Screenplays for You - free movie scripts and screenplays

Screenplays, movie scripts and transcripts organized alphabetically:

Metro (1997)

by Randy Feldman.
Shooting draft.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

CLOSEUP OF SCOTT ROPER

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

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

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

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

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

INT. CAR - DAY

Roper's police radio SQUAWKS.

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

He picks up the radio.

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

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

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

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

He tosses the radio down. Punches the accelerator.

		ROPER
	Stay up there, Girl...

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

EXT. TRANS AM - DAY

Weaving through traffic on the bridge.

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

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

		ROPER (V.O.)
	SHIT!

The Trans Am streak off toward the city.

EXT. BANK - DOWNTOWN - DAY

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

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

		KIMURA
	Hi, Roper.

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

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

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

		ROPER
	...a car.

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

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

		KIMURA
	That's right.

		ROPER
	What's the suspect's name?

		KIMURA
	Earl.

INT. DINER - DAY

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

		ROPER
	Hello, guys.

		BAFFERT
	Hello, Roper. Glad you could join 
	us.

Roper walks over to the counter where Baffert is standing.

		ROPER
	Do we have a profile on Mr. Earl?

Baffert hands him a folder. Roper opens it.

		BAFFERT
	This guy is no genius.

Roper scans the profile.

		ROPER
	They're not usually graduate students.

		BAFFERT
	SWAT wants to go in.

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

Roper refers to the folder.

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

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

		ROPER
	I have to go face to face.

		BAFFERT
	No -- you can't do that.

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

		BAFFERT
	I don't know.

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

		BAFFERT
	Not that we know of.

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

		BAFFERT
	Maybe we can get a throw phone in 
	there.

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

		BAFFERT
	What do you mean?

		KIMURA
	He urinated on it and shorted out 
	the circuits.

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

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

EXT. STREET - DAY

Roper eats the donut as he crosses toward the bank.

EXT. ROOFTOP ACROSS THE STREET - DAY

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

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

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

		MCCALL
	Donuts.

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

INT. BANK - DAY

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

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

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

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

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

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

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

		EARL
	Where's the car?

		ROPER
	I need to get something straight 
	first.

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

		ROPER
	Who's the manager?

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

		MANAGER
	I am.

Roper takes a step toward him.

		ROPER
	When did you start keeping longer 
	hours?

		MANAGER
	Last spring.

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

		EARL
	HEY, SHUT UP!

Earl wags his gun against the Teller's ear.

		EARL
	Do you want me to start killing 
	people?!

Roper holds his hand up defensively.

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

		EARL
	Then where's my FUCKING car!

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

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

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

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

		TELLER
		(voice trembling)
	Debbie...

		ROPER
	Point the gun away from Debbie.

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

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

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

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

		EARL
	What are my chances of getting out 
	of here?

Roper calmly moves toward where the wounded guard is laying.

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

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

		ROPER
	How ya doin'?

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

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

Earl is encouraged by that.

		EARL
	Really?

		ROPER
	Absolutely. Bank robbers are generally 
	your smartest criminals.

Roper looks directly into Earl's eyes.

		ROPER
	He didn't kill anybody, though.

Roper bends over the guard.

		ROPER
	This is gonna hurt.

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

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

Roper keeps dragging the guard toward the front door.

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

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

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

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

EXT. BANK - DAY

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

		ROPER
		(whispering to Jennings)
	Give me your gun.

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

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

		JENNINGS
	Why not keep the streak alive?

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

INT. BANK - DAY

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

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

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

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

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

		ROPER
	Give me Debbie.

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

		EARL
	Take the old guy.

The other hostages watch this exchange tensely.

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

		EARL
	Am I gettin' the car?

		ROPER
	You're gettin' the car.

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

		EARL
	Take them.

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

		ROPER
	You two, leave.

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

EXT. ROOFTOP - DAY

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

		FORBES
	This guy is good.

		MCCALL
	That's what they say.

INT. BANK - DAY

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

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

		ROPER
	Oh, there's one last thing.

Earl looks like he's right on the edge.

		EARL
	What?!

		ROPER
	You want a convertible or hardtop?

Earl thinks about that for a beat...

		ROPER
	Hardtop.

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

		ROPER
		(without turning around)
	Manual or automatic?

		EARL
	Automatic.

		ROPER
	You got it.

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

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

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

		EARL
	I give up! I give up!

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

EXT. ROOFTOP - DAY

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

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

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

EXT. STREET - SHORT TIME LATER

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

		RONNIE
	There's one for the front page.

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

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

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

		RONNIE
	Don't start.

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

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

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

		ROPER
	I worship you.

		RONNIE
	You worship yourself.

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

		RONNIE
	Greg.

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

Ronnie stops. Looks him in the eye.

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

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

Ronnie smiles, but offers no response.

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

		RONNIE
	I'm going out with Greg tomorrow.

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

Roper gets down on his knees.

		ROPER
	Please. I'm begging you.

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

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

		ROPER
	Hey, that's my car.

A REPO MAN stands off to the side watching dispassionately.

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

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

INT. METRO DIVISION HEADQUARTERS - DAY - RAINING

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

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

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

		BAFFERT
	Floor seats.

		ROPER
	You're my hero.

		BAFFERT
	Dinner's on you.

		ROPER
	Deal.

INT. HALLWAY - DAY - RAINING

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

INT. CAPTAIN SOLIS' OFFICE - RAINING

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

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

Roper smiles as he sits down.

		ROPER
	Tell him to give me a raise.

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

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

		SOLIS
	Roper.

		ROPER
	What?

		SOLIS
	Are you going to make this hard for 
	me?

		ROPER
	Depends. What's up?

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

		ROPER
	Define concern.

Solis dumps his cards on the table.

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

		ROPER
	Your concern is heartwarming.

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

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

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

Roper grabs McCall's folder off the desk.

		ROPER
	Let me see that.

Roper scans it.

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

INT. HALLWAY - SAME - RAINING

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

INT. SOLIS' OFFICE - SAME - RAINING

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

Roper throws the folder back on the desk.

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

		SOLIS
	You let us worry about that.

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

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

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

		SOLIS
	What do you think would be in order?

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

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

Uh-oh, Roper thinks maybe he sold short.

		ROPER
		(quickly)
	And a car.

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

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

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

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

		SOLIS
	What happened to your Trans Am?

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

		ROPER
	Repoed this morning.

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

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

McCall enters the office.

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

Roper reaches out. They shake hands.

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

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

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

Roper's face darkens.

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

		MCCALL
	Sorry... Habit.

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

Roper smiles.

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

		MCCALL
	If you say so.

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

Roper and McCall head out the door.

		SOLIS
	Roper...

Roper turns back around.

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

Roper smiles. Total victory.

INT. HALLWAY - DAY - RAINING

MOVING with Roper and McCall.

		ROPER
	You ever been in a hostage situation?

		MCCALL
	Only at the very end.

		ROPER
	How do you feel after a shooting.

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

They enter the squadroom, wind through the cubicles.

		ROPER
	It rarely has to be done.

		MCCALL
	I've rarely shot anyone.

		ROPER
	SWAT is a lifesaving unit, you know.

		MCCALL
		(flatly)
	I know.

		ROPER
	Try to remember that.

They arrive at Roper's desk.

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

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

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

McCall looks at the bottle quizzically.

		MCCALL
	What's the point of this?

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

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

OMITTED

Sequence omitted from original script.

INT. UNDERGROUND GARAGE - NIGHT

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

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

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

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

		ROPER
	Yeah, okay.

Roper is looking at the numbered parking spaces.

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

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

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

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

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

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

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

Roper bends over like an old man.

		ROPER
	Yep, my rheumatism's been acting up.

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

		BAFFERT
	This is it. Space 742.

Roper looks at the pickup truck in disbelief.

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

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

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

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

		BAFFERT
	Where's the stereo?

		ROPER
	Fuck the stereo. What's that smell?

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

EXT. MARKET STREET - NIGHT

The pickup in traffic.

OMITTED

Sequence omitted from original script.

EXT. KORDA'S BUILDING - NIGHT

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

INT. PICKUP - NIGHT

Baffert pulls out a slip of paper.

		BAFFERT
	Apartment 306.

		ROPER
	You want me to go up with you?

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

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

Baffert gets out. Roper grabs his cell phone.

		ROPER
	You want anything on the game?

Baffert turns back around.

		BAFFERT
	What's the line?

		ROPER
	It was Warriors plus 6 this morning.

		BAFFERT
	I'll take half of your action.

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

DETAIL SHOT

A message on the display reads: RECHARGE BATTERY.

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

INT. BUILDING - NIGHT

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

INT. KORDA'S APT. - NIGHT

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

		KORDA
	Who is it?

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

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

		KORDA
	What happened? Is there a problem?

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

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

		BAFFERT
	Count Basie?

Korda smiles back. Another jazz aficionada.

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

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

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

		BAFFERT
	Where did you find an old recording 
	like that?

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

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

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

Baffert smiles.

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

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

HIS POV

Nobody there. Just the truck.

		KORDA
	I certainly wouldn't.

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

		BAFFERT
	Could I please have a little water?

		KORDA
		(the perfect host)
	Of course.

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

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

Baffert notices something in the trash can.

HIS POV

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

INT. KITCHEN

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

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

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

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

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

		KORDA
		(forthrightly)
	Clarence Teal.

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

		KORDA
	Your cough seems to be better.

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

		BAFFERT
	Thank you.

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

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

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

		KORDA
	Lieutenant...

