Q: How many times did they try to rob the plane?
Text:                                                     March, 1999




<b>                               GENE HACKMAN
</b>


<b>                                   HEIST
</b>


<b>                              A SCREENPLAY BY
</b><b>                                DAVID MAMET
</b>


<b>                           COPYRIGHT  1998, 1999
</b><b>                                   BY DAVID MAMET
</b>



<b>ROSENSTONE/WENDER AGENCY
</b>
3 E. 48th St.   N.Y.C.
<b>
</b><b>FADE IN:
</b>
<b>EXT RAILROAD OVERPASS DAY.
</b>
<b>A LOW FLYING PLANE, MAKING ITS FINAL APPROACH.
</b>
<b>ANGLE CU.
</b>
<b>A WELL-BUILT MAN IN HIS FORTIES, JOE MOORE, IN HORN RIMMED GLASSES
</b><b>AND MOUSTACHE, LOOKS UP, AT THE PLANE.
</b>
<b>CAMERA TAKES HIM TO AN OLD STONE OVERPASS OVER A RAILROAD TRACK.
</b>
<b>HE CARRIES A FOLDED MAP.     HE LOOKS AROUND, AS IF LOST.
</b>
<b>ANGLE.
</b>
<b>MOORE, STANDING AT THE SIDE OF A TWO LANE SEMI-SUBURBAN ROAD.      HE
</b><b>LOOKS DOWN AT HIS MAP.
</b>
<b>SOUND OF A TRAIN APPROACHING.
</b>
<b>ANGLE
</b>
<b>ON MOORE, OVER HIM AS A TRAIN STREAMS BY BENEATH THE OVERPASS.
</b>
<b>ANGLE.
</b>
<b>ON MOORE, AS HE NODS, AND STARTS BACK TOWARD A PARKED STATIONWAGON.
</b>
<b>ANGLE INS.
</b>
<b>WE SEE    THE FOLDED MAP CONTAINS A YELLOW LEGAL PAD. MOORE GLANCES
</b><b>AT HIS    WATCH, AND MAKES A NOTATION IN THE PAD. HE FLIPS BACK
</b><b>PAGES    ON THE PAD TO SHOW IT IS FULL OF NOTATIONS. WE SEE A SKETCH
</b><b>OF THE    RAILWAY OVERPASS.
</b>
<b>ANGLE
</b>
<b>ON MOORE, AS HE STARTS TO GET INTO THE STATIONWAGON. HE LOOKS
</b><b>AROUND ONE LAST TIME, SHRUGS, AS IF TO SAY "SO BE IT," AND GETS
</b><b>INTO THE CAR.
</b>
<b>ANGLE INT THE CAR.
</b>
<b>MOORE, SITTING. A POLICE CAR, SIREN AND LIGHTS ON.      ROARS PAST
</b><b>OUTSIDE. MOORE NODS, LOOKS AT HIS WATCH.
</b>
<b>HE STARTS THE CAR. PUTS THE PAD DOWN NEXT TO HIM, IS ABOUT TO
</b><b>DRIVE OFF, WHEN HE GETS ANOTHER THOUGHT, AND OPENS THE PAD AGAIN.
</b>
<b>MOORE LOOKS AROUND.    SIGHS, SHRUGS, AND PUTS THE CAR IN GEAR.
</b>
<b>                                                    DISSOLVE TO:
</b>
<b>EXT. COMMERCIAL STREET. A METAL CANE ON THE SIDEWALK, A PAIR OF
</b><b>MAN'S LEGS. THE SUNLIGHT GLINTS OFF THE CANE.
</b>
<b>PAN UP, PAST THE CANE, TO REVEAL.
</b><b>
</b><b>                                                                 2.
</b>

<b>EXT. LIMOUSINE. DAY.
</b>
<b>A BEAUTIFUL COMMERCIAL STREET. FULL OF BOUTIQUES, POSH CARS, AND
</b><b>FOLKS STROLLING DOWN THE STREET. TWO MEN, JOE MOORE, AND BILLY
</b><b>BLANE, A WELL-BUILT MAN OF SIMILAR AGE, BOTH IN FINE BUSINESS SUITS,
</b><b>BOTH WEAR LEATHER GLOVES, STROLL DOWN THE STREET. MOORE WALKS WITH
</b><b>THE AID OF A HEAVY METAL CANE.
</b>
<b>                        MOORE
</b><b>                (AS HE LOOKS AROUND)
</b>           What makes the world go around?

<b>                        BLANE
</b>           ...you tell me.

<b>                         MOORE
</b>           Gold.

<b>                        BLANE
</b>           Some people say Love.

<b>                         MOORE
</b><b>                (NODS)
</b>           It is love.   It is Love of Gold.

<b>                        BLANE
</b>           ...easy to get the gold, hard to get it home.

<b>                        MOORE
</b>           ...waal, so it takes a little bit of
           thought...

<b>ANGLE CU
</b>
<b>ON MOORE, AS HE LOOKS ACROSS THE STREET.
</b>
<b>ANGLE HIS POV.
</b>
<b>A POSH JEWELRY STORE. A UNIFORMED GUARD EXITS THE STORE, CLOSING
</b><b>THE METAL GRATE BEHIND HIM.
</b>
<b>ANGLE. ON BLANE AND MOORE. AT THEIR     LIMOUSINE. BLANE FEEDS THE
</b><b>PARKING METER. AND HELPS MOORE INTO    THE BACKSEAT. OVER THEM, IN
</b><b>THE B.G., WE SEE THE GUARD DISAPPEAR   AROUND A CORNER. MOORE
</b><b>LOOKS DOWN AT HIS WATCH AS HE ENTERS   THE CAR.
</b>
<b>ANGLE
</b>
<b>ON BLANE, AS HE GETS INTO THE DRIVER'S SEAT.
</b>
<b>BLANE LOOKS OUT OF THE WINDOW.
</b>
<b>INT FAST-FOOD COFFEESHOP DAY.
</b>
<b>ANGLE, INSERT.
</b>
<b>A TRAY WITH FIVE ESPRESSO SHOTGLASSES ON IT.
</b><b>
</b><b>                                                               3.
</b>

<b>A WOMAN'S HAND FILLING THE LAST OF THE FIVE.
</b>
<b>ANGLE
</b>
<b>THE UNIFORMED GUARD, AT THE COUNTER, CHATTING WITH ANOTHER SERVER.
</b>
<b>                         CASHIER
</b><b>                 (TO GUARD)
</b>            ...what's yours?

<b>THE WOMAN POURING THE DRINKS RUBS HER TEMPLES, AND SIGHS.
</b>
<b>                         WOMAN
</b>            ...Five Cappuccino...

<b>                         CASHIER
</b>            ...that ought to keep you up...

<b>THE GUARD AND THE CASHIER LAUGH.
</b>
                         CASHIER (cont'd)
            ...eleven ninety-two...

<b>ANGLE
</b>
<b>ON THE WOMAN, A SMALL 'VISINE-LIKE' BOTTLE FROM HER POCKET, TIPS
</b><b>HER HEAD BACK, AND MOVES AS IF TO PUT THE DROPS IN HER EYES.
</b>
<b>ANGLE XCU
</b>
<b>WE SEE THAT THE CAP IS STILL ON THE BOTTLE.
</b>
<b>ANGLE.
</b>
<b>SHE LOWERS THE BOTTLE AND TAKES OFF THE CAP, AND PUTS SEVERAL DROPS
</b><b>INTO EACH OF THE DRINKS BEFORE HER.
</b>
<b>ANGLE
</b>
<b>ON THE WOMAN AS SHE PASSES THE TRAY FULL OF DRINKS OVER THE COUNTER
</b><b>TO THE GUARD.
</b>
<b>                         WOMAN
</b>            ...you have a nice day.

<b>SHE LOOKS UP AT THE WALLCLOCK, AND ADDRESSES HERSELF TO THE CASHIER.
</b>
                         WOMAN (cont'd)
            I've got a break...

<b>THE CASHIER NODS.
</b>
<b>CAMERA TAKES THE WOMAN BACK INTO THE EMPLOYEE'S AREA, WHERE SHE
</b><b>TAKES DOWN A LARGE SHOULDERBAG, AND FISHES A PACK OF CIGARETTES AND
</b><b>A LIGHTER OUT OF IT. SHE BEGINS TO LIGHT A CIGARETTE.
</b>
<b>THE CASHIER TURNS BACK TO LOOK AT THE WOMAN.
</b><b>
</b><b>                                                                  4.
</b>

<b>                      CASHIER
</b>         ...Din't they tell you can't smoke in here...

<b>THE WOMAN NODS, AS IF TO SAY, 'I FORGOT. I'M SORRY.' SHE TAKES
</b><b>THE BAG, PUTS IT OVER HER SHOULDER, AND STARTS OUT OF THE
</b><b>COFFEESHOP.
</b>
<b>ANGLE, EXT THE COFFEESHOP.
</b>
<b>A SMALL PARKING AREA, A DUMPSTER, THE WOMAN COMES OUT, SMOKING THE
</b><b>CIGARETTE. CAMERA HINGES HER AROUND THE CORNER, INTO A SMALL
</b><b>ALLEYWAY. IN THE ALLEYWAY SHE TAKES A THIN GRAY RAINCOAT OUT OF THE
</b><b>BAG, AND PUTS IT ON. IT COVERS HER STORE UNIFORM. SHE TAKES A
</b><b>PIN FROM HER HAIR AND LETS HER HAIR FALL. SHE TAKES A LARGE PAIR
</b><b>OF SUNGLASSES FROM THE GLASS AND PUTS THEM ON.
</b>
<b>ANGLE, INT THE LIMOUSINE.
</b>
<b>BLANE, IN THE DRIVER'S SEAT, JOE MOORE IN BACK.
</b>
<b>ANGLE ON MOORE.   HOLDING A SMALL YELLOW SHEET.
</b>
<b>ANGLE INS:   IT IS THE DRAWING OF THE RAILROAD OVERPASS.
</b>
<b>ANGLE
</b>
<b>ON BLANE MAKING A CALCULATION ON THE SHEET.
</b>
<b>BLANE SEES SOMETHING OUT OF THE WINDSHIELD, AND INDICATES IT TO
</b><b>JOE MOORE, WHO NODS AND PUTS AWAY THE YELLOW PAD.
</b>
<b>                      BLANE
</b>         Showtime, Circus Time.

<b>ANGLE, THEIR POV.
</b>
<b>THE GUARD, HOLDING THE TRAY OF COFFEES, ENTERING THE
</b><b>JEWELRYSTORE.
</b>
<b>ANGLE
</b>
<b>ON THE GUARD. AS HE IS BUZZED THROUGH A DOUBLE GRATE.      CAMERA PANS
</b><b>TO REVEAL THE WOMAN COMING OUT OF THE ALLEYWAY.
</b>
<b>CAMERA TAKES HER ACROSS THE STREET. WHERE SHE PASSES THE LIMOUSINE,
</b><b>AS SHE DOES SHE OPENS HER HAND, SHOWING HER OPEN HAND TO THE
</b><b>LIMOUSINE.
</b>
<b>ANGLE INT THE LIMOUSINE.
</b>
<b>                      BLANE
</b>         ...I see five.

<b>                      MOORE
</b>         Five is correct.
<b>              (HE LOOKS DOWN AT HIS WATCH.)
</b><b>
</b><b>                                                                   5.
</b>

<b>ANGLE EXT THE JEWELRY STORE.
</b>
<b>WE SEE THE GUARD INSIDE, DRINKING COFFEE WITH THE SALESPEOPLE, A
</b><b>GUARD ENTERS FROM THE REAR OF THE STORE, AND TAKES A COFFEE.
</b>
<b>WE SEE IN THE REFLECTION, THE WOMAN IN THE SUNGLASSES AND
</b><b>RAINCOAT LOOKING IN THE WINDOW OF THE JEWELRY STORE, SHE ADJUSTS
</b><b>HER HAIR, AND TURNS.
</b>
<b>ANGLE INT THE LIMOUSINE, WHICH IS PULLING UP TO THE CURB.
</b>
<b>WE SEE THE WOMAN TURNING AWAY FROM THE JEWELRY STORE, AND NODDING
</b><b>AT THE LIMOUSINE.
</b>
<b>ON THE WOMAN, AS SHE CONTINUES DOWN THE STREET. SHE TAKES A
</b><b>LARGE PAPERBAG FROM HER SHOULDERBAG, AND DUMPS IT IN A TRASH
</b><b>RECEPTACLE.
</b>
<b>IN THE LIMOUSINE BLANE STARTS TO OPEN THE DOOR.
</b>
<b>                       MOORE
</b><b>               (LOOKING AT HIS WATCH)
</b>          No wait.
<b>               (PAUSE)
</b>          Alright.

<b>ANGLE EXT THE LIMO.
</b>
<b>BLANE GETS OUT OF THE DRIVER'S SEAT, AND HURRIES AROUND TO OPEN
</b><b>THE REAR DOOR.
</b>
<b>MOORE IS HELPED OUT OF THE REAR SEAT, AND HANDED A METAL CANE BY
</b><b>BLANE.
</b>
<b>THEY START ACROSS THE SIDEWALK TOWARD THE DOUBLE GRATE OF THE
</b><b>JEWELRYSHOP. BLANE HOLDING MOORE'S ELBOW.
</b>
<b>AS THEY REACH THE FRONTDOOR. A HEAVYSET MAN ALSO WEARING LEATHER
</b><b>GLOVES, CARRYING SEVERAL BEAUTIFULLY WRAPPED PINK PACKAGES
</b><b>APPROACHES THE DOOR.
</b>
<b>THERE IS THE SOUND OF AN EXPLOSION.     THE THREE MEN TURN THEIR
</b><b>HEADS.
</b>
<b>ANGLE.   AT THE DOOR TO THE SHOP.
</b>
<b>ANGLE THEIR POV, DOWN THE STREET, THERE IS A FIRE RAGING AND A VAST
</b><b>COLUMN OF SMOKE POURING FROM THE TRASH RECEPTACLE.
</b>
<b>ANGLE
</b>
<b>AT THE DOOR TO THE STORE. THE THREE MEN, MOORE AND THE HEAVYSET
</b><b>MAN, PINCUS, PUT, STOCKINGMASKS OVER THEIR HEADS.
</b>
<b>MOORE TAKES A SMALL ELECTRONIC LOOKING CONTRAPTION FROM HIS
</b><b>POCKET, AND HOLDS IT UP TO THE GRATING, THE GRATING POPS OPEN.
</b>
<b>BLANE NODS AT THE TWO OTHER MEN WHO START INTO THE STORE.
</b><b>
</b><b>                                                                  6.
</b>

<b>THEY TAKE OFF THEIR LEATHER GLOVES REVEALING SURGICAL GLOVES
</b><b>UNDERNEATH.
</b>
<b>ANGLE, ON PINCUS, AS HE RESTRAINS MOORE.   BOTH LOOK INSIDE THE
</b><b>STORE.
</b>
<b>ANGLE, THEIR POV.
</b>
<b>ON THE COUNTER, ONE CAPPED, UNOPENED COFFEE CONTAINER, AND A YOUNG
</b><b>WOMAN, SALESGIRL, STANDING BESIDE THE COUNTER, TERRIFIED.
</b>
<b>ANGLE
</b>
<b>ON THE TWO MEN. BEAT. PINCUS REACHES FOR A GUN. MOORE SHAKES HIS
</b><b>HEAD NO. THEN MOORE TAKES OFF HIS MASK, AND MOTIONS TO PINCUS
</b><b>WHO HESITATES FOR A SECOND, THEN HANDS A SMAL OBJECT TO MOORE.
</b>
<b>MOORE PROCEEDS INTO THE STORE.
</b>
<b>CAMERA FOLLOWS HIM IN, TO SHOW A GUARD SLUMPED UNCONSCIOUS ON THE
</b><b>FLOOR.
</b>
                      MOORE (cont'd)
         ...what is it, I'm a doctor...
<b>              (HE KNEELS AT THE HEAD OF THE
</b><b>               FALLEN MAN)
</b>         Come here, hold his head up. Now...

<b>THE YOUNG WOMAN COMES OVER, MOORE TAKES OUT THE OBJECT PINKY
</b><b>PASSED HIM, A SMALL CANISTER, AND SPRAYS THE WOMAN IN THE FACE.
</b><b>SHE SLUMPS TO THE FLOOR. MOORE MOTIONS PINKY INTO THE SHOP.
</b>
<b>ANGLE EXT THE STORE.
</b>
<b>SEVERAL BYSTANDERS ARE MOVING TOWARD THE FIRE. ONE COMES UP TO
</b><b>BLANE, AS IF TO ENTER THE STORE. BLANE PUTS HIS HAND TO HIS EAR,
</b><b>AS IF LISTENING TO AN EARPIECE, AND POINTS AT THE FIRE, SHAKING
</b><b>HIS HEAD.
</b>
<b>                      BLANE
</b>         Move along, please... This area must be
         secure while the Secretary's on the
         street... just move alone...

<b>ANGLE INT THE STORE.
</b>
<b>PINCUS HAS REMOVED THE COVER FROM HIS PACKAGES, REVEALING THEM TO BE
</b><b>A LARGE RECEPTACLE.
</b>
<b>CAMERA PANS HIM ACROSS A COUNTER, OVER WHICH COUNTER WE SEE SLUMPED
</b><b>THE FORMS OF THE TWO SALESPEOPLE. PINCUS POINTS AT THE DESK. MOORE
</b><b>NODS. IN THE B.G. WE SEE MOORE HIT A BUZZER UNDERNEATH A DESK.
</b>
<b>A PANEL IN THE WALL SWINGS OPEN, AND WE SEE A LARGE WALK IN SAFE
</b><b>BEHIND, ITS DOOR OPEN.
</b>
<b>IN THE FOREGROUND THE HEAVYSET MAN IS SHOVELLING THE CONTENTS OF
</b><b>THE DISPLAY CASES INTO HIS CARRYALL.
</b><b>
</b><b>                                                                  7.
</b>

<b>ANGLE
</b>
<b>ON MOORE IN THE WALK IN SAFE, AS HE CONSULTS A SMALL INDEX CARD
</b><b>TAKEN FROM HIS POCKET.
</b>
<b>HE WALKS TO THE SLUMPED FORM OF AN EMPLOYEE, AND TAKES A KEY FROM
</b><b>AROUND HER NECK, MOVES TO THE SAFEBOXES IN THE REAR.
</b>
<b>THE KEYS DO NOT WORK. MOORE NODS AS IF TO SAY, "WELL, THAT WOULD
</b><b>HAVE BEEN TOO EASY..."
</b>
<b>HE UNSCREWS A SECTION OF HIS METAL CANE, AND REMOVES SMALL SURGICAL
</b><b>TOOLS, HE OPENS NOW ONE AND NOW ANOTHER OF THE SMALL SAFE BOXES AND
</b><b>EMPTIES THEM INTO THE CARRYALL. MOORE WIPES HIS FOREHEAD WITH HIS
</b><b>ARM AS HE WORKS.
</b>
<b>                      HEAVYSET MAN (PINCUS)
</b><b>              (VO)
</b>         ...two minutes...

<b>MOORE NODS.
</b>
<b>PINCUS MOTIONS UP, THEY BOTH LOOK UP AT A TELEVISION CAMERA...
</b>
<b>ANGLE
</b>
<b>A BLACK AND WHITE IMAGE--THE TWO MEN--PINCUS IN A STOCKINGMASK,
</b><b>MOORE SEEN PLAINLY, AS IF THROUGH THE SURVEILLANCE CAMERA...
</b>
<b>ANGLE
</b>
<b>MOORE NODS, FINISHES SCOOPING THE CONTENTS OF THE BOXES INTO THE
</b><b>CASE.
</b>
<b>HE LOOKS AT HIS WATCH, AND UP, AGAIN, AT THE TV CAMERA.
</b>
<b>                      PINCUS
</b>         Forty seconds...

<b>MOORE NODS, CAMERA TAKES HIM ALONG A WALL OF CABINETS, HE OPENS NOW
</b><b>ONE, AND NOW ANOTHER, DISSATISFIED...
</b>
<b>ANGLE, HIS POV.
</b>
<b>AN ELECTRONIC CABINET.   SEVERAL TAPEDECKS, BEHIND A METAL, LOCKED
</b><b>GRATING.
</b>
<b>THE TAPEDECK BEHIND IT, ITS LIGHTS GLOWING.
</b>
                      PINCUS (cont'd)
         ...thirty seconds...

<b>ANGLE
</b>
<b>ON MOORE, WHO USES THE TOOLS IN HIS CANE, TO ATTEMPT TO OPEN THE
</b><b>GRATING.
</b><b>
</b><b>                                                                   8.
</b>

<b>THE GRATING DOES SO, BUT HIS TOOL SLIPS, SHATTERING THE TAPEDECK
</b><b>BEYOND. ITS LIGHTS GO OUT.
</b>
<b>                      PINCUS (CONT'D)
</b>         Ten seconds...

<b>ANGLE, ON MOORE, AS HE TRIES, FURIOUSLY, TO DESTROY THE TAPE
</b><b>MACHINE, TO GET TO THE TAPE.
</b>
<b>ANGLE INS.   XCU.   THE TAPE MACHINE.   MOORE SMASHING AT IT.
</b>
<b>                      PINCUS (CONT'D)
</b>         ...that's it, that's gotta be it...

<b>MOORE CONTINUES TRYING TO PRY LOOSE THE TAPE.
</b>
<b>ANGLE
</b>
<b>PINCUS, PULLING MOORE AWAY.   THE HEAVYSET MAN PUTS THE PINK PACKAGES
</b><b>CAMOUFLAGE ON HIS CASE.
</b>
<b>ANGLE, CU ON MOORE, AS HE LEAVES THE BACK ROOM.
</b>
<b>ANGLE HIS POV.
</b>
<b>THE TAPE MACHINE.
</b>
<b>ANGLE: IN BLACK AND WHITE, AS IF THROUGH THE VIDEO SURVEILLANCE
</b><b>CAMERA--THE MEN LEAVING THE STORE.
</b>
<b>                                                    DISSOLVE TO:
</b>
<b>EXT THE DECK OF A SLOOP IN THE OCEAN, DAY
</b>
<b>A MAGNIFICENT 60-FOOT WOODEN SAILBOAT. A BEAUTIFUL DAY, LIGHT
</b><b>CHOP. A FLORID FELLOW IN HIS FIFTIES, SMOKING A CIGAR, AT THE
</b><b>WHEEL.
</b>
<b>ANGLE
</b>
<b>A BEAUTIFUL YOUNG WOMAN, THE SAME    WOMAN WE SAW IN THE PREVIOUS
</b><b>SEQUENCE, IN SHORTS AND A T-SHIRT,    AND SUNGLASSES, NEAR THE MAST OF
</b><b>THE SAILBOAT. BEYOND HER A MARKER     BUOY AND BEYOND A SMALL HARBOR
</b><b>AND MARINA. SHE TURNS TOWARD THE     CAMERA.
</b>
<b>                      WOMAN
</b><b>              (FRAN. CALLING BACK)
</b>         Y'got your marker, five, six hundred yards.
<b>              (PAUSE)
</b>         Y'might want to start your turn.

<b>ANGLE
</b>
<b>ON THE FLORID MAN, AS HE NODS. AND BENDS TO LOOK UNDER THE SAIL.
</b><b>HE IS BLINDED BY A FLASH OF LIGHT. HE SCREWS UP HIS EYES.
</b>
<b>ANGLE, HIS POV.
</b><b>
</b><b>                                                                  9.
</b>

<b>THE LIGHT, BOUNCING OFF A GLEAMING RAIL.   THE MAN FLINCHES.
</b>
<b>ANGLE: ON THE BOAT, AS IS COMES UP INTO THE WIND, THE SAIL
</b><b>LUFFS, AND THE BOAT BEGINS TO ROCK.
</b>
<b>ANGLE: FRAN COMING UNDER THE SAIL BOOM, GOES HURRIEDLY, TO THE
</b><b>WHEEL, AND MOVES TOWARD THE MAN. PUSHING HIM OUT OF THE WAY, AND
</b><b>CORRECTING THE COURSE OF THE BOAT.
</b>
<b>ANGLE:
</b>
<b>                      FLORID MAN
</b><b>              (SMILING)
</b>         ...you lookin to make friends...?

<b>                       FRAN
</b>         No.   I've got my friends...

<b>THE MAN MOVES TO THE WHEEL AGAIN, AND FRAN HOLDS HIM OFF.
</b>
<b>                      FRAN
</b>         You put this boat on the rocks, you bought
         it.

<b>                      FLORID MAN
</b>         I got the sun in my eyes.

<b>ANGLE
</b>
<b>AS FRAN TAKES THE WHEEL.
</b>
<b>ON THE BOAT, AS IT HEELS AND TURNS, PASSING THE RED MARKER BUOY
</b><b>INBOUND FOR THE HARBOR.
</b>
<b>INT SHIPYARD DAY.
</b>
<b>A SMALL MARINA.   THROUGH THE OPEN DOORS WE SEE THE MARINA BEYOND.
</b>
<b>GLEAMING, MOLTEN METAL IS BEING POURED INTO A SMALL MOULD BY A
</b><b>WORKMAN.
</b>
<b>JOE MOORE, NOW WITHOUT MOUSTACHE AND GLASSES, WITH LIGHT, GREYING
</b><b>HAIR, IN A CHEAP SPORTCOAT, COMES OVER, AND GIVES THE WORKMAN A FEW
</b><b>DIRECTIONS. THE WORKMAN NODS. CAMERA TAKES MOORE PAST SEVERAL
</b><b>BOATS IN THE SHED, IN VARIOUS STAGES OF DISASSEMBLY. OUT OF THE
</b><b>SMALL SHED, AND TO THE PIER OF THE MARINA, WHERE WE SEE FRAN TYING
</b><b>UP THE SLOOP, AND THE FLORID MAN DESCENDING THE GANGPLANK.
</b>
<b>                      MOORE
</b>         What do you think?

<b>                      FLORID MAN
</b>         Think you're too old for that girl--How'd
         you ever get a girl like that...?
<b>
</b><b>                                                                10.
</b>

<b>                      MOORE
</b>         I won her in a raffle...

<b>                      FLORID MAN
</b>         No, I'm serious. What's a girl like hh...

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

<b>                      FLORID MAN
</b>         Waal... your price is rather high...

<b>                      MOORE
</b>         I'll tell you what, then why'nt you go build
         one...

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

<b>                      FRAN
</b>         You have to ask him.

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

<b>FRAN, IN THE B.G. COMES DOWN THE GANGPLANK.
</b>
<b>                      MOORE
</b>         ...we'll be here...

<b>ANGLE, ON FRAN, AS SHE TURNS HER BACK ON THE FLORID MAN, AND
</b><b>STANDS CLOSE TO MOORE, HER FACE SURPRISED, MOORE IGNORES HER.
</b>
                      MOORE (cont'd)
         ...we'll be here.

<b>                      FLORID MAN
</b>         ...I like this boat...

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

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

<b>                      FRAN
</b>         Well, this one's not for sale.
<b>
</b><b>                                                               11.
</b>

<b>                      FLORID MAN
</b>         Everything's for sale. I'm gone tell you
         what: you want, sell the boat to me, this
         weekend, you want to name your price, we'll...
<b>              (HE HANDS FRAN A BUSINESS CARD AND
</b><b>               SCRIBBLES ON THE BACK OF IT.)
</b>
<b>                       FRAN
</b><b>              (SMILES)
</b>         Well, Mr. Fletcher, this weekend, we're gone
         on a little trip, but...

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

<b>FRAN DISASSOCIATES HERSELF FROM THE FLORID MAN (MR FLETCHER)
</b>
<b>                         FRAN
</b>         Excuse me...

<b>SHE WALKS TOWARD MOORE
</b>
<b>                      MOORE
</b>         What do you want me to bring you back?

<b>                      FRAN
</b>         You just come back... Stay in the shadows.

<b>                      MOORE
</b>         Everybody's lookin' in the shadows.

<b>                      FRAN
</b>         Then where's the place to be...?

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

<b>                      FRAN
</b>         Well, then, you stay there, then...

<b>BEAT.
</b>
<b>HE TAKES HER TO HIM AND KISSES HER.
</b>
<b>                      FLETCHER
</b><b>              (IN THE B.G. JOCULARLY)
</b>         ...pretty little girl like that, wouldn't stay
         away too long...

<b>MOORE EXCHANGES A LOOK WITH FRAN.
</b>
<b>SOUND OF A CARHORN.   THEY BOTH TURN.
</b>
<b>ANGLE, THEIR POV.
</b><b>
</b><b>                                                                12.
</b>

<b>A CAB, EXT, THE MARINA.
</b>
<b>ANGLE
</b>
<b>FRAN AND MOORE, HE SHRUGS, STARTS TO TURN.   FRAN PUTS A HAND ON
</b><b>HIS ARM.
</b>
<b>                       FRAN
</b>         Stay here.   Let Bobby do it...

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

<b>HE TURNS TOWARD THE CAB.
</b>
<b>INT BOXING GYM DAY.
</b>
<b>SOUND OF SPEEDBAGS, AND ROPESKIPPING.
</b>
<b>TWO YOUNG MEN SPARRING IN THE SMALL, DARK, DIRTY GYM.
</b>
<b>ANGLE
</b>
<b>BLANE, IN HOODED SWEATSHIRT AND JEANS, SMOKING A CIGAR, LOOKS DOWN,
</b><b>FROM A WOODEN BALCONY, ON THE GYM BELOW.
</b>
<b>BEHIND HIM WE SEE MOORE ENTER THE BALCONY, AND WALK SILENTLY,
</b><b>AND STAND TWO FEET BEHIND THE CHAIR. BEAT.
</b>
<b>                      BLANE
</b>         You shouldn't sneak up on a fella like that.

<b>                      MOORE
</b>         ...what's he likely to do...?

<b>                      BLANE
</b>         He's likely to do all sorts of unpredictable
         shit.

<b>BLANE TURNS, AND THE TWO START DOWN THE RICKETY STAIRS TO THE
</b><b>MAIN FLOOR.
</b>
<b>ANGLE
</b>
<b>MOORE TURNS. TO SEE TWO WORKMEN UNBOLTING A SMALL METAL PIPE
</b><b>SCAFFOLDING, ON WHICH HANG SOME OLD HEAVYBAGS.
</b>
                      BLANE (cont'd)
         Yeah, I was going, put in some new equipment.

<b>                      MOORE
</b>         What'd you, come into some money?

<b>BLANE SMILES.
</b>
<b>ON THE MAIN FLOOR OF THE GYM, A WIZENED OLD MAN SITS AT A SMALL
</b><b>COATROOM.
</b><b>
</b><b>                                                                 13.
</b>

<b>BLANE GESTURES AND THE MAN THROW HIM AN OLD LEATHER JACKET, AND
</b><b>HANDS HIM A LARGE BOXING GYM BAG. MOORE AND BLANE EXIT THE GYM.
</b>
<b>EXT 47TH STREET DIAMOND DISTRICT.    NYC DAY.
</b>
<b>BLANE AND MOORE WALKING DOWN THE STREET. THEY PASS INTO A BUILDING
</b><b>WHICH WE SEE ADVERTISED AS GOLDENSOHNS DIAMOND MART.
</b>
<b>                      BLANE
</b>         Where you goin to go with the gelt?

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

<b>                      BLANE
</b>         You gone go South somewhere... rub yourselves
         all over, Cocoa butter...

<b>                      MOORE
</b>         ...that's right.

<b>                      BLANE
</b>         Get one of them cocker spaniel dogs, pull down
         your bathingsuit...

<b>                      MOORE
</b>         ...that's right...

<b>                      BLANE
</b>         ...stick your white ass out at the world...

