet the
             plane...

   We sense this is code.  It means get the fuck out of there
   right now!

                        GINA
                  (cool)
             Okay.

                        TUBBS
             Good idea.
                  (beat)
             We'll grab a bite.

   Gina ends the call, drops to the floor to the wall, kills the
   lights, holds her Sig .9mm at her side as she moves deeper
   into the interior...

                                                  CUT TO:

   INT. CUBAN CAFE ON CALLE OCHO, MIAMI - TUBBS + GINA - 4 AM

   Close on their two faces.  He's holding her hand under the
   table.  The noise of the surrounding crowd is a ROAR.  That's
   the idea.  They want their words buried under noise...

   PAST GINA:  CROCKETT

   discreetly at the door, watching the street.  Trudy, Switek
   and Zito are at adjacent tables.

                        GINA
             ...the lease, the phones, the
             cars...layers of false ident.
             Would take the FBI weeks.  How long
             did it take them?  Three hours?
             Four?
                  (re:  the note)
             This means, "We can reach out and
             touch somebody."  Like Bad
             Teleflora.

                        TUBBS
                  (cuts in)
             ...even if they could run the
             identities you built to EPIC, all
             they'll find is more cover...
             Trust what you built.  It's
             quality, girl.  We're cool...

                        GINA
                  (leans in; holds his hand
                   tighter)
             ...you are trying to reassure me
             because you know when people get
             anxious, they make mistakes.
             You're worried about me.  Do not
             be.
                  (into his eyes)
             I am careful.  I am cool.  I got
             Trudy, backup, whatever.  You worry
             about you.  Because you are the
             ones who are in denied territory,
             not me.  If your focus is on me,
             you'll miss something coming at
             you.  That's how people slip up.
             Get hurt.  And I'd die if anything
             happened.  You worry about you.
             You and Sonny...are in the
             dangerous place.  I'm fine...

   Gina leans back in her chair.  Their eyes still connect
   across the distance between them.  Their hands still touch.

                        GINA (cont'd)
                  (loud)
             Fuck 'em.  They sent us some
             flowers.  Big deal.  Thanks for the
             flowers...

   Gina Calabrese shrugs.  Tubbs laughs, and we are...

   INT. SAFE HOUSE - BEDROOM - 4 AM

   Low music.  Dark shadows.  Half-light washes the walls from
   passing headlights.  Tubbs are Gina are naked.  It's the
   lovemaking of a man and a woman when they hold precious the
   moments they have because they know that in these moments
   they are safe.  And that the present is fleeting.  And they
   know their time together is about luck.  Because life is
   short.  Departure is imminent.  Nothing lives forever.  It's
   in their faces and their eyes...

                                                  CUT TO:

   INT. SHACK (GUAJIRA PENINSULA, COLOMBIA) - CROCKETT - DAWN

   A lantern lights his face.  The night is soft.  Crockett's
   with a couple of campesinos, playing poker and drinking beer.

   Whoever's shack this is, is a Tupac Shakur freak.  His image
   is on all the walls.  A diesel truck starts and pulls away
   outside.

   EXT. LANDING STRIP - TUBBS - NIGHT

   checking the cargo tie-downs inside an A-500 Adam aircraft.
   He's sweating.  His shirt's off.  The cargo is ten black
   plastic-wrapped and taped bundles.  Like any good pilot,
   Tubbs trusts nobody but himself to tie-down the load.  The
   rear seats are removed.  There's a plastic bladder holding a
   reserve of 50 gallons of AvGas.

   INT. SHACK - CROCKETT

   wins.  The girls shriek.  Crockett pushes the money towards
   the Campesinos.  They refuse.  Crockett insists.  One will	
   only accept the money if Crockett accepts his Randall hunting
   knife.  He does.  Tubbs is in the doorway.

                        CROCKETT
             We set.

   Crockett kisses the girls, gracious about the gift.  Tubbs
   looks out into the night.

                        TUBBS
             To the limit.

                        CROCKETT
             You worried about the tree line, US
             Customs AWACS, or something else on
             your mind?

                        TUBBS
             Like...?

                        CROCKETT
             Gina in the Miami pad.
                  (no answer)
             You gonna give me phony denials?

                        TUBBS
             No.
                  (beat)
             You gonna give me phony
             reassurances?

                        CROCKETT
             No.

                        TUBBS
             Good.  So let's go...

   They head toward the strange-looking plane.  It's a single
   fuselage with two propellers...one at the nose, one at the
   tail.  Off the wings are two booms that connect to a rear
   wing.  It's a Burt Rutan aircraft design.

   There is neither metal nor exposed exhausts for radar or IF
   to spot.  It does 200 knots at 22,000 feet.  It'll fly,
   forever, 1,000 kilos of flake worth $23 million, and the
   total air weight is less than two Bentleys.  It's the
   smuggler's dream airplane.

   EXT. LANDING STRIP - END OF RUNWAY - A-500 ADAMS

   heads for the tree-line.  It will not make it.  At the last
   moment, Tubbs pulls back the stick and the plane lofts over
   the trees, clipping the tops...

   INT. A-500 - CROCKETT

   throws a look sideways at Tubbs.

   EXT. SKY - A-500

   airborne over the Caribbean, heading north...

                        CROCKETT (O.S.)
                  (into radio)
             Transglobal Airlines flight zero-
             zero-zero...is in the air...

                        ZITO (V.O.)
             Roger that.

   INT. A-500 - CROCKETT - MUCH LATER

   is dozing.  A signal.

   Tubbs points up and to the right.  Crockett wakes, looks.  An
   Aero Commander Turbo Twin is paralleling the A-500's course.
   Now, it slides over them...almost into a collision.  It sits
   right over the A-500, separated by only 75 feet.

   INT. OPA-LOCKA AIR TRAFFIC CONTROL - TRAFFIC CONTROLLER - DAY

   handling a myriad of flights, reacts.  On his radar he sees
   next to the image of the Aero Commander, a ghost image....

                        AIR TRAFFIC CONTROLLER
             Eleven-ten, Sierra, do you have a
             visual on another aircraft...?

   INT. AERO COMMANDER - SWITEK + ZITO - DAY

   Switek is flying and looks down at the A-500 below...

                        ZITO
             Negative, Opa-Locka.

   INT. OPA-LOCKA AIR TRAFFIC CONTROL - TRAFFIC CONTROLLER

   keys his radio.

                        AIR TRAFFIC CONTROLLER
             Opa-Locka Air Traffic Control to
             JIT 0-seven-six-Nellie-Charlie...

                        AWAC (V.O.)
             Hello, Opa-Locka.  What's up?

                        AIR TRAFFIC CONTROLLER
             I've got an Aero Commander coming
             in on a two-seventy-nine heading,
             but I had a double image...like
             there's another plane there, now
             I'm only picking up on one.  What
             do you read?

   INT. US CUSTOMS AWAC - RADAR OFFICER

                        RADAR OFFICER
             Let me see...

   His FLIR (Forward Looking Infrared) picks up Switek and
   Zito's Air Commander.  He flips through all the different
   modalities of detection, including thermography, for anything
   else suspicious in the airspace...

                        AWAC RADAR OFFICER
                  (into mic)
             Too many Mai Tais at lunch...
             You're seeing double.  One blip.
             One plane.

   EXT. SKY - SIDE SHOT:  THE AERO COMMANDER LIKE A PANCAKE ON
   TOP OF THE A-500 RIGHT BELOW IT

   We get the joke.  The A-500 with its stealthiness under the
   Aero Commander together like a single footprint.

   AERIAL ANGLE:  TWO PLANES

   piggybacked, enter US airspace and cross the coastline into
   Florida.

   From underneath, the Aero Commander sweeps to the right on
   approach as Tubbs radically dives for the trees, hugging the
   contour at 220 knots at 150 feet...having snuck this plane
   and its load into the United States of America.	

                                                  CUT TO:

   EXT. CIRCLE 6 MOTEL, PARKING LOT - U-HAUL-IT TRUCK - NIGHT

   Alone in the acid-yellow glare of the sodium vapor lights.
   We wait.  We don't know why we're here.

   PARKING LOT PERIMETER - SAWGRASS

   MOVE IN...and we REVEAL staked-out are Crockett, Jean-Louis
   and Tubbs...

                        CROCKETT
             Neptune gonna show?

   We don't know who he's talking about.

                        JEAN-LOUIS
             Oh, he'll show.  This is his kind
             of deal.  Crime on crime.  Who's
             gonna call the cops?

                        CROCKETT
                  (skeptical)
             Usually his thing is street
             dealers.  Torture their families
             until they cough up the stash.
             This...?

                        JEAN-LOUIS
             He's ambitious.

                        TUBBS
             Heads up...

   ESCALADE

   Lights off.  Cruises through the parking lot past the U-Haul-
   It to the other side and disappears.

                        TUBBS (cont'd)
             That's slick:  Neptune's Escalade's
             worth more than the real estate.
             But no one's supposed to notice his
             drive-by?

                        CROCKETT
             Here's another incognito genius...

   ANOTHER ANGLE:  MALIBU SS

   cruises the other end of the parking lot.  The Escalade
   returns.  All's clear.  Both converge around the U-Haul-It
   truck.  Out of the Escalade steps NEPTUNE - 6'4", narrow-
   shouldered and bald.  From the Malibu and back of the
   Escalade, Four more Haitian ZO POUNDERS with handguns,
   shotguns and shades...

   NEPTUNE

   pops the lock on the U-Haul-It with a crowbar.  He rolls up
   the door expecting millions worth of cocaine.  Instead he
   comes face to face with the barrel of a 12-gauge...

                        TRUDY
             April Fool, motherfucker.

   Trudy whips the butt end of the shotgun around, caving in
   Neptune's cheekbone and nose...

   WIDER - NEPTUNE

   goes down for the count.  Switek - under the truck - rolls
   out.  Crockett, Tubbs with shotguns, Jean-Louis and Zito with
   CAR-15s emerge from the perimeter with bright lights on
   shouting for the Haitians to freeze...

                        TUBBS
                  (Patois)
             Arrete!  Arrete!  Freeze!
                  (to one)
             Et vous, mo-fo!

   A 250-lb. ZO POUNDER brings up his weapon.  Crockett BLOWS
   the guy's legs out from under him.  Zito disarms him.  The
   other two are disarmed.

   NEPTUNE

   is rolled over by Crockett.  He plastic-ties his wrists and
   feet.  Others are manhandled...

                        JEAN-LOUIS
                  (in French)
             Get the fuck in the truck...!

   Zo Pounders, plastic-tied, are thrown into the truck with the
   thousand kilos of cocaine.  But not Neptune.  The gate is
   rolled down and padlocked.

                                                  CUT TO:

   INT. SAFE HOUSE - CROCKETT - NIGHT

   staring at his satellite cell.  Waiting.  He looks out the
   window at the passing river.  Soft voices from another
   room...probably Tubbs and Gina.  It's five in the morning.
   It rings.  He answers.

                        JOS� YERO (O.S.)
             Client got delivery.  But there
             were..."extras" in the back of the
             truck.

                        CROCKETT
             "Extras" tried to relieve us of
             your weight...
                  (beat)
             And by the by, you know of a player
             in Overtown who goes by the name of
             "Things Aquatic"?