Baffert turns back around.

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

Baffert muses along with Korda.

		BAFFERT
	Could be.

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

INT. HALLWAY - NIGHT

Baffert gets into the elevator.

INT. ELEVATOR - NIGHT

Baffert takes out his cell phone. Dials.

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

The elevator hits the first floor.

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

The elevator opens.

Korda is standing there with a knife.

Baffert has no time to react...

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

EXT. BUILDING - NIGHT

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

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

INT. BUILDING - NIGHT

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

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

		ROPER
		(to the woman)
	Get an ambulance!

INT. THIRD FLOOR HALLWAY - NIGHT

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

INT. KORDA'S APT. - NIGHT

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

INT. HALLWAY - NIGHT

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

INT. APT. 302 - NIGHT

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

EXT. BUILDING - NIGHT

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

INT. SOLIS OFFICE - NIGHT - RAIN

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

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

Solis hangs up the phone.

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

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

		SOLIS
	I can't do that.

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

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

		ROPER
	Who's running it?

		SOLIS
	Roper...

		ROPER
	Who's running it!

		SOLIS
	Kimura and Glass will head the 
	investigation.

Roper turns to leave.

		SOLIS
	Scott. Go home. Get some sleep.

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

							CUT TO:

INT. METRO OFFICE AREA - NIGHT

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

		ROPER
	Hey, hey, hey...

Roper intercepts them.

		ROPER
	Anything on Korda so far?

		KIMURA
	Solis said to keep you clear of this.

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

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

OMITTED

Sequence omitted from original script.

EXT. SAN FRANCISCO STREET - NIGHT - RAINING

Roper's pickup drives by.

INT. PICKUP

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

INT. RONNIE'S HALLWAY - NIGHT

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

		RONNIE (O.S.)
	Just a minute.

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

		RONNIE
	Hey.

		ROPER
	Hey yourself. Came by to see Troy.

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

		ROPER
	I'm not drunk. Yet.

		RONNIE
	Maybe you should be.

		ROPER
	You heard.

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

		RONNIE
	Yeah. I'm sorry.

		ROPER
	Can I come in?

Ronnie opens the door reluctantly.

INT. RONNIE'S HOUSE - NIGHT

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

		ROPER
	That a new picture?

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

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

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

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

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

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

		ROPER
	He misses me.

She nods. A moment's silence.

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

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

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

		RONNIE
	Scott, You can't save everyone.

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

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

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

		RONNIE
		(gentle)
	What do you want from me?

		ROPER
	Something I guess I can't have 
	anymore.

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

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

		RONNIE
	If you did, you never showed it.

		ROPER
	Ronnie...

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

		ROPER
	You expecting someone?

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

		ROPER
	This day just keeps getting better.

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

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

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

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

Greg's smile fades as he sees Roper.

		ROPER
	I was just leaving.

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

		RONNIE
	Scottie... take care of yourself.

Roper doesn't look back. He just goes.

EXT. PIER 26 - EARLY MORNING

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

INT. WAREHOUSE - SAME

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

INT. WATCHMAN'S QUARTERS - SAME

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

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

Clarence is scared. He offers no defense.

		KORDA
	You told Antonucci that shit came 
	from me.

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

Korda tosses Clarence down onto the cot.

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

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

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

		CLARENCE
	What happened, Mike.

		KORDA
	You don't want to know.

Tears start to come to Clarence's eyes.

		CLARENCE
	I'm sorry, Mike.

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

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

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

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

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

		CLARENCE
	Did you kill him, Mike?

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

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

We're talking major fear here...

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

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

Tears of relief from Clarence.

INT. METRO DIVISION HEADQUARTERS - DAY

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

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

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

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

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

		KIMURA
	Being faxed over now.

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

		KIMURA
	Roper...

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

		KIMURA
	Roper, we're into it...

Suddenly Solis appears at their side.

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

Roper looks at him icily.

		SOLIS
	It's in everyone's best interest.

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

		ROPER
		(softened)
	You guys are doing good work.

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

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

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

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

		ROPER
	I don't see much progress here.

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

CLOSE ON THE BOTTLE

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

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

Just then a SERGEANT calls to Roper across the squadroom.

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

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

EXT. MARKET STREET - DAY

The pickup is weaving through traffic.

INT. PICKUP - DAY

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

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

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

		MCCALL
	They recruited me. Promised me fast 
	advancement.

		ROPER
	Recruited you from where?

		MCCALL
	National Marksman Competition.

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

		MCCALL
	Furthest point I could find from New 
	York.

		ROPER
	You don't like New York?

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

		ROPER
	You'd never been out of New York?

		MCCALL
	Been to Toronto. My mother was born 
	there.

		ROPER
	How did you like Toronto?

		MCCALL
	It was okay.

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

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

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

		MCCALL
	Is there something wrong with that?

		ROPER
	I'm not sure.

EXT. 6TH STREET - DAY

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

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

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

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

		ROPER
	Which apartment?

The Officer points up to the third floor.

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

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

		ROPER
	How are we gonna get him out of there?

		MCCALL
	We could fill it with water.

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

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

		OFFICER #1
	Only that floor.

		ROPER
	Is the hostage injured?

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

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

McCall slams the truck door, sniper rifle in hand.

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

McCall marches off across the street.

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

McCall calls back over his shoulder.

		MCCALL
	I know my job.

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

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

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

INT. 6TH ST. APARTMENT BUILDING HALLWAY - DAY

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

INT. APARTMENT - DAY

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

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

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

		WIFE
		(shrieking)
	No, Raymond!

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

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

		ROPER
	I know how you feel, Ray.

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

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

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

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

		ROPER
	Let me show you something, Ray.

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

CLOSEUP PHOTO

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

ROPER

holds it up so Raymond can see it.

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

		RAYMOND
	I ain't interested in your life story.

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

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

EXT. ROOF ACROSS THE STREET - ON MCCALL

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

POV THROUGH SIGHT

of Raymond's open window.

INT. RAYMOND'S APARTMENT

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

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

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

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

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

Roper reaches out to him.

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

		RAYMOND
	Doing what? Cleaning toilets?

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

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

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

		RAYMOND
	Who the fuck are you, Mother Teresa?

		ROPER
	My name's Scott Roper.

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

		RAYMOND
	I need my coat.

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

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

		ROPER
	NOOOO!!

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

EXT. APT. BLDG.

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

		ROPER
	WHO THE FUCK DO YOU THINK YOU ARE?

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

INT. APT. BUILDING - HALLWAY - DAY

Roper follows, screaming his head off.

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

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

INT. APT. - DAY

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

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

Roper doesn't miss a beat.

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

McCall gets to his feet.

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

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

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

		MCCALL
	Sorry. My mistake.

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

INT. METRO DIVISION - NIGHT

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

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

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

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

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

		MCCALL
	I don't really like to drink.

		ROPER
	You have to. It's a tradition.

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

INT. BILLY GOAT TAVERN - NIGHT

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

		ROPER
	You got a girlfriend?

		MCCALL
	Why? You like my ass?

McCall misses the shot.

		ROPER
	Better than your pool game.

Roper lines up his shot.

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

		MCCALL
	I don't gamble.

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

		MCCALL
	Yeah, I've got a girlfriend.

		ROPER
	You living together?

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

		ROPER
	Explain how that works.

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

		ROPER
	She grow up in Livingtston, too?

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

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

		MCCALL
	We see each other every couple of 
	months.

		ROPER
	Every couple of months, huh?

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

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

		MCCALL
	Do you really?

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

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

		ROPER
	Where did you hear that?

		MCCALL
	Around. Barnett's tough competition.

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

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

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

		MCCALL
	I think I can handle that one.

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

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

		ROPER
	Zack, another round.

Roper turns back to McCall.

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

Roper puts down his glass.

		ROPER
	You think you can learn, McCall?

		MCCALL
	I think so.

Roper nods. Maybe he can.

INT. ROOM - DAY

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

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

REVERSE ANGLE

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

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

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

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

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

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

Roper comes up beside him.

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

		MCCALL
	No.

		ROPER
	It'll come. Try again.

INT. TRAINING ROOM - MOMENTS LATER

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

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

Roper's voice crackles back at him hostilely.

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

McCall's confidence is growing.

		MCCALL
	Tell me what you need.

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

Now he's stumped.

		MCCALL
		(hesitantly)
	I can't do that.

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

McCall looks up to his right.

		MCCALL
	Is all the name calling necessary.

Roper re-enters the training area.

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

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

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

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

Roper turns to McCall.

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

		MCCALL
	I'm not good at lying.

		ROPER
	Get good at it.

		MCCALL
	It's against my nature.

Roper gives him an amused smile.

		ROPER
	You know the ten commandments?

		MCCALL
	Yes.

		ROPER
	What's the first commandment?

		MCCALL
	Thou shall have no other God before 
	me.

That's not the answer Roper wanted.

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

McCall is tired of guessing.

		MCCALL
	You tell me.

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

		MCCALL
	Yes.

		ROPER
	Why?

		MCCALL
	To save lives.

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

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

		ROPER
	Let's try it again.

INT. TRAINING ROOM - LATER

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

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

		ROPER (V.O.)
	Okay, stop.

Roper comes through the side door.

		ROPER
	Close your eyes.

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

		ROPER
	What did you see?

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

McCall opens his eyes. Roper's impressed.

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

INT. CONFERENCE ROOM - DAY

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

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

		MCCALL
	Was that your partner?

Roper nods.

		MCCALL
	Why did he do it?

