FOR EDUCATIONAL PURPOSES ONLY
March 3, 1994
Converted to PDF by SCREENTALK
EXT. CEDARS-SINAI - WIDE - DAY
A monolith with alienating foregrounds. A bus pulls in on
Beverly. NEIL McCAULEY and a nurse get off. Neil carries
a paper bag and wears white pants like a hospital attendant.
Neil is an ice-cold professional: very big, very tough.
At 42 his short black hair is graying. He spent eight
years in McNeil and three in San Quentin. He got out and
hit the street in 1987. Four of the McNeil years were
spent in the hole. Neil's voice is street, but his language
is precise like an engineer's. He's very careful and very
good. Neil runs a professional crew that pulls down high
line, high number scores and does it anyway the score has
to be taken down: if on the prowl (a burglary), that's
fine; if they have to go in strong (armed), that's fine
too. And if you get in their way, that's got to be your
problem. His lifestyle is obsessively functional. There's
no steady woman or any encumbrance. Neil McCauley keeps
it so there's nothing he couldn't walk from in 30 seconds
Right now, he enters the big double doors and pulls a white
intern's coat from his paper bag.
INT. CEDARS-SINAI CORRIDOR - TRAVELING TWO SHOT - DAY
We DOLLY on Neil as he crosses through the long crowded
corridor. Patients, nurses, interns and doctors pass by.
A P.A. broadcasts occasional messages.
Nail crosses under an "EMERGENCY" sign and keeps going
towards the exit doors.
TRAVELING - FRONTAL
Neil APPROACHES THE CAMERA. From the other direction two
ambulance attendants wheel an old man under oxygen and
pass by Neil.
WIDE REAR SHOT
Without breaking his stride from the moment he got off the
bus, Neil exits through the doors, examines four ambulances
parked in the slots, climbs into one and drives off. Maybe
he's stolen it. We don't know.
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EXT. R & C CONSTRUCTION SUPPLIES - ON CHRIS - DAY
CHRIS SHIHERLIS crosses past stacks of gravel and cement
with a white-coated BLACK CLERK. Chris wears a hard hat
over a mongol cut, Levi's, black boots and a sleeveless
sweat shirt and carries on one shoulder a 150 lb., red,
Milwaukee Tool Company case. He looks like a construction
worker by day who by night hits L.A's slams, jams and raves.
He's 29, from Austin, Texas. Chris is also a highline
pro: a boxman who knows five ways to open any safe made.
Right now he's buying a hollow core drill. He and McCauley
were cellmates in San Quentin Penitentiary from 1984 to
1987. Chris hit the streets in 1988. He's a hot dog and
spends money as fast as he makes it. Right now, he and
the Clerk exit to the sales counter.
EXT. SALES COUNTER - TWO SHOT
As they approach, the Clerk goes behind it.
What you working on?
Drillin' some post holes into
With that you can ream solid
steel. Check, charge, or cash?
Cash. Put "Jack's Fencing" on
Chris pays; Clerk writes receipt.
...that a good racket? I ought
to get out from behind this
Take it easy.
He leaves with the heavy red case.
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INT. "TOYS 'R' US STORE" - ON CERRITO - DAY
MICHAEL CERRITO - at 40 - is looking at a doll house.
He's a wide, thick, coarse-featured big man. Sicilian
from Sunnyside, he's spent 15 years in Attica, Joliet and
Marion penitentiaries. He's strictly a "cowboy": his
natural inclination towards a score is "...get the guns
and let's go." He's been off smack and everything else
for five years. He's clean and sober. He's the nicest
guy on the block and a loving father. If you get in his
way, he'll kill you as soon as look at you. If you asked
him about the contradictions, he wouldn't know what you
were talking about.
CLOSE OR DOLL HOUSE DETAILS
It's 3 x 6 and two feet high. Miniature room sets are
inside. Cerrito's thick fingers close the door. He picks
it up. WIDEN. He crosses to a counter and MIDDLE-AGED
Wrap this here up.
Yessir. You're going to have a
happy little girl.
Two. I got two girls.
Yeah. And gimme those three
Clerk takes down Clark Gable, Three-eyed Monster, and
Beautiful Lady, full-head rubber masks.
Gimme Donald Duck, too
(does and laughs)
A little early for Halloween?
Yeah. Halloween's coming early
this year. What do I owe you?
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INT. CONDOMINIUM - A HAND - MORNING
Slides across the back of JUSTINE'S thigh.
JUSTINE'S AND HANNA'S FACES
She is 29, auburn, languorous, her eyes are closed and she
makes love with her husband, VINCENT HANNA. Pressing her
face to his, their hair intertwined... It's morning. We
are in an expensive condominium.
The two bodies locked into the rhythms of their love-making,
twisted in white sheets. OFF SCREEN a shower runs.
INT. SHOWER - HANNA
Is in it. The water streams off his body. The glass is
misted. He turns off only the hot and breathes fast in
the cold spray. OFF SCREEN a cigarette lighter CLICKS.
BEDROOM - JUSTINE
smoking, still under the white sheets, watches Hanna dress.
... taking me out to breakfast?
(looks at watch)
Can't. Bosko's waiting..
Hi Vincent. Mom, where's my
LAUREN, Justine's daughter, is 15 and tall and anxious.
I saw them on the kitchen
Want me to make coffee?
(to Lauren in other
No school today?
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Daddy's picking me up! We're
going to see the new site and
then shopping and lunch.
They're not on the table.
Then I don't know...
He's already half an hour late.
He gonna show? Or the son of a
bitch gonna stand her up like
Hanna clips a 2" .38 in his waistband. Justine shrugs and
shakes her head.
(starting out of
Want the coffee?
I'm out of time...
Falls back on the pillow,
disappointed. It's as if she'd
been stood-up. The bed sheet
falls half off of her. She's
exposed, vulnerable. She looks
out the window, occluded by light
muslin, away from us and exhales.
INT. MACARTHUR PARK, MEN'S ROOM - ON WAINGRO - DAY
Bare-chested washing at a sink. WAINGRO'S 27. He sports
prison tattoos including an Aryan Brotherhood swastika
covering his abdomen. He's a graduate of the "gladiator
academies," Chino and Tracy.
He's dressed in Army and Navy Store gray workman's clothes.
He combs his long hair straight back off his round forehead.
Now he tucks his shirt in and puts on wrap around shades.
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EXT. MACARTHUR PARK - WAINGRO
Waits. His shell jacket is in a tight roll under his arm.
Then a garbage truck - a Dempsey Dumpster (the kind with a
power forklift on the front) - pulls up.
INT. TRUCK - WIDE - DAY
Michael Cerrito is the driver.
He climbs in. Cerrito pulls out. Waingro - delayed -
offers his hand. Cerrito has to wait until he finishes
his gear change to shake it. The timing's a little weird.
You're Cerrito huh?
What kinda guy is this Neil?
Just do like he says. Exactly... like ... he ... says.
They have to talk loudly over the clapped-out ENGINE'S
EXT. ALLEY - ON GARBAGE TRUCK - DAY
It's ABRUPTLY QUIET. The truck's parked. The two men sit
idly. Waingro finishes take-out coffee and tosses the
INT. TRUCK - CERRITO
Lights a cigarette. Belatedly, he offers one to Waingro.
Waingro lights up. The two men relax under the swirls of
You guys always work together?
All the time.
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Real tight crew, huh?
This works good, maybe I could
Cerrito looks at Waingro. He wants to protect his
Yeah. Stop talking, slick...
It ends the conversation. Waingro drums his fingernails
on the dash. He's anxious.
CHEVY TOWTRUCK - ON TOWNER - DAY
TOWNER'S a sloppy, nondescript man in his 40's. He slouches
behind the wheel. A Bearcat 210 Scanner is under the dash
and a walkie-talkie on the seat. As in the garbage truck,
it's quiet and he waits. Then:
You ready if I need you?
(into radio; low)
Got their air?
At a low level we HEAR POLICE CALLS.
INT. AMBULANCE - TWO SHOT - DAY
Chris and Neil are sitting in the front seat of the
ambulance Neil drove away from the hospital.
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...Daddio's jazz patio on KDCA.
Brought to you this fine day,
which is A-okay, by Twister.
Hey, mister, go out and buy a
bottle of that
Turn it off.
Chris turns it OFF. A little anxiety develops.
