Midnight Run (1988)

The screen is BLACK. TRAFFIC HUMS on the SOUNDTRACK. MUSIC 
KICKS IN.

FADE IN:

The CREDIT SEQUENCE starts.

EXT. AVALON STREET - WATTS, CALIFORNIA - NIGHT

An Olds creeps slowly along the street. BADASSES loiter. 
Pass before the headlights. A fight is in progress out front 
of a topless bar. Punches are thrown. STRAGGLERS laugh at 
the mayhem.

EXT. SIDE STREET - NIGHT

This street is DEAD SILENT. The sidewalk is empty. A junkyard 
dog trots by on his nightly rounds. The Olds pulls into a 
spot at the curb. Tires CRACKLE over broken glass. The car 
engine DIES.

INT. OLDS - NIGHT

The driver taps a Camel cigarette. Raises it to his lips. 
Lights it with his Zippo. The flame reveals the face of JACK 
WALSH. Strong. Haggard. A killer stare. Pressure-cooker of a 
man. Always about to explode. The flame dances. Blue smoke 
swirls. The flame fades.

Walsh smokes his cigarette and stares at a four-story slum 
across the street. He glances at his watch. It's an old and 
battered Timex. It's been with Walsh for many years.

He checks his .45. It's loaded. Slips it back into his 
shoulder holster. Opens the door. Gets out.

EXT. SIDE STREET - NIGHT

Walsh raises his collar against the Santa Ana wind and trots 
toward the slum.

INT. HALLWAY OF SLUM - NIGHT

Walsh enters. Eyes darting. Quietly moves up the first flight 
of stairs. The joint is SILENT.

INT. SECOND FLOOR - NIGHT

Walsh turns the corner and moves up the stairs of the second 
floor. Catches a liquor bottle with his foot. BOUNCE. CLANK. 
CRASH. Walsh grimaces. A dog BARKS from a first-floor 
apartment. Cursing, Walsh moves for the third floor.

INT. THIRD FLOOR - NIGHT

Walsh hits the top step. Squints. Finds apartment 3C. 
Approaches. Stops. Puts his ear to the door. Removes a lock 
pick. Crouches. Slips it in. Jiggles it quietly. Drops it. 
Walsh bends over to retrieve the lock pick, when SUDDENLY:

BLAMMM!!! A shotgun UNLOADS from the other side of the door. 
Wood chunks fly. A gaping hole appears in the door right 
where Walsh's head was a moment before. Walsh bounces on his 
ass. Curses. Gets up. Pulls out his .45. Doesn't need to 
open the door to see into the apartment. Twenty-two-year-old 
MONROE BOUCHET climbs out of his window into the night. 
Clanging down the fire escape. Walsh runs down the stairs.

INT. BOUCHET'S APARTMENT - NIGHT

Walsh runs through the apartment to the window. Looks out. 
Sees Bouchet making his way up the fire escape. He goes out 
after him.

EXT. ROOFTOP - NIGHT

Bouchet makes his way up to the roof and starts running. The 
lights of downtown L.A. sparkle in the distance. Walsh hoists 
himself up to the roof, pursuing the fleeing Bouchet. Bouchet 
leaps from his building over to the next. Walsh, hot on his 
trail, does the same thing. Bouchet vaults over another alley 
to a third building. Ditto Walsh. Amazed that Walsh is still 
on his tail, Bouchet makes his most daring jump yet. He lands 
with a tumble, scoops up his shotgun and keeps moving. Without 
missing a beat, Walsh makes the leap and MISSES! He grabs at 
the ledge with his armpits. He slides slowly, grabbing for 
dear life as the old ledge cracks. It's a four-story drop. 
Some debris falls away. Walsh manages to pull himself back 
onto the roof. Winded, he spots Bouchet going down a fire 
escape at the far end of the building. Walsh is up and after 
him.

EXT. BOUCHET'S BUILDING - NIGHT

As Walsh appears at the rooftop, Bouchet opens FIRE. Walsh 
ducks. Bouchet continues down the metal staircase. Walsh 
clangs down after him. Bouchet hits the ground and runs into 
an alley. Walsh drops to the concrete in pursuit. As he turns 
into the alley, Bouchet fires again. Garbage cans EXPLODE. 
HEADLIGHTS of a car turn into the far end of the alley, aiming 
at Bouchet. Bouchet tries to avoid the car. Can't. He gets 
side-swiped. Growls with pain when he lands. The car SKIDS 
to a stop. From it emerges MARVIN DORFLER. If Walsh is the 
"Avis" of bounty hunters, Dorfler is the "Rent-a-Wreck." He 
makes up for his deficiencies with force. He's loaded with 
dim, impulsive behavior. Walsh approaches. He and Dorfler 
lock eyes. They know each other well. Too well.

			WALSH
	What the hell are you doin', Dorfler?

			DORFLER
	He's mine, Jack. Get lost.

			WALSH
	Fuck you, he's yours. He's mine. 
	Moscone assigned this guy to me.

Dorfler places his foot on Bouchet's chest. Bouchet still 
MOANS.

			DORFLER
	Well, go straighten it out with 
	Moscone. I'll collect the money.

			WALSH
		(Closer)
	Goddamn you, Dorfler. I nearly got 
	killed tryin' to get him!

Dorfler WHIPS out a .45. Points it at Walsh.

			DORFLER
	Back off, Walsh. I said I'm takin' 
	him.

Walsh stops. Smiles. Ear to ear.

			WALSH
	Marvin. Why are we fightin'? You and 
	me are friends.

			DORFLER
	This clown's worth fifteen hundred, 
	Jack. It's nothin' personal. Now get 
	lost.

			WALSH
	Alright, alright.

Suddenly Walsh points over Dorfler's shoulder.

			WALSH
	Marvin! Watch out!

Walsh decks Marvin.

			BOUCHET
		(Still dazed)
	What the fuck's goin' on? You guys 
	ain't cops.

			WALSH
	No, we're musicians. Get in the car.

Walsh gets inside Marvin's car and takes off with Bouchet.

							CUT TO:

EXT. L.A. COUNTY JAIL PARKING LOT - NIGHT

Walsh drives down the street, slowing Dorfler's car outside 
of the L.A. County Jail parking lot. He pulls in. Partway.

INT. DORFLER'S CAR - NIGHT

Bouchet looks at Walsh.

			WALSH
	Open your door.

Bouchet, confused, opens the car door. Walsh does the same 
with his car door. Then he BACKS UP quickly.

EXT. L.A. COUNTY JAIL PARKING LOT - NIGHT

Both doors are RIPPED off the car by the two pillars at the 
entrance. Then Walsh swings Dorfler's car into the parking 
lot through the exit. The tires EXPLODE as Walsh proceeds 
the wrong way over the metal teeth that block incoming 
traffic. Walsh keeps moving and SLAMS into a brick wall, 
CRUNCHING the front end. Then Walsh puts it in reverse and 
ROARS into the parking spot he targets, CRUNCHING the rear 
end of the car against another brick wall.

INT. DORFLER'S CAR - NIGHT

Walsh looks at Bouchet.

			WALSH
	We get out here.

INT. COUNTY JAIL - NIGHT

A few PRISONERS mill about with their lawyers. A JANITOR 
mops the floor. Handcuffed to Walsh, Bouchet almost starts 
to cry.

			BOUCHET
	All I did was come home and he was 
	sleepin' with my old lady. And I 
	shot him. Then I heard on the TV 
	that the dude was "lucid." I didn't 
	do that to him. I swear.

Walsh looks at Bouchet. Feels sorry for him.

			WALSH
	"Lucid" means he was coherent. Makin' 
	sense when he talked.

			BOUCHET
	Shit. He wasn't "lucid" before I 
	shot him.

Behind the window, a cop named GOOCH.

			WALSH
	Hey, Gooch, I've got a delivery.
		(Sliding papers)
	Monroe Bouchet.

			GOOCH
	Give you any trouble?

			WALSH
	Nah, he was real cooperative. A 
	regular charm.

Bouchet thanks Walsh with his eyes as a GUARD takes him away. 
Gooch hands Walsh a booking slip.

			WALSH
	Take care of yourself, Monroe.

			BOUCHET
	You too.

EXT. VIGNES STREET - DAWN

Walsh leaves the L.A. County Jail. The street glows with 
early blue of dawn. Across the way, there's a carnival of 
bail bond offices. All with lights. Inviting signs. Walsh 
heads for the sideshow.

INT. JOE MOSCONE'S BAIL BOND OFFICE - DAWN

Second floor. Huge glass doors. Three desks. Fourteen tons 
of paper. A thirty-year-old weasel of an assistant, JERRY 
GEISLER, reads a newspaper. He sucks toothpicks for a living. 
Walsh enters.

			WALSH
	Is Moscone in? I just dropped off 
	Bouchet.

			JERRY
	You finally caught somebody, Jack?

			WALSH
	Jerry, is he in?

Jerry flips through the Los Angeles Times.

			JERRY
	It says here that eleven percent of 
	people, in the course of dreaming, 
	are aware of that fact while they're 
	in the dream state.

Walsh has no patience for Jerry.

			WALSH
	Where is he, Jerry?

			JERRY
	That ever happen to you, Jack?

JOE MOSCONE exits his cubicle. He's a man on edge at all 
times. Juggling cash and clients and a thousand lies at once. 
He is slipping into a cheap sports jacket.

			MOSCONE
	Hey, Jerry, this ain't a library.

Walsh hands Moscone the booking slip. He glances at it.

			MOSCONE
	Bouchet was twelve hundred, right?

			WALSH
	No, fifteen.

			MOSCONE
	Oh, yeah, right. I was just going 
	over to Denny's to catch the "grand 
	slam breakfast." They start serving 
	at six-thirty.

			WALSH
	Do you have my fifteen hundred?

			MOSCONE
	Of course. Did you think I was gonna 
	stiff you?

			WALSH
	You? Never.

			MOSCONE
	Jack, you really are the best at 
	what you do. Let me buy you some 
	breakfast.

			WALSH
	I don't eat breakfast.

			MOSCONE
	Then have an early lunch. Hey, Jerry. 
	Watch the phones.

EXT. DOWNTOWN STREET - EARLY MORNING

Walsh and Moscone move down the street, heading for Denny's.

			WALSH
	You'll never guess who I ran into 
	while I was taking in Mr. Bouchet.

			MOSCONE
	Who's that?

			WALSH
	Marvin Dorfler.

			MOSCONE
	No. Funny how that guy keeps poppin' 
	up.

			WALSH
	Hysterical.

			MOSCONE
	Jack, I'm not gonna bullshit you. I 
	got a little problem right now.

			WALSH
	Hey, can we stop and buy a copy of 
	Playboy, because when I'm being jerked 
	off, I like to look at something.

			MOSCONE
	What are you talkin' about?

			WALSH
	I've been through this. You're about 
	to tell me you don't have my fifteen 
	hundred.

			MOSCONE
	Jack, I've got something better than 
	fifteen hundred.

INT. DENNY'S RESTAURANT - MORNING

A typical Denny's interior. Walsh and Moscone sit at a table. 
Walsh sips coffee and watches Moscone wolf down his "grand 
slam breakfast."

			MOSCONE
	Do you know who Jonathan Mardukas 
	is?

			WALSH
	The Duke? Yeah, I know who he is.

			MOSCONE
	What do you know?

Walsh taps a Camel. Lights it.

			WALSH
	He's that accountant that embezzled 
	a couple million from some Vegas 
	wise guy and gave it to charity.

			MOSCONE
	That's pretty good, only it wasn't a 
	"couple of million," it was fifteen 
	million and it wasn't just "some 
	Vegas wise guy," it was Jimmy Serrano.

			WALSH
	Yeah, I can read a newspaper.

			MOSCONE
	Well, I don't want to bring up the 
	past, but isn't Serrano the guy that 
	ran you out of Chicago when he was 
	running things there years back?

Walsh tenses up.

			WALSH
	He didn't run me out.

			MOSCONE
	Sure. You left being a cop to do 
	this shit.

			WALSH
	What's the point?

			MOSCONE
	The point, Jack, is twenty-five 
	thousand bucks. I bailed the 
	accountant out. Only, I didn't know 
	who he was at the time. If I knew, I 
	never would of put up the bond. I 
	mean it would only be a matter of 
	time before Serrano vanished him 
	from the planet and I'm out my four 
	hundred and fifty grand.

			WALSH
	You're out four hundred and fifty 
	grand on this guy?

			MOSCONE
	No.

			WALSH
	No?

			MOSCONE
	No. Because I've got you. And you're 
	gonna go find him and bring him back.

			WALSH
	Right. How do you even know he's 
	still alive?

			MOSCONE
	Because he sends Jimmy Serrano 
	postcards from everywhere, telling 
	him what a great time he's having 
	with his money.

Walsh can't help but smile.

			WALSH
	How much time you have left?

			MOSCONE
		(Sick again)
	Friday midnight I default and have 
	to eat the four-fifty.

			WALSH
	That's five days. Forget it. You go 
	find him.

			MOSCONE
	Jack, hear me out. I'll give you 
	fifty thousand. I'm in jam city.

			WALSH
	I've got to chase you down just to 
	collect fifteen hundred. No dice.

			MOSCONE
	Jack...

			WALSH
	Jack, nothin'. What else have you 
	got?

			MOSCONE
	If you don't get this guy, I might 
	be out of business. I can't absorb 
	this kind of loss.

			WALSH
	I'll do it for a hundred grand.

			MOSCONE
	A hundred grand! Are you out of your 
	mind? Jack, this is an easy gig. 
	It's a midnight run, for Christ sakes.

Walsh gets up.

			MOSCONE
	C'mon Jack, sit down.

			WALSH
	If you want me for a job this big, 
	you pay me what's right. Maybe you 
	haven't noticed but I'm tired of 
	getting shot at.

			MOSCONE
	This guy's an accountant! He's not 
	going to shoot you. Just put a bag 
	over his head, hit him with a rubber 
	hose and stick him on an airplane.

			WALSH
	I'll do it for a hundred grand and 
	then I'm out of this business forever. 
	And I want a contract. I want it in 
	writing. A hundred grand, and I'll 
	have the Duke here by Friday night.

Walsh sees that Moscone is about to give in.

			WALSH
	Now, do you think I could have my 
	fifteen hundred?

Moscone starts reaching for his pocket.

INT. RAMPART DIVISION HEADQUARTERS - DAY

Walsh moves through the homicide division with DETECTIVE 
DAVE HAMMOND. Other DETECTIVES sit at their desks. Phones 
RING. The joint is JUMPING as usual.

			HAMMOND
	I was just saying to myself that 
	this has been the worst day in memory. 
	All I need is Jack Walsh to appear, 
	and look what blows in.

			WALSH
	Dave, look, I need a favor.

			HAMMOND
	What do you need? A case of Jack 
	Daniels?

			WALSH
	The booking slip for a guy named 
	Jonathan Mardukas.

			HAMMOND
	I'll get you a copy.

			WALSH
	No, Dave. I need to see the original.

			HAMMOND
	Copies were good enough for the FBI.

			WALSH
	They're looking for him, too?

			HAMMOND
	The guy's wanted in seven states.

INT. FILE DEPARTMENT - DAY

A dark cavern filled with file cabinets. Hammond pulls the 
police booking slip and hands it to Walsh. Walsh glances at 
the front. He crosses his fingers, takes a hopeful breath 
and turns it over. Scribbled on the back is a telephone number 
with a 212 area code. Walsh smiles.

			HAMMOND
	What did you find?

			WALSH
	The number Mardukas called after he 
	was arrested.

Walsh starts to copy it down.

			WALSH
	Two-one-two. Looks like I'm going to 
	New York.

EXT. BEVERLY BOULEVARD - DAY

Walsh exits Rampart Division Police Station. A very large 
black man -- with steel-rimmed sunglasses, dressed in a 
sharply pressed navy-blue suit -- stands alongside a car. 
His name is ALONZO MOSELY. As Walsh walks down the street, 
Mosely blocks his way. They lock eyes.

			WALSH
	Excuse me.

			MOSELY
	Are you Jack Walsh?

Walsh senses trouble.

			WALSH
	Do I know you?

Mosely starts to reach for his identification. Before he can 
get it out, Walsh starts to walk. Mosely moves to block him.

			WALSH
	Hey, get the fuck outta my way.

Walsh shoves Mosely back. A SCUFFLE ensues. SUDDENLY from 
out of nowhere, three men in suits appear. They surround 
Walsh. Shove him through the crowds and into a green Plymouth.

INT. PLYMOUTH - DAY

One of the men slides in behind the wheel. Mosely gets in 
the front. Walsh is wedged in the backseat between two men. 
Each of them wears sunglasses. Walsh sits in the silence as 
the four men stare him down through their dark green lenses.

			MOSELY
	Inspector Mosely, Federal Bureau of 
	Investigation.

			WALSH
	Did you know there's a ten-dollar 
	fine for jaywalking in Los Angeles?

No response. The other men are AGENTS PERRY, TUTTLE and 
PLUMIDES.

			MOSELY
	Are you working on anything having 
	to do with Jonathan Mardukas?

			WALSH
	Who's that?

			MOSELY
	The Duke.

			WALSH
	Never heard of him.

			MOSELY
	I think you have heard of him.

Walsh slowly reaches into his breast pocket and puts on his 
own sunglasses. He smiles back at the group and then Mosely. 
Now everyone's wearing sunglasses.

			MOSELY
	Let me tell you something, asshole. 
	I've been working six years trying 
	to bring down Jimmy Serrano and 
	Mardukas is my shot. I want to take 
	him into Federal Court.

Without missing a beat, Mosely reaches over and whips off 
Walsh's sunglasses.

			MOSELY
	So I don't want to see some third-
	rate rent-a-thug who couldn't cut it 
	as a cop in Chicago bring him into 
	L.A. for some bullshit local charge. 
	Do I make myself understood?

			WALSH
	Let me ask you somethin'. Those 
	sunglasses. Are those government-
	issued or do all you guys go to the 
	same store to get them?

			MOSELY
	You can go now.

Plumides opens the door.

			WALSH
	Have a nice day.

EXT. BEVERLY BOULEVARD - DAY

Walsh gets out. Plumides shuts the door. The car STARTS up.

			WALSH
	Do you think I could have my 
	sunglasses back?

As the car begins to ROAR off, Mosely tosses Walsh's 
sunglasses out. Walsh catches them. He watches the car 
disappear. Then he turns. Squints. Spots a wallet on the 
sidewalk. Picks it up and opens it. It's Mosely's FBI 
identification. Walsh smiles.

INT. 747 - NIGHT

Walsh hums a tune while he inserts his photo over Mosely's 
FBI identification. A CHILD sits next to him watching. Walsh 
smiles at the kid and then flashes his badge.

			WALSH
	Mosely, FBI.

The kid looks scared.

			WALSH
	Just kidding.

EXT. RUNWAY J.F.K. AIRPORT, NEW YORK - MORNING

The 747 THUNDERS down in the rain.

INT. J.F.K. AIRPORT TERMINAL - MORNING

Long faces march off the red-eye. Walsh moves with purpose 
over to a pay phone. Looks through his black book. Dials.

			WALSH
		(Into phone)
	Harold Longman, please.
		(A beat)
	Harry. Jack Walsh. Did ya get me 
	that address check on that phone 
	number?
		(Starts scribbling)
	I've got it. Thanks, Harry. Say hello 
	to Julie for me.

Walsh hangs up.

INT. AIRPORT CAR RENTAL OFFICE - MORNING

Walsh completes filling out a rental form and hands it over 
to an EMPLOYEE.