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

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

EXT. GOLDEN GATE RACETRACK - DAY

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

		ROPER
	You know why I like the track?

		MCCALL
	You're a compulsive gambler?

Roper ignores that.

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

Roper points across the ring to a particular horse.

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

McCall listens indifferently.

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

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

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

INT. BETTING WINDOWS - DAY

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

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

		MCCALL
		(puzzled)
	I do.

EXT. SEATING AREA - DAY

Roper and McCall pass by a gambler.

		GAMBLER
	Hey, Roper.

		ROPER
	How you doin', Marv?

They sit down in a box right up front.

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

		MCCALL
		(no enthusiasm)
	Fine.

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

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

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

		ROPER
	Ronnie... Yeah, so.

		MCCALL
	Now she's going out with Greg Barnett?

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

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

Roper throws McCall a skeptical look.

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

		ROPER
	Still needs work.

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

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

ON THE TRACK

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

IN THE STANDS

Roper watches intently through the binoculars. McCall sits 
impassively.

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

McCall looks across the track.

		MCCALL
	The 6 horse is last.

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

		MCCALL
	To run last?

		ROPER
	To run late!

Roper follows the horses into the turn.

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

McCall sits like a wax figure.

		MCCALL
		(cynically)
	The 6 horse is still last.

		ROPER
	He'll be running at the quarter pole.

ON THE TRACK

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

		ROPER (V.O.)
	There he goes.

IN THE STANDS

McCall sits forward slightly.

		MCCALL
	They need to run first and second?

		ROPER
	Yeah, first and second.

Roper gets to his feet.

ON THE TRACK

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

IN THE STANDS

Roper is on his feet screaming.

		ROPER
	Come on, Russell! Come on, Russell.

McCall jumps to this feet and joins him.

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

		ROPER
	The jockey!

		MCCALL
	COME ON, RUSSELL!

Roper and McCall cheer together.

ON THE TRACK

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

IN THE STANDS

McCall, really excited, turns to Roper.

		MCCALL
	We won!

		ROPER
		(disheartened)
	We lost.

		MCCALL
		(confidently)
	We won.

		ROPER
	How much you wanna bet?

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

ANGLE ON TOTE BOARD

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

IN THE STANDS

		ROPER
	Yes!

High fives.

		ROPER
	That's eight hundred bucks.

INT. BET/CASH WINDOW - DAY

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

		MCCALL
	How long you been coming here?

		ROPER
	About six years. My partner took me.

		MCCALL
	Is it always like this?

		ROPER
	Occasionally you lose.

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

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

He hangs up and turns to McCall.

		ROPER
	We gotta go.

EXT. JEWELRY STORE - UNION SQUARE - DAY

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

INT. TRAVEL AGENCY - COMMAND CENTER - DAY

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

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

EXT. STREET - DAY

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

		MCCALL
	This does not look good.

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

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

		MCCALL
	Police corruption. It's everywhere.

INT. COMMAND POST - DAY

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

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

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

		ROPER
	What do we got?

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

		ROPER
	Any verification on numbers.

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

		ROPER
	What have you promised them?

		SOLIS
	Just that I'd talk to my superiors.

McCall returns from checking out the blueprints.

		ROPER
	Any good points of entry?

McCall shakes his head.

		MCCALL
	The place is designed to be a vault.

Roper picks up the cellular phone. It dials automatically.

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

INT. JEWELRY STORE - DAY

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

		KORDA
	You don't have to come here.

INT. COMMAND CENTER - DAY

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

A long pause... Then a bit sinister.

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

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

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

EXT. STREET OUTSIDE JEWELRY STORE - DAY

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

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

		KORDA
		(warningly)
	Stay there.

Roper stops in his tracks.

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

Roper slowly lowers his hands.

INT. COMMAND CENTER

Everybody watching through the window.

EXT. JEWELRY STORE - DAY

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

		KORDA
	Are you in charge, Roper?

		ROPER
	Yep.

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

Korda lets that sink in.

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

		ROPER
	Is that all?

		KORDA
	For now that's all.

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

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

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

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

		KORDA
	I'll give you something.

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

DETAIL SHOT

It's a human ear.

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

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

		ROPER
	I understand you completely.

Korda disappears back behind the door.

EXT. COMMAND CENTER - DAY

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

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

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

		SOLIS
	Can't we wear him down?

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

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

McCall calmly offers his opinion.

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

Solis nods. That'll be the plan.

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

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

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

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

		SOLIS
	I feel this thing going sideways on 
	us.

Roper tries to buck him up.

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

INT. JEWELRY STORE - DAY

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

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

		KORDA
	Drag them behind the counter.

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

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

		WOMAN CUSTOMER
	I'm not staying here another minute.

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

Korda rushes around the display case.

		KORDA
	Come here, hag.

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

		MANAGER
	Leave her alone!

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

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

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

		SALESGIRL #2
		(pleading)
	Sit down, Doug.

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

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

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

EXT. STREET - DAY

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

INT. COMMAND CENTER - DAY

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

		ROPER
	Okay. Time to give this fucker a 
	call.

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

OMITTED

Sequence omitted from original script.

INT. BUILDING - SAME

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

INT. COMMAND CENTER - SAME

Roper holding the phone. It's still ringing.

EXT. ROOFTOP - DIFFERENT BUILDING - SAME

Another sharpshooting team. Poised. Waiting.

EXT. ANOTHER ROOFTOP - SAME

And still another sharpshooter team.

INT. COMMAND CENTER - SAME

The phone is still ringing.

		ROPER
	This fucker's not answering.

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

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

		ROPER
	He's cutting down the visibility.

		MCCALL
	And doing a very good job of it.

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

		MCCALL
	Come on. Give us one clean shot.

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

		MCCALL
	They're out.

Roper grabs a pair of binoculars.

HIS POV

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

McCall watches intently.

EXT. ROOFTOP - SAME

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

ANGLE THROUGH THE SCOPE

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

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

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

		ROPER
	It's Korda.

McCall sees him now, too.

		MCCALL
	They switched clothes.

Roper drops the binoculars and grabs his police radio.

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

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

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

More SHOTS ring out.

DOWN ON THE STREET

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

INT. COMMAND CENTER

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

		MCCALL
	He's got the girl.

		ROPER
	Damnit!

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

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

		SOLIS
	Yeah, they are but...

		ROPER
		(to McCall)
	Come on!

As Roper and McCall move toward the door...

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

And Roper and McCall are gone.

		SOLIS
	...car.

DOWN ON THE STREET

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

OMITTED

Sequence omitted from original script.

EXT. POLICE BARRICADES - DAY

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

OMITTED

Sequence omitted from original script.

EXT. STREET - DAY

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

INT. VAN - DAY

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

INT. CADILLAC - DAY

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

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

A voice comes back.

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

INT. VAN - DAY

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

UP AHEAD

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

EXT. STREET - DAY

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

THE VAN

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

INT. VAN - DAY

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

THE CADILLAC

reaches the top of the hill. Going fast.

INT. CADILLAC

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

VAN

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

THE VAN

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

THE CADILLAC

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

THE VAN

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

THE CADILIAC

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

EXT. STREET - DAY

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

INT. VAN

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

THE STREET

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

BRIEF CUT - LOOKING OUT THROUGH THE WINDSHIELD

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

THE VAN

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

INT. CABLE CAR

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

THE CADILLAC

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

CABLE CAR

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

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

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

INT. CADILLAC

A bullet fractures the windshield. McCall swerves.

BACK ON THE CABLE CAR

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

Korda takes aim on the Caddy again and FIRES!

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

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

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

EXT. UNDER CABLE CAR

The brakes are stressed.

EXT. STREET

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

THE CABLE CAR

Korda and the remaining passengers are rocked around.

THE CABLE CAR

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

A SIDE ANGLE

Shows the cable car leaving the wreckage in its wake.

CADILLAC

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

		MCCALL
	What the fuck is going on.

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

		MCCALL
	You're crazy.

		ROPER
	Pull up alongside.

EXT. INTERSECTION

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

THE CADILLAC

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

THE CABLE CAR

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

KORDA'S POV

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

THE CADDY

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

THE CABLE CAR

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

INT. CAR OF MAN TRAPPED IN INTERSECTION

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

THE CABLE CAR

SLAMS into the back of the car. Major impact.

THE CABLE CAR

Korda and the passengers are thrown to the floor.

THE REAR-ENDED CAR

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

THE CADILLAC

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

INT. CABLE CAR

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

CABLE CAR

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

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

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

CABLE CAR

Korda aims as Roper re-enters...

CABLE CAR

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

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

INTERSECTION

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

THE CABLE CAR

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

ROPER'S POV

The cable car.

ROPER

Leaps to the brake lever. Pulls on it.

ANGLE UNDER THE CABLE CAR

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

THE CABLE CAR

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

INT. CADDY

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

EXT. STREET

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

BOTTOM OF STREET

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

THE CABLE CAR

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

STREET

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

THE CABLE CAR

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

INT. GARAGE - DAY

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

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

INT. THIRD LEVEL - GARAGE

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

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

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

NEW ANGLE

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

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

		ROPER
	Sorry, go.

INSIDE THE CAR

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

INT. GARAGE

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

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

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

GARAGE - 2ND LEVEL

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

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

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

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

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

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

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

Korda stares past the barrel of the gun.

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

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

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

		KORDA
	You can't kill me like this.

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

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

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

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

ANGLE - MCCALL

moving across garage into position.

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

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

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

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

OMITTED

Sequence omitted from original script.