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

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

<b>ANGLE THEIR POV.
</b>
<b>TWO UNIFORMED POLICEMEN, WALKING DOWN THE STREET, OUT OF A DELI.
</b><b>BLANE AND MOORE TURN.
</b>
<b>BEAT. THE POLICE TURN AWAY FROM BLANE AND MOORE.     BLANE AND MOORE
</b><b>PROCEED.
</b>
<b>ANGLE INT GOLDENSHON'S DIAMOND MART.
</b>
<b>BLANE AND MOORE ENTER. BLANE HOLDS THE DOOR OPEN FOR AN EXITING
</b><b>MATRON. THEY PROCEED DOWN THE AISLES OF STALLS AND JEWELS.
</b>
<b>CAMERA TAKES THEM TO A HEAVYSET FELLOW STANDING IN FRONT OF A DOOR.
</b><b>
</b><b>                                                               14.
</b>

<b>INT OFFICE SUITE DAY.
</b>
<b>THE GYMCASE IS PLACED DOWN ON A HEAVY DESK. MOORE SITS IN A CHAIR,
</b><b>BLANE STANDS BEHIND HIM IN THE SMALL SPARSELY FURNISHED ROOM, ACROSS
</b><b>FROM BERGMAN, A FELLOW WHO LOOKS LIKE A GANGSTER. BERGMAN OPENS THE
</b><b>CASE.
</b>
<b>ANGLE INS: THE CASE IS FULL OF OLD BOXING EQUIPMENT--GLOVES, A
</b><b>SPEED BAG, ETC. A HAND COMES INTO THE SHOT, TAKES OUT A KNIFE, AND
</b><b>RIPS OPEN THE SPEEDBAG--WE SEE THE GLINT OF JEWELS INSIDE. THE
</b><b>KNIFE PROCEEDS TO OPEN OLD BOXING GLOVES, ETC. ALL ARE FULL OF
</b><b>JEWELS.
</b>
<b>ANGLE
</b>
<b>THE MEN AT THE DESK.    SOUND OF A DOOR OPENING.
</b>
<b>IN THE B.G. A DARK, HANDSOME YOUNG MAN IS SEEN OPENING THE DOOR TO
</b><b>THE OUTSIDE.
</b>
<b>BERGMAN MOTIONS HIM TO TAKE THE CASE AND LEAVE, THE MAN (BELLA) NODS
</b><b>AND BEGINS TO DO SO.
</b>
<b>                      BERGMAN
</b><b>              (INTRODUCING HIM)
</b>         My nephew, Jimmy.

<b>                      MOORE
</b>         I met him a long time ago.
<b>              (NODS)
</b>
<b>                        BERGMAN
</b>         Did you...?

<b>                      MOORE
</b>         Yeah, I think I did.

<b>BEAT.
</b>
<b>BLANE AND MOORE EXCHANGE A LOOK, THE DARK YOUNG MAN IS HANDED THE
</b><b>GYMCASE. HE CLOSES THE DOOR LEAVING BERGMAN, BLANE, AND MOORE
</b><b>ALONE. MOORE NODS, TO INDICATE, "IT'S ALRIGHT," AND BLANE BEGINS,
</b><b>RELUCTANTLY, TO LEAVE.
</b>
<b>                      BERGMAN
</b>         You should of shot the girl.

<b>                       MOORE
</b><b>              (SHRUGS)
</b>         You know, you're right...

<b>BERGMAN SHRUGS, AS IF TO SAY "WELL, THAT'S WATER UNDER THE BRIDGE."
</b>
<b>                      BERGMAN
</b>         On the other thing, Good News! We got the
         go ahead, we got a date. I got a firm date on
         the swiss thing.
<b>
</b><b>                                                                 15.
</b>

<b>                       MOORE
</b>         I'm burnt.   They got my picture.

<b>                       BERGMAN
</b><b>              (SHRUGS)
</b>         They got your picture in drag.     Witcher
         warpaint on.

<b>                      MOORE
</b><b>              (SHAKES HIS HEAD)
</b>         --I got to go.

<b>                      BERGMAN
</b>         You goin down, a Body Shop?
<b>              (HE RUNS HIS HANDS OVER HIS
</b><b>               FACE.)
</b>
<b>                      MOORE
</b>         Yeah, I'm gonna have'em pound the dents out.

<b>                      BERGMAN
</b>         ...old as you are, it's a good deal.

<b>                      MOORE
</b>         Waal, they're honorable scars.

<b>                      BERGMAN
</b>         That they are and indeed they are.     How you
         doing, Bobby?

<b>                      BLANE
</b>         Well, you're looking at it.

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

<b>THERE IS A KNOCK AT THE DOOR. BELLA, THE YOUNG HANDSOME MAN
</b><b>ENTERS WITH THE GYM BAG AND A PIECE OF PAPER, AND WALKS TOWARD
</b><b>BERGMAN. BERGMAN TAKES THE PAPER, AND SMILES.
</b>
<b>                      BERGMAN
</b>         No, you're the Boss Hog, Joe.

<b>                      MOORE
</b>         Kind of you to say so.

<b>                      BERGMAN
</b><b>              (OF THE SLIP OF PAPER)
</b>         Nobody... gets the goods like you...

<b>                      MOORE
</b>         Anybody can get the goods, the tough part's,
         getting away.

<b>                      BERGMAN
</b>         Uh huh.
<b>
</b><b>                                                               16.
</b>

<b>                      MOORE
</b>         Plan a good enough getaway, you could steal
         Ebbetts Field.

<b>                      BERGMAN
</b>         Ebbet's Field's gone...

<b>                      MOORE
</b>         What'd I tell ya...?
<b>              (BERGMAN HANDS HIM A SLIP OF
</b><b>               PAPER. OF THE SLIP OF PAPER)
</b>         Higher than the estimate.
<b>              (HE PASSES THE PAPER TO BLANE)
</b>
<b>                      BERGMAN
</b>         And half of that's yours.     You n'your team.

<b>                      MOORE
</b>         Yeah, why're you telling me that?

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

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

<b>                      MOORE
</b>         ...you remember that?

<b>                      BERGMAN
</b>         It's the shot of the century.

<b>                      MOORE
</b>         Yeah--well, it's a shame...

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

<b>HE PUTS HIS ARM AROUND MOORE, AND WALKS HIM INTO THE OUTER OFFICE,
</b><b>WHERE WE SEE BLANE AND BELLA AND SEVERAL BODYGUARD TYPES.
</b>
<b>                      BERGMAN (CONT'D)
</b>         ...I put myself, n'my friends in hock, set
         the deal up...

<b>                      MOORE
</b>         I need my money. I owe the crew...
<b>              (PAUSE)
</b>         I owe my crew, Bill...
<b>
</b><b>                                                             17.
</b>

<b>                      BERGMAN
</b>         If it was me...

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

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

<b>                      MOORE
</b>         Woulda shoulda coulda.

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

<b>                      MOORE
</b>         You're too kind.

<b>                      BLANE
</b>         Why don't you publish the plans?

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

<b>                      MOORE
</b>         What is it I understand...?

<b>                      BERGMAN
</b>         You understand my position.

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

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

<b>ANGLE
</b>
<b>ON MOORE, AS HE EXCHANGES A LOOK WITH BLANE
</b><b>
</b><b>                                                                   18.
</b>

<b>THEY LOOK AT THE GYMBAG.      BLANE STARTS TO EDGE TOWARD THE GYMBAG.
</b>
                         BERGMAN (cont'd)
            ...let's all remember where we are...

<b>                         BLANE
</b><b>                 (AS HE MOVES TOWARD THE BAG)
</b>            ...that's very literary.

<b>BELLA PUSHES HIM BACK.
</b>
<b>                         BELLA
</b>            Look here, Pal... Look here, Pal... You're
            the help...

<b>                           BLANE
</b>            I'm what...?

<b>                           BELLA
</b>            ...you're...

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

<b>ANGLE, HIS POV, INSERT, THE GYMBAG.      WE SEE ONE OF THE BODYGUARDS
</b><b>MOVE IN FRONT OF IT.
</b>
<b>ANGLE
</b>
<b>MOORE AND BLANE AS BELLA PUSHES BLANE AWAY FROM THE GYMBAG.      BLANE
</b><b>PUNCHES HIM, HE FALLS TO THE GROUND. BLANE PULLS A PISTOL.
</b>
<b>ONE OF    THE THUGS NEXT TO BLANE PULLS A PISTOL, AND POINTS IT AT
</b><b>BLANE    WHO BATS IT OUT OF THE WAY. THE GUN DISCHARGES. BLANE STEPS
</b><b>UP TO    THE THUG AND HITS HIM IN THE HEAD WITH THE GUNBUT. THE THUG
</b><b>FALLS    TO THE FLOOR.
</b>
                         BLANE (cont'd)
<b>                 (AS HE MOVES TOWARD THE GYMBAG)
</b>            You wanna play "O.K. Corral?" Is this the
            plan of the Day? You wanna go dress warmly,
            n'go play Outside? Go for it. Go for it,
            motherfucker: you know where I am, I'm right
            here...
<b>                 (PAUSE)
</b>
<b>                         BERGMAN
</b>            Yeah. You're a pitbull.
<b>                 (TO MOORE)
</b>            Your friend's a pitbull.

<b>                         MOORE
</b>            What do you want, we're supposed to do, sit
            back, put our feet up while you fucken rob
            me?
<b>
</b><b>                                                          19.
</b>

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

<b>                        MOORE
</b>         I got to go.

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

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

<b>                      BERGMAN
</b>         I want you do do the Swiss job.
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         Gimme our cut, we worked for, my crew, we do
         the Swiss Job.

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

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

<b>                      BERGMAN
</b><b>              (TO MOORE)
</b>         ...I don't think your friend likes me...

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

<b>SEVERAL OF THE THUGS DRAW THEIR WEAPONS.
</b>
<b>                      BERGMAN
</b>         ...alright... alright... let's just...
<b>
</b><b>                                                                  20.
</b>

<b>                      BLANE
</b>         How about that, n' we'll let someone else
         clean up...

<b>BLANE MOVES TOWARD THE GYMBAG.
</b>
                      BLANE (cont'd)
         How about them rosy'red apples...?

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

<b>BLANE OPENS THE GYMBAG AND WE SEE THAT IT IS EMPTY--HE LOOKS TO
</b><b>MOORE FOR DIRECTIONS.
</b>
                      MOORE (cont'd)
         Alright.

<b>                      BLANE
</b>         What?

<b>                      MOORE
</b>         I said alright.
<b>              (PAUSE)
</b>
<b>                      BERGMAN
</b>         ...you'll do the Swiss Job?

<b>                      MOORE
</b>         No.

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

<b>                      MOORE
</b>         I'm telling you I'll think about it.
<b>              (PAUSE)
</b>         Lemme think about it.

<b>THE THUG STARTS TO RISE FROM THE FLOOR.    BLANE ADDRESSES HIM.
</b>
<b>                      BLANE
</b>         ...don't get up.

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

<b>BLANE AND MOORE BACK OUT OF THE ROOM.
</b><b>
</b><b>                                                             21.
</b>

<b>INT BEDROOM NIGHT. MOORE AND FRAN, ON THE BED. WRAPPED IN A SHEET.
</b><b>MOORE IS STANDING AT THE WINDOW, WEARING PAJAMA BOTTOMS.
</b>
<b>ANGLE HIS POV.
</b>
<b>HIS SAILBOAT, IN THE MARINA BELOW.
</b>
<b>ANGLE, ON MOORE, AS HE TURNS BACK TO FRAN.
</b>
<b>                        FRAN
</b>         ...alright:    what if we...

<b>MOORE HOLDS UP HIS HAND FOR HER TO BE QUIET.    BEAT.
</b>
<b>                        MOORE
</b>         I'm sorry...

<b>                      FRAN
</b>         ...what do you tell me?     What is it you tell
         me?

<b>                      MOORE
</b>         What is it I tell you?

<b>                      FRAN
</b>         "Any situation, stand it on its head."

<b>                      MOORE
</b>         Izzat right...

<b>                      FRAN
</b>         So:  stand it on its head.
<b>              (PAUSE)
</b>         What if we...

<b>MOORE INTERRUPTS.
</b>
<b>                      MOORE
</b>         Sell the beat.
<b>              (PAUSE)
</b>         Call the guy, sell the boat.

<b>ANGLE ON FRAN AS SHE DIALS THE PHONE.
</b>
                      MOORE (cont'd)
         You quote him our figure, sell it to him for
         cash.

<b>                        FRAN
</b>         For cash?

<b>                      MOORE
</b>         That's the sweetener.

<b>                      FRAN
</b>         I don't get it.
<b>
</b><b>                                                                 22.
</b>

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

<b>                      FRAN
</b>         Where's he gonna get the cash at night?

<b>                      MOORE
</b>         Let him get it tomorrow.   You bring him the
         title for the boat.

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

<b>                      FRAN
</b>         How're you going to Mexico...?

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

<b>                      FRAN
</b>         F'you're taking the boat, Baby, take the boat
         tonight...

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

<b>FRAN GESTURES FOR HIM TO BE QUIET, AS THERE IS SOMEONE ONE THE
</b><b>LINE.
</b>
<b>                      FRAN
</b>         Well, would you tell him...

<b>                      MOORE
</b>         ...I can't go down there with nothing...

<b>                      FRAN
</b>         What're you gonna do about the Other Guys?

<b>                      MOORE
</b>         We're gonna play some ringolevio.     I'm gonna
         need your help--Look here:
<b>
</b><b>                                                               23.
</b>

<b>INT NYC DELICATESSEN DAY
</b>
<b>MIDTOWN BUSY DELI. PINCUS AND BLANE SEATED AT A BOOTH IN THE REAR
</b><b>OF THE DELI, DRINKING COFFEE.
</b>
<b>                      PINCUS
</b>         You know, in many ways, it isn't their
         arrogance that hurts, it's the money.

<b>                        BLANE
</b>         Yeah?    What were you gonna do with the money?

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

<b>                      BLANE
</b>         ...with what?

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

<b>                        BLANE
</b>         Joe?    He's got something in reserve.

<b>PINCUS SHRUGS, AS IF TO SAY "MAY IT BE SO."
</b>
                      BLANE (cont'd)
         He's got something in the Hole. He wouldn't
         change his mind without a diversion.

<b>                      PINCUS
</b>         ...may it be so.

<b>                      BLANE
</b>         ...and a back-up plan...

<b>ANGLE, ON BELLA, WHO IS WALKING BACK THROUGH THE DELI, TOWARD THE
</b><b>BOOTH HOLDING PINCUS AND BLANE.
</b>
<b>BELLA STOPS, SHEILDED BEHIND SOME COATS.
</b>
<b>ANGLE HIS POV.
</b>
<b>THE OTHER TWO MEN IN THE BOOTH.
</b>
                      PINCUS (cont'd)
         ...b'cause, b'cause I've spent my cut, the
         last thing...

<b>                      BLANE
</b>         ...you hold tight with the Crew...
<b>
</b><b>                                                                  24.
</b>

<b>                      PINCUS
</b>         ...I hold tight with the Crew, the Crew holds
         tight with me, is all I'm...

<b>BLANE PERCEIVES BELLA, AND PINCUS STOPS TALKING.
</b>
<b>BLANE LOOKS UP, ALL TURN.
</b>
<b>ANGLE, THEIR POV.    BELLA, AT THE BOOTH.
</b>
<b>                      BELLA
</b>         How're we all today?

<b>                      BLANE
</b>         F'we got somewhere to go, let's go.

<b>ANGLE
</b>
<b>THE GROUP IN THE BOOTH RISES, BELLA MOTIONS THEM OUT OF THE FRONT
</b><b>OF THE STORE.
</b>
<b>ANGLE EXT 47TH STREET, DIAMOND DISTRICT, DAY.
</b>
<b>THE GROUP EMERGES FROM THE DELI.
</b>
<b>ANGLE INT.   A GOLD AND JEWELRY SHOWROOM.
</b>
<b>BERGMAN BEHIND THE COUNTER, TALKING TO A MAN AT AN OPEN SAFE, THE
</b><b>MAN IS HANDLING SEVERAL GOLD COINS.
</b>
<b>ANGLE INS.
</b>
<b>BERGMAN'S HAND, HOLDING THE COINS.
</b>
<b>ANGLE
</b>
<b>BERGMAN, LOOKS UP.
</b>
<b>ANGLE HIS POV.
</b>
<b>ACROSS THE STREET, THE GROUP, AND BELLA, MOTIONING MOORE ACROSS THE
</b><b>STREET.
</b>
<b>ANGLE, EXT, THE GOLD AND JEWELRY SHOWROOM.   BERGMAN COMES OUT,
</b><b>COMING ACROSS 47TH STREET.
</b>
<b>IN THE B.G. WE SEE A BUNCH OF SCANDINAVIAN LOOKING TOURIST,
</b><b>EACH WITH HIS MAP, CAMERA SLUNG AROUND THE NECK, ET CETERA, WALKING
</b><b>DOWN THE STREET.
</b>
<b>WE SEE BERGMAN, CROSSING THE STREET, LOOKING AROUND.
</b>
<b>ANGLE
</b>
<b>PINCUS, BELLA, AND BLANE, BLANE IS SCANNING THE STREET, HE TURNS
</b><b>BACK IN THE DIRECTION OF BERGMAN, AND NODS.
</b>
<b>ANGLE HIS POV
</b><b>
</b><b>                                                               25.
</b>

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

<b>                      BERGMAN
</b>         You'll do the job?

<b>                      MOORE
</b>         That's right.

<b>                      BERGMAN
</b>         I'm sorry I put you in a position.

<b>                      MOORE
</b>         It's very sporting of you to say so.

<b>                        BERGMAN
</b>         Well...

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

<b>                      BERGMAN
</b>         That's not unreasonable.

                      MOORE (cont'd)
         Give it to me
<b>               (HE HOLDS OUT HIS HAND.)
</b>
<b>                        BERGMAN
</b>         ...now?

<b>                      MOORE
</b>         ...you got it in your pocket.

<b>BERGMAN SIGHS, TAKES OUT AN ENVELOPE, AND SHOWS IT TO MOORE.
</b>
<b>                      BERGMAN
</b>         ...you're ahead of me every turn.    How about
         that.

<b>                        MOORE
</b>         ...stunning.

<b>                      BERGMAN
</b>         ...the date holds, you got the shipment on the
         fourteenth.

<b>                      MOORE
</b>         ...how do I insure my cut?
<b>
</b><b>                                                               26.
</b>

<b>                      BERGMAN
</b>         I swear to you...

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

<b>                       MOORE
</b>         Now:   what's your little surprise.

<b>ANGLE, OVER THEM, ONTO THE GROUP OUTSIDE THE DELI, AS WE SEE THAT
</b><b>THEIR WALK HAS TAKEN MOORE AND BERGMAN AROUND THE BLOCK.
</b>
                      BERGMAN (cont'd)
<b>              (MOTIONING AT BELLA AS THEY JOIN
</b><b>               THE OTHER GROUP)
</b>         ...my boy goes on the job with you.
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         ...he's got terrible manners.

<b>                      BERGMAN
</b>         Nobody's perfect.
<b>              (PAUSE)
</b>
<b>THE TWO HAVE WALKED UP TO PINCUS AND BLANE.
</b>
<b>                      MOORE
</b><b>              (TO BERGMAN)
</b>         Gettim over here...
<b>              (BERGMAN MOTIONS TO BELLA)
</b>
<b>                      BELLA
</b><b>              (PAUSE)
</b>         ...I'm sorry for what I said.

<b>                      BLANE
</b>         ...what'd he say...?

<b>                      BELLA
</b><b>              (PAUSE)
</b>         I'm sorry for what I said.
<b>              (PAUSE MOORE MOTIONS TO BLANE)
</b>
<b>                      BLANE
</b>         Well, you were prolly just overcome by the
         heat of the moment. Is that the thing?
<b>
</b><b>                                                              27.
</b>

<b>                      BELLA
</b>         ...that's right.

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

<b>MOORE AND BLANE START TO WALK AWAY.
</b>
<b>                      BLANE
</b>         You going to take that lame onna job?

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

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

<b>                      MOORE
</b>         You do whatever the fuck you have to do...

<b>MOORE STARTS TO WALKAWAY FROM THE GROUP, FOLLOWED BY BLANE.
</b>
<b>                      MOORE
</b>         You want to show me another way?

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

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

<b>                      BERGMAN
</b>         You go with the gold. That's the deal.
<b>              (PAUSE. BLANE AND MOORE START TO
</b><b>               WALKAWAY)
</b>
<b>                      BLANE
</b>         You're losing a step, Joey.
<b>
</b><b>                                                                 28.
</b>

<b>                       MOORE
</b>         Zat so?

<b>                      BLANE
</b>         Time was, you wuun't of asked him.

<b>                      MOORE
</b>         Yeah, well, the time was I was the Law West
         of the Pecos.

<b>                       BLANE
</b>         And now...?

<b>                      MOORE
</b>         And now the Time Was, I got to get out of
         Town.

<b>HE TURNS BACK, HANDS THE ENVELOPE TO PINCUS.
</b>
                      MOORE (cont'd)
<b>              (SOTTO, TO PINCUS)
</b>         Okay it's on.

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

<b>PINCUS TURNS BACK TO EXCHANGE A PRIVATE WORD WITH MOORE.
</b>
<b>                      MOORE
</b>         You wanna wash any laundry out inna
         street...? ...you said you were gone take
         care of it, take care of it.
<b>              (PAUSE, WHILE PINCUS HESITATES)
</b>         ...are you in or out...?

<b>PINCUS EXCHANGES A LOOK WITH BLANE.    SHRUGS, AND NODS AND WALKS
</b><b>OFF.
</b>
<b>MOORE, TO BLANE.
</b>
                      MOORE (cont'd)
         Is he going soft on me...?

<b>                      BLANE
</b><b>              (PAUSE)
</b>         He'd never go soft on you, Joey...

<b>                      MOORE
</b>         Well, then. What's the thing?     Am I missing
         something...?

<b>                      BLANE
</b>         He's just countin' the tricks, and the tricks
         don't add up. Tricks don't add up. These
         guys. You get the gold, they never let you
         walk away wi... why would you want to...
<b>              (PAUSE.
</b><b>                      (MORE)
</b><b>
</b><b>                                                               29.
</b>

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

<b>                      BLANE
</b>         I know you do.

<b>                       MOORE
</b>         Tick tock.

<b>                       BLANE
</b>         No, I know.

<b>                      MOORE
</b>         The cops got me on tape.   I got to go...
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         But everybody gets his cut from the Jewelry
         store.

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

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

<b>MOORE TURNS BACK TO BELLA.
</b>
                      MOORE (cont'd)
         Awright, you want to go to work...?

<b>BELLA WALKS UP TO THE GROUP.
</b>
<b>BLANE SEES SOMETHING OVER MOORE'S SHOULDER.
</b>
<b>ANGLE HIS POV.
</b>
<b>THE TWO POLICEMEN WE SAW EARLIER, WALKING THEIR BEAT, ONE LOOKS IN
</b><b>MOORE'S DIRECTION, AND DOES A DOUBLE TAKE, AND THEN KEEPS LOOKING
</b><b>AT MOORE.
</b>
<b>ANGLE
</b>
<b>ON MOORE AND BLANE, MOORE STARTS TO HALF-TURN, BLANE PUTS HIS ARM
</b><b>ON MOORE'S ELBOW, AND STARTS TO WALK HIM AWAY.
</b>
<b>                      BLANE
</b><b>              (SOTTO)
</b>         ...just keep walking...
<b>
</b><b>                                                               30.
</b>

<b>BLANE TURNS BACK, AND LOOKS AT PINCUS, WHO STANDS IN THE MIDDLE OF
</b><b>THE BLOCK, HE TUGS ON HIS EAR, AND INCLINES HIS HEAD SLIGHTLY TOWARD
</b><b>THE TWO POLICEMEN, ONE OF WHOM IS WALKING, TENTATIVELY, TOWARD
</b><b>MOORE.
</b>
<b>ANGLE, ON PINCUS, WHO IS TURNED AWAY.
</b>
<b>ANGLE
</b>
<b>ON BLANE, WHO IS STILL TRYING TO SIGNAL PINCUS.
</b>
<b>HE SHAKES HIS HEAD MINUTELY, AND TURNS BACK TO MOORE.
</b>
                      BLANE (cont'd)
<b>              (SOTTO)
</b>         ...walk on... just walk on...

<b>ANGLE
</b>
<b>ON THE TWO POLICEMEN, WHO ARE WALKING TOWARD BLANE AND MOORE, WE
</b><b>SEE MOORE DETACH HIMSELF FROM BLANE, AND CONTINUE WALKING, TURNING
</b><b>THE CORNER.
</b>
<b>ANGLE
</b>
<b>ON BLANE, AS HE WALKS UP TOWARD A PASSERBY. HE TAKES A PIECE OF
</b><b>PAPER OUT OF HIS POCKET, AS IF LOOKING FOR DIRECTIONS.
</b>
                      BLANE (cont'd)
         ...excuse me... excuse me...

<b>THE PASSERBY IS CROSSING THE STREET, BLANE STEPS OUT INTO THE
</b><b>STREET. WE HEAR THE BLARING OF CAR HORNS, AND THE SQUEAL OF BRAKES.
</b>
<b>ANGLE
</b>
<b>ON BLANE, AS A CAR RUNS INTO HIM.
</b>
<b>BLANE HITS THE HOOD OF THE CAR.
</b>
<b>ANGLE
</b>
<b>ON HIS HAND, AS IT COMES DOWN, WITH A THUMP, ON THE HOOD OF THE
</b><b>CAR.
</b>
<b>HE ROLLS OFF THE HOOD, AND ONTO THE GROUND.
</b>
<b>ANGLE
</b>
<b>ON THE TWO POLICEMEN, TURNING TO THE SOUND OF THE ACCIDENT.
</b>
<b>IN THE B.G. WE SEE MOORE, TURNING THE CORNER.
</b>
<b>ANGLE
</b>
<b>ON BLANE, ON THE GROUND, HOLDING HIS LEG.
</b><b>
</b><b>                                                                 31.
</b>

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

<b>ANGLE ON THE CROWD OF ONLOOKERS, AS THE POLICEMEN KNEEL TO BLANE.
</b><b>BLANE STARTS TO HIS FEET. IN THE BACK OF THE CROWD WE SEE PINCUS,
</b><b>WHO LOOKS ON FOR A SECOND, AND THEN MELTS AWAY.
</b>
<b>ANGLE
</b>
<b>SIDEWALK, PASSERBY.   MOORE WALKING IN THE STREET.   PINCUS COMES UP
</b><b>BEHIND HIM.
</b>
<b>                      PINCUS
</b><b>              (SOTTO)
</b>         ...he's okay.

<b>                      MOORE
</b>         Yeah, well, you know, that was his road
         game.

<b>                      PINCUS
</b>         He's too old for that.

<b>                       MOORE
</b><b>              (SHRUGS)
</b>         It's his job. Let's get to work.

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

<b>SHE HANGS UP, SHE GOES TO THE BAR, TWO PACES AWAY, AND SITS NEXT
</b><b>TO A MIDDLEAGED WOMAN.
</b>
                      FRAN (cont'd)
<b>              (TO BARTENDER)
</b>         Could I have another, please...?

<b>                      BARTENDER
</b>         Hope you're not driving tonight.

<b>                      FRAN
</b>         Well, I hope I am driving tonight, and I run
         into some fucked abutment IF THAT'S WHAT
         THEY'RE CALLED, and
<b>              (HE GIVES HER A DRINK)
</b>         Thank you...
<b>              (SHE DRINKS)
</b><b>
</b><b>                                                                32.
</b>

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

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

<b>ANGLE.   ON BELLA, SITTING IN THE BACK OF THE BAR, WATCHING FRAN.
</b>
<b>HE TAKES OUT A POLAROID CAMERA AND TAKES A PICTURE.
</b>
<b>                       WAITRESS
</b><b>               (TO BELLA, AS SHE PUTS DOWN A
</b><b>                DRINK NEXT TO HIS EMPTY GLASS)
</b>          ...see anything you like...?

<b>EXT RAILROAD OVERPASS. DAY.
</b>
<b>A STATIONWAGON, PARKED BY THE SIDE OF THE ROAD.
</b>
<b>ANGLE INT.   BELLA AND BLANE AND PINCUS, IN THE STATIONWAGON.
</b>
<b>BLANE HOLDS A NOTEPAD, AND IS TALKING TO BELLA, WHO IS TAKING OUT A
</b><b>MOBILE PHONE.
</b>
<b>                       BLANE
</b><b>               (AS HE LOOKS AT A   POLAROID PICTURE
</b><b>                OF THE WOMAN WE   SAW IN THE BAR)
</b><b>               (READING OFF THE   NOTEPAD)
</b>          ...what's the woman's   name...?

<b>                        BELLA
</b>          Croft.   Betty Croft.

<b>                       BLANE
</b>          ...and she's on what shift...?

<b>ANGLE, ON PINCUS, AS HE DIALS HIS NUMBER, AND MOTIONS BLANE TO BE
</b><b>SILENT. HE LOOKS AT HIS WATCH.
</b>
<b>                       BELLA
</b><b>               (RECITING)
</b>          She's on the swingshift. She's got two kids.
          She's got an ulcer. Betty Croft...
<b>               (TO PHONE)
</b>          I got to report a Bomb throat, I got to
          report, you've got a bomb in...

<b>ANGLE
</b>
<b>UNDERNEATH THE OVERPASS.   WE SEE THE HIGHWAY ABOUT, AND THE
</b><b>STATIONWAGON.
</b><b>
</b><b>                                                               33.
</b>

<b>MOORE, WEARING A HARDHAT, AND CARRYING A CLIPBOARD, IS PACING OFF
</b><b>THE TRACK. HE GLANCES AT HIS WATCH. NODS. KEEPS PACING. HE
</b><b>MAKES A NOTATION IN HIS CLIPBOARD.
</b>
<b>ANGLE
</b>
<b>MOORE, CLIMBING THE BANK, UP TO THE ROADGRADE, TOWARD THE
</b><b>STATIONWAGON.
</b>
<b>ANGLE, INT THE STATIONWAGON.    BLANE AND BELLA.
</b>
<b>                      BELLA
</b>         What's the story on your pal?

<b>                      BLANE
</b>         He was born, he suffered, he died.
<b>              (PAUSE)
</b>
<b>                      BELLA
</b>         How long's he been with the girl?

<b>                      BLANE
</b>         What business is it of yours?

<b>                      BELLA
</b>         How long's he been with her...?

<b>                      PINCUS
</b>         How long is a chinaman's name.
<b>              (PAUSE)
</b>
<b>                      BELLA
</b>         Can he do the thing?

<b>                      BLANE
</b>         He was doing the thing before you were born.

<b>                      BELLA
</b>         Well, you see, that's what, that's what
         troubles me.
<b>              (PAUSE)
</b>
<b>                      BLANE
</b>         Maybe you wanna pray about it.

<b>                      BELLA
</b>         No, I'm not a religious man.

<b>                      BLANE
</b>         That's a shame. Who's got the Uniforms...?

<b>                      PINCUS
</b>         ...I got em...

<b>                      BLANE
</b>         ...the rental trucks...?
<b>
</b><b>                                                              34.
</b>

<b>MOORE WALKS UP TO THE CAR, AND HOLDS A CONFERENCE, LEANING IN THE
</b><b>WINDOW. HE STARTS TO SPEAK, AND A PLANE SCREAMS OVER, HE LOOKS UP
</b><b>AND PAUSES.
</b>
                      BLANE (cont'd)
         Whaddaya got?

<b>                      MOORE
</b>         I got to redo some of these figures.