                        JOS� YERO
             I do.  We don't do business with
             him...

                        CROCKETT
             He tried to..."do business"...with
             you.  Around ten.  His place.  Be
             there.

                        JOS� YERO
             I'll be there.

   EXT. OVERTOWN STREET - JOS� YERO IN A TINTED EXCURSION - DAY

   cruises storefront churches, chacouteries, Baptist missions,
   Haitian restaurants and palm trees.  Men in dark trousers and
   white shirts lean in doorways.  The SUV preceding Yero stops
   three houses before us.  The Excursion with Yero stops two
   houses beyond.  Security - very casually - deploys.  NOW,
   Yero approaches...seen through the curtains of the window
   we're looking through.  Reveal Tubbs watching.

   And, he crosses to the door and opens it as Yero cautiously
   enters.

   INT. LIVING ROOM - YERO

   And his face registers surprise.

                        CROCKETT
             Look familiar?

   DOPE

   Carefully stacked in the living room are the PLASTIC-WRAPPED
   BRICKS OF COCAINE THAT CROCKETT AND TUBBS STOLE FROM SAL
   MAGUDA'S WAREHOUSE WHEN THEY BLEW UP HIS BOATS.

   Hog-tied and bleeding all over his clothes, in the corner is
   Neptune.  His mouth is taped.  He's shaking his
   head...disclaiming, disowning and disavowing...

                        TUBBS
             This the load you lost a while
             back?

                        JOS� YERO
             It is.  He try to take tonight's
             load?

                        CROCKETT
             Yeah.

                        JOS� YERO
             And what do I do with him?

                        TUBBS
                  (shrugs)
             Whatever you want.  Like we said,
             we're not into violence.

   Yero looks around the corner and sees Switek and Zito in the
   dining room, casually at ease with Galil assault
   rifles...meaning "don't even think about it"...

                                                  CUT TO:

   INT. AN EMPTY MANSION - JOS� YERO - DAY

   The empty mansion is on its own peninsula.  Through the
   windows we see a yacht and Crockett's 48' Stryker, its canopy
   open but without its racing supergraphics.  The mansion
   interior...all Beaumaniers limestone...is devoid of all
   furnishing.  They sit on white plastic garden chairs from
   Sears.

                        JOS� YERO
                  (suspicious)
             I walk into Neptune's house...very
             nice.  But I also see you... and
             our drugs that got ripped from
             Maguda.

                        TUBBS
             You don't like us finding your
             load?  We can go and lose it all
             over again...

                        CROCKETT
             How 'bout this?  How'd Neptune know
             where to hit us?  Huh?  Whose Op
             sec's got a leak?  Yours?

                        JOS� YERO
             What'd Neptune tell you?

                        CROCKETT
             He didn't.  Interrogation's not in
             our skill set.
                  (beat)
             So c'mon, what suspicions have you
             master-minded off these
             associations?

                        JOS� YERO
                  (whispers in Spanish to
                   Isabella)
             Here's what this is...ask how much
             they want to turn back to us our
             load...

   Yero's certain about their motive.

                        ISABELLA
             We want it back.

                        CROCKETT
             Okay.

                        ISABELLA
             What's the recovery?  How much are
             you looking for?

                        TUBBS
                  (to Crockett)
             How much we looking for?

                        CROCKETT
             Nothing.

                        ISABELLA
             What's "nothing"?

                        CROCKETT
             Nothing.  As in "free, gratis."

                        TUBBS
             And as an investment in the
             future...

                        ISABELLA
                  (takes off her glasses and
                   looks at Crockett)
             "Future" of...?

                        CROCKETT
             A fine...business...relationship...

   She holds Crockett's look...as she did before.

                        TUBBS
             It's yours cause what's yours, is
             yours.  And what's ours is ours...
                  (to Yero)
             ...like the second ten-percent,
             which is now due, Yero, my ace.

   Isabella gestures.  Yero kicks across the floor a cardboard
   box full of money.  Tubbs glances inside.  Doesn't count it.

                        TUBBS (cont'd)
             What's up next?  Or is this a one-
             time deal?

   Isabella decides.

                        ISABELLA
                  (to Yero)
             Give them the shipment on the
             seventeenth...

   Yero doesn't like it.  She gestures "do it."

                        TUBBS
             Conveyance?

                        ISABELLA
             Maritime.  Jose will fill you in.

   And she starts to leave...and sensing Crockett's gotten up
   and follows her.  Meanwhile

                        TUBBS
                  (to Yero)
             Lay it out...

   And Crockett, close behind Isabella, now...

                        CROCKETT
                  (low)
             There is one thing you can do for
             me in recognition of the death-
             defying risks we took to recover
             your product...

                        ISABELLA
                  (low)
             And what is that?

   This is the wife of narcotrafficker Archangel de Jesus
   Montoya-Londono.

                        CROCKETT
             Let me buy you a drink.

   Isabella pauses.  Crockett may get killed right now.  They're
   near the open doors to the patio.

                        ISABELLA
                  (low)
             What do you like to drink?

                        CROCKETT
                  (low)
             I'm a fiend for mojitas.

   Isabella looks over at Crockett's boat.  Back to Crockett...

                        ISABELLA
                  (low)
             How fast does that go?

                        CROCKETT
             It goes very fast.

                        ISABELLA
             Show me...?

   Isabella and Crockett head outside towards the dock, Tubbs
   overtakes...

                        TUBBS
             Can I talk to you for a second,
             partner...?

   They step aside.

                        TUBBS (cont'd)
                  (low, re:  Isabella)
             Wha's up...?

                        CROCKETT
                  (low)
             I know what I'm doing.

   And he leaves to help Isabella board.  Switek unties and
   pushes off the boat.  Looking out the window at them is Jos�
   Yero, as perplexed as Tubbs, who covers...

                        TUBBS
             ...secure satellite comms.
             encrypted e-mail, the longs and
             lats for the transshipment
             point...all that?  It's all cool.
             But I need a vector, not a
             location.  'Cause ships move.
             That's why they call them ships.
             Ship stops?  It's trying to be an
             apartment building.  At sea that
             attracts attention.  That's bad...

   Meanwhile...

   INT. STRYKER, CABIN - CROCKETT + ISABELLA

   pulling away from the docks at 12 knots, repressing the
   thunder of the 2,700-horsepower engines.  Crockett leaves the
   canopy slid back.  They're open to the air.  He gives
   Isabella headsets so they can talk over the roar.  The wind
   starts to move her hair.  She's not sure how to put on the
   headset.

   Crockett lets the boat rock over the swells while he arranges
   her headset around her ears.  His fingers brush her hair,
   touch her skin...

   It was not intentional.  But the look in Crockett's eyes is
   as if a small voltage passed through him.

   He plugs her headset into the dash, regains the wheel, shoves
   the throttles forward and...

   EXT. OPEN OCEAN - "BORN TO WIN"

   cuts and then leaps over swells.  In seven seconds they're
   doing over 70 knots.  And Crockett holds it there as...

   ISABELLA

   The wind whips her hair behind her, now.  The two are small
   against the smooth 50' long hull.  Crockett hands her
   wraparound shades for her eyes.  She doesn't want them...

                        CROCKETT
                  (through headset)
             So where's the best place for
             mojitas?

                        ISABELLA
             Bodeguita del Medio.  It's the only
             place for mojitas...

                        CROCKETT
             Where's that?

                        ISABELLA
             Off a little alley with
             cobblestones.  Hemingway went
             there...

                        CROCKETT
             The Keys?

                        ISABELLA
             Havana.

                        CROCKETT
             Havana?  Cubans don't like us or my
             business...

                        ISABELLA
             Are you afraid?
                  (smiles; Crockett shakes
                   his head "no")
             Good.  And you don't need a visa.
             Cause you're with me.

   EXT. OPEN OCEAN - OVERHEAD "BORN TO WIN" - DAY

   rockets from one swell to the next, getting airborne.  Wind
   and salt electrify Isabella.  She turns to Crockett and
   smiles, putting on the glasses, now.  Crockett gestures to
   her knees.  She should keep them bent.  Crockett pushes it to
   75 knots...

   FRONTAL:  CROCKETT + ISABELLA

   in strong light, ripped by wind.  Behind them are ocean and
   sky and twenty-foot plumes which jet from the props and make
   a wake that vectors in diagonals to what each is leaving
   behind them...where they've been...and converge to push them
   to the new places where they're headed.  Behind, the skies
   are leaden.  They're racing a storm.  Sunlight shafts through
   a gap in thunderclouds, turning the clouds yellow.  Now, they
   turn peach against the darkening open water and the grey sky
   behind.  The boat vibrates, the engines scream and...

   CROCKETT

   waves her over to join him behind the wheel.  He holds out
   his left hand to steady her.  He brings her to him.  Both
   lean against his high upholstered chair.  He holds her to his
   side.  Indicates the wheel...

                        CROCKETT
             Light touch.  Everything comes to
             you through the wheel.

   CROCKETT

   stays on the throttle, throttling back when the props are out
   of the water so you don't redline the engine and forward
   when reentering.  The swells are now four feet.  They launch
   off each, get airborne, cut into the next...

                        CROCKETT (cont'd)
             How do we get into Cuba?!

                        ISABELLA
             My cousin is the harbor master.
             You must not bring in drugs.  You
             cannot be armed.  If you're
             carrying, it has to go.  Or stow it
             inside.  No one will go near your
             boat...

                        CROCKETT
             You do business in Cuba with your
             husband?

                        ISABELLA
             I never do business in Cuba.
                  (beat)
             And nobody goes to Cuba but me.
                  (smiles)
             And he is not my husband...

   Crockett's surprised.  And he doesn't push it.

                        CROCKETT
             Were you born in Havana?

                        ISABELLA
             Angola.  My mother was being a
             surgeon there.  She volunteered.
             Mozambique and Mali, too...
                  (over the wind)
             ...those days, in those days...she
             was part of Cuba's gift to the
             third world.  She came from a
             bourgeois family with a house in
             Verdado...we still have the house.
             We will go there...

                        CROCKETT
             Where's she now?

                        ISABELLA
             She's dead...

   Crockett looks at her.  Her perspective is that of the '60's
   and '70's, the politics of national liberation, the
   perspective of Marcuse and Franz Fanon.

                        CROCKETT
             Your father?

                        ISABELLA
             Angolan Military.  Went back to the
             fighting.  Disappeared.  Who
             knows...?

   Isabella looks at the look on Crockett's face.

                        ISABELLA (cont'd)
             Go ahead and ask...

                        CROCKETT
             How's he not your husband?

                        ISABELLA
             I am no one's wife.  I live in my
             own house.  I do not live in a
             man's house.  He has a wife.  We
             are together.  I am free.  Because
             of banking and finance and travel...
                  (looks at him, shouts over
                   wind)
             And I can do anything I want...

   She laughs.  She has that combination of intellect, beauty
   and youth.  Everything is possible...life will never
   end...she can ride this crest eternally.

   And Crockett knows that her confidence makes her oblivious to
   peril, makes "right now" too real because she believes she
   will live forever.

   CROCKETT

   can't help it.  He looks right at her.  She lifts her face to
   the spray.  Some clouds part and light strikes her...