INT. GARBAGE TRUCK - TWO SHOT - DAY
Waingro stubs out his cigarette in nervous jabs. Cerrito
pulls from a paper bag two of the rubber masks he bought
and surgical gloves. He and Waingro put them on quickly.
Cerrito has the monster mask three eyes and a twisted mouth.
Waingro is a beautiful woman. Their movements now are
very fast. Cerrito pulls the truck out of the alley.
As we approach the street an armored truck passes by. We
fall in behind. At this point we realize these men are
going to pull down an armed robbery of this armored truck.
But, we turn LEFT. The armored truck went straight. Then
we turn RIGHT. However we SEE the armored truck again.
It turned left. Our paths will intersect at 90 degrees.
INT. AMBULANCE - ON NEIL - DAY
He checks the chamber and then inserts into the grip of
his 9mm. Browning a 14-shot clip. Chris works the slide
of a Remington 810, 12-gauge shotgun and puts on a welder's
helmet. Neil pulls on the rubber mask of Donald Duck and
slings a stopwatch on a string around his neck.
Their response time?
Two minutes, fifty seconds.
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EXT. STREET - WIDE ON AMBULANCE + STREET BEHIND IT
The lumbering armored truck approaches...
We ought to be down the chute
into the escape route in 2:20.
Here we go...
INT. ARMORED TRUCK - DRIVER'S POV: APPROACHING AMBULANCE -
With FLASHERS going. Suddenly it pulls diagonally across
the narrow street, as if trying a three point turn: Driver
of the armored truck slams on his brakes.
INT. GARBAGE TRUCK - CERRITO'S POV: ARMORED TRUCK IN
PROFILE - DAY
We're accelerating at it.
punches the accelerator.
FRONTAL: GARBAGE TRUCK
a prehistoric beast charging at us.
CERRITO'S POV: JAMMING
at the armored truck.
We SLAM into it,
WIDE: ARMORED TRUCK
knocked onto its side, crushes against a wall.
INT. ARMORED CAR - DRIVER - DAY
Stunned, pinned inside. Their world is sideways. It rains
desposit slips. GUARD ONE grabs the radio mike:
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211! We're being taken down!
EXT. ALLEY - ON REAR OF ARMORED TRUCK
Neil, Chris, Cerrito and Waingro are on the move...
INT. CHEVY APACHE PICKUP - TOWNER - DAY
Listens to his BEARCAT POLICE SCANNER,
Car 74, what's your ETA to the
211 in progress Hoover and 14th?
CAR 74 (V.O.)
Car 74. Three minutes. Over.
Car 74. Take it. Car 37, you're
(into radio to Neil)
There's the call. Three minutes.
EXT. STREET - VEIL
With his radio earpiece starts a CHRONOMETER with a LOUD
ARMORED TRUCK - CHRIS
in a welder's mask with the hollow core drill drives the
10" diameter bit into the truck's armored plating. Neil
looks at his stopwatch.
28, 29, 30, 31, 32...
CLOSE - DRILL BIT
SCREAMING of metal as the hollow-core bit tears through
Neil with his Browning. Cerrito has an AR15 with its stock
collapsed. Waingro has a 9mm. Beretta.
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The bit has cut a 10" circle into the side through the
armored plating. Now Chris heaves the drill aside, steps
away, swings up his shotgun as...
swings a sledgehammer at the 10" disc. It falls inside
pulls the pin and tosses a grenade into the hole. It
EXPLODES and pours smoke.
(yelling after it)
Next one blows you up! Out!
INT. ARMORED CAR - GUARD ONE
Coughing. His mask doesn't work. He lurches for the
EXT. STREET - ARMORED CAR
Door crashes down, opens, Guard One falls out. Then GUARD
TWO. The DRIVER comes out his door. Cerrito grabs him.
Neil handles the two Guards.
Up against the wall!
He yanks their guns away - his 9mm. At the back of each
man's head in turn.
tries to twist away as a reflex. Cerrito cracks him in
the face with the AR15, driving him to the wall.
WIDE: CERRITO + WAINGRO
cover the three. Neil moves into the Armored Truck to
join Chris who's already inside, ripping it apart,
searching. We see him disregard cash.
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8o seconds left. Move it.
behind the Beautiful Lady mask: trying hard to do good.
His gun jumps from Guard to Guard to Guard.
looks at Waingro. WIDEN. Waingro's aware of Neil's
(to Guard Two)
Flatten - up against it! Higher!
He slaps the back of Guard Two's head with the gun barrel.
(a big, boastful
...you didn't have that gun..
(cuts in; cool)
That's true, slick, cause you're
a real tough guy. But he has
the gun. And me, too. So shut
the fuck up.
Neil and Chris emerge from the van with one manila envelope.
38 seconds left!
It's like Waingro can't hear. He's fixated with Guard
Two. Guard Two turns and looks at him arrogantly - more
concerned with his masculine pride than his safety. He's
a stupid man.
WAINGRO'S POV: VERY WIDE
Things happen slowly.
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...hadda mouth off? In front of
Waingro's arm points out at the man - with the gun at the
end - and FIRES.
Guard Two is blown up against the wall. Driver moves...
reaching for a two-inch hammerless .38 back-up tucked in
his boot. As he brings it up...
NEIL'S 9MM. BROWNING
FIRES TWO HAMMERED-ON SHOTS.
covers Guard One. Guard One stares at the men in the masks.
Once killing begins, he knows what will happen. Cerrito
looks at Neil...
kills Guard One with THREE SHOTS.
Neil literally throws Waingro into the back.
INT. AMBULANCE - ON CERRITO - DAY driving, lays rubber
down the alley. ON NEIL at watch.
(tosses the watch;
Blew the margin. Here we come.
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INT. WHITE CHEVY APACHE TOWTRUCK - ON TOWNER - DAY
We HEAR police dispatcher on the Bearcat scanner.
One on your tail.
Here we come.
Towner drops the walkie-talkie out the window. He's
fastened a professional racing harness.
EXT. STREET - REAR SHOT ON AMBULANCE - DAY
Skidding right into another side street.
REVERSE: BLACK + WHITE
in Code 3 scraping between the garbage truck and wall -
roars TO CAMERA. One cop already has his shotgun up.
EXT. SIDE STREET - WIDE: AMBULANCE - DAY
Left down the street with FLASHERS going.
WIDE PROFILE: AMBULANCE
Streaks THROUGH THE FRAME. HOLD and SEE the Chevy towtruck
guns the engine.
BLACK + WHITE
bounces around the corner, the rear end comes out, skidding
left. Towner floors the towtruck. We SEE it's heavy front
bumper RAM the police car sideways.
EXT. GAS STATION - BLACK + WHITE
Is SMASHED SIDEWAYS into the station, careens off two cars
... plows through a rack of pumps, takes out the air and
water reservoirs and wraps itself around a lamppost.
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Towner's towtruck's gone.
EXT. RESIDENTIAL SIDE STREET - AMBULANCE - DAY
Pulls in and parks. Everyone abandons it, leaving masks,
rubber gloves, equipment, outer clothing inside. They
cross to a Chevrolet Caprice. They climb in. They pull
EXT. GAS STATION - WIDE - DAY
One cop has a cut forehead, tries to stand. Two more black
and whites pull in - flashers going. The driver staggers
out from behind the wheel and tries to shake clarity into
his head. He sits on the pavement.
EXT. LAX PARKING LOT - WIDE BETWEEN THE CARS - DAY
Planes ROAR overhead in landings or takeoffs. Yellow vapor
lamps glare. It's gaudy with lights. Neil and a man named
NATE are parked next to each other facing opposite
directions. Nate's 50 - an ex-prize fighter with his nose
all over his face in a silver Mercedes. His big muscles
have gone to flab. He wears a yellow rayon shirt. He's
deeply tanned and pock-narked.
Nate functions as a middleman and fence for Neil. All
calls from people who want to contact Neil come to Nate.
Right now he examines the manila envelope from the armored
truck. Neil's in a Lincoln Town car, gray suit, white
shirt, no tie.
contains 80 x $20,000 negotiable Treasury Certificates.
A million, six at 40 cents onna
dollar's 640. Here's a hundred
forty thou front money. Get you
the rest, 2-3 days.
WIDE - FROM THE FRONT
Nate gives a large envelope to Neil.
What happened out there?
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I don't want to talk about it.
Wait a minute.
What's the matter?
You know who these belong to?
"Malibu Securities ...