<b>                      BELLA
</b>         They worked out on the plan, why all a sudden
         now, you...

<b>                      MOORE
</b>         Because, lemme explain it to you: because
         when it starts to go sour, someby's gonna be
         pissing their shit, look'n around, shoot
         someb'y inna head, I'd like to have an
         alternative idea, is the explanation.
<b>              (PAUSE)
</b>
<b>TWO POLICE CRUISERS SCREAM BY, LIGHTS FLASHING. BLANE AND MOORE
</b><b>LOOK AT EACH OTHER AND NOD. MOORE MAKES A NOTE ON HIS CLIPBOARD.
</b>
<b>                      MOORE (CONT'D)
</b>         One minute twenty seconds...

<b>                      BELLA
</b>         ...why should it go sour?

<b>MOORE SHAKES HIS HEAD IN DISBELIEF.
</b>
                      BELLA (cont'd)
         No, no. No. Teach me something: why should
         it go sour. Was that such a stupid...?
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         Y'ever cheat on a woman?
<b>              (PAUSE)
</b>         Your girl, something...
<b>              (PAUSE)
</b>         Stand her up?

<b>                       BELLA
</b>         ...what...?

<b>                      MOORE
</b>         D'you ever do that?

<b>                       BELLA
</b>         Yeah.

<b>                      MOORE
</b>         When you called her up, d'you have an excuse?
<b>
</b><b>                                                                   35.
</b>

<b>                        BELLA
</b>          Yeah.

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

<b>BEAT.   MOORE WALKS AWAY.
</b>
<b>                       BELLA
</b>          What was that about?

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

<b>BELLA SHRUGS.
</b>
                         BLANE (cont'd)
          Now:    why'd you ask about his wife...?

<b>PAUSE. THERE IS THE SCREECH OF A TRAIN WHISTLE. IN THE B.G. WE SEE
</b><b>MOORE MAKE A NOTATION, AND WAVE TOWARD BLANE. IN THE STATIONWAGON
</b><b>BLANE MAKES A NOTE ON A CLIPBOARD, AND WAVES BACK.
</b>
<b>IN THE B.G. WE SEE MOORE BECKONING, AND BLANE GETS OUT OF THE CAR.
</b>
<b>ANGLE, EXT, THE OVERPASS.    BLANE AND MOORE WALKING TOWARD EACH
</b><b>OTHER.
</b>
<b>MOORE LOOKS BACK TOWARD BELLA, IN THE CAR.    AND LOOKS QUESTIONINGLY
</b><b>AT BLANE.
</b>
                       BLANE (cont'd)
          Yeah, he's holding up. What're you...?

<b>                       MOORE
</b>          I found a Hotwalker for him.

<b>                        BLANE
</b>          ...Fran...?

<b>                       MOORE
</b>          Well, it could be...

<b>                       BLANE
</b>          I don't mean to 'pry'

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

<b>THEN HE SEES SOMETHING OVER BLANE'S SHOULDER.
</b><b>
</b><b>                                                                36.
</b>

<b>ANGLE, HIS POV
</b>
<b>ANOTHER CRUISER, WHICH BRAKES, AND SLOWS DOWN, TO EYE THE
</b><b>STATIONWAGON.
</b>
<b>ANGLE
</b>
<b>ON BLANE AND MOORE
</b>
                      MOORE (cont'd)
<b>              (TO HIMSELF. SOTTO)
</b>         Don't move the car... don't move the car...

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

<b>ANGLE
</b>
<b>ON THE STATIONWAGON, WITH BELLA PUTTING IT IN GEAR, AND MOVING IT
</b><b>TOWARD BLANE AND MOORE. WE SEE THE POLICE CRUISER TURN IN, TO CUT
</b><b>THE TWO MEN OFF FROM THE STATIONWAGON.
</b>
<b>ANGLE
</b>
<b>ON MOORE AND BLANE. AS BLANE OPENS HIS JACKET TO REVEAL A PISTOL
</b><b>IN HIS WAISTBAND. WE SEE MOORE SHAKE HIS HEAD MINUTELY.
</b>
<b>ANGLE.
</b>
<b>THE POLICE CRUISER, ROLLING UP BETWEEN THEM AND THE STATIONWAGON.
</b><b>A YOUNG TROOPER GETS OUT OF THE CAR.
</b>
<b>TROOPER WALKS TOWARD THEM UNBUTTONING THE SAFETY SNAP ON THE
</b><b>HOLSTER. HE LOOKS WARILY AT BELLA AND BLANE.
</b>
<b>ANGLE, TIGHT TWO ON MOORE AND BLANE.
</b>
                      BLANE (cont'd)
<b>              (TO HIMSELF)
</b>         Oh, maaan...

<b>                      MOORE
</b><b>              (SOTTO)
</b>         Is he getting out of the car...?

<b>BLANE TURNS.   ANGLE, HIS POV
</b>
<b>THE DRIVER'S DOOR OF THE STATIONWAGON OPENING.
</b>
<b>ANGLE
</b>
<b>BELLA GETTING OUT OF THE DRIVER'S DOOR.   HE TAKES A PISTOL FROM
</b><b>THE SEAT BESIDE HIM.
</b>
<b>ANGLE
</b><b>
</b><b>                                                                 37.
</b>

<b>BLANE AND MOORE.   BLANE NODS TO HIM.
</b>
<b>MOORE SHAKES HIS HEAD IN DISGUST. HE REACHES INTO HIS PANTS POCKET
</b><b>AND EXTRACTS A MINI-AUTO PISTOL THE SIZE OF A HALF-A-DECK OF CARDS.
</b>
<b>ANGLE: INS:   HE CYCLES THE ACTION, JACKING A SHELL INTO THE
</b><b>CHAMBER.
</b>
<b>HE PUSHES PAST BLANE.
</b>
<b>MOORE WALKS UP TO THE TROOPER, PUTTING THE HAND WITH THE MINI-
</b><b>PISTOL IN HIS POCKET.
</b>
<b>                      MOORE
</b>         Hey: what the hell...? What the hell...?
         Scuse me, scuse me, officer, we were sposed to
         have a detail, doing security for us...

<b>BLANE TAKES HIM BY THE ARM.
</b>
<b>                      BLANE
</b>         ...Bobby...?
<b>              (MOORE PULLS AWAY)
</b>         No, it's no big deal, but we're standing out
         here...

<b>                      TROOPER
</b>         ...who did you...?

<b>                      BLANE
</b><b>              (PULLING MOORE AWAY)
</b>         Forget about...

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

<b>                      TROOPER
</b>         ...who did you...?

<b>                      BLANE
</b>         ...our boss talked to...

<b>                      MOORE
</b>         If this was the first time...

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

<b>BLANE AND MOORE WALK AWAY FROM THE TROOPER.
</b><b>
</b><b>                                                                38.
</b>

                      BLANE (cont'd)
<b>              (SOTTO)
</b><b>              (TO MOORE)
</b>         ...He ain't sure yet...
<b>              (MOORE WALKS BACK TO THE TROOPER.)
</b>
<b>HE CONTINUES WALKING MOORE BACK TOWARD THE STATIONWAGON.
</b>
<b>                      MOORE
</b><b>              (TO THE TROOPER)
</b>         I'm sorry, I know it's not you, but...

<b>                      TROOPER
</b>         Hey, nothing to it. If...

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

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

<b>MOORE BRUSHES BLANE'S ARM OFF.
</b>
<b>BLANE WALKS AHEAD OF MOORE, GETS INTO THE DRIVER'S SEAT.   BLANE
</b><b>LOOKS IN THE REARVIEW MIRROR.
</b>
<b>ANGLE HIS POV.
</b>
<b>MOORE WALKS AWAY, AND THEN, BACK TO THE TROOPER.
</b>
<b>ANGLE
</b>
<b>ON PINCUS AND BELLA IN THE CAR
</b>
<b>WE SEE BELLA LOOKING IN THE REARVIEW MIRROR. HE STARTS TO REACH
</b><b>INSIDE HIS JACKET, AND EXTRACT A PISTOL. PINCUS PUTS HIS HAND ON
</b><b>BELLA'S ARM.
</b>
<b>                      PINCUS
</b>         ...keep it together... keep it together...

<b>                      BELLA
</b>         ...can he cool the guy out...

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

<b>                      BELLA
</b>         Izzit gonna be cool...?
<b>
</b><b>                                                               39.
</b>

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

<b>ANGLE
</b>
<b>EXT THE CAR. ON MOORE AND THE TROOPER AS BLANE GETS INTO THE CAR.
</b><b>AS MOORE, OBVIOUSLY APOLOGIZING, SHAKES HANDS WITH THE TROOPER, AND
</b><b>THEN STARTS TO WALK AWAY. CAMERA TRACKS WITH MOORE, AS HE TAKES
</b><b>OUT A PACK OF CIGARETTES AND A MATCH. ANGLE, INS.
</b>
<b>ON HIS HANDS, AS THEY SHAKE SO BADLY HE CAN HARDLY LIGHT THE
</b><b>CIGARETTE.
</b>
<b>ANGLE, INT.   THE CAR.   AS MOORE GETS INTO THE BACKSEAT.
</b>
<b>                      MOORE
</b>         I'm trina... I'm trina...
<b>              (TO BELLA)
</b>         You fucken lame, you want to leave me dead,
         th'whole crew, the side of the highway?

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

<b>PINCUS MOVES BEHIND THE WHEEL, AND THE CAR BEGINS TO DRIVE OFF.
</b>
<b>                      BLANE
</b><b>              (SHRUGS SHOULDERS)
</b>         Hey, I vote we do...

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

<b>                         BELLA
</b>         ...I only

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

<b>                         BELLA
</b>         ...I'll...

<b>                      MOORE
</b>         You do it, you do it.
<b>              (PAUSE)
</b>         You do it, Pinky...
<b>
</b><b>                                                                 40.
</b>

<b>HE WIPES HIS HAND OVER HIS MOUSTACHE.    TAKES OFF HIS HARDHAT, AND
</b><b>WIPES THE SWEAT FROM HIS BROW.
</b>
<b>INT BOAT REPAIR SHOP NIGHT
</b>
<b>A SPRAY OF SPARKS FROM A WELDING UNIT.
</b>
<b>ANGLE
</b>
<b>ON MOORE, AS HE PUTS UP THE SHIELD ON A WELDER'S MASK, WIPES HIS
</b><b>BROW, PUTS THE SHIELD DOWN AGAIN, AND CONTINUES CUTTING WITH AN
</b><b>ACETYLENE TORCH ON A LARGE, INDUSTRIAL AIR-CONDITIONING UNIT.
</b>
<b>ANGLE
</b>
<b>IN THE B.G. A RYDER RENTAL TRUCK.
</b>
<b>ANGLE.   ON PINCUS AND BLANE, AS A LONG ASSEMBLY TABLE.
</b>
<b>BLANE HOLDS A LEGAL PAD, AND IS MAKING NOTATIONS ON IT.
</b>
<b>HE SPEAKS TO PINCUS, AS CAMERA PANS OVER THE TABLE, HOLDING ON
</b><b>BLANE'S HANDS AS HE CHECKS THE VARIOUS PROPS.
</b>
<b>WE SEE: A SECURITY GUARD'S UNIFORM. A LEATHER BADGECASE, HOLDING
</b><b>A GOLD BADGE, SEVERAL SMALL METAL CANNISTERS, A TOOLKIT, A UTILITY
</b><b>BELT HOLDING TOOLS. SEVERAL WALKIE TALKIES.
</b>
<b>PINCUS AND BLANE CONVERSE, V.O.
</b>
<b>                       PINCUS
</b>          The thing of it is, the thing of it is, it's
          a question of redistribution...

<b>                        BLANE
</b>          How's that?

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

<b>                       BLANE
</b>          "What is the robbing of a bank, compared with
          the founding of a bank?"

<b>                       PINCUS
</b>          Who said that?

<b>                       BLANE
</b>          Anybody ever applied for a loan.

<b>ANGLE
</b>
<b>ON THE TWO, AS BLANE HANDS THE CLIPBOARD TO PINCUS.
</b>
                       PINCUS (cont'd)
          ...load it up?
<b>
</b><b>                                                                  41.
</b>

<b>BLANE NODS. THEY BEGIN HAULING THESE PROPS AND SUPPLIES INTO THE
</b><b>TRUCK, AND LOADING THEM INTO THE "FALSE" (HOLLOW) ENGINE.
</b>
<b>BLANE LOOKS OUT OF THE BACK OF THE TRUCK.
</b>
<b>ANGLE, HIS POV.   A CAR PULLS UP OUTSIDE THE SHED.   BELLA GETS OUT.
</b>
<b>ANGLE
</b>
<b>ON BELLA, AS HE WALKS INTO THE SHED.   HE TAKES OUT AN ENVELOPE.
</b>
<b>ANGLE, ON BLANE, WHO OPENS THE ENVELOPE.    TO REVEAL CASH INSIDE.
</b>
<b>                      BELLA
</b>         ...expenses for the truck, and...

<b>                      BLANE
</b>         Yeah, I got it. I got it.     Okay.

<b>BELLA WALKS OFF, AS FRAN ENTERS FROM THE "LIVING" AREA OF THE
</b><b>BOATSHED, HOLDING TWO CUPS OF COFFEE.
</b>
<b>FRAN STARTS TO OPEN HER MOUTH, SMILING, AS HE STARTS TO PUT DOWN
</b><b>THE CUP OF COFFEE, MOORE GIVES HER AN INFINITESSIMAL SHAKE OF HER
</b><b>HEAD. AND MOTIONS TOWARD BELLA. FRAN NODS IN AGREEMENT, AND, NOT
</b><b>BREAKING HER STRIDE, WALKS TOWARD BELLA.
</b>
<b>                      BELLA
</b><b>              (TO FRAN)
</b>         Well, then...

<b>                      FRAN
</b>         ...that's right.
<b>              (PAUSE)
</b>
<b>                      BELLA
</b>         ...long time.
<b>              (PAUSE)
</b>
<b>                      FRAN
</b>         ...that's right.

<b>ANGLE
</b>
<b>ON MOORE, LOOKING AT THEM.
</b>
<b>ANGLE, HIS POV:
</b>
<b>BELLA AND FRAN, IN THE B.G., BELLA CHATTING FRAN UP.
</b>
<b>ANGLE
</b>
<b>ON BLANE AS HE WALKS OVER TO MOORE, AT THE WELDING STATION.     HE
</b><b>HANDS MOORE THE ENVELOPE.
</b>
<b>                      BLANE
</b>         The plan gonna work?
<b>
</b><b>                                                               42.
</b>

<b>                      MOORE
</b>         It's gonna work if we make it work.   How's
         Fran doing?

<b>                      BLANE
</b>         Looks like he maybe wantsa take her to the
         Prom.

<b>MOORE SMILES, AND NODS.
</b>
<b>                      MOORE
</b>         Well, it's always the pretty girl stays
         home, innit?

<b>                      BLANE
</b>         Izzat what they said in the White
         Community...?

<b>                      MOORE
</b>         That's what I hear.

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

<b>                      MOORE
</b>         I'm very resilient.

<b>                      BLANE
</b>         Yeah, so's Gumby.

<b>                      MOORE
</b>         I got a more striking profile.

<b>PINCUS WALKS UP.   HE AND BLANE WALK ACROSS THE SHOP FLOOR, BLANE
</b><b>LIMPS SLIGHTLY.
</b>
<b>                      BLANE
</b>         They're gonna leave that on the cutting room
         floor, Buenos Aires.

<b>                      MOORE
</b>         I never liked the way I looked anyway...

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

<b>                      BLANE
</b><b>              (SOTTO)
</b>         My boy there, like to Fertilize the Flowers.

<b>                      PINCUS
</b>         ...how's your leg?
<b>
</b><b>                                                                43.
</b>

<b>                      BLANE
</b>         You should see the other guy...

<b>                      PINCUS
</b><b>              (TO MOORE)
</b>         ...when we do the switch, the Highway...

<b>MOORE SHAKES HIS HEAD, INDICATING BELLA.
</b>
                      PINCUS (cont'd)
         ...he can't hear...

<b>                      MOORE
</b>         ...he can't hear what you don't say...

<b>                      PINCUS
</b>         I'm gonna be as quier as an ant pissing on
         cotton.

<b>MOORE FIRES UP THE TORCH, AND BEGINS CUTTING AGAIN.
</b>
<b>ANGLE, IN THE B.G. FRAN AND BELLA.
</b>
<b>BLANE WALKS PINCUS AWAY FROM MOORE.
</b>
<b>                      BLANE
</b><b>              (SOTTO)
</b>         Don't think it, Baby. Don't think it: Don't
         be as quiet as an ant pissing on cotton, don't be
         quiet as an ant thinking about pissing on
         cotton. You be quiet as an ant not even
         thinking about pissing on cotton.

<b>THEIR WALK TAKES THEM TO BELLA AND FRAN.    FRAN IS LAUGHING.
</b>
<b>                      FRAN
</b>         ...our friend was telling me "What Made Him a
         Criminal..."

<b>                      BLANE
</b>         I'll get the beer and pretzels.

<b>                      BELLA
</b>         ...what made you a criminal?

<b>                      BLANE
</b>         Nobody made me a criminal.     I am a Criminal.

<b>MOORE WALKS OVER.
</b>
<b>                      MOORE
</b>         How we doing?

<b>HE GATHERS THEM AROUND A TABLE.
</b>
<b>                      BLANE
</b>         How you doing?
<b>
</b><b>                                                               44.
</b>

<b>                       MOORE
</b>          I'm done.
<b>               (PAUSE)
</b>          Well, that's it them.

<b>MOORE GETS UP, CAMERA TAKES HIM TO THE RYDER TRUCK. HE OPENS THE
</b><b>BACK, AND WE SEE HIM OPEN WHAT APPEARS TO BE THE SOLID MOTOR, WHICH
</b><b>IS REVEALED TO BE HINGED AND HOLLOW.
</b>
<b>BLANE FOLLOWS HIM, AND HANDS HIM SEVERAL FIREARMS, WHICH HE
</b><b>SECRETS IN THE HOLLOW SPACE.
</b>
                       MOORE (cont'd)
          You got the detonators?

<b>BELLA HOLDS UP SEVERAL PUTTY COLORED PACKAGES OF PLASTIQUE, WHICH HE
</b><b>TAKES OFF OF THE TABLE, BEARING THE PROPS.
</b>
<b>                       BELLA
</b>          ...din we check'em?

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

<b>                       BELLA
</b>          What happened to Check It an Forget it?

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

<b>PAUSE.   THEY EXCHANGE A LOOK.
</b>
<b>BELLA WALKS AWAY SHAKING HIS HEAD.
</b>
<b>                       BLANE
</b>          Then we ready to Go Do it?

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

<b>ANGLE, ON BLANE AND BELLA, AS BELLA LOOKS OVER AT MOORE.
</b>
<b>ANGLE.   ON BELLA, AS HE WALKS OVER TO FRAN.
</b>
<b>THEY BOTH LOOK BACK AT MOORE, WHO IS LOADING UP THE TRUCK.
</b>
<b>                       BELLA
</b>          Z'he gonna hold up?
<b>
</b><b>                                                              45.
</b>

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

<b>                      BELLA
</b>         What is that, your philosophy?

<b>                      FRAN
</b>         That's right.

<b>                      BELLA
</b>         ...what is it to you?

<b>                      FRAN
</b>         ...he's my Husband.

<b>                      BELLA
</b>         Whose fault is that, you wanna think about
         it? Listen:...

<b>                        MOORE
</b><b>                (IN THE B.G.)
</b><b>         I...
</b>
<b>ANGLE, ON BELLA, AS HE TURNS.
</b>
<b>                      BELLA
</b>         ...you gonna make an Impassioned Speech?

<b>                        MOORE
</b>         Yeah:    Let's go get the money.

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

<b>PINCUS LIGHTS A FIRE IN A 55 GALLON DRUM.
</b>
<b>ANGLE, ON MOORE, AS HE WALKS TO THE FRONT OF THE SHED, AND LOOKS
</b><b>OUT AT HIS BOAT.
</b>
<b>FRAN COMES UP BEHIND HIM.
</b>
<b>                      FRAN
</b>         Z'it gonna work?

<b>                      MOORE
</b>         It's either gonna be a monumental heist, or a
         real amusing anecdote.
<b>              (PAUSE)
</b>
<b>                      FRAN
</b>         ...I love you, Joe...

<b>                        MOORE
</b>         Why?
<b>
</b><b>                                                              46.
</b>

<b>                      FRAN
</b>         You know why? Because you're thorough.

<b>                      MOORE
</b>         I hope to tell you...

<b>SHE TURNS TO WALK BACK INTO THE SHED. HE TURNS TO LOOK AT HER.
</b><b>IN THE B.G. WE SEE PINCUS FEEDING PAPERS INTO THE FLAMES.
</b>
<b>ANGLE. EXT THE BOATSHED, ON THE GROUP, BLANE MOORE, PINCUS AND
</b><b>BELLA, AS THEY WALK TOWARD THEIR CARS.
</b>
<b>PINCUS IS ON THE PHONE IN THE B.G. (ON A CELLPHONE)
</b>
<b>MOORE STOPS TO LOOK AT HIS BOAT.
</b>
<b>                      BELLA
</b>         You gonna miss it?

<b>                        MOORE
</b>         What?

<b>                        BELLA
</b>         Your boat?

<b>                      MOORE
</b>         Well, it's a nice boat.

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

<b>                      MOORE
</b>         That's right.

<b>PINCUS GOES TOWARD MOORE EXCITEDLY.
</b>
                      MOORE (cont'd)
         ...what is it?

<b>                      PINCUS
</b>         ...they found the car.

<b>                        MOORE
</b>         ...what car?

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

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

<b>                       PINCUS
</b>         I, I.   I stopped off to see my niece, I...
<b>
</b><b>                                                          47.
</b>

<b>                      MOORE
</b>         Did you wipe it down...?

<b>                      BLANE
</b>         You sonofabitch, what do you mean, you stopped
         off to see your...

<b>                      MOORE
</b>         Did you wipe it down...?

<b>                      BELLA
</b>         ...what does this do to the Job...?

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

<b>                      BELLA
</b>         ...what about the Job...?
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         The job stands...

<b>                      PINCUS
</b>         ...I'm sorry, Joe.

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

<b>                      BLANE
</b><b>              (TO BELLA)
</b>         Come with me...

<b>                      MOORE
</b>         Meet at the Overpass.

<b>                      BELLA
</b>         ...the job stands...?

<b>                      MOORE
</b>         The meet at the overpass.   The 14th...

<b>                       PINCUS
</b>         Joe.   Joey, I...

<b>                      MOORE
</b>         Get him out of here.

<b>                      PINCUS
</b>         ...I don't see how they could of found the
         car...

<b>BLANE STARTS MOVING BELLA OVER TO A CAR.
</b><b>
</b><b>                                                               48.
</b>

<b>                       BELLA
</b><b>               (AS HE GETS INTO A CAR)
</b>          You go on...

<b>WE SEE BELLA AND BLANE, IN TWO SEPARATE CARS, BEGIN TO DRIVE OFF.
</b><b>WE SEE MOORE, IN FOREGROUND, BEGIN TO WALK BACK TOWARD THE
</b><b>BOATSHED, AND PINCUS, IMPLORING, HANGING ON HIS ARM.
</b>
<b>ANGLE, TIGHT ON PINCUS AND MOORE.
</b>
<b>                       PINCUS
</b>          Joe. Joe, I swear to God.      I swear to God,
          I... are they gone...?

<b>                       MOORE
</b><b>               (LOOKS OVER PINCUS SHOULDER)
</b>          They're gone.

<b>                       PINCUS
</b>          Well, then, you get gone, too.

<b>                       MOORE
</b>          ...that's right.

<b>BEAT.   THEY EMBRACE.
</b>
<b>MOORE TAKES OUT THE MONEY ENVELOPE.
</b>
<b>                       PINCUS
</b>          You take care, Pally.

<b>                       MOORE
</b>          You get his cut to Bobby...?
<b>               (PINCUS NODS)
</b>
<b>                       PINCUS
</b>          You gonna be Okay?

<b>                       MOORE
</b>          I'm okay now.

<b>                       PINCUS
</b><b>               (OF THE ENVELOPE)
</b>          Yeah? What do you do for cash?

<b>                       MOORE
</b>          ...we're taking down the Boat guy.

<b>                       PINCUS
</b>          You're taking down the boat guy...

<b>                       MOORE
</b>          That's right.

<b>                       PINCUS
</b>          That's your case money...
<b>
</b><b>                                                             49.
</b>

<b>                      MOORE
</b>         It's enough, get us away...

<b>                      PINCUS
</b>         And then Aloha.

<b>                      MOORE
</b>         That's right.
<b>              (PAUSE)
</b>
<b>                      PINCUS
</b>         S'a shame, you know what, we din't get a
         chance, actually do the thing. The Swiss
         job. At's a beautiful plan.

<b>                      MOORE
</b>         So was World War One.

<b>                      PINCUS
</b>         ...no, it's a beautiful plan, Joe.     You're the
         maestro.

<b>                      MOORE
</b>         Yeah, well, it's all in a lifetime...

<b>                      PINCUS
</b>         Izzat so?

<b>                      MOORE
</b>         That's what they tell me.
<b>              (PAUSE)
</b>
<b>                      PINCUS
</b>         See you, Joe.

<b>                      MOORE
</b>         I'll send you a Papaya.

<b>                      PINCUS
</b>         They're good for digestion.

<b>                      MOORE
</b>         Say good-bye to your niece.

<b>PINCUS PINCHES MOORE ON THE CHEEK.
</b>
<b>THEY EMBRACE.
</b>
                      PINCUS (cont'd)
         Joe, you're the motengator.

<b>                      MOORE
</b>         Cute, huh?

<b>                      PINCUS
</b>         ...cute as a pail full of kittens...
<b>
</b><b>                                                               50.
</b>

<b>PINCUS GETS INTO HIS CAR. MOORE CHECKS HIS WATCH, AND GETS INTO
</b><b>HIS CAR. CAMERA FOLLOWS MOORE ONTO HIS BOAT, WHERE WE SEE HIM
</b><b>BEGIN CASTING OFF LINES.
</b>
<b>INT THE BOAT'S CABIN
</b>
<b>WE HEAR A THUMP.   ON THE DECK.   MOORE LOOKS UP.
</b>
<b>CAMERA TAKES MOORE UP ONTO THE DECK, WHERE FRAN HAS PLACED A LARGE
</b><b>SUITCASE. MOORE TAKES IT DOWN INTO THE CABIN. FRAN FOLLOWS.
</b>
<b>                      MOORE
</b>         I would of done that.

<b>                      FRAN
</b>         No, I'm the Frontier Wife.

<b>                      MOORE
</b>         ...that's right...

<b>                      FRAN
</b>         You ready to go?

<b>                      MOORE
</b>         Soon as we get the money.      Call the guy.   Get
         us the money...

<b>FRAN TAKES OUT A CELL PHONE.   MOORE SHAKES HIS HEAD.
</b>
                       MOORE (cont'd)
         Landline.

<b>HE COMES UP ON THE DECK.
</b>
<b>ANGLE
</b>
<b>MOORE AND FRAN, ON THE DECK, WALKING TOWARD THE MARINA.
</b>
<b>                      FRAN
</b>         You'll miss the guys.

<b>                      MOORE
</b>         Buncha Old Men, talkin' about Old Touches...

<b>                      FRAN
</b>         ...that's right...

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

<b>                      FRAN
</b>         No, but you do.
<b>
</b><b>                                                              51.
</b>

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

<b>                       FRAN
</b>         Well.   You've been kicking yourself some...

<b>                      MOORE
</b>         ...that's right.

<b>CAMERA TAKES THEM UP INTO THE LIVING QUARTERS. MOORE GOES
</b><b>THROUGH THE DRAWER OF A DESK. AS FRAN PICKS UP A PHONE AND DIALS.
</b>
                      MOORE (cont'd)
         In a contest of Cunning, a Stupid Person will
         get the better of a Smart one Every Time...
         Who said that...?

<b>                      FRAN
</b>         You did, Baby...

<b>                       MOORE
</b>         Well.   Help me remember it, huh...?

<b>                      FRAN
</b>         ...that's right...
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         You know, we're goin' down there with
         nothing...

<b>                      FRAN
</b>         We'll get the boat money...

<b>                      MOORE
</b>         ...yeah?

<b>                      FRAN
</b>         That's enough to start over.

<b>                      MOORE
</b>         Is it enough for you...?

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

<b>                      MOORE
</b>         I'm about ready to go South.
<b>
</b><b>                                                           52.
</b>

<b>                      FRAN
</b>         South we go, Baby.

<b>                      MOORE
</b>         ...that's right.

<b>                      FRAN
</b><b>              (LOOKING AROUND)
</b>         You set to walk away from it?

<b>                      MOORE
</b>         Hey, I got you, what do I care...?

<b>                      FRAN
</b><b>              (ON PHONE)
</b>         Hello Mr...

<b>                      MOORE
</b><b>              (SOTTO)
</b>         Smile at the man, tell im cash, I'm coming to
         get the money. Right now... find out where
         he...
<b>              (FRAN NODS)
</b>
<b>                      FRAN
</b>         Hello, Mr. Fletcher, I... This is Fran,
         from... Yes, I'm sorry to... you gave me this
         number. On your ccc... Yes, I'm... Well, no,
         yes, I'll be glad to call back Monday, but we
         aren't going to have a boat... but we, we
         just had a situation where, if, No, I
         realize that, Sir, I don't want to keep you
         from your pl... I'm calling, because you told
         me that...
         Well, it could wait till Monday, but we have
         another buyer interested in the bbb...

<b>ANGLE, ON MOORE, NODDING HIS ENCOURAGEMENT TO HIM.
</b>
                      FRAN (cont'd)
         I'm calling to say that if, if you want to
         make a cash, an immediate cash deal, at the
         figure which... Well, thank you, sir, that is
         exactly my attitude.

<b>SHE SMILES AND NODS AT MOORE, HE SMILES BACK.
</b>
                      FRAN (cont'd)
         Superior... Well:

<b>SHE LOOKS TO MOORE FOR DIRECTION.
</b>
<b>                      MOORE
</b><b>              (SOTTO)
</b>         Tell him what he needs to hear.

<b>SHE OFFERS THE PHONE TO MOORE, WHO SHAKES HIS HEAD "NO."
</b><b>
</b><b>                                                                   53.
</b>

<b>                         FRAN
</b><b>                 (TO PHONE)
</b>            Could, you, could you, hold...

<b>SHE COVERS THE MOUTHPIECE.
</b>
<b>                         MOORE
</b>            Flirt with the guy.

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

<b>                          MOORE
</b>            Superior.   You get the address.   When?

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

<b>                         MOORE
</b>            Right now. Right now, tell him we got
            another buyer, we...

<b>ANGLE.   SHE LOOKS OVER MOORE'S SHOULDER.
</b>
<b>ANGLE XCU
</b>
<b>FRAN LOOKING FRIGHTENED.
</b>
<b>ANGLE HER POV
</b>
<b>OVER MOORE, HE SEES SOMETHING OVER HER SHOULDER.       MOTIONS HER TO
</b><b>KEEP TALKING.
</b>
<b>ANGLE
</b>
<b>MOORE POV. OVER HER SHOULDER, THROUGH A PLATEGLASS WINDOW, INTO
</b><b>THE SHED, INTO THE DARK MACHINESHOP/FOUNDRY AREA OF THE BOATYARD.
</b>
<b>A DARK FORM, A MAN MOVING.
</b>
<b>ANGLE
</b>
<b>ON FRAN, AS SHE BEGINS TO LOWER THE PHONE, AS SHE LOOKS AT
</b><b>MOORE.
</b>
<b>ANGLE, ON MOORE, AS HE LEAVES THE BEDROOM AREA THROUGH A BACKDOOR.
</b>
<b>ANGLE FRAN, ON THE PHONE.
</b>
                         FRAN (cont'd)
            ...hello... hello...?