   And Crockett wants to possess her; to protect her.  He wants
   no one else to have her.  He wants no harm to come to her.
   And this is an impulse that takes him over to the core of who
   he is.  And, as we MOVE IN CLOSER, Crockett has to turn
   away...

   ISABELLA

   sees this.  She's quizzical.  Crockett looks back at her.
   Their eyes connect.

   "BORN TO WIN"

   leaps...

   CROCKETT

   his left arm around her shoulder, his right on the wheel.
   She rocks back against his body.  They rip across the seas...

                                                  CUT TO:

   INT. "JAZZ" - A HAVANA NIGHTCLUB JAMMED WITH PEOPLE - NIGHT

   14-piece Afro-Cuban band.  IN THE PRESS OF dancers at a small
   table, Crockett and Isabella...

                        CROCKETT
                  (shouts over noise)
             Mojitas...?

                        ISABELLA
                  (shouting back)
             Later!  Do you dance?

                        CROCKETT
             I dance...

   They move into the crowd under two-story high windows
   overlooking Meyer Lansky's Hotel Riviera - freeze-dried 1959
   Las Vegas.

   CROCKETT + ISABELLA

   Whatever we knew about Sonny Crockett, we did not know he
   could dance.  Their feet, their knees and thighs, perfectly
   matched, they samba, like lightning.

   He swings her around and turns her to a close embrace as
   their hips and legs parallel each other's, as he turns her
   under his arm, stops her, pulls her backwards into his body,
   her hips into his, the fast beat, the footwork, and he spins
   her back facing him, pressing her closer as it gets faster
   and...

                                                  CUT TO:

   INT. BEDROOM - CROCKETT + ISABELLA

   fall onto a bed, shedding the last of their clothes, making
   love in a house somewhere.  Beyond them is an open window to
   the ocean.  The sky turns red and grey but the water stays
   molten.

   Their eyes are open...because they're locked together the
   whole time and their faces are steady and urgently surprised
   because this is not language; not a symbol, not a
   representation of a thing.  Jesus Montoya is not here.  Miami
   is not here.  This is discovery.  This is fact.  They have
   discovered each other and have never felt like this about
   anyone before in their lives.

                                                  CUT TO:

   INT. HOUSE, BEDROOM - CROCKETT - MORNING

   His eyes open.  He wakes up.  Light and situation flood in.
   He does not know where he is.  He pulls on his pants.
   Barefoot, he walks to the window.  The interior is high-
   ceilinged with immaculately polished floors.  And Crockett
   looks around, a stranger in a stranger place.

   EXT. THE BALCONY - CROCKETT

   enters.  The paint on the outside of this house is peeling
   and patinaed with stain.  The yard is overgrown.  The stucco
   fence around the streamline deco facade is crumbling from
   weather and time...

   CROCKETT WATCHES THE OCEAN

   from the balcony of the futuristic villa in Verdado...  A
   futurism from 1939, peeling aqua, aging science fiction.
   Wherever we are in the world, this place is out of the
   stream, outside history.  And Isabella, this woman from a
   different world, enters, brings him an oversized cup of
   coffee.  In his trousers, Crockett drapes an arm across her
   shoulders and they stand in the air.

   CROCKETT

   hears voices from the interior.

                        ISABELLA
             My aunt.  She's ancient.  She looks
             after the place...
                  (beat)
             This was my mother's family's
             home...

                                                  CUT TO:

   INT. BODEGUITA DEL MEDIO - CROCKETT + ISABELLA - AFTERNOON

   in the funky yellow restaurant drinking mojitas.  They've had
   lunch served to them at the bar.  Frosted glasses have sugar
   on the bottom and are loaded with crushed Cuban herbs.  The
   bartender has been there for 40 years.  Crockett and Isabella
   look like regulars.  They've served chicken and plantains.
   Like any restaurant, the people eating at the bar are the
   regulars.  They sit where Hemingway sat in the slow part of
   the afternoon.

                        ISABELLA
             Tell me everything.

                        CROCKETT
             No.

                        ISABELLA
             I insist.

                        CROCKETT
                  (flip)
             Okay.
                  (beat)
             Macon, Georgia is where I was born.
             Wound up in a juvenile facility.  I
             was 14.  Then the military.  Then
             prison.  Because I was dumb and
             angry.  Then I read.  Then I got
             smart.  Then I discovered what I
             know, now...it's all business...

   Isabella smiles.

                        CROCKETT (cont'd)
                  (to Bartender)
             My friend, two more.
                  (beat)
             What was your mother's name...?

                        ISABELLA
             Blanca...a rubio like you.
                  (pause)
             I see her in a dress...an old
             photograph from Lucinda somebody's
             wedding...everybody is with
             couples.  Husbands and wives.  They
             all pose.  My mother is alone
             because my father had to go back to
             the fighting.
                  (she points)
             ...she looks right into the camera.
             She is the most beautiful woman in
             the room.  By herself.  In a party
             dress.  And she looked like she
             knew she would die alone...
                  (beat...remembers)
             She spoke many languages.  We were
             in Luanda when she died.  I went to
             her friends in Mali.  They sent me
             to the Ecole Polytechnique in
             Geneva to study mathematics, where
             I met Montoya in the discos.  He
             had banking there...I was seventeen
             and very much into the clubs.  And
             he sent me to University for an MBA
             in Finance.
                  (pause)
             Your mother?

                        CROCKETT
             Died in childbirth, having me...

                        ISABELLA
             To mothers.  And all that we owe
             them...

   Isabella looks at Crockett and smiles and puts on her
   sunglasses.

                        CROCKETT
             You know how improbable this is...?

                        ISABELLA
             "Probable"...applies to an event
             that may be real.  Doesn't apply
             here.

                        CROCKETT
             ...'cause we have no future...are
             of today and not tomorrow.

                        ISABELLA
                  (laughs)
             That's right.

                        CROCKETT
             ...and therafore there is no
             consequence?

                        ISABELLA
             Exactly.

   Crockett's hand is around her waist and slips down her hip as
   he pulls her closer and takes off her glasses and she puts
   down her drink and kisses him at the bar and Crockett's eyes
   dwell on her and she looks back at him and, now, knowing what
   he's thinking...

                                                  CUT TO:

   INT. THE STREAMLINE HOUSE IN VEDADO - LEADEN SKIES - LATE
   AFTERNOON

   The water is like sheet metal as clouds allow only a sliver
   of light to illuminate the sea while rain greys-out most of
   it.  Minute crimson is a freighter heading to the stone
   harbor.  Fabric billows in the wind.  PULL BACK into the room
   to Crockett and Isabella...

   TWO NAKED BODIES

   ...one light skinned, the other brown, intertwine in the
   opiated moments after sensuality.  The afternoon half-light
   drapes parts of their bodies, making a relief against which
   their eyes hold each other's...

                                                  CUT TO:

   INT. SHOWER - CROCKETT - LATER

   focused elsewhere.  It's as if he's struggling to record the
   event of her in memory so she'll sustain there, because he
   compels himself to a different place, now.  Then, the shower
   curtain parts.  It startles him...

   ISABELLA

   enters.  She touches his back.  He turns to her with a smile.

                        CROCKETT
                  (soft)
             Let's talk deliveries.

   Isabella is not let down by the switch to commerce.  She
   merely goes there, too.  After all, this is their subject.
   Soft smiles.

                        CROCKETT (cont'd)
             ...and a different kind of deal.

                        ISABELLA
             Like...?

                        CROCKETT
             Like "three thousand a ki?"  That's
             nice.
             And I can supply the transportation
             into South Florida and the Gulf,
             more reliable and on-time than
             FedEx.  But, three per ki was OK
             for openers.

                        ISABELLA
             And why should continuing
             excellence cost more?

                        CROCKETT
             Cost less.  That's the point.

                        ISABELLA
             Is it December?

                        CROCKETT
             What do you mean?

                        ISABELLA
             Did Christmas come early this
             year...?

                        CROCKETT
             Better than that.
                  (beat)
             We become partners.  Only in this
             territory and only on loads we run.
             And you don't pay us three thousand
             a ki.  You pay us zero.  Why we
             get is thirty percent of the load.
             Product or cash.  "And why," you're
             thinking, "would I be crazy enough
             to out in these gringos like that?
             Is he chipping?  Crazy for my love?
             Too many mojitas?"  And the answer
             is, "of course" but also "no.  It
             is because Sonny can deliver what
             no one else can."

                        ISABELLA
             Good samba dancing...?

                        CROCKETT
             Zero risk.

                        ISABELLA
             'Cause you don't lose loads?

                        CROCKETT
             'Cause we guarantee every load.
                  (beat)
             Anywhere, for any reason, it comes
             up short, we make good.  Your
             operations will, from now on, run
             risk-free.

                        ISABELLA
             And you're our thirty-percent
             partner?

   Her knowing smile speaks of experience beyond her years.

                        ISABELLA (cont'd)
                  (deadly seriously)
             What if I tell you that your ideas
             are too big for your skin?
                  (beat)
             That merely to propose this is a
             dangerous thing?

                        CROCKETT
             Then I would say to you, this has
             been fun...

   There's a long pause.  This is business.  This is what is.

                        ISABELLA
             The range should be between fifteen
             and seventeen-point-five percent of
             the P.O.E....to even consider it.

                        CROCKETT
             I need thirty.  Calculate in, also,
             the cash you don't have to front...

                        ISABELLA
             Available cash is not an issue for
             us...

                        CROCKETT
             Twenty-eight-point-five.

                        ISABELLA
             What if I pushed to twenty-one...?

                        CROCKETT
             I would say you're...
                  (hesitates; holds up four
                   fingers)
             ...four percentage points away from
             a deal...

                        ISABELLA
             Maybe I'm only one.

   And she slides into his arms.  And smiles...

                        CROCKETT
             We'll do it at twenty-two...

   Isabella laughs.  She kisses him under the shower water.  And
   it's tough to know who is pushing it further out onto the
   edge.

                        CROCKETT (cont'd)
             ...and now what?

                        ISABELLA
             And now I make you breakfast
             again...

   Her breathing is heavier as she buries her head in his neck.

                                                  CUT TO:

   INT. BOAT ON STORMY SEAS - DAY

   Crockett is alone.  Black skies mottled with grey.

   CROCKETT

   Rain and wind rip across his face.  He left Isabella in
   Havana.

   SATELLITE PHONE

   rings.  Crockett picks it up.  It's Tubbs...

                        TUBBS (V.O.)
             Where the hell are you, man?

                        CROCKETT
                  (into phone)
             On my way back...

   Crockett disconnects.  He pushes it.  It launches from one
   swell, airborne, and knifes into the next.  It's violent.
   Crockett's thoughts and expression are about Isabella.  They
   are criminal conspirators, a woman cheating on her
   narcotrafficker "husband," an outlaw smuggler who's really an
   undercover cop...

   OVER CROCKETT:  GOVERNMENT CHANNEL - "BORN TO WIN"

   rockets in and then throttles back.