INT. METRO DIVISION - NIGHT

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

		RONNIE
	You weren't at the press conference.

Roper keeps tapping away at the computer.

		ROPER
	I wanted to get this out of the way.

		RONNIE
	You got a bet on the game tonight?

		ROPER
	As a matter of fact, I do.

She nods knowingly.

		RONNIE
	It's already started.

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

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

		RONNIE
	Good-night.

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

		ROPER
	You having dinner with Mr. Baseball?

She turns back around.

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

He takes a few steps toward.

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

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

		ROPER
	I've been craving that stuff all 
	week.

		RONNIE
	And it's hard to get.

He looks at her innocently.

		RONNIE
	Just dinner.

OMITTED

Sequence omitted from original script.

INT. KITCHEN - NIGHT

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

		ROPER
	What do you think?

		RONNIE
	Mmm, needs a little something.

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

		RONNIE
	Yeah that's it.

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

		RONNIE
		(laughing)
	Scottie...

There is a long pause as he looks at her.

		ROPER
	What would you say if I quit gambling?

Ronnie stirs the macaroni.

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

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

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

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

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

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

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

INT. RONNIE'S BEDROOM - NIGHT

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

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

		RONNIE
	It's okay. We broke up.

		ROPER
		(surprised)
	When?

		RONNIE
	Just now.

INT. COUNTY JAIL VISITING ROOM - DAY

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

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

		CLARENCE
	How ya doin', man?

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

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

Clarence is totally unnerved by this request.

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

Korda glares at him murderously.

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

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

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

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

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

He doesn't finish that thought.

		KORDA
	You do this for me Clarence.

Clarence is getting very upset.

		CLARENCE
	Don't make do it, Mike.

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

		CLARENCE
	I won't get away with it.

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

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

EXT. RONNIE'S HOUSE - NIGHT

A gray San Francisco evening. It starts to rain.

INT. RONNIE'S KITCHEN - NIGHT

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

EXT. RONNIE'S HOUSE - NIGHT

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

INT. KITCHEN - NIGHT

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

INT. PICKUP - NIGHT

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

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

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

INT. RONNIE'S KITCHEN - NIGHT

		RONNIE
	How's Paco doing?

INT. PICKUP - NIGHT

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

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

INT. KITCHEN - STORE

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

She hangs up.

EXT. RONNIE'S HOUSE - NIGHT

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

INT. KITCHEN - NIGHT

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

INT. HALLWAY - NIGHT

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

INT. BEDROOM - NIGHT

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

INT. BATHROOM - NIGHT

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

IN THE REFLECTION

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

INT. HALLWAY - NIGHT

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

BRIEF CUT

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

BACK IN THE HALL

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

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

INT. RONNIE'S KITCHEN - NIGHT

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

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

IN THE HALLWAY

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

EXT. RONNIE'S HOUSE - NIGHT

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

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

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

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

INT. RONNIE'S APT. - NIGHT

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

INT. STAIRWAY - NIGHT

Roper kicks open the door. Charges in.

INT. RONNIE'S LIVING ROOM - NIGHT

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

		ROPER
	You okay?!

She nods. Points out the back way.

		ROPER
		(to Paco)
	Stay.

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

EXT. BACK OF RONNIE'S - NIGHT

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

EXT. STREET - NIGHT

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

EXT. ANOTHER STREET - NIGHT

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

NEAR THE TOP OF THE HILL

Clarence staggers into an alleyway...

EXT. ALLEYWAY - NIGHT

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

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

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

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

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

WIDER SHOT

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

		CABBY
	Jesus Christ. What was he doing?!

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

		CABBY
	There was no way I could miss him.

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

		CABBY
	This isn't my fault.

		ROPER
	Shut the fuck up!

The cabby immediately clams up.

		ROPER
	Get on your radio and get the police 
	here.

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

INT. COUNTY JAIL VISITING ROOM - DAY

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

KORDA'S POV

Roper is sitting stoically behind the plexiglass wall.

KORDA

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

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

Korda feigns total innocence.

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

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

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

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

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

He motions around.

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

Roper glares at him mounting rage.

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

Roper sits there, suddenly feeling powerless.

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

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

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

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

INT. ROPER'S OFFICE - DAY

McCall is practicing his negotiating techniques in a mirror.

		MCCALL
	I'm here to help you.

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

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

He's still not satisfied.

OMITTED

Sequence omitted from original script.

INT. ROPER'S OFFICE - DAY

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

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

		MCCALL
	Where's Roper?

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

EXT. VETERAN'S HOSPITAL ROOFTOP - DAY

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

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

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

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

But he's not getting through to his friend.

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

INT. STAIRWELL - DAY

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

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

		MCCALL
	Why is he up there?

		OFFICER #4
	Something about a microchip in his 
	brain.

		MCCALL
	Who is he?

A NURSE answers him.

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

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

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

The nurse turns to McCall.

		NURSE HERRIN
	What are you waiting for?

		MCCALL
	Another negotiator is on his way.

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

		MCCALL
	What about the doctors?

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

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

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

EXT. ROOF - DAY

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

		DAVE
	Get the fuck out of here!

McCall is tense and stiff. He stammers.

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

		DAVE
	You can't help me, man.

So much for McCall's opener. Now what?

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

Dave ignores Walter.

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

McCall moves a couple steps closer.

		MCCALL
	Who's controlling your mind?

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

McCall fumbles for the right response.

		MCCALL
	This has nothing to do with Walter.

		DAVE
	They want Walter dead!

EXT. STREET BELOW - DAY

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

EXT. ROOF - DAY

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

		MCCALL
	Dave, look at me.

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

		MCCALL
	Tell me what's wrong.

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

		MCCALL
	How can I help you with the particles?

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

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

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

		DAVE
	Huh?

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

		DAVE
	Huh?

EXT. STREET - THAT MOMENT

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

		ROPER
	Whata ya got?

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

		ROPER
	Can you get a net out here?

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

EXT. ROOF - DAY

McCall nods slowly. Sweat pouring off him.

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

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

		MCCALL
	Let me show you something.

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

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

Dave listens to his head.

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

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

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

		DAVE
	Tell my dad.

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

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

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

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

		DAVE
	I hate fucking Springfield.

		MCCALL
	Is that where you're family lives?

Then with sudden swiftness.

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

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

		MCCALL
	NOOOO!

WALTER AND HIS WHEELCHAIR

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

OMITTED

Sequence omitted from original script.

EXT. ROOF - DAY

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

INT. LOBBY - DAY

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

		ROPER
	McCall!

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

		ROPER
	McCall!

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

BAY BRIDGE - DAY

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

		ROPER
	Where are we going?

INT. CAR - DAY

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

EXT. RACETRACK

Establish grand stands.

OMITTED

Sequence omitted from original script.

INT. BETTING AREA - DAY

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

		MCCALL
	Give me a twenty dollar four-six 
	exacta.

		TELLER
	The six is scratched.

This throws McCall for a beat.

		MCCALL
	Then give me a fucking four-seven 
	exacta.

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

EXT. BOX SEAT AREA - DAY

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

EXT. TRACK - DAY

The horses go into the gate.

EXT. BOX SEAT AREA - DAY

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

		MCCALL
	Come on four horse! Come on Seven 
	horse!

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

McCall is screaming his head off.

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

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

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

		MCCALL
	Bullshit! Would it have happened to 
	you?

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

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

		ROPER
	That it is.

A long silent beat.

		MCCALL
	How many have you lost?

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

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

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

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

		ROPER
	You've got to decide that for 
	yourself.

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

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

McCall hears him but is still undecided.

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

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

		ROPER
	Let's get out of here.

McCall slowly gets up and they walk out.

INT. JAIL - DAY

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

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

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

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

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

Hawkins gets up and goes to the door.

		HAWKINS
	Gimme a fuckin' break.

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

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

EXT. POSTRIO - NIGHT

Establishing shot.

INT. POSTRIO - NIGHT

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

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

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

Roper looks at him a long beat.

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

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

		ROPER
	You like this place?

		RONNIE
	It's very nice.

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

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

		RONNIE
	There is?

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

Now she's really worried.

		RONNIE
	Yeah?

		ROPER
	...Let me just show you.

Roper reaches into his coat pocket.

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

He pulls out two airline tickets.

		ROPER
	Tahiti.

Ronnie is immensely relieved.

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

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

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

Ronnie averts her eyes, a bit embarrassed.

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

Roper picks up his menu and peruses it.

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

INT. HALLWAY JAIL - DAY CLOSE ON

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

INT. PROPERTY ROOM JAIL - CONTINUOUS

As the cart rolls into the room TILT UP to see

KORDA

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

		KORDA
	Got another load.

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

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

		KORDA
	All done.

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

ON THE GUARDS BACK

We hear Korda wheeling the cart out the door.

CLOSE ANGLE

on the door sliding shut.

ON THE GUARDS BACK - CLOSE

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

ANGLE ON KORDA

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

INT. BASEMENT JAIL - CONTINUOUS

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

							CUT TO:

INT. LONG HALLWAY JAIL - LATER

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

KORDA'S POV - DOWN THE HALLWAY

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

OMITTED

Sequence omitted from original script.

INT. CELL BLOCK - CONTINUOUS

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

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

TRACKING - KORDA'S FEET

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

CLOSE ON KORDA'S FACE

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

		A VOICE (O.S.)
	Hey!

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

THE GUARD POV - MOVING CLOSER AND CLOSER TO KORDA

		KORDA
	...Yeah?

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

		JAIL GUARD #1
	You dropped your card.