You know John Van Zant?
Malibu Securities is a brokerage
he controls. Planned
bankruptcies, made out during
the S&L's, money laundering...
Nate pulls T.C.'s.
You ripped off his Treasury
He's got insurance.
That's the point. On top of
collecting his insurance, maybe
he wants to buy back his bonds.
From him I can get you 60 cents
on the dollar instead of 40.
Means an extra 320 to you.
Try it on.
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You know Cezar Kelso?
He's got this score he's putting
out and wants you to look at.
What do I need look at his score
for? I got my own.
He said you'll get near eight
figures. Very clean.
Take it easy.
Neil starts the car. Nate pulls away in his Mercedes.
an L1011 ROARS overhead. Neil pulls out.
EXT. ALLEY - WIDE ON PAVEMENT - DAY
We're looking at chalk outlines of the bodies of Guard one
and Driver from the armored truck. The pavement is
bloodstained. Bright lights illuminate the crime scene.
Where's the ambulance?
They dumped it four blocks from
WIDEN TO REVEAL Hanna who we now identify as a police
lieutenant of detectives. He's just arrived. The alley's
been roped off with sawhorses labeled "crime area." The
armored truck with the holed side is still there. One of
Hanna's crew, DRUCKER, a black intelligence analyst and
technician at 45, was already there. A uniformed SGT.
HEINZ was there first and by procedure took command. It's
his crime scene.
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Masks, guns, radios - all left
behind. No prints.
What about the crash, the white
Two more of Hanna's crew arrive in an unmarked car and
join him: CASALS - bald at 30 and wiry; BOSKO - a huge,
Hasn't turned up. Got a witness:
janitor next door.
I.D. anybody? Plate?
One big. One thin. He heard
Guy's nearly blind.
(re: body outlines)
What about them?
According to the janitor, he...
(Guard Two outline)
Started mouthing off to one of
Oh, that was smart.
I figure the other went for...
... that gun when the shooting
started. One guy called a guard
Yeah. And they ignored the loose
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'Cause they had no time, cause
they knew our response time,
cause they were on our air.
You recognize their m.o.?
Yeah. Their m.o. is that they
are good. Once it escalated
into a Murder One beef for all
of them after they killed the
first two, they popped guard
number three 'cause it didn't
rake any difference anymore, so
why leave a living witness?
Drop of a hat? They'll rock and
roll. Also: the way they went
into the side indicates they are
equipped to go in on the prowl.
So also start looking for recent
highline burgularies that have
Run the "slick" bit to the FBI
and see what it kicks out.
I called it in already.
Split the fences. I'll take
Cuzomano and Torena. You take
the East side. Go through the
tapes of who we been listening
Hang in with Forensics on all
How'd they know the route of the
van and what it was carrying?
Does Gage print the day's routes?
What do they do with the
printouts? Who collects their
trash? Run makes on all their
middlemanagement. Did someone
give this score up?
Check the three guards. See if
one of them was a tipster.
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What's the vibe: home-grown or
Out-of-town. Frankly, I hope
they are scoring once and passing
through. And I doubt it.
This going to stay in Area?
This look like boosters working
the local Seven Eleven to you?
It goes to Major Crime.
(to his crew)
Go to work.
They move toward the Forensic Unit, scraping tire rubber
and measuring distances as we
INT. EARLY 60'S COFFEE SHOP - WIDE - NIGHT
It's 1963 futuristic: flagstone and rubber plants. Most
of the patrons are night people: pimps, hookers, customers,
disintegrating couples, etc. We PAN AROUND the interior
and settle on a booth by a window. In the booth are Chris
and Cerrito on one side and Waingro alone.
Anybody want some pie?
looks at Waingro, sips his coffee, and looks away again
Waingro is nervous.
sees something in the parking lot.
DOOR - NEIL
enters, crosses to the booth, slides in across from Waingro.
The four men huddle together and talk in a whisper. Neil
pulls out three yellow envelopes, presumably full of money.
Neil will talk about Waingro in the third person as if he
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This is a partial split, but I
took out of ours - every - to
...his full end. Because I want
to settle him up and get rid of
this jagoff right now.
Cerrito and Chris looks at Waingro.
Chris nods. Waingro's speechless. Neil flips him an
Waingro doesn't move.
I had to dust him!
Neil grabs the back of Waingro's neck, slams the side of
his face onto the table top and flicks the middle finger
of his left against waingro's temple. Neil could kill
Electricity and chemicals a little
You a shooter? Speed? What?
Flick. Cerrito looks around the coffee shop: it's quiet.
You didn't have to. Now we got
extra heat off a clean score.
Waingro does nothing. Neil shoves him into the corner of
the booth. Plates fall. All three get up and walk out.
EXT. COFFEE SHOP, REAR PARKING LOT - WIDE - NIGHT
Neil, Cerrito and Chris cross past cars.
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ANGLE - WAINGRO
whines, cries and charges into Neil's shoulder from behind
and spins him around, wanting to explain to him. This
knees Waingro in the stomach. Waingro folds over. Neil
slams both open palms on Waingro's ears and knees him in
the face. Waingro sprawls over a car hood and falls off.
CLOSER - NEIL
kicks Waingro in the side driving him between cars where
it is more secluded while Cerrito and Chris casually look
a-round and back away to cover him because they know Neil
is going to kill him now. As Neil draws his .45 ...
Neil looks. Across the street cruises a black and white.
He watches it pass. His attention goes back to Waingro.
As his .45 comes up.
turning, mildly surprised.
NEIL'S POV: NOTHING
searches under cars, carefully. Nothing.
HIGH + WIDE
Waingro's gone. Neil with Cerrito and Chris following
scan the spaces and shadows as they back out of the large
INT. SHIHERLIS APARTMENT - ON CHARLENE - NIGHT
CHARLENE - twenty-six, in skin-tight black pants and black
hair. They're on their way out. The apartment is heavy
on computer games, video gear, appliances and children's
furniture. Re: envelope:
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(counts the money)
Where's the rest?
Eight thousand dollars? You
gotta be kidding me!
Chris enters from the bedroom. While buttoning a shirt,
he's mostly oblivious. It frustrates the hell out of
I squared the bookies and we had
to pay off some guy and were
short to start 'cause the rest
is comin', in a coupla days. So
don't sweat it.
Slips on a boot.
Listen to me. "As The World
Turns" can get interrupted with
a news flash of you splattered
all over the street ...
Pulls on boot two.
I can get sent up on an accessory
beef. Your son, Dominick, winds
up in a home. For $8,000?
Honey, for $8,000, it ain't worth
the risk. Risk versus reward?
Don't worry about money. Neil's
Hey, if we're goin', let's go.
Where's the club you were going
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Here comes the "showgirl with a
Shut up! I left for a good thing.
Why am I even talking to you? I
can't talk to you. All you are
is a child growin' older...
The hell's that mean?
It means we're not making forward
progress like real adults and
you won't listen.
I told you: me and Neil got
"Me and Neil." I'm married to
you, now. This isn't the fucking
Don't mouth off to me!
I want out of here!
Well there's the fucking door!
Only leave Dominick, the bank
book and the car keys on the
You can keep that other crap!
But Dominick goes with me.
Chris shoves her up against the wall.
I'll find ya and kill you, you
bitch, wherever you are - you
ever try to take Dominick away
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He means it. She knows it. He takes the car keys and
goes. She's frozen to the spot.
EXT. CERRITO'S BUNGALOW - WIDE - NIGHT
A modest West L.A. bungalow that's been remodeled beyond
neighborhood values. A 1990 Coupe de Ville's in the drive.
Cerrito pulls his black '93 Eldorado up behind it. A
NEIGHBOR shuts off his sprinkler. Cerrito gets out and
pulls the wrapped up doll house out of the trunk.
WIDEN TO INCLUDE ANITA CERRITO (7) running up with LINDA
CERRITO (9) not far behind. She jumps into her dad's arms.
INT. CERRITO HOUSE - ON CERRITO - DAY
Entering: home theater system, Hawaiian art prints in
ELAINE CERRITO - a dark, heavy-set woman who was dynamite
at 25 and still sensual at 40 - enters from kitchen and
(nods; gives her
Put this away.
Daddy, what's in the box?
She exits to kitchen. Cerrito sits down and pulls Anita
onto his lap.
What do you care?
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They start shouting: c'mon c'mon. Elaine enters with her
class of red wine.