                                                  CUT TO:

   EXT. INDIAN RIVER SAFE HOUSE - TUBBS - DAY

   sitting on the U-shaped jetty as we HEAR Crockett kill the
   engines, tying it off.  Gina stands halfway up the small lawn
   to the early 60's ranch house under tropical palms.  Tubbs'
   mood is dark.  As Crockett approaches, he looks blankly at
   Tubbs, offering no explanation...

                        TUBBS
                  (mutters)
             The meet with Castillo and the fed
             got set up.  It's in 45 minutes...

   Tubbs goes inside.  Crockett follows.  As he passes Gina...

                        GINA
             What's up, Sonny...?

   Crockett looks at her.  He has no answer.

   INT. HOUSE - CROCKETT

   enters.  While Tubbs is strapping up...

                        TUBBS
             Where'd you go?

                        CROCKETT
             Hit a couple of jazz clubs.  Fell
             back to her place.

                        TUBBS
             Where?

                        CROCKETT
             Verdado.

                        TUBBS
             Verdado where?

                        CROCKETT
             It's in the suburbs outside Havana.

                        TUBBS
             Havana, Cuba...?

                        CROCKETT
             No.  Havana, Louisiana.
                  (beat)
             Don't we have a meet?

                        TUBBS
             ...where you're makin' a move on
             the wife of Archangel de Jesus
             Montoya?

                        CROCKETT
             No.

                        TUBBS
             You're not makin' a move on her...?

                        CROCKETT
             We're makin' moves on each other.

                        TUBBS
             Oh, that makes it okay, then.

                                                  CUT TO:

   INT. ENGINE ROOM OF A TRAMP FREIGHTER SEIZED BY US CUSTOMS
   AND TIED-UP ON THE INDIAN RIVER - FBI RAC JAMES FUJIMA - DAY

   We've entered a secret meeting mid-argument.

                        FUJIMA
             Who said, "go exploring"?  We want
             this staying on track.

                        CROCKETT
                  (to Fujima)
             Who's the "we"?  There's you and
             there's us.  And all we got from
             you was bad intel.  "Low-level
             producer."  Yeah, right...

                        FUJIMA
             What are you talking about?

                        CROCKETT
             Montoya.  We went to meet the
             village priest.  It turns into
             Alice in the fucking Vatican and
             here's the Pope...of the North
             Valle Colombia dope trade.

                        TUBBS
             His operations are kingpin size and
             first-class.  His security is ex-
             Eastern bloc, ex-SAS and Israelis.
             Their comms are satellite uplink
             with mainframe encryption,
             significant Sig Int and in their
             zones of activity, they have signal-
             jamming capability...

   Fujima is surprised...

                        CROCKETT
             Yeah.  CIA-level stuff...

                        TUBBS
             And what does that level of
             spending on first-class, private-
             sector infrastructure signify to
             you?

                        CROCKETT
             Mega-tonnage and mega-cash flow...

                        FUJIMA
             Out of...?

                        CROCKETT
             Haiti and Puerto Rico.  Money
             through Dubai and Geneva maybe.

                        TUBBS
             Their loads are poly-drug.  "E"
             from Holland, methamphetamine
             precursors from Jordan, Afghan "H."
             Mid-ocean transshipments.  His real
             business is:  he's a network.

                        CROCKETT
             And we can illuminate part of it
             from the inside out.

                        TUBBS
             So we want to change-up the mission
             statement.

                        FUJIMA
                  (no)
             Identify and indict the white
             supremacist group of importers.
             End of story.  Everything else I'm 
             hearing is speculation masquerading
             as intel...

   Crockett flips him a set of keys.

                        FUJIMA (cont'd)
             What's this?

                        CROCKETT
             Keys to the boat.  Go do this
             motherfucker yourself.

   Fujima looks at Castillo...who is this insubordinate prick?

                        FUJIMA
             Who are you talking to?

                        TUBBS
             He's talking to you, bro.
                  (beat)
             What he means to say is he is
             reluctant to abandon the
             penetration of a major
             narcotrafficking organization...

                        CROCKETT
                  (re: Fujima) 
             Hey, fuck him.

                        TUBBS
             Chill out Sonny.

                        CROCKETT
             We're the ones doing the death-
             defying shit?  And he wants us to
             give that up?  For what?
             A chump-change bust so he can get
             his picture in The Miami Herald to
             impress the slug farm in DC...

                        FUJIMA
                  (to Castillo)
             Control your men.

                        CROCKETT
             I'm my own man.  And anytime you	
             want to see how much man I am?

                        CASTILLO
                  (low)
             That's.  It.

   Everybody shuts up.

                        CASTILLO (cont'd)
                  (to Tubbs)
             Where are you on this?

   We know Tubbs has doubts about Crockett's motives and
   methods, nevertheless...

                        TUBBS
             With Sonny.  110%.

                        CASTILLO
             Then that's it.
                  (to Fujima)
             Change the mission statement.
             Crockett stays in.  He keeps
             working up the ladder.  The
             local importers get a pass for the
             time being.

                        FUJIMA
             I don't know.

                        CASTILLO
             Yes you do...

                        FUJIMA
             I got to talk to my ADO...

                        CASTILLO
             No, you don't, Jim.
                  (beat)
             'Cause if I close this down, you
             got nothing to make a phone call
             about.  And my guys don't have a
             week for a Feeb bureaucratic
             process.  Every hour longer they're
             in there, they risk exposure.  So,
             right here, right now, they're back
             in or I pull them out and close you
             down.  What's it going to be?

   Fujima nods acquiescence.

                        FUJIMA
             Okay.

   He leaves.  When he's out of earshot...

                        CASTILLO
                  (to Crockett)
             You fuckin' better be right...!

                                                  CUT TO:

   EXT. FREIGHTER ON THE INDIAN RIVER - CROCKETT + TUBBS - NIGHT

   step across to a second ship among the dozens tied-up along
   the river.  Its crimson paint is peeling and it's been
   stripped of everything salvageable.  They're alone.

                        TUBBS
                  (low)
             What is going on...?!

                        CROCKETT
             As in...?

                        TUBBS
             There is "undercover."  And there
             is "Which way is up?"

                        CROCKETT
             You think I am in so deep I forgot?

                        TUBBS
             I am asking.  You to me.

                        CROCKETT
             Do you believe...I have forgotten I
             am a cop?

                        TUBBS
             I would never doubt you.

   This is the answer Crockett needed to hear.

                        TUBBS (cont'd)
             And do you doubt I will slot anyone
             complicit in the death of Maria,
             Alonzo and those children?
             Anyone...whoever they are...

                        CROCKETT
             No, I do not.

   And we know that might mean Isabella.

   EXT. MONTOYA COMPOUND, GUAJIRA PENINSULA, COLOMBIA - ISABELLA
   - NIGHT

   We are on a peninsula with palm trees.  A bluff dotted with a
   small forest of satellite dishes.  A ribbon of white-sand and
   beyond that is silver light off the water.  It is rural and
   futuristic at the same time.

                        ISABELLA (O.S.)
             ...90- and 120-day futures with
             shorted Canadian and US dollars...

                                                  CUT TO:

   INT. MASTER BEDROOM SUITE - ARCHANGEL DE JESUS MONTOYA-
   LONDONO

   in pajama top and boxer shorts, smoking a cigar.  In a
   sweatsuit is Isabella, delivering a financial report.  It's
   from memory.  Nothing is written down, in the tradition of
   the elite section of Swiss private banking in which clerks
   commit portfolios to memory.  There are no documents.

                        ISABELLA
             ...and we're looking at Nigerian
             crude...

                        MONTOYA
             Precursor shipments from Ras Tanura
             and Ju'aymah?

                        ISABELLA
             Transshipped to a Malaysian
             container ship.

                        MONTOYA
             Not French registry?

                        ISABELLA
             They've been targeted.  And
             Pakistani registry is too
             vulnerable to search and seizure
             right now.

                        MONTOYA
             Jos� doesn't like the deal in South
             Florida...

   Montoya's referring to Crockett.  Alarm bells go off.

                        ISABELLA
                  (cuts in)
             Burnett?
                  (shrugs)
             They want 22% of the value on loads
             they run into South Florida.  It's
             the Juarez cartel model.
             They guarantee the loads.  The
             upside is our risk goes to zero.
             That frees-up capital.

                        MONTOYA
             But what does your intuition tell
             you...?

   Is he suspicious?  Does he suspect Isabella and Crockett are
   lovers?

                        ISABELLA
             My "intuition"...?  My intuition
             made him breakfast the other
             morning in Havana.

   Her lieson with Crockett is the last thing we expected to
   hear from Isabella.

                        MONTOYA
             And...?

                        ISABELLA
             They're serious.  They're cautious.
             They'll forgo a deal over a
             technicality of how a delivery's
             handled...they'd walk away, rather
             than compromise operational
             security...that's good.

   Montoya's thoughtful.

                        ISABELLA (cont'd)
             But they have to be watched
             closely...

                        MONTOYA
             Why?

                        ISABELLA
             A good deal, like this with us, for
             Burnett will be good only
             temporarily.  He'll get restless
             because he believes nothing is
             forever.  Life is dust, make it
             while you can.  He's ambitious.

   Montoya appreciates her thoughtfulness.

                        ISABELLA (cont'd)
             So I predict a few good runs.  Then
             there'll be a renegotiation.

                        MONTOYA
             That's my girl...

   Montoya uses Isabella and her sexual allure to gather insight
   into the people he does business with.  That's part of their
   deal.

                        MONTOYA (cont'd)
             On the next load, Jos� wants to
             front them silver.  But they them in
             lead...
                  (beat)
             He thinks they are wrong.  What do
             you think?

                        ISABELLA
                  (revealing nothing)
             I think Jos� suspects anybody he
             doesn't intimidate.  And people,
             who are good at what they do?  They
             have egos, too...

                        MONTOYA
                  (careful)
             What would you do...?

                        ISABELLA
                  (equally careful)
             I like the diminished risk.  It
             frees up capital reserves.  I like
             working with self-interested
             businessmen who are competent.  You
             can predict their behavior....

   Montoya looks at her very carefully.  She stares right back
   at him.

                        ISABELLA (cont'd)
             On the other hand...if what you
             wish, mi corazon, is la
             plumba...the lead?  Then let's do
             that.  Accept their deal.  After
             the load is received...we will
             close their eyes forever...

   She looks at Montoya squarely.  It hangs in the air.  In his
   strange process of decision-making, Montoya reaches a
   conclusion...

                        MONTOYA
              Let's try a few runs with these
              partners, I think.  I will tell
              Jos�...

   If Isabella is pleased, she doesn't show it.  Montoya
   continues to stare at her unwavering expression, frozen in
   stone.  He smiles, then, and starts to take off her clothes.

   He reaches for her hand and brings her to him.  She kisses
   him and he puts aside his cigar, pulls her face into his
   neck, and she runs her hands down him...

                                                  CUT TO:

   EXT. BARRANQUILLA, COLOMBIA AIRPORT - A G3 - NIGHT

   lands.  The door opens.  Isabella emerges.  CLOSER...she
   searches, looking for someone as she descends the ramp.
   Then...

   CROCKETT

   emerges from behind an SUV.  He came to meet her plane.

   ISABELLA'S

   expression changes, but she masks it.