DARUVO

Large. Somewhere between muscular and overweight approaches 
with JOEY RIBUFFO. Tall and thin, a New York Post under his 
arm.

			DARUVO
	You Jack Walsh?

			WALSH
	Who wants to know?

			JOEY
	That's a yes.

Joey's got a staring problem. He can't take his eyes off of 
Walsh's coat.

			DARUVO
	We'd really like to have a word with 
	you.

			WALSH
	What about?

			JOEY
	It involves big cash and lots of 
	prizes.

Walsh lights a Camel. Joey stares at that, too.

			DARUVO
	I'll make it short and sweet. The 
	people I work for are very interested 
	in your visit here.

			WALSH
	Oh yeah? Who are the people you work 
	for?

			DARUVO
	An old friend of yours from the 
	Chicago days.

Walsh turns, locks eyes with Joey's stare.

			WALSH
	How are ya?

			DARUVO
	You're here for the Duke. You think 
	he's in New York. We think you're 
	right.

			JOEY
	Where'd you get that coat? Is that a 
	London Fog?

			WALSH
	What the hell are you talkin' about?

			DARUVO
	Never mind him.
		(Beat)
	The way I hear it, you didn't 
	cooperate with my boss a few years 
	back.

Walsh takes a thoughtful drag on his Camel. Thinks. Joey's 
attention shifts to Walsh's cigarette.

			JOEY
	You smoke Camels?
		(A beat, smiling)
	I smoke Kools.

The importance of this statement is known only to Joey. A 
poker-faced Walsh looks at him uncomprehendingly.

			DARUVO
	My boss would pay you a hell of a 
	lot more for the Duke than that putz 
	bail bondsman in L.A.

			WALSH
	How much more?

			DARUVO
	How about a one with six zeros?

Walsh feels the heat of Joey's stare. Walsh turns.

			WALSH
	Are you gonna propose?

			JOEY
	Propose?

			WALSH
	'Cause if you ain't, quit fuckin' 
	starin' at me.

			DARUVO
	Yeah, Joey. Back off, for Christ 
	sakes.

Joey steps back. The Employee reappears with the contract 
and keys.

			EMPLOYEE
	Here are your keys, sir. Just exit 
	through the glass doors. The parking 
	lot is to your left.

Walsh takes the keys. Tony has scribbled down his number on 
the back of a card. He puts it in Walsh's pocket.

			DARUVO
	Ask for Tony Daruvo. That's me. 
	They'll put you through to wherever 
	I am
		(Beat)
	Be good to yourself, this time.

Walsh heads out through the glass doors.

EXT. QUEENS STREET - DAY

Walsh cruises along in his rented Pontiac approaching the 
bridge leading into Manhattan.

INT. WALSH'S CAR - DAY

As he drives, he suddenly notices that he's being tailed by 
Tony and Joey in a Lincoln. After a few moments of thinking, 
he GUNS the car hard.

EXT. QUEENS STREET - DAY

Walsh gets the jump on Tony and Joey. They TEAR off in 
pursuit.

INT. LINCOLN - DAY

As Tony and Joey try to keep up with him. Several trucks 
impair their view. Walsh disappears around a corner.

			JOEY
	I think he's onto us.

			DARUVO
	Figured that out, did ya?

EXT. QUEENS PONTIAC DEALERSHIP - DAY

Tony and Joey cruise by the dozens of parked Pontiacs. When 
they are out of sight, one of them starts up and moves off 
in the opposite direction with Walsh behind the wheel.

INT. WALSH'S CAR - DAY

Walsh grins as he watches the Lincoln disappear in his 
rearview mirror.

EXT. UPPER WEST SIDE STREET - DAY

The CAMERA FOLLOWS a wire from a telephone junction box, 
mounted on the side of a brownstone. It leads into the 
passenger window of Walsh's car where it is attached to a 
small cassette recorder. A taxi rounds the corner and pulls 
up to the brownstone that Walsh is staking.

INT. WALSH'S CAR - DAY

Walsh licks his fingers. Finishing off his lunch of jelly 
donuts, he eyeballs the older couple that exits the cab. 
They enter the brownstone. Walsh hits the "record" button on 
the recorder and gets out of his car.

EXT. UPPER WEST SIDE STREET - DAY

He trots up to a phone booth on the corner and dials.

			WALSH
		(Into phone)
	Mrs. Nelson?

			MRS. NELSON (V.O.)
	Yes?

			WALSH
	Alonzo Mosely, FBI. How are you this 
	afternoon?

No response.

			WALSH
	Let me get right to the point, if I 
	may, Mrs. Nelson. An agent in our 
	Los Angeles office discovered a detail 
	that somehow was overlooked until 
	now. It seems that when Jonathan 
	Mardukas was arrested, you were the 
	first person he called. Isn't that 
	correct, Mrs. Nelson?

Still no response.

			WALSH
	Are you there, Mrs. Nelson?

			MRS. NELSON (V.O.)
		(Weakly)
	Yes.

			WALSH
	Needless to say, this is a matter of 
	great concern to us. If it wouldn't 
	be too much trouble, I would like 
	you to come down to 26 Federal Plaza 
	tomorrow at nine o'clock and ask for 
	Agent Mosely. Do you think you could 
	do that, please?

			MRS. NELSON (V.O.)
	I suppose so.

			WALSH
	Thank you for your cooperation. Good 
	afternoon, Mrs. Nelson.

He hangs up and runs back to his car.

INT. WALSH'S CAR - DAY

As he gets in, he hears TOUCH-TONE BEEPS through the cassette 
recorder's speaker. Mrs. Nelson is making a call. Walsh has 
tapped the line.

			MRS. NELSON (V.O.)
	Dana? Helen. The FBI just called. 
	They want to speak to me about 
	Jonathan.

Walsh LISTENS. Then he HEARS a male voice. It's THE DUKE 
himself.

Walsh hangs on every word.

			THE DUKE (V.O.)
	Helen? What's going on?

			MRS. NELSON (V.O.)
	Jonathan, the FBI just called. They 
	know we spoke the night you were 
	arrested.

			THE DUKE (V.O.)
	Hang up the phone, Helen. Right now!

CLICK. DIAL TONE. Walsh hits the rewind on the cassette 
recorder. Replays the touch-tone beeps. Smiling, he GUNS the 
car away.

EXT. BROOKLYN HEIGHTS STREET - NIGHT

Manhattan looms across the East River. As Walsh's car glides 
down the street, he notices a woman placing a suitcase in 
the trunk of a car. She heads back into her house, leaving 
the door ajar. Walsh checks the address of the house. Stops. 
Gets out. Sneaks toward the front porch.

EXT. MARDUKAS HOME - NIGHT

Walsh stops at the front door. Removes his .45. Listens. He 
pushes his way inside quietly.

INT. MARDUKAS HOME - NIGHT

Downstairs is dark. Walsh creeps across the living room. 
HEARS MOVEMENT going on upstairs. Walsh inches for the stairs, 
moving up them SILENTLY. Walsh is not alone. A pair of eyes 
watch him. A shadow moves across the wall. A huge German 
shepherd follows him across the living room floor.

INT. STAIRCASE - NIGHT

Walsh craftily moves up the steps with his back to the wall. 
Walsh may be stalking the Duke, but the huge shepherd is 
stalking Walsh as well. Walsh disappears around the corner 
to the upstairs hall. The shepherd follows its prey.

INT. UPSTAIRS HALL - NIGHT

.45 at the ready, Walsh approaches the bedroom. Walsh is 
beginning to sweat. About to make his move. He turns. Locks 
eyes with the shepherd. Walsh's eyes bulge. The shepherd 
bares its teeth. Begins a low guttural GROWL. Walsh tries to 
stand his ground with an intimidating stare, but this is one 
contest that he won't win. He reaches for the doorknob behind 
him. Opens it. Bolts inside. The shepherd lunges against the 
closing door, barking wildly. JONATHAN MARDUKAS, the Duke, 
appears from the bedroom. DANA MARDUKAS, his wife, follows. 
The Duke appears almost bookish. Yet, there is an enigmatic 
quality about him. A man with many facets which are not 
apparent at first glance.

			THE DUKE
	What is it, Heidi?

Heidi throws herself at the bathroom door.

			DANA
	What is it, John?

			THE DUKE
	I don't know.

He reaches for the bathroom door. Opens it. Heidi bolts 
inside.

INT. BATHROOM - NIGHT

It's instantaneous. The Duke and Dana enter. Heidi throws 
herself against the glass enclosed shower door. Walsh is on 
the other side. His FBI badge plastered against the glass 
door with one hand. The .45 pointed against the glass with 
the other.

			WALSH
	Alonzo Mosely, FBI! Get that fuckin' 
	dog outta here!

The Duke hesitates.

			WALSH
	Don't move! I'll drop you right 
	through the fuckin' glass!

			THE DUKE
		(To Dana)
	Do what he says. Get her out of here.

Dana grabs the BARKING dog. Drags her out of the bathroom. 
Walsh steps out of the shower. The Duke has his hands up.

			WALSH
	You're the Duke?

			THE DUKE
	That's right.

Walsh cuffs him.

EXT. MARDUKAS HOME - NIGHT

Walsh leads the Duke to the Pontiac. Dana follows along-side, 
panicked. Heidi BARKS from inside the house.

			DANA
	John. What do I do?

			THE DUKE
	Don't do anything, sweetheart, I'll 
	be alright.

			WALSH
	Yeah. He'll be fine.

Walsh shoves the Duke into the car.

			WALSH
	Nice watchdog.

			THE DUKE
	For five hundred dollars she should 
	have taken your head off.

Walsh climbs behind the wheel, swings a mad U-turn and tears 
away.

INT. WALSH'S CAR - NIGHT

They speed through the night.

			THE DUKE
	Congratulations.

			WALSH
	For what?

			THE DUKE
	You just did what no one else could 
	do. You found me.

			WALSH
	You got that right.

EXT. LONG ISLAND EXPRESSWAY - NIGHT

Walsh GUNS the car onto the expressway, heading for J.F.K. 
Airport.

INT. WALSH'S CAR - NIGHT

The Duke looks behind him. Manhattan is in the distance. He 
turns. Airport signs are up ahead.

			THE DUKE
	You're taking me to the airport, 
	aren't you?

No answer. The Duke looks around the car with apprehension.

			THE DUKE
	You don't seem like an FBI agent to 
	me.

			WALSH
	Well, you don't seem much like a 
	"Duke" to me either.

			THE DUKE
	If you're an FBI agent, why don't 
	you just take me to the FBI office?

			WALSH
	If you don't be quiet, this is gonna 
	be the worst trip of your fuckin' 
	life.

			THE DUKE
	You work for Jimmy Serrano, don't 
	you?

			WALSH
	No, I don't work for that piece of 
	shit. Your bail bondsman hired me to 
	bring you back to L.A.

			THE DUKE
	I've got money, you know.

			WALSH
	I'm sure you do.

			THE DUKE
	I'll give you whatever you want.

			WALSH
	Start by shuttin' up.

Walsh slows the car as he takes an exit ramp. The Duke sizes 
up his situation. As Walsh turns the car to blend into the 
traffic of a busy street, the Duke opens the door and tries 
to jump. Walsh grimaces and reaches for him.

EXT. LONG ISLAND STREET - NIGHT

As Walsh tries to pull the Duke back inside, he almost loses 
control of the car. Nearby cars screech away to avoid him. 
Horns BLARE. Swerving hard, he just misses an eighteen-
wheeler.

INT. WALSH'S CAR - NIGHT

Walsh yanks the Duke back inside, slams the door and forces 
him to the floor. Cocks his .45 and levels it in the Duke's 
face.

			WALSH
	It is truly in your best interest 
	for you to just fuckin' relax.

			THE DUKE
	I'm relaxed. I'm totally relaxed.

EXT. AMERICAN AIRLINES TERMINAL - NIGHT

Walsh pulls up and SLAMS the brakes. They both get out. Walsh 
puts his .45 into his bag.

			WALSH
	I can't keep you cuffed on a 
	commercial flight and I gotta check 
	my gun in with the luggage. But, 
	fuck with me once, and I'll break 
	your neck.

			THE DUKE
	I can't fly.

			WALSH
	What?

			THE DUKE
	You heard me. I can't fly.

			WALSH
	You're gonna have to do better than 
	that.

			THE DUKE
	I don't have to do better than that 
	because that's the truth. I can't 
	fly. I suffer from aviophobia.

			WALSH
	What does that mean?

			THE DUKE
	It means I can't fly. I also suffer 
	from acrophobia and claustrophobia.

Walsh takes him firmly by the arm.

			WALSH
	When we get to L.A. you can tell the 
	prison psychiatrist all about it. 
	You fuck with me you'll suffer from 
	fist-O-phobia.

INT. AMERICAN AIRLINES TERMINAL - NIGHT

A row of pay phones. Walsh is on the phone. The Duke is cuffed 
to him. Walsh jabs a bunch of numbers.

			WALSH
		(Into phone)
	Jerry, give me Moscone.

			JERRY (V.O.)
	Hold on.

INTERCUT WALSH AND MOSCONE Moscone picks up the phone. Jerry 
quietly listens in on the extension.

			MOSCONE
	Jack...

			WALSH
	I got him.

			MOSCONE
	Got who?

			WALSH
	The Duke. He's standing right here.

			MOSCONE
	You got him? Already?

			WALSH
	You wanna say hello?

Walsh yanks the Duke to the phone. Forces it to his face.

			WALSH
	Say hello to your bail bondsman, 
	Eddie Moscone.

			THE DUKE
		(Flatly)
	Hello.

Walsh yanks the phone back.

			WALSH
	There you go. Jonathan Mardukas in 
	the flesh.

			MOSCONE
	Where are you now?

EXT. VIGNES STREET - NIGHT

DEAD QUIET. The street is empty except for a van parked up 
the street from Moscone's.

			WALSH (V.O.)
	I found him in New York. We're at 
	J.F.K.

INT. VAN - NIGHT

TWO FEDERAL AGENTS have tapped into Moscone's phone lines. 
Both wear headphones. The van is filled with cables. Meters. 
Phone-tapping equipment.

			WALSH (V.O.)
	We're comin' in on Flight 97. American 
	Airlines. We'll be there at eleven, 
	your time.

Agent 1 scribbles down the information.

INT. MOSCONE'S OFFICE - NIGHT

			MOSCONE
	I love you. Jack, goddamnit! I really 
	do!

			WALSH
	See you soon.

Moscone hangs up. Races out of his cubicle. Something is 
afoot with Jerry. He hangs up slowly.

			MOSCONE
	Walsh picked up the Duke.

			JERRY
	No kidding. That's great, Eddie. 
	Let's celebrate. Do you want some 
	donuts?

			MOSCONE
	Yeah. Run down to Winchell's and get 
	a dozen. And get me a few of those 
	apple fritters.

			JERRY
	You got it, Eddie.

Jerry grabs his jacket and moves out the door.

EXT. VIGNES STREET - NIGHT

Jerry zips up his jacket. Moves quickly toward the pay phone 
at the corner. Passes right by the FBI van.

ANGLE ON PHONE BOOTH Jerry grabs the receiver. Dials.

			JERRY
		(Into phone)
	Hello. This is Jerry Geisler. Can 
	you put me through to Tony Daruvo.

INT. BROOKLYN STEAKHOUSE - NIGHT

Joey eats his dinner in the background. Still chewing his 
steak, Tony approaches the phone. He picks up the receiver.

			DARUVO
	Yeah.

INTERCUT TONY AND JERRY

			JERRY
	Tony, this is Jerry Geisler. How are 
	you?

			DARUVO
		(Still chewing)
	I'm eating dinner.

			JERRY
	I'm sorry to bother you, but Walsh 
	found the Duke and he's bringing him 
	in on American Airlines, Flight 97. 
	They'll be at L.A.X. at eleven 
	o'clock. Don't forget me, huh?

INT. STARLIGHT CASINO, LAS VEGAS - NIGHT

PHIL, a pit boss, moves through the crowds and approaches 
the high-roller crap table. A man, who exudes importance, 
has his back to us. He's laughing with a group of VIP 
gamblers. Phil taps the man on the shoulder, who turns. It 
is JIMMY SERRANO. Two thousand dollar suit. You can take 
Jimmy out of the streets, but you can't take the streets out 
of Jimmy.

			PHIL
	Mr. Serrano?

Serrano turns. Phil leans in. WHISPERS.

			PHIL
	Daruvo called. Your friends are going 
	to be flying into L.A. at eleven 
	o'clock.

Serrano excuses himself from the group.

INT. L. A. FBI OFFICE - NIGHT

A long hallway. Mosely strides with determination. Steel-
rimmed sunglasses hanging from his breast pocket. In his 
wake, Perry, Tuttle and Plumides struggle to keep up. Tuttle 
just has to ask.

			TUTTLE
	How did Walsh find him so fast?

Plumides winces and gestures to Tuttle to keep quiet before 
further enraging Mosely. They all move for the door.

INT. 747 - NIGHT

Walsh and the Duke enter the first-class section. Walsh 
smiles, already spending his money. They are directed to 
their seats. Walsh eases back in his spacious seat. Stretching 
out, he takes full advantage of the legroom. The Duke, of 
course, sits next to him, looking nervous.

			WALSH
	First class is nice. I could make a 
	habit out of this. America. What a 
	country? Huh?

The STEWARDESS approaches.

			STEWARDESS
	Good evening, gentlemen.

			WALSH
	Good evening to you.

She hands them menus.

			STEWARDESS
	Would you gentlemen like something 
	to drink once we're in the air?

			WALSH
	We'd like your best champagne.

She leaves. Walsh enthusiastically studies the menu.

			WALSH
		(To the Duke)
	I'm gonna have the steak. How about 
	you, John?

			THE DUKE
	I'm not hungry.

			WALSH
	Well, then, get the lobster so I can 
	get a little surf-and-turf action 
	goin'.

Walsh happily straps himself in. The Duke is not doing well. 
Walsh straps the Duke in.

EXT. 747 - NIGHT

The jet pulls away from the jetway.

INT. 747 - NIGHT

The Duke is sweating.

			WALSH
	Enjoy the ride.

			THE DUKE
	I'm not going to make it.

The Duke grabs the STEWARDESS. Unstraps himself.

			THE DUKE
	I can't go through with this.

			STEWARDESS
	Sir, you'll have to sit down. We're 
	taxiing.

The ENGINES increase. ROAR. People turn. Start watching the 
unfolding scene.

			THE DUKE
	I will not sit down! This is MY LIFE!

Walsh gets up. Tries to calm the situation down.

			WALSH
	Stewardess, relax. This man's my 
	prisoner and I'm taking him back to 
	Los Angeles.

The Duke regresses. Sounds more and more like a child.

			THE DUKE
	I'm getting claustrophobic. I can't 
	take it. I've got this recurring 
	nightmare, where I feel as if I'm 
	losing control. And this feels the 
	same way.

			WALSH
	You're right. You're not in control. 
	I'm in control. Now sit down!

			THE DUKE
		(To Stewardess)
	How long is this flight?

			STEWARDESS
	We should be in Los Angeles in just 
	over five hours.

			THE DUKE
		(Losing it)
	Should? Should be in Los Angeles? 
	That means you're not sure! If you 
	were sure, you'd say we'd be in Los 
	Angeles in just over five hours.

The Stewardess backs away from the situation and moves up 
the aisle. She enters the cockpit.

			WALSH
		(Grabbing the Duke)
	Alright. Enough. Now sit down!