Open it up.
They run out. He whispers to Elaine who sits on the side
of his chair and drapes an arm across his shoulder. Michael
Cerrito is a family man and the nicest guy on the block.
INT. UNDERGROUND GARAGE, ENTRANCE - A RECTANGLE OF NIGHT
SKY - NIGHT
Then Neil's Town Car enters down the ramp and passes
through. It's deserted and quiet.
EXT. GARAGE - ON NEIL - NIGHT
Driving away in his personal car, an Eldorado in black.
EXT. SANTA MONICA 3RD STREET - ON NEIL - NIGHT
It's almost deserted. Neil enters from Arizona Avenue.
He's alone. It's windy. The collar of his gray suit is
up, the lapels are closed over his white shirt.
INT. HENESSEY AND INGALLS BOOKSTORE - NEIL - NIGHT
Looks at a large book in the Engineering section. He
specifically flips back and forth between full-color plates
of electronic micrographs of different kinds of steel.
EADY (0. C.)
Help you with something?
WIDEN TO INCLUDE EADY TSE - 28, 5'8". Chinese, long black
hair to her waist. Her face is high cheek-boned and
intelligent. She wears a gray corduroy smock over a
turtleneck shirt and jeans. She speaks English in American
vernacular with only the slightest trace of an accent.
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You closing in a few minutes?
Eady leans back against the book case.
You interested in metals?
It's the color reproduction of
We have a first edition of
Kandinsky's Theory of Color with
hand pulled lithographic prints
bound in. Would you like see
I see you in here before.
You're open late. Not many open
What's your name?
Holds out hand.
Eady. Eady Tse. What's yours?
Bukowski. Neil Bukowski.
He holds onto her hand and stares down into her face.
They both smile. She laughs and looks away first. They
continue to a rear locked case.
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INT. HANNA'S CAR TRAVELLING - HANNA - NIGHT
Floating through the green xenon nightgown, hits a stored
number in his cellular phone's memory.
M. C. U.
Bobby, it's me.
Boss, whoever's fencing the Bearer
Bonds is either highline or out-
of-town. Everyone's talking
about it. No one knows about
Schwartz went through the indexes
on recent surveillance tapes?
No armored cars. No witnesses
on who stole the ambulance.
Albert Torena call me back?
INT. HANNA CONDOMINIUM - HANNA - NIGHT
Lets himself in the door. He's beat. He throws his coat
at the chair.
INT. KITCHEN - STOVE
The dried-out remains of dinner. Hanna roots around, grabs
a lamb chop, forgets the rest and goes into the living
room. INT. HANNA LIVING ROOM - JUSTINE sees Hanna, goes
back to book.
Where have you been?
Work. Harvey show or'd Lauren
get stood up again?
He didn't even call her.
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What an asshole. She okay?
She's been in her room all day
and won't talk. So "no," she's
not okay. And neither am I.
If I try to create something
like a mood between us you back
away. I made a great dinner for
us. That was four hours ago.
At least get yourself a plate...
There's three dead bodies in an
alley off Adams.
I'm really sorry the lamb got
Justine looks at him, elegantly rises, exits into the
bedroom and closes the door.
Looking after her is tired.
Very tired. He doesn't know why
he said what he did. He regrets
it. So he turns on his TV to
watch the news and his eyes glaze
INT. DINER - GRILLMAN - NIGHT
Flips eggs, bastes, and covers them. The grill is all
quilted steel and immaculate. At the other end of the
counter a waiter reads a paper.
NEIL AND EADY
What do you do?
(looks at her, then
Swimming pools. Institutional.
Schools, State, counties. I'm
on the sales end.
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Let me have another coffee.
You like selling books?
Yeah. Especially fine art books.
I study them.
Yeah? Like what?
A little hesitant, Eady drinks her coffee.
There's a Skira edition of
Delacroix charcoal sketches, I
Asian art work.
EXT. EADY'S HOUSE, BALCONY - NEIL + EADY - NIGHT
The house is high in the hill's over sunset. They stare
down at the City - like an ocean of small lights. From
the previous scene we HEAR:
The plates are mezzotints. They
evoke a feeling Japanese painters
called "sabi". They believed
there were eight scenes of
transcendental loneliness. They
painted them over and over again.
One is a flock of geese hovering
over a field. There's always
mist. It's painted just as the
leader touches down.
Pause. They drink scotch in highball glasses.
City of lights.
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I flew over the arctic once at
40,000 feet. The moonlight was
blue on all the snow. It felt
There's a long pause. Then:
Do you travel a lot?
Are you lonely?
I'm alone. Not lonely.
He pulls her closer. A pre-dawn red band cracks the
I get lonely.
His hands hold her face as he looks into her eyes and she
moves to him.
INT. BEDROOM - WHITE - NIGHT
Fills the screen as we PAN ALONG the drapery of sheets to
Neil's wide-awake eyes. Next to him Eady's asleep.
SAME - HIGH ANGLE OVER NEIL ONTO EADY - LATER
Neil is dressed now. He stands at the foot of the bed
looking at Eady.
enters with a glass of water wrapped in a paper napkin and
sets it on the bedside table.
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It's odd: a convict's meticulousness. He moves the covers
up to her chin. There is to his touch, tenderness, as if
they were longtime lovers.
We realize what we are seeing is the emotionality Neil
McCauley keeps in the closet.
HIGH + WIDE
Neil is gone. He paused for that moment before he left,
as if to engrave her image in his memory.
INT. ALBERT TORENA'S APARTMENT - ALBERT TORENA - DAY
Answers the door. Daylight floods in past the silhouette
of Hanna who shoves Torena in the chest, knocking him into
the apartment. Hanna, following him in...
You were supposed to get back to
me last night. So where the
fuck were you, Albert?
I couldn't break free, man!
I oughta violate your ass right
I was all night hitting up Los
vatos like one of those flamenco
matador guys. Cuttin' in real
smooth. Generating leads and
shit. I'm a dancer, man!
ALBERT TORENA'S an anorexic Latino fence. Hanna scans the
apartment. Religious objects crowd the mantle. Fourteen
stolen tv's in packing cases in the dining room.
You're a bust-out speed freak
jackin' metamphetamine again.
I'm in a hurry.
You talk to my brother, Raoul.
He meet you tonight at...
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No. Right now.
I implore him, man. But he say
He in Phoenix. Tonight's the
best I can do for you. The Zebra
on Crenshaw. Eleven o'clock.
You be there, too.
Mon, I go
INT - TRAILER - CEZAR KELSO - DAY
I picked you out to pitch it to
first, but don't think you're
the only action in town and I'm
giving it away. 'Cause I'm not.
WIDEN TO INCLUDE NEIL - who doesn't say anything. CEZAR
KELSO'S a large crippled man in a wheelchair.
What is it?
A bank. On Thursdays it gets
cash deposits for distribution
to other branches. The branches
have to buttress their cash
accounts to handle Friday payroll
checks from a Toyota and Nissan
plant, a steel mill and two
refineries. One day a week,
Thursday, the main branch carries
the full whack.
You want a $100,000 advance,
against a full 101. Why?
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'Cause I can get it. 'Cause
this is the best thing I seen in
three years. 'Cause a screw-up
makes 10 percent of nothin' equal
nothin'. And 'cause those are
the terms and they ain't
On the prowl or strong?
Strong. Through the front door.
During the day.
How many guys?
Four. Three plus a driver.
That's not a $100,000 worth
anything. You're giving me an
address to what's strictly a
cowboy score: "Get the guns and
let's go!" We smash, grab and
boogie while they hit the alarm.
Three alarms. And that's why
the price. 'Cause you chop-in
through the roof the night before
on the prowl and bypass 'em. I
got circuit diagrams, blue prints,
the works. So yeah, they hit
the alarms, but nothing gonna
Do I have to kill people?
I doubt it. Two men have the
two keys to open the box.
Full architectural, plumbing and
electric, camera placements?
All of it.
What do you estimate?
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Eight point, one. Eight point,
two million dollars.
That gives Neil pause. Kelso gets satisfaction from Neil's
reaction to the amount. Then:
He hadda make a call.
Here's five grand earnest money.
You get the rest after lunch.
They shake hands.
EXT. TRAILER COURT, PAY PHONE - NATE - DAY
Look, Van Zant. Nobody knew the
merch was yours or they would
have respected it. Be that as
it may: now you get 100% from
the insurance company and you're
even, plus you can get the bonds
back for 60 cents onna dollar.