<b>ANGLE ON MOORE, GOING OUT THE BACK DOOR, GESTURING HER TO MOVE
</b><b>AWAY FROM THE WINDOW.
</b><b>
</b><b>                                                                 54.
</b>

<b>ANGLE, ON FRAN, AS SHE CONTINUES TALKING, MOVING OUT OF THE SHOT.
</b>
<b>ANGLE
</b>
<b>ON THE PHONE CORD JACK, IN THE WALL, AS IT PULLS OUT OF THE WALL.
</b>
<b>ANGLE
</b>
<b>ON MOORE CLIMBING DOWN AN IMPROVISED STAIRWAY-LADDER, TO THE LEVEL
</b><b>OF THE BOATYARD, IN THE B.G., WE SEE FRAN, STILL TALKING ON THE
</b><b>PHONE, MOVING OUT OF THE WINDOW.
</b>
<b>ANGLE
</b>
<b>MOORE, MOVING THROUGH THE MACHINESHOP AREA, PAST SEVERAL MOTORS AND
</b><b>MARINE TRANSMISSIONS, HUNG FROM THE CEILING ON HOISTS.
</b>
<b>ANGLE
</b>
<b>THE FORM OF THE MAN, SILHOUETTED IN THE LIGHT FROM THE OPEN SHED
</b><b>DOOR, LEADING TO THE MARINA. ANGLE, ON MOORE COMING UP BEHIND THE
</b><b>MAN, MOORE LOOKS OUT OF THE SHED, CHECKING FOR THE PRESENCE OF
</b><b>OTHERS. HE TURNS BACK, AND COMES UP BEHIND THE MAN IN THE SHADOWS.
</b>
<b>                      MOORE
</b>         ...would you move into the light...? No,
         don't turn around. Just move into the
         light...

<b>ANGLE
</b>
<b>FROM THE FRONT, THE MAN MOVES FORWARD, AND WE SEE IT IS BELLA,
</b><b>THE YOUNG MAN FROM BERGMAN'S OFFICE.
</b>
<b>ANGLE
</b>
<b>FROM THE REAR, WE SEE BELLA WALK FORWARD TO A GLASSED OFFICE
</b><b>AREA. WE SEE HIS REFLECTION, AND, BEHIND IT, MOORE'S REFLECTION.
</b>
<b>WE SEE MOORE STICK A PISTOL BACK INTO THE WAISTBAND OF HIS PANTS.
</b>
                      MOORE (cont'd)
         What do you want?
<b>              (PAUSE)
</b>         What're you, the Social Service Lady?
<b>              (PAUSE)
</b>
<b>                      BELLA
</b><b>         ...I...
</b>
<b>                      MOORE
</b>         ...what did you, come to take the Baby
         back...?

<b>HE MOTIONS HIM FORWARD, INTO THE OFFICE AREA.    MOORE FOLLOWS HIM
</b><b>AND TURNS ON THE LIGHTS.
</b><b>
</b><b>                                                                55.
</b>

                       MOORE (cont'd)
          What do you want?

<b>BELLA WALKS TO A WORKTABLE.
</b>
<b>ANGLE:   ON MOORE, AS HE EXCHANGES A LOOK WITH FRAN.
</b>
<b>                       BELLA
</b>          I forgot my copy of the plans.
<b>               (PAUSE)
</b>
<b>                       MOORE
</b>          How about that.
<b>               (HE LOOKS AT BELLA AND THEN AT
</b><b>                FRAN)
</b><b>               (PAUSE)
</b>
<b>                       BELLA
</b>          You got to do the job, Joe.
<b>               (PAUSE)
</b>          Lookit me like I'm your Good Angel.   You
          can't walk away from it.

<b>ANGLE, AS MOORE LOOKS AT FRAN.
</b>
<b>                       FRAN
</b><b>               (ON PHONE)
</b>          Hello... Hello...?

<b>                       MOORE
</b>          ...try him back...

<b>                         FRAN
</b>          ...hello...?

<b>ANGLE, ON FRAN, AS SHE FOLLOWS DOWN THE CORD, TO WHERE IT HAS
</b><b>PULLED OUT OF THE WALL.
</b>
<b>                       MOORE
</b>          ...call him back...

<b>IN THE B.G. FRAN REDIALS THE PHONE.
</b>
<b>                       BELLA
</b>          You got to do the job...

<b>                       MOORE
</b>          Hold on, here...
<b>               (HE WALKS OVER TO FRAN.)
</b>
<b>                       FRAN
</b><b>               (ON PHONE)
</b>          Mr. Fletcher. I... I was just talking with
          him. I... well, can you give me that
          number...? Well, can you re... can you
          reconnect mmm...
<b>               (PAUSE)
</b>          I... I see.
<b>
</b><b>                                                                56.
</b>

<b>SHE HANGS UP. SHE AND MOORE EXCHANGE A LOOK.   SHE SHAKES HER
</b><b>HEAD. MOORE WALKS BACK DOWN TOWARD BELLA.
</b>
<b>                      MOORE
</b>         Din't you just make yourself dispensable?

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

<b>                      MOORE
</b>         You my self-help program...?

<b>MOORE TURNS TO LOOK AT FRAN, WHO SHAKES HER HEAD.
</b>
<b>                      BELLA
</b>         You gone shoot me, go on the run, with
         nothing? With that pretty little thing?

<b>                      MOORE
</b>         That would be my wife.

<b>                       BELLA
</b>         Is that so?

<b>                      MOORE
</b>         That's correct.

<b>                      BELLA
</b>         What does she see in you, anyway?

<b>BELLA TURNS TO LOOK AT FRAN.
</b>
                      BELLA (cont'd)
         ...you must be hung like Man of War...

<b>MOORE LUNGES FOR HIM AND GRABS HIM BY THE THROAT.
</b>
<b>                      MOORE
</b>         You wanna play the dozens. Here you go: They
         called, there was a bookkeeping error at the
         Hospital, you died at birth. Your turn...

<b>                      FRAN
</b>         Joe, leave him...

<b>                     MOORE
</b>         Eh? Cat got your tongue?   You wanna make
         peace.

<b>                       FRAN
</b>         ...Joe

<b>                      MOORE
</b>         Don't you know when a man's whipped, for
         chrissake?
<b>
</b><b>                                                                 57.
</b>

<b>MOORE WALKS BACK TOWARD HIS WIFE.   HE MAKES A "TELEPHONE" GESTURE,
</b><b>AND LOOKS A QUESTION AT HER.
</b>
                       MOORE (cont'd)
          ...the boat guy?

<b>                       FRAN
</b>          ...slipped off.

<b>                       MOORE
</b>          Call him back.
<b>               (PAUSE)
</b>          Get him back.

<b>                       FRAN
</b>          ...he's gone.
<b>               (PAUSE)
</b>          I'm sorry, Joe.

<b>                       MOORE
</b><b>               (TO BELLA)
</b>          Get up.

<b>                       BELLA
</b>          What're you gonna do.

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

<b>                          BELLA
</b>          ...and what?

<b>                          MOORE
</b>          Get out.
<b>               (PAUSE)
</b>          Get out.

<b>BEAT.   BELLA RETREATS.
</b>
<b>MOORE LOOKS AT FRAN.
</b>
                       MOORE (cont'd)
          You wanna tell me what I'm going to do...?
<b>               (PAUSE)
</b>
<b>                          FRAN
</b><b>          I...
</b>
<b>MOORE WAVES HER OFF, AS IF TO SAY, "I'M THINKING..."
</b>
<b>INT DARK BOXING GYM NIGHT.
</b>
<b>A YOUNG FIGHTER HITTING THE HEAVY BAG.   IN THE DARK GYM.   HE
</b><b>LOOKS AROUND.
</b>
<b>ANGLE, HIS POV.
</b><b>
</b><b>                                                                  58.
</b>

<b>MOORE, MOVING THROUGH THE DARK GYM.
</b>
<b>ANGLE INT. SMALL EQUIPMENT ROOM.
</b>
<b>ANGLE INS.
</b>
<b>A DOORKNOB.   A SMALL PILE OF QUARTERS RESTING ON THE TOP.
</b>
<b>THE KNOB TURNS, AND THE QUARTERS FALL OFF, CLATTERING ONTO THE
</b><b>FLOOR.
</b>
<b>ANGLE INT THE ROOM.
</b>
<b>BLANE, IN HIS UNDERWEAR, COMING OFF OF A COT. HE THROWS OFF A
</b><b>BLANKET REVEALING A SMALL SHOTGUN, WHICH HE LEVELS AT THE DOOR.
</b>
<b>ANGLE
</b>
<b>THE DOOR, SWINGING OPEN, NO ONE BEYOND.    WE HEAR MOORE'S VOICE.
</b>
<b>                      MOORE
</b>         It's me, put it away.

<b>ANGLE
</b>
<b>ON MOORE, AS HE WALKS INTO THE ROOM.   TO CONFAB WITH BLANE.
</b>
<b>                      BLANE
</b>         ...the fuck you doing, sneaking in on a man,
         middle of the

<b>MOORE NODS, HALF-CLOSES THE DOOR.
</b>
<b>ANGLE EXT THE GYM.
</b>
<b>SEMI-INDUSTRIAL AREA. FRAN, STANDING BY THE GYM'S DOOR.      SEVERAL
</b><b>SMALL CHILDREN PLAYING UNDER A STREETLIGHT.
</b>
<b>ANGLE
</b>
<b>ON FRAN, AS SHE COMES INTO THE GYM, AND STANDS, WATCHING THE
</b><b>BOXER, WHO IS GOING BACK TO HITTING THE HEAVY BAG. HE TURNS TO
</b><b>LOOK AT HER.
</b>
<b>                      BOXER
</b>         What you doin here?

<b>                      FRAN
</b>         Well, you know, I'm with my friends...

<b>                      BOXER
</b>         I don't see nobody else here...

<b>                      FRAN
</b>         No, that's right...

<b>ANGLE, ON HER, POV.
</b><b>
</b><b>                                                                 59.
</b>

<b>MOORE AND BLANE, THROUGH THE HALF OPENED DOOR, AS BLANE FINISHES
</b><b>DRESSING.
</b>
<b>                      BLANE
</b>         Baby, you shuunt be on the streets, the first
         place...

<b>                      MOORE
</b>         ...what's the move...?

<b>                      BLANE
</b>         The move is:
<b>              (PAUSE)
</b>         The move is we got to get the gold.

<b>BLANE MOVES OUT OF THE ROOM.
</b>
<b>WE FIND HIM AND MOORE ON THE SECOND FLOOR RICKETY BALCONY
</b><b>OVERLOOKING THE SMALL GYM BELOW. WE SEE FRAN BELOW
</b>
<b>MOORE AND BLANE COME DOWN THE STAIRS.
</b>
<b>THEY MEET FRAN.   AND BLANE STARTS DRIVING THEM IN THROUGH A SMALL
</b><b>DOOR.
</b>
<b>ANGLE INT GARAGE.
</b>
<b>BLANE TURNS ON THE LIGHTS TO REVEAL A SMALL    FILTHY GARAGE. AN OLD
</b><b>RUSTED PICKUP TRUCK, ONE WHEEL GONE, UP ON    A JACK. STREETLIGHT
</b><b>COMING IN THROUGH DIRTY WINDOWPANES SET IN    THE GARAGE DOOR. AS
</b><b>THEY ENTER THERE IS A NOISE OUTSIDE, MOORE    FLINCHES.
</b>
                      BLANE (cont'd)
         ...kids on the street. Always kids on the
         street.

<b>THEY MOVE TO A BENCH. WHERE BLANE STARTS FILLING A PERCOLATOR
</b><b>FROM A UTILITY SINK. MOORE SITS ON SOME OLD, DISCARDED BOXING
</b><b>EQUIPMENT--A DISASSEMBLED SET OF PIPES, WHICH STILL HOLD AN OLD,
</b><b>ROTTEN, LEATHER "HEAVYBAG."
</b>
<b>                      MOORE
</b>         I can't go for the gold til I can see how to
         get it home...

<b>                      BLANE
</b>         Well, then, we just got to think a little
         harder.

<b>                     FRAN
</b><b>             (AS SHE ENTERS THE ROOM.)
</b>         Yes. That's right.

<b>                      BLANE
</b>         The nephew don't come back, the first place,
         you're down on the Tropic Isle.
<b>              (PAUSE)
</b>         You shoulda left him on the side of the road.
<b>
</b><b>                                                 60.
</b>

<b>             MOORE
</b>Uh huh... why'd you leave him the plans?

<b>             BLANE
</b>Why'd I leave him what?

<b>             MOORE
</b>Why'd you leave him the plans?

<b>            BLANE
</b>What...?

<b>             MOORE
</b>He forgot his "cheat sheet."     S'why he came
back.

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

<b>             MOORE
</b>He said that's why he came back.

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

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

<b>            FRAN
</b>Yes.

<b>             MOORE
</b>You want to suit up?

<b>             FRAN
</b>...that's right.

<b>             BLANE
</b>What's the shot?

<b>             MOORE
</b><b>     (TO FRAN)
</b>You got to Kiss Rings.
<b>
</b><b>                                                               61.
</b>

<b>                      FRAN
</b>         ...you point me.

<b>INT LOWER MIDDLE CLASS TRACT HOUSE KITCHEN NIGHT.
</b>
<b>SHOT FROM THE KITCHEN INTO A SMALL HALLWAY.
</b>
<b>PINCUS, KISSING GOODNIGHT TO A LITTLE GIRL, THE LITTLE GIRL'S MOTHER
</b><b>COMES INTO THE SHOT, AND LEADS HER OFF. THE LITTLE GIRL WEARS A
</b><b>BATHROBE.
</b>
<b>ANGLE
</b>
<b>ON PINCUS AS HE COMES INTO THE KITCHEN.
</b>
<b>ANGLE, HIS POV
</b>
<b>MOORE, SITTING AT THE KITCHEN TABLE, BLANE NEXT TO HIM, A CUP OF
</b><b>COFFEE AHEAD OF HIM, STARING DOWN AT SOME SHEETS OF PAPER.
</b>
<b>PINCUS SITS DOWN, AND PICKS UP A LEGAL PAD.    PAUSE.
</b>
<b>MOORE PICKS UP A PHONE, LISTENS FOR "DIALTONE," REPLACES IT.
</b>
<b>                      MOORE
</b><b>              (OF THE PLANS IN FRONT OF HIM)
</b>         What're we forgetting...?

<b>                      BLANE
</b>         How did we get away with the Gold?

<b>                        MOORE
</b>         Oh yeah.
<b>              (PAUSE)
</b>
<b>                      PINCUS
</b>         Robert the Bruce. Watched this Spider, try,
         three hours, to spin this web...

<b>                        MOORE
</b>         Uh huh...

<b>                      PINCUS
</b>         Til finally...

<b>                        MOORE
</b>         Yeah?

<b>                      PINCUS
</b>         He succeeded.
<b>              (PAUSE)
</b>
<b>                      BLANE
</b>         That's the worst story I've ever heard.

<b>ANGLE, ON MOORE, AS HE SITS THINKING, WITH PINCUS AND BLANE IN THE
</b><b>B.G.
</b><b>
</b><b>                                                                 62.
</b>

<b>                       PINCUS
</b><b>              (SHRUGS)
</b>         And it gave him the Idea.     To conquer
         Scotland.

<b>                      BLANE
</b>         I don't get the connection.

<b>MOORE LOOKS AT HIS WATCH.   THE PHONE RINGS.   MOORE PICKS UP THE
</b><b>PHONE.
</b>
<b>                      MOORE
</b><b>              (TO PHONE)
</b>         Put him on.

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

<b>                      FRAN
</b>         Well, it's only words.

<b>                      BERGMAN
</b>         That's absolutely right.

<b>BERGMAN MOTIONS BELLA TO HIS SIDE, THEY WALK INTO A KITCHEN AREA
</b><b>WITH FRAN IN THE B.G.
</b><b>
</b><b>                                                63.
</b>

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

<b>               BELLA
</b>He's scared.

<b>             BERGMAN
</b>I've never known him scared.

<b>             BELLA
</b>She says he's getting old.

<b>             BERGMAN
</b>...she said that...

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

<b>             BERGMAN
</b>...she does...

<b>             BELLA
</b>...she...
<b>      (HE HESITATES)
</b>
<b>               BERGMAN
</b>...please...

<b>             BELLA
</b>I think, the thing, she came to plead for
him.

<b>               BERGMAN
</b>...she did.    She came to plead for him?

<b>               BELLA
</b>I think so.

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

<b>             BELLA
</b>She came to me...

<b>               BERGMAN
</b>To you.
<b>     (PAUSE)
</b>Ah.
<b>
</b><b>                                                                 64.
</b>

<b>                       BELLA
</b>           ...yes.

<b>                        BERGMAN
</b>           He put her up, to come to you.

<b>                        BELLA
</b>           I think she came to me on her own.
<b>                (PAUSE)
</b>
<b>                        BERGMAN
</b>           Well, no, but as Rational Men, don't we
           have to "doubt" her?

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

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

<b>ANGLE
</b>
<b>ON FRAN.   AS BERGMAN AND BELLA REEMERGE.
</b>
                        BERGMAN (cont'd)
           Okay, we're All on One Team, all arrayed
           against a Common Enemy? Thank you for coming,
           I'm an old Man, I'm going to bed...

<b>                        BELLA
</b><b>                (TO FRAN)
</b>           I'm going to see you back.
<b>                (HE TAKES HER BY THE ARM.)
</b>
<b>ANGLE EXT THE MANSION, VARIOUS CARS PARKED IN THE CIRCULAR DRIVEWAY.
</b><b>BELLA WALKS FRAN TO HER CAR. HE STARTS TO GET IN.
</b>
<b>                        FRAN
</b>           I'll be alright...

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

<b>HE GRABS HER AND GOES INTO A CLINCH. SHE RESISTS FOR A MOMENT,
</b><b>CAMERA PANS THEM AS BELLA TAKES HER BEYOND THE DRIVEWAY TOWARD A
</b><b>POOLSIDE CABANA.
</b>
<b>INT PINCUS'S KITCHEN DAWN. LEANED BACK AGAINST THE WALL. BLANE
</b><b>ASLEEP AT HIS CHAIR. PINCUS PLAYING SOLITAIRE. MOORE SITTING.
</b><b>HOLD.
</b>
<b>MOORE KICKS THE CHAIR, SO THAT BLANE COMES FORWARD, AND AWAKE.
</b><b>
</b><b>                                                               65.
</b>

<b>                      MOORE
</b>         ...get me the name of a freight forwarder.

<b>                       BLANE
</b>         ...what?

<b>                      MOORE
</b>         ...a freight forwarder.
<b>              (HE THROWS HIM A YELLOW PAGES)
</b>         Okay. Alright.

<b>AS BLANE LOOKS THROUGH THE YELLOW PAGES MOORE GRILLS PINCUS.
</b>
                      MOORE (cont'd)
         ...what's the Lady's name?

<b>                      PINCUS
</b>         ...Mrs. Croft.

<b>                      MOORE
</b>         What do we chat her up about?

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

<b>                      BLANE
</b>         Average, forty five minutes.

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

<b>                      PINCUS
</b>         ...that's right...

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

<b>ANGLE, ON PINCUS, LOOKING AT HIM AS IF TO SAY "DO YOU THINK YOU'RE
</b><b>PLAYING WITH CHILDREN...?"
</b>
<b>                      BLANE
</b><b>              (AS HE LOOKS THROUGH THE YELLOW
</b><b>               PAGES)
</b>         What, what kind of "freight do you want
         to..."
<b>
</b><b>                                                                 66.
</b>

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

<b>INT POOLSIDE CABANA DAY.
</b>
<b>FRAN AND BELLA, FINISHING DRESSING.
</b>
<b>                      BELLA
</b>         ...and how's he getting his share away...?

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

<b>                      BELLA
</b>         ...what are you telling me...?

<b>FRAN SHAKES HER HEAD AND STARTS OUT OF THE CABANA.    BELLA FOLLOWS
</b><b>HER.
</b>
<b>INT BOATSHED DAY
</b>
<b>MOORE IS APPLYING "SKINS," (I.E. REMOVABLE COVERINGS) TO THE SIDE OF
</b><b>A VAN, ADVERTISING IT AS THE VAN OF A SECURITY COMPANY. BLANE
</b><b>ARRIVES, CARRYING SEVERAL UNIFORMS, IN PLASTIC, DRY CLEANERS WRAP.
</b>
<b>                      MOORE
</b>         ...take the wrappers off, hang em in the air,
         get the drycleaning smell out.

<b>HE LOOKS UP AS FRAN AND BELLA ENTER.
</b>
                      MOORE (cont'd)
         ...where have you been...?

<b>                      BELLA
</b>         ...tucking Betty Croft in...

<b>                      BLANE
</b>         What's she, out all night partying...?

<b>                      BELLA
</b>         She's a wild, wild woman...
<b>              (HE HANDS MOORE A POLAROID, HE
</b><b>               TOOK AT THE BAR.)
</b>
<b>                      MOORE
</b><b>              (AS HE TAKES THE PHOTO, AND
</b><b>               STUDIES IT.)
</b>         Alright, then. No Hard Feelings...?

<b>                      BELLA
</b>         ...last thing in the World...

<b>ANGLE, C.U. MOORE, LOOKING AT FRAN.
</b><b>
</b><b>                                                                  67.
</b>

<b>FRAN COMES OVER TOWARD MOORE, WHO IS HOLDING A YELLOW PAD.
</b>
<b>                        FRAN
</b><b>         ...I...
</b>
<b>                      MOORE
</b>         ...I don't give a fuck. The only thing is:
         Get the Gold. Get the gold, Baby. Get the
         Gold. They ain't gonna pay for Yardage...

<b>HE LOOKS DOWN.
</b>
<b>ANGLE, INS. HIS POV
</b>
<b>THE YELLOW LEGAL PAD, WITH THE SKETCH OF THE RAILROAD OVERPASS.
</b>
<b>                                                   DISSOLVE TO:
</b>
<b>EXT THE RAILROAD UNDERPASS.    NIGHT.
</b>
<b>ANGLE INS: A MAN'S HANDS, IN WORKGLOVES, HOLD THE SKETCH OF THE
</b><b>UNDERPASS, COVERED IN FIGURES.
</b>
<b>ANGLE: MOORE, IN WORKCLOTHES, WALKING DOWN FROM UNDERNEATH THE
</b><b>UNDERPASS, TO THE LEVEL OF THE TRACKS. HE TURNS AND LOOKS UP AT THE
</b><b>UNDERSIDE OF THE VAULT.
</b>
<b>ANGLE
</b>
<b>ON THE TRACK.    MOORE WALKS INTO THE SHOT, PACING OFF STEPS DOWN THE
</b><b>TRACKS.
</b>
<b>ANGLE.
</b>
<b>IN THE SCRUB ALONGSIDE THE BANKS, HE WALKS UP AND SITS NEXT TO
</b><b>A BLACK NYLON BACKPACK. HE CHECKS HIS WATCH.
</b>
<b>EXT RAILROAD OVERPASS NIGHT.
</b>
<b>A SMALL TRUCK, IT'S SIDES PAINTED TO ADVERTISE A SECURITY COMPANY,
</b><b>GOES OVER THE OVERPASS.
</b>
<b>ANGLE INT THE TRUCK.
</b>
<b>BELLA AND, BLANE, DRESSED IN COVERALLS, ADVERTISING A SECURITY
</b><b>COMPANY.
</b>
<b>ANGLE, INT THE TRUCK.
</b>
<b>BLANE, LOOKING OUT OF THE WINDOW.
</b>
<b>BELLA, CHEWING GUM, TAKES OUT THE PACK, AND BEGINS CHEWING
</b><b>ANOTHER PIECE.
</b>
<b>                      BLANE
</b>         ...you feeling?
<b>
</b><b>                                                             68.
</b>

<b>                        BELLA
</b>         I'm fine...

<b>                      BLANE
</b>         Sometimes, th'drenaline, hits you, gives you
         the shakes...

<b>                        BELLA
</b>         I'm alright.

<b>                      BLANE
</b>         I'm saying, some people, adrenaline, gives'em
         the shakes... some people, mistake it for
         cowardice...
<b>              (PAUSE)
</b>
<b>                        BELLA
</b>         I'm fine.

<b>HE TAKES OUT A SCAPULAR, HOLDS IT, AND SAYS A SMALL PRAYER
</b>
<b>HE LOOKS OVER AT BLANE.
</b>
<b>                      BLANE
</b>         ...nothing wrong with prayer.
<b>              (PAUSE)
</b>
<b>                      BELLA
</b>         ...you think so...?

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

<b>                        BELLA
</b>         No shit.

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

<b>                      BELLA
</b>         Five eighteen.

<b>                      BLANE
</b>         ...make the call.

<b>BELLA TAKES OUT A CELLPHONE AND DIALS.
</b>
<b>                      BELLA
</b><b>              (ON PHONE)
</b>         Hello? I've, hello?
<b>                      (MORE)
</b><b>
</b><b>                                                                 69.
</b>

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

<b>ANGLE, EXT THE TRUCK.
</b>
<b>THE TRUCK STOPS AT THE OVERPASS.      BLANE HOPS OUT.
</b>
<b>ANGLE. IN THE SCRUB. ALONGSIDE THE BANK. THE BLACK BACKPACK
</b><b>MOORE LEFT EARLIER. BLANE PICKS IT UP. CAMERA PANS HIM BACK TOWARD
</b><b>THE OVERPASS.
</b>
<b>ANGLE INS.
</b>
<b>INSIDE THE SPAN OF THE STONE OVERPASS. A SMALL ELECTRONIC LOOKING
</b><b>DEVICE. BLANE'S HAND COMES INTO THE FRAME, HOLDING IT. HE AFFIXES
</b><b>IT TO THE STONE, FLIPS A SWITCH. A REDLIGHT BEGINS TO GLOW ON
</b><b>THE DEVICE.
</b>
<b>ANGLE
</b>
<b>EXT THE SECURITY TRUCK AT THE SIDE OF THE ROAD, BY THE
</b><b>OVERPASS. BLANE, RUNNING BACK TOWARD THE TRUCK.
</b>
<b>ANGLE INT THE SECURITY TRUCK.
</b>
                      BELLA (cont'd)
<b>              (ON PHONE)
</b>         to fix the...

<b>BLANE GETS INTO THE TRUCK
</b>
<b>                      BLANE
</b>         ...let's go...

<b>                      BELLA
</b><b>              (ON PHONE)
</b>         ...would you do that?       Thank you...

<b>ANGLE EXT.
</b>
<b>THE TRUCK.   PULLING OUT INTO THE ROAD.
</b>
<b>INT COMMUTER TRAIN COACH.    DAWN.
</b>
<b>AN OLD TIRED CONDUCTOR WALKING DOWN THE AISLE. PAST A SLEEPING
</b><b>BUSINESSMAN. THE BUSINESSMAN WALKS, TO REVEAL IT IS MOORE. HE
</b><b>STRETCHES, LOOKS OUT THE WINDOW. AND WALKS BACK IN THE CAR,
</b><b>HOLDING HIS BRIEFCASE.
</b>
<b>ANGLE INT.   THE LAVATORY.
</b>
<b>MOORE ENTERS, HE TAKES A SMALL BOX FROM HIS BRIEFCASE, TURNS A
</b><b>DIAL, AND AFFIXES IT TO THE CEILING.
</b><b>
</b><b>                                                                  70.
</b>

<b>EXT SUBURBAN STATION DAWN.
</b>
<b>THE TRAIN SLOWING DOWN. MOORE ALIGHTS FROM THE LAST CAR, A
</b><b>STATIONWATON PULLS UP FROM THE EMPTY PARKING LOT, MOORE WALKS
</b><b>TOWARD IT.
</b>
<b>INT A BANK OF PHONES DAY
</b>
<b>PINCUS, IN A BUSINESS SUIT. STANDING BY WHAT APPEARS TO BE A LARGE
</b><b>SAMPLE CASE, WAITING AT A BANK OF PHONES. HE LOOKS AT HIS WATCH.
</b>
<b>EXT AIRPORT DEPARTURES DRIVEWAY.
</b>
<b>THE STATIONWAGON PULLS UP.    FRAN DRIVING, AND MOORE RIDING.   HE GETS
</b><b>OUT, WEARING COVERALLS.
</b>
<b>MOORE LOOKS DOWN AT THE POLAROID PICTURE WE SAW EARLIER.
</b>
<b>ANGLE
</b>
<b>ON A COFFEETRUCK PARKED OUTSIDE AN EMPLOYEE'S ENTRANCE.
</b>
<b>A FORTYISH WOMAN IN A SECURITY GUARD'S UNIFORM IS DRINKING COFFEE,
</b><b>ONE OF A NUMBER OF AIRPORT EMPLOYEES.
</b>
<b>                      WOMAN
</b><b>              (MRS. CROFT)
</b>         ...of my ulcer--Doctor said it's... it isn't
         the caffeine, but the acids in the coffee
         that...

<b>ANGLE
</b>
<b>ON MOORE, WALKING UP TO THE WOMAN.     HE CONSULTS A PIECE OF PAPER.
</b>
<b>                      MOORE
</b>         Mrs. Croft?
<b>              (PAUSE)
</b>         Betty Croft...?

<b>                        MRS. CROFT
</b><b>                (SOMEWHAT SURPRISED)
</b>         Yes?

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

<b>MRS. CROFT TAKES OUT AN EMPLOYEES BADGE AND SLIPS IT TO HER UNIFORM.
</b>
<b>                      MRS. CROFT
</b>         ...just coming to work...

<b>                      MOORE
</b>         I understand. ...I believe we've met before,
         on my last...?
<b>                      (MORE)
</b><b>
</b><b>                                                                  71.
</b>

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

<b>                      MRS. CROFT
</b>         ...that is correct, Sir.

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

<b>                      MRS. CROFT
</b>         I wouldn't...

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

<b>ANGLE, INT THE AIRPORT CONCOURSE.
</b>
<b>PINCUS, DRESSED AS A SECURITY GUARD. STANDING BY A BANK OF
</b><b>PHONES. A YOUNG MOTHER WITH A CHILD COMES UP TO ASK DIRECTIONS OF
</b><b>HIS. HE DIRECTS THEM, AND TOUCHES HIS HAT, AND THEY MOVE OFF.
</b>
<b>ANGLE EXT, AIRPORT DRIVETHROUGH.
</b>
<b>AT THE STATIONWAGON.
</b>
<b>MOORE LEANS IN, AND TAKES A LARGE TOOLCASE OUT OF THE BACK.
</b>
<b>IN THE B.G. WE SEE MRS. CROFT.     STILL STANDING BY THE COFFEETRUCK.
</b>
<b>FRAN LOOKS UP.
</b>
<b>                      FRAN
</b>         Here they come.

<b>MOORE LOOKS IN THE REARVIEW MIRROR.
</b>
<b>ANGLE HIS POV
</b>
<b>THE SECURITY TRUCK, PULLING INTO THE DRIVETHROUGH AREA.
</b>
<b>ANGLE
</b>
<b>FRAN AND MOORE.   AS FRAN LOOKS OUT OF THE WINDOW.
</b><b>
</b><b>                                                                 72.
</b>

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

<b>MOORE LOOKS AROUND.
</b>
<b>                         MOORE
</b>            ...yeah... okay... okay... it's okay.