			THE DUKE
		(Having a tantrum)
	I'm in a casket and they've buried 
	me alive! I'm in a casket and they've 
	buried me alive! I can't get out! I 
	can't get out! I can't breathe!

The Duke breaks free. Turns.

			THE DUKE
	You can't do it. You can't make me 
	fly. I'll go back to Los Angeles 
	with you, but you can't make me fly!

EXT. 747 - NIGHT

The ENGINES DIE. The plane stops.

INT. 747 - NIGHT

The CAPTAIN appears from the cockpit moving down the aisle.

			CAPTAIN
	Alright, everyone. Just calm down.

			WALSH
		(Flashing badge)
	Alonzo Mosely, FBI.

			CAPTAIN
	You can't take a prisoner aboard an 
	airplane if he doesn't want to fly. 
	You should know that.

			WALSH
	I do. I'm sorry. I thought he was 
	bluffing. Let's forget the whole 
	thing.

			CAPTAIN
	I suggest you find some other mode 
	of transportation.

Walsh nods. Closes his eyes. Hates what's coming next.

INT. GRAND CENTRAL STATION - NIGHT

The P.A. system echoes forth departure times. COMMUTERS run 
for trains. Some BUMS hang out at a news-stand while others 
sleep on benches. Walsh strides through the crowd with the 
Duke in tow. He notices a slight smile on his face.

			WALSH
	What the fuck are you smiling at?

			THE DUKE
	I love to travel by train.

			WALSH
	What do you think this is, the class 
	trip?

			THE DUKE
	Are you always this angry?

			WALSH
	I'm in a great mood right now. You 
	wait until I've been cooped up on 
	this thing for awhile. You'll be 
	running for that jail cell.

INT. UNDERGROUND TRAIN PLATFORM - NIGHT

Packed with PASSENGERS and PORTERS. The Lake Shore Limited 
is on the platform.

			THE DUKE
	Are you still going to make your 
	deadline, Jack?

			WALSH
	With fourteen hours to spare.

Walsh shoves the Duke onto the train.

INT. HALL OF SLEEPING CAR - NIGHT

Walsh and the Duke follow MILES, the porter. Walsh blocks 
Miles' view of the cuffs.

			MILES
		(With passenger list)
	You are?

			WALSH
	Jack Walsh.

			MILES
		(To the Duke)
	And?

			WALSH
	Guest.

			MILES
	This way, gentlemen.

INT. SLEEPING COMPARTMENT - NIGHT

Miles leads Walsh and the Duke to a small sleeping 
compartment. Two bunk beds. Miles leaves. Walsh unlocks his 
side of the handcuffs and opens the bathroom door.

			THE DUKE
	You know, Jack, it really shows me 
	that you're a quality human being 
	for not forcing me to fly against my 
	will.

Walsh cuffs the Duke to the handicap railing and SLAMS the 
bathroom door.

INT. UNDERGROUND TRAIN PLATFORM - NIGHT

The Lake Shore Limited lurches to a start. Picking up speed, 
it begins its journey west.

INT. LOS ANGELES AMERICAN AIRLINES TERMINAL - NIGHT

As the PASSENGERS start to deplane, several HITMEN, scattered 
about the terminal, scan each face looking for the Duke. As 
the crowd grows thinner, they exchange puzzled glances. As 
it becomes apparent Walsh and the Duke are not on this plane, 
Mosely and his men appear, as if out of nowhere. Perry flashes 
his I.D. at the Flight Attendant as the Agents board. The 
Hitmen shoot glances back and forth, reading the situation 
clearly.

INT. COCKPIT OF PLANE - NIGHT

Mosely and Perry stand in front of the Captain.

			MOSELY
	Inspector Mosely, FBI.

			CAPTAIN
	Mosely? Are all you guys named Mosely?

			MOSELY
	What are you talking about?

			CAPTAIN
	You're here to pick up a prisoner, 
	right?

			MOSELY
	How'd you know that?

			CAPTAIN
	He was afraid to fly so he got off 
	the plane. He left with an Agent 
	Mosely.

Once again, Tuttle needlessly expounds on the obvious.

			TUTTLE
	Sir, that must mean that Walsh has 
	your identification.

Mosely can barely contain himself.

INT. SERRANO'S PENTHOUSE - NIGHT

The Las Vegas skyline twinkles outside floor-to-ceiling 
windows. Serrano is on the phone speaking with restrained 
rage.

			SERRANO
	I thought you said he was going to 
	be on that plane.

INT. MIDTOWN BAR - NIGHT

Tony is on the other end of the phone. Joey leans in, trying 
to hear what Serrano is saying. The closeness irritates Tony, 
who turns away.

			DARUVO
	That's the information we got.

INTERCUT SERRANO AND TONY

			SERRANO
	You listen to me. I want this 
	motherfucker's lights out. And you 
	better get more personally involved 
	and stop sending other people to do 
	your job.

			DARUVO
	You got it.

			SERRANO
	If you don't, I'll stab you right 
	through the heart with a fucking 
	pencil.

They hang up. Tony, relieved to be off of the phone, turns 
to Joey.

			DARUVO
	What did I tell you? It's going to 
	be our ass.

EXT. TRAIN - NIGHT

The Lake Shore Limited thunders past, into the night.

INT. SLEEPING COMPARTMENT - NIGHT

Walsh lies on the bed, writing on a pad. The Duke's voice 
can be heard from the bathroom.

			THE DUKE (O.S.)
	Jack...

Walsh ignores him.

			THE DUKE (O.S.)
	Jack...

Walsh tries to shut him out.

			THE DUKE (O.S.)
	Jack...

			WALSH
	What the fuck do you want!

			THE DUKE (O.S.)
	I told you I was claustrophobic.
		(Beat)
	Jack, I know you're upset with me 
	but it's stuffy in here. Come on, 
	Jack, what do you think I'm going to 
	do? Jump off a train going ninety 
	miles an hour?

Walsh finally gets up and opens the bathroom door. Uncuffs 
the Duke. Leads him over to the second bed. Cuffs him to 
that. Walsh sits back on his bed and continues his writing.

			THE DUKE
	Thank you, Jack.
		(Beat)
	What are you doing?

			WALSH
	Arithmetic.

			THE DUKE
	Maybe I can help you. I am an 
	accountant.

			WALSH
	Well, I was thinking. After I turn 
	your ass in and collect my money, I 
	want to open up a restaurant.

			THE DUKE
	How much is it, exactly, that you're 
	getting for me?

			WALSH
	A hundred thousand.

			THE DUKE
	Does that mean you'd let me go for a 
	hundred thousand?

			WALSH
	I never took a payoff in my life. 
	I'm not going to start now.

The Duke considers this for a second.

			THE DUKE
	A restaurant is a very tricky 
	investment, Jack. More than half of 
	them fail within the first year. As 
	an accountant, I would have to advise 
	you against it.

Walsh studies the Duke for a moment.

			THE DUKE
	What kind of restaurant were you 
	thinking about opening?

			WALSH
	A family restaurant.

			THE DUKE
	Why a family restaurant? Do you have 
	a family, or did they break the law 
	and you took them in, too? I'm sorry, 
	Jack. That was uncalled for.

INT. MOSCONE'S OFFICE - NIGHT

A cigarette butt dangling from his lips, Moscone looks at 
his watch. He turns to Jerry.

			MOSCONE
	How the hell could he miss that plane? 
	He called from the goddamn airport.
		(Puts out cigarette)
	Look at this. I'm smokin' again. Get 
	Dorfler on the phone. See if he's 
	still in Pittsburgh.

Jerry reaches for the phone.

INT. PITTSBURGH MOTEL - NIGHT

A cheap room. Lit only by glow of the TV set. Eating junk 
food, Marvin Dorfler sits on the bed watching ROBIN LEACH 
wax euphoric about the French Riviera. Nearby, we can make 
out a thin, wired PITTSBURGH THUG, handcuffed to a radiator.

			PITTSBURGH THUG
	Could I at least have a french fry?

			DORFLER
	I told you, no. Shut up!

The phone RINGS. Dorfler picks it up.

INTERCUT DORFLER AND MOSCONE'S OFFICE

			JERRY
	Marvin. Hang on a second.
		(Calling out)
	Eddie, I got him.

Moscone picks up the phone.

			MOSCONE
	Marvin. I got a job for you. Big 
	money. I gave it to Walsh, but he's 
	fuckin' it up.

			DORFLER
	Well, I don't know why you keep hirin' 
	that guy.

			MOSCONE
	I know, Marvin. You're right. You're 
	the best. You always come through 
	for me. So, here's the job.

			DORFLER
	I'm listenin'.

			MOSCONE
	You ever hear of the Duke?

			DORFLER
	No.

			MOSCONE
	Jonathan Mardukas. The Duke.

			DORFLER
	I never heard of him.

			MOSCONE
	That's okay, Marvin. It's not 
	important. What is important is that 
	you've got to find him and get him 
	back here as soon as possible. Last 
	I heard, Walsh had him in New York. 
	But I don't know where the hell he 
	is now. You pick him up, I'll pay 
	you exactly what I'm payin' Walsh.

			DORFLER
	What's that?

			MOSCONE
	Twenty-five thousand. But you got to 
	get him back by midnight, Friday.

RESUME DORFLER

			DORFLER
	Don't worry. I'll get him.

Dorfler hangs up.

			DORFLER
		(To thug)
	Hey, scumbag.

			PITTSBURGH THUG
	You talkin' to me?

			DORFLER
	No, the guy behind you. Today's your 
	lucky day.

			PITTSBURGH THUG
	How's that?

Dorfler glances into his little black book. Filled with dark 
tidbits. He picks up the phone. Dials.

			DORFLER
		(into phone)
	American Express? This is Jack Walsh. 
	Excuse me. John Wesley Walsh. I lost 
	my card. I wanna know the last place 
	I used it. Here's the card number.

Dorfler reads off the credit card number. It checks out.

			DORFLER
	The Amtrak office at Grand Central 
	Station?

Dorfler smiles. He's gotten what he needs.

			DORFLER
	Thank you very much. By the way. 
	Maybe we better cancel that card.

Dorfler hangs up and stands. Shoves all of his wrinkled 
belongings into a huge duffelbag. Grabs his .45 and heads 
for the door.

			PITTSBURGH THUG
	Where are you going?

			DORFLER
	I'll be back in a few minutes, jerk-
	off. Wait here.

EXT. MOTEL - NIGHT

Dorfler closes the door. Moves for his rent-a-car. Tosses 
the duffelbag inside. Climbs in. Starts the car. SPINS his 
wheels toward the Pittsburgh turnpike.

INT. DINING CAR - NIGHT

Walsh eats his fried chicken dinner. The Duke, hand-cuffed, 
struggles to lay out a row of vitamins.

			THE DUKE
	Jack, this is very difficult.

			WALSH
		(Re: vitamins)
	What are you, a drug addict?

			THE DUKE
	No, these are vitamins.

			WALSH
	You piss ninety percent of that out 
	of your system.

			THE DUKE
	I'm not going to discuss nutrition 
	with a man who eats deep-fried food 
	and smokes cigarettes. And by the 
	way, people who smoke should take 
	extra vitamin C. If you'd like, I 
	could outline a complete program for 
	you.

			WALSH
	Mail it to me from "C" Block.

			THE DUKE
	I don't think you're as mean as you 
	pretend to be. Why do you smoke? You 
	know it's not good for you.

			WALSH
	I don't think about it.

			THE DUKE
	Well, that's living in denial.

			WALSH
	I'm aware of that.

			THE DUKE
	That sounds kind of foolish. Don't 
	you think, Jack?

			WALSH
	No. Stealing fifteen million dollars 
	from Jimmy Serrano sounds foolish.

			THE DUKE
	I didn't think I'd get caught.

			WALSH
	That's living in denial.

			THE DUKE
	I'm aware of that.

			WALSH
	Oh, so you're aware of your behavior 
	but continue to do things that aren't 
	good for you? Sounds sort of foolish, 
	don't you think, John?

			THE DUKE
	What I did helped a lot of people.

			WALSH
	So, you pissed off a mafioso killer 
	just to be loved by a bunch of fucking 
	strangers. That makes a lot of sense.

			THE DUKE
	Jack, do you have a family?

			WALSH
	I don't like sharing the intimate 
	details of my life with strangers.

			THE DUKE
	How far is it going to go? I'll 
	probably be dead in a few days.

			WALSH
	How do you figure that?

			THE DUKE
	With what I know about Serrano and 
	his business, I won't last twenty-
	four hours in jail. You know that.

			WALSH
	I have an ex-wife and daughter living 
	in Chicago.

			THE DUKE
	Oh, are we going to stop off and see 
	them?

			WALSH
	I haven't seen either of them in 
	nine years.

			THE DUKE
	You haven't seen your wife and 
	daughter in nine years?

			WALSH
	What is there, an echo in here?

			THE DUKE
	Your job must have been tough on 
	them.

			WALSH
	I was a cop then.

			THE DUKE
	You were a cop in Chicago? You must 
	know all about Jimmy Serrano.

			WALSH
	Yeah, I even met him a couple of 
	times.

			THE DUKE
	Really? What's he like in person?

			WALSH
	You have a way of worming things out 
	of people that I don't like.

Walsh shoves his food aside. Walsh gets up. Leaves two bucks 
for a tip.

			THE DUKE
	Two dollars? Is that all you're going 
	to leave?

			WALSH
	It's fifteen percent.

			THE DUKE
	It's thirteen percent. Look at the 
	bill. I'm an accountant, I know about 
	these things.

Walsh turns. Fishes around in his jacket for his wallet again. 
Finds it. Turns. The Duke is gone. Walsh bolts for the exit.

INT. PASSENGER CAR - NIGHT

Walsh BURSTS into the car looking for the Duke. Spots him 
going through the door at the far end. Walsh runs down the 
aisle, shoving passengers aside as he chases after the Duke.

INT. SECTION BETWEEN CARS - NIGHT

The sliding door HISSES open. Walsh enters the compartment. 
The Duke has already opened the door to the outside. The 
night RAGES by. The Duke wants to jump. Hesitates. Locks 
eyes with Walsh in a panic. Walsh stops.

			WALSH
	What are ya gonna do? Jump out of a 
	train goin' ninety miles an hour?

The Duke looks at Walsh.

			WALSH
	Go ahead. I'll get off at the next 
	stop, scoop ya up and mail ya back 
	to L.A.

The Duke thinks it over. He can't do it. Walsh walks over. 
Shuts the door. Yanks the Duke back toward their compartment.

EXT. CLEVELAND, OHIO TRAIN STATION - NIGHT

The Lake Shore Limited ROARS to a lumbering stop. CONDUCTORS 
and PORTERS step off the train. PASSENGERS start to board 
and exit. We recognize one of them. It's Marvin Dorfler. 
Looking as if he ran all the way from Pittsburgh.

INT. COACH PASSENGER CAR - NIGHT

Dorfler boards. The car interior is dark. The CONDUCTOR 
punches Dorfler's ticket. Dorfler moves down the aisle. 
Scanning the CROWDS. Some asleep. COUPLES cuddled in seats. 
A SAILOR sleeping across two seats. Dorfler heads into the 
next car. The train begins moving.

INT. SLEEPER CAR - NIGHT

The train ROCKS with speed. Dorfler moves through the sliding 
door. He approaches Miles, the porter.

			MILES
	Trying to find your room?

			DORFLER
	Nah. I'm looking for Jack Walsh's. 
	He told me to meet him there.

			MILES
	Number four. Next car.

			DORFLER
	Thanks.

Dorfler moves down the hall to the next car

INT. HALL OF LAST SLEEPER CAR - NIGHT

Dorfler moves silently down the hall. Finds room four. The 
coast is clear. Tries Walsh's door. It's locked. He slips in 
a lock pick. He opens the door silently. Removes his .45.

INT. SLEEPING COMPARTMENT - NIGHT

Dorfler peeks in. Walsh is faintly snoring. A train ROARS by 
in the opposite direction. Walsh stirs in his sleep. Dorfler 
slowly moves to the bathroom. Opens the door. Finds the Duke. 
Dorfler gags him with his hand and points his .45 at him.

			DORFLER
	One word and you're dead.

Suddenly, Walsh's fist SMASHES into the side of Dorfler's 
head.

INT. HALL OF SLEEPER - NIGHT

Walsh and Dorfler BLAST into the hallway. Tumble to the floor. 
Walsh punches Dorfler. Dorfler's .45 skids along the carpet. 
Miles appears in the hall. Walsh scoops up the .45 and points 
it at Dorfler. Flashes the FBI badge at Miles.

			WALSH
	Alonzo Mosely, FBI.
		(To Dorfler)
	How'd you find out where I was?

Walsh yanks Dorfler up. Dorfler rubs his bruised head.

			DORFLER
	Fuck you, shitheel. I don't have to 
	answer you. You ruined my fuckin' 
	car.

			WALSH
		(To Miles)
	Radio ahead. I want the local police 
	at the next stop to place this man 
	under arrest.

Dorfler grins. Starts laughing.

			DORFLER
	What the hell are you talking about?

Walsh SLAMS Dorfler's head into the wall. He sags. Collapses. 
Kisses the carpet.

			WALSH
	That's enough outta you.
		(To Miles)
	Go ahead. Get on the horn. Call the 
	cops.

The Duke whispers to Walsh.

			THE DUKE
	Who is this guy?

			WALSH
	Another bounty hunter. Count your 
	blessings he's not taking you in.

INT. HALL OF FBI OFFICE - NIGHT

Perry hurries down the hall heading for Mosely's office. 
KNOCKS. Enters.

INT. MOSELY'S OFFICE - NIGHT

Walsh's belongings from the plane flight are scattered across 
his desk. Mosely looks out his window at the L.A. lights. He 
turns.

			MOSELY
	Good news or bad news?

			PERRY
	Mardukas and Walsh are on the Amtrak 
	headed to Los Angeles. Apparently, 
	another bounty hunter was arrested 
	after he tried to take Mardukas away.

			MOSELY
	I want the jet ready in 20 minutes.

EXT. SOUTH BEND, INDIANA TRAIN STATION - EARLY MORNING

The Lake Shore Limited ROARS into the station. Armed policemen 
line the platform. Marked and unmarked police cars are parked 
nearby. Mosely, Perry, Tuttle and plumides move across the 
platform as the train THUNDERS to a stop. They board.

INT. SLEEPER CAR - EARLY MORNING

Mosely approaches Miles. Flashes his badge. Backed by the 
other Feds.

			MOSELY
	Where's Jack Walsh?

			MILES
	He got off. With the other fella. 
	Two or three stops ago.
		(Leaning in)
	His real name's Mosely.

			MOSELY
		(Enraged)
	I'm Mosely!

INT. FREMONT, OHIO BUS STATION - EARLY MORNING

The Duke stands cuffed to Walsh, who jabs a number into a 
pay phone. A BUM works his way through the row of phones, 
checking the coin returns. He reaches across Walsh, checking 
his phone for change. Walsh EXPLODES.

			WALSH
	Get outta here! Can't you see I'm on 
	the phone!

The Bum backs off.

INT. MOSCONE'S OFFICE - NIGHT

Jerry is half-asleep. Watching an old movie on TV. Moscone 
is crashed out on a cot in his office. The phone rings. 
Moscone yells from his sleep.

			MOSCONE
	Get it!

			JERRY
		(Into phone)
	Eddie Moscone, bail bondsman.

INTERCUT WALSH AND MOSCONE'S OFFICE

			WALSH
	Jerry, give me Moscone.

The sound of Walsh's voice snaps Jerry awake. This is the 
call he's been waiting for.