You make an additional 40%.
Your operation doesn't skip a
beat, and everybody's making
INT. MALIBU SECURITIES, VAN ZANT OFFICE - VAN ZANT - DAY
On the phone to Nate. There's green forest and blue water
dioramas inset into wood-panelled walls.
Sure. You got a deal.
NATE (0. S.)
Good. Cause there's no percentage
in everybody getting their
underwear in a twist over this.
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Absolutely. You have your man
call me to set the meet.
Usually I'm the mailman.
I don't want to involve extra
people. What the fuck do I want
all kinds of people meeting each
Nice talking to you...
Van Zant hangs up. He's a tall
avuncular man with a flabby belly
and Arrow shirts: an accountant.
HUGH BENNY, a very large juice
collector, is in the office.
You gonna deal with these people?
So word hits the streets it's
okay to steal my stuff? I'm
gonna kill the sonsa-bitches.
EXT. KELSO TRAILER COURT - NEIL - DAY
Entering from Kelso's trailer, meets Nate halfway to the
car. Walking and talking:
I bought it.
What I tell you?
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We're on. You call him
(gives slip paper)
... and set a meet.
How is he?
Very cool. He's a businessman.
They walk to their cars and leave.
INT. LILLIAN'S CAR - LILLIAN AND BREEDAN - DAY
Pull into Robert's Coffee Shop in Culver City. BREEDAN at
29 he's an ex-Eight Trey Hoover Street Crip with lots of
scars who just did five years in San Quentin and is
straightening up. He's gangster clean and pressed and
it's there in his body movements and eyes.
Here it is.
Don 't worry, baby. Gonna do
She laughs and drives away.
INT. ROBERT'S COFFEE SHOP, KITCHEN - BREEDAN - DAY
Enters the kitchen. The manager is SOLENKO - large with
gray features, smallpox scars and thinning hair. He's
forty-five. NOISE OF DISHWASHER, P.A., POTS CLATTERING.
Solenko throws orders together and plates onto the metal
counter for waitress to pick up. They shout over the
(has to shout)
I'm Breedan. You Solenko?
Yeah. Fucking hillbilly grill
ran didn't show. Been here since
4:30. You know this kinda
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The grill. Yeah.
Grill? Empty the garbage, mopout
the toilets. You gimme a hard
time, I'll find something to
violate you back and blow your
You kick back 25% of your salary
to me under the table. Grierson
your parole officer? Right?
(shouts OVER NOISE)
Check it out. Change in the
back. Hurry up.
At this point we don't know what David Breedan's doing in
INT. XYZ DISCOUNT APPLIANCES BACK OFFICE - JOE CUZOMANO -
Hears a buzzer and looks up. His eyes go to a video
VIDEO MONITOR: HANNA
among the racks and tv sets playing the sane soap.
HANNA (0 .S.)
Cuzomano. Open up.
Joe pushes a button. The electric lock is released.
CUZOMANO is a 300-pound fat man.
Whaddaya hear, whaddaya say?.
Hiya, Vincent. About what?
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About this crew that knocked
down three guards yesterday and
took a Gates Armored truck.
Bearer Bonds. Start making calls.
Cuzomano starts punching numbers into his phone.
It's Cuzomano. Get me Francis.
(while we're waiting)
How'd I hear about this?
Ridin' the airwaves. On every
news channel. Turn on a fucking
Try to broker the Bonds. Make
some money. Then you'll shift
into Flip-o-matic and tell me
who they are. And what they are
(Francis is on the
That score went down yesterday?
Yeah, I'm lookin' to handle all
or a piece of the merch. All I
got are yo-yo's. One brings me
a container of Armani suits? He
didn't know they were knockoffs.
Schmuck stole knockoffs. They
should make stupidity a felony.
You hear who they been downed
Cuzomano gets an answer. He shakes his head "no" to Hanna.
Hanna's out the door. Cuzomano breathes easier.
EXT. NEIL'S APARTMENT BUILDING - WIDE - DAY
The Camaro slides soundlessly down Wilshire and into the
underground garage of a high-rise, green glass steel.
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INT. NEIL'S - APARTMENT - NEIL - DAY
Enters. It's white and barren. A TV SET in one corner on
the floor PLAYS a MUTE GAME SHOW. Chris is rolled up in a
blanket in front of it. The apartment is lived in by one
man. It tells us Neil's personal life is a blank.
comes out of the bedroom with a pillow. He yanks Christ
shoes off. Neil punches a number. RINGING. Then:
Chris is here. I called so you
shouldn't worry. What's wrong?
INT. SHIHERLIS BEDROOM - CLOSE ON CHARLENE IN BED - DAY
Charlene rubs sleep from her eyes. Switches hands on the
(into phone; wary)
Husband and wife stuff. That's
He can sleep it off here.
She hangs up and closes her eyes. She hates his guts.
INT. NEIL'S APARTMENT, KITCHEN - CHRIS - DAY
Is hung over. Neil brings coffee to a Formica table.
Chris's shirt from last night is ripped and his lip's cut.
He looks like hell. Neil puts his Browning on the table.
What happened to you?
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When you going to get some
When I get around to it.
My mouth tastes like a sewer.
Chris crosses to the sink and turns the dish sprayer onto
his face and the back of his neck.
Charlene's going to leave me.
There ain't no steaks in the
With everything we been taking?
Last trip to Vegas and the
Superbowl took care of that.
When you gonna get an old lady?
When I get around to it. You
got something else on the side?
She got another man?
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Yeah, I'm sure.
Jimmy - whatsisname - Bohunk, in
the joint used to say: "On the
street you wanna be makin' roves,
you don't put anything in your
life you can't walk out on in 30
seconds flat if you spot heat
around the corner."
Jimmy Banghart. And to hell
with Jimmy Banghart.
I'd rather go ten rounds with
Jesus Christ than fuck with her.
But she and Dominick save my
life, man; everyday. Everyday...
Their feelings and understanding run deep. Chris is
committed to making it work.
Taking delivery from Van Zant on
the rest of the armored car cash.
I gotta drop a deposit on Kelso.
He's got a bank score.
What about the platinum? It's
ready to fall ...
That goes, too. Meet me at the
coffee shop at noon. I got stuff
Neil slips his Browning back into his waistband.
INT. HOTEL ROOM - MARCIANO - DAY
MARCIANO is Las Vegas sharp at 48: a tall, tanned,
ponytailed, middle-aged hustler and sucker for a young
chick. His phone is ringing. He answers it.
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INT. SHIHERLIS BEDROOM - CHARLENE - DAY
Drinking coffee, speeding.
I've had it with him. I've had
it. Can you get us out of here?
Absolutely. I got a coupla orders
to write. Meet you at 12.
EXT. HAMBURGER STAND - CLOSE NEIL - DAY
EADY (V. 0.)
(after a pause;
How you doing?
INT. EADY'S HOUSE - EADY - DAY
In an ink-stained smock.
Neil. I wondered when you'd
I been real busy.
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Can I see you?
I was worried... was just...
...the one night. You know?
Not for me it wasn't.
Tonight. I'll pick you up at
She hangs up. He wonders about doing this, puts it aside.
EXT. HAMBURGER STAND, PHONE BOOTH - NEIL
Takes a deep breath. Maybe he's not sure of what he's
into. It passes. He crosses the counter.
Across the street is the Hiawatha Motel in 40's stucco and
desert pastels and Charlene's yellow El Dorado parked next
to a Lexus in front of Room 18.
Change for a dollar?
There you go, honey.
Yeah. Van Zant.
Suddenly Neil turns because he sees.
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NEIL'S POV: ALAN MARCIANO
leaves Room 18, waves goodbye to Charlene and crosses to
VAN ZAPT (V.O.)
About the merchandise. What's
In the b.g. Marciano pulls away.
VAN ZANT (V.O.)
Give me your number and somebody
will call you right back from a
different line to set the meet.
He hangs up. He waits. The PHONE RINGS. He answers. He
says nothing. He nods. He hangs up. He crosses the street
lot to the Motel.
EXT. ROOM 18 - WIDE
She does. She closes her eyes, resigned to doom. He walks
past her into the room.
INT. ROOM 18 - WIDE - DAY
One unmade bed. Neil looks.At the tacky interior. He
crosses to the bathroom and turns on the water. He advances
on Charlene who's backing up.- She falls over a waste can.