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

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

		KORDA
	Just tryin' to make a living.

Korda turns and walks out the door into...

INT. SECURITY ROOM - CONTINUOUS

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

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

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

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

Korda, fidgeting behind the woman impatiently, holds up his 
card...

		KORDA
	Listen, can I just sign outta here?

		WOMAN
	What do you mean, you don't know 
	where he is?! You can't just lose 
	somebody!

		JAIL GUARD #2
		(to Korda)
	Who are you again?

		KORDA
	Johnny Hawkins. Bail Bonds. I gotta 
	be over at county in fifteen minutes, 
	alright?

		JAIL GUARD #2
	Johnny who?

		WOMAN
		(to Korda)
	Can you believe these people?

		KORDA
	It's the criminal justice system. 
	What can I tell ya? It's a mess.

The guard shoves the sheet under the glass.

		JAIL GUARD #2
	Alright, alright, just sign.

Korda signs the sheet. The guard pushes a button. The metal 
lock SNAPS, and the door POPS open. Korda takes his card and 
sticks it in the woman's coat pocket.

		KORDA
	If you find him, gimme a call.

And Korda walks out.

EXT. JAIL SALLY PORT - CONTINUOUS

It's a small parking area, with security gates on either 
end, and a ceiling of heavy steel wire open to the sky. There 
are three or four CARS parked against the wall. Korda checks 
inside the first car, looking for keys and finds none. Then 
the second, and the third until...

		A VOICE (O.S.)
	Hey!

Korda turns sharply to find the LATINO GUARD (guard #2), 
holding a clipboard, walking quickly toward him.

		JAIL GUARD #2
	Hold on a second here.

		KORDA
	Is there a problem?

The guard walks up to him. They're standing between the cars.

		JAIL GUARD #2
	You signed out twice.

		KORDA
	I what?

		JAIL GUARD #2
	Look, why don't you just come on 
	back inside for a second.

		KORDA
	Wait a minute, lemme see that.

As the guard shows him the sign-in sheet, Korda removes the 
PEN from his own clipboard.

		KORDA
	Well, that's funny, I wonder how 
	that happened.

In a flash, Korda PLUNGES the pen DEEP into the guard's 
throat. The BLOOD jumps out of his throat, onto the window 
of the car as the guard, gagging in stunned silence, slumps 
to ground. He then falls backward between the two cars, 
drowning in his own blood.

OMITTED

Sequence omitted from original script.

INT. RONNIE'S HOUSE LIVING ROOM - NIGHT

Empty. New front door. Unpainted. Frame splintered from when 
Roper shot it open. We hold a beat... HEAR ROPER & RONNIE 
coming up the stairs. Laughing. The door opens. They enter.

		ROPER
	How come in those foreign movies the 
	young girl is always with some fat, 
	old guy.

		RONNIE
	In Europe women find older men very 
	sexy.

Roper closes the door.

		ROPER
	When I get old and fat, I'm moving 
	to Europe.

Ronnie suddenly remembers something.

		RONNIE
	I forgot to leave food for Paco. 
	He's probably starving.

She walks back toward the kitchen. Roper takes a seat on the 
couch. Flips on the TV. Rubs the back of his neck.

		ROPER
	Damn, my eyes are tired from reading 
	that movie.

FOLLOWING RONNIE

She moves down the hall to the kitchen.

		RONNIE
		(doggie voice)
	I'm sorry, Paco. I forgot --

But Paco isn't lying on his pillow like she expected. Curious.

		RONNIE
	Paco?

She turns around walks back down the hall... Where could he 
be?... She walks into the bedroom.

		RONNIE
	Paco?

He's not in here either... She walks back into the hallway. 
Frowns.

SUDDEN CUT

A figure leaps out of the bathroom doorway!... Big scare. 
It's Paco. He nearly knocked her over. He stands on his hind 
legs, paws on her shoulders. Breathing in her face.

		RONNIE
	Paco, have you been eating my face 
	soap, again?

RACK FOCUS

Roper standing at the other end of the hallway. Tense as a 
wire. Gun at his side. One look at his demeanor tells Ronnie 
something is very wrong.

		RONNIE
		(very concerned)
	What is it, Scottie?

Roper untenses. Puts away his gun.

		ROPER
	Korda escaped.

		RONNIE
	And you think he'll...

Her voice trails off. He can see she's worried now, too.

		ROPER
	Hey, I'm on edge a little. Let's 
	relax. I'm sure he's just going to 
	try to get out of town. Anyway we 
	leave tomorrow.

He puts his arms around her waist.

		ROPER
	Why don't we do some of that European 
	movie stuff.

She puts her arms around his shoulders.

		RONNIE
	I don't think you're old and fat 
	enough for me.

		ROPER
	Use your imagination.

EXT. RONNIE'S HOUSE - NIGHT

ANGLE looking up at her window... The light goes out.

EXT. RONNIE'S DOORSTEP - DAY

A suitcase THUMPS to the ground. Looks like somebody packed 
for a six month trip around the world.

ANGLE WIDENS

McCall grimaces as he lugs the bag toward the truck.

		MCCALL
	You sure you packed everything? Maybe 
	you forgot your bowling ball.

Ronnie stands on the doorstep.

		RONNIE
	I sent that ahead, wise guy.

Paco is on the sidewalk exploring from tree to tree. Roper 
calls to Ronnie from the stairway.

		ROPER (V.O.)
	Why don't you come back up with me, 
	Ronnie.

		RONNIE
	I think I'll stand out here in the 
	sun.

INT. STAIRWAY - DAY

Roper is still very edgy.

		ROPER
	It's better if you stay inside.

She climbs up the stairs toward him.

		RONNIE
	You've got to calm down --

OMITTED

Sequence omitted from original script.

INT. RONNIE'S HALLWAY - SAME

Roper reaches the top of the stairs.

		ROPER
	Ronnie, come on baby, we gotta go. 
	Time to get movin'.

INT. RONNIE'S APT. - SAME

Roper moves into the room, listening. There's no response.

		ROPER
		(continuing)
	Ronnie?

She doesn't answer. He calls out again, moving through the 
living room.

		ROPER
		(continuing)
	Ronnie, where are you? Time to go.

No answer, the room is very quiet. Roper eases his PISTOL 
out from under his shirt, moving more urgently now, checking 
out the bathroom, bedroom...

		ROPER
		(continuing)
	Ronnie.

Then he HEARS Paco, WHINING. He moves around the entrance to 
the kitchen. The back door is open, Paco standing in the 
doorway. Roper rushes forward, quickly looking outside, the 
alley way empty. He senses a presence behind him, spinning... 
McCall standing in the doorway to the kitchen.

Roper's lowers the weapon...

		ROPER
		(continuing)
	She's gone.

McCall sees on the kitchen table, a folded piece of GLASSINE 
PAPER, just like the one Korda gave Roper at the jewelry 
store.

		MCCALL
		(nodding)
	Scott...

Roper sees it, approaching, barely able to unfold the edges, 
a momentary tremble in his hand.

		ROPER
	That son of a bitch. If he...

We PUSH IN as his fingers open the paper... revealing inside 
a MICRO CASSETTE TAPE.

		ROPER
		(continuing; to himself)
	He's fucking with you, Scott, be 
	cool... keep your head.

							CUT TO:

CLOSE ON a TAPE RECORDER, Korda's VOICE heard over the 
speaker.

		KORDA (V.O.)
		(filtered)
	I got your lady, Roper.
		(laughs)

Roper and McCall are listening closely to the tape.

		KORDA (V.O.)
		(continuing)
	You got something that belongs to 
	me, and I want it back.
		(beat)
	Twelve-fifteen, Mare Island, North 
	Entrance off Dixon. Building twenty-
	eight, by the dry docks.
		(beat)
	I so much as smell another cop, I'll 
	be sending you parts of this bitch 
	for a month.

Roper punches off the tape.

		ROPER
	He's gonna kill her no matter what. 
	If I take him these jewels he's gonna 
	kill me and her.

		MCCALL
	So what do you want to do?

		ROPER
	That's a chance I gotta take.

		MCCALL
	Then we better get moving... But 
	there's no way we can get the jewels 
	out of evidence.

Roper stares at him, the wheels beginning to turn...

							CUT TO:

OMITTED

Sequence omitted from original script.

INT. POLICE PROPERTY/EVIDENCE ROOM - DAY

Roper is standing at the counter to the steel-caged property 
room. On the other side is FRANK, the property sergeant on 
duty. The two men speak in hushed, urgent tones...

		FRANK
	Scott, we go back a long way but you 
	can't expect me to do this!

		ROPER
	Frank, this guy is a psychopath and 
	he's got Ronnie. It's the only way 
	I'm going to get close to him.

		FRANK
	Then go to the Lieutenant or the 
	D.A. with it, for Christsakes. You're 
	asking me to put my fucking job on 
	the line!

		ROPER
	They'll never approve it, you know 
	that. Besides, I involve the 
	department and she's dead. I got one 
	chance with this guy, Frank, alone.
		(beat)
	He killed Sam and he'll kill her.

Frank just stares at him, compassion and anger tearing at 
him.

		ROPER
		(continuing)
	What if it were Mary?
		(beat)
	You'd break every fucking rule in 
	the book... wouldn't you?

Frank continues to stare at him, a long beat.

		FRANK
	I hope to God I never have to make 
	that decision...

He pushes back from the counter.

		FRANK
		(continuing)
	...and this conversation never 
	happened. I never saw you today. Now 
	I gotta go take a leak.