			JERRY
	Jesus, Jack, where are you?

Moscone has already heard. He grabs the phone at his desk.

			MOSCONE
	Jack. Where the fuck are you?

INT. FBI VAN - NIGHT

The two agents with headphones snap awake.

			WALSH (V.O.)
	How the hell did Dorfler end up on 
	my ass? Did you put him on this, you 
	son-of-a-bitch?

			MOSCONE (V.O.)
	How could I put him on you? I don't 
	even know where the hell you are! 
	Jack, you still got the Duke or what?

INTERCUT WALSH AND MOSCONE

Jerry is on the other line. Listening to every word.

			WALSH
	Yeah, I got him.

The Duke reaches into his pocket and hands the bum a few 
dollars.

			MOSCONE
	Where the hell are you?

			WALSH
	Somewhere between Cleveland and 
	Toledo. We're about to get on a bus 
	to L.A.

INT. FBI VAN - NIGHT

The two agents lock eyes. One nods. They've gotten the 
information.

			MOSCONE
	A bus? What the hell are you doing, 
	Jack? Are you out of your mind?

The DISPATCHER announces the departure of their bus over the 
P.A.

			WALSH
	I can't get into it right now, Eddie. 
	I just wanted to let you know we're 
	on our way. The bus is leaving. I'll 
	talk to you later.

Walsh hangs up.

INT. MOSCONE'S OFFICE - NIGHT

Moscone lights a cigarette. Jerry picks up his jacket.

			MOSCONE
	What the hell is this guy doin'?

			JERRY
	I don't know, Eddie. You want me to 
	go get some donuts or something?

			MOSCONE
	What do I look like, a diabetic? And 
	where the hell is that goddamn 
	Dorfler?

			JERRY
	I don't know, Eddie. I think I'm 
	gonna step outside for some air.

Jerry turns. Moves quickly out of the office.

EXT. VIGNES STREET - NIGHT

Jerry hits the street. Trots for the pay phone at the corner. 
Passes the FBI van. Grabs the phone. Starts dialing.

INT. FBI VAN - NIGHT

Agent 1 watches Geisler through the rear window of the van.

INT. FREMONT, OHIO BUS STATION - EARLY MORNING

Walsh and the Duke stand at the ticket window.

			THE DUKE
	How's our schedule doing now, Jack?

			WALSH
	Don't worry. I'll get you there on 
	time.

A TICKET CLERK slides Walsh's credit card back to him.

			TICKET CLERK
	I'm sorry, sir, but this card has 
	been canceled.

			WALSH
	That's impossible.

			TICKET CLERK
	I double checked it. Sorry, I can't 
	accept it, sir.

Walsh digs into his pockets. It is apparent that he doesn't 
have enough money. He turns to the Duke.

			WALSH
	How much money you got?

			THE DUKE
	A lot.

Walsh digs into the Duke's pockets and comes up with a few 
bills.

			WALSH
	You call that a lot of money?

			THE DUKE
	I'm not the one who can't pay his 
	credit card bills.

Walsh finishes counting and slaps the money on the counter.

			WALSH
		(To Clerk)
	Just made it. Two tickets to L.A.

INT. HOLDING CELL OF ELYRIA POLICE STATION - DAY

Dorfler sits. Smoking cigarettes. A FEW LOCAL DETECTIVES 
nearby. Mosely enters with Tuttle and Plumides.

			DORFLER
	Who the fuck are you?

			MOSELY
	Mosely. FBI.

Dorfler panics.

			DORFLER
	Goddamnit! I didn't do anything!

			MOSELY
	Sit down. I just want to ask you 
	some questions.

Dorfler slides back into his seat. Mosely towers over him. 
Takes one of Dorfler's cigarettes. Lights it with Dorfler's 
lighter. Pockets the cigarettes.

			DORFLER
	Yeah, yeah. Help yourself.

Mosely lights it. Inhales. Blows a blue wad at Dorfler.

			MOSELY
	What do you know about Jack Walsh?

EXT. SERRANO'S PENTHOUSE BALCONY - DAWN

Serrano, in his silk robe. Sipping coffee, overlooking the 
city, desert and beyond. Neon against the desert dawn. Serrano 
is wired and loaded with adrenaline. The door-bell rings. 
Serrano, still locked in thought, heads inside.

INT. SERRANO'S PENTHOUSE - DOWN

Serrano crosses the room. A BODYGUARD is heading to open the 
door. Serrano reaches under his desk, pushing a button that 
unlocks the security door.

			SERRANO
		(To Bodyguard)
	I got it. Get outta here.

SID LYMAN, Serrano's attorney, enters.

			SERRANO
	What do you want, Sid?

			LYMAN
	I think you and I should talk. I 
	heard somebody picked Mardukas up in 
	New York.

			SERRANO
	Yeah, it's old news. I'm on it.

			LYMAN
	I don't have to tell you what will 
	happen if he becomes a government 
	witness.

			SERRANO
	That won't be the case.

			LYMAN
	I assumed you were taking that 
	position. I am supposed to advise 
	you against such acts.

			SERRANO
	Hey, Sid. Why don't you relax and 
	have a drink.
		(Looking at watch)
	It's all gonna be over in a couple 
	of minutes.

EXT. ELKHART, INDIANA SUBURBS - DAY

The Greyhound bus speeds by.

INT. GREYHOUND BUS - DAY

Walsh and the Duke sit toward the back. While Walsh tries to 
sleep, the Duke is wide awake.

			THE DUKE
	You know, the way you spoke to that 
	homeless man back there in the bus 
	station was a perfect example of 
	misdirected anger. You should learn 
	to focus on what is really hurting 
	you and work on that.

Walsh tries to ignore him.

			THE DUKE
	Can I ask why it is you haven't seen 
	your wife and daughter in nine years?

			WALSH
	My ex-wife got married to a police 
	captain and I'm not very popular 
	with the Chicago Police Department.

			THE DUKE
	Why aren't you popular with the 
	Chicago Police Department?

			WALSH
	Do we know each other?

			THE DUKE
	Did you do something wrong?

			WALSH
	That doesn't concern you.

			THE DUKE
	Are you hurt?

			WALSH
	No.

			THE DUKE
	I'm sorry.

			WALSH
	What are you sorry about?

			THE DUKE
	I asked if you were hurt and you 
	said you were sorry.

			WALSH
	I didn't say I was sorry. You said I 
	was sorry. You're starting to put 
	words in my mouth.

			THE DUKE
	You're a grown man. You have control 
	of your own words.

			WALSH
	You goddamn right I do. So, here 
	come two words for you. Shut the 
	fuck up!

INT. HOLDING CELL OF ELYRIA POLICE STATION - DAY

Perry enters. Motions quickly to Mosely. Mosely moves to 
Perry in the doorway. They talk quietly.

			PERRY
	Walsh called Moscone about a half 
	hour ago from outside of Toledo. 
	He's on a Greyhound bus headed for 
	Chicago.

			MOSELY
	Let's go.

They head for the door. A LOCAL DETECTIVE calls after him, 
motioning at Dorfler.

			LOCAL DETECTIVE
	Inspector. What do we do with this 
	guy?

			MOSELY
	Let him go.

Mosely moves out. Dorfler grabs his jacket. Turns to the 
local detective.

			DORFLER
	Son of a bitch took my cigarettes...

EXT. GARY, INDIANA GREYHOUND BUS STATION - DAY

A few cars scattered in the lot. A black Chrysler is parked 
toward the back end.

INT. CHRYSLER - DAY

Tony sits at the wheel. Smoking. He looks annoyed. Joey plays 
with a tassel that hangs from the rearview mirror.

			DARUVO
	What's wrong with you? Do you have 
	to touch everything? That's fuckin' 
	annoying.

Joey glances out at the platform. A GUY casually smokes a 
cigarette. ANOTHER reads a magazine. More GUYS can be seen 
in the terminal. It's another group of HITMEN. A SNIPER waits 
on a rooftop.

			JOEY
	Do you think we'll get 'em?

			DARUVO
	Fuck. They can't all miss.

EXT. GARY, INDIANA GREYHOUND BUS STATION - DAY

The bus swings into the terminal and HISSES to a stop. The 
door opens.

EXT. ROOFTOP - DAY

Through the sniper's cross-hairs, we see PASSENGERS beginning 
to file off of the bus.

INT. BUS - DAY

The Duke looks out the window, then turns to Walsh.

			THE DUKE
	Can I stretch my legs?

			WALSH
	Yeah, if you can do it sitting down.

			THE DUKE
	C'mon, Jack. We're going to be stuck 
	on this thing for a couple of days.

Walsh gives in. The two of them start down the aisle. Just 
as they are about to step off the bus...

EXT. PARKING LOT - DAY

From out of nowhere Federal cars swing up. Surrounding the 
bus. Mosely's car swings in. SLAMS its brakes. He gets out 
and heads the pack that approaches the bus.

INT. CHRYSLER - DAY

Tony and Joey's jaws drop.

			DARUVO
	Who the hell are these guys?

			JOEY
	They with us?

			DARUVO
	It's the fuckin' Feds.

EXT. GREYHOUND BUS - DAY

Neither Walsh nor the Duke have time to react. Perry SLAMS 
Walsh against the bus. Tuttle and Plumides SLAM the Duke 
against the bus. More FEDS surround them. LOCAL COPS appear. 
Both Walsh and the Duke are forced into the stressed spread-
eagle position. Mosely appears. Locks eyes with the Duke.

			MOSELY
	You and I have a lot of talking to 
	do.

Mosely puts on his sunglasses for effect. Looks at Walsh.

			MOSELY
	Remember me?

			WALSH
	Oh, yeah. Agent Foster Grant. Hey, 
	Alonzo, aren't ya gonna thank me for 
	doing your job for ya?

			MOSELY
	Thanks, Walsh.

EXT. ROOFTOP - DAY

Suddenly, the sniper takes aim and FIRES at the Duke.

EXT. GREYHOUND BUS - DAY

He misses, hitting the side of the bus. Mosely swings out 
his .38. The sniper fires again. Hits a local cop. People 
SCREAM. Run. Hit the deck. Perry. Tuttle. Plumides. All pull 
out their pieces. More GUNFIRE. The hitman with the magazine 
FIRES. Walsh forces the Duke to the pavement. Bullets BLAST 
the windows of the Greyhound. More SCREAMS. The hitmen from 
the terminal are now on the platform. FIRING. Bullets SCREAM 
all around the Duke and Walsh. The hitman with the magazine 
keeps FIRING. Perry OPENS FIRE. The hitman sails over the 
railing. Mosely fixes on the sniper.

			MOSELY
	Freeze!

The sniper turns to fire. Mosely BLOWS the sniper off the 
roof.

INT. CHRYSLER - DAY

Watching from a distance.

			DARUVO
	Fuck this.

			JOEY
	Yeah, hit it.

EXT. PARKING LOT - DAY

Tony GUNS the Chrysler away.

EXT. FBI CAR - DAY

Amidst the crossfire, Walsh and the Duke crawl up to the 
first car they can find. Sneak inside.

INT. FBI CAR - DAY

The keys dangle in the ignition. Walsh shoves the Duke across 
to the passenger seat.

EXT. PARKING LOT - DAY

Walsh SLAMS the door. STARTS the car. GUNS it away.

INT. FBI CAR - DAY

The Duke is near hysterics.

			THE DUKE
	Oh, God! Oh, my God! Let me go.

			WALSH
	Shut up! Shut the fuck up!

			THE DUKE
	What was that? Why would they shoot 
	at us like that?

			WALSH
	Those were Serrano's people. He's 
	not even waiting until you get to 
	jail.

The Duke picks up a clipboard. He starts to read it.

			THE DUKE
	Alonzo Mosely? Isn't that the name 
	you've been using?

			WALSH
	Give me that.

Walsh yanks it away. Reading as he drives.

			WALSH
	Isn't that nice. This is Mosely's 
	car.

			THE DUKE
	If you want to turn me in, why are 
	you running away from the FBI?

			WALSH
	I only get my money when I deliver 
	you to L.A., not to the Feds
		(Re: clipboard)
	Goddamnit. They've got a wiretap on 
	Moscone's phone line.

EXT. ROAD - DAY

Walsh turns off the road. A police chopper ROARS by. Heading 
for the bus station.

INT. FBI CAR - DAY

			WALSH
	We're not gonna get too far in a 
	stolen FBI car.

As they both get out, Walsh reaches into his pocket. Removes 
his sunglasses and sets them on the steering wheel.

			THE DUKE
	What's that for?

			WALSH
	It's an inside joke between me and 
	Alonzo.

EXT. AM/PM MINI-MART - DAY

Tony and Joey are at a pay phone. Joey polishing off a box 
of Cracker Jack. He TAPS the bottom of the box to get the 
crumbs.

			DARUVO
	Sorry, Jimmy, it didn't happen.

INT. SERRANO'S PENTHOUSE - DAY

Serrano is on the other end of the line, using the speaker 
box. Lyman sits at the bar, nervously sipping a drink.

INTERCUT SERRANO AND TONY

			SERRANO
	What was that again?

			DARUVO
	It didn't happen. There were about 
	thirty Feds there, along with local 
	heat. A lot of heads got popped.

Lyman paces. Nervous. Shakes his head.

			LYMAN
	You better get off the line, Jimmy.

			SERRANO
	Shut up.

			LYMAN
	If they've got a tap...

			SERRANO
		(Exploding)
	I said shut up!
		(Into phone)
	Where's Mardukas? In custody?

Joey fishes the prize out of the Cracker Jack box. Opens it. 
It's a whistle. Begins BLOWING it, annoyingly.

			DARUVO
	I don't know. There was so much 
	commotion, I don't know.

Joey BLOWS his whistle again.

			DARUVO
		(Covering phone)
	Will you knock it off!

			SERRANO
	Let me make it simple for you guys. 
	I am not to get another phone call 
	like this. If I do? I'll blowtorch 
	the both of yuz.

Serrano hangs up, then suddenly knocks the speaker box off 
the table.

			SERRANO
	Should've killed that son-of-a-bitch 
	Walsh back in Chicago.

EXT. GAIL BROONER'S HOUSE - DAY

Walsh climbs out of a cab with the Duke. Middle-class homes. 
Manicured lawns. Hands his last dollar bills over to the CAB 
DRIVER. The cab pulls away.

			WALSH
	I can't believe this. I haven't seen 
	them for nine years and the first 
	thing out of my mouth is gonna be 
	"can I borrow a few hundred bucks?"

			THE DUKE
	I have a feeling that this is going 
	to be very good for you.

They move toward the house. This is the first time Walsh 
appears unsure of himself. Slightly unkempt from the journey, 
he makes a feeble attempt to straighten out his hair and 
clothing. The Duke lends a hand, fixing Walsh's collar and 
adjusting a loose lock of hair.

			THE DUKE
	You look great.

Walsh RINGS the doorbell. They wait in expectant silence. 
Seven-year-old JASON opens the door and looks at Walsh and 
the Duke.

			JASON
	Who are you guys?

			WALSH
	I'm your mother's ex-husband.

Jason SLAMS the door.

			JASON (O.S.)
	Mom!

			THE DUKE
	Nice kid.

The door opens revealing GAIL BROONER. Very attractive. She 
stares at Walsh.

			GAIL
	Jack...

			WALSH
	Hi, Gail.

The Duke watches the strained exchange.

			GAIL
	They mentioned you and him on the 
	news this morning. Are you alright?

Walsh looks at her deeply. With desperate eyes.

			WALSH
	Can I come in for a few minutes?

She nods. Walsh and the Duke enter the house.

INT. GAIL BROONER'S HOUSE - DAY

They enter the foyer.

			GAIL
	You're in a lot of trouble. Did you 
	impersonate an FBI agent?

			WALSH
	Gail, I won't stay long. I need some 
	money to get to L.A. You know I'm 
	good for it.

Walsh feels shame. Fear. Confusion.

			WALSH
	I'm so embarrassed. I'm just in a 
	jam.
		(Smiles)
	You look so beautiful.

Gail bites her lip. Tears fill her eyes. She looks gorgeous. 
Meanwhile, Jason has been studying the Duke.

			JASON
	You don't look much like a criminal.

			THE DUKE
	I'm a white-collar criminal.

			GAIL
	Jack, you shouldn't be here. If Ted 
	comes home, he'll arrest you. And 
	him.

			WALSH
	Arrest us?
		(To the Duke)
	Then we'd really be in trouble, 'cause 
	I'm a little short on bribe money.

			GAIL
	Jack, don't start, please. Today's 
	not a good day for this.

			THE DUKE
	Yeah, Jack. Don't start.

			WALSH
	I'm sorry my fugitive timetable 
	doesn't coincide with your social 
	calendar.

			THE DUKE
	I don't think she was saying that, 
	Jack.

			WALSH
	Stay out of this, John.

			GAIL
	Same old Jack. Gets his feelings 
	hurt and tries to hurt everyone around 
	him.

			WALSH
	Gail, the last thing I need now is 
	one of your lectures.

			GAIL
	I'm trying to protect you, stupid! 
	Ted's going to be home any minute. 
	Tonight's a very important night for 
	us. We're all going out.

			WALSH
	What's so special about tonight? 
	Wait. Let me guess.
		(A beat)
	Payoff night.

			GAIL
	That's enough!

			THE DUKE
	Alright, everyone, let's not fight.

			WALSH
	I'm in a big fuckin' jam. I just 
	need some money. All I've got to do 
	is just get this guy to L.A. and I'm 
	out of this miserable business 
	forever.

Walsh's 15-year-old daughter, DENISE BROONER, appears in the 
doorway. A vision. Walsh turns with a lump in his throat. 
The Duke looks at her. At Walsh. Emotions fly through the 
room. Walsh can barely speak.

			WALSH
	Hi.
		(Clears his throat)
	Hi, Denise.

Denise floats across the room. Approaches her haggard father. 
Looks into his eyes. Holds him tight. Gail fights tears. 
Loses. Tears roll down her face. Walsh hugs Denise as tight 
as he can. Still cuffed to the Duke, he drags the reminder 
of who he is.

			DENISE
	Hi, Daddy.

			WALSH
	You're so grown-up.

They break their embrace. He looks into Denise's eyes.

			WALSH
	That's all I wanted to do. Just hold 
	you for a minute.

Walsh turns to Gail.

			WALSH
	I'll go now.
		(A beat)
	I'm sorry.

			GAIL
	Hang on.

She disappears into the kitchen. Walsh looks at the Duke. 
Gail comes back with cash and car keys. Hands them to Walsh.

			GAIL
	I only have forty dollars but you 
	can take my car if you want. I'll 
	tell Ted it's in the shop. We'll 
	worry about it after you get to L.A.

Walsh slowly takes the keys.

			WALSH
	Does he take good care of you?

Gail nods affirmatively.

			WALSH
	That's all I want to know.
		(A beat)
	What will he say about this?

			GAIL
	He'll understand.

Walsh looks at her. There's so much distance. So much time. 
So much unsaid. He nods.

			WALSH
	That's love.

EXT. GAIL BROONER'S DRIVEWAY - DAY

Walsh exits the house and cuffs the Duke inside the LTD. 
Denise follows, approaching her father. She has a stack of 
bills in her hands.

			DENISE
	It isn't much. About a hundred and 
	eighty dollars. Baby-sitting money. 
	Take it.

			WALSH
	I can't do that, sweetheart.

			DENISE
	Please...
		(A beat)
	Daddy.

Walsh looks at her. There's so much to say. No time. He takes 
the money. Nods. Gets into the LTD. Pulls out quickly. Denise 
remains on the lawn, watching them descend into the distance.