<b>ANGLE
</b>
<b>ON MOORE, AS HE WALKS TO THE SECURITY GATE.
</b>
<b>ANGLE, HIS POV.
</b>
<b>THE SECURITY WALKTHROUGH.    A METAL DETECTOR, A GUARD SEATED AT A
</b><b>CONSOLE.
</b>
<b>MOORE LOOKS AROUND.    HE LOOKS AT HIS WATCH.
</b>
<b>HE TURNS BACK OUT TOWARD THE STREET.
</b>
<b>ANGLE.   HIS POV.
</b>
<b>THE SECURITY TRUCK.    PULLING UP.
</b>
<b>ANGLE
</b>
<b>ON MOORE.    AS HE WALKS TOWARD THE COFFEETRUCK.
</b>
                         MOORE (cont'd)
<b>                 (TO THE COFFEEMAN)
</b>            What happened to Betty? Betty Croft...?

<b>                         COFFEEMAN
</b>            Hey, I don't know... she...

<b>                         MOORE
</b>            Gimme a cuppacoffee.

<b>ANGLE
</b>
<b>ON MOORE AS HE TAKES THE COFFEE AROUND THE SIDE OF THE COFFEETRUCK.
</b><b>HE PUTS IT UP ON THE HOOD.
</b>
<b>HE SCANS THE AREA.    THE SECURITY TRUCK IS GETTING CLOSER.
</b>
                         MOORE (cont'd)
<b>                 (TO COFFEEMAN)
</b>            Gimme one of those...
<b>                 (MOORE POINTS)
</b>
<b>THE COFFEEMAN HANDS MOORE A SMALL OBJECT.
</b>
<b>MOORE TAKES A WRAPPED PACKAGE OUT OF HIS POCKET.
</b>
<b>ANGLE INS.
</b><b>
</b><b>                                                                73.
</b>

<b>WE SEE IT IS A FOIL WRAPPED CONDOM PACKET.   MOORE TAKES OUT THE
</b><b>CONDOM.
</b>
<b>MOORE TURNS AWAY FROM THE COFFEETRUCK.
</b>
<b>ANGLE INS.
</b>
<b>MOORE DIGS IN HIS POCKET AND TAKES OUT A VERY SMALL AUTOMATIC
</b><b>PISTOL. HE PUTS THE PISTOL IN THE CONDOM, AND TIES IT SHUT, HE
</b><b>DROPS THE CONDOM INTO THE STEAMING COFFEE. HE STARTS TOWARD THE
</b><b>SECURITY GATE.
</b>
<b>ANGLE
</b>
<b>ON MOORE, CARRYING A CASE OF TOOLS, AS HE WALKS TO AN EMPLOYEE'S
</b><b>ENTRANCE, SEVERAL EMPLOYEES IN WORK WEAR, STREAMING IN. MOORE TAKES
</b><b>AN EMPLOYEE'S BADGE, AND AFFIXES IT TO HIS COLLAR.
</b>
<b>ANGLE INT SECURITY SHED.   EMPLOYEES STREAMING THROUGH THE METAL
</b><b>DETECTOR.
</b>
<b>MOORE PUTS HIS STEAMING COFFEE ON TOP OF THE MACHINE, AND PASSES
</b><b>THROUGH.
</b>
<b>                      SECURITY GUARD.
</b>         ...up early or up late.

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

<b>                      SECURITY GUARD.
</b>         I heard that.

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

<b>                      SECURITY GUARD.
</b>         Na, she's got this stomach thing.   Least
         little...

<b>                      MOORE
</b>         Uh huh...

<b>                      SECURITY GUARD.
</b>         ...least little thing, sets her off...

<b>MOORE STANDS WAITING FOR HIS CASE OF TOOLS TO COME THROUGH THE X-
</b><b>RAY MACHINE.
</b>
<b>MOORE PICKS IT UP, AND GOES BACK TO TAKE HIS COFFEE, AND START OUT
</b><b>OF THE DOOR, INTO THE AIRPORT. HE LEAVES HIS CASE BEHIND HIM.
</b>
<b>ANGLE EXT THE AIRPORT DRIVE-THROUGH.
</b><b>
</b><b>                                                               74.
</b>

<b>WE SEE THE STATIONWAGON PULLING OUT, AS, IN THE B.G., WE SEE THE
</b><b>SECURITY TRUCK PULLING INTO THE ARRIVALS AREA.
</b>
<b>ANGLE
</b>
<b>IN THE STATIONWAGON, AS FRAN LOOKS DOWN AT HER WATCH.
</b>
<b>ANGLE
</b>
<b>PINCUS, AT THE BANK OF PHONES, HE DOES THE SAME, AS HE TALKS ON
</b><b>THE PHONE.
</b>
<b>                      PINCUS
</b><b>              (TO PHONE)
</b>         I have to inform you we have placed three
         bombs... Three bombs. Inside your facility.

<b>HE HANDS UP THE PHONE AND CAMERA AT A BAGGAGE HANDLING AREA SHOWS
</b><b>HIM GOING INTO A MEN'S ROOM. MOORE RETRIEVES THE PISTOL FROM HIS
</b><b>COFFEECUP. HE STARTS BACK TOWARD THE SECURITY AREA. AS HE WALKS
</b><b>HE TAKES APART THE FLASHLIGHT HANGING IN THE UTILITY BELT AT HIS
</b><b>WAIST, HE REMOVES A SMALL CANNISTER FROM THE BATTERY AREA.
</b>
<b>ANGLE
</b>
<b>INT PASSENGER CONCOURSE.
</b>
<b>PINCUS, COMING OUT THE MEN'S ROOM, WEARING THE UNIFORM OF A GUARD.
</b><b>AS HE COMES OUT OF THE DOOR, WE SEE HE HAS LEFT HIS UTILITY CASE
</b><b>BEHIND.
</b>
<b>ANGLE INT THE SECURITY SHED.
</b>
<b>THE GUARD TURNS, AS MOORE REENTERS.
</b>
<b>ANGLE ON MOORE, TO SHOW HE HOLDS THE PISTOL DOWN ALONG ONE THING,
</b><b>THAT HE HOLDS THE CANNISTER ALONG THE OTHER.
</b>
<b>                      MOORE
</b>         ...how tired I am, I left my...
<b>              (HE GESTURES AT THE TOOLCASE HE
</b><b>               HAS LEFT BEHIND)
</b>
<b>THE GUARD TURNS TO MAKE A JOKE.
</b>
<b>MOORE WALKS UP TO HIM, AND DISPLAYS THE SMALL PISTOL.
</b>
<b>                      MOORE
</b>         Please tell me the code for the main gate.

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

<b>MOORE SHOOTS THE PISTOL TOWARD THE GUARD'S FOOT.
</b><b>
</b><b>                                                                 75.
</b>

<b>                      MOORE
</b>         Please tell me the code.

<b>ANGLE
</b>
<b>IN THE CONCOURSE. PINCUS, DRESSED AS A GUARD, EXTRACTS A SMALL SHIM
</b><b>FROM A LEATHER HOLDER. HE STARTS TOWARD A SECURITY DOOR. AN
</b><b>AIRLINE EMPLOYEE IN UNIFORM ENTERS BEFORE HIM.
</b>
<b>AS HE STARTS TOWARD THE DOOR, THERE IS AN EXPLOSION BEHIND HIM, AND
</b><b>SMOKE FILLS THE HALL.
</b>
<b>                      PINCUS
</b>         ...hold that door... hold that door...

<b>THE AIRLINE EMPLOYEE HOLDS THE DOOR OPEN AND PINCUS ENTERS.
</b>
<b>INT SECURITY SHED, DAY.
</b>
<b>MOORE IS GLANCING AT THE VIDEO DISPLAYS. WE SEE ON ONE OF THE
</b><b>DISPLAYS, THE SECURITY TRUCK TURNING TO ENTER THE SECURITY GATE
</b><b>AREA.
</b>
<b>ANGLE
</b>
<b>ON MOORE, AS HE DISCONNECTS THE VIDEO, AND WE SEE THE SCREEN GO
</b><b>BLANK. HE TURNS TO SHOW PINCUS, COMING INTO THE SHED BEHIND HIM.
</b>
<b>WE HEAR ON THE LOUDSPEAKER.
</b>
<b>                      LOUDSPEAKER
</b>         Attention... Attention, we have a code Four,
         and a Fire. I repeat, a code Four, and a
         Fire, at...

<b>ANGLE
</b>
<b>ON THE SECURITY TRUCK, AS THE GATES SWING OPEN, AND IT ENTERS THE
</b><b>SECURITY AREA.
</b>
<b>ANGLE
</b>
<b>ON PINCUS, AS HE TAKES A SEAT AT THE SECURITY CONSOLE. AND MOORE
</b><b>GETS ONTO THE SLOW MOVING SECURITY TRUCK. WE SEE THE SECURITY
</b><b>GATES CLOSE BEHIND IT.
</b>
<b>EXT AIRPORT DAY.
</b>
<b>THE TAIL OF A PLANE WITH A HUGE SWISS CROSS AS PART OF ITS LOGO.
</b>
<b>CAMERA PANS TO SHOW IT IS A CARGOPLANE, MARKED AEROHELVETICA.
</b>
<b>ANGLE INT THE COCKPIT, AEROHELVETICA CARGO PLANE.
</b>
<b>THE PILOT IS CONVERSING WITH SOMEONE ON THE RADIO.   HE SPEAKS
</b><b>ENGLISH WITH A FOREIGN ACCENT.
</b><b>
</b><b>                                                                    76.
</b>

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

<b>ANGLE, INT THE COMMUTER CAR LAVATORY.    THE SMALL DEVICE AFFIXED TO
</b><b>THE CEILING.
</b>
<b>ANGLE EXT THE OVERPASS.    WE SEE A TRAIN APPROACHING IN THE
</b><b>DISTANCE.
</b>
<b>ANGLE
</b>
<b>THE SMALL ELECTRONIC DEVICE ON THE UNDERSIDE OF THE STONE ARCH.
</b>
<b>WE SEE THE LIGHT GO FROM STEADY RED TO BLINKING RED.
</b>
<b>ANGLE THE OVERPASS.   AS THE TRAIN APPROACHES.   THE ARCH EXPLODES.
</b>
<b>ANGLE
</b>
<b>THE CAB OF THE TRAIN.     AS THE ENGINEER SEES THE ARCH CRUMBLING
</b><b>BEFORE HIM.
</b>
<b>ANGLE
</b>
<b>THE TRAIN SLOWING DOWN, BRAKES SCREECHING.
</b>
<b>ANGLE
</b>
<b>IN THE LAVATORY, AS THE DEVICE EXPLODES.
</b>
<b>ANGLE
</b>
<b>EXT THE TRAIN, TO SHOW THE TRAIN SLOWING, AND THE LAST CAR
</b><b>SPOUTING FLAMES. CAMERA CRANES UP TO SHOW THE TRAIN STOPS.
</b>
<b>JUST BELOW A BANK OF LANDING LIGHTS, AND, BEYOND, IS THE AIRPORT.
</b>
<b>ANGLE
</b>
<b>INT THE JET COCKPIT
</b>
<b>THE JET IS TAXIING, AND, IN THE B.G., WE SEE THE FLAMES FROM THE
</b><b>BURNING COMMUTER TRAIN CAR.
</b>
<b>                      CO-PILOT
</b><b>              (IN GERMAN)
</b>         ...what the hell is that...?
<b>
</b><b>                                                                  77.
</b>

<b>THE PILOT MOTIONS "KEEP QUIET."    HE PUTS HIS HAND TO HIS EARPHONES.
</b><b>AND LISTENS.
</b>
<b>                       PILOT
</b>          Affirmative. 294, to return to Area A
<b>               (PAUSE)
</b><b>          294.
</b><b>               (TO COPILOT)
</b>          Back to the barn...

<b>HE LOOKS DOWN.
</b>
<b>ANGLE HIS POV
</b>
<b>THE SECURITY TRUCK, COMES ALONGSIDE, AND KEEPS STATION WITH THE
</b><b>MOVING PLANE. WE SEE, FROM THE PILOTS POV, MOORE, IN THE TRUCK,
</b><b>MOTIONING, "BACK TO THE GATE."
</b>
<b>ANGLE ON THE PILOT
</b>
                       PILOT (cont'd)
<b>                (TO HIMSELF)
</b>          ...yes. We understand...

<b>HE SIGHS. AND MOTIONS TO     THE CO-PILOT, WHO PROCEEDS BACK INTO THE
</b><b>CARGO AREA. CAMERA TAKES     HIM PAST SEVERAL LARGE CRATES MARKED
</b><b>"MACHINE PARTS" TO HYWEST    FOUNDRY, PAST SEVERAL LARGE METAL
</b><b>CONTAINERS. TO THE CARGO     DOOR. WE SEE THE PLANE JOLT TO A STOP.
</b><b>THE CO-PILOT ENTERS A CODE    IN A PANEL NEAR THE DOOR. AND THE DOOR
</b><b>SLIDES OPEN TO REVEAL THE    SECURITY TRUCK BELOW, AND TWO MEN GETTING
</b><b>OUT OF IT.
</b>
<b>ANGLE
</b>
<b>ON THE TARMAC. MOORE, IN A SECURITY UNIFORM, HOISTS HIMSELF UP ONTO
</b><b>THE HOOD OF THE CAR, AND INTO THE CARGO DOOR.
</b>
<b>ANGLE
</b>
<b>ON BLANE AND BELLA, BELOW, BELLA STARTS TO FOLLOW MOORE.     BLANE
</b><b>RESTRAINS HIM.
</b>
<b>                       BLANE
</b>          ...stick with the program.    Stick with the
          program...

<b>ANGLE.   INT THE CARGOPLANE.
</b>
<b>ON MOORE, AS HE WALKS PAST THE CRATES OF MACHINE TOOLS AND THE
</b><b>UNMARKED METAL CRATES, TOWARD THE COCKPIT.
</b>
<b>ANGLE.   INT THE COCKPIT.
</b>
<b>AS THE PILOT TURNS AROUND.
</b>
<b>AS MOORE ENTERS.
</b><b>
</b><b>                                                                 78.
</b>

<b>                         MOORE
</b>            ...we have a report of...

<b>                         PILOT
</b>            Yes, we're getting it over the radio...

<b>MOORE TAKES A SMALL BATON FROM HIS BELT AND CLOUTS THE PILOT AND
</b><b>THEN THE COPILOT WITH IT. BLANE MOVES UP TO HIM. TAKES A ROLL OF
</b><b>GAFFTAPE FROM HIS BELT, AND BEGINS BINDING THE TWO MEN TO THEIR
</b><b>SEATS, FIRST GAGGING THEM WITH THE TAPE.
</b>
<b>                         MOORE
</b>            ...make sure they're breathing...

<b>ANGLE. IN THE CARGO AREA. ON BLANE. BEYOND HIM WE SEE MOORE
</b><b>STANDING OVER THE TWO SPRAWLED FORMS OF THE PILOT AND THE CO-
</b><b>PILOT.
</b>
<b>ANGLE
</b>
<b>ON MOORE, AS HE REMOVES A KEY FROM THE NECK OF THE CO-PILOT, AND
</b><b>WALKS BACK TO MOORE, THEY OPEN ONE OF THE METAL CASES.
</b>
<b>ANGLE, INT THE METAL CASE. IT IS FILLED WITH LARGE INGOTS COVERED
</b><b>IN BURLAP. MOORE HANDS OPEN ONE TO REVEAL IT IS GOLD. THE GOLD
</b><b>INGOT IS STAMPED CREDIT NATIONAL DE GENEVE.
</b>
<b>ANGLE
</b>
<b>ON MOORE.
</b>
<b>AS HE DETACHES A SMALL CONVEYOR FROM THE INTERIOR OF THE CARGO
</b><b>AREA, AND LOWERS IT DOWN TO THE BACK OF THE SECURITY TRUCK.
</b>
<b>ANGLE
</b>
<b>IN THE SECURITY TRUCK. BELLA, ACCEPTS THE CONVEYOR. THE BELT OF
</b><b>THE CONVEYOR BEGINS TO MOVE, AND THE COVERED IGNOTS TO DESCEND DOWN
</b><b>THE SLIDE.
</b>
<b>ANGLE.   ON BELLA AS HE UNCOVERS ONE OF THE INGOTS, TO REVEAL IT IS
</b><b>GOLD.
</b>
<b>BLANE DROPS DOWN NEXT TO HIM.
</b>
<b>                         BLANE
</b>            ...let's get with it...

<b>HE AND BELLA MOVE TO THE HUGE ENGINE HELD IN THE BODY OF THE TRUCK.
</b><b>THEY PIVOT IT OPEN, AND BEGIN TO FILL THE EMPTY INTERIOR WITH THE
</b><b>COVERED BARS.
</b>
<b>ANGLE INT THE CARGOPLANE.
</b>
<b>MOORE LOADING THE COVERED INGOTS ONTO THE CONVEYOR.   HE LOOKS AT
</b><b>HIS WATCH.
</b>
<b>INT SECURITY SHED DAY.
</b><b>
</b><b>                                                                   79.
</b>

<b>ON PINCUS, DRESSED AS A SECURITY GUARD. AS HE LUGS THE UNCONSCIOUS
</b><b>GUARD ACROSS THE FLOOR, AND INTO A LAVATORY. HE CLOSES THE DOOR,
</b><b>AND STARTS BACK TOWARD HIS POSITION AT THE SECURITY CONSOLE.
</b>
<b>AS HE STARTS BACK, TWO STATE TROOPERS PULL UP IN THEIR CRUISER.     AT
</b><b>THE MAIN GATE. THEY HONK THE HORN.
</b>
<b>ANGLE, ON PINCUS, AS HE PROCEEDS OUT TO THEM. WE SEE ONE OF THE
</b><b>POLICEMEN IS HOLDING HIS BADGEHOLDER OUT OF THE WINDOW, TOWARD THE
</b><b>VIDEO CAMERA. PINCUS WALKS UP TO THE CAR.
</b>
<b>                      TROOPER
</b>         Get the gate open...

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

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

<b>                      PINCUS
</b>         ...the video's out.

<b>HE STARTS BACK TOWARD THE SECURITY SHED.     ONE OF THE TROOPERS
</b><b>FOLLOWS.
</b>
<b>                       TROOPER
</b><b>              (IN CAR)
</b>         Get the gate open...?

<b>ANGLE
</b>
<b>INT THE SECURITY SHED.   PINCUS COMING BACK IN, FOLLOWED BY THE
</b><b>OTHER TROOPER.
</b>
                      TROOPER (cont'd)
         Can we get the gate open...?

<b>                      PINCUS
</b>         You're looking at me doing it...

<b>PINCUS PUNCHES NUMBERS INTO THE BOARD, AND WE SEE THE GATE SWING
</b><b>OPEN BEYOND THEM. THE TROOPER, IN THE B.G. STARTS TO OPEN THE DOOR
</b><b>TO THE LAVATORY.
</b>
<b>                      TROOPER
</b>         ...who's been through here...?

<b>                       PINCUS
</b>         Well I.   I can tell you who's...

<b>                      TROOPER
</b><b>              (AS HE WALKS TOWARD THE LAVATORY)
</b>         Gimme a list of any...
<b>
</b><b>                                                                 80.
</b>

<b>                      PINCUS
</b>         I put it on, it's all on the computer, n'the
         computer went down...

<b>THE TROOPER STARTS TO OPEN THE DOOR TO THE LAVATORY
</b>
                      PINCUS (cont'd)
<b>              (SCREAMING)
</b>         Don't touch the door. For Godsake. Don't
         touch the door-- din't you hear, on the rrr...
         one guy, got his arm blown off, the bombsquad
         said not to...

<b>ANGLE, EXT, THE TARMAC
</b>
<b>MOORE IN THE CARGOPLANE. LOOKS AROUND. HAULS UP THE CONVEYOR,
</b><b>PUNCHES A BUTTON ON THE CONTROL PANEL, THE HATCH STARTS TO CLOSE.
</b>
<b>ANGLE EXT THE PLANE.
</b>
<b>ON THE TARMAC, THE TRUCK. WE SEE, INTERIOR. BELLA AND BLANE,
</b><b>SWINGING CLOSED THE HOLLOW ENGINE, THEY PULL THE REAR DOOR OF THE
</b><b>TRUCK CLOSED. AS MOORE JOINS THEM, IN THE CAB OF THE TRUCK.
</b>
<b>ANGLE INT THE CAB OF THE TRUCK.
</b>
<b>BLANE, HOLDS UP A WALKIE TALKIE, WHICH IS SPOUTING SECURITY UPDATES.
</b><b>HE NODS AT MOORE TO SAY "I THINK WE ARE ALRIGHT."
</b>
<b>ANGLE, THEIR POV
</b>
<b>THE SECURITY GATE AHEAD OF THEM. THE TROOPER'S CRUISER PARKED
</b><b>INSIDE OF IT. BLOCKING THE EXIT.
</b>
<b>ANGLE
</b>
<b>THE THREE MEN IN THE TRUCK.
</b>
<b>BEAT.
</b>
<b>                      MOORE
</b><b>              (TO BELLA, WHO IS DRIVING)
</b>         Honk the horn.
<b>              (PAUSE)
</b>         ...what'm I telling you...?

<b>BELLA HONKS THE HORN, TENTATIVELY.
</b>
<b>ANGLE, THEIR POV THE TROOPERS, ONE IN THE CAR, ONE INSIDE THE
</b><b>SECURITY AREA, TALKING WITH PINCUS.
</b>
<b>ANGLE
</b>
<b>INSIDE THE TRUCK.   AS MOORE LEANS OVER AND LEANS ON THE HORN.
</b>
<b>ANGLE
</b><b>
</b><b>                                                                 81.
</b>

<b>THE TROOPER IN THE CAR SIGHS, AND PULLS HIS CAR UP, SO THAT THE
</b><b>TRUCK CAN PASS.
</b>
<b>ANGLE EXT THE SECURITY SHED. AS PINCUS MOVES PAST THE TROOPER, TO
</b><b>THE TRUCK, WHICH IS MOVING THROUGH THE SECURITY AREA.
</b>
<b>                      PINCUS
</b><b>              (TO THE TROOPER)
</b>         Would you please, would you please...?
<b>              (TO THE TRUCK)
</b>         Excuse me. Excuse me... No one is to leave
         this...

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

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

<b>ANGLE, ON PINCUS, AS HE SEES SOMETHING, IN THE POLICE CRUISER.
</b>
<b>ANGLE HIS POV.   TAPED TO THE VISOR OF THE POLICE CRUISER.
</b>
<b>INS. OF A SHOT OF MOORE (A PHOTO TAKEN FROM AND WHICH WE
</b><b>RECOGNIZE AS TAKEN IN THE VIDEO AT THE JEWELRY STORE, I.E., MOORE
</b><b>LOOKING UP AT THE VIDEOCAMERA.)
</b>
<b>ANGLE, ON PINCUS, LOOKING AT THE SHOT.
</b>
<b>HE WIPES HIS FOREHEAD. AND CONTINUES TALKING TO THE TROOPERS
</b><b>WHILE HE PASSES AN INFINITESIMAL "GET OUT OF HERE..." SIGNAL
</b><b>TOWARD THE SECURITY TRUCK.
</b>
<b>ANGLE
</b>
<b>IN THE TRUCK.    AS THEY DRIVE THROUGH THE GATES.
</b>
<b>                      BLANE
</b>         Don't look back... don't look back...

<b>                      BELLA
</b>         How's he... how is he...?

<b>                      BLANE
</b>         Well, that's just gonna have to be as it
         is...
<b>              (HE TAKES OUT A CELLPHONE AND
</b><b>               DIALS AS HE SPEAKS.)
</b><b>              (INTO PHONE)
</b>         I got a broke down truck, excuse me, I called,
         could I speak to your supervisor please...? I
         got one of your trucks, engine failure, I
         called first at Five, five twenty, this...
         this is my forth call... Right outside the
         Airport.
<b>                      (MORE)
</b><b>
</b><b>                                                                   82.
</b>

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

<b>ANGLE
</b>
<b>ON MOORE, AS HE STEALS A GLANCE BACK AT PINCUS.
</b>
<b>ANGLE HIS POV
</b>
<b>ON PINCUS, TALKING WITH THE TWO TROOPERS.
</b>
<b>INT THE CARGOPLANE DAY
</b>
<b>THE THREE METALLIC CRATES OPEN, PAN PAST THE "MACHINE PARTS"
</b><b>CRATES, ONTO THE TWO MEN IN THE COCKPIT. THE PILOT STARTS TO
</b><b>STIR, GROGGILY.
</b>
<b>ANGLE EXT
</b>
<b>ON THE VAN AS IT COMES ONTO A SMALL ACCESS ROAD.    WE SEE THEIR
</b><b>AIRPORT IN THE B.G.
</b>
<b>ANGLE
</b>
<b>EXT THE STATIONWAGON, DRIVEN BY FRAN, PULLING INTO THE ARRIVALS
</b><b>AREA. SHE DRIVES SLOWLY BY THE SECURITY GATE.
</b>
<b>ANGLE HER POV
</b>
<b>IN THE B.G. WE SEE PINCUS STILL TALKING TO THE TROOPERS.
</b>
<b>ANGLE
</b>
<b>ON PINCUS, AS HE STEALS A GLANCE AT HIS WATCH.     HE LOOKS UP.
</b>
<b>ANGLE HIS POV
</b>
<b>IN THE B.G., FRAN, DRIVING THE STATIONWAGON SLOWLY.
</b>
<b>ANGLE, INT, THE SECURITY STATION.
</b>
<b>ONE OF THE TROOPERS GETS A CALL ON THE WALKIE-TALKIE.
</b>
<b>                         TROOPER
</b><b>                 (INTO THE WALKIE)
</b>            Four nine, go.
<b>                 (PAUSE)
</b>            Where...? Oh shit...

<b>HE HURRIES OUT TO THE CAR.    HE TURNS BACK, TOWARD PINCUS.
</b>
                         TROOPER (cont'd)
<b>                 (CALLING)
</b>            Aerohelvetica. Cargo...?
<b>
</b><b>                                                               83.
</b>

<b>                        PINCUS
</b>          Bay Five.   Go Left.   Bay Five...

<b>WE SEE THE TROOPERS IN THE CAR HURRY OFF.
</b>
<b>PINCUS STARTS STRIPPING OFF HIS SECURITY UNIFORM, AS WE WALKS OUT
</b><b>OF THE SECURITY SHED, TOWARD FRAN IN THE CAR.
</b>
<b>ANGLE INT THE STATIONWAGON AS PINCUS GETS UP, AND MOTIONS FRAN TO
</b><b>DRIVE QUICKLY. WE HOLD ON THE STATIONWAGON LEAVING THE AIRPORT
</b><b>DRIVETHROUGH.
</b>
<b>                       FRAN
</b>          How...?

<b>ANGLE. THE STATIONWAGON DRIVING PAST A ROW OF ORANGE-VESTED
</b><b>ROADWORKERS, WHO ARE LAYING TAR ON THE ROADWAY.
</b>
<b>THE STATIONWAGON SLOWS.
</b>
<b>ANGLE INT THE CAR.
</b>
<b>                       PINCUS
</b>          Wait wait wait wait wait.
<b>               (HE GESTURES HER TO STOP)
</b>
<b>ANGLE EXT THE STATIONWAGON.
</b>
<b>ON PINCUS AS HE TAKES A TRASH BAG, AND THROWS IT INTO A ROADSIDE
</b><b>TRASH CONTAINER.
</b>
<b>ANGLE
</b>
<b>ON THE VAN, AS IT PULLS INTO A PARKING GARAGE.
</b>
<b>ANGLE -
</b>
<b>A MOSTLY EMPTY FLOOR OF THE PARKING GARAGE.
</b>
<b>THE VAN PULLING UP.
</b>
<b>MOORE AND BLANE GET OUT, AND START TO LOOK DOWN TOWARD THE AIRPORT.
</b>
<b>MOORE LOOKS AT HIS WATCH. BLANE GOES TO THE SIDE OF THE VAN,
</b><b>HESITATES, AND LOOKS AT MOORE.
</b>
<b>                       BLANE
</b>          ...where's your explosion...?

<b>                       MOORE
</b><b>               (HE LOOKS AROUND, THEN, TO
</b><b>                BLANE)
</b>          Do it...

<b>BLANE NODS TO MOORE, AND THEY BEGIN TO STRIP THE "SKINS" OFF THE
</b><b>SIDE OF THE SECURITY TRUCK, TO REVEAL IT IS A RYDER RENTAL TRUCK.
</b>
<b>ANGLE INT THE TRUCK
</b><b>
</b><b>                                                                   84.
</b>

<b>MOORE OPENS THE BACK PANEL, HE REMOVES A LARGE GARBAGE BAG.       AND
</b><b>ACCEPTS THE REMOVED SKINS AND LICENSEPLATES FROM BLANE.
</b>
<b>IN THE FRONT WE SEE BELLA, GETTING OUT OF HIS SECURITY UNIFORM.
</b>
<b>AND, IN THE REAR, BLANE AND MOORE DOING THE SAME.
</b>
<b>MOORE OPENS THE FAKE ENGINE, AND STUFF THE UNIFORMS, ET CETERA,
</b><b>INSIDE.
</b>
<b>                      BELLA
</b><b>              (LOOKING BACK)
</b>         Here she comes...

<b>ANGLE ON BLANE, AS HE TURNS.
</b>
<b>ANGLE, HIS POV.
</b>
<b>THE STATIONWAGON, COMING UP THE RAMP.    FRAN AND PINCUS IN IT.
</b>
<b>ANGLE
</b>
<b>ON THE MEN IN THE TRUCK.
</b>
<b>ON MOORE, AS HE LOADS THE MATERIALS INTO THE ENGINE.
</b>
<b>                      MOORE
</b>         Is he with her...?

<b>                      BLANE
</b>         Yeah he's there.

<b>HE PICKS UP ONE OF THE BARS FROM THE FAKE ENGINE AND PULLS OFF THE
</b><b>COVERING, TO REVEAL IT IS GOLDEN. HE SMILES
</b>
                      BLANE (cont'd)
         Yeah, he's there.

<b>THE STATIONWAGON PULLS UP BY THE TRUCK.     PINCUS GETS OUT AND WALKS
</b><b>TO THE BACK OF THE TRUCK.
</b>
<b>                      MOORE
</b><b>              (TO PINCUS)
</b>         Where's my diversion...?

<b>                      PINCUS
</b>         I... I threw it in the garb... Joe:     Joe,
         Listen:

<b>                      MOORE
</b>         Where's my explosion, I'm up here naked...

<b>                         PINCUS
</b>         Joe:     they got your...

<b>HE LOOKS INSIDE THE TRUCK.     HE TAKES OUT AND LOOKS AT THE HALF-
</b><b>OPENED BAR OF GOLD.
</b><b>
</b><b>                                                              85.
</b>

<b>                      PINCUS
</b>         Joe... they got your...

<b>BLANE SHOWS HIM THE GOLDEN BAR.
</b>
                      PINCUS (cont'd)
         Go sell chocolate, you Heidi Motherfuckers.
         Go see Cookoo Clocks. WE GOT YOUR GOLD...

<b>ANGLE
</b>
<b>ON BLANE, AS HE TAKES THE ROLL OF TAPE FROM HIS BELT, AND TAPES
</b><b>THE COVERING AGAIN OVER THE BAR. HE REPLACES THE BAR, AND MOORE
</b><b>SHUTS UP THE FAKE ENGINE.
</b>
<b>                      FRAN
</b><b>              (TO MOORE)
</b>         How'd it go?

<b>                      BLANE
</b>         It got a little tight in there.

<b>                      PINCUS
</b><b>              (TO MOORE)
</b>         They got your photo.

<b>                        MOORE
</b>         Who?

<b>                        PINCUS
</b>         The Staties.    I saw it in the car.   I.

<b>                       MOORE
</b>         Forget it.   Let's...