   Businesslike, she walks across the tarmac.  There are two
   Suburbans.  One for her; one full of security.  Crockett and
   her meet.  No show of affection.  Her Secretary, carrying her
   briefcase, accompanies her towards the second Suburban.

   INT. SECOND SUBURBAN - DOOR - NIGHT

   opens.  Crockett and Isabella climb in.  The rear is
   customized cream leather, luxurious with three telephones and
   a divider.  As Isabella climbs in, followed by Crockett, she
   takes the briefcase from the Secretary and indicates he ride
   in the front vehicle.  Doors close.  Windows go up.  Air
   conditioning comes on.  She raises the divider, blocking the
   driver and locks the doors.  They are sealed in the back.
   Alone.  And she assaults Crockett with a passion that's
   desperate...as if making love to him puts her world back in
   balance.  Their clothes come off, Crockett pauses...

                        CROCKETT
             Hola, chica.

                        ISABELLA
             Hola, viejo.

   He touches the side of her face.

                        ISABELLA (CONT'D)
             Don't stop, bad man...

   As they continue, we...

                                                  CUT TO:

   INT. BARRANQUILLA NIGHTCLUB - TUBBS + GINA - NIGHT

   at the bar.  It's jammed.  "Cochi Loco" Yero and his
   permanent bodyguard, El Tiburon, pass, smile.  Tubbs
   introduces Yero to Gina, as his wife.

   Yero shakes Gina's hand.  He indicates to the bartender that
   Tubbs and Gina are to pay for nothing...and he moves towards
   an office.  Cobalt blue light illuminates his face, and his
   fierce yellow eyes are not filled with hospitality.

                                                  CUT TO:

   EXT. FALS DE IGUAZU AIRPORT (THREE BORDERS AREA) - MONTOYA -
   NIGHT

   deplaning his G-4 crosses to his armored Suburban.

   INT. SUBURBAN - MONTOYA

   climbs into the back.  It's also a traveling communications
   center, satellite uplink, encryption, the works...

                        MONTOYA
                  (to an Assistant)
             Do you have him?

   Assistant nods.  Montoya takes the heavy handset...

                        MONTOYA (cont'd)
             Jos�, about the Americans...

                                                  INTERCUT
                                                  WITH:

   INT. BARRANQUILLA CLUB, OFFICE - JOS� YERO

                        JOS� YERO
                  (in Spanish)
             They are "wrong."  I do not trust
             them.

                        MONTOYA (V.O.)
                  (in Spanish)
             Why?

                        JOS� YERO
                  (in Spanish)
             Too good at what they do, I don't
             know.  Something I don't like.
             They are wrong...

   Montoya thinks.

                        MONTOYA (V.O.)
                  (in Spanish)
             Isabella likes them.  We made their
             deal.

   Montoya hangs up.  Jos� Yero looks at the phone.

                                                  CUT TO:

   INT. CLUB - CROCKETT + ISABELLA - NIGHT

   enter.  They join Tubbs and Gina.

   GINA

   sees Crockett's carriage with this woman.  It's different.
   Intuitively, she exchanges a look with Tubbs.  Crockett makes
   introductions.  Then, they move away to dance to a fast samba
   in perfect synchronicity.  And, they're also SEEN by...

   JOS� YERO

   He watches them, too.  His yellow eyes are lit by strobes.
   His eyes locked onto Isabella...dancing with Crockett, their
   bodies close...

   And in the way he looks at them, hurt, like a betrayed lover,
   which he isn't and never could have been...we know now, the
   core of his antagonism.

                                                  CUT TO:

   INT. HONDURAN FREIGHTER, DINING AREA - TUBBS - DAY

   It's a 30 year old, well-maintained carribean freighter with
   a steel table and u-shaped bench.  In the dark interior,
   narrow spots reveal the group hovering over a ruggedized
   Workpad with navigational software.

                        JOS� YERO
             Transshipment point is here at
             17:00 hours on the 23rd.

                        TUBBS
             Uh-uh.  No predetermined places and
             times to meet.  Give me their
             heading and radio codes and I will
             talk to them directly with the
             longs and lats and time which will
             be a last minute deal...

                        JOS� YERO
             You give yours to me.  We position
             all the assets hauling our loads...

                        CROCKETT
             Now how we do it, blood.  It risks
             signal interception and other bad
             things like people who don't need
             to know where we're at knowing.

   Tubbs hands Jos� Yero's assistant, El Tiburon, a pager.

                        TUBBS
             At ten to three on the 27th, I will
             satellite page him with a website
             and encryption code.  He will have
             ten minutes to log on and receive
             his new heading.  Ten minutes and
             thirty seconds, website disappears
             and he can drive his fucking boat
             up to Iceland...

   Jos� Yero doesn't like it.

                        JOS� YERO
             Malaysian registry.  Small
             containership.
                  (to El Tiburon)
             Give them their codes and heading.

   Everything Yero tells them feels to him like exposure.

                        CROCKETT
             Packaging?

                        JOS� YERO
             Fifty-gallon drums.  Thirty-two.  A
             hundred kilos in each.  You
             transship that to the Malaysian
             boat.

                        TUBBS
             Importation value?  At twenty-two
             thousand a ki...

                        JOS� YERO
             You work that out with La Senora.
                  (beat)
             You will get sixteen fuel bladders
             of crystal meth precursors from the
             Malaysian ship.  For collection in
             North Miami.  You warehouse it.
             Release it when we say.
                  (beat)
             I'm sure you have friends with fast
             boats...

                        CROCKETT
             If you see a few new faces, don't
             get jumpy...

                        TUBBS
             And Jos�, my ace, lots of
             transshipment.  Lots of action.
             Skies are crowded.  And the JIT has
             assets on land, air, and sea.
                  (beat)
             So any intel you got that can come
             our way and contribute to the good
             and welfare...?

   Jos� Yero's on the spot.

                        JOS� YERO
             Sure.  Check your e-mail.

   Yero gets up and leaves the confined dining room.  He exits
   onto the walkway outside the bridge.  His path takes him
   past...

   EXT. HONDURAN FREIGHTER - TRUDY

   with Switek and Zito.  Trudy's in a tank top.  Jos� looks at
   Trudy appreciatively...

   TRUDY

   returns the look with a stare that says, "Don't fuck with
   me".  Jos� raises his eyebrow and after noting the two
   handguns holstered in the waistband of her hiphuggers...

                                                  CUT TO:

   INT. LONG CARGO SHED - JOS� YERO + EL TIBURON

   walk.  Cochi Loco's security leads and tails behind as...

                        JOS� YERO
                  (to El Tiburon)
             You know what Escobar used to do?

                        EL TIBURON
             What?

                        JOS� YERO
                  (goes on)
             In the '80's, air routes came into
             favor.  It required many pilots.
             The best were American.  Former
             crop-dusters.  They didn't fly by
             the book.  Tell one:  "Put that 747
             down on this fifteen-hundred-foot
             runway."  Somehow, he'd do it.
             Great pilots.  But Pablo had a
             rule.  After they flew six
             loads...this good pilot who
             facilitates so much good
             business... he would come back to
             Medell�n or Barranquilla to pick up
             the next load?
                  (beat)
             And no one would ever see him
             again.  He'd disappear.
                  (imitates Pablo)
             "You a good pilot?
             Make a lot of money for Pablo?
             Thank you very much."  And then
             Pablo would kill his ass.  After
             six loads.
                  (pause)
             And who was Pablo Escobar?  A
             provincial who got busted-out by
             the white collars from Cali.  When
             the gringos got him, he was nobody.
             We're three times better than Pablo
             Escobar.
                  (beat)
             The means we kill these
             sonsabitches three times sooner.
                  (beat)
             And do you know why Pablo Escobar
             did that?

                        EL TIBURON
             Why?

                        JOS� YERO
             He didn't like pilots.

   EXT. BARRANQUILLA HARBOR, CARGO SHED - JOS� YERO + EL TIBURON

   enter from the cargo shed onto a roadway just as...

   YERO POV:  GINA

   passes by, driven by Switek.  They're en route to pick up
   Tubbs.

                        JOS� YERO (CONT'D)
             And put eyes on her.  Put eyes on
             her twenty-four hours a day...

                                                  CUT TO:

   EXT. BARRANQUILLA BEACH - CROCKETT + ISABELLA, TUBBS + GINA -
   NIGHT

   Isabella hands out banana leaves wrapped and tied around
   cooked rice and barbecued pork.  Gina and Tubbs walk away
   down the beach towards phosphorescent waves.

                        ISABELLA
             I forgot the napkins.

                        CROCKETT
             And the chopsticks and fortune
             cookies?

                        ISABELLA
             What's the best fortune you ever
             got?

                        CROCKETT
             They're all the same.  "Financial
             security is around the corner."
             "Your friends love you."

                        ISABELLA
             In Kowloon, once, I got one that
             said, "Live now because life is
             dust."

   Crockett and Isabella wander down the beach, hard from the
   ebb tide.

                        CROCKETT
             Do you have assets somewhere else?
             Bank accounts?

                        ISABELLA
             Why?

                        CROCKETT
             ...to fall back on.  You know, a
             fail-safe.  Insurance.

                        ISABELLA
             Do I need it?

                        CROCKETT
                  (shrugs)
             Everybody needs it.  Ask
             Prudential.  Or Allstate.

                        ISABELLA
                  (laughs)
             'Cause whatever can go wrong,
             will...?

   The Perseids make the night sky over the water look like the
   Fourth of July.

                        CROCKETT
             Something like that.  The odds
             catch up with you.  The odds are
             like gravity.  You can't negotiate
             with them.
                  (then)
             So...at some point, you should cash
             out, take your money and run...

                        ISABELLA
                  (smiles)
             Really?

                        CROCKETT
             Sure.  As far away and as fast as
             you can.

                        ISABELLA
             When?

                        CROCKETT
             Whenever.  Maybe later, maybe
             sooner.

   What is Sonny Crockett trying to say to her?

                        ISABELLA
             Would you find me...?

                        CROCKETT
             Of course.

                        ISABELLA
             Where would I go?

                        CROCKETT
             Zanzibar.  The Comoros Islands.
             Somewhere in the Indian Ocean.
             There's twelve-hundred islands
             there...

                        ISABELLA
                  (smiles)
             Is this the protective male talk?

                        CROCKETT
                  (deadly serious)
             This is the talk of a man...if he
             were your husband...he would never
             put you at risk.  He would never
             put you within a thousand miles of
             anything that could hurt you.

                        ISABELLA
             And if I were in the Comoros, in
             the Indian Ocean, where would you
             be...?

                        CROCKETT
             A few more moments, still in this
             business.  Then I'd find you.

                        ISABELLA
             Would you?  Because if you
             couldn't, I would be very lonely...
             I would have left the only world I
             know and have known since I was
             seventeen.
                  (smiles, touches Crockett)
             But none of this will happen.  So
             it doesn't matter.  Because we are
             on the Guajira Peninsula.  And all
             you see around you...look around...
             is Archangel de Jesus Montoya-
             Londono.  He is my man.  And you are
             a smuggler moving a load...

   Her eyes say that she listened to his warnings and will
   disregard them.  Life is dust.  Meaning is in the moment, and
   that's right now.