INT. LTD - DAY

Walsh is silent, watching his daughter fade from sight in 
the rearview mirror.

			THE DUKE
	You have a beautiful daughter, Jack.

			WALSH
	I'd just like to be quiet for a while.

Walsh continues to drive. Then, out of nowhere, pulls a U-
turn.

EXT. STREET - DAY

The LTD SWINGS completely around. Heading back the way it 
came.

EXT. GAIL BROONER'S HOUSE - DAY

Denise watches the LTD returning. Suddenly, from behind her, 
her stepfather, Gail's husband, TED BROONER, pulls his car 
into the driveway.

INT. LTD - DAY

Still at a distance, Walsh slows to a stop. He watches the 
sad sight. All of what he could have been. Ted, well dressed 
and unaware of Walsh's presence, puts his arm around Denise, 
leading her back to the house. Just before she disappears 
inside the doorway, she turns, giving her real father a 
farewell glance. Walsh, in a trance, watches the door close. 
The Duke sits quietly. With a start, Walsh drives up to the 
house. He gets out of the car.

EXT. GAIL BROONER'S HOUSE - DAY

Walsh crosses the lawn. Approaches the front door. Out of 
his pocket, he takes the money that Denise gave him. Puts it 
in the mailbox. He turns and heads back to the LTD. Drives 
off.

EXT. PHONE BOOTH - NIGHT

Highway traffic roars in the background. Walsh, wrestling 
with a road map, punches in a telephone number. The Duke 
cuffed alongside of him.

INT. MOSCONE'S OFFICE - DAY

Jerry grabs the RINGING phone.

			JERRY
		(Into phone)
	Eddie Moscone, bail bondsman.

INTERCUT WALSH AND MOSCONE'S OFFICE WALSH

			WALSH
	Jerry, Jack. Give me Moscone.

Jerry is nervous. He keeps feeding the mob bad information. 
He SHOUTS at Moscone's cubicle.

			JERRY
	Hey, Eddie, it's Jack.

Jerry listens in.

INT. FBI VAN - DAY

The two agents snap awake.

INT. MOSCONE'S OFFICE - DAY

Moscone is in the middle of a rap with a lawyer and a 
criminal. He cuts them off with a wave. Grabs the phone.

			MOSCONE
	Jack. Where are you?

			WALSH
	I'm in Boise, Idaho.

INT. FBI VAN - DAY

The agents start writing.

			WALSH (V.O.)
	No, wait a minute. I'm in Casper, 
	Wyoming.
		(A beat)
	No, wait. I'm in Anchorage, Alaska. 
	I'm in the lobby of a Howard 
	Johnson's. I'm wearing a pink 
	carnation.

The agents lock eyes with confusion.

INT. MOSCONE'S OFFICE - DAY

			MOSCONE
	What the hell are you talkin' about?

			WALSH
	I'm not talkin' to you. I'm talkin' 
	to the other guys.

			MOSCONE
	What other guys?

			WALSH
	Let me describe the scene to you.

INT. FBI VAN - DAY

The four agents listen.

			WALSH (V.O.)
	There's these guys, see? They've 
	probably been up for two days. So, 
	they stink of B.O., have coffee 
	breath, and they're constipated and 
	have hemorrhoids from sitting on 
	their asses for so long.

The agents shift nervously. One looks at his thermos coffee 
cup.

INT. MOSCONE'S OFFICE - DAY

			WALSH (V.O.)
	They're sitting in a van. Probably 
	parked up the street from your office.

Moscone takes the phone over to the window. Parts the blinds. 
Spots the van on the corner.

EXT. PHONE BOOTH - NIGHT

			WALSH
	But now they're gonna have to pack 
	up all their shit and go home, because 
	I'm onto them! You dumb fucks! I'm 
	not usin' this line anymore!

INT. FBI VAN - DAY

The agents lock eyes realizing they've been had.

INTERCUT WALSH AND MOSCONE

			WALSH
	Hey, Eddie.

			MOSCONE
	Yeah, Jack.

			WALSH
	Go to Denny's. I'll call you in five 
	minutes. They can't run a tap that 
	fast.

			MOSCONE
	Right.

			WALSH
		(To agents)
	So long, everybody.

INT. DENNY'S RESTAURANT - DAY

The phone RINGS. The MANAGER takes it. Hands it to Moscone, 
who leans next to the register.

			MOSCONE
		(Into phone)
	Jack?

INTERCUT WALSH AND MOSCONE

			WALSH
	I need you to wire me five hundred 
	to the Western Union Office in 
	Amarillo, Texas.

			MOSCONE
	What do you need with five hundred 
	on a bus? And why the hell aren't 
	you on a plane?

			WALSH
	Did it ever occur to you that I am a 
	professional and that I might have 
	my reasons? We're driving now and I 
	only have enough cash to get me to 
	Amarillo. We had to scrap the bus.

			MOSCONE
		(Starting to yell)
	Fuck the bus, I'd like to know what 
	happened to the goddamn plane?

			WALSH
	He doesn't like to fly.

			MOSCONE
		(Exploding)
	He doesn't like to fly!?! What the 
	fuck does that mean!?! You have to 
	be back here in less than two and a 
	half days. What the fuck are you 
	doing out there, Jack?

			WALSH
	Eddie, I swear to God, don't start 
	with me now or I'll shoot him and 
	dump him in the swamp.

Walsh shakes his head to the Duke.

			WALSH
	I'm in no fuckin' mood for this. 
	Just send me the money and I'll have 
	him back by the deadline.

INT. MOSCONE'S OFFICE - DAY

Moscone enters. Approaches Jerry.

			MOSCONE
	Hey, Jerry, wire five hundred dollars 
	to Walsh in Amarillo, Texas.

Jerry nods. Moscone walks a few steps. Turns.

			MOSCONE
	And maybe you ought to see if you 
	can't get Dorfler down there, too.

EXT. VIGNES STREET - DAY

Once again, Jerry trots for his phone booth.

INT. FBI VAN - DAY

For the second time, AGENT 1 watches Geisler through the 
rear window of the van.

			AGENT 1
		(To Agent 2)
	Let's run a tap on that phone booth. 
	Something's going on here.

EXT. OKLAHOMA - NIGHT

The LTD continues its journey west.

INT. LTD - NIGHT

Walsh and the Duke sit quietly. After a few moments, the 
Duke starts to sing softly.

			THE DUKE
	Ninety-nine bottles of beer on the 
	wall, ninety-nine bottles of beer. 
	If one of those...

Walsh silences him with a look.

			THE DUKE
	What happened to you back in Chicago? 
	Your wife married a corrupt cop?

			WALSH
	They're all bad.

			THE DUKE
	There's good and bad everywhere, 
	don't you think?

			WALSH
	There's bad everywhere. Good? I don't 
	know about.

The Duke hits a nerve.

			THE DUKE
	What happened to you?

			WALSH
	I tried to bust this big-time dealer. 
	The guy practically supplied the 
	whole city with heroin. I got close 
	to him, gained his confidence. It 
	took me a year. Just as I was ready 
	to nail the son-of-a-bitch, 
	mysteriously, my fellow officers 
	discovered seven pounds of heroin in 
	my house. They gave me a choice. Get 
	on the payroll like everyone else, 
	get out of town, or go to jail for 
	30 years.

			THE DUKE
	So you left town?

			WALSH
	Yeah. And that's why I do this. When 
	I find a criminal, like yourself, I 
	bring him in. I don't have to worry 
	about anybody getting bribed or paid 
	off because there is no "anybody." 
	There's just me.

			THE DUKE
	So, I guess that means that any offer 
	I might make would be a waste of 
	time.

Walsh's silence confirms this.

			THE DUKE
	Let me ask you something. Do you 
	miss your wife and daughter?

			WALSH
	I don't think much about it.

			THE DUKE
	There's that denial thing again.

			WALSH
	I know in some twisted way you mean 
	well, but will you please stay out 
	of my personal life?

			THE DUKE
	You can't just avoid the things that 
	hurt you. You've got to attack them 
	head on. Sooner or later you're going 
	to have to take a "front row" approach 
	to life, Jack.

EXT. AMARILLO COFFEE SHOP - EARLY MORNING

The LTD rolls up to a coffee shop. Walsh and the Duke get 
out. Arching the kinks out of their backs, they head in.

INT. AMARILLO COFFEE SHOP - EARLY MORNING

Eggs and bacon sizzle lusciously on the hot griddle. A YOUNG 
RANCH HAND stuffs his mouth with a massive forkful of steaming 
hotcakes. Walsh and the Duke eye all this from their seats 
at the counter. A WAITRESS approaches.

			WAITRESS
	What can I do for you, boys?

			WALSH
	Two coffees.

			THE DUKE
	I'd prefer herbal tea.
		(To Walsh)
	As a bounty hunter, are you licensed 
	to starve your victims?

			WALSH
	In ten minutes we'll have five hundred 
	bucks. I'll buy ya a nice juicy steak.

			THE DUKE
	I don't eat meat. It's filled with 
	carcinogens and steroids.

			WALSH
	You know, you're a very smart guy, 
	John. You know everything about 
	everything. But you don't know enough 
	to stay out of other people's 
	business. If you had left Serrano 
	alone, none of this would be happening 
	to you.

			THE DUKE
	I had a way out of this, Jack!

			WALSH
	Oh, really.

			THE DUKE
	I was going to put all of Serrano's 
	records on computer diskettes as an 
	insurance policy. I figured I could 
	always trade it over in exchange for 
	my life if things got too rough.

			WALSH
	Why didn't you just leave him alone?

			THE DUKE
	Why didn't you just ignore corruption 
	in the police department?

			WALSH
	Because I couldn't live with myself, 
	that's why.

			THE DUKE
	That's how I felt, Jack. I wasn't 
	some mob accountant. I thought I 
	worked in a legitimate firm. When I 
	found out I was managing accounts 
	that were really fronts for Serrano, 
	I just couldn't sit back and do 
	nothing.

			WALSH
	So, you decided to take what didn't 
	belong to you.

			THE DUKE
	Jack, I gave practically all of it 
	to charity. How can you take the 
	side of a mobster?

			WALSH
	I'm not taking his side.

			THE DUKE
	You're taking his side, if you're 
	not taking mine.

			WALSH
	I'm not taking anybody's side. I've 
	got nothing to do with this.

Walsh checks his Timex.

			WALSH
	Time to go.

			THE DUKE
	Why do you wear that old watch?

			WALSH
	I'll tell you when I know you better.

Walsh cuffs the Duke and drags him toward the door.

INT. TONY AND JOEY'S CAR - DAY

Tony and Joey sit in their car just up the block from the 
Western Union office. Tony scans the street. Joey eats some 
chips and drinks a Coke.

			JOEY
	You know what we should get? One of 
	those little trays that you keep in 
	the car, so you don't spill food and 
	drinks all over the place.

EXT. AMARILLO STREET - DAY

Walsh and the Duke cross the street, heading for the Western 
Union office.

INT. TONY AND JOEY'S CAR - DAY

Tony spots them.

			DARUVO
	There they are.

Tony and Joey get out of the car.

EXT. AMARILLO STREET - DAY

Tony and Joey cross the street, guns in coats, approaching 
Walsh and the Duke. Walsh sees them. Freezes.

			DARUVO
	Don't fuckin' move asshole.
		(To Walsh)
	I don't wanna kill you.
		(To the Duke)
	I just want you.

The Duke is panic-stricken. From out of nowhere, Dorfler 
appears behind Tony and Joey, cocking his. 45.

			DORFLER
	Drop 'em.

Tony and Joey turn.

			DORFLER
	You heard me. Drop 'em.

Tony and Joey drop their guns.

			DORFLER
	Who the fuck are you guys?

			DARUVO
	Who the fuck are you?

Dorfler K.O.'s Tony with the butt of his. 45. Tony eats the 
pavement.

			JOEY
	You're dead. You know who you're 
	fuckin' with?

			DORFLER
	No. Why don't you tell me about it. 
	And make sure you speak into the 
	microphone.

On "microphone," Dorfler WHACKS the butt of his. 45 into 
Joey's mouth. Walsh and the Duke watch the scene.

			DORFLER
		(To Walsh)
	Give me the keys to the cuffs.

			WALSH
	Sure, Marvin.

Walsh takes out the keys and then tosses them into the sewer.

			WALSH
	Looks like a package deal to me, 
	Marvin.

			THE DUKE
	Front row, Jack!

			DORFLER
	Alright, both of you, come on.

EXT. ROAD OUTSIDE OF TOWN - DAY

Dorfler's car makes tracks through the Amarillo country-side.

INT. MARVIN DORFLER'S CAR - DAY

Dorfler at the wheel, the Duke in between him and Walsh. 
They are sandwiched into the front seat.

			DORFLER
	Who the hell were those guys?

			WALSH
	Oh, Marvin. You've done it this time.

			DORFLER
	What are you talking about?

			WALSH
	Those were hired killers back there.

			DORFLER
	Hired to kill who?

			WALSH
		(Re: the Duke)
	Hired to kill him.

			DORFLER
	Hired by who?

			WALSH
	Jimmy Serrano.

			DORFLER
	Oh, fuck! Why do they wanna kill 
	him?

			WALSH
	Marvin, don't ya read the newspapers?

			THE DUKE
	I can't take this.

			WALSH
	How the fuck did you know where we 
	were?

			THE DUKE
	I can't take this anymore.

			WALSH
	Shut up a minute.
		(To Dorfler)
	Did Moscone put you on this?

			DORFLER
	Of course Moscone put me on this.

			WALSH
	That no good son of a bitch. I got a 
	contract with him!

			DORFLER
	You got a contract?

			WALSH
	Yeah. I signed it on Monday.

			DORFLER
	He called me in Pittsburgh. He said 
	you were fuckin' this up.

			WALSH
	I'm not fuckin' this up.

			DORFLER
	You should of been in L.A. over two 
	days ago.

			WALSH
	Don't tell me how to do my goddamn 
	job. I'm half-thinkin' not to turn 
	him in just to watch Moscone go down 
	the toilet.

			THE DUKE
	That's an excellent thought.

INT. MARVIN DORFLER'S CAR - DAY

Circling once more, the chopper comes up behind them. M-16's 
open FIRE. BLOW OUT the back window.

			WALSH
	This is bullshit! We're sittin' ducks, 
	Marvin! Get off the fucking road.

INT. HELICOPTER - DAY

The three sharpshooters lean out. OPEN FIRE again.

EXT. BRIDGE - DAY

A bridge spans a huge gorge. ROARING rapids below. An eighteen-
wheel tractor trailer is approaching. So is the helicopter.

INT. DORFLER'S CAR - DAY

They are just about to enter the bridge. SWERVING. Ducking 
bullets. The Duke sees the oncoming truck.

			THE DUKE
	Look out!

Dorfler cuts the wheel.

EXT. BRIDGE - DAY

Dorfler misses the truck by a few feet. The chopper misses 
by inches. ROARS skyward. The truck nearly jackknifes trying 
to get out of the way. Dorfler swerves off of the road, just 
short of the bridge. SLAMS through the guardrailing.

EXT. GORGE - DAY

Dorfler's car SAILS down the steep embankment. SIDE-SWIPES 
huge rocks and trees. The brush and rocks in its path don't 
slow the car down.

INT. DORFLER'S CAR - DAY

The Duke SCREAMS. Walsh braces for the impact. Dorfler steers 
down the obstacle course of rocks and trees heading for the 
rapids.

			DORFLER
	Okay. Okay. I got it.

SIDESWIPES a tree. Keeps going.

			DORFLER
	Hang in. Relax. I've got it.

EXT. GORGE - DAY

The car SLAMS to a halt, wedging itself between two boulders, 
just a few feet from the edge of the rapids. The chopper 
swings around over the top of the bridge.

INT. DORFLER'S CAR - DAY

Dorfler's gun bounces to the floor. The Duke grabs it. Points 
it at Walsh and Dorfler.

			THE DUKE
	Nobody move.

Walsh grabs the gun out of the Duke's hand.

			WALSH
	Give me that.

Dorfler grabs the gun.

			DORFLER
	That's mine.

EXT. GORGE - DAY

The chopper roars overhead. Bullets EXPLODE around them. The 
doors are blocked by the boulders. Walsh, the Duke and Dorfler 
are forced to crawl out through the windows. Dive for cover. 
The chopper circles, then moves in for the kill.

INT. CHOPPER - DAY

The Sharpshooters take aim. Open FIRE.

EXT. GORGE - DAY

The bullets EXPLODE around Walsh, the Duke and Dorfler. The 
Duke falls, dragging Walsh with him. Dorfler FIRES at the 
helicopter with his .45. Walsh removes keys from his pocket 
and starts to uncuff the Duke.

			DORFLER
	I thought you threw those out.

			WALSH
	Always check the evidence, Marvin. 
	Those were car keys.

The Duke begins to smile.

			WALSH
		(To the Duke)
	They're not after me.

The Duke's smile vanishes.

			WALSH
	Just kiddin'.

Walsh climbs behind a group of boulders. Pulls out his .45. 
FIRES with Dorfler at the chopper.

INT. HELICOPTER - DAY

A bullet hits the glass bubble, EXPLODING it into the cockpit. 
The PILOT swings the chopper away.

EXT. GORGE - DAY

The chopper comes around for the kill again. The Duke tries 
to hide behind a huge boulder. Bullets EXPLODE all around 
him. He inches around the boulder, trying to keep it between 
him and the chopper. Each quickly changing directions to 
outsmart the other. A serious game of cat and mouse. The 
Duke loses his balance. He falls backwards into the rapids. 
Bullets SPRAY all around him. He disappears into the white-
water. Walsh is about to jump in after him but a hail of 
bullets forces him to stay put.

			WALSH
	Son of a bitch! Well, Marvin, there 
	goes a hundred grand.

			DORFLER
	A hundred? You're getting a hundred?

			WALSH
	Why? What was Moscone gonna pay you?

			DORFLER
	Twenty-five.

Walsh smiles. Bullets FIRE. They duck.

INT. HELICOPTER - DAY

One of the sharpshooters spots the Duke. Taps the Pilot. 
Points.

EXT. RAPIDS - DAY

Water ROARING. The Duke struggles to keep afloat in the 
nightmarish current. The chopper opens FIRE at him.

EXT. GORGE - DAY

Walsh sees the chopper's vulnerability. Its tail rotor.

			WALSH
	Marvin. Give me another clip!

			DORFLER
	What? I need it myself!

			WALSH
	Give me the fuckin' clip!

Dorfler hesitates. Looks at the chopper. To Walsh. Then tosses 
him the clip. Walsh jams it into his .45.

INT. HELICOPTER - DAY

The sharpshooters RIDDLE the water surrounding the Duke with 
GUNFIRE.

EXT. GORGE - DAY

Walsh moves along the bank. Gets a good solid line on the 
tail rotor. Crouches. Raises his arm. Sights in. Then smiles.

			WALSH
	Say good night, Gracie.

BLAM! BLAM! BLAM! BLAM! SMACK! The STING of metal hitting 
metal. The tail rotor EXPLODES.

INT. HELICOPTER - DAY

The joystick slips from the Pilot's hands.

			PILOT
	We're hit!

EXT. GORGE - DAY

With a deafening high-pitched whine, the chopper swings madly 
out of control. Dorfler drops his jaw. Can't believe it. 
Walsh grins. The chopper ROARS at them. They hit the deck. 
ROARS back into the sky and starts its deadly descent toward 
the wall of the gorge. Heads straight for it. SLAMS into it. 
EXPLODES into a FIREBALL. GUSHING FLAMES AND SHRAPNEL for a 
hundred yards.