Who was that guy?
I won't tell you.
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Neil kicks the waste can out of the way. It clatters across
We got to know who he is!
Nobody, Neil! A liquor wholesaler
from Las Vegas. Alan Marciano.
What he tell you? How connected
he is? Get you a spot in a show?
I figured it out for myself!
Neil closes in.
Chris is gonna straighten it up
with you. And you ...
It's too late! I'm sick of it!
I'm sick of you.
I'm not part of your situation!
Charlene gets attentive. She's backed into the corner and
can't get any smaller.
Not anymore. And Chris has got
two big jobs back-to-bick. You
will give Chris this shot.
After that, he fucks up, then
I will finance setting you up,
separate, myself. Dominick will
go with you. And my word counts.
But right now he is puttin' it
all on the line. So for the
three of you, you are goin', to
give Chris one more shot.
Neil grabs the whole lower part of her face in one hand.
His face is inches from hers.
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Now that is what it is gonna be
Charlene hesitates; then acquiesces.
EXT. CRENSHAW BLVD. - HANNA'S CAR - NIGHT,
Weaves through traffic. Horns BLARE.
EXT. ZEBRA CLUB - DOORMAN - NIGHT
A muscular black man named ALPHONSE has his back to us at
the rear delivery entrance to a mall awash with Korean
Gimme all your money!
Hanna's jammed two fingers in his back. Alphonse spins;
sees it's Hanna.
Cuz, one day you get coldblasted
with that shit.
Ain't gonna be you, mo-fo.
Homeboys talkin' about it.
Nothin' solid. Just B-boy jive
'bout outta-towners. Crew's
from outta town. I hear
something; I drop a dime.
Alphonse flips Hanna a small vial of coke.
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Filtering up from downstairs comes 80dB of Jane's
Addiction's cover of "Sympathy for the Devil".
INT. FREIGHT ELEVATOR - HANNA - NIGHT
Descending alone uses a small, black, carbon steel sheath
knife to take two hits from the vial. He shakes off the
initial blast, pockets the vial, the doors open, Jane's
Addiction's LOUDER. We're ...
INT. ZEBRA - HANNA
Crosses through the mostly black, affluent crowd of players,
gangsters, dopesters, models and security in business suits
openly carrying and wearing headset radios. Hanna crosses
through like he owns the place, gestures to the bartender
and slides into...
INT. BOOTH - RAOUL TORENA
What do you got?
This crew's ripping Porsches out
of Orange County. Horrell, Piper
and Voight. They're working in
the back of a trim shop on Irvine.
Somebody was to pay him a visit
this weekend, they'd find a
metallic blue Turbo...
RAOUL TORENA, Albert's brother, is a thirty-five-year-old
with crew-cut black hair and a Varri Uomo sport jacket.
WIDEN To INCLUDE Hanna.
...lookin' for me to rid you of
I'm a good citizen.
You got something to say, or
Mi carnal: if I tell you what I
got to tell you, how do I know
you gonna do what the fuck I
just told you I need to get done?
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Hanna's gaze drifts up into Raoul's eyes: it's deadly.
Raoul, Hanna do what he say!
That's why I reached for you..
Hanna jerks Raoul by the front of his Verri Uomo which is
being destroyed in Hanna's fists.
I'm not your 'carnal, you little
And you 'know' 'cause I say so...
after I hear what you got to
Hanna throws him back against the bench.
This is valuable shit! I could
get killed telling you this shit!
Low, flat and deadly:
You can get killed ... walking
down the street...
A dude I knew in McNeil's been
out a couple, three years.
He's an action junkie. If he'd
said nothin', I'd a thought
nothin'. But he goes on and on
into extra overtime on how he
ain't been do-in' nothin' and
then I know this cat's got
something goin' down...
Raoul leans back in the booth, nods his head, proud of
this pearl of information. Hanna looks at Albert like
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What's wrong with you? You drag
me here to waste my time like
You saw a guy on the street...
who's an ex-con?
...what do you expect for that?
A Junior G-Man badge?
You gonna make the call on the
Are you kidding?
Hanna gets up to leave.
I'm telling you this slick is
double-duty! A real doubleblank
Huh ... ?
You said "slick."
Yeah, that's what he calls people.
Hanna plays it low key. Hanna sits back down.
Tell me about him...
Six feet, built. Lotta jailhouse
tattoos. Peacock right here.
Probably was a shooter once Heavy
time: Attica, Marion, could do a
nickel or dine standing on his
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ear. He's in C-block two days,
and in the shower some Muslim
comes up into his face and he
cuts the guy a new opening for a
colostomy bag and goes back to
shampooing his hair...
What's his ... name..
Cerrito. Michael Cerrito.
INT. CAR - HANNA - NIGHT
On the phone. The back side of downtown is a wall of light
moving past as ...
Jacket's two inches thick. 38
busts since 1976.
INT. LAPD, MCU OFFICE - BOSKO - NIGHT
Hanna's on the speaker phone. Casals enters.
Two for murder one. Eleven for
armed robbery. Three convictions.
Two out of a three year beef in
Attica. Three years in
Statesville. Five years in
Riker's Island off a knock-back
to involuntary manslaughter
Narcotics record. Methadone
treatment. Two kids. Wife's
named Elaine. Strictly a cowboy.
Who else have I got?
Drucker, Casals and me, boss
Bob, get on the house.
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HANNA (V.O.) (CONT'D)
24 hour surveillance, title
search, the works. Drucker and
Casals bug the car and whatever
else we need, remembering it
won't be evidentiary.
When he moves or sits - like in
Bosko answers another phone, puts that line on "hold" as...
I want pictures of who he moves
and sits with. Then run makes
on them and their cars. They
got jackets? I want to see who
they move and they sit with and
give them the same treatment.
Bosko. Work the neighborhood.
Tail the wife. Look for a drop
that could garage a work car and
tools. That's it.
Richie the Medical Examiner's
Conference him in.
Vincent, can you fall by a crime
scene on the strip? I think I
got another one.
"Sympathy for the Devil" gets LOUDER and washes across
EXT. SUNSET. BOULEVARD MOTEL AND ALLEY - NIGHT
Neon under the vapor lamps. O.S. the cacophony of horns
and sirens. Pimps and hookers crowd the background. A
crime scene area near the garbage cans is roped off. An
ambulance, black-and-whites, a Medical Examiner's van clog
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CRANE DOWN as Hanna's car pulls in and he approaches the
Medical Examiner, RICHIE, 25-35, black, diamond earring,
gray lab coat.
Here's how we found her.
POLAROID - BLACK PROSTITUTE
in a nightgown, folded over the lip of a garbage can at
the waist. She's a pitiful rag doll. Someone killed her
and then threw her away.
is too controlled. Anger's underneath.
How'd she die, Richie?
Blunt instrument. Cerebral
Who are they?
THEIR POV: HEAVYSET BLACK WOMAN
and two stunned young boys. She's crying and arguing with
two uniformed LAPD trying to hold her back. One LAPD is a
black woman. The heavyset woman doesn't really know what
happened yet except it's bad.
What the hell are they doin'
RICHIE + HANNA
It's fucked up. Somebody inside
knew the girl and called the
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Now Richie bends over the body bag on the ground and unzips
it. We don't see the dead girl. We only see Hanna. A
third uniformed officer in the background spins away.
Oh, this is nice.
I wanted you to see this 'cause
I got a feeling it's serial and
gonna end up in your court.
Homicide getting anywhere?
Hanna rises. The mother's arguing with the man cop because
she wants to see. Horror and hysteria blossoming through
shock. She pushes the uniformed cop of the way. Hanna
goes to try to help. They grapple.
Baby! Where's my baby.!
Anguish. It's a mess. The woman collapsing into Hanna's
arms. For one moment Hanna's eyes lock onto hers. He
freezes. One doesn't forget the look he sees in her eyes.
EXT. DRIVE-IN THEATER - CAPRICE WORK CAR - DAY
driven by Neil to camera appears and disappears up and
down the earthwork ramps. We don't know what he's doing
in one the last drive-in theaters in California at high
WIDE FROM THE REAR
The white screen reveals its cracks and patches.
CLOSE ON ENTRANCE
A yellow full size Dodge pickup with darkened windows
enters. It hesitates and then slowly drives toward Neil -
up and the ramps between the speaker poles.