He turns and walks away. Roper looks down, SEEING that the 
drawer beneath Frank's counter has been left slightly open.

Roper reaches over, easing it further open -- inside a set 
of KEYS. He looks around, then takes the keys.

		ROPER
	I owe you one, Frank.

He walks down the hallway.

							CUT TO:

INT. ROPER'S PICKUP - DAY

CLOSE ON the SATCHEL Korda used in the robbery.

WIDEN TO REVEAL Roper and McCall, Roper at the wheel, McCall 
reading a folded MAP featuring MARE ISLAND.

		MCCALL
	Mare Island is an abandoned shipyard, 
	cranes, high buildings... he'll be 
	in place where he can see everything.
		(to Roper)
	How are we going to get me in there?

		ROPER
	Good question.

Roper thinks a moment, then turns, looking out the back of 
the pickup, in the bed a loose CANVAS TARPAULIN. He and McCall 
study the tarp a beat, then turn, looking at each other...

EXT. MARE ISLAND - DAY

WIDE VIEW reveals the immensity of the abandoned facility. 
At one end near the chain link fence, Roper's pickup 
approaches the gate.

EXT. MARE ISLAND - NORTH GATE - DAY

Roper cautiously drives toward the gate -- the CHAIN securing 
the gate has been cut. Roper swings open the gate.

As he drives past we see that the bed of the truck has been 
loosely covered with a TARP.

Roper drives on, winding through the maze of roadways, huge 
buildings and equipment dwarfing the truc PRODUCTION NOTE: 
The idea is to take us into the facility to sell that it's 
abandoned, immense, eerie in it's scale -- a ghost town. We 
end up wherever we want for the next scene.

INT. ROPER'S PICKUP - DAY

As he rounds a corner, approaching the dry dock area, huge 
CRANES and mothballed SHIPS in the b.g. He parks near a 
building, a weathered SIGN reading: BLD 28. Roper shuts off 
the engine, leaving the keys in the ignition. Taking the 
satchel he opens the door.

EXT. DRY DOCK AREA - DAY

Roper steps out, eyes scanning the buildings, the cranes... 
Korda could be anywhere up there, watching.

INT. BUILDING - UPPER LEVEL - DAY

KORDA'S POV through the filthy windows, Roper far below, 
standing beside his pickup.

EXT. ROPER - DAY

As he moves away from the truck, holding the satchel.

		ROPER
	Korda!

In response he HEARS Korda's VOICE, eerie, almost a whisper, 
coming from everywhere and nowhere as if emanating from the 
ground and the buildings all at once.

		KORDA (O.S.)
		(filtered)
	Nice of you to make it, Roper. Take 
	your jacket off, put it on the hood.

Roper complies, his eyes searching the buildings, where is 
his voice coming from?

		KORDA (O.S.)
		(continuing)
	Now, over to the chains, to your 
	left.

Roper SEES a chained off section nearby. Roper takes a few 
steps when Korda's voice stops him...

		KORDA (O.S.)
		(continuing)
	But first, let's have a look under 
	the tarp. Pull it back.

A momentary anxious look from Roper, then he walks to the 
bed of the truck, pausing a moment, gripping the cover before 
whipping it back, revealing... Ronnie's LUGGAGE.

							CUT TO:

LOW ANGLE BENEATH THE TRUCK

McCall supported under the frame by a makeshift HARNESS around 
his waist and legs.

		KORDA (O.S.)
	All right, move it.

McCall watches as Roper heads away, then releases the harness, 
lowering himself to the ground. Quickly he moves the SMOKING 
LEATHER GLOVES he was wearing, burned by contact with the 
hot exhaust pipe.

ROPER

Reaches the the chained area, REVEALING an empty DRY DOCK, 
easily one hundred feet deep and five hundred long.

At the bottom of the dry dock is a PORTABLE RADIO, the 
acoustics of natural amphitheater so intense you could hear 
a whisper -- the source of Korda's voice.

		KORDA (O.S.)
		(continuing)
	Throw in and your piece.

Roper tosses his PISTOL into the dry dock.

		KORDA (O.S.)
	And your back up.

Roper removes the PISTOL from his ankle HOLSTER, tossing it. 
Korda's VOICE cuts the eerie silence.

		KORDA (O.S.)
		(continuing)
	Walk under the cranes and down the 
	alleyway. At the end, turn right. 
	Building thirty-six.

The RADIO CLICKS OFF.

Roper walks towards the megalith CRANES, passing under them, 
then heads down the alleyway created by the tall buildings.

EXT. ROPER'S TRUCK - DAY LOW ANGLE BENEATH THE TRUCK

McCall, his RIFLE CASE on his chest, watches as Roper turns 
the corner and heads down the alley way.

OUTSIDE THE TRUCK

McCall rolls out, scrambling for the cover of the building. 
Slinging the case over his shoulder he finds a LADDER leading 
up the side of the building, beginning to climb.

EXT. ROPER - DAY

Walking down the alley way, nearing the end.

EXT. ROOFTOP - BUILDING - DAY

McCall moving along the edge, looking down. He spots Roper, 
moving fast to keep him in sight.

He comes to the edge of the building, having to walk across 
a narrow RAMP to get to the next building.

He looks down, Roper turning the corner, McCall moves on, 
removing the RIFLE from its case as he goes.

EXT. ROPER - DAY

Leaves the alleyway, a complex of hanger-like buildings 
revealed. To his far right is a building, a SIGN reading: 
BLD 36. He clutches the satchel, heading towards it.

EXT. ROOFTOP - BUILDING - DAY

McCall negotiating another precarious crossing between 
buildings. He spots Roper, eyes quickly searching the roof 
tops and buildings for the sniper's position. He sees it, 
across the way, a location covering the buildings where Roper 
is now walking. He heads out.

EXT. ROPER - DAY

Walking towards building 36, passing by a towering, glass 
fronted building on his right, his eyes are searching the 
roof tops of the buildings around him.

		ROPER
		(to himself)
	Where the hell are you, McCall?

As Roper passes a set of partially open ROLLING DOORS to the 
glass-fronted building, he's startled by Korda's VOICE from 
within:

		KORDA (O.S.)
	Right there, Roper.

Roper's eyes go to building 36, still fifty yards away.

		ROPER
	Shit.

Roper stops, slowly turning towards the doors.

		KORDA (O.S.)
	Come on in, there's someone just 
	dying to see you.

Roper hesitates. He turns a bit in profile, eyes searching.

		ROPER
		(loudly)
	Where are you?

EXT. HIGH VANTAGE POINT - DAY

POV TELESCOPIC SIGHT: Focusing on Roper, his lips moving... 
McCall, heaving for breath, has just dropped down into 
position, providing a view of Roper and the inside of the 
glass fronted building.

		MCCALL
	Right here, Scott.

He touches the LASER SIGHTING attachment to his scope, a red 
beam activated...

ROPER - DAY

From inside the building Korda's VOICE:

		KORDA (O.S.)
	Get your ass in here, Roper.

Just as Roper starts to move he SEES the red laser DOT on 
the back of his hand -- McCall is up there, right behind 
him. Roper moves inside.

MCCALL - DAY

Lying prone inside the operator's booth, steadies his RIFLE, 
looking through the scope.

TELESCOPIC POV: He can see Roper enter, his field of vision 
limited inside the building where the light penetrates, the 
room cast in HARD SHADOWS.

He MOVES to the windows, all either painted white or so 
obscured with grime and dirt he can only see vague shapes 
and shadows inside. He MOVES BACK to the opening, Roper now 
just inside.

		MCCALL
	Stay cool, real easy...

INT. MACHINE SHOP - DAY

Cavernous and dark, a jungle of huge MACHINES, LATHES and 
EQUIPMENT once used in the design of nuclear submarines.

Roper moves a few feet inside, remaining in the light and 
keeping his face in three-quarter profile to McCall's 
position.

		ROPER
	Where is she, Korda? I want to see 
	her.

From the darkness beyond...

		KORDA
	Walk to the table.

Roper walks to a steel SHOP TABLE.

		KORDA (O.S.)
		(continuing)
	Open your shirt.

		ROPER
	I'm not wearing a wire. This is just 
	between you and me.

		KORDA (O.S.)
	Shut the fuck up and do what I say!

Roper puts down the satchel, unbuttoning his shirt, holding 
it open.

		ROPER
	Satisfied?

		KORDA (O.S.)
	Open the bag, dump everything on the 
	table.

Roper opens the bag, the JEWELRY and the dozens of GLASSINE 
ENVELOPES spill out onto the table. He lays the satchel on 
its side, the bottom facing Roper. Taped to the bottom is a 
short barreled .45 AUTOMATIC.

		ROPER
	It's all there.

		KORDA (O.S.)
	Spread it out.

Roper spreads the pile out across the top of the table.

		ROPER
	Only the jewels, Korda, you've got 
	my word.

A long beat...

		KORDA (O.S.)
	Show me something.

Without looking Roper reaches to the pile of GLASSINE 
ENVELOPES...

CLOSE ON ROPER'S HAND

Palmed in his hand, the ENVELOPE containing Ronnie's diamond.

Roper, without looking, 'digs' into the pile, holding up the 
GLASSINE ENVELOPE between his fingers, still holding the 
palmed envelope. He starts to toss the envelope in his 
fingers...

		KORDA (O.S.)
		(continuing)
	Not that one.

Roper hesitates, then drops the envelope, his hand moving 
over the pile...