			DORFLER
	Goddamn, Jack. You did it!

Walsh smiles, then points.

			WALSH
	Marvin, watch out!

Walsh punches Dorfler square in the jaw. Dorfler falls back, 
hitting the car. Walsh digs in Dorfler's pockets. Pulls out 
Dorfler's cuffs and keys. Cuffs him to the open car door and 
tosses the keys into the water. Dorfler is coming to.

			WALSH
	See you in L.A., Marvin!

Walsh dives into the rapids.

EXT. RAPIDS - DAY

The Duke, trying to swim, grabs for debris lodged between 
rocks. Stops. Unsurvivable white-water ROARS just ahead. 
Holding onto the debris for dear life, he pulls himself along. 
Slowly. Surely. Inches toward a boulder. Walsh comes bouncing 
down the rapids on the same path that the Duke has just taken. 
He sees the Duke pulling himself to safety. Walsh reaches 
out as he passes. Grabs for the same debris. SLAMS into it. 
Dislodges all of it. He and the Duke ROAR down the rapids 
together clinging to the same log. Moving into the white-
water.

			THE DUKE
	Goddamnit, I was almost safe!

They ride the log, holding on for dear life. A group of 
boulders are ahead. Water RUSHES between them. The log slams 
into the boulders, getting caught between two of them. Duke's 
back is against the current. Walsh is on the other side of 
the log. He's losing his grip. The rapids beyond invite death.

			WALSH
	I'm slipping! Give me your hand!

			THE DUKE
	Promise you'll let me go!

			WALSH
	Fuck you!

			THE DUKE
	Promise me!

			WALSH
	Fuck you!

			THE DUKE
	You're making it very hard for me to 
	do the right thing here, Jack.

			WALSH
		(Slipping)
	Alright! Alright! I'll let you go! I 
	promise.

The Duke reaches for Walsh. Grabs him. Together, they lunge 
for the boulder as the log breaks free, disappearing into a 
field of white. They climb to safety.

EXT. BANK - AFTERNOON

Drenched to the core. Exhausted. They crawl ashore.

			THE DUKE
	Where's Dorfler?

			WALSH
	He's watchin' the car. Thanks for 
	savin' me.

			THE DUKE
	Thanks for letting me go.

			WALSH
	I'll let you go, alright.
		(Cuffing him)
	The second you're in the L.A. County 
	Jail.

			THE DUKE
	I just saved your life!

			WALSH
		(Yanking up the Duke)
	Come on.

EXT. ROAD - DAY

Looking like shit, Walsh and the Duke walk slowly along the 
side of the rural road. A dilapidated pickup truck snakes 
toward them. Walsh uncuffs the Duke then waves it to a stop. 
BILLY, an overweight Indian, with a black ponytail and black 
cowboy hat, is at the wheel. Two other INDIANS are crammed 
in the front seat. FOUR more sit on the bed of the truck.

			WALSH
	How's it goin', gentlemen? Do you 
	think you can give me and my friend 
	a ride to the nearest town?

			BILLY
	Sure. Pile in.

EXT. GORGE - DAY

We recognize the bridge. It's where the chopper went down. A 
dozen police cars are on it. Several COPS lean over the side 
of the bridge. They watch a man SCREAMING in the gorge. 
Handcuffed to a car. Dorfler.

			DORFLER
	That's right! Down here! Get me the 
	fuck outta here!

INT. FBI OFFICE - DAY

Mosely sits alone, looking like he's been working long hours. 
Perry approaches, handing him a teletype page.

			PERRY
	This just came in.

			MOSELY
	Is it going to upset me?

			PERRY
	I think it's safe to say that.

EXT. MCCARRAN INTERNATIONAL AIRPORT, LAS VEGAS - DAY

Jets THUNDER overhead. Joey and Tony stand in front of the 
United terminal holding their luggage. With a handkerchief, 
Tony nurses a huge bruise on the side of his face from the 
whack of Dorfler's .45. Joey sports a fat lip. Serrano's 
black limousine pulls up. It feels angry. A CHAUFFEUR takes 
their bags. Tony and Joey reluctantly get inside.

INT. SERRANO'S LIMO - DAY

Serrano is in back. Also, Sid Lyman. They face Tony and Joey. 
The car moves quickly away from the terminal area. Serrano 
is livid.

			SERRANO
	What's the problem with you guys? 
	The guy's a fuckin' accountant!

			DARUVO
	It's been bad luck down the line. 
	Plus this guy, Walsh, is pretty good.

			SERRANO
	Well, if he's so fuckin' good, maybe 
	I should hire him to hit you.

			LYMAN
	Is any of this going to come back to 
	him?

			DARUVO
	No. None of it. We rented the chopper 
	through Detroit.

			JOEY
		(To Serrano)
	It's five times removed from you. So 
	you're clear of this. Don't worry.

			SERRANO
		(Exploding)
	I'm clear of shit! He's still out 
	there!
		(Yelling to Chauffeur)
	Pull the fuck over!
		(To Tony and Joey)
	Get out of the car!

			LYMAN
	Jimmy...

			SERRANO
	Shut up, Sid.
		(To Tony and Joey)
	Get the fuck out of the car!

The limo pulls to the side of the road. A confused Tony and 
Joey sheepishly exit.

			SERRANO
	I have no interest whatsoever in 
	seeing the two of you alive again 
	unless you have the accountant! You 
	understand?

EXT. LAS VEGAS ROADSIDE - DAY

The limo peels away, leaving Tony and Joey in the dust.

			JOEY
	How do we get our luggage back?

EXT. INDIAN RESERVATION - DAY

The middle of nowhere. Chickens scatter avoiding the pickup 
truck as it pulls up to a dilapidated general store. The 
Indians pile out. Other Indians sit on indoor furniture that 
has been left outside. An old crop duster is parked to one 
side of the general store. It catches the Duke's eye.

			BILLY
	This is the end of the ride.

Walsh stares at the sights.

			WALSH
	What the hell kind of town is this?

An OLD INDIAN WOMAN sits on the porch.

			THE DUKE
	Is there a bathroom in there I could 
	use?

She nods "yes." The Duke turns to Walsh.

			THE DUKE
	Is it alright, Jack?

			WALSH
	G'head.

The Duke disappears inside. Walsh studies the lonely landscape 
of old cars and shacks. In their native language, a few 
INDIANS sitting nearby are having a good laugh at the expense 
of Walsh's bedraggled appearance. Walsh does his best to 
ignore them. The sound of a large engine coming to life fills 
the air. Walsh, pacing along the porch, casually glances in 
the direction of the crop duster as it slowly starts to taxi 
away. His eyes widen as he realizes that the man in the open 
cockpit is the Duke. It appears that the Duke is not afraid 
of flying. The prop spins with life. The SOUND of the crop 
duster intensifies. Walsh can't believe how badly he's been 
taken. As the crop duster moves away, Walsh goes berserk.

			WALSH
	Fear of flying, you son of a bitch?

Walsh runs after the plane, sprinting the length of the 
reservation to catch up with the taxiing plane. The Duke 
swings it around for takeoff, now moving toward Walsh. As it 
moves past him, Walsh grabs onto the wing and hoists himself 
alongside the cockpit. The plane ROARS with life. He reaches 
for the Duke. The Duke tries to push Walsh off and maintain 
control at the same time.

			WALSH
	Fear of flying, my ass! Get out of 
	that plane, you son of a bitch.

			THE DUKE
	My work is done here, Jack. I've 
	reopened the lines of communication 
	between you, your ex-wife and your 
	daughter.

			WALSH
	I'm gonna open your fuckin' head.

			THE DUKE
	And I think you're well on your way 
	to reexamining who you are as a human 
	being.

Walsh grabs the Duke halfway out of the cockpit. The plane 
zig-zags wildly through the field.

			THE DUKE
	You're going to get us killed!

			WALSH
	I don't give a fuck.

Walsh right-hooks the Duke, knocking him out, then manages 
to yank him from the cockpit. They both fall to the ground. 
The pilotless crop duster aimlessly taxis in circles. Indians 
come running from every direction. Walsh shoves the Duke 
back toward the general store. Indians surround them angrily. 
SHOUTING. Walsh pulls out his .45. Points it in every 
direction. It gets quiet fast.

			WALSH
	Shut the fuck up! All of ya!

He moves through the circle, dragging the Duke by his collar.

			WALSH
		(To the Duke)
	Let me tell you about the coffee 
	shop I'm gonna open after I dump you 
	off and collect my hundred grand. 
	You're gonna love it. Maybe when you 
	get out, if they don't kill you first, 
	you can come pay me a visit.

They approach Billy's pickup truck. Walsh points the gun at 
Billy.

			WALSH
	Give me the keys to the truck.

			THE DUKE
	You just can't take their truck.

			WALSH
	You were about to take their plane.

Walsh pulls the Duke's watch off of his wrist and tosses it 
to Billy. Billy complies. Walsh takes the keys and cuffs the 
Duke inside the truck.

			WALSH
	Hey, maybe I'll even call it "Duke's 
	Place." Y'know. Out of respect to 
	you.

Walsh gets in behind the wheel. Fires it up. Roars off.

EXT. ROAD - DAY

The truck barrels down the road.

INT. PICKUP TRUCK - DAY

Walsh sits behind the wheel, angry. The Duke at his side.

			THE DUKE
	Jack. Let's be fair about this. You 
	lied to me, too. At the river you 
	promised to let me go.

			WALSH
	You lied to me first.

			THE DUKE
	Yes. But the river was before you 
	knew I had lied to you. So that really 
	doesn't count. Don't you think, Jack?

			WALSH
	What?

			THE DUKE
	It's wrong that I lied to you. But 
	you had no knowledge that I was lying 
	about my aviophobia when we were in 
	the river, when you lied to me.

			WALSH
	I can't even argue with you. I don't 
	know what the fuck you're talking 
	about.

A town is up ahead. Walsh is gripping his stomach.

			WALSH
	Ah, shit!

			THE DUKE
	Have you got an ulcer. Jack?

			WALSH
	Yes, I've got an ulcer! A big fuckin' 
	ulcer! And all your bullshit is 
	startin' to make it bleed again.

			THE DUKE
	We better get something to coat it.

			WALSH
	I need somethin' to eat! That's what 
	I need!

			THE DUKE
	I can take care of that.

EXT. RED'S CORNER BAR - DAY

The truck slows to a stop.

INT. TRUCK - DAY

Walsh looks at the bar. Looks at the Duke.

			WALSH
	Now what?

			THE DUKE
	Give me that FBI badge.

Walsh hesitates.

			THE DUKE
	Do you want to eat that shit you eat 
	or not?

Walsh studies him for a moment.

			WALSH
	If you fuck with me...

			THE DUKE
	Yeah, you'll hit me in the head and 
	drop me in a thing...

INT. RED'S CORNER BAR - DAY

The Duke bursts in the front door followed by Walsh. Makes 
his way to the CASHIER. The Duke speaks with urgency.

			THE DUKE
	I want to speak to the manager 
	immediately.

			CASHIER
		(Taken aback)
	Alright, just a minute, sir.

He calls over the MANAGER. Walsh and the Duke lock eyes.

			RED
	May I help you?

			THE DUKE
		(Flashing badge)
	Alonzo Mosely, FBI. My partner and I 
	have been tracking a ring of 
	counterfeiters who have been passing 
	phony one-hundred-dollar bills 
	throughout the state. Have you 
	received any hundred-dollar bills in 
	the last couple of hours?

			RED
	I received one just 20 minutes ago.

			THE DUKE
		(To cashier)
	Would you mind opening the register, 
	please.

The manager gives a nod of approval. The cashier complies.

			THE DUKE
		(To cashier)
	Let me see all of them.

She reaches for the bills. The Duke stops her.

			THE DUKE
	No, no! Don't touch them.

Walsh uses a paper napkin to take the bills from the cash 
register. The Duke clears the counter and proceeds to lay 
the bills out methodically. The employees look on attentively.

			THE DUKE
		(Snapping fingers)
	Give me that pencil. Confract two.

The cashier hands over her pencil to the Duke. He slides the 
bills and pencil over to Walsh.

			THE DUKE
	Check all of these.

Walsh does a series of "tests" on the bills. Erasing. Holding 
bills up to the light. Occasionally making eye contact with 
the Duke.

			THE DUKE
	How are we doing?

			WALSH
	This one's bad.

Walsh puts it aside. The manager eyeballs their attire.

			RED
	You guys look like you've been through 
	the ringer.

			WALSH
	You don't know the half of it.
		(Looking at the Duke)
	This one's bad, too.

The Duke speaks with great urgency again.

			THE DUKE
	I want you to describe, exactly, 
	what the person who handed you this 
	bill looked like.

			CASHIER
	It was a man. About thirty. Tall.

			THE DUKE
	Oh yeah? About six feet tall?

			CASHIER
	Yeah.

			THE DUKE
	What color hair?

			CASHIER
	Brown.

			WALSH
	Sounds like our man.

			THE DUKE
		(To manager)
	I want you to call all the other 
	restaurants in the area and advise 
	them of the situation.
		(To Walsh)
	If we move fast we might be able to 
	nail him.
		(Grabbing money)
	We have to take this for evidence.
		(To Walsh)
	Make sure they get a receipt for 
	this.

Walsh scribbles a bogus receipt on a scratch pad next to the 
register. Hands it to the manager.

			WALSH
	It's as good as gold.

			THE DUKE
	What's the name of your establishment?

			RED
	Red's Corner Bar.

			THE DUKE
	Do you dye your hair?

			RED
	No.

			THE DUKE
	Why do they call you Red?

			RED
	It's short for Redwood.

			THE DUKE
	What's your first name?

			RED
	Bill.

			THE DUKE
	We'll be back. Thanks for your 
	cooperation, Bill.

EXT. RED'S CORNER BAR - DAY

Walsh and the Duke strain to maintain their poise as they 
exit the Howard Johnson's and hurry across the street into a 
7-11.

EXT. 7-11 - DAY

Walsh and the Duke can be seen through the windows inside of 
the store. In the middle of a shopping spree. Walsh stuffs 
his face as he goes for sandwiches, beer, doughnuts, etc. 
The Duke goes for fruit and cereal. They pay for their goods. 
Exit. As they walk down the street, they RIP into the bags 
like hungry dogs. They HEAR the RINGING of a railroad 
crossing. Down the street, a freight train BLOWS its WHISTLE 
as it rumbles through the center of town at fifteen miles 
per hour.

			WALSH
	Come on. We're catchin' this train.

Walsh shoves the Duke. Both carry their bags of food.

			THE DUKE
	I can't do this.

			WALSH
	You also couldn't fly. Start running.

They run alongside an open boxcar.

EXT. RED'S CORNER BAR - DAY

With a perplexed look, Red watches through the window as the 
two "FBI agents" run for the freight train.

EXT. TRAIN TRACKS - DAY

The Duke tosses his bag of food into it. Then hoists himself 
aboard. Walsh starts to lose his footing. He drops all of 
his food. Beer EXPLODES. Doughnuts and sandwiches go flying.

			WALSH
	Ah, shit!

EXT. RED'S CORNER BAR - DAY

Somewhat confused, Red turns and goes inside. He picks up a 
telephone. Dials.

EXT. TRAIN TRACKS - DAY

The train starts picking up speed. Walsh can't keep up with 
the car. The Duke does nothing to help. He just crouches and 
watches from the open boxcar.

			WALSH
	Give me your hand!

			THE DUKE
		(Sarcastically)
	Do you promise to let me go?

			WALSH
	Goddamnit, give me your hand!

The Duke doesn't budge.

			THE DUKE
	See you in the next life, Jack!

Walsh reaches out. Manages to grab onto a ladder on the side 
of the car. Hoists himself aboard.

EXT. TRAIN CARS - DAY

Walsh stretches toward the boxcar's open door. The Duke slams 
it shut. Walsh starts banging on the door.

			WALSH
		(Screaming)
	You son of a bitch! You're gonna 
	have to come out of there sometime 
	and I'm gonna be waiting here!

The train starts picking up speed. Walsh is getting unnerved.

			WALSH
	You're only making it harder on 
	yourself, making me stay out here!

After a few expectant beats, the large door slowly slides 
open, revealing an angel-eyed Duke. Walsh reaches into the 
car and pulls himself inside.

INT. BOXCAR - DAY

Walsh is completely out of breath. The boxcar is near-empty. 
As Walsh dusts himself off, the Duke sits on a couple of 
small flimsy crates stacked against the wall. Walsh walks 
over next to him. Kicks the bottom crate out with a powerful 
sideswipe. The Duke and the crates CRASH to the floor.

			WALSH
	And don't you forget it.

Walsh walks over to the far end of the boxcar and sits 
quietly. Stares down the Duke from across the car.

			WALSH
	I ain't talkin' to you for the rest 
	of this trip.

			THE DUKE
	That's adolescent. Don't you think, 
	Jack?

INT. AMARILLO POLICE STATION INTERROGATION ROOM - NIGHT

Dorfler sits at a small desk in a naked room. He's tired, 
dirty and nervous. Chain-smoking. A SHERIFF and two COPS 
enter. Dorfler rises.

			DORFLER
	Hey, are you guys gonna let me go? 
	I'm tellin' ya, I don't know anythin'.

Mosely enters. Followed by Perry, Tuttle and Plumides.

			MOSELY
	Is that a fact.

			DORFLER
	Oh, shit.

Mosely grabs Dorfler's pack of cigarettes. Takes one. Lights 
it. Pockets the pack.

			DORFLER
	Yeah, yeah. Help yourself.

			MOSELY
	Where are they?

			DORFLER
	You got me.

Mosely turns. KICKS the chair out from under Dorfler. Dorfler 
hits the floor. Perry lurches forward.

			PERRY
	Inspector...

			MOSELY
	Shut up!

Mosely picks up Dorfler. Tosses him at the table. Breaking 
it. Dorfler rolls to the floor.

			MOSELY
	I want some answers and I want them 
	now.

Mosely picks up Dorfler. Grabs the chair. Shoves him into 
it. A Sheriff enters and whispers something to Tuttle.

			DORFLER
	I don't know nothing. They went down 
	the river. They could be dead, for 
	all I know.

Tuttle meekly approaches Mosely.

			TUTTLE
	Sir?

			MOSELY
		(Snapping)
	What?

			TUTTLE
		(Whispering)
	It seems that an "Agent Alonzo Mosely" 
	and his "partner" were seen hopping 
	a westbound freight train near 
	Channing.

EXT. PRAIRIE - NIGHT

The freight train barrels through the moonlit night.

INT. BOXCAR - NIGHT

Still at opposite ends of the car, Walsh and the Duke are 
curled up trying to resist the cold.

			THE DUKE
	C'mon, Jack. Don't be a baby. Are 
	you going to sulk the rest of the 
	trip?

Walsh doesn't answer.

			THE DUKE
	Do you want to know when I knew I 
	had you pegged?

Still no response.

			THE DUKE
	The very first second we were in the 
	car in New York. For some reason, I 
	noticed your watch. An old Timex. 
	Scratched. Cracked. But you hang on 
	to it, don't you? Even when a new 
	watch would do better by you.

The Duke speaks the truth. Suddenly Walsh appears vulnerable.

			THE DUKE
	Let me guess. It was a present. 
	Someone gave it to you about 20 years 
	ago.

Walsh doesn't answer.

			THE DUKE
	You're sentimental. You hold memories 
	as something precious. You have a 
	desire to do what's right. I knew 
	you wouldn't force me to fly.