ON DODGE PICK UP
circling wide and coming up almost parallel to the Caprice.
As the driver pulls to a stop we see an envelope on the
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You keep your hands in sight! I
tell you what to do, how to do
Yessir. I'm just the delivery
Of the two vehicles. Out of the
covered bed of the pick-up a
small man slowly slips out.
crawls under the pick-up and Neil's car and emerges on the
passenger side behind Neil's rear wheel in Neil's blind
spot. He inches towards the window. He carries a 15-shot
Colt .22 Woodsman with a huge silencer. He is totally
relaxed and professional.
concentrates on the driver, who's calm.
Now, with your right hand only:
throw the envelope in my back
Starts to reach for the envelope and tosses it into Neil's
sees his eyes dart. Neil glances at his right rear view
NEIL'S POV: MAN
with the silenced .22.
WIDE FROM THE FRONT
Neil floors the Caprice and it catapults and bucks over
rows of ramps.
REAR SHOT - MAN
pumps SHOTS into the rear of the Caprice.
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INT. CAPRICE - NEIL
Jerks out his 9mm Browning as .22 SLUGS DRILL precise HOLES
THROUGH THE WINDSHIELD.
EXT. DRIVE-IN - VERY WIDE
Neil throws the Caprice through a skidding 180 degree turn
and accelerates toward the man who moves back towards the
Dodge pickup for cover.
INT. PICKUP - DRIVER
Panics now. The Dodge takes off, abandoning the man with
INT. CAPRICE - NEIL'S POV: SKY-GROUND
PITCH BACK AND FORTH, UP AND DOWN. The Man runs, turns,
stands, and FIRES.
EXT. DRIVE-IN - PROFILE: CAPRICE AND ABANDONED GUNMAN
Who FIRES until the Caprice smashes into him.
INT. CAPRICE - NEIL
Skids around to a stop and bails out.
EXT. DRIVE-IN - DODGE PICKUP
Accelerating to the exit lane, kicking up billows of dust.
INT. PICK-UP - DRIVER'S POV - CLEAR EXIT
Until Cerrito and Chris fold out from either side of the
exit gate with shotguns. They FIRE:
EXT. DRIVE-IN - WIDE
The windshield is blown out and the Driver's half into the
back seat. The car rolls over onto its side. Cerrito
FIRES into the exposed gas tank. It BLOWS UP.
approaches the fallen Gunman and with the 9mm. Browning
at his temple, kicks away the .22.
Can I Make it?
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Neil looks at his smashed, twisted body and bleeding mouth
He's choking to death. Neil shakes his head "no."
You're all done, pal.
He closes his eyes.
aims. FIRES ONCE.
VERY WIDE FROM THE TOP OF THE DRIVE-IN SCREEN - SUNSET
The whole landscape. Neil with the gun heavy at the end
of his arm walks from the Gunman to the Caprice. Chris
and Cerrito - like duck hunters - cradle their shotguns
and cross to a Lincoln away from the burning pickup.
INT. MALIBU SECURITIES, VAN ZANT OFFICE - VAN ZANT - NIGHT
Phone rings. Occupied, he casually answers.
John Van Zant?
Yeah. Who's this?
Van Zant reacts, racing, trying to cover.
This kid I sent to straighten
you up on the money... didn't
call. Is ... uh... everything
Tell you what: keep the money.
"... keep ... the ... money."
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It's a lot of money! What are
What am I doin' I'm talking into
an empty telephone.
I don't understand.
(matter of fact)
'Cause there is a dead man on
the other end of this line...
Neil hangs up. Hugh Benny has entered. Van Zant looks at
the phone, then Hugh:
Who are these people? Huh?!
INT. CHINESE RESTAURANT, PHONE BOOTH - NEIL - NIGHT
You got a clean line?
INT. KELSO TRAILER - CEZAR KELSO - NIGHT
In his wheelchair. He checks a meter attached to his
(Phone filter) I got a delay
dropping the $50,000.
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You don't have a delay. What
you don't have is a deal.
Swing by and collect your envelope
Starts to hang up.
Wait a minute, pal-o!!
INT. CHINESE RESTAURANT - NEIL
You're going to wait for me for
a week. I'll buy a week with
the five. It's above and beyond
the fifty and if I wash, you
You're going to wait for me 'cause
you want me to take it down.
You know it's got better odds
with me in.
Now do we have an understanding?
WIDE ON ROUND TABLE
Michael and Elaine Cerrito, Chris and Charlene, Towner and
his wife ANNA - a striking black woman we'll see later -
sit around the table and sing "Happy Anniversary" to the
tune of "Happy Birthday" as a Chinese waiter brings Elaine
and Michael Cerrito a cake; Neil returns.
...Happy anniversary to you.
Happy anniversary dear Michael
and Elaine. Happy anniversary
Everyone applauds and laughs and raises glasses of plum
wine except Cerrito who drinks club soda. Elaine and
Michael blow out the candles.
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The skeleton of a steamed sea bass is in the center of the
INT. MEN'S ROOM OF CHINESE RESTAURANT - CLOSE ON FAUCET -
It's a LOUD TORRENT - TILT UP TO THREE SHOT: Neil, Cerrito
and Chris are clustered around the sink. The water runs
seemingly aimlessly. It also would drown out a bug.
(loud over water)
We'll down platinum through Nate.
The deal is 72% of today's quote
on the Bourse in the New York
(loud over water)
You got the black boxes for the
(loud over water)
Yeah. Towner delivered. They're
in the drop.
(loud over water)
We pass by couple times tomorrow
afternoon. Check nothing strange
in the neighborhood. Tomorrow
night: we take it down. You set
on the rear door.
(loud over water)
I'm going to punch it...
What do we do about Van Zant?
(loud over water)
Kill him...after the score.
We'll use Nate's advance off the
platinum when I down the merch
to pay Kelso for the bank package.
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Neil turns off the water and they leave.
INT. CHINESE RESTAURANT - PLUM WINE AT TABLE - LATER
Elaine drinks. WIDEN. Michael whispers in her ear. She
smiles. Then she laughs and drapes an arm around his neck
and plants a kiss that almost knocks him over. The party,
winding down. Everyone luxuriates in the afterglow.
CHARLENE AND CHRIS
sedate, comfortable, each in separate thoughts.
(arm around her)
Makin' it happen this time...
I hope so. I really hope so.
They're close for this moment: the afterglow of the dinner.
looks at Charlene.
sees and holds his look and then her attention shifts to
checks his watch. Waiter approaches Neil with the bill.
Let me have it!
I got it.
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EXT. CHINESE RESTAURANT - NEIL - NIGHT
And everyone else exits from the restaurant, say their
goodbyes and go to their cars: Neil's Lincoln, Chris's
Seville, Cerrito's Sedan de Ville, Towner to a restored El
Camino. WE HEAR: BEEP-BEEP-BEEP.
A goddamn convention.
We HEAR a soft FILM ADVANCE and SHUTTER.
PULL BACK TO REVEAL REAR SHOTS of Hanna, Drucker, Casals
and a surveillance team on the roof across the street behind
Cerrito, the wide one. He's
hugged twice. One if he finds
it behind the wheel wall. The
back-up's in the firewall. We
got their plates.
One with the hair is Shiherlis.
Got a revolving tail and a tap
on the house phone.
Who's the big guy?
First time we're seeing him.
Hanna rolls away from his line of sight and says to his
Next time this crew scores?
When they walk in that door?
They will get the surprise of a
EXT. EADY'S HOUSE, DECK - TWO SHOT - NIGHT
Neil's shirt's open. Eady's in a terry robe. They've
made love. It's late. They're awake. After a moment:
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(holds her close:
looks at her face)
Come away with me.
What's stopping you? What's
I don't know you.
What's to know?
Are you married?
Way you come and go.
I deal with state officials.
County. Weird hours. A lot of
The last thing I am is married.
There's a pause, then:
You don't know me at all, Neil...
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I know enough.
My father wanted me to marry
someone in Taipei. It was like
I was a piece of furniture: "Go
be his wife." After I left he
won't talk to me. Because I
went on my own. I can't let
people tell roe what to do again.
And that trust comes from knowing
someone over time.
This is hard between us for me.
Because I like you very much.
Neil looks right into Eady's face.
I have to leave. Come away with
No one will ever tell you what
to do... You'll never lose
yourself with me.
She believes him. So do we.