   The intensity is because it's impossible.  Because it's
   impossible, they've been free to imagine.  And that's made
   the heat of it stronger...

                        CROCKETT
             ...in the morning.

                        ISABELLA
             I'll be on board by noon.

   Crockett didn't expect that.

                        ISABELLA (cont'd)
             What did you think?  This deal with
             you is my deal.  I am responsible.

   She vouched for him.  She has to stand behind it.  He puts
   his arm around her waist.


                                                  CUT TO:

   INT. HONDURAN FREIGHTER, BRIDGE - TRUDY + CROCKETT - DAWN

   The Freighter is anchored a half mile offshore.

   Magenta breaks the horizon.  Trudy looks at Crockett, looks
   away...

                        CROCKETT
             Go ahead.

                        TRUDY
             Too fast.  Too many moving parts.

                        CROCKETT
             Switek?

   Zito joins them.

                        SWITEK
             Same.  But it's your call, boss.

   Tubbs joins them.

                        CROCKETT
             What's your take?

                        TUBBS
             What's the point?  It's going down.

                        CROCKETT
             Call the US Coast Guard:  "Come and
             arrest our ass."
                  (beat)
             And Switek resumes romancing Miss
             Ukraine...

   Crockett looks at Trudy.  There's a connection between
   Crockett and Trudy.  It's filial.  Crockett has a special
   regard for her judgment.

                        TRUDY
             If we were for real, and knew our
             shit, we'd fade this one...

                        CROCKETT
             Then you should.

                        TRUDY
                  (no)
             If you're down, we're down for the
             play.

                                                  CUT TO:

   EXT. SAFE HOUSE ON THE INDIAN RIVER - GINA - NIGHT

   drives up.  Parks.  She approaches along the sidewalk, down
   the walkway under the banana trees and birds of paradise.

   Motion sensors trigger exterior lights.  Gina cocks her ear,
   waiting to hear...  Then, offscreen, Tommy the dog barks.
   Reassured, her left hand on her .380, she reaches for her
   keys, opens the door...

   INT. SAFE HOUSE - GHETTO BLASTER

   A finger pushed the stop button.  The dog stops barking.

   OVERHEAD:  ENTRY WAY - GINA

   enters.

   FROM BEHIND HER - WE MOVE CLOSER AS...

   a leather sap arcs through the air and descends onto her left
   shoulder, paralyzing her arm.  Other arms grab her, push her
   head down.  The same sap backhands with massive force across
   the back of her neck...

                                                  CUT TO:

   INT. DOUBLE-WIDE TRAILER - ECU:  GINA - NIGHT

   slowly comes to consciousness.  She looks around,
   disoriented.  Her eyes roll back in her head and she slips
   into dreamland for a moment.  She rouses and opens her eyes
   again, blinks, disoriented...

   WIDE PAST GINA TO WHICH SHE SEES:  AN EMACIATED WOMAN IN A
   PLAID HOUSEDRESS

   stares at her from the back corner of the double-wide
   trailer.  With her is an overweight autistic Boy of about 11.
   He plays in the corner and watches a small TV with a coat
   hanger for an antenna.  The Old Woman pays Gina no attention
   On her face is zero affect.  There are other sounds in the
   room.

   WIDER:  GINA

   and we see she is tied to a chair that is bolted to the floor.
   Her clothes are disheveled and ripped.  She tries to focus.
   Then somebody's thick arms are fitting something around her
   neck.  A blindfold goes over her eyes.  Around her neck is a
   C-4 "necklace" like the one we saw on Stevens' wife in the
   beginning of the film.  The arms and back belong to the deep-
   chested Aryan Brother we saw from the Stevens' house and
   Coleman's double-wide.  MOVE IN ON GINA.  He reaches below
   the frame and does something.  Gina writhes away from him in
   the chair.  He laughs.  He backs away from her to
   camera...and holds something in his hand.

   A CAMERA

   He takes a digital picture.

                                                  CUT TO:

   EXT. HOMESTEAD FLORIDA TRACT HOUSE - FRONT YARD - DAY

   A tall wall of planting hides the $150,000 house from the
   road.  Neighbors are double-wide trailers.  The house has
   some sophisticated radio antennas as well as a twelve-foot
   satellite dish.  On the driveway are two Escalades and a
   Bentley.  Out the back, off the dock is a two-million dollar
   sports/fishing boat.  Someone's entering numbers on a cell
   phone.

   INT. HOMESTEAD FLORIDA TRACT HOUSE - COLEMAN

   waits.  The guy working the cell phone is the buzz-cut Aryan
   Brother we saw in the Stevens kitchen in the opening.
   Coleman's shirt open in the Barcalounger watching ESPN.  His
   watch is loaded with ice, and a four-carat diamond in his
   ear.  He is all white bling.  Coleman's tattooed up.  Not
   with "cool" Celtic symbols...his tats are neo-Nazi, white
   supremacist, hard-core prison stuff.

   CELL PHONE

   in the hands of the deep-chested Aryan Brother.  Three girls
   in cutoffs and halters are making sandwiches and laughing in
   the b.g..  Then:

                        ARYAN BROTHER
             El Tiburon.

   Coleman takes the satellite phone, attached to a laptop.  He
   enters a number.  A frequency-response graphic displays in
   the computer.  His conversation with El Tiburon is encrypted
   so the voices are distorted...

                        COLEMAN
             So...?

                        EL TIBURON
                  (in Spanish)
             Meth precursors and the Dutch party
             favors are en route.

                        COLEMAN
                  (perfect Spanish)
             All I want to know is the where and
             the when.  Spare me mini moves,
             progress reports and bullshit.

                        EL TIBURON
                  (in Spanish)
             Okay.  You got the "item"?

                        COLEMAN
             I got the item.

                        EL TIBURON
                  (in Spanish)
             And our friend don't like the rest
             of the people bringin' the merch to
             you.

                        COLEMAN
                  (in Spanish) 
             How many?

                        EL TIBURON
                  (in Spanish)
             Two main players plus three.

                        COLEMAN
                  (in Spanish)
             My end?

                        EL TIBURON
                  (in Spanish)
             25% discount on the load.

                        COLEMAN
                  (in Spanish)
             Make it 40%.

                        EL TIBURON
                  (in Spanish)
             Make it 35.

                        COLEMAN
             Deal.

   Coleman hangs up.

   INT. HONDURAN FREIGHTER - FUNKY BRIDGE

   In calm seas they're tied up to a Malaysian small container
   ship.  On it, Yemenese with AK-47s maintain a watchful eye.
   From Crockett's POV as...

   OTHER ANGLES:  SWITEK, TRUDY, ZITO

   with an assortment of CAR-15s, Galils and two RPGs mount a
   similar guard.

   EXT. MALAYSIAN CONTAINER SHIP - FUEL BLADDERS

   swung by the Honduran freighter's crane cross 10' of open
   water onto freighter's deck to join 18 others already there.
   It's the last of the transfer.

   EXT. MALAYSIAN CONTAINER SHIP - CAPTAIN

                        CAPTAIN
                  (loud hailer)
             Me-a salama.  Ila l-liqa.

   EXT. HONDURAN FREIGHTER - TUBBS

                        TUBBS
             Yeah.  Whatever...
                  (waves)

   EXT. OCEAN - THE TWO FREIGHTERS

   separate.

   INT. HONDURAN FREIGHTER, BRIDGE - CROCKETT

   watches crew stow the cargo.  Then, his satellite phone
   blinks red light.  Crockett boots up the computer to
   encryption.  Picks up the phone.

                        CROCKETT
             Yeah?

                        JOS� YERO (O.S.)
                  (phone filter)
             Hey, Captain Kirk.  I think maybe I
             have second thoughts.

   Tubbs enters.

                        CROCKETT
                  (into phone)
             You got something to say, Jos�,
             let's hear it.

                        JOS� YERO
             I confess I have succumbed to my
             weaknesses.  An inability to see
             another's point of view.
                  (beat)
             I've discussed it with
             professionals.  Even with one of
             your friends.  She's here now...

   Crockett puts him on speaker.

                        JOS� YERO (cont'd)
                  (beat)
             So I want you to deliver my
             product, how I want my product
             delivered.

   Isabella walks in.  Crockett gestures for her to be quiet.

                        CROCKETT
             What friend?

                        JOS� YERO
             Mrs. Rico.  But don't worry.  She
             is safe.  To insure that, I am
             keeping her close to me.  It's
             always good to keep people your
             friends care about close to you.

   Tubbs reaches for the phone.  Trudy intercepts him.

   Crockett turns it away and goes off the speaker...

                        JOS� YERO (cont'd)
             So, I will tell you when you're 10
             minutes out where to drop the load
             into the hands of my people.  You
             have 35 minutes to enter Government
             Channel.  Head up the River...  We
             will watch you.  Then I will call
             you.
                  (beat)
             And you can reach out for La Senora
             in Barranquilla or wherever 'cause
             I don't give a shit...

   Jos� Yero does NOT know Isabella's on board.

                        CROCKETT
             Proof of life.  How do I know Mrs.
             Rico's alive?

                        JOS� YERO
             'Cause she will tell you.

   He hangs up.

                        ISABELLA
             That sonofabitch!

                        TUBBS
                  (turns on Isabella)
             You set this up!

                        ISABELLA
                  (sarcastic)
             Of course!  That is why I placed
             myself here, with you, knowing Yero
             would pull this crap.

                        CROCKETT
             Yero doesn't know she's here!

   Crockett looks at Isabella, who's distracted in calculating
   what's really happening.

                        SWITEK
                  (entering)
             Cigarette and the two Starkeys are
             coming in.
                  (senses)
             What...?

                        TRUDY
             They grabbed Gina...

   Isabella punches numbers into a satellite phone.  No results.

                        ISABELLA
             It's all bullshit.  Jesus is out of
             communication in Fals de Iguazu.
             Jos� knows that...  Whatever he's
             going to do, he has to do it fast
             because he's acting on his own.
             And he will need a story.

                        TUBBS
             Meaning...?

                        ISABELLA
             They will kill you.  And then they
             will kill your wife, too.

                        CROCKETT
             Yero, by himself?

                        ISABELLA
             Maybe.  Maybe with the crazy
             whites.

   Zito enters, makes the situation...

                        ZITO
             We're half loaded...

                        TRUDY
             Gina.  Like Alonzo's wife...  Cochi
             Loco's got her.

                        CROCKETT
             Dump the rest.  Let's get the boats
             up that river.

   Crockett picks up the phone and dials.  His eyes contact with
   Tubbs has Tubbs take Isabella out of the Captain's Bridge.
   She pulls her arm away.  As they head down from the
   bridge...we see...

   EXT. HONDURAN FREIGHTER - DOPE-ON-A-ROPE

   lines run from the freighter to two go-fast boats.  The fuel
   bladders with crampons slide down the rope into the smaller
   "cigarette" boats..."dope-on-a-rope."

   WIDER:  ONE STARKEY

   loaded, takes off into the night, no lights.  A second one
   pulls away as the third boat's being loaded; Switek and Zito
   climb into a cigarette.  Meanwhile...

   INT. HONDURAN FREIGHTER, BRIDGE - CROCKETT

   on the satellite phone.  He waits.