Walsh gently looks at his watch.

			WALSH
	Gail bought me this. It was the first 
	thing she ever got me. I was always 
	a half hour late when we were dating. 
	So she bought me this watch and set 
	it a half an hour fast so I'd never 
	be late.

The Duke is silent.

			WALSH
	Somewhere in the back of my mind, I 
	still imagine that we're gonna end 
	up together. I'm still waiting. 
	Hangin' on.

			THE DUKE
	I don't think she's coming back.

			WALSH
	I don't, either.
		(A beat)
	The bitch...

INT. FRONT DESK, AMARILLO POLICE STATION - NIGHT

Dorfler is handed his belongings in a paper bag by a DESK 
SERGEANT.

			DORFLER
	Yeah. Accommodations were wonderful. 
	You gotta cigarette?

			DESK SERGEANT
	Don't smoke.

			DORFLER
	That Fed took my cigarettes.
		(Leaning in)
	Where did everybody go?

			DESK SERGEANT
	They took off.
		(Smiling)
	You want your cigarettes? You'll 
	have to go to Flagstaff.
		(Starts laughing)
	Because that's where your pal Mosely 
	went.

Dorfler laughs with him.

			DORFLER
	I just might do that.

EXT. MOUNTAIN RAILROAD TRACKS, ARIZONA - DAWN

The train moves through the Arizona desert. The sun is just 
peeking over distant mountains. The landscape is bathed in a 
deep red hue.

INT. BOXCAR - DAWN

Walsh is crouched in the open doorway, smoking. Looking at 
the sun. He flicks his cigarette butt into the wind. Walsh 
turns. Notices that the Duke is setting up his breakfast. He 
tears open the paper bag. Uses it as a place mat. Lays out 
fruit. A box of high-fiber cereal. A quart of nonfat milk.

			THE DUKE
	Jack. Would you care to breakfast 
	with me?

The Duke pulls out some packaged cakes.

			THE DUKE
	I think these are yours anyway, Jack. 
	I know I didn't buy any Ho-Ho's or 
	Suzy-Q's.

Walsh looks at the Duke's bruised face.

			WALSH
	I'm sorry I hit you.

The Duke shrugs it off. Walsh moves next to him. The Duke 
hands him the cakes.

			THE DUKE
	Do you know where we are?

			WALSH
	We've been going west all night. My 
	guess is Arizona. We're almost home.

			THE DUKE
	I'm almost dead.

			WALSH
	The witness protection program isn't 
	so bad. They'll give you a new name. 
	You'll have a new life.

			THE DUKE
	Jack, do me a favor, okay? Don't 
	play this big brother routine with 
	me because it really insults my 
	intelligence. The only thing important 
	to you about me is getting your money.

			WALSH
	I'm tired of you making me out to be 
	some kind of thug whose only concern 
	is a big chunk of change. Did you 
	know that Serrano's people offered 
	me a million bucks for you?

			THE DUKE
	Why don't you just go for the big 
	money, Jack? You're doing his work 
	for him either way.

			WALSH
	You don't know what the fuck you're 
	talking about. The reason I do this 
	shit is because I didn't want to 
	work for that lowlife. You remember 
	that big dealer I was trying to bring 
	down in Chicago? That was Serrano, 
	alright? Now, you know everything. 
	Are you happy?

			THE DUKE
	He's the reason you left Chicago? 
	And you're taking me in? Are you out 
	of your mind? You want me to speak 
	your language, Jack? You let that 
	motherfucker beat you! With what you 
	know about police work and what I 
	know about Serrano's operation, we 
	should be able to put him away for 
	thirty years.

			WALSH
	I'm not in that business anymore.

			THE DUKE
	I'm a goddamn accountant and I tried 
	to get him. You're this big macho 
	guy, with your guns and all your 
	bullshit and you're backing away?

Walsh opens himself up like he has never before.

			WALSH
	I just don't have it in me.

EXT. BOXCAR - DAY - LATER

The city of Flagstaff is in the distance. The train begins 
to slow down. Walsh leans out of the car. Eyeballing it.

			WALSH
	We're gettin' off here. Just in case.

They both get up. Wait for the right moment.

			WALSH
	You first, wise guy.

The Duke jumps. Walsh follows. They tumble through the high 
grass. Roll to a stop. Endless boxcars THUNDER past them.

INT. FLAGSTAFF TRAIN DEPOT - DAY

A few minutes later. The train is now stationary. The door 
is SWUNG OPEN. HARD.

SERIES OF CUTS

Of boxcars being opened. One after another. FEDS and COPS 
are all over the train in greater numbers than ever before. 
Mosely's car pulls up. He gets out. Perry, Tuttle and Plumides 
follow suit. Mosely approaches a Flagstaff POLICE CAPTAIN.

			MOSELY
	Inspector Mosely. Find anything?

			POLICE CAPTAIN
	Not yet.

Mosely walks away with determination. His men follow.

			PERRY
	They could have jumped off the train 
	anywhere along the line.

			MOSELY
	Walsh isn't playing with a lot of 
	time. He took this train as far as 
	he could.

EXT. MARVIN DORFLER'S CAR - DAY

Dorfler cruises over a bridge. Below him is the train depot. 
He slows and spots the slew of police cars below him. Watches 
as they continue conducting the search of the boxcars.

EXT. GROCERY STORE PARKING LOT - DAY

Some pickup trucks with Arizona plates. Walsh and the Duke 
are cuffed again. Sneaking along, they approach a Jeep CJ-7 
decked for off-road use.

			WALSH
	Arizona plates. Do I know my shit or 
	what?

Walsh moves around to the passenger side of the Jeep. The 
door is unlocked. He opens it.

INT. JEEP - DAY

He proceeds to hot-wire the vehicle. The engine CRANKS and 
FIRES. Walsh pushes the Duke across the passenger side. Cuffs 
him to the roll bar. Hops in.

EXT. GROCERY STORE PARKING LOT - DAY

As Walsh ROARS away, the OWNER of the Jeep exits the store. 
His jaw drops as his Jeep passes him and tears off down the 
road.

INT. JEEP - DAY

Walsh tools down the road. The Duke staring ahead. An 
occasional building passes by as they move to the outskirts 
of town. Fields and mountains ahead.

			THE DUKE
	Where are we going?

			WALSH
	To the next fuckin' airport.

A police car comes up behind him. Hits its lights. SIREN. 
Starts coming up fast.

			WALSH
	Shit!

Walsh jams it. The truck lurches with life. Suddenly, a second 
police car is moving like a bat out of hell from the opposite 
direction. Sirens WAILING. Light blazing.

			THE DUKE
	You're not going to be happy until 
	you get us both killed.

			WALSH
	I came too far. I'm too close.

EXT. ROAD - DAY

A cop car ahead skids to a stop, blocking the road. Walsh 
SCREAMS off the pavement. Driving onto the shoulder. Clods 
of earth kick up. Walsh SCRAPES the cop car and moves right 
back on to the road. The car chasing Walsh tries the same 
trick. Doesn't make it. SMACKS hard into the police car 
blocking the road.

EXT. FLAGSTAFF TRAIN DEPOT - DAY

COPS. FEDS. Everyone is running for their cars. Cars SCREECH 
out in all directions. The police captain runs up to Mosely, 
Perry, Tuttle and Plumides.

			POLICE CAPTAIN
		(Shouting)
	Follow me to the chopper!

EXT. MARVIN DORFLER'S CAR - DAY

From the bridge, Dorfler watches the excitement unfold. He 
smiles, knowing that Walsh and the Duke must be nearby. He 
gets back into his car and follows the procession of speeding 
police and Federal cars.

INT. JEEP - DAY

Walsh has got it to the floor. They move more and more into 
the country. Dirt roads cross the plains.

			WALSH
	How many fuckin' cops can they have 
	in this town?

Walsh checks the rearview mirror. More than a dozen police 
and Federal cars are behind them. The Duke notices several 
police cars ROARING down the dirt road on their right. Walsh 
turns. At least a dozen more are on his left. They seem to 
be coming from everywhere.

EXT. ROAD - DAY

Walsh tears by. The cop cars from the right and left sides 
converge onto Walsh's road. The two dented cop cars from 
behind come up fast in pursuit. It's a carnival of SIRENS 
and BLAZING LIGHTS.

INT. JEEP - DAY

			THE DUKE
	I know you can do it, Jack!

Walsh spots the worst sight yet. A slew of Federal cars coming 
at him from ahead. He's surrounded. There's no way he's 
getting around this. He turns the wheel hard.

EXT. FIELD - DAY

The Jeep skids off the road. SMASHES through fence posts. 
Rips into the field. Jumps a hill. Lands and keeps going. 
The Cops and Feds swerve off the road in pursuit.

EXT. ROAD - DAY

Dorfler slows, as his car passes the spot where Walsh crashed 
through the fence. The place is crawling with Cops and Feds. 
Cautious not to be observed, he keeps moving.

EXT. FIELD - DAY

Walsh shifts it into four-wheel-drive. SLAMS up a hill. 
Missing trees. Rocks. The cop cars can't keep up. A helicopter 
ROARS overhead.

INT. HELICOPTER - DAY

Mosely sits alongside the PILOT. Looking down at the terrain 
with binoculars. Behind him sits Perry, Tuttle and Plumides. 
Below, the fields are filled with the tangle of police and 
Federal cars. The hill approaches. Mosely taps the pilot.

			MOSELY
		(To pilot)
	Check the other side.

EXT. HILL - DAY

The Jeep ROARS over the peak. Starts bouncing down the other 
side. It's very steep. PLOWING through brush. Picking up 
speed. A group of farmhouses are clustered below.

INT. MARVIN DORFLER'S CAR - DAY

Dorfler follows the chopper with his eyes as it heads for 
the group of hills. The chopper obviously has an overview so 
Dorfler decides to follow it.

EXT. FARM ROAD - DAY

Dorfler makes a turn onto a dirt road, ROARING past the group 
of farmhouses. Slows. Checks the position of the helicopter, 
then keeps moving.

INT. JEEP - DAY

Coming down a hill, Walsh realizes he's not going to make 
it. He loses control of the Jeep.

EXT. HILL - DAY

The Jeep SKIDS. SLAMS sideways into a group of trees. Walsh 
climbs out. Uncuffs the Duke from the roll bar. They start 
running for the farmhouses. The chopper is coming. They drop 
into the high grass. The chopper moves past them. Back toward 
the hill.

INT. HELICOPTER - DAY

Mosely, with eagle eyes, spots something.

			MOSELY
	There's the Jeep.

It's nearly buried in trees and brush.

			MOSELY
		(To Pilot)
	Try the farm. Close to the ground.

EXT. ROAD - DAY

The chopper moves toward the farmhouses. Walsh and the Duke 
move through the high grass to a thicket of trees on the 
roadside. Two Federal cars ROAR past them. Followed by two 
local cop cars. Walsh's eyes sweep the road. Next is a 
passenger car. One person at the wheel. Walsh grabs his .45. 
Runs into the road. Flags down the car. The Duke recognizes 
the driver.

			THE DUKE
	Jack! Don't! It's Dorfler!

INT. MARVIN DORFLER'S CAR - DAY

Dorfler, at the wheel, can't believe what he sees. There is 
a God. He floors it. Heads for Walsh. Opens the car door. 
WHACKS him. Walsh bounces to the concrete. Dorfler gets out. 
The Duke starts running for the woods.

EXT. CREEK - DAY

It looks like paradise. A trickling creek. Surrounded by 
aspens. Sunlight streaming down. The Duke slides down the 
embankment. SPLASHES through the creek. Dorfler follows him. 
Chasing hard. Tackles him. Lands several punches. The Duke 
swings back. Dorfler overpowers him. Pins him into the creek. 
Lands several more punches. Yanks him to his feet.

EXT. ROAD - DAY

Walsh is slowly coming around. Winded. Bruised. Dorfler yanks 
the Duke up the embankment. Across the road. Quickly opens 
the trunk. Shoves the Duke inside. SLAMS the trunk closed. 
An uncomprehending Walsh takes a feeble swing at Dorfler. 
Dorfler right-hooks Walsh. Walsh stumbles. Dorfler hits him 
again. Walsh falls backwards, several feet, over the 
embankment.

EXT. CREEK - DAY

Walsh tumbles down the embankment to the banks of the creek. 
He's out cold. Dorfler can be heard SCREECHING away in the 
car. Walsh is still. The continuous roar of the chopper seems 
to fade away. He slowly comes to. Looks at the creek before 
him. Slightly confounded at finding himself in such a heavenly 
setting. Stares at clear water TRICKLING over rocks and stone.

EXT. EAT DINER - SUNSET

A gentle cut. Peaceful. Almost dream-like. Wind gently rocks 
the "EAT" sign. Its rusty hinges SQUEAK. The dirt parking 
lot is empty. Walsh moves down the road. Approaches the diner.

INT. EAT DINER - SUNSET

Walsh enters. Dirty. Ragged. The DINNER OWNER, a quiet 
matronly woman, is behind the counter. Walsh moves over to 
her. She barely moves. Just checks him out.

			DINER OWNER
	Bad day, huh?

			WALSH
	Bad week.

			DINER OWNER
	I know what you mean.

			WALSH
	I could use a cup of coffee.

			DINER OWNER
	I think I could arrange that.

He achingly sits at the counter. The Diner Owner places a 
mug before Walsh. Pours coffee. Walsh nods his thanks. Picks 
up the mug. Blows on it gently. Is about to take a sip. 
SUDDENLY, a pair of sunglasses SLIDES the length of the 
counter, coming to rest in front of Walsh. He doesn't budge. 
Just stares at them. He puts down the mug. Picks up the 
sunglasses. Knows what's coming without looking. He looks 
anyway. Standing at the end of the counter is Mosely.

			WALSH
	I've been lookin' all over for these.

Walsh turns. Through the window, in the lot, are twenty police 
cars. Federal cars. Lights turning. Police RADIOS gently 
BLABBERING.

EXT. FLAGSTAFF AIRPORT - DAY

Dorfler and the Duke pull up to the small airport.

INT. DORFLER'S CAR - DAY

The Duke eyes the planes on the runway. Turns to Dorfler.

			THE DUKE
	I can't do this. I have a very serious 
	fear of flying.

Without losing a beat, Dorfler right-hooks the Duke.

INT. INTERROGATION ROOM. FLAGSTAFF POLICE DEPT. - NIGHT

Walsh is on the hot seat. Smoking. Mosely sits opposite him. 
Perry, Tuttle and Plumides stand around Walsh. Also several 
high-ranking LOCAL COPS. Walsh glances at his watch. It's a 
quarter to seven.

			MOSELY
	Forget about your time clock, Walsh. 
	It's over. That's how that one went.

			WALSH
	I know my rights. You owe me some 
	phone calls.

			MOSELY
	What should be of paramount importance 
	to you, right now, is the ten years 
	you're going to get for impersonating 
	a Federal agent.

			WALSH
	Ten years for impersonating a Fed? 
	How come no one's after you?

			MOSELY
	You don't know when to quit.

			WALSH
	I know one thing. I know my rights. 
	And by law, you owe me phone calls. 
	I ain't sayin' shit 'til I get them.

Mosely gives in.

			MOSELY
	Give him his calls.

Perry and two local cops escort Walsh out of the room.

INT. SQUAD ROOM - FLAGSTAFF POLICE STATION - NIGHT

Crowded with cops and Feds. Walsh dials. Waits.

INT. MOSCONE'S OFFICE - NIGHT

Jerry grabs the phone.

			JERRY
	Eddie Moscone, bail bondsman.

INTERCUT WALSH AND MOSCONE'S OFFICE

			WALSH
	It's Walsh. Give me Moscone.

Jerry nearly drops the phone. He turns.

			JERRY
	Eddie. Pick it up. It's Jack!

Moscone rushes for the phone. Picks it up. Nervous as hell. 
Jerry listens on the extension as usual.

			MOSCONE
	I hope you're gettin' close, 'cause 
	you only got five hours.

			WALSH
	No, I'm not, Eddie. But, I'm callin' 
	to let you know that you're a dead 
	man, you lying son of a bitch. You 
	put Dorfler on this fuckin' thing...

Moscone's nervousness turns to rage.

			MOSCONE
	Well, I should kill you. You stupid 
	son of a bitch! You had the guy five 
	days ago. What the hell are you 
	joyridin' cross-country for? And are 
	you nuts, tellin' Dorfler that I was 
	givin' you a hundred grand when I 
	offered him twenty-five? He just 
	called me up yellin' and screamin'. 
	And why the hell can't you get the 
	Duke here in five hours?

			WALSH
		(Confused)
	When did you speak to Dorfler?

			MOSCONE
	Five minutes ago. He told me to go 
	fuck myself. What the hell difference 
	does it make?

RESUME WALSH

Moscone continues yelling. Walsh slowly lowers the phone, 
hanging it up on Moscone. He thinks. It doesn't make sense. 
His wheels are turning. Then he quickly reaches into his 
wallet. Pulls out the slip of paper that Tony and Joey gave 
him in New York. The card is stained from the adventure in 
the rapids. Numbers have faded. But it's still there. Walsh 
dials it. It's a million-to-one shot. Someone picks up on 
the other end.

			MALE VOICE (V.O.)
	Hello?

			WALSH
		(Slowly)
	Yeah. Is Tony or Joey there?

			MALE VOICE (V.O.)
	Who's this?

Walsh thinks for a second. It's a million-to-one shot...

			WALSH
	Dorfler.

The voice relaxes.

			MALE VOICE (V.O.)
	Sure, Marvin, hang on. I'm gonna 
	forward your call.

Walsh's heart rate goes up. Dorfler's gone dirty.

INT. VEGAS HOTEL ROOM - NIGHT

Joey picks up the phone.

			JOEY
		(Into phone)
	Marvin?

INTERCUT AS NEEDED Walsh's eyes widen. He recognizes the 
voice.

			WALSH
	No, it's Jack Walsh. So, Dorfler's 
	workin' for you guys now.

			JOEY
	What are you complainin' for? We 
	came to you first.

Tony comes out of the bathroom. Joey turns and covers the 
phone.

			JOEY
	It's Jack Walsh.

Tony takes the phone.

			DARUVO
	Hey, too late scumbag...

			WALSH
	No, too late for you. I didn't come 
	this far not to collect my money. I 
	want the Duke back.

			DARUVO
	So what the fuck are you telling me 
	for?

			WALSH
	What am I telling you for? Because 
	I've got some of the Duke's 
	belongings, that's why. Including 
	some computer disks that have every 
	last detail of Serrano's businesses 
	and money-laundering operations, and 
	if I don't get him back in the next 
	two hours I'm gonna turn them over 
	to the Feds.

			DARUVO
	I'll blow your fuckin' brains out.

			WALSH
	How are you gonna do that from jail?

Tony doesn't answer.

			WALSH
	You tell Serrano, I wanna meet him 
	with the Duke alone in two hours, in 
	the main terminal of McCarran Airport, 
	where we'll make the exchange. I 
	know he's the only one of you guys 
	who won't try to take a shot at me 
	in a public place. If I see one single 
	goon within a mile of that airport, 
	the deal's off and I'm goin' to the 
	Feds.

			DARUVO
	I ain't gonna tell him that.

			WALSH
	Fine. After he's busted I'll make 
	sure to tell him you knew about it 
	beforehand. That's two hours from 
	now. Main terminal, McCarran Airport. 
	You got that, moron? Have a nice 
	day.

Walsh hangs up, wondering how he's going to dig himself out 
of this. The SOUNDS of the police station come back to him. 
He turns, locks eyes with Perry.