		ROPER
		(continuing)
	Right there, the one in front... 
	yeah, that one. Toss it.

Roper reaches for the envelope.

CLOSE ON ROPER'S HAND

As he flips the palmed envelope into his fingers with the 
skill of a card shark, exchanging it for the one Korda 
indicated. He tosses it across the room...

From the shadows Korda's hand reaches out, picking it up. A 
long beat.

		KORDA (O.S.)
		(continuing)
	I'm impressed. I didn't think you 
	could do it. What did you have to 
	do, steal them?

		ROPER
	Yeah.

		KORDA (O.S.)
		(wry)
	That's not going to look too good on 
	your service record.

		ROPER
	I'll worry about that. Let's get on 
	with it.

Korda LAUGHS as he slowly emerges from the darkness.

		KORDA
	My sentiments exactly.

EXT. MCCALL'S TELESCOPIC POV - DAY

On the floor he SEES a shadow cast - Korda. He moves to the 
windows... inside the vague, blurred OUTLINE of a man. His 
scope goes back to the satchel and the .45 taped to the 
bottom.

		MCCALL
	Wait for the right moment, Scott...

INT. MACHINE SHOP - DAY

Korda moves closer to the light, tossing an ATHLETIC BAG to 
Roper, in his hand an AUTOMATIC PISTOL.

		KORDA
	Fill it up. Just in case there's a 
	homing device in the other one.

Roper slides the jewels into the second bag, eyeing the .45 
on the bottom of the satchel.

		KORDA
		(continuing)
	Now bring it over here.

Roper hesitates, but all he can do at this point is play for 
time, he moves forward...

EXT. MCCALL'S POV - DAY TELESCOPIC SCOPE

Watching Roper as he moves away from the satchel and the 
gun.

		MCCALL
	Oh, shit...

He moves the SCOPE ahead of Roper, SEEING Korda's shadow 
cast on the floor, still unable to see him.

		MCCALL
		(continuing)
	All right, Scott, bring him out.

INT. MACHINE SHOP - DAY

Roper growing closer to Korda's position.

		KORDA
	That's far enough. Bag on the floor.

Roper hangs onto the bag -- there's 'four million in jewels' 
in there -- all he has to bargain with.

		ROPER
	I've kept my end. Ronnie first.

Korda reacts in mock surprise.

		KORDA
	Oh, shit, in all the excitement I 
	almost forgot. She right here...

A LIGHT SWITCH is thrown, a bank of lights behind him coming 
ON, illuminating a massive FLAT BED CIRCULAR LATHE. Roper's 
eyes in horror go to...

RONNIE

Tied to the lathe bed spread eagle. Some distance from her 
body a CUTTING DEVICE is positioned over the lathe bed.

Roper looks into Ronnie's terrified eyes.

		ROPER
	Be cool, Ronnie, I'm gonna get you 
	out of this.

He turns back, Korda grinning at him.

		KORDA
	No shit, this I gotta see...

Korda swings into position a CONTROL BOX, the buttons held 
down with TAPE.

Korda pulls free the tape, the huge lathe beginning to TURN, 
very slowly, the cutting device activated... if the table 
keeps turning, Ronnie's body will soon be under the blade.

(PRODUCTION NOTE: Lathe will be cutting into a section of 
steel plate, demonstrating what will happen to Ronnie.

Korda presses the STOP BUTTON, the lathe stopping. He releases 
his finger again, the lathe turning. He stops it.

We can see that Korda is immensely proud of his 'creation', 
his focus more on sadistic payback than anything else at 
this point.

		KORDA
		(continuing)
	Fuckin' cool, huh? I rewired the 
	switch. You see, you have to keep 
	your finger on the button or the 
	little lady gets cut...

He releases the button, the lathe turning towards the cutting 
device. He stops it again, holding the button.

		KORDA
		(continuing; grins)
	Right in half.

He eases towards Roper, extending his arm on the control 
box, holding the button down.

EXT. MCCALL'S POV - DAY

Through the SCOPE, he can see Korda as he steps into view.

The CROSSHAIRS settle on Korda's upper forehead.

		MCCALL
	Hold it right there...

His finger tightens on the trigger...

INT. MACHINE SHOP - DAY

Korda holds the control box towards Roper.

		KORDA
	But then, that's not my problem.

He releases the button and the box, the lathe turning, Korda 
grinning at Roper...

EXT. MCCALL'S POV - DAY

The RED DOT centered on Korda's forehead...

		MCCALL (O.S.)
	Light's out, fucker...

And then Roper's HEAD fills the scope, the red dot GLOWING 
on the back of his head.

In shock, McCall releases his finger...

		MCCALL
	Jesus!

INT. MACHINE SHOP - DAY

Roper moving to the control box, pressing the stop button, 
stopping the lathe...

		KORDA
	You see, it's out of my hands.

Roper looks at the box, Ronnie's life literally in his 
hands...

OMITTED

Sequence omitted from original script.

EXT. MCCALL'S POV - DAY

Through the SCOPE, Roper's head blocking the shot to Korda.

		MCCALL
	Roper, move...

EXT. MACHINE SHOP - DAY

But Korda bends down, picking up the BAG, stepping back away 
from Roper, clearly out of McCall's line of fire.

		KORDA
	Well, hate to run but I've got a 
	plane to catch. You take good care 
	of the little lady, hear?

As Korda walks down the corridor of the huge machine shop, 
we now SEE a CAR parked near the end facing us. Korda suddenly 
stops, turning, gesturing to the car.

		KORDA
		(continuing)
	How careless of me. You see, there's 
	only one way out of here, and you're 
	standing right in the way.
		(grins)
	You could move, but then...

He shakes his head at Roper.

		KORDA
		(continuing)
	Sure hate to be in your shoes.

He turns, walking quickly towards his car, TALKING, LAUGHING, 
to himself.

Roper looks to the car, then back at the SATCHEL where the 
.45 is still taped to the bottom. But Roper can't move, unable 
to change his position more than a foot or two. He looks 
around him, no way to stop the lathe if he releases the 
button.

EXT. MCCALL'S POV - DAY

He can see Roper holding the box, but nothing else.

		MCCALL
	What the hell's going on?

INT. MACHINE SHOP - DAY

Now Korda reaches his car, hopping inside, STARTING it up. 
In desperation Roper looks back at the satchel, then turns, 
calling out...

		ROPER
	McCall, stop him, stop the car!

Korda REVVING the engine...

EXT. MCCALL'S POV - DAY

McCall reading Roper's lips...

		MCCALL
	What car?

He swings the SCOPE up but the back of the machine shop is 
blocked by his vantage point.

Then he HEARS the faint SQUEALING of tires. He lowers his 
scope, holding, waiting...

INT. MACHINE SHOP - DAY

Korda at the end of the long building, beginning to 
accelerate.

ROPER

Turns toward McCall's position...

		ROPER
	McCall!

The CAR now screaming down the long corridor...

EXT. MCCALL'S POV - DAY

McCall still can't see the car...

INT. MACHINE SHOP - DAY

The car now closing in on Roper, but Roper holds his ground...

		ROPER
	McCall, shoot the son of a bitch!

INT. KORDA'S CAR - DAY

Korda bearing down on Roper.

		KORDA
	Bye, bye, cop...

ROPER

Holding his position, eyes widening in fear...

EXT. MCCALL'S TELESCOPIC POV - DAY

The CAR comes into view, the CROSSHAIRS on the windshield... 
but the glare off the window is obscuring any shot of Korda. 
McCall takes aim and FIRES...

INT. KORDA'S CAR - DAY

The bullet punches through the window, catching Korda's left 
shoulder, BLOOD flying. Korda whips the wheel in shock...

INT. MACHINE SHOP - DAY KORDA'S CAR

Spinning out of control, hitting a table piled with MACHINE 
PARTS, sending them flying...

But the car is now swapping ends, still flying right towards 
Roper, who can't move...; who won't move.

The car flies past him, the SIDE MIRROR catching Roper's 
shirt, tearing it, a flash of BLOOD from his arm...

The car then collides with a series of PIPES crossing the 
floor, STEAM erupting in every direction as the car then 
slams into several PROPANE BOTTLES stacked near the benches, 
a series of EXPLOSIONS ripping through the building. . .

ROPER

Thrown to the floor by the explosions, releasing the button, 
as...

THE CAR

Hits the GLASSED-IN ROLLING DOORS.

EXT. MCCALL'S POV - DAY

The CAR explodes from the building, GLASS FLYING, the car 
rolling, flipping over, coming to a rest on its wheels, 
driver's side away from McCall's position.

INT. MACHINE SHOP - DAY ROPER

On the floor, recovering. He catches a quick glimpse of the 
bottom section of the lathe, a GEARBOX, the gears turning...

THE LATHE

Turning, the cutting blade inching towards Ronnie...

ROPER

Staggers to his feet, grabbing the control box, pressing the 
button... nothing happens, the lathe still turning, SPARKS 
coming out of the box, it's SHORTING... Only a few more 
seconds...

Desperately his eyes search the floor, SEEING a HUGE WRENCH. 
He grabs the wrench, jamming it between the GEARS in the 
gearbox, the gears shuddering violently, threatening to crush 
the wrench...

Roper runs to Ronnie's side, frantically pulling at her bonds, 
the cutting blade now paused an inch away from her...

THE GEARBOX

Hammering and clanking, the wrench can't last a heartbeat 
longer...

ROPER

Pulls the last of the restraints away...

THE GEARBOX

Just as the massive gears crush the wrench, the table 
turning...