                        CASTILLO (O.S.)
                  (filter)
             Yeah?

                        CROCKETT
             Jos� Yero changed-up the drop plan
             on us.  He's grabbed Gina.

                        CASTILLO
             Where's the new drop point...?

                        CROCKETT
             They'll have surveillance on us.
             We'll know only at the last
             moment...

                        CASTILLO
             What do you think?

                        CROCKETT
             It's a rip and a hit.

                        CASTILLO
                  (to someone else)
             Get me Air Support...
                  (to Crockett)
             We'll be airborne and assault the
             ambush...

                        CROCKETT
             You can't.

                        TUBBS
             They'll kill Gina.

                        CASTILLO
             They may have already, so we
             protect the living.  Proof she's
             alive?

                        CROCKETT
             Supposedly it's coming.

   INT. SCARAB - SWITEK, ZITO + TRUDY

   rip from one swell to another, airborne, in between their
   load.  Trudy's on the comms.  Switek drives with night-vision
   gear.

   INT. STRYKER - CROCKETT, TUBBS + ISABELLA

   Crockett drives.  Tubbs is on the throttles.  Isabella's
   between them.  Then, Tubbs is sent a page.  Reads the number.
   Picks up the satellite phone.  Crockett takes control of the
   throttles, too.

                        TUBBS
                  (into phone)
             Hello...?

   And Tubbs hears..."And weather on the southeast throughout
   today and looking into the weekend is broken clouds, humidity
   78%, small chance of rain.  And coming up in four minutes at
   5:45 is Lou Dobbs with Friday's market previews..."

                        LOU DOBBS (O.S.)
             Welcome, folks.  Today's Friday,
             the three-hundredth-and-fourteenth
             day of the year...

                        TUBBS
             They're proving it's right now.
             And that she's alive right now...

                        GINA (O.S.)
             ...nice friends you got.  Trailer
             trash with a bad smell...

   INT. DOUBLE-WIDE TRAILER - GINA - NIGHT

   The phone is ripped away from her.  It's disconnected.

                                                  CUT TO:

   INT. STRYKER - TUBBS

   He puts it together...

                        TUBBS
             Smell.  Bad smell.  Trailer...
                  (he gets it)
             She's allergic to diethylene...she
             in a meth lab?

   Crockett takes the phone, dials Castillo.

                        CROCKETT
             Just came in.  She's still alive.

                        CASTILLO
             Safe house is empty...
                  (beat)
             Air Support's set to jump when we
             know your drop point.  Gina?

                        TUBBS
                  (takes phone)
             She's sending a message.  Meth Lab.
             Trailer park.  Anything with
             interesting antenna arrays...?

                        CASTILLO
             There's three between Miami
             International and the glades.  I'm
             gonna try for her, but this is
             triage.  Protect the maximum number
             of lives.  You need to know that...

   Crockett knows the Sophie's choice Castillo may have to make.
   And it may cost Gina.  Crockett glances at Tubbs.  Crockett
   pushes the throttles forward...

   EXT. GOVERNMENT CHANNEL - TWO BOATS:  THE SCARAB + THE
   STRYKER

   jam over the swells into Government Channel, NOT SLOWING this
   time, even though the limit is 15 knots.  Barely missing
   sport fishing boats, slower recreational craft.

                                                  CUT TO:

   EXT. AERIAL - PAST HELICOPTER CO-PILOT

   over his FLIR monitor scanning trailer parks.  Nothing.  Then
   he notes a double-wide with two satellite dishes.

                        CASTILLO (V.O.)
                  (to Tubbs)
             Three possibles...

                                                  CUT TO:

   INT. STRYKER - TUBBS

   on with Castillo.

                        CASTILLO (V.O.)
             ...eliminated one.  SWAT's on the
             next two...

                        TUBBS
             Trudy and I are goin' for Gina...

   INT. SCARAB - SWITEK

   slams the Scarab sideways, spewing a huge wake, driving it
   through a circle to slough off speed as he pulls into a dock.
   Crockett's Stryker does the same.  Tubbs transfers into this
   boat with Trudy and Zito.  Switek gets into the Stryker with
   Crockett and Isabella.  As they speed up Government Channel.

                                                  CUT TO:

   INT. STRYKER - CROCKETT

                        ISABELLA
             If they attack you...

                        CROCKETT
                  (finishes)
             ...it's gonna be an L-shaped
             ambush.  They're not gonna open up
             until they got the party favors,
             'cause all they'd get is a lot of
             police scrambling to a gunfight.
             They will wait till they got the
             goods before they do the deed.

                                                  CUT TO:

   SCENES IN WHICH:

   (A)  TRUDY + TUBBS DISCOVER + ASSAULT THE PERIMETER SECURITY
   OF THE TRAILER IN WHICH GINA IS HOSTAGE.

   (B)  CROCKETT, SWITEK, ZITO + ISABELLA AND THE THIRD BOAT
   MAKE THE DELIVERY.  DURING IT ISABELLA, FURIOUS THAT THIS
   TRAITOROUS SONOFABITCH, COCHI LOCO, IS MAKING HIS OWN MOVE,
   RAGES INTO THE MIDDLE GROUND, CALLING DOWN JOS� YERO.
   BLOCKED BY AN ARYAN BROTHER, SHE PUSHES, HE SLAPS HER, SHE
   SHOOTS HIM IN THE LEG.  ALL SIDES DRAW DOWN IMPENDING CHAOS.
   CROCKETT + COLEMAN COOL IT.  COLEMAN WANTS HIS LOAD.  THE
   LURE OF EASY MONEY HAS A VERY STRONG APPEAL.

   AND ISABELLA IS STILL COMPLETELY UNAWARE CROCKETT + TUBBS ARE
   ANYTHING OTHER THAN PLAYERS.

   (C)  TUBBS + TRUDY INSERT A FIBER-OPTIC SURVEILLANCE TAP.

   EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - TRUDY - NIGHT

                        CASTILLO (O.S.)
                  (radio filter)
             Do you have her?!

   Trudy DOESN'T answer.  She's totally focused on a clamshell
   video screen connected to a fiber optic...  FOLLOW THE FIBER
   OPTIC...as a SWAT technician feeds it into...

                                                  CUT TO:

   INT. METH LAB, DOUBLE-WIDE TRAILER - CU:  THE FLOOR - NIGHT

   Where it meets the wall, a tiny hole has been drilled and we
   see the 4mm diameter lens connected to the flexible fiber
   optic poke through.  The camera's on the floor where it meets
   the wall.

   EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - OVER TRUDY

   And Trudy and we SEE in fish-eye a long-haired Nazi Low-Rider
   and the bulked-out Brother with the Hefty garbage-bag apron.
   Deeper in the trailer, her clothes torn, blindfolded, is Gina
   with the C-4 necklace.  Beyond her, the woman in the house
   dress and her large, retarded son.

                        TRUDY
                  (into radio, to Castillo)
             Have eyes on her.  She's alive.
             Moving in...

   INT. METH LAB, DOUBLE-WIDE TRAILER - LONG-HAIRED NLR GUY

   reacts to knock on the door.

                        TUBBS (O.S.)
             Asian Star...

                        ARYAN BROTHER
             You order Chinese?

                        LONG-HAIRED NLR GUY
                  (laughs)
             No, but I'm starving...

   Laughs, reaches for the door...

                        ARYAN BROTHER
             Don't...

   Too late.  Door's opened.

   EXT. DOUBLE-WIDE TRAILER - TUBBS,

   holding the bag of Chinese for the Long-Haired NLR.  He
   reaches and...

   TUBBS

   rips Long-Hair through the door, down the stairs, where two
   SWAT slam him into the ground.  He struggles.  A baton slams
   twice across the back of his neck.  He's out.  Handcuffed,
   and Tubbs and Trudy are in the interior...

   INT. METH LAB, DOUBLE-WIDE TRAILER

                        TUBBS
             HOLD IT!!

   Bulked-out Aryan has a handgun in one hand, detonator in the
   other.  Eyes wide.  Standoff.  The Old Woman in house dress
   is SCREAMING...  Her retarded Son sees Tubbs/Gina as a threat
   to his mother...grabs butcher knife...rushes forward
   during...

                        TRUDY
             PUT DOWN THE DETONATOR!

   FROZEN.  Aryan doesn't move.  The FARQ-like necklace of C-4
   around Gina's neck.

   GINA

   struggles against plastic ties, to hear, to see, as...

   OBESE SON

   shouts, surges past bulky Aryan, heading for Tubbs...

   TUBBS

   prepares for the autistic son, not seeing behind him...

   ARYAN BROTHER #3

   rising from a bare mattress with an aluminum baseball bat,
   coming up behind Tubbs.

   WIDE - TUBBS

   slips the Autistic Son, rotating his right arm around the
   kid's right arm, getting slashed on the back of his forearm,
   but grabbing the Son's wrist as the momentum propels him past
   Tubbs, who torques the wrist back.  Screaming, Son's ruined
   wrist, Tubbs took the knife, and as the Aryan Brother swings
   the bat...

   LOW ANGLE:  TUBBS

   ducks the bat.  It dents the faux-wood paneling.  Tubbs slams
   the knife twice into the man's slide, doubling him up, leaving
   the AB Brother to crawl, bleeding, with a 10-inch butcher
   knife through his kidney into his right lung...  AND Tubbs'
   gun in his left hand has never moved off-target of the Aryan
   brother with the detonator in his hand the whole time until
   right now:  he snaps a ROUND into the wounded Aryan Brother's
   head.  And, that fast, Tubbs' gun is back on target.

   AND THE FIERCE EYES OF BULKED-OUT BROTHER

   A nihilistic smile dawns there.

                        ARYAN BROTHER
             Shoot me, she dies.  Hey, fuck it,
             man.  We can all go.

                        TRUDY
                  (cool)
             That's not what will happen.
                  (that stops him)
             What will happen is...
                  (as she's aiming her Car-
                   15 and slowly taking up
                   the slack on the
                   trigger...)
             ...what will happen is, I will put
             a round precisely through the
             medula at the base of your brain,
             at an entry-point mid-distance
             between your upper lip and the
             bottom of your nose, and you will
             be dead from the neck down.  Your 
             finger won't be able to twitch.  Do
             you believe that?

                        ARYAN BROTHER
             Fuck...

   BLAM.  That's all he gets out.  Trudy does exactly that.
   Aryan Brother falls like a felled tree.  Tubbs retrieves the
   detonator.  Trudy unties Gina.  Carefully, Tubbs pulls the
   sensitive remote detonator from his hands.

   TUBBS

   puts his coat over Gina.  As she half leaves, turns to the
   fallen AB...

                        GINA
             Motherfucker!

   She kicks him in the head.  Tubbs grabs her to pull her off.

                        TUBBS
             He's dead!

                        TRUDY
                  (on radio, to Castillo)
             ...got Gina.  She's okay.

                                                  CUT TO:

   EXT. INDIAN RIVER - CASTILLO - NIGHT

   hears.

                        CASTILLO
                  (into loud hailer)
             Go!

   EXT. RUSTED FREIGHTER - AB SNIPER #2

   with a .50 caliber Burrows is hit about 15 times from MPD
   SWAT firing from across the bridge on a down angle towards
   him.  MPD helicopters suddenly LIGHT up the sky.