			PERRY
	What was that?

			WALSH
	Where's Mosely? I wanna make a deal.

			PERRY
		(Calling)
	Inspector!

Mosely moves through the cops. Comes up to Walsh.

			WALSH
	What would you do if I could deliver 
	you Serrano?

			MOSELY
	How do you mean "deliver"?

			WALSH
	Well... for starters, conspiracy to 
	destroy government evidence.

			MOSELY
	What government evidence?

			WALSH
	Would you let me take the Duke in 
	myself and collect my money?

Mosely can see that Walsh is serious.

			MOSELY
	Tell me more.

			WALSH
	Well, I'll have to tell you on the 
	way because we've got to be in Las 
	Vegas in two hours.

EXT. GOLDEN BOY MOTEL - NIGHT

Dorfler scurries with a newspaper and paper bag toward the 
motel.

INT. ROOM - GOLDEN BOY MOTEL - NIGHT

Dorfler enters. Tears open the bag. Opens a package containing 
a new Polaroid Camera. Slams in package of film. Flashbulbs. 
With the newspaper under his arm, he heads for the bathroom.

INT. BATHROOM - NIGHT

The Duke is cuffed to the pipe under the sink. Dorfler forces 
the Duke to hold up the paper.

			DORFLER
	Hold that up. So they'll know that I 
	took these today. See? I got it all 
	figured out. Say "cheese."

Dorfler starts snapping off pictures.

			THE DUKE
	Don't do this, Marvin.

Dorfler scoops the images off the tile floor. They're coming 
to life. He pockets them.

			DORFLER
	Adiós.

Dorfler exits. The Duke can HEAR him leave.

EXT. GULF STREAM JET - NIGHT

The FBI Gulf Stream jet flies above the desert bathed in 
moonlight.

INT. GULF STREAM JET - NIGHT

Mosely and his men listen to Walsh.

			PERRY
	If he takes those disks, even though 
	they're blank, that's the overt act, 
	correct?

Mosely is about to answer. Walsh cuts him off.

			WALSH
	If he just sets foot in the airport, 
	he's committed an overt act. 
	Conspiracy to obstruct justice.

The agents listen attentively.

			WALSH
	If he shows up with the Duke, you 
	can add kidnapping. If he shows up 
	with anyone packing a gun, you can 
	add conspiracy to commit murder. The 
	fact that it's an airport... Alonzo, 
	correct me if you think I'm wrong 
	here...
		(Back to Perry)
	...you can slap an ITAR rap on him 
	as well.

			PERRY
	Do you think he'll show?

			WALSH
	Oh, he'll show. He's got no choice.

Mosely is impressed.

			MOSELY
		(To Perry re: Walsh)
	Get a wire on him.

EXT. PARKING LOT - NIGHT

The lights of Las Vegas twinkle in the distance. Dorfler's 
car swings into the lot. He looks around. Still sporting 
their bruises, Tony and Joey get out of their car and move 
toward him.

			DARUVO
	Marvin?

			DORFLER
	Yeah.
		(A beat)
	Hey, look I'm sorry about what 
	happened back at the Western Union 
	office. You can imagine my 
	embarrassment when I found out who 
	you were. I didn't mean to hit you. 
	It was just one of those things. You 
	know. Like a spur of the moment. You 
	know I'd never pull any shit like 
	that.

			JOEY
	What the fuck took you?

			DORFLER
	I made a quick stop.

			DARUVO
		(Looking around)
	Where is he?

			DORFLER
	Where's my money?

			DARUVO
	It's in the car. Where is he?

			DORFLER
	Slight change of plans. Now I want 
	two million dollars. I read the 
	newspapers, ya know. This guy got 
	you for fifteen million. So I figured 
	he's gotta be worth at least two to 
	ya. You can't play me for a chump.

			DARUVO
		(Holding back rage)
	How do we know you've got him?

Dorfler reaches into his shirt pocket. Hands over the 
Polaroids. Tony starts slipping through them. Joey leans in.

			DORFLER
	A million now. Then I call you in 
	twenty minutes. Tell you where to 
	drop off the second million. Once I 
	know it's there, I tell you where he 
	is.

Tony stops flipping through the photos. Pushes Joey aside.

			DORFLER
	Okay?

			JOEY
	Not okay.

			DORFLER
	Why not?

Tony rears back and BAM! Marvin is out cold.

			JOEY
	Whatayou fucking nuts! What's Jimmy 
	gonna say!?! How the fuck are we 
	gonna get the Duke now!?!

			DARUVO
	You got the answer right in your 
	hands!

			JOEY
	What are you talking about?

Tony shows the Polaroids to Joey.

			DARUVO
	Joey, when are you going to learn 
	how to pay attention?

INSERT POLAROID The Duke is cuffed to the sink. Holding the 
paper. Several motel towels with the "Golden Boy" logo 
decorate the bathroom.

			DARUVO
	Look, see what it says there?

RESUME SCENE Tony and Joey head back for their car.

INT. SERRANO'S PENTHOUSE - NIGHT

Serrano gives instructions to a few BODYGUARDS. Lyman paces 
nervously.

			SERRANO
	I want ten of our best people and I 
	don't want any fuck-ups this time. 
	As soon as I get ahold of these 
	things, I want them both dropped.

			LYMAN
	I don't think you should do this.

A bodyguard helps Serrano with his coat.

			SERRANO
	Oh, you don't? What do you propose I 
	do?

			LYMAN
	Send somebody with a cash offer. 
	Give this guy whatever the hell he 
	wants but don't do this.

			SERRANO
	Walsh won't take any money from me. 
	He knows I'd come and get it an hour 
	later. In his mind this is clean. He 
	gets what he wants. I get what I 
	want. The guy's a fuckin' burnout. 
	He just wants his money.

			LYMAN
	Jimmy, listen...

Serrano turns and heads for the door with his goons.

			SERRANO
	Sydney. Sit down. Relax. Have a 
	sandwich. Drink a glass of milk. Do 
	some fucking thing.

INT. STARLIGHT CASINO GARAGE - NIGHT

The elevator doors open revealing Serrano, the four bodyguards 
with him. They move with purpose, almost in step, heading 
for Serrano's limousine. FBI agents watch them as they pass 
and then one AGENT turns, picking up a walkie-talkie.

			FBI AGENT
	He's on his way.

Serrano's limousine pulls out and moves up to street level.

EXT. VEGAS STRIP - NIGHT

The limousine moves into traffic. Suddenly two FBI cars, one 
parked at the curb, the other from the front of the casino, 
come to life and move off in pursuit. As Serrano's limousine 
passes a cross street, another FBI car makes a U-turn as if 
from nowhere and joins in the surveillance.

INT. FBI CAR - NIGHT

Four AGENTS. One speaks into the radio.

			AGENT
	We're on him.

INT. GULF STREAM JET - NIGHT

They approach the lights of Vegas. Everyone is strapping in. 
Perry is checking the wire Walsh is wearing. Plumides lights 
Walsh's cigarette. Mosely talks into a speakerphone.

			MOSELY
	This is Mosely.

			AGENT (V.O.)
	Serrano's just left and is heading 
	west on Vegas Boulevard.

Walsh smiles. Mosely notices.

			MOSELY
	Why are you smiling?

			WALSH
	I feel like a cop again.

EXT. GULF STREAM JET - NIGHT

The Gulf Stream jet touches down and THUNDERS toward the far 
end of the airport, roaring to a stop. Mosely, Perry, Tuttle, 
Plumides and Walsh descend the steps of the Gulf Stream jet. 
Several FBI and police cars are discreetly parked nearby. 
Walsh is directed by the agents toward the main terminal.

EXT. MCCARRAN AIRPORT - NIGHT

Serrano's limo pulls up in front, followed by the FBI cars 
which duck out of sight. Serrano gets out of his limo and 
walks to another limo, parked at the curb. Serrano gets in.

INT. LIMO - NIGHT

Serrano gets into the limo. Inside are the Duke, Tony and 
Joey. Serrano leans back and smiles at the Duke.

			SERRANO
	So we finally meet. I'm in the 
	presence of greatness. "The Duke." A 
	man who robs from the scum of the 
	earth and gives to the unfortunates 
	of the world. I wanted to meet you 
	face-to-face.

Serrano leans forward.

			SERRANO
	Did you actually think that you were 
	going to steal my money and get away 
	with it? I stopped by here to tell 
	you two things. Number one is that 
	you're going to die tonight. Number 
	two, I'm going to go home, have a 
	nice hot meal, then find your wife 
	and I'm going to kill her too.

Serrano leans in and smacks the Duke across the face.

EXT. LIMO - NIGHT

Some of Serrano's thugs hover around the limo. Serrano and 
Joey get out of the limo.

			SERRANO
	Joey, stay here and wait for my call. 
	The rest of you come with me.

INT. TERMINAL - NIGHT

Walsh walks through the crowded terminal. He moves from one 
of the arms of McCarran to the gorgeous glass main terminal. 
His eyes scan the place. No agents in sight. No sign of 
Serrano or the Duke. Walsh crosses the terminal, heading for 
the center where he can be clearly seen. A few of Serrano's 
BODYGUARDS enter, glance at Walsh, fan out into the crowd. 
Walsh pulls the last cigarette out of a pack and lights it.

INT. TERMINAL BALCONY - NIGHT

Agent Mosely and the other FBI agents look through binoculars 
down at Walsh. They also listen in on the wire. Suddenly, 
Serrano comes into sight of one of the FBI agents.

			FBI AGENT
	Here he comes.

INT. TERMINAL - NIGHT

Walsh stops in his tracks as he sees Serrano walking toward 
him. Serrano looks at Walsh's ragged appearance.

			SERRANO
	Jack, long time no see.

			WALSH
	Long time no see.

			SERRANO
	I see you're still spending all of 
	your money on clothes.

			WALSH
	Well, you know...

			SERRANO
	Listen, while you're in town, if 
	you'll want to see a show... or a 
	free meal or something like that, 
	you let me know. On me. That's just 
	the type of guy I am.

			WALSH
	You're a real sport.

INT. TERMINAL BALCONY - NIGHT

Mosely and the other agents continue watching Walsh and 
Serrano.

			MOSELY
	Just give him the disks.

INT. TERMINAL - NIGHT

			SERRANO
	How's your mother?

			WALSH
	She's alright.

			SERRANO
	Daughter's getting big... growing up 
	and all, huh?

Walsh nods his head and stares at Serrano.

			SERRANO
	You know I was thinking, maybe if 
	we'd done business way back when, 
	you wouldn't look like a guy with a 
	fucking cup in your hand.

			WALSH
	Trying to make a living.

			SERRANO
	You got the disks or did you lose 
	them too? Like your job.

INT. TERMINAL BALCONY - NIGHT

			MOSELY
	Give him the disks, Walsh.

INT. TERMINAL - NIGHT

			WALSH
	Well, I see you but I don't see the 
	Duke.

			SERRANO
	We'll worry about him in a minute.

			WALSH
	No, we have to worry about him now. 
	This isn't a fucking reunion. If I 
	don't see him in five seconds, I'm 
	walking.

			SERRANO
	You're still way too serious. Why 
	don't we take a walk together and go 
	get him.

			WALSH
	Fuck you. See you at the arraignment.

Jack starts to walk. Serrano calls out to him.

			SERRANO
	Alright, Jack. Hold up. You win.

Serrano nods to a gun by a phone. The goon nods back and 
places a call.

Walsh is pissed.

			WALSH
	I said no goons.

			SERRANO
	Don't worry about him. You're going 
	to get what you want.

ANGLE ON COUNTER

Dorfler, complete with back eye, moves up to the counter.

			DORFLER
	One-way ticket to L.A.

			TICKET CLERK
	Smoking or nonsmoking?

Dorfler lights up a cigarette and blows the smoke at the 
clerk.

			DORFLER
	Take a wild guess.

Suddenly, Dorfler turns and spots Tony and Joey walking right 
past him with the Duke. Dorfler does a double-take. He grabs 
his .45 out of his duffelbag. Puts it in his pocket and moves 
after them.

INT. TERMINAL BALCONY - NIGHT

Perry sees Dorfler coming.

			PERRY
	Ah, shit...

Now, Mosely sees Dorfler coming.

			MOSELY
	I'm going to have a heart attack 
	before this is over...

INT. TERMINAL - NIGHT

Tony and Joey appear with the Duke. Walsh motions for the 
Duke to get behind him.

			SERRANO
	Give me the disks.

Dorfler appears.

			WALSH
	Ah fuck... Marvin, take a hike.

			DORFLER
	No way!

Dorfler pulls out the .45 and begins tugging at the Duke.

			WALSH
	You're missing the bigger picture 
	here, Marvin.

Dorfler grabs at Walsh.

INT. TERMINAL BALCONY - NIGHT

Walsh's wire goes dead. Agent Tuttle looks up.

			TUTTLE
	The wire's gone dead.

INT. TERMINAL - NIGHT

Serrano grabs the disks and moves off with Tony and Joey. 
The goons begin to approach. They're all clearly armed. Walsh 
sees them coming.

			WALSH
	Marvin! Watch out, watch out!

			DORFLER
	I'm not falling for that shit again.

			WALSH
	Will you look out!

Walsh leans into his jacket.

			WALSH
		(Into jacket)
	He's got the disks. He's got the 
	disks.

Walsh turns to the balcony and yells out.

			WALSH
	Serrano's got the disk! Serrano's 
	got the disk!

Feds move in from everywhere. They grab Serrano, Tony, Joey 
and Dorfler. There are nearly a hundred Federal agents that 
continue swarming in. Walsh moves over to Serrano with a big 
smile.

			WALSH
	You know, there's something I've 
	been wanting to say to you for ten 
	years.

			SERRANO
	Oh, yeah? What's that?

			WALSH
	You're under arrest.

Mosely appears with Perry and Tuttle.

			WALSH
	We still have a deal, Alonzo?

			MOSELY
	We have a deal.

Dorfler is being taken away by the Feds. He shouts out.

			DORFLER
	Why does he get special treatment?

			WALSH
	See you in L.A., Marvin.

			DORFLER
	Watch your cigarettes with this guy, 
	Jack.

Dorfler is taken away. Walsh cuffs the Duke.

			THE DUKE
	What are you doing?

			WALSH
	We've still got an hour and a half 
	to get you to L.A.

Walsh leads the uncomprehending Duke away through the crowd 
of Federal agents and spectators.

INT. 727 JET - NIGHT

Walsh and the Duke, both deep in thought, sit quietly as the 
plane approaches L.A.

POV OF 727 - NIGHT

The Los Angeles skyline beckons. The runway lights are 
approaching. It has a dream-like quality. Jet engines WHINE. 
The runway swallows up the SCREEN. The plane TOUCHES down.

INT. WESTERN AIRLINES TERMINAL - NIGHT

Looking like the absolute ends of the earth, Walsh and the 
Duke shuffle out of the boarding ramp to the upstairs 
terminal. Walsh slips the cuffs around the Duke's wrist. 
They cross the terminal and move quietly.

INT. DOWNSTAIRS TERMINAL - NIGHT

Walsh and the Duke ride the escalator down. They move toward 
the front door. Walsh stops near a bank of pay phones. Turns 
to the Duke.

			WALSH
	When I took this job, I figured I'd 
	never make it. Not in a million years. 
	But for a hundred grand, I had to 
	give it a try.
		(A beat)
	If you had your way, what would you 
	do? Where would you go?

			THE DUKE
	Mexico. Call Dana, my wife. Have her 
	collect whatever money we've got 
	stashed. Meet me in Mazatlán. Nobody 
	would bother us and we'd live well 
	down there.

			WALSH
	Drink margaritas and watch the sun 
	go down?

			THE DUKE
	Every single night.

Walsh starts to punch a number into a pay phone.

			WALSH
	That coffee shop would've been nice.

INT. MOSCONE'S OFFICE - NIGHT

The phone is ringing. Moscone picks it up. He is alone.

			MOSCONE
	Eddie Moscone, bail bondsman.

INTERCUT WALSH AND MOSCONE

			WALSH
	Hey, Eddie, where's Jerry?

			MOSCONE
	The Feds picked him up twenty minutes 
	ago.

			WALSH
	What for?

			MOSCONE
	What's the difference? I never trusted 
	that guy. Where the hell are you?

			WALSH
	I'm in L.A. with the Duke. You want 
	to say hello?

Walsh puts the phone to the Duke's face.

			THE DUKE
	Hello.

			WALSH
		(Taking back phone)
	Now, say good-bye you lying piece of 
	shit because I'm letting him go.

Walsh hangs up. The terminal VIBRATES with the SOUND of a 
JET THUNDERING down. Walsh unlocks the cuffs.

			WALSH
	May your footsteps be heard in heaven 
	before the devil knows you're gone.

			THE DUKE
	I don't get it.

			WALSH
	I did what I wanted to do. I got you 
	to L.A. before midnight.

The Duke looks deeply at Walsh. A lot is said in the silence.

			THE DUKE
	I don't know what to say.

			WALSH
	Don't say anything. Get out of here 
	before I change my mind.

			THE DUKE
	Thank you.

			WALSH
	No, John. Thank you.

Walsh turns and starts walking. He gets a few steps toward 
the door. He stops. Turns. Looks back at the Duke, who's 
still standing in the terminal. Walsh starts walking back to 
him with a smile. He takes the Duke's hand. It appears as if 
he is going to cuff the Duke again. He does. With his battered 
Timex.

			WALSH
	Remember our adventure.

The Duke strokes the watch and smiles.

			THE DUKE
	I'll treasure it.
		(A beat)
	I've got a gift for you too, Jack.

The Duke unbuttons his suit jacket. Walsh squints. He's 
confused. The Duke unbuttons two buttons on his shirt. Reaches 
underneath. UNSTRAPS something. Pulls out an odd-looking 
belt and hands it to Walsh.

			WALSH
	What's that?

			THE DUKE
	When we first met, I was packing to 
	make my getaway because...
		(Smiling)
	...I thought the FBI was closing in. 
	So I took a little traveling money.

It is a money belt. Walsh takes it slowly. He's slow to 
understand. He opens a compartment. Thousand dollar bills 
are stacked tightly.

			WALSH
	You sonofabitch...

			THE DUKE
	I told you I had money.

			WALSH
	I know you had money. I didn't know 
	you had money.

			THE DUKE
	It's not a payoff, it's a gift. You 
	already let me go.

Walsh smiles. Wiggles the belt.

			WALSH
	How much is here?

			THE DUKE
	In the neighborhood of three hundred 
	thousand.

			WALSH
	That's one of my favorite 
	neighborhoods.

			THE DUKE
	Take care, Jack. If you're ever in 
	Mazatlán...

			WALSH
	Yeah, John. I'll look you up. Just 
	get rid of that dog of yours.

They shake hands. Walsh turns. Walks out of the terminal 
quickly. The Duke watches him go, then disappears into another 
part of the terminal.

EXT. WESTERN AIRLINES TERMINAL - NIGHT

Money belt in hand, Walsh steps outside. Takes in the night 
air. He walks past a large clock. It reads 11:35.

			WALSH
	Twenty-five minutes to midnight, 
	Walsh. You would've made it.

Looking like shit, he walks up to the first cab parked at 
the curb. A CAB DRIVER sits inside.

			WALSH
	You got change of a thousand?

			CAB DRIVER
	Get outta here, you bum!

			WALSH
		(Smiling)
	Looks like I'm walking.

MUSIC kicks in.

FADE TO BLACK ROLL CREDITS

					THE END