<b>BLANE MOVES TO A SEDAN, WHICH THEY ARE PARKED, TAKES OUT KEYS, OPENS
</b><b>IT, AND BEGINS PUTTING ON A SUITCOAT AND A HAT WHICH ARE FOUND ON
</b><b>THE SEAT.
</b>
<b>                      BELLA
</b>         ...they got your photo...?

<b>                      MOORE
</b>         Yeah, well, that's a Hazard of the jjj...

<b>                      BELLA
</b>         You can't go through the roadblock if...

<b>                      MOORE
</b>         I told you on the day, they had me, you...

<b>                      BELLA
</b>         Yeah, but you... I can't have you going
         through the...

<b>                      MOORE
</b>         I stay with the gold.
<b>
</b><b>                                                              86.
</b>

<b>                      FRAN
</b>         Joe, he's right if...

<b>                      MOORE
</b>         You're gonna side with the guy, you're gonna
         side against me? You gonna talk against me,
         Fran?

<b>                      FRAN
</b>         I'm saying...

<b>                      BELLA
</b>         Fuck it... if they got you on film I am not
         going through that with the gold and you in
         the truck.

<b>                      MOORE
</b>         I stay with the gold.
<b>              (PAUSE)
</b>         I stay with the gold.

<b>                      BELLA
</b>         They got you on film, you got to go.     You'll
         never make the road block... Joe...

<b>                      MOORE
</b>         I got to go with the gold.

<b>                      BELLA
</b>         You know, your wife said it...

<b>ANGLE, ON BLANE, AS HE LOOKS OUT OF THE PARKING GARAGE.
</b>
<b>ANGLE, HIS POV.
</b>
<b>ON THE ACCESSROAD, SEVERAL STATE POLICE CARS, SETTING UP A
</b><b>ROADBLOCK.
</b>
<b>                      BLANE
</b>         Joe, we gotta go.

<b>                       MOORE
</b>         You go.   See you at the rendezvous...

<b>ANGLE ON BLANE, AND PINCUS, WHO IS TAKING CLOTHES FROM THE SEAT OF
</b><b>THE SEDAN. HE STARTS TO GET IN. REACHES BACK, AND HANDS PIECES OF
</b><b>PAPER TO MOORE.
</b>
<b>                      PINCUS
</b>         ...parking tickets, you've been here two
         days...

<b>HE GETS INTO THE SEDAN, AND THE SEDAN PULLS AWAY.
</b>
<b>MOORE STARTS TO GET INTO THE VAN.
</b>
<b>                      BELLA
</b>         ...you're burnt.
<b>
</b><b>                                                               87.
</b>

<b>                      MOORE
</b>         Then we'll all go together.

<b>                      BELLA
</b>         I do not see the percentage...

<b>                      MOORE
</b>         You don't have to, Baby...

<b>                      FRAN
</b>         ...you can't make the Roadblock, Joe...

<b>                      BELLA
</b>         You're burnt, for chrissake.   You're fucken
         burnt Old Man... What're you,  telling your
         Beads "I go with the Gold"...  Look here: You
         tell me: what're they gonna   be looking
         harder at? You tell me, you   here with us, or
         you in an empty car.
<b>              (PAUSE)
</b>         You tell me.
<b>              (PAUSE)
</b>         You tell me? You follow us.     Through the
         roadblock, for chrissake.
<b>              (PAUSE)
</b>         Eh? You follow us thr...

<b>MOORE TURNS TO BLANE.
</b>
<b>                      BLANE
</b>         You're burnt, Joe. You're burnt.     It's the
         wise thing. What do you lll...?

<b>                      MOORE
</b>         I follow you to the rendezvous...
<b>              (TO FRAN)
</b>         Gimme the keys...

<b>SHE PASSES THE KEYS TO BELLA, WHO HANDS THEM TOWARD MOORE.
</b>
<b>                      PINCUS
</b>         ...Joe, get in the c...

<b>ANGLE, ON MOORE, AS HE ADDRESSES FRAN, AS SHE GETS INTO THE TRUCK.
</b>
<b>                      MOORE
</b>         ...stay with the ggg...
<b>              (HE LOOKS DOWN AT THE KEYS. WE
</b><b>               SEE THEY ARE NOT THE SAME KEYS
</b><b>               WHICH FRAN HANDS TO BELLA)
</b><b>              (TO BELLA)
</b>         You palmed the keys, you palmed the keys, you
         motherf...

<b>HE LOOKS DOWN AT THE KEYS IN HIS HAND. HE GRABS BELLA'S WRIST, AND
</b><b>TURNS IT OVER TO SHOW A SECOND SET OF KEYS IN BELLA'S HAND.
</b><b>
</b><b>                                                                  88.
</b>

                        MOORE (cont'd)
           ...what's, what's the deal, you're gonna
           leave me, alone, in the...

<b>THERE IS A SOUND OF AN EXPLOSION. MOORE TURNS HIS HEAD, WE SEE
</b><b>BEYOND AND BELOW HIM, THE GARBAGE CAN, BURSTING INTO FLAMES, AND
</b><b>SPOUTING SMOKE.
</b>
<b>ANGLE, ON BELLA, AS HE TAKES OUT HIS PISTOL AND CLOUTS THE
</b><b>DISTRACTED MOORE.
</b>
<b>ANGLE XCU.
</b>
<b>ON FRAN.
</b>
<b>                        FRAN
</b>           ...no...

<b>                        BELLA
</b>           Get in the truck. Get in the truck... Get in
           the truck...

<b>ANGLE
</b>
<b>HE FORCES HER INTO THE VAN.
</b>
<b>ANGLE
</b>
<b>THE VAN COMING DOWN THE RAMP.
</b>
<b>ANGLE INT THE VAN.    BELLA DRIVING, COMING UP ON THE CASHIER'S
</b><b>BOOTH.
</b>
<b>                        BELLA
</b><b>                (TO FRAN)
</b>           Gimme the ticket.
<b>                (PAUSE)
</b>           Gimme the ttt...

<b>                        FRAN
</b>           ...you left'em up there with Joe...

<b>ANGLE, AT THE CASHIER'S BOOTH.
</b>
<b>                        CASHIER
</b>           ...morning...

<b>                        BELLA
</b>           I, uh...

<b>                        FRAN
</b><b>                (SOTTO)
</b>           ...get us out of here...

<b>                        BELLA
</b>           I seem to've lost my ticket...
<b>
</b><b>                                                                89.
</b>

<b>                         CASHIER
</b>         Oh, man.     I'm sorry.

<b>                        BELLA
</b>         ...just...

<b>                      CASHIER
</b>         Look, f'you c'n show me some... something,
         your airline ticket, something...

                      BELLA (cont'd)
         ...just tell me what the full freight is,
         for...

<b>                      CASHIER
</b>         Sure, but, between you 'n me? They give me
         some leeway, so, f'you c'n show me some
         "Proof," 'bout, how long...

<b>                      FRAN
</b>         Just, would you just, however long, the...

<b>                      CASHIER
</b>         ...lost Ticket charge, hundred fifty dollars.
         I don't think you...

<b>FRAN DIGS IN HER POCKET, AND STARTS PAYING HIM.
</b>
                      CASHIER (cont'd)
         I'm telling you, I hate to...

<b>                      FRAN
</b>         We're in a hurry...

<b>THE CASHIER SHRUGS.
</b>
<b>                      CASHIER
</b>         ...you must be some kind of rich...

<b>HE HANDS THEM A RED RECEIPT, WHICH IS PRINTED "STAYS OVER 72 HOURS.
</b><b>LOST TICKET CHARGE. PAID."
</b>
<b>ANGLE
</b>
<b>ON BELLA, AS HE TAKES THE RECEIPT, AND THROWS IT ON HIS DASHBOARD,
</b><b>AND DRIVES OFF.
</b>
<b>ANGLE, ON MOORE, ON THE PAVEMENT, AS HE STIRS, AND SHAKES HIS
</b><b>HEAD...
</b>
<b>ANGLE
</b>
<b>ON THE VAN, COMING OUT OF THE PARKING GARAGE, AND ONTO THE ACCESS
</b><b>ROAD.
</b>
<b>ANGLE
</b>
<b>ON THE VAN, GOING ONTO THE SHOULDER OF THE ACCESSROAD.
</b><b>
</b><b>                                                                     90.
</b>

<b>BELLA JUMPS OUT OF THE VAN, AND RAISES THE HOOD. HE TAKES OUT A
</b><b>SCREWDRIVER, AND USES IT TO DISCONNECT SEVERAL WIRES.
</b>
<b>HE WALKS BACK TO THE VAN.
</b>
<b>                      FRAN
</b>         You didn't have to hit him...

<b>                      BELLA
</b>         Yea? When'd you get so tough.        You didn't
         used to be so tough...

<b>                         FRAN
</b><b>         I...
</b><b>                 (SHE SEES SOMETHING IN THE
</b><b>                  REARVIEW MIRROR)
</b>
<b>ANGLE BELLA'S POV.
</b>
<b>A WRECKER TRUCK COMING DOWN ALONG THE ROAD.      IT VEERS ONTO THE
</b><b>ACCESS ROAD, AND PUTS ON ITS FLASHES.
</b>
<b>ANGLE
</b>
<b>BELLA AND FRAN
</b>
<b>                      BELLA
</b>         Yeah, that's about as close as I ever want it
         to be...

<b>                      FRAN
</b>         ...why did you have to hurt him...?

<b>                      BELLA
</b>         ...hey, din't we make that decision...?

<b>ANGLE
</b>
<b>AS THE MAN FROM THE WRECKER BACKS HIS TRUCK UP TO THE HOOD OF
</b><b>THE RENTAL TRUCK.
</b>
<b>FRAN COMES OUT TO TALK TO HIM.
</b>
<b>                      FRAN
</b>         Where the, where the hell, excuse me. Good
         morning. We've been sitting here, since...

<b>THE MECHANIC FROM THE WRECKER ADVANCES TOWARD THEM.
</b>
<b>                      MECHANIC
</b>         I'm sorry, we've got a full day... I got four
         false calls this morning, four false calls.
<b>         I...
</b>
<b>HE STARTS TO OPEN THE HOOD.
</b><b>
</b><b>                                                                91.
</b>

<b>                      FRAN
</b>         That's not going to do you a whole raft of
         good. That's dead as Kelsey's nuts...

<b>ANGLE
</b>
<b>SEVERAL COP CARS ESTABLISHING THE ROADBLOCK. WE SEE TWO OF THE
</b><b>COPS GET INTO A CRUISER, AND PULL UP TOWARD THE WRECKER AND THE VAN.
</b>
<b>ANGLE
</b>
<b>ON BELLA AND FRAN IN THE VAN.   BELLA TAKES OUT A CIGARETTE.
</b>
                      FRAN (cont'd)
         Don't smoke the cigarette.

<b>                      BELLA
</b>         ...what kind of people try to look calm...?

<b>ANGLE INT THE POLICE CRUISER. AS IT COMES UP ON THE TOWTRUCK,
</b><b>WHICH IS HAULING UP THE "BROKEN" RENTAL TRUCK.
</b>
<b>ONE OF THE OFFICERS GETS OUT OF THE STOPPED CRUISER AND WALKS
</b><b>TOWARD THE TRUCK, THE OTHER STAYS ON THE RADIO, AND THEN FOLLOWS.
</b>
<b>                      OFFICER ONE
</b><b>              (AS HE APPROACHES THE GROUP
</b><b>               AROUND THE TWO TRUCKS)
</b>         Morning,

<b>ANGLE ON OFFICER TWO AS HE WALKS AROUND TO THE BACK OF THE TRUCK.
</b>
<b>                      OFFICER TWO
</b>         ...would you stand away, please...?

<b>OFFICER TWO MOVES INTO THE BACK OF THE TRUCK, CAMERA FOLLOWS TO
</b><b>SHOW HIM WALKING UP TO THE OTHER SIDE.
</b>
<b>ANGLE EXT THE TRUCK.
</b>
<b>                      OFFICER ONE
</b><b>              (TO FRAN)
</b>         How long has this truck been here?

<b>                      FRAN
</b><b>              (TO THE MECHANIC)
</b>         Ask him...

<b>                      MECHANIC
</b>         ...the, uh, we got the first call at...

<b>                      FRAN
</b>         We've been here since...
<b>
</b><b>                                                                   92.
</b>

<b>                        OFFICER ONE
</b>           One moment, please.

<b>                        MECHANIC
</b>           We got the breakdown call at five-twenty,
           this.

<b>                        FRAN
</b>           This is great, this is great, a four hour
           breakdown n'i'm gonna get arrested, all in
           One Swell Day. Whatsa Charge...?

<b>                        OFFICER TWO
</b><b>                (AS HE COMES BACK AROUND FROM THE
</b><b>                 BACK, COMING UP TO FRAN.)
</b>           ...what you hauling...?

<b>                        FRAN
</b>           Marine 'quipment.

<b>                        OFFICER TWO
</b>           Marine what...?

<b>                        OFFICER ONE
</b>           ...would you open the rear, please...?

<b>ANGLE
</b>
<b>ON FRAN.   AS SHE GETS DOWN, AND WALKS THE COP TO THE BACK.
</b>
<b>                        FRAN
</b>           ...it's an auxiliary engine, some rich guy's
           toy...

<b>SHE OPENS THE REAR OF THE VAN.      THE POLICEMAN STARTS INVESTIGATING
</b><b>THE ENGINE.
</b>
<b>                          OFFICER
</b>           ...some toy.

<b>                        FRAN
</b><b>                (TAKES OUT A STICK OF GUM AND PUTS
</b><b>                 IT IN HER MOUTH.)
</b>           ...maybe he's compensating fr'something...
<b>                (OFFERS A STICK OF GUM TO THE
</b><b>                 COP, WHO DECLINES)
</b>           what's the deal, what're you looking for...?

<b>ANGLE
</b>
<b>ON OFFICER TWO AND BELLA, WHO IS IN THE CAB.
</b>
<b>                        OFFICER TWO
</b>           How long you been out here...?

<b>                        BELLA
</b>           Broke down, this morning, five, five
           fifteen...
<b>
</b><b>                                                                93.
</b>

<b>                      OFFICER TWO
</b>         What'dja eat...?

<b>                      BELLA
</b>         Nothing, you know, nothing to eat... nothin'
         to eat but luckies...

<b>HE REACHES FOR CIGARETTES ON THE DASHBOARD.
</b>
<b>ANGLE INS.   WE SEE THE LARGE RED RECEIPT PARKING OVER 72 HOURS,
</b><b>ETC.
</b>
<b>ANGLE
</b>
<b>ON BELLA AS HE TAKES THE CIGARETTE AND LIGHTS IT, HE PUTS THE
</b><b>MATCHES BACK ON THE DASH, NEXT TO SOME PAPERWORK.
</b>
<b>                      OFFICER ONE
</b>         ...you been sitting out here all morn...?

<b>ANGLE
</b>
<b>ON FRAN, AS SHE WALKS UP, FOLLOWED BY THE OTHER COP.
</b>
<b>                      FRAN
</b>         You guys wanna wave your magic wand n'make
         it different, that's awright with me...

<b>                      BELLA
</b>         ...look at the paperwork...

<b>HE STARTS TO REACH FOR THE CLIPBOARD.
</b>
<b>ANGLE, FRAN'S POV INS.   THE RED LATE TICKET SLIP ON THE
</b><b>DASHBOARD.
</b>
<b>ANGLE
</b>
<b>ON THE OFFICER ONE, AS HE REACHES INTO THE CAB FOR THE PAPERWORK.
</b>
<b>                      FRAN
</b>         Yeah. Lookit the paperwork.    Tell you what,
         keep the paperwork.

<b>SHE REACHES PAST HIM, PICKS UP THE RED RECEIPT, TAKES OUT HER GUM
</b><b>AND PUTS IT IN THE PAPER, CRUMPLES IT, AND TOSSES IT ONTO THE
</b><b>FLOOR OF THE CAB.
</b>
                      FRAN (cont'd)
         ...lest you need to Throw me in Jail,
         f'sitting in a Truck...

<b>                      OFFICER ONE
</b>         Back's clean...

<b>                      FRAN
</b>         Hey, y'gonna leave, just when we're gettin'
         to know each other...?
<b>
</b><b>                                                                   94.
</b>

<b>                      OFFICER TWO
</b>         Duty calls...

<b>                      FRAN
</b>         Ships-in-the-night...
<b>              (SHE SHRUGS)
</b>
<b>ANGLE
</b>
<b>EXT THE WRECKER.
</b>
<b>THE MECHANIC CLOSES THE HOOD, WE SEE THE TWO COPS WALKING BACK TO
</b><b>THEIR CRUISER. THE WRECKER STARTS TO DRIVE OFF, WE SEE ONE OF
</b><b>THE COPS WAVE TO THE OTHERS AT THE BARRICADE, AND WE SEE THE WRECKER
</b><b>PASS THROUGH.
</b>
<b>ANGLE INT THE PARKING GARAGE.
</b>
<b>MOORE, HOLDING A DIRTY HANDKERCHIEF TO HIS BLEEDING HEAD.
</b>
<b>LOOKS OUT AT THE ACCESSROAD.
</b>
<b>ANGLE HIS POV.
</b>
<b>THE WRECKER AND THE TRUCK PASSING THROUGH THE ROADBLOCK.
</b>
<b>INT PARKING GARAGE. DAY.
</b>
<b>MOORE, RISING TO HIS FEET.     HOLDS A HANDKERCHIEF TO HIS HEAD.
</b>
<b>HE WALKS TO THE EDGE OF THE PARKING GARAGE PARAPET, AND LOOKS OUT.
</b>
<b>ANGLE HIS POV.
</b>
<b>THE TRUCK, DOWN, BELOW, ON THE ACCESS ROAD, PASSING THROUGH THE
</b><b>ROADBLOCK, TOWED BY THE WRECKER.
</b>
<b>ANGLE
</b>
<b>AT THE ROADBLOCK, THE COPS WAVING THE WRECKER THROUGH.
</b>
<b>ANGLE
</b>
<b>IN THE PARKING GARAGE.   MOORE, TURNS AWAY FROM THE EDGE, AND WALKS
</b><b>BACK, UNSTEADILY.
</b>
<b>CAMERA TAKES HIM TOWARD THE STAIRCASE.
</b>
<b>ANGLE THE DRIVETHROUGH, GROUND LEVEL, AIRPORT.
</b>
<b>A SMALL FIRETRUCK IS PARKED BESIDE THE WASTE CAN, WHICH IS SPEWING
</b><b>SMOKE, TWO FIREFIGHTERS ARE PUTTING OUT THE FIRE, POLICE ARE
</b><b>DIRECTING TRAFFIC AROUND IT.
</b>
<b>SEVERAL ROADCREWMEN, THE ROADCREW WE SAW EARLIER.     ARE SITTING ON
</b><b>THE CURB, AND WATCHING.
</b>
<b>ANGLE
</b><b>
</b><b>                                                                   95.
</b>

<b>ON MOORE, AS HE EMERGES FROM THE CONCRETE STAIRWELL. HE LOOKS
</b><b>AROUND. HE PICKS UP AN ORANGE VEST AND A HARDHAT FROM A PILE AT THE
</b><b>BARRICADE OUTSIDE THE STAIRWELL. HE TIES THE HANDKERCHIEF AROUND
</b><b>HIS HEAD, HE SHUCKS OFF HIS SPORTCOAT, AND SHIRT, AND PUTS THE VEST
</b><b>ON OVER HIS T-SHIRT. HE PUTS ON THE HARDHAT.
</b><b>HE PICKS UP A HOE, AND STARTS SLOWLY WALKING DOWN THE ROAD, AWAY
</b><b>FROM THE FIRE AND POLICE.
</b>
<b>                                                    DISSOLVE TO:
</b>
<b>INT RENTAL TRUCK GARAGE DAY.
</b>
<b>FRAN SIPPING COFFEE, INSIDE A SMALL "ADMIN" SHED. IN THE B.G. WE
</b><b>SEE THE VARIOUS TRUCKS BEING SERVICED. BELLA, TALKING WITH A
</b><b>MECHANIC, COMES BACK INTO THE SHED. HE COMES AND SITS NEXT TO HER
</b><b>ON A BENCH, THEY SPEAK IN UNDERTONES.
</b>
<b>FRAN NODS HER APPRECIATION.
</b>
<b>A SUPERVISOR COMES IN.
</b>
<b>                      SUPERVISOR
</b>         I'm sorry, I believe It'll take us four or
         five hours to... you know, f'you want, I'll
         be glad, transfer your load...

<b>                      BELLA
</b>         ...thank you, but we got that thing
         palletted in there, pretty good, and... I,
         uh, I don't want to change it, I'd rather
         wait.

<b>                      SUPERVISOR
</b>         No problem, just thought I'd make the
         offer...

<b>HE WITHDRAWS.    PAUSE.
</b>
<b>                      BELLA
</b>         I figure, we can't be any safer than in here.

<b>                      FRAN
</b>         ...you think pretty good on your feet.

<b>                      BELLA
</b>         ...I think pretty good off my feet, too.
<b>              (PAUSE)
</b>         F'you remember...
<b>              (PAUSE)
</b>         You remember that...?

<b>HOLD ON FRAN, LOOKING AT HIM.
</b>
<b>INT DINER DAY.
</b>
<b>A POV, ACROSS AN INDUSTRIAL STREET, THE RENTATRUCK GARAGE.
</b><b>
</b><b>                                                                  96.
</b>

<b>WE SEE THE OPEN BACK OF THE TRUCK, AND THE ENGINE IN IT.
</b>
<b>IT IS RAINING.
</b>
<b>ANGLE
</b>
<b>FRAN AND BELLA, IN A BOOTH AT THE GARAGE.   BELLA LOOKS BACK AT
</b><b>FRAN.
</b>
<b>                      BELLA
</b>         ...what is it?

<b>                      FRAN
</b>         Why'd you have to hit him?

<b>                      BELLA
</b>         ...to make him see my point of view.
<b>              (PAUSE)
</b>
<b>                      FRAN
</b>         Is he going to be alright?

<b>                      BELLA
</b>         Well, you know, he's gonna have a headache.
<b>              (PAUSE)
</b>         Or is that what you're asking?
<b>              (PAUSE)
</b>         In which case, we're way past that. Don't you
         think?
<b>              (PAUSE)
</b>         Because lemme run this down to you: And you
         tell me the error in my logic. One: an old
         man. On the run. Might as well have his
         face on a Postage Stamp. N'he's looking for
         his money. Two: You and me. For example:
<b>              (HE LOOKS ACROSS AT THE TRUCK)
</b>         And the prize in the Crackerjack.
<b>              (PAUSE)
</b>         And a wet afternoon to kill. Talking about
         it.

<b>                        FRAN
</b>         I.    Uh... let's get out of here...

<b>SHE GETS UP.
</b>
<b>                      BELLA
</b><b>              (AS SHE FOLLOWS HER)
</b>         I'm getting too close to you?

<b>                      FRAN
</b>         Yeah, you're gettin' too close to me.

<b>                      BELLA
</b>         Uh huh. What? I took the thrill out of
         "slumming..."

<b>                      FRAN
</b>         Let's get to the Rendezvous.
<b>
</b><b>                                                                 97.
</b>

<b>                      BELLA
</b>         ...we're going to the rendezvous.

<b>                      FRAN
</b>         Let's get there.

<b>                      BELLA
</b>         We got twelve hours.

<b>                      FRAN
</b>         Yeah, no, let's go now.

<b>                      BELLA
</b>         The truck's broken.

<b>                      FRAN
</b>         Tell'im what's wrong with it.

<b>SHE STARTS FOR THE ENTRANCE, BELLA FOLLOWS HER.
</b>
                      FRAN (cont'd)
         Tell im, you had this same problem one time,
         your truck, and maybe it's the same th...

<b>                      BELLA
</b>         ...why don't we just?

<b>                      FRAN
</b><b>              (TURNING TO HIM)
</b>         Because if you sold everybody else out, why
         wouldn't you sell me out?

<b>                      BELLA
</b><b>              (PAUSE)
</b>         You remember the reason for that...
<b>              (SHE STARTS ACROSS TO THE GARAGE.
</b><b>               HE FOLLOWS HER.)
</b>
<b>INT. CHEAP HOTEL ROOM.   NIGHT.
</b>
<b>MOORE, IN A T-SHIRT, LOOKING IN THE MIRROR. HE HAS A BAD CUT ON
</b><b>HIS FOREHEAD. AND HE HAS FIRST-AID SUPPLIES SPREAD OUT IN FRONT
</b><b>OF HIM ON THE BUREAU, UNDERNEATH THE MIRROR.
</b>
<b>HE WINCES AS HE APPLIES IODINE, AND A BANDAGE.
</b>
<b>HE TAKES A PANCAKE MAKEUP OUT OF A SMALL PAPER BAG, AND BEGINS
</b><b>SPREADING IT OVER THE BANDAGE ON HIS FOREHEAD.
</b>
<b>ANGLE
</b>
<b>ON THE CHEAP, UNSLEPT-IN BED IS A DUFFLEBAG, IN IT WE SEE THE
</b><b>SECURITY GUARD UNIFORM, AND THE F.A.A. INSPECTORS BADGE.
</b>
<b>WE SEE A MAN'S HANDS COME INTO THE SHOT AND TAKE A CLEAN SHIRT OUT
</b><b>OF THE DUFFLEBAG.
</b><b>
</b><b>                                                                 98.
</b>

<b>ON THE BED NEXT TO THE DUFFLEBAG ARE A WET AND BLOODY SHIRT AND
</b><b>UNDERSHIRT.
</b>
<b>ANGLE
</b>
<b>ON MOORE, AS HE PUTS ON THE CLEAN SHIRT. HE REACHES IN THE BAG
</b><b>AND TAKES OUT HORNRIM GLASSES, AND PUTS THEM ON. HE STUFFS THE
</b><b>BLOODY CLOTHING INTO THE DUFFLEBAG.
</b>
<b>CAMERA TAKES HIM TO THE BUREAU, WHERE HE PUTS THE BANDAGES ET
</b><b>CETERA, INTO THE DUFFLEBAG.
</b>
<b>HE LOOKS AROUND THE ROOM. PICKS UP THE DUFFLEBAG, AND A SMALL
</b><b>ATTACHE CASE WHICH RESTS AT THE DOOR.
</b>
<b>HE OPENS THE DOOR, AND PEERS OUT INTO THE HALL.
</b>
<b>ANGLE, IN THE HALL, MOORE EXITING THE ROOM, CLOSES THE DOOR BEHIND
</b><b>HIM, LOCKS IT. WE SEE HE IS ATTIRED IN A CHEAP SPORTCOAT, WITH A
</b><b>NEW PEN PROTECTOR FULL OF PENS IN ITS POCKET.
</b>
<b>CAMERA TAKES HIM DOWN THE HALL TO AN INCINERATOR SHOOT.   HE PUTS THE
</b><b>DUFFLEBAG AND THEN THE KEY INTO THE INCINERATOR SHOOT.
</b>
<b>INT CAB OF THE RENTAL TRUCK. DESERTED COUNTRY ROAD.   NIGHT.    BELLA
</b><b>DRIVING, FRAN RIDING SHOTGUN.
</b>
<b>HOLD
</b>
<b>                      BELLA
</b>         S'alot of money we've got back there.
<b>              (PAUSE)
</b>         I said...

<b>                       FRAN
</b>         Yes.   Thank you. I know what you said.

<b>                      BELLA
</b>         What're you, filled with Remorse,
         something...?

<b>                      FRAN
</b><b>              (LOOKING OUT OF THE WINDOW)
</b>         ...this is our exit.

<b>                      BELLA
</b>         Are you filled with remorse...?

<b>                       FRAN
</b>         ...not yet.

<b>                      BELLA
</b>         Well, good, cause...

<b>                      FRAN
</b>         This is the exit for the meet.

<b>ANGLE HER POV
</b><b>
</b><b>                                                               99.
</b>

<b>THE RAINY NIGHT HIGHWAY, DIVIDING, AN OFFRAMP SHOWN A HALF MILE
</b><b>AHEAD.
</b>
<b>ANGLE INT THE TRUCK
</b>
                      FRAN (cont'd)
         ...this is the...

<b>                      BELLA
</b>         Yes, Indeed it is, but I'm going to tell you
         something...

<b>SHE GRABS FOR THE WHEEL.
</b>
                      BELLA (cont'd)
<b>              (AS HE PUSHES HER AWAY)
</b>         Take your hands off the wheel...

<b>ANGLE, EXT. THE TRUCK AS IT SWERVES TOWARD THE SIDEROAD, AND THEN
</b><b>BACK ONTO THE MAIN ROAD.
</b>
<b>ANGLE INT THE CAB.
</b>
                      BELLA (cont'd)
         What are you, nuts? Are you nuts? We're
         going to... I'll tell you what we're gonna do.
         We're gonna...

<b>                       FRAN
</b>         ...alright.

<b>                      BELLA
</b>         ...we're gonna. That lame, that old lame you
         were with... he was... what did you think he
         was? He was a non-starter... what did you
         think...
         what way in hell was he going to go home with
         the gold? Based on what Fairy tale...? YOU
         knew that... only one who didn't know that
         was...

<b>ANGLE EXT THE TRUCK. THEY PASS BY A ROADSIDE SERVICE AREA, A GAS
</b><b>STATION, A LIT-UP COUNTRY DINER-LOUNGE BESIDE IT.
</b>
<b>ANGLE INT THE TRUCK
</b>
<b>BELLA AND FRAN
</b>
<b>AS FRAN LOOKS OUT OF THE WINDOW.
</b>
<b>                      FRAN
</b>         You missed the exit for the meet.

<b>                      BELLA
</b>         Well, yeah, no, I told you... we aren't going
         to the Meet.
<b>              (PAUSE)
</b>         You know we aren't going there.
<b>                      (MORE)
</b><b>
</b><b>                                                           100.
</b>

                      BELLA (cont'd)
<b>              (PAUSE)
</b>         Why would we want to go there...?

<b>                      FRAN
</b>         What am I, just going to go off with you
         forever?

<b>                      BELLA
</b>         You want me to tell you why...?

<b>                      FRAN
</b>         Take me to the Meet.

<b>                      BELLA
</b>         There is no meet, for the luvva God.   You know
         that.
<b>              (PAUSE)
</b>         You know that.
<b>              (PAUSE)
</b>         You know that...

<b>                      FRAN
</b>         I need a drink.

<b>                      BELLA
</b>         Yeah. I'll get you a drink, and here's a
         bracer... We left the meet at the Airport.
         We left the Meet, your guy went out, got his
         picture on the Videott... and let's cut out
         the Shucking and the Jivin': what kind of
         man, sends you to me, sends his wife to me...
         to "distract" me... Oh? Surprise! I was All
         Taken In... How About That... What a fool I
         am... Would I do that to you?
<b>              (PAUSE)
</b>         Would I do that to you...? Except pee ess,
         who liked it?
<b>              (PAUSE)
</b>         So, Old Times Sake, I'm gonna tell you
         something, why'nt we cut the nonsense, and Say
         What It Is?
<b>              (PAUSE)
</b>
<b>                      FRAN
</b>         ...I need a drink.     Turn around.

<b>                      BELLA
</b>         ...nothing simpler.

<b>                      FRAN
</b>         I, uh, I need some time, I need a little time,
         to...

<b>BELLA ADJUSTS THE CAR INTO A U-TURN.
</b>
<b>                      BELLA
</b>         We're gonna siddown, and I'll draw you the
         scheme of it, the New Thing, on a Napkin.
<b>
</b><b>                                                                  101.
</b>

<b>HE LOOKS OUT OF THE WINDSHIELD.
</b>
<b>ANGLE, HIS POV, AROUND A TURN AHEAD, THE COUNTRY DINER-LOUNGE WE
</b><b>PASSED EARLIER, IN FRONT OF IT, A POLICE CRUISER.
</b>
<b>ANGLE, INT THE TRUCK.
</b>
                        BELLA (cont'd)
            uh oh...