THE LATHE

The blade passing directly over Ronnie's position as Roper 
hauls her away, holding her in his arms.

EXT. MACHINE SHOP - DAY MCCALL'S TELESCOPIC POV OF CAR

Korda is slumped over the wheel. He looks dead. McCall slings 
his rifle over his shoulder and moves towards a DRAIN PIPE 
attached to the side of the building.

INT. MACHINE SHOP - DAY

Roper holding Ronnie, easing her away from the still turning 
lathe.

		RONNIE
	Scottie, Scottie...

		ROPER
	It's all over, babe, it's all over.

EXT. MACHINE SHOP - DAY

McCall slides to the ground via the drain pipe, but...

KORDA'S CAR

Korda is not quite dead...

The door eases open, Korda rolling to the ground, bag in one 
hand, AUTOMATIC in the other. He looks up, SEEING McCall.

He OPENS FIRE, McCall hitting the deck and taking cover as 
BULLETS hit the wall around him.

McCall whips out his REVOLVER, RETURNING FIRE, a GUN BATTLE 
ensuing.

INT. MACHINE SHOP - DAY ROPER

HEARING the shots outside, hauls Ronnie out of the way, 
keeping her low to the ground.

		ROPER
	Stay here, don't move.

		RONNIE
	Scottie...

		ROPER
	Do it!

He pushes her towards the cover of some machines, then 
crouching low to the floor, recovers the .45 from the bottom 
of the satchel. He heads out towards the other side of the 
cavernous, machine-choked building.

EXT. MACHINE SHOP - DAY MCCALL

FIRES a round at Korda, then trying to close in on the car, 
runs from his cover into the opening...

KORDA

Leaps up and FIRES, McCall taking a slug in his leg, knocking 
him to the ground. The SLIDE to Korda's AUTOMATIC has kicked 
open, out of bullets. He drops the gun, picks up the BAG and 
runs alongside the machine shop.

ROPER

Exits the machine shop, SEEING McCall on the ground, Korda 
nowhere in sight. Combat-style Roper runs to McCall, dropping 
to his side.

		ROPER
	McCall, you all right?

		MCCALL
		(in pain)
	I'm okay. Korda... went down the 
	side of the building...

		ROPER
	Stay put.

Roper sprints towards the building, racing alongside it, 
catching a glimpse of Korda just as he disappears around the 
other end. Roper charges on...

EXT. MACHINE SHOP - REAR - DAY

Korda runs past the building, still clutching the BAG. He 
runs past another building, heading towards the dry dock 
area and Roper's pickup. A moment later Roper emerges from 
the machine shop just in time to see Korda round the corner 
of the next building.

KORDA

Clearing the building sees Roper's PICKUP. He runs to it, 
jumping inside, finding the KEYS in the ignition. He starts 
the truck, pulling out, just as Roper runs into view.

ROPER

With the truck accelerating towards him he raises and FIRES, 
two bullet holes in the front WINDSHIELD, missing Korda, the 
truck still speeding towards him. Roper's gun jams. Roper 
leaps, sliding forward on the hood, almost falling as he 
grabs on to the empty window frame and the windshield wiper 
blades for support, his WEAPON flying from his hand.

KORDA

Speeds around the buildings and down the alleyways, whipping 
from side to side, trying to shake Roper off, Roper hanging 
on for dear life.

		ROPER
		(shouting)
	Give it up, Korda, you got away with 
	nothing! Nothing but a bag of shit! 
	It's all fake!

Korda can't help but look at the OPEN BAG beside him.

		ROPER
		(continuing)
	Go on, you stupid fuck, look at it! 
	It's all shit! A hundred dollars 
	worth of glass!

Korda reaches in, grabbing a handful of the COSTUME JEWELRY. 
He can't believe it, it's all fake!

		KORDA
	You fuck!!!

Korda goes crazy, slamming the truck into the side of a 
building, trying to throw Roper, but Roper hangs on.

Korda then caroms off the sides of buildings, left, right, 
SPARKS flying, then smashes into BOXES, CRATES, anything he 
can see stacked alongside the road way, but Roper stays put, 
clinging on with all he's got, swinging from side to side to 
avoid the obstacles.

Then Korda SEES ahead a huge pile of BOXES, WOOD FRAMING, 
PALLETS, TRASH, stacked at the side of a building. He hammers 
the pedal, driving the right side of the truck into the 
pile... BOXES, WOOD, PAPER, DEBRIS flying everywhere, through 
the open fron window as well, Korda shielding his eyes with 
his arm as OBJECTS fly around in a mad flurry inside the 
cab...

ROPER

In the maelstrom lets go his grip, grabbing the upper frame 
of the window and assisted by the speed of the truck, rolls 
over the top of the cab, landing in the bed of the truck 
along with BOXES, LUMBER, and TRASH.

KORDA

Clears his eyes, looking up, Roper is gone! He LAUGHS 
hysterically... he knocked him off!

ROPER IN THE BED OF THE TRUCK

Leaning out the passenger's side SEES they are approaching 
the dry dock area.

In the bed of the truck, along with the BOXES, SUITCASES and 
other objects, he sees several long 2x4's. Grabbing a BOARD 
he braces himself against the cab and then in one swift 
movement, stands, swinging to the driver's side, driving the 
2x4 through the side window, through the steering wheel, 
past the dash and catching the tip of the ACCELERATOR PEDAL, 
pinning it to the floor.

As Roper releases the board it WEDGES inside the door frame, 
locking the wheel and the accelerator, the engine SCREAMING 
wide open. Korda reacts in panic...

Roper clings to the cab, looking over the top, the DRY DOCK 
looming towards them. He prepares to jump...

KORDA

Suddenly SEES the approaching dry dock. He jams on the brakes, 
but it's not enough, the truck racing towards the edge...

IN SLOW MOTION THE TRUCK

Vaults over the edge of the dry dock as Roper runs down the 
bed, leaping off the tail gate, arms windmilling as he goes 
airborne...

The truck plummets towards the bottom...

ROPER

Lands in a huge pile of CARGO NETS and CARDBOARD BOXES, piled 
near the edge of the dry dock...

KORDA

SCREAMS in wide-eyed terror as...

THE TRUCK

Hits the bottom of the dock, EXPLODING into flames.

							DISSOLVE TO:

EXT. TAHITI - DAY

Roper and Ronnie lay on a gorgeous white sand beach, drinking 
from coconuts with umbrellas in them.

		RONNIE
	I've never seen sea so blue. Tahiti 
	is magnificent, Scottie.

		ROPER
	Yeah, I could get used to this 
	Paradise shit.

Roper hails a waitress, serving the hotel guests.

		ROPER
		(to waitress)
	I'll have another Pena Colada. And 
	this time could you shave the ice, 
	please.

		WAITRESS
	Oui, Monsieur. Right away.

Roper stretches back into his chaise lounge, adjusting his 
Ray Bans. A purring cat without a care in the world.

		RONNIE
	Scottie?

		ROPER
	Hmm?

		RONNIE
	I've been thinking.

TWO GORGEOUS FRENCH GIRLS unstring their bikinis, flopping 
topless on the beach in front of them.

		ROPER
	Hmm?

		RONNIE
	Things have been going pretty well 
	between us, haven't they?

		ROPER
		(sensing something's up)
	Yeah.

		RONNIE
	You've changed you know. I don't 
	think there's anything you can't do 
	once you put your mind to it.

Uh-oh. He removes his shades to get a better look at the 
curve ball.

		RONNIE
	I was just thinking...
		(here it comes)
	There's something special I want to 
	talk to you about.
		(he's listening)
	I think it's time we went to a whole 
	other phase in our relationship.
		(pointedly)
	A deeper level.

		ROPER
		(no longer relaxed, 
		sitting up)
	A deeper level?

		RONNIE
	That's right. We've got to bare it 
	all. Here and now. 'Cause I think 
	I'm finally ready to go for it...

		ROPER
		(cutting her off at 
		the pass)
	Whoa! Wait a minute, Ronnie. Hold 
	on. I know it's beautiful here. The 
	sun, the sand, the sea and all that 
	nature shit can really get to you. 
	But we've got to keep our perspective 
	here. This place isn't real. This 
	isn't reality.

		RONNIE
	Scott...

		ROPER
	I mean I said this trip should be a 
	'roadtest'.

		RONNIE
	...the hell are you talking about?

		ROPER
	I'm talking about... What are you 
	talking about?

		RONNIE
	I'm talking about me 'n' you stripping 
	down on this beach and gettin' you 
	know... 'naked in Tahiti'.

		ROPER
	You talkin' about gettin' 'nekked?'
		(off her look)
	Shit, I thought you were talkin' 
	bout, you know... the "M" word.

		RONNIE
	You thought I was talking about 
	getting married?!

She laughs her amazing laugh.

		RONNIE
	I'm talking about taking our clothes 
	off, silly. You said you would.

AD LIBS dialogue below as CAMERA CRANES BACK and we ROLL 
CREDITS over...

		ROPER
	You crazy? With all those people 
	around?

		RONNIE
	Know what you are?! You're a prude, 
	Roper.

		ROPER
	The hell I am!

		RONNIE
		(amused)
	Prude.

		ROPER
	First you want me to put on one of 
	those skinny ass bathing suits -- 
	tongs or thongs or whatever you call 
	them -- with my butt cheeks wrapped 
	around a piece of dental floss... No 
	way.

Over her laughter we...

								FADE OUT:
THE END
All movie scripts and screenplays on «Screenplays for You» site are intended for fair use only.