                                                  CUT TO:

   INT. SUBURBAN - YERO

   observing from a block south on the bridge sees the police
   assault, raises night-vision binoculars.

   YERO'S POV:  HE SEES CROCKETT + ISABELLA

   behind structures on the jetty.  Crockett fires with the MPD
   SWAT.

   INT. SUBURBAN - YERO

   pushes "send" on his satellite phone...

                                                  CUT TO:

   INT. GUAJIRA PENINSULA COMPOUND, COMMUNICATIONS CENTER -
   ENCRYPTION

   The technicians are eating in the next room.  We hear the
   recording...

                        YERO
                  (in Spanish)
             Isabella.  The gringos are police.
             She's their informant...!

                                                  CUT TO:

   INT. SUBURBAN - YERO

                        YERO
             Go!

   EXT. STREET + BRIDGE - YERO'S SUBURBAN

   pulls out, racing to get away from the firefight.  But
   BRIGHT LIGHT freezes it...heavy rounds slam into the engine,
   crack the block, stream sprays, it seizes up.  Suburban
   crashes into a car at the curb.  Yero bails out.

   EXT. SKY - HELICOPTER - TUBBS

   half out of his seat, a Galil in full auto on his shoulder,
   hovering above Yero and the Suburban.

                        PA
                  (loud hailer)
             Freeze!  You're under arrest.  Down
             on your knees.  Put your hands on
             your head...

   CLOSE:  YERO

   does none of that.  Enraged, he pulls up a 9mm H+K SMG to
   fire up at the helicopter

   ON TUBBS

   aiming down at CAM.  The assault rifle unloads in three-shot
   bursts.

   OVER TUBBS DOWN TO YERO IN THE BRIGHT LIGHT

   The pavement, the car and Yero are cratered by the 7.62mm
   rounds.  Yero goes down.  Dead.

   EXT. STREET - WIDE:  HELICOPTER

   lands.  Tubbs bails, grabbing his duffle bag and the rifle and
   turns down the street towards the firefight and Crockett...

                                                  CUT TO:

   EXT. JETTY - CROCKETT

   holding Isabella down, FIRES past a Toyota.  It's turned into
   a sieve.  He tells Isabella to stay behind the engine block.
   Then he ASSAULTS the ambush.

   SWITEK

   is shot in the calf, spins, goes down, gets up, limps to
   cover, keeps firing.

   EXT. SCRAP FREIGHTER - COLEMAN

   ...taking and returning FIRE from Crockett and Zito and from
   his left flank from the SWAT team on the bridge...knows every
   moment more he's here, more MPD assets are coming in.  He
   wants to finish it faster.

   LOW + WIDE:  COLEMAN

   bails off the freighter onto the dock.  DARK-HAIRED ARYAN
   BROTHER with a full auto AK is with him.  They move from
   cover to cover, their heavy Kevlar body armor absorbing
   rounds.  And they attack Crockett and Zito, who are
   outgunned.

   CROCKETT + ZITO

   run for cover, fire three-shot bursts, run and cover.  But...

   ISABELLA

   runs from cover into the clear with her handgun firing at the
   crazy whites, furious at the betrayal by Yero.  She's shouting
   in Spanish.  It's insane.

   CROCKETT

   sees Isabella, moves.

   COLEMAN

   sees Isabella, swings his assault rifle onto her as...

                        CROCKETT
             Isabella!!

   CROCKETT RUNS

   and sees Coleman because he's turned he's exposed his legs
   and Crockett slows and blows Coleman's legs out from under
   him.  Coleman's on the ground, scrambling for his rifle to
   kill Isabella.  Dark-Haired NLR is pulling the trigger on
   Crockett when BOOM...

   TUBBS

   fires the M40 grenade launcher loaded with shot.  Dark-Haired
   NLR is nearly cut in half.

   CROCKETT + ZITO

   FIRE at the prone Coleman.  Coleman's dead.

   WIDER:  THE FREIGHTERS - THE FIREFIGHT

   continues as other NLR battle Miami SWAT.  Meanwhile...

   CROCKETT

   goes to Isabella, pulls her into the shadows away from
   dockside, keeping her low, seemingly away from the police.
   OK, how will they get out of here?

   OVER CROCKETT + ISABELLA:  TUBBS

   approaches from the left.  Tubbs and Crockett's eyes connect.

   CLOSER:  TUBBS

   sees his partner with this woman.  The frozen moment.
   Isabella doesn't understand the changed expression on Tubbs'
   face.  We do.

   CROCKETT EYE TO EYE WITH HIS PARTNER

   50 yards away.  All meaning is transmitted.  And Tubbs
   nods...and the nod means:  "get her out of here..."

   As Tubbs speaks into his radio, his right arm belted where it
   was slashed, heading towards the diminished firefight, now
   under MPD control, as...

   CROCKETT RACES ISABELLA AWAY

   through the weeds and scrap, away from the firefight, away
   from the freighters, AWAY FROM THE POLICE.  Beyond them, we
   hear the gunfight diminishing.

                                                  CUT TO:

   EXT. STREET - CROCKETT + ISABELLA

   enter from the rubble-filled industrial lot.  Cars have
   stopped, their occupants seeking cover behind them.  Crockett
   hesitates not at all.  He grabs a late '80's Mercedes left
   with its door open.  Its owner, a middle-aged man at the
   curb, starts to object.  Crockett raises his gun.  Owner
   demurs.  Crockett steals away in it down the street into the
   night, its lights off.

                                                  CUT TO:

   INT. MERCEDES - CROCKETT + ISABELLA

   breathing.  She's hyperventilating.  He steadies her.  Then,
   Crockett sees something and she does, too.

   CROCKETT'S POV:  A ROADBLOCK

   appears around the corner.  Rearview mirror:  flashing lights
   on his tail.  Nowhere to go.  Crockett stops.

   ISABELLA

   thinks this is it.  She's dead.  SWAT, shotguns and assault
   rifles, approach.

   INT. MERCEDES - CROCKETT

                        CROCKETT
             Touch the windshield with your
             hands.  Let 'em see your hands are
             empty.  Steady.

                        SWAT SERGEANT
                  (approaching)
             Don't move!  Don't move!  Keep your
             hands where I can see them...

   They do.  Then the SWAT Sergeant stops...

                        SWAT SERGEANT (cont'd)
             ...Sonny?

                        CROCKETT
             Yeah.  Hey, Robert.

   The police relax, turn away.

                        SWAT SERGEANT
             Are you okay?!

                        CROCKETT
             Yeah.  Going to Miami General.
             Check out Gina.  Everybody's okay.
             Everybody's fine...

   Crockett nods and drives through the roadblock.  He drives
   away into the night.

                                                  CUT TO:

   INT. MERCEDES - CROCKETT

   does not look at Isabella.  He shoots up the on-ramp onto
   I-95.  His eyes at the moment are world-weary and street-
   wise.  It's all out.  All is in the open.  Finally, he looks
   over his right shoulder at her.

   ISABELLA

   stares at him.  Incredulous.  For the first time she realizes
   he's the police and has been undercover.  And now she hits
   him...

   EXT. HIGHWAY - MERCEDES

   swerves across three lanes, up on two wheels, almost rolls,
   cuts off a semi, which barely recovers, and spins out onto
   the shoulder, off the shoulder, down into the gravel.  It
   comes to a stop and...

   INT. MERCEDES - ISABELLA

   tries to bring her .380 around.  Crockett overpowers her.
   Takes the gun.  She slams him in the face with a closed fist.
   He grabs her wrists, spins her around, pushes her at the
   door, handcuffs her behind her back.

   EXT. HIGHWAY

   He floors the Mercedes.  It spins through 270 degrees,
   scattering gravel and dust, and pulls back onto the freeway,
   driving out of the city, away from Miami, out, into the
   night.

                                                  CUT TO:

   INT. MERCEDES - LATER

   She won't look at him.  She won't reply.  She's frozen,
   immobile, withdrawn deep, darkly into herself.

                        CROCKETT
             Isabella...?

   No reply.  Isabella wonders where he's taking her, what will
   happen to her, but she won't ask.

                                                  CUT TO:

   EXT. TWO-LANE BLACKTOP THROUGH CYPRESS - NIGHT

   Nothing.  The cypress are silhouettes against a lighter mauve
   sky.  Engine sound.  Then, the Mercedes enters and speeds
   down the empty two-lane blacktop.  And at the end, the trees
   open up and there's the open ocean and, beyond that, the
   Florida Keys.  We see a house.

                                                  CUT TO:

   INT. HOUSE IN THE CYPRESS - WIDE:  NIGHT

   Door opens.  Crockett leads Isabella in.  He uncuffs her.
   She rips away from his hand holding her arm.  She walks to
   the other end of the large room with the picture windows
   overlooking the water and the jetty and a boat tied up there.
   Low furniture.  Sparse, it was built in the '60's.  She walks
   to a restroom, slams the door.  Offscreen, a faucet runs.

   Suddenly, the door opens.  She comes out, glaring, shouting.

                        ISABELLA
             What are you going to do with me?
             Are you taking me to jail?  You
             think I will turn into your
             informant, is that it?

                        CROCKETT
             No.

                                                  CUT TO:

   INT. MONTOYA COMPOUND, GUAJIRA PENINSULA - COLOMBIAN MILITARY
   + DEA TYPES - DAY

   in stencilled body armor storm in through doors and windows.
   It is a police action, an assault.

   REVERSE:  EMPTINESS

   It's as if no one had ever lived there.  A few papers flutter
   in the breeze from the light wind entering through the open
   doorways.  White papers against white marble against white
   walls.  A profound statement of nobody is home.  Wherever
   Montoya is, he is not here.

                                                  CUT TO:

   INT. HOUSE IN THE CYPRESS - CROCKETT - LATE AFTERNOON

   staring out the window at the narrow jetty.  Isabella sits,
   distantly, alone at the end.

   CLOSER:  ISABELLA

   Crockett joins her.  She's withdrawn into herself.

                        CROCKETT
             No part of it wasn't real.

                        ISABELLA
             I know.
                  (quietly)
             And now?

                        CROCKETT
             It still is.  I'm so in this, I
             don't know which way is up... All I
             know is I won't let anything bad
             happen to you.
                  (beat)
             Just like I said.
                  (beat)
             And I know we can't ever see each
             other again.  And we never will.

   Isabella sits there for a moment.  She glances at him, looks
   away.  Then...

                        ISABELLA
             You said time is luck...

   Meaning, who can tell?  There may be a time for them
   somewhere else.

                        CROCKETT
             Luck ran out.
                  (beat)
             This was too good to last.

   He touches her hand.  And she leans all her weight against
   his arm.

                                                  CUT TO:

   INT. CYPRESS HOUSE, BEDROOM - CROCKETT - LATER

   asleep.  The moonlight is silver tinged with green.  Someone
   else had been in the bed with him, but he is there alone,
   now.  Crockett wakes up.  He looks around.  She was there and
   now she's gone.

   He gets out of the bed and looks out to the ocean and the
   jetty.  The boat's gone.  She's gone.  Sonny Crockett looks
   out the window.



                                                  THE END