<b>HE TWISTS THE WHEEL VIOLENTLY.
</b>
<b>ANGLE, EXT THE TRUCK.
</b>
<b>THE TRUCK STARTS TO SKID ON THE RAIN-SLICKED HIGHWAY, IT CROSSES
</b><b>TO THE FAR SIDE OF THE ROAD, AND GOES INTO A DITCH.
</b>
<b>THE TRUCK TUMBLES IN THE DITCH AND ENDS, ON ITS SIDE.
</b>
<b>ANGLE
</b>
<b>IN THE SCRUB WOODS ON THE SIDE OF THE ROAD. THE TRUCK, ON ITS SIDE,
</b><b>THE SIDE PANELS CRUMPLED, THE BACK SPRUNG OPEN.
</b>
<b>ANGLE INT THE TRUCK
</b>
<b>BELLA AND FRAN.    HE CHECKS HER FOR INJURIES.   SHE IS SHOCKY.
</b>
<b>HE HELPS HER OUT OF THE TRUCK.
</b>
<b>ANGLE EXT
</b>
<b>THE WRECKED TRUCK. IN THE RAIN. IN THE FAR B.G. THE LIGHTS OF THE
</b><b>DINER, AND THE POLICE CRUISER. BELLA REACHES BACK INTO THE TRUCK,
</b><b>TURNS OFF THE ENGINE AND THE LIGHTS.
</b>
<b>HE WALKS AROUND TO THE BACK OF THE TRUCK.
</b>
<b>ANGLE HIS POV
</b>
<b>THE BACK DOOR SPRUNG OPEN, THE FAKE ENGINE OPEN, AND THE COVERED
</b><b>BARS LYING ALL OVER THE BACK OF THE TRUCK.
</b>
<b>ANGLE
</b>
<b>ON BELLA AND FRAN, AS SHE COMES AROUND THE BACK OF THE TRUCK.
</b>
<b>BELLA STANDS, INDECISIVE, LOOKING AT THE COVERED BARS.     HE STARTS TO
</b><b>REACH IN FOR THEM.
</b>
<b>                        FRAN
</b>            leave it.

<b>PAUSE
</b>
<b>BELLA LOOKS AT HER, AMAZED.    HE STARTS TO GATHER THEM UP.
</b><b>
</b><b>                                                                   102.
</b>

                      FRAN (cont'd)
         Leave it... walk away from it.     For godsake...

<b>BELLA STARTS SCOOPING UP THE BARS, AND CARRYING THEM BACK INTO THE
</b><b>WOODS. FRAN MOVES TO STOP HIM.
</b>
                      FRAN (cont'd)
         Walk away from it... what are you going to
         ...come on. Come on...
<b>              (SHE GESTURES BACK AT THE COPCAR)
</b>         Are you crazy...

<b>                      BELLA
</b>         ...we can get a few, we can bury the bars, if
         we bury the bars in the...

<b>                      FRAN
</b><b>              (PULLING ON HIM)
</b>         For godsake, walk away from it.     Leave it...

<b>                     BELLA
</b>         Okay. Look: we fit'em back into the
         container. We... come on, come on...

<b>HE LOOKS BACK OVER HIS SHOULDER AT THE COPCAR. HE WORKS HIS WAY
</b><b>BACK INTO THE TRUCK, AND STARTS REPLACING THE GOLDBARS IN THE
</b><b>CONTAINER.
</b>
<b>                      FRAN
</b><b>              (BEHIND HIM)
</b>         Come on...

<b>                      BELLA
</b><b>              (HE REACHES FOR A FLASHLIGHT FROM
</b><b>               THE GLOVE COMPARTMENT, TO HELP
</b><b>               HIM)
</b>         The truck's clean, for chrissake, the truck's
         clean: we put it back together, we calla
         towtruck -- am I gone to walkaway from all
         this gold...?

<b>HE IS PLAYING HIS BEAM ON THE GOLDBARS.    PAUSE.
</b>
<b>ANGLE, HIS POV.   INS.
</b>
<b>HE PICKS UP ONE OF THE BARS. THE WRAPPING IS TORN.     HE SHINES THE
</b><b>LIGHT ON IT, TO REVEAL IT IS A DULL LEADEN COLOR.
</b>
<b>HE PICKS UP NOW ONE AND NOW ANOTHER    OF THE GOLD BARS. AND DRIPS THE
</b><b>COVERING OFF OF THEM. EACH ONE IS     LEAD. HE PICKS UP THE ONE BAR
</b><b>WHICH WAS OPENED AND RESEALED WITH    TAPE, TO SHOW IT IS GOLD. HE
</b><b>STRIPS OFF THE WRAPPING. HALF THE     BAR IS GOLD, THE REST OF IT IS
</b><b>LEAD.
</b>
<b>HE STARTS RIPPING THE COVERS OFF THE BARS VIOLENTLY.       ALL THE REST
</b><b>ARE LEAD.
</b>
<b>ANGLE
</b><b>
</b><b>                                                                    103.
</b>

<b>ON BELLA, AS HE TURNS TO LOOK AT FRAN.
</b>
<b>ANGLE, HIS POV.    ON FRAN.    STANDING BEHIND HIM IN THE RAIN.
</b>
<b>ANGLE
</b>
<b>ON FRAN, AS SHE BACKS AWAY FROM BELLA, BACK INTO THE WOODS.
</b>
<b>ANGLE
</b>
<b>ON BELLA, AT THE TRUCK, AS HE CONTINUES RIPPING OFF THE COVERINGS.
</b>
<b>HE TURNS AROUND.
</b>
<b>ANGLE HIS POV.
</b>
<b>ON FRAN, AS SHE DISAPPEARS INTO THE WOODS.
</b>
<b>ANGLE INT THE WOODS.
</b>
<b>FRAN RUNNING IN THE DARK WOODS.     SHE SLIPS, AND FALLS.   WE SEE
</b><b>BELLA, RUNNING BEHIND HER.
</b>
<b>SHE PICKS HERSELF UP, BEGINS TO RUN AGAIN. SHE STOPS, HER JACKET
</b><b>AND PURSE CAUGHT ON A TREE. SHE TRIES TO FREE HERSELF, SHE LOOKS
</b><b>BACK AT THE MAN GAINING ON HER.
</b>
<b>SHE TAKES OFF HER JACKET AND RUNS ON.      HOLD ON HER JACKET AND
</b><b>PURSE STRAP ON THE TREE.
</b>
<b>EXT ROADSIDE DINER, NIGHT.
</b>
<b>THE PARKINGLOT, THE POLICE CRUISER PARKED OUT FRONT.
</b>
<b>FRAN EMERGES FROM THE WOODS, AND RUNS ACROSS THE PARKING LOT AND
</b><b>INTO A BACK DOOR OF THE DINER.
</b>
<b>INT DINER NIGHT.
</b>
<b>THE POLICEMAN AND A COUPLE OF CUSTOMERS AT THE COUNTER.
</b>
<b>FRAN ENTERS THROUGH THE BACK DOOR.     SHE PROCEEDS TOWARD A
</b><b>PHONEBOOOTH.
</b>
<b>SHE STARTS TO DIAL.    BEAT.    SHE REACHES FOR HER PURSE, IT IS GONE.
</b>
<b>SHE DIGS IN HER PANTS.    FINDS NOTHING.
</b>
<b>ANGLE AT THE COUNTER.
</b>
<b>FRAN WALKS UP.    ALL TURN TO LOOK AT HER.
</b>
<b>                      FRAN
</b>         Yeah, well, Can I, uh, can I make a credit
         card call on that phone?

<b>                      COUNTERMAN
</b>         No, I don't think so.
<b>
</b><b>                                                                104.
</b>

<b>                        FRAN
</b><b>                (SHE NODS)
</b>           Then, anybody got a coin...?
<b>                (PAUSE)
</b>
<b>ANGLE.    SHE LOOKS OVER AT THE POLICEMAN, WHO IS LOOKING AT HER.
</b>
                        FRAN (cont'd)
<b>                (TO THE COP)
</b>           Excuse me, what are you looking at, All Due
           Respect?

<b>                        COP
</b><b>                (PAUSE)
</b>           I was wondering, Maam, if you needed any
           assistance.

<b>                        FRAN
</b>           Well, thank you, Sir. It would be nice, to
           meet a gentleman... to meet a gentleman for
           once in my life... But I, uh... I, uh...

<b>ANGLE XCU ON FRAN, AS SHE LOOKS BACK.
</b>
<b>ANGLE, HER POV.
</b>
<b>AT THE BACK OF THE DINER, BELLA, COMING THROUGH THE DOOR, AND
</b><b>STOPPING BEHIND SOME CRATES, IN THE BACK.
</b>
<b>ANGLE
</b>
<b>ON FRAN
</b>
                        FRAN (cont'd)
           I, uh... thank you, I just need to uh...

<b>THE POLICEMAN SLIPS SOME CHANGE ACROSS TO HER.
</b>
                        FRAN (cont'd)
<b>                (AS SHE LOOKS BACK AT THE PHONE)
</b>           In fact, you know, I'm fine... I had a fight
           with my husband... and he said... I said...
           "then let me out of the car..." ...
           and he did...
<b>                (SHE STARTS TO CRY)
</b>
<b>A WAITRESS COMES OVER AND SITS BY HER.
</b>
                        FRAN (cont'd)
           ...that was the stupidest thing... the
           stupidest thing that...

<b>THE WAITRESS GESTURES TO THE POLICEMAN THAT SHE WILL TAKE CARE OF
</b><b>IT.
</b>
<b>THE COP NODS, AND PUTS DOWN SOME MONEY FOR THE CHECK, AND GETS UP.
</b>
<b>ANGLE
</b><b>
</b><b>                                                                      105.
</b>

<b>ON THE COP, AS HE PROCEEDS TOWARD THE CRUISER.
</b>
<b>A TRUCKER PAYS HIS CHECK AND WALKS AFTER HIM.
</b>
<b>ANGLE,
</b>
<b>ON BELLA, AS HE WATCHES.      CAMERA TAKES HIM AROUND THE OUTSIDE OF
</b><b>THE DINER.
</b>
<b>ANGLE
</b>
<b>ON BELLA, AS HE WATCHES THE POLICEMAN DEPART.
</b>
<b>ANGLE INT THE DINER.
</b>
<b>AS BELLA REENTERS THROUGH THE BACK DOOR.
</b>
<b>ANGLE HIS POV.
</b>
<b>FRAN, DEPARTING THE FRONT OF THE DINER, TALKING WITH A TRUCKER,
</b><b>AS THE TRUCKER HELPS HER UP INTO HIS CAB.
</b>
<b>ANGLE
</b>
<b>BELLA. HOLD. HE PICKS UP THE PHONE.       DIGS FOR SOME CHANGE, AND
</b><b>PUTS IT IN THE PHONE.
</b>
<b>HE LOOKS DOWN.
</b>
<b>ANGLE INS.
</b>
<b>THE HALF GOLD, HALF LEAD BAR.     SOUND OF DIALLING.
</b>
<b>                                                       DISSOLVE TO:
</b>
<b>EXT RAINY HIGHWAY.   NIGHT.    A SMALL TRUCK.
</b>
<b>ANGLE INT THE SMALL TRUCK.
</b>
<b>BLANE AND MOORE IN THE TRUCK.     BLANE DRIVING.
</b>
<b>MOORE TOUCHES HIS HEAD INJURY.
</b>
<b>                      BLANE
</b>         How you doing?

<b>                      MOORE
</b>         I ain't feeling too well.

<b>BLANE LOOKS AT SOMETHING UP AHEAD.     MOORE TURNS.
</b>
<b>ANGLE HIS POV.
</b>
<b>A SECURITY CHECKPOINT, A BARRIER, A GUARD COMING FORWARD.
</b><b>
</b><b>                                                               106.
</b>

<b>ANGLE EXT THE TRUCK.
</b>
<b>THE SECURITY GUARD COMES OUT.
</b>
<b>BLANE HAND HIM A SLIP OF PAPER. THE SECURITY GUARD CHECKS IT, MAKES
</b><b>A CALL ON A WALKIE, AND WAVES THEM THROUGH A BARRIER WHICH RISES TO
</b><b>ADMIT THEM.
</b>
<b>ANGLE
</b>
<b>ON THE TRUCK.   ENTERING WHAT IS NOW SHOWN TO BE THE CARGO AREA OF
</b><b>THE AIRPORT.
</b>
<b>ANGLE
</b>
<b>THE TAIL OF THE AEROHELVETICA PLANE, THE LARGE SWISS CROSS. TILT
</b><b>DOWN TO SHOW SEVERAL TRUCKS SURROUNDING IT, A POLICE CRUISER, AND
</b><b>THE TRUCK BEARING MOORE AND BLANE, PULLING UP TO THE PLANE.
</b>
<b>ANGLE
</b>
<b>ON THE TARMAC. MOORE GETS OUT, AS BLANE REVERSES THE TRUCK. BLANE
</b><b>WALKS UP TO A SMALL GROUND OF COVERALLED WORKERS, AND TWO COPS.
</b>
<b>THERE IS A CONVEYOR RUNNING FROM THE PLANE DOWN TO THE GROUND,
</b><b>AND SEVERAL CONTAINERS ON THE GROUND.
</b>
<b>BLANE PRESENTS A SHEAF OF PAPERWORK TO ONE OF THE COVERALLED MEN.
</b>
<b>                      BLANE
</b>         ...Hywest Foundry?

<b>HE LOOKS AROUND, AS IF CONFUSED BY THE POLICE ACTIVITY.
</b>
<b>                      OFFICIAL
</b><b>              (EXPLAINING)
</b>         We had a robbery of the pll...

<b>                      MOORE
</b><b>              (OF HIS INVOICE. VERY CONCERNED)
</b>         Could you check my numbers, Please...?

<b>                      TROOPER
</b><b>              (OVERHEARING)
</b>         Yeah, no, they got what they came for, Pal.
         It wasn't yours...

<b>MOORE LOOKS CONFUSED. HE TURNS TO THE COVERALLED OFFICIAL FOR HELP.
</b><b>THE OFFICIAL CONSULTS THE PAPERWORK, AND BIDS MOORE FOLLOW HIM UP
</b><b>THE CONVEYOR.
</b>
<b>ANGLE, IN THE AREOHELVETICA PLANE.
</b>
<b>SEVERAL WORKERS INSIDE. THE OFFICIAL, LEADS MOORE TO THE CONTAINERS
</b><b>MARKED 'HYWEST FOUNDRY.' HE POINTS THEM OUT AND MOTIONS TWO OF THE
</b><b>WORKERS TO START THEM ONTO THE CONTAINER.
</b><b>
</b><b>                                                                    107.
</b>

<b>                         MOORE
</b>            ...thank God.

<b>                         TROOPER
</b>            ...precious stuff, huh?

<b>                         MOORE
</b>            It would mean my job...

<b>ANGLE
</b>
<b>THE HYWEST FOUNDRY CONTAINERS COMING DOWN THE CONVEYOR, AS BLANE
</b><b>OPENS THE BACK OF HIS TRUCK FOR THEM. HE LOOKS UP.
</b>
<b>ANGLE, HIS POV.
</b>
<b>MOORE, STANDING IN THE OPEN HATCH OF THE SWISS PLANE.
</b>
<b>ANGLE CU.
</b>
<b>MOORE.   WITH A SLIGHT GRIN.     NODS AT BLANE.
</b>
<b>EXT CITY RESIDENTIAL STREET DAY.
</b>
<b>AN OLD STYLE STREET OF    SMALL BUNGALOWS. A SMALL GIRL     BEING WALKED
</b><b>DOWN TO THE CURB BY HER    MOTHER, WHO IS HANDING HER A    LUNCHBOX.
</b><b>PINCUS WALKS OUT OF THE    HOUSE BEHIND THEM, HE SHAKES    HANDS AND
</b><b>MAKES HIS GOODBYES WITH    A YOUNG FELLOW WHO IS HOLDING    A CUP OF
</b><b>COFFEE.
</b>
<b>ANGLE
</b>
<b>TIGHT ON PINCUS, THE MOTHER AND THE YOUNG GIRL (WHOM WE SAW EARLIER,
</b><b>IN THE KITCHEN SCENE...) AT THE CURB. AS THE MOTHER ADJUSTS THE
</b><b>COLLAR ON THE CHILD.
</b>
<b>                         MOTHER
</b>            ...Uncle Donn to get up so early in the
            morning, Walk you to the Bus Today.

<b>                         PINCUS
</b>            Glad to do it, glad to do it, glad to do it.

<b>                         MOTHER
</b><b>                 (AS PINCUS GIVES HER A PECK ON
</b><b>                  THE CHEEK)
</b>            ...come over for dinner, Thursday.

<b>                         PINCUS
</b>            Waal, we're gonna have to see...

<b>HE TAKES THE CHILD OUT OF THE FRAME.
</b>
<b>ANGLE
</b>
<b>TRACKING BACK BEFORE PINCUS AND THE GIRL, AS THEY WALK.
</b><b>
</b><b>                                                                108.
</b>

<b>                      GIRL
</b>         ...come to dinner.

<b>                      PINCUS
</b>         We're gonna have to see.

<b>                      GIRL
</b>         You always say that, and it means you won't.

<b>                      PINCUS
</b>         Well, it's possible, it's possible, you see,
         that my 'business'...

<b>                        GIRL
</b>         ...uh huh...

<b>                      PINCUS
</b>         ...that I might have to go 'travelling' for a
         while...

<b>                      GIRL
</b>         Why can't you do your business here?

<b>                      PINCUS
</b>         Wish I could, Baby. Fact it. Fact is:          I got
         to get out of here, this morning.

<b>                      GIRL
</b>         This morning?

<b>                      PINCUS
</b>         That's when my plane leaves.

<b>                      GIRL
</b>         ...there's the bus...

<b>WE SEE THE YELLOW SCHOOLBUS PULLING UP TO A SIGN, AND SEVERAL
</b><b>CHILDREN GETTING INTO IT.
</b>
<b>                      PINCUS
</b>         Well, there you go. Times change. My day,
         all kids, had to walk all the way to school.

<b>                       GIRL
</b>         Yes.   But the streets were safer.

<b>                      PINCUS
</b>         Izzat so...?
<b>              (HE BENDS DOWN AND GIVES HER A
</b><b>               KISS)
</b>         You take care of yourself, kid...

<b>                      GIRL
</b>         Bye, Uncle Donny...

<b>SHE GETS UP INTO THE BUS.      HE WAVES HER GOODBYE.
</b>
<b>ANGLE, CU.   ON PINCUS, WAVING GOODBYE.     HE TURNS.
</b><b>
</b><b>                                                                    109.
</b>

<b>ANGLE
</b>
<b>AS HE TURNS HE FINDS A THUG AND BERGMAN STANDING BEHIND HIM.
</b>
<b>A BLACK SEDAN IS AT THE CURB BEHIND BERGMAN, ANOTHER THUG STANDS BY
</b><b>THE BACK DOOR, AND OPENS IT.
</b>
<b>BEAT.
</b>
<b>                      PINCUS
</b>         Good day for the race.

<b>                      BERGMAN
</b>         What race is that?

<b>                      PINCUS
</b>         The Human Race.
<b>              (PAUSE. HE LOOKS AFTER THE BUS)
</b>         Kids growing up, so on...
<b>              (PAUSE)
</b>         Hope of the Future.

<b>                      THUG
</b>         Get in the fucken car.

<b>PINCUS SIGHS, HE STARTS TOWARD THE CAR.     AND THEN TURNS TO RUN.
</b><b>THE THUG PUTS THE ARM ON HIM.
</b>
<b>                      BERGMAN
</b>         Get in the car.

<b>                                                     DISSOLVE TO:
</b>
<b>INT SHIPYARD SHED. DAY.
</b>
<b>THE HYWEST CORP CONTAINER. OPENED. ON BLANE, WHO IS SWEATING,
</b><b>COMES INTO THE FRAME. CAMERA TAKES HIM INTO THE CONTAINER, WHERE WE
</b><b>SEE WHAT IS THE LAST SEVERAL SCORE WRAPPED INGOTS.
</b>
<b>BLANE PICKS UP SEVERAL, AND CAMERA HINGES HIM TO A WORKTABLE, ON
</b><b>WHICH WE SEE MANY GOLD INGOTS, BLANE STRIPS THE FELT COVERING OFF
</b><b>THE NEW INGOTS TO REVEAL THEM STAMPED CREDIT NATIONAL DE GENEVE.
</b>
<b>HE TAKES THE WRAPPINGS AND TOSSES THEM INTO A FIRE, BURNING IN THE
</b><b>BOTTOM OF A KILN. BLANE CLOSES THE DOOR.
</b><b>TILT UP TO SHOW MOORE, WHO IS TAKING A GOLD INGOT, AND PUTTING IT
</b><b>INTO A CAULDRON, IN WHICH IS MOLTEN GOLD. HE WEARS A WELDER'S
</b><b>MASK.
</b>
<b>HE FLIPS UP HIS MASK.     AND WIPES HIS FOREHEAD.   HE CHECKS HIS
</b><b>WATCH.
</b>
<b>                      MOORE
</b><b>              (TO BLANE)
</b>         ...where's pinky...?
<b>
</b><b>                                                              110.
</b>

<b>INT GARAGE DAY.
</b>
<b>PINCUS, TIED TO A CHAIR, IS BEING INTERROGATED BY BERGMAN AND HIS
</b><b>THUG.
</b>
<b>                      BERGMAN
</b>         Where's the Gold?

<b>                      PINCUS
</b>         Well, I, uh, I, uh, I, you know, I'm
         reluctant to tell you.

<b>ANGLE
</b>
<b>ON BERGMAN, BEHIND HIM IS SEATED BELLA.
</b>
<b>                      BERGMAN
</b>         When we put it to you.
<b>              (PAUSE)
</b>         You know when we put it to you, you're gone
         be telling us the gross national product of
         Bolivia...

<b>                       PINCUS
</b>         ...hey...

<b>                      BERGMAN
</b>         You're gonna be telling us the area codes,
         Belgium and Luxembourg...

<b>                       PINCUS
</b>         Hey, look:   Z'all I know...

<b>ANGLE INS.   BERGMAN PICKS UP THE HALF LEAD, HALF GOLD BAR.
</b>
<b>ANGLE
</b>
<b>ON BERGMAN
</b>
<b>                      BERGMAN
</b>         This is all you know. This is all you know...
         This is all you know.
         N'we got you, going to St. Croix
<b>              (HE HOLDS UP A TICKET)
</b>         Where's your share? How do you pick up your
         share, and where's the meet? WHERE'S THE
<b>         MEET...?
</b><b>              (BERGMAN PICKS UP THE HALF GOLD
</b><b>               BAR TO THREATEN PINCUS)
</b>
<b>                      PINCUS
</b>         What're you, gonna hurt me...?

<b>                      BERGMAN
</b>         Yeah, no, actually
<b>              (TO PINCUS)
</b>         No, I'm not going to hurt you.   No.
<b>                      (MORE)
</b><b>
</b><b>                                                             111.
</b>

                      BERGMAN (cont'd)
         But tell a guy, m fulla admiration.     What was
         the deal? What was the deal?

<b>                      PINCUS
</b>         The way you're looking at the deal the deal
         was we get away with the gold. Cute huh?

<b>                       BERGMAN
</b>         Yeah, no.   It's charming.   And then what?

<b>                      PINCUS
</b>         We, uh, we "slip away."

<b>                      BERGMAN
</b>         You "slip away." Me and my guys go to the
         Meet, we find a truck full of Pig Iron. Zat
         the thing?

<b>                      PINCUS
</b>         Well, you know, Joe figured, you weren't never
         going to the Meet.

<b>                      BERGMAN
</b>         He did... And where's the Gold.     Where's the
         Gold all this time?
<b>              (PAUSE)
</b>         Y'know? Your guy din't get it in     his head,
         fly off on a Variation, we're out    on the Patio
         right now, and everybody's got a    Margarita.
         Where's the Gold?

<b>                        PINCUS
</b>         ...You know:

<b>                      BERGMAN
</b>         Yeah, no, where's the Gold, what's the Back-up
         Plan...?

<b>                      PINCUS
</b>         You can understand my reluctance to tell you.

<b>                      BERGMAN
</b><b>              (TO HIS THUGS)
</b>         Take him and show him something...

<b>INT SHED DAY.
</b>
<b>THE DOOR TO THE KILN, OPEN, THE FIRE DIED DOWN TO ORANGE EMBERS, IN
</b><b>THE B.G.
</b>
<b>THE OPEN, EMPTY HWYEST CONTAINERS.
</b>
<b>THE DOOR OPEN, SHOWING THE MARINA.
</b>
<b>AND MOORE STANDING ON THE DECK OF THE SAILBOAT.
</b>
<b>HE WIPES THE BRIGHT BRONZE RAIL, THE SUN GLINTS OFF OF IT.
</b>
<b>HE GETS DOWN ONTO THE DOCK.
</b><b>
</b><b>                                                               112.
</b>

<b>ANGLE.
</b>
<b>ON MOORE AS HE WALKS BACK INTO THE SHED.
</b>
<b>WHERE WE SEE BLANE, WHO IS SHUTTING DOWN THE FIRE IN THE FURNACE
</b><b>UNDER THE CRUCIBLE. BLANE LOOKS AT HIS WATCH.
</b>
<b>                         BLANE
</b>          Fran...?

<b>                       MOORE
</b>          No, she won't be calling in till she ditches
          the guy.

<b>                       BLANE
</b>          How's she gonna ditch him?

<b>                       MOORE
</b>          She could talk her way outta a sunburn.

<b>BLANE LOOKS AT HIS WATCH
</b>
<b>                       BLANE
</b>          ...and then where's Pinky...?

<b>                       MOORE
</b>          Let's finish up...

<b>INT SERVICE STATION RESTROOM DAY.
</b>
<b>PINCUS.   HOLDING A CELLPHONE TO HIS FACE, TALKS INTO THE CELLPHONE.
</b>
<b>                         PINCUS
</b><b>                 (TO PHONE)
</b>          Joe.
<b>               (PAUSE)
</b>          ...Yeah. How you doing?
<b>               (PAUSE)
</b>          Just to check in.
<b>               (PAUSE)
</b>          Fine. Finest kind.
<b>               (PAUSE)
</b>          Yeah, no, I saw the truck go through, too.
          Innit. See you at the meet.
<b>               (HE HANDS THE PHONE TO A THUG, WHO
</b><b>                WE NOW SEE IS STANDING BESIDE
</b><b>                HIM. THE THUGS REDIALS THE PHONE
</b><b>                AND HANDS IT TO PINCUS.)
</b>          Yeah.
<b>               (PAUSE)
</b>          Yeah. Checked in.
<b>               (PAUSE)
</b>          The meet is at.

<b>ANGLE INT BERGMAN'S OFFICE.
</b>
<b>                       BERGMAN
</b><b>               (ON THE PHONE)
</b>          ...and where's the Gold...
<b>                       (MORE)
</b><b>
</b><b>                                                                113.
</b>

                       BERGMAN (cont'd)
<b>               (PAUSE. BERGMAN, LISTENS,
</b><b>                SMILES.)
</b>          ...you're shitting me... Hah. Yeah.   yeah.
          Well, no, thank you...

<b>ANGLE EXT THE SERVICE STATION.   ANOTHER BODYGUARD TYPE.   KNOCKING ON
</b><b>THE DOOR.
</b>
<b>ANGLE, INT THE RESTROOM.
</b>
<b>                       PINCUS
</b>          ...alright...?

<b>                       THUG
</b>          Yeah, alright.

<b>HE OPENS THE DOOR TO THE OUTSIDE.
</b>
<b>ANGLE EXT THE RESTROOM
</b>
<b>THE THUG NODS 'ALRIGHT' TO THE BODYGUARD TYPE, WHO MOVES TO REVEAL
</b><b>HE HOLDS PINCUS'S NIECE BY THE ARM. THE BODYGUARD BEGINS TO WALK
</b><b>HER OFF.
</b>
<b>WE SEE THE DOOR TO THE RESTROOM CLOSE. HOLD. WE HEAR A SHOT.
</b><b>THERE IS A PAUSE. AND THE THUG COMES OUT OF THE RESTROOM DOOR AND
</b><b>LETS THE DOOR SWING CLOSED BEHIND HIM.
</b>
<b>ANGLE AT THE FOUNDRY DAY.
</b>
<b>ON MOORE, AS HE WALKS OVER TO BLANE, STILL HOLDING THE PHONE.
</b>
<b>                       BLANE
</b>          Pinky Called.

<b>                         MOORE
</b>          Yeah.

<b>                       BLANE
</b>          What's the report?

<b>                       MOORE
</b>          Says he's fine.

<b>                       BLANE
</b>          He said so, huh?

<b>                       MOORE
</b>          That's what he said.

<b>                       BLANE
</b>          Well...
<b>               (BEAT. BLANE CLAPS HIM ON THE
</b><b>                SHOULDER)
</b>
<b>HOLD.   MOORE SHRUGS.
</b><b>
</b><b>                                                                  114.
</b>

<b>                      MOORE
</b>         Good of him to keep in touch.

<b>MOORE STARTS TO WALK TOWARD THE BOAT.
</b>
<b>INT CLOTHES BOUTIQUE DAY.
</b>
<b>FRAN, IN A DRESSINGROOM. GETTING OUT OF HER BEDRAGGLED CLOTHES,
</b><b>SHE LOOKS OUT THROUGH THE DOOR.
</b>
<b>ANGLE HER POV.
</b>
<b>A YOUNG WOMAN, WHO HAS JUST EMERGED FROM AN ADJACENT DRESSINGROOM,
</b><b>IN A NEW DRESS WITH A TAG ON IT. SHE TALKS TO A SALESGIRL, WHO
</b><b>TAKES HER OUT OF THE DRESSING AREA.
</b>
<b>ANGLE
</b>
<b>ON FRAN, IN HER UNDERWEAR, AS SHE RETREATS BACK INTO THE DRESSING
</b><b>ROOM AND THROWS HERSELF WITH ALL HER WEIGHT AGAINST THE PARTITION,
</b><b>CRASHING INTO THE NEXT DRESSINGROOM.
</b>
<b>ANGLE HER POV
</b>
<b>THE OTHER WOMAN'S CLOTHES AND PURSE IN THE DRESSINGROOM.
</b>
<b>INT ENGINEROOM THE SAILBOAT DAY.
</b>
<b>MOORE TINKERING.
</b>
<b>EXT THE DECK OF THE SAILBOAT, DAY. MOORE GOES TO THE COCKPIT AND
</b><b>TRIES THE STARTER. THE ENGINE DOES NOT START. CAMERA TAKES HIM
</b><b>DOWN TO THE ENGINEROOM.
</b>
<b>ANGLE INT BOUTIQUE, DAY.
</b>
<b>FRAN, DRESSED IN THE OTHER WOMAN'S CLOTHES, EXITING THE STORE,
</b><b>CAMERA HINGES HER AROUND A CORNER, AND TO A PAYPHONE.
</b>
<b>ANGLE, INT THE ENGINE ROOM.
</b>
<b>MOORE, TINKERING WITH THE ENGINE.     THE ENGINE SPUTTERING.
</b>
<b>ANGLE INS, THE CELLPHONE, IN THE POCKET OF HIS JACKET, WHICH IS HUNG
</b><b>ON A HOOK IN THE ENGINEROOM. BLINKING.
</b>
<b>ANGLE
</b>
<b>AT THE PAYPHONE. FRAN. REDIALS THE NUMBER.       HOLD.   THEN SHE LOOKS
</b><b>AT HER WATCH AND HAILS A PASSING CAB.
</b>
<b>EXT SAILBOAT DAY.
</b>
<b>MOORE, ON THE DECK OF THE SAILBOAT.     AS HE CONNS IT AROUND A MARKER,
</b><b>AND IN TOWARD A PIER.
</b>
<b>THE SUN GLINTS OFF THE RAILING.
</b><b>
</b><b>                                                                    115.
</b>

<b>EXT HIGHWAY DAY.
</b>
<b>A TAXICAB. TURNING INTO A PIER AREA. A SMALL MARINA. A SMALL
</b><b>POWERBOAT BEING BACKED INTO THE WATER BY A SUBURBAN. THE CAB
</b><b>ENTERS THE AREA, AND FRAN GETS OUT, AND PAYS THE CABBIE OFF. SHE
</b><b>TURNS TOWARD THE WATER.
</b>
<b>ANGLE, HER POV.    THE SAILBOAT.     FAR OUT BEYOND THE END OF A LONG
</b><b>PIER.
</b>
<b>ANGLE
</b>
<b>THE PIER.    FRAN RUNNING DOWN THE PIER TOWARD THE BOAT.
</b>
<b>AT A SMALL CABANA, NEAR THE END OF THE PIER.       FRAN.   SITTING ON A
</b><b>BENCH, LOOKING OUT AT THE SAILBOAT.
</b>
<b>ANGLE
</b>
<b>ON THE BOAT. AS MOORE PULLS IT UP TO THE END OF THE PIER.         JUMPS
</b><b>DOWN, AND TIES UP THE BOAT.
</b>
<b>                         MOORE
</b>            How're you doing? Blane's Okay.      Billy's
            Okay, Pinky called, he...
<b>                 (PAUSE)
</b>
<b>HE LOOKS AT FRAN.    HOLD.
</b>
<b>BERGMAN AND HIS CREW EMERGE FROM THE SMALL CABANA.
</b>
<b>MOORE TURNS BACK TOWARD THE BOAT.       A THUG YELLS AT HIM AND PULLS A
</b><b>PISTOL. HE STOPS.
</b>
<b>                         BERGMAN
</b>            Yeah, yeah, what there was a change in
            Plans...? You couldn't get to me to tell me?

<b>                         MOORE
</b>            Let my wife go.

<b>                         BERGMAN
</b>            Do you mind if I say something personal?
<b>                 (PAUSE)
</b>            You wife's a whore. She'n'you, 've fucked
            this perfect little plan, into...

<b>MOORE STEPS TOWARD BERGMAN.      A THUG CLUBS MOORE TO THE GROUND.
</b>
                         BERGMAN    (cont'd)
            Get up. Get up, get     up, you contrary
            motherfucker. I was     going to make you rich.
            I was going to make    you rich. The Swiss
            Score. And look how     you treat me. Cause you
            got to be Too Smart.     You got to be too smart.
            Don't you?

<b>MOORE RISES TO HIS FEET.
</b><b>
</b><b>                                                                116.
</b>

                      BERGMAN (cont'd)
         You just gotta complicate it That Last Bit.
<b>              (PAUSE)
</b>         Well. Do you want to wrap it up, or you want
         to stand around out here, guess my Real Name?

<b>                      MOORE
</b>         What is your real name?

<b>                      BERGMAN
</b>         It's Rumplestiltskin.

<b>                      MOORE
</b>         What was it before you changed it?

<b>THE THUG HITS MOORE AGAIN.
</b>
<b>                      FRAN
</b>         Don't hurt him...

<b>                      BERGMAN
</b>         You had to go out on a limb -- you had to go
         out on a limb, Didn't you...? Didn't you...

<b>                      MOORE
</b>         Let the girl go, I'll give up the gold.

<b>                      BERGMAN
</b>         Yeah, we had, basically, we had in mind a
         different deal... a different deal. How bout
         that, I hear, if you're flexible, it Keeps you
         Young.

<b>                      MOORE
</b>         I'll give up the Gold, Me and the girl leave
         on the boat.

<b>                      BERGMAN
</b>         Well, that's very sentimental.   But what if
         the gold's on the boat.

<b>                      MOORE
</b>         Search the boat.

<b>BERGMAN TAKES OUT A SMALL KNIFE, AND BEGINS TO CLEAN HIS NAILS.
</b>
<b>                      BERGMAN
</b>         Yeah, no, I don't got to search the boat.

<b>ANGLE
</b>
<b>ON BERGMAN, AS HE BECKONS SEVERAL OF THE THUGS ONTO THE BOAT.
</b>
<b>                      BERGMAN
</b>         Yeah, no, your wife just made another deal.
         The deal she made, we get the gold, we let you
         live. Whaddaya think?
<b>
</b><b>                                                           117.
</b>

<b>PAUSE.   AS MOORE LOOKS AT FRAN.
</b>
<b>                       MOORE
</b>          You let me walk away.

<b>                       BERGMAN
</b>          That's right.

<b>                        MOORE
</b>          Me and her.

<b>                       BELLA
</b>          Well, not quite.

<b>                       MOORE
</b>          What did you do to her...

<b>HE LOOKS AT FRAN.
</b>
<b>                       FRAN
</b>          I gave you up, Baby.     I gave up the gold.
<b>               (PAUSE)
</b>
<b>                       BERGMAN
</b>          Yeah, that's what we did for her, we let you
          live.

<b>                       FRAN
</b>          I gave you up. I had to.

<b>                       BERGMAN
</b><b>               (TO THE THUGS)
</b>          Let's get this boat out of here.
<b>               (TO MOORE)
</b>          We're letting you live cause it makes the
          broad happy. That's what she traded us for
          the gold.

<b>                       MOORE
</b>          Hold on, hold on, let's siddown...

<b>                       BERGMAN
</b>          Oh, yeah, let's siddown. You fucken dog inna
          manger, we sit here a little long enough, the
          Boys in Blue come visit, n'there goes the
          neighborhood...

<b>                        MOORE
</b>          One second.   Hold on...

<b>                       BERGMAN
</b>          You're bust, Baby. You got Broke... go cry
          a little
<b>               (TO MOORE, SOTTO)
</b>          You fortunate motherfucker, she don't step up,
          you're gone stay here, for, like, a little bit
          of forever...
<b>
</b><b>                                                                118.
</b>

                      BERGMAN (cont'd)
         ...this way you walk away, you Lucky Dog.

<b>                      MOORE
</b>         Take the gold. Take the gold off, leave me
         the boat.

<b>                      BERGMAN
</b>         Don't make me lose my respect for you. By the
         way, we already had the gold. Pincus gave it
         up. That's what she traded for your life.
<b>              (PAUSE)
</b>         She's got a very commercial mind...

<b>BELLA STARTS TO TAKE FRAN AWAY, BACK DOWN THE PIER.    WE SEE A BLACK
</b><b>CAR, DRIVING DOWN THE PIER, TOWARD THE GROUP.
</b>
<b>BERGMAN BECKONS A HENCHMAN, AND POINTS AT THE BOAT.
</b>
                      BERGMAN (cont'd)
         ...take it back to the boatyard
<b>              (HE MAKES A DIALING MOTION)
</b>         Get a number, call'im up, we need a private
         slip, what do you call it, a shed. Tell'im
         we'll pay in cash. Get the thing squared
         away, we'll take the gold out...
<b>              (THE HENCHMAN STARTS TO GO OFF,
</b><b>               NODDING)
</b>
<b>                      BELLA
</b><b>              (TO MOORE)
</b>         You don't want to stay here, pal. They're
         coming for you... they're coming for you...

<b>HE STARTS PUTTING FRAN INTO THE CAR.
</b>
<b>                      FRAN
</b><b>              (TO BERGMAN)
</b>         Leave him some money. Give him some money...
         don't let him go out there with nothing...
<b>              (SHE GETS INTO THE CAR.)
</b>
<b>ANGLE CU ON FRAN AS BELLA PUTS HER INTO THE CAR.
</b>
                      FRAN (cont'd)
         I'm sorry, baby.

<b>ANGLE, ON MOORE, AS HE TURNS, AND WE SEE THE CAR DRIVE OFF.
</b>
<b>                      BERGMAN
</b>         Yeah, we don't want, to send you out there
         broke... here: go buy yourself something
         nice... You don't mind if I pay you in
         Gold...?

<b>HE STEPS OVER TO THE BOAT, FLOATING ALONGSIDE THE DOCK.    HE TAKES
</b><b>HIS CLASP KNIFE, AND APPLIES IT TO THE SHINING RAIL.
</b>
<b>ANGLE INS.
</b><b>
</b><b>                                                                   119.
</b>

<b>THE BLADE BENDS ON THE RAIL.
</b>
<b>ANGLE ON BERGMAN, AS HE GETS ONTO THE BOAT. HE WALKS TO ONE RAIL
</b><b>AND TRIES TO CARVE IT WITH HIS KNIFE. NOTHING HAPPENS. HE WALKS
</b><b>TO ANOTHER RAIL, AND TRIES THE SAME.
</b>
<b>ANGLE INS. THE KNIFE. THE BLADE BENDING ON THE RAIL.        MORE
</b><b>PRESSURE IS EXERTED. THE BLADE SNAPS.
</b>
<b>ANGLE
</b>
<b>ON BERGMAN.   WHO GESTURES FOR ANOTHER KNIFE.   THE HENCHMAN DOES NOT
</b><b>UNDERSTAND.
</b>
                      BERGMAN (cont'd)
         A knife, gimme another knife...

<b>THE HENCHMAN HANDS HIM A KNIFE. BERGMAN TRIES NOW ONE AND NOW
</b><b>ANOTHER OF THE RAILINGS. THE KNIFE CANNOT RAISE SHAVINGS ON ANY OF
</b><b>THEM.
</b>
<b>ANGLE
</b>
<b>ON BERGMAN, AS HE LOOKS BACK AT THE SHORE.
</b>
                      BERGMAN (cont'd)
         ...I don't... I need you to tell me where
         the gold is.

<b>BERGMAN GETS OFF THE BOAT, AND ADVANCES ON MOORE, WHO IS STANDING ON
</b><b>THE PIER.
</b>
                      BERGMAN (cont'd)
         Where's the gold?

<b>                      MOORE
</b>         Where would you like it to be...?

<b>BERGMAN GESTURES TO THE THUGS, WHO TAKE HOLD OF MOORE'S ARMS.
</b><b>MOORE LOOKS AROUND WILDLY AT THE DESERTED PIER. BERGMAN ADVANCES
</b><b>ON MOORE, HOLDING THE KNIFE.
</b>
<b>                      BERGMAN
</b>         What is it, with your pal...?

<b>AS BERGMAN NEARS MOORE, MOORE TURNS, BREAKING THE HOLD OF THE TWO
</b><b>MEN. HE HITS ONE IN THE THROAT, KICKS AT THE OTHER, AND STARTS
</b><b>TO RUN. ONE OF THE THUGS PULLS A PISTOL, AND SHOOTS AT MOORE, AND
</b><b>MOORE FALLS TO THE PIER, GRASPING HIS SHOULDER, HE GETS SLOWLY UP,
</b><b>AND FACES BERGMAN, AND THE THUGS, WHO STAND ON THE PIER ALONGSIDE
</b><b>THE SAILBOAT. MOORE LOOKS AROUND.
</b>
                        BERGMAN (cont'd)
         And then   where is he now. Your  running buddy?
         No, It's   all over, and I need to know:
         Where Is   The Gold. I hate to do  anything as
         dramatic   as "counting to Three," but... ONE:
<b>                        (MORE)
</b><b>
</b><b>                                                                  120.
</b>

                      BERGMAN (cont'd)
<b>              (HE HOLDS OUT HIS HAND. A
</b><b>               HENCHMAN PUTS A PISTOL INTO IT.)
</b>
<b>AS HE SPEAKS, MOORE KEEPS TURNING, SO THAT THE SUN IS BEHIND
</b><b>MOORE, AND SHINING INTO THE EYES OF BERGMAN AND HIS ACCOMPLICES,
</b><b>WHO NOW STAND WITH THEIR BACKS TO THE BOAT.
</b>
                      BERGMAN (cont'd)
         Two... why must you, oh, God, why in the
         world must you, why in the hell, a guy like
         you, would you put me in a position... Aahh,
         the Hell with it, life is too short, you
         know what? Fuck you...

<b>HE RAISES HIS ARM TO FIRE. BEHIND HIM WE SEE BLANE EMERGE FROM THE
</b><b>SAILLOCKER ON THE BOAT'S DECK, BLANE HOLDS A SHOTGUN. HE SHOOTS
</b><b>BERGMAN AND THE TWO THUGS, ONE OF THE THUGS TURNS AND FIRES AT
</b><b>BLANE, WHO IS WOUNDED. BLANE FIRES AGAIN AT THE THUG, AND STUMBLES
</b><b>ON TO THE PIER, AND FALLS BACKWARD INTO THE WATER BETWEEN THE BOAT
</b><b>AND THE PIER.
</b>
<b>ANGLE
</b>
<b>ON MOORE, WHO MOVES JERKILY,     TO THE SIDE OF THE PIER. HE TRIES
</b><b>TO PUSH THE BOAT AWAY, TO GET     TO BLANE IN THE WATER. HE UNTIES
</b><b>THE LINE WHICH HOLDS THE BOAT     TO THE PIER, AND PUSHES THE BOAT
</b><b>AWAY. HE THROWS THE LINE TO      BLANE, WHO USES IT TO LIFT HIMSELF UP
</b><b>ONTO THE PIER.
</b>
<b>THE TWO MEN SIT FOR A MOMENT, CATCHING THEIR BREATH.
</b>
<b>                      MOORE
</b>         How you doing?

<b>                         BLANE
</b>         I'm leaking?
<b>              (PAUSE)
</b>         You hurt?

<b>MOORE NODS. HE STANDS, AND HELPS BLANE TO HIS FEET. MOORE PICKS
</b><b>UP THE SHOTGUN. THEY LOOK AROUND, BEHIND THEM, THE SAILBOAT IS
</b><b>DRIFTING OUT TO SEA.
</b>
<b>THEY START DOWN THE PIER. STEPPING OVER ONE OF THE BODIES OF THE
</b><b>THUGS. THE SECOND THUG LOOKS UP.
</b>
<b>                         THUG
</b><b>              (WEAKLY)
</b><b>         I... I...
</b>
<b>BLANE KICKS HIS BODY OVER THE SIDE OF THE PIER, INTO THE WATER.
</b>
<b>MOORE STEPS OVER THE DYING BERGMAN.
</b>
<b>                       BERGMAN
</b>         Cute.   Very cute.

<b>MOORE WALKS OVER HIS BODY, AND HE AND BLANE CONTINUE DOWN THE
</b><b>PIER.
</b><b>
</b><b>                                                                  121.
</b>

                      BERGMAN (cont'd)
         Don't you want to hear my dying words...?

<b>MOORE TAKES THE SHOTGUN FROM BLANE, AND STEPS BACK TO BERGMAN.
</b>
<b>                       MOORE
</b>         I just did.

<b>HE SHOOTS BERGMAN, HANDS THE SHOTGUN BACK TO BLANE, AND THE TWO
</b><b>HEAD OFF, HELPING EACH OTHER DOWN THE PIER.
</b>
<b>                                                   DISSOLVE TO:
</b>
<b>INT INDUSTRIAL DINER. DAY.
</b>
<b>MOORE, HIS ARM IN A SLING, NOW WEARING A BEARD, SITTING IN A BOOTH,
</b><b>DRINKING COFFEE.
</b>
<b>                       BLANE
</b><b>              (VO)
</b>         I hear...

<b>MOORE LOOKS UP, BLANE, WALKING WITH A CANE, SLIDES INTO THE BOOTH
</b><b>OPPOSITE HIM.
</b>
                      BLANE (cont'd)
         I hear if you put milk into it, it lesses the
         chance of stomach distress.

<b>                      MOORE
</b>         Hey, you can't worry about every little
         thing...

<b>THEY BOTH SIT, LOOKING OUT THE WINDOW.
</b>
<b>A WAITRESS COMES BY WITH A COFFEEPOT.
</b>
<b>                       WAITRESS
</b>         Heat it up?

<b>                      MOORE
</b><b>              (AS HE RISES)
</b>         No, I think we gotta be moving on.

<b>ANGLE EXT THE DINER, AS THE TWO WALK ACROSS AN INDUSTRIAL AREA.
</b>
<b>                      BLANE
</b>         Too bad about Pinky.

<b>                      MOORE
</b>         Ain't that so.

<b>                      BLANE
</b>         ...always made me laugh.
<b>
</b><b>                                                              122.
</b>

<b>                      MOORE
</b>         Well, what more can you say of anyone?

<b>                      BLANE
</b>         Nothing...

<b>BEAT. THEY CONTINUE WALKING ACROSS THE STREET TO REVEAL THEY ARE IN
</b><b>THE INDUSTRIAL AREA OUTSIDE THE BOXING GYM. THERE ARE MANY KIDS
</b><b>PLAYING IN THE STREET.
</b>
                      BLANE (cont'd)
         Robert the Bruce...

<b>                      MOORE
</b>         Yeah?

<b>                      BLANE
</b>         Why'd they call him Robert "The" Bruce...

<b>                      MOORE
</b>         ...what?

<b>                      BLANE
</b>         Why'd they call him Robert "The" Bruce?
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         Because he asked them to.

<b>BLANE NODS.
</b>
<b>                      BLANE
</b>         Y'go to that Plastic Surgeon, don't lettem put
         you all the way under. I knew a guy in
         Statesville, went to get his face fixed, woke
         up, sucker'd given him a pair of tits.

<b>                      MOORE
</b>         Yeah, that's no bargain.

<b>                      BLANE
</b>         Well, he landed back inside, he never had to
         want for Cigarettes...

<b>BLANE TAKES OUT A SLIP OF PAPER, AND HANDS IT TO MOORE.   MOORE LOOKS
</b><b>AT IT.
</b>
<b>                      MOORE
</b>         Send your cut there...?

<b>                      BLANE
</b>         Wire it there, when you get where you're
         going.

<b>                      MOORE
</b>         That I will, Pal.
<b>
</b><b>                                                                123.
</b>

<b>                      BLANE
</b>         I hear it's nice down there in the Sun.

<b>                      MOORE
</b>         Zat where I'm going?

<b>                      BLANE
</b>         Wherever it is, Brother, don't come back.
<b>              (BEAT. MOORE NODS.)
</b>
<b>BLANE EMBRACES MOORE. BEAT. BLANE HANDS HIM THE KEY TO THE
</b><b>GARAGE. AND WALKS OFF. WE SEE BLANE WALK ACROSS THE STREET, A
</b><b>CONVERTIBLE PULLS UP, DRIVEN BY A VERY BEAUTIFUL YOUNG WOMAN. BLANE
</b><b>GETS INTO THE PASSENGER SEAT AND MOTIONS HER TO DRIVE.
</b>
<b>ANGLE C.U. MOORE LOOKING ON.
</b>
<b>ANGLE: HIS POV, ON BLANE'S CAR, AS IT DRIVES OFF, BLANE TURNS BACK
</b><b>TO LOOK AT MOORE ONE LAST TIME, THEN SHRUGS AND TURNS FORWARD.
</b>
<b>ANGLE, ON MOORE, AS HE WALKS ACROSS THE STREET, TURNS A CORNER AND
</b><b>STANDS BEFORE A GARAGE DOOR.
</b>
<b>MOORE USES THE KEY AND OPENS A SMALL DOOR SET INTO THE OVERHEAD
</b><b>DOORS OF THE GARAGE. HE ENTERS THE DARK GARAGE.
</b>
<b>ANGLE INT THE GARAGE.
</b>
<b>A NEWISH TRUCK, WITH A LARGE ENGINE LASHED ONTO ITS BED. THE ENGINE
</b><b>IS PAINTED IN FRESH BLACK PAINT. BEHIND IT, THE OLD BATTERED PICKUP
</b><b>TRUCK, UP ON A JACK, ITS BED FULL OF THE RUSTED PIPES OF THE
</b><b>DISCARDED BOXING EQUIPMENT, AND THE OLD ROTTEN LEATHER "HEAVYBAG."
</b><b>MOORE TAKES OUT A PACK OF CIGARETTES AND A LIGHTER, HE IS ABOUT TO
</b><b>LIGHT A CIGARETTE, WHEN HE LOOKS OVER AT THE NEW TRUCK.
</b>
<b>HE PUTS THE CIGARETTES DOWN ON THE OLD TRUCK, BENDS   DOWN, AND PICKS
</b><b>UP A CAN OF BLACK PAINT. HE WALKS TO THE NEW TRUCK    AND APPLIES
</b><b>TOUCHUP PAINT TO THE ENGINE LASHED IN THE BACK. HE    NODS AT IT,
</b><b>AND THEN, SATISFIED, HE TAKES A TARP AND COVERS THE   ENGINE.
</b>
<b>HE GETS INTO THE NEW PICKUP TRUCK AND STARTS IT.
</b>
<b>WHILE IT WARMS UP HE GOES TO THE FRONT OF THE GARAGE, WIPING THE
</b><b>BLACK PAINT OFF OF HIS HANDS WITH A RAG. HE RAISES THE SHED DOOR,
</b><b>TO REVEAL FRAN STANDING THERE.
</b>
<b>HE SMILES AND KISSES HER AND TAKES HER BACK TOWARD THE NEW PICKUP
</b><b>TRUCK. HE OPENS THE PASSENGER DOOR.
</b>
<b>                      MOORE
</b>         Yeah, I knew you'd show.

<b>                      FRAN
</b>         Good, good plan, baby...

<b>                      MOORE
</b>         Yeah, I wouldn't clear my throat, without a
         backup plan...
<b>
</b><b>                                                              124.
</b>

<b>                      FRAN
</b>         That's the right way to do it.

<b>                      MOORE
</b>         End of the day, though, end of the day,
         what's the important thing...?

<b>                      FRAN
</b>         That's right.

<b>                      MOORE
</b>         What's the important thing...?
<b>              (PAUSE)
</b>
<b>                      FRAN
</b>         Shame about Pinky...

<b>                      MOORE
</b>         You heard.
<b>              (OF TRUCK)
</b>         Come on, get in.

<b>                      FRAN
</b>         Y'all loaded up?

<b>HE LIFTS THE TARP TO REVEAL THE ENGINE, COATED IN BLACK PAINT,
</b><b>SITTING THERE. HE RECOVERS IT.
</b>
<b>                      MOORE
</b>         C'mon, get in, we'll talk on the road.     You
         heard about Pinky...

<b>                       FRAN
</b>         Yeah.   I heard. I'm sorry about that.

<b>                      MOORE
</b>         Yeah, well, it just went bad there, that
         little bit. Dinnit...?

<b>                        FRAN
</b>         Yes, It did.

<b>MOORE TOUCHES THE BRUISE ON HIS HEAD.
</b>
<b>                      MOORE
</b>         ...yes, it did... it got kind of convincing.

<b>                      FRAN
</b>         ...and, so, you got hurt.

<b>                      MOORE
</b>         Well, you can't do it halfway, can you...?

<b>                      FRAN
</b>         No, anything you do, you got to do full-out.
         Don't you?
<b>
</b><b>                                                               125.
</b>

<b>                      MOORE
</b>         Indeed you do.

<b>                      FRAN
</b>         And, sometimes...
<b>              (PAUSE)
</b>
<b>                      MOORE
</b><b>              (TOUCHES HIS FOREHEAD, AND THE
</b><b>               BRUISE, WINCES)
</b>         Then, that's just the Price.

<b>                      FRAN
</b>         That's right. That's what you taught me.
         That's part of it.

<b>                      MOORE
</b>         Well, but didn't you do great. Played it down
         to the last recorded syllable...

<b>                      FRAN
</b>         I went to a good school.

<b>                      MOORE
</b>         Never seen it done n'y better.   You hotwalked
         that dude so good.

<b>                      FRAN
</b>         ...thank you, Joe.

<b>                      MOORE
</b>         Cooled him out the livelong day.   You made it
         look so real.

<b>HE MOVES TO THE FRONT OF THE SHED. AND TURNS OUT THE LIGHTS.    HE
</b><b>WALKS BACK TOWARD FRAN, WHO IS STANDING AT THE TRUCK.
</b>
                      MOORE (cont'd)
<b>              (TO HIMSELF)
</b>         ...yes, you did.

<b>                      FRAN
</b>         Well, you know...
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         ...what d'you mean, "that's part of it?"

<b>                      FRAN
</b>         I don't get you?

<b>                      MOORE
</b>         I was talking about Pinky.

<b>                     FRAN
</b>         Uh huh.
<b>
</b><b>                                                                  126.
</b>

<b>                      MOORE
</b>         I said we paid the price.         And you said.   We
         paid part of it.
<b>              (PAUSE)
</b>
<b>                        FRAN
</b>         Yes.    That's right.

<b>                      MOORE
</b>         ...what's the rest of it...?
<b>              (PAUSE)
</b>         What's the rest of it...?

<b>ANGLE XCU MOORE.   AS HE LOOKS AT FRAN.
</b>
<b>ANGLE
</b>
<b>FRAN, AS SHE LOOKS BEYOND MOORE.
</b>
<b>ANGLE ON MOORE AS HE TURNS.       BELLA IS STANDING BEHIND HIM.
</b>
<b>BELLA HOLDS A PISTOL. HE MOVES TO MOORE, AND HE FRISKS HIM, AND
</b><b>FINDS NOTHING, AND TAKES A STEP AWAY.
</b>
<b>ANGLE, ON MOORE, AS HE LOOKS FROM BELLA TO FRAN.
</b>
                          MOORE (cont'd)
         Oh.
<b>                (PAUSE)
</b>
<b>                      BELLA
</b>         Well. They don't always leave with the Ones
         they came In with.

<b>                          MOORE
</b><b>                (PAUSE)
</b>         Oh.

<b>BELLA LOOKS AT THE TRUCK.     HE LOOKS INQUIRINGLY, AT FRAN.
</b>
<b>                      FRAN
</b><b>              (TO MOORE)
</b>         It was dead, anyway.
<b>              (PAUSE)
</b>         You know it was.

<b>                          MOORE
</b>         Was it...?

<b>                      FRAN
</b><b>              (PAUSE)
</b>         You shouldn't of sent me to him.

<b>                      MOORE
</b>         Well, you can't think of everything.
<b>              (PAUSE)
</b><b>
</b><b>                                                              127.
</b>

<b>                        MOORE
</b>         I'm sorry.
<b>              (PAUSE)
</b>
<b>                        FRAN
</b>         Well...

<b>                        MOORE
</b>         I'm sorry...

<b>                      FRAN
</b>         You knew it was over...

                      FRAN (cont'd)
<b>              (TO BELLA)
</b>         ...it's in the back.

<b>BELLA WALKS TO THE BACK OF THE TARP, RAISES A CORNER, LOOKS IN.
</b>
<b>HE LOOKS AT HIS HANDS, AND TAKES OUT A HANDKERCHIEF, AND WIPES OFF
</b><b>THE BLACK PAINT. HE LOWERS THE TARP DOWN.
</b>
<b>                      MOORE
</b><b>              (OF BELLA)
</b>         Why dun' he shoot me?

<b>                      FRAN
</b>         Cause it's over. It's all done.    That's the
         deal.

<b>                      MOORE
</b>         He ain't gonna shoot me?

<b>                        FRAN
</b>         No.

<b>                      MOORE
</b>         Then he hadn't aughta point a gun at me.
<b>              (PAUSE)
</b>         It's insincere...

<b>MOORE SITS DOWN ON AN UNOPENED WOODEN BOX, IN THE DOORWAY OF THE
</b><b>GARAGE.
</b>
                      MOORE (cont'd)
         Oh, God, I'm tired...

<b>                      FRAN
</b><b>              (TO MOORE)
</b>         I'm sorry, Baby.

<b>                       MOORE
</b>         Well, no.   You told me, "you knew him
         before."

<b>                      FRAN
</b>         That's right. I did.
<b>              (TO BELLA)
</b><b>                      (MORE)
</b><b>
</b><b>                                                                128.
</b>

                      FRAN (cont'd)
         Get in and drive
<b>              (TO MOORE)
</b>         I'm sorry.

<b>                      MOORE
</b>         You said that.
<b>              (PAUSE)
</b>         Well.
<b>              (PAUSE)
</b>         You must be under quite a lot of stress.

<b>                        FRAN
</b>         Hmm.

<b>                      MOORE
</b>         It was a pretty plan, though, wunnit...?

<b>                      FRAN
</b>         Cute as a Chinese baby...

<b>                      MOORE
</b>         Thanks for everything.
<b>              (FRAN GETS UP INTO THE TRUCK)
</b>
<b>                      FRAN
</b>         You'll be alright.

<b>                      MOORE
</b>         You think so?

<b>                      FRAN
</b>         You always are.
<b>              (PAUSE)
</b>
<b>                      MOORE
</b>         Well, I missed this trick, though, didn't
<b>         I...?
</b>
<b>                      FRAN
</b>         ...the best laid plans of mice and men...

<b>                        MOORE
</b>         ...what?

<b>                      FRAN
</b>         I said Nobody's Perfect.
<b>              (PAUSE)
</b>         You take care.
<b>              (TO BELLA)
</b>         Alright, let's go.

<b>THE TRUCK DRIVES OFF.
</b>
<b>ANGLE
</b>
<b>ON MOORE, AS HE SLOWLY SHAKES HIS HEAD.   HE SIGHS.   HE WALKS BACK
</b><b>INTO THE SHED.
</b><b>
</b><b>                                                               129.
</b>

<b>HE WALKS TO THE OLD ABANDONED PICKUP, WHERE HE LEFT HIS CIGARETTES
</b><b>AND LIGHTER. HE TAKES OUT A CIGARETTE, AND HOLDS IT TO HIS LIPS.
</b><b>HE HESITATES. HE CRUMBLES IT, AND THROWS IT TO THE FLOOR. LOWERS
</b><b>THE PICKUP TO THE GROUND, USING THE HYDRAULIC JACK.
</b>
<b>HE SIGHS, AND SLAMS THE TAILGATE ON THE OLD METAL FRAME OF THE
</b><b>BOXING EQUIPMENT. THE TAILGATE DOES NOT CLOSE. HE SLAMS IT AGAIN.
</b><b>AND IT CLOSES.
</b>
<b>HE WALKS OVER AND GETS IN THE CAB OF THE OLD PICKUP.
</b>
<b>ANGLE
</b>
<b>THE OLD METAL FRAME IN THE BED OF THE PICKUP TRUCK. WE SEE THAT THE
</b><b>TAILGATE HAS JAMMED ONTO THE OLD METAL PIPES, AND THE PIPE'S PAINT
</b><b>HAS CHIPPED TO REVEAL THAT THE PIPE IS GOLD, AND WE SEE, ON
</b><b>THE BASE OF THE PIPE, WHERE THE PAINT HAS CHIPPED, FAINTLY, THE
</b><b>LETTERS CREDIT INTERNATIONAL DE GENEVE.
</b>
<b>ANGLE
</b>
<b>ON MOORE, IN THE TRUCK, AS IT PULLS OUT OF THE GARAGE.
</b>
<b>                                                         FADE OUT.
</b>



<b>-----------------
</b>
<b>HEIST
</b>
<b>A SCREENPLAY BY DAVID MAMET
</b>
<b>COPYRIGHT  1998, 1999
</b>
<b>BY DAVID MAMET
</b>
<b>C/O HOWARD ROSENSTONE
</b>
<b>ROSENSTONE/WENDER. N.Y.C.
</b>

<b>                                                         MARCH, 1999
</b><b>
</b>
Two times.