INT. SOUTH LA BREA MOTEL - CLOSE ON HOOKER - NIGHT
She's a BLACK PROSTITUTE - all of 18. She looks bored and
chews gum as she puts on a rayon Japanese Kimono and exits.
ANGLE ON BED - WAINGRO
sits on the edge of the rumpled bed in his Jeans. He wears
a neck brace. His face is still swollen and bruised from
Neil's beating. His belt isn't buckled. He's in a daze.
O.S. we HEAR a TOILET FLUSH. Prostitute returns. Waingro
looks over at her:
Showed you a good time? Huh?
Oh, yeah. You fly. You cool.
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Don't lie to me. I can always
tell when people lie to me.
I ain't lyin'! You a hot dog.
You a cowboy. You hung like a
horse and this was the monster
fuck of my young life.
Now I gotta get my ass streetside.
You don't have a truth-telling
The fuck's wrong with you?
Waingro winds up and cracks the girl. She knocks over a
cheap lamp and bounces off a wall.
on her stomach on the floor, dazed. Waingro kicks her and
throws a small table at her. It smashes apart.
You think I'm some john? I'm a
stone killer! I'm a sky-blue
bad ass, bitch!
INT. MIRACLE MILE BAR - ON WAINGRO - NIGHT
At the bar drinking alone. The logs of an Asian girl dance
Most patrons are Korean. BARTENDER approaches.
(feeling good now)
Sure, good buddy. Set it up.
pours and Waingro knocks it back, watches the Asian dancer
and pops a five and a ten to him across the bar.
I'm looking to get into something.
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Yeah? Where you been?
Chino, Tracy. I'm a cowboy,
heavy-hitter. Billy Ricketts
said to come see you.
Bartender writes on a cocktail napkin.
Go see this guy. This guy always
putting guys on.
Waingro flips the Bartender a $20.
Another woman takes Waingro's eyes. He spins around on
his bar stool and grabs her arm as she passes. Big smile.
Breedan's woman. She, too, is a dancer and her shift's
over. She's wearing a raincoat over tights and a sweatshirt
She jerks her arm away.
Get your fucking hand off my
Waingro backs way off and shrugs. Lillian leaves.
INT. LILLIAN'S CAR - LILLIAN - NIGHT
Down the Strip. The RADIO is on.
RADIO ANNOUNCER (V.O.)
...there, old aware ones, and
you, too, my fair ones. When
tears are falling like rain the
groove is strictly Col-trane...
Lillian turns right up into the driveway and pulls into
Robert's Coffee Shop.
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She asks Solenko who's behind the cash register something,
then leaves, heading across the street to...
INT. NARROW POLYNESIAN BAR - BREEDAN - NIGHT
A back corner, loaded, looks up.
Let's go, baby.
Big drunk smile. She helps him up and supports his weight.
EXT. POLYNESIAN BAR, TWO SHOT - NIGHT
It's later. Breedan's been sick. Now he's sober. They
sit near trash barrels under a huge plaster half shell,
fishing nets and blue lights.
I got any left?
There's other paychecks. You
blow it off. It's worth it,
baby, cause you mess with that
man and you be violated right
back to San Quentin. So you got
to handle it 'til we get you a
Yeah. That motherfucker ain't
invented the hard time this
gangster can't handle!.
Why you stickin' with me, Lillian?
Lillian stares right at him.
'Cause I'm proud of you. Proud
you my man.
Proud of me?
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What you proud of me for?
Come on home.
Breedan puts one arm around her waist and they strenuously
EXT. EMA PRECIOUS METALS, REAR - WIDE ON ALLEY - NIGHT
Nothing. Hold. Then the Pontiac work car cruises the
alley. It's dark, but we recognize Cerrito driving with
Neil in the passenger seat. Pontiac does not slow down at
ERA, keeps going to the end of the block and turns left.
INT. EMA PRECIOUS METALS, INC. - HANNA - NIGHT
Staked out inside. With him are Schwartz, Casals, Bosko
and two uniformed policemen: BRUCE and BERRYMAN.
Bruce rearranges himself. Hanna shoots him a lock. He
stops fidgeting. Hanna looks at wall clock: 10:30p.M.
EXT. EMA PRECIOUS METALS, REAR ALLEY - PONTIAC
Cruises the alley a second time. Again, it doesn't stop.
EXT. ADJACENT ROOFTOP - CAPT. JACKSON - NIGHT
And a ten man SWAT Team are spread out across roofs. The
men wear flack vests and carry an array of shotguns and
assault rifles and shotguns. Everybody Is still. CAPT.
JACKSON uses a periscope to see over the edge:
JACKSON'S POV: ALLEY
INT. EMA - HANNA'S STAKE-OUT
Captain Jackson wants to know
what's goin' on.
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(into his radio)
Nothing. Clear the air.
He clicks off makes a drinking motion to...
...who shakes his head "no." He puts a finger over his
lips meaning silence. Hanna looks at the clock. It's
12:03 a.m. Hanna takes a deep breath. He closes and opens
his eyes. They wait.
EXT. ALLEY - WIDE ON ALLEY - LATER
Nothing. Then the Pontiac with its lights off rolls
forward. Chris gets out with a salesman's sample case and
pads down the five steps to the rear entry of the jewelry
store. Chris is in a black suit and sneakers. There are
surgical gloves on his hands. The others stay in the car.
assembles a heavy lock punch from the black case. It's
formidable. He nods.
in lineman's gear is out of the car and he quickly climbs
the telephone pole like an experienced lineman. The
telephone pole is next to the roof upon which Jackson and
the SWAT Team are staked-out.
TOP OF POLE - CERRITO
arrives. He's 18 inches away from 11 cops. Team nor
Cerrito are aware of each other.
INT. EMA, INC. - HANNA
Neither the SWAT moves his head to ease the strain: A
hearing aid receiver's in hit ear. He looks at his men.
The clock says 1:10 a.m.
Casals, leg convulses. Bruce is the worst. He writhes
with cramped muscles. Bosko's bulk doesn't move.
gestures for Bruce to quiet down.
EXT. ALLEY - CERRITO
Maneuvers past P.G.E. gear and opens the GTE junction box.
He hangs a small suitcase over the door with three black
boxes and six alligator clips and starts searching for
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pairs of colored wires and bridging the jewelry store's
EXT. ROOF - JACKSON
Doesn't know Cerrito is there. He hears BREATHING. He's
curious. He raises his head over the edge and his eyes go
wide. WIDEN. He's inches from the back of Cerrito's head.
Cerrito twists and turns and jerks back in effort - almost
touching Jackson. Cerrito's too absorbed to sense Jackson's
presence. Jackson carefully closes his eyes and sinks
EXT. EMA, INC., REAR ENTRANCE - CHRIS
He gets a nod from Cerrito. He slams the lock punch with
a cut down sledge hammer.
A I" circle is punched into the steel lock mechanism next
to the cylinder, exposing electrical wiring and magnetic
tumblers and "gates."
ECU: CHRIS' FINGERS
like a cardiac surgeon's, have a balletic grace as they
manipulate the tumblers so the groove cut in each one lines
up. As they do, a bar of metal called the "fence" falls
into the channel created by the lined-up gates, unlocking
touches the door. It swings - soundlessly - open on its
hinges. Surprisingly, they now pack up. Neil, Chris and
Cerrito climb into the Pontiac and drive away. The door
was left wide open.
EXT. ROOF - JACKSON
INT. EMA, INC. - ON HANNA
(pissed; into mike)
Fell back to see if the alarm
bypasses held. If they did,
they'll be back. Stay the fuck
off the radio!
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INT. EMA, BASEMENT - WIDE ON VAULT DOOR
Nothing. It's black. Then there's light. Neil's entered.
He illuminates the vault with his penlight.
sets up a heavy drill and tapes a template with drill points
marked to the door.
INT. EMA, INC. - BRUCE
Is in agony. His muscles are cramped - he rolls on the
floor trying to control himself. His head inches up, drops
calms Bruce with hand gestures.
The clock says 2:00 a.m.
Bruce starts shaking, violently. He twists. His belt
buckle hits the floor. There is the smallest TAP. Hanna
closes his eyes.
INT. BASEMENT - NEIL
Looks up at the ceiling. Down at the floor. He thinks.
Pause. This is the first tire we've heard them speak in
(he decides; whispers)
(tense whisper; re:
I'm 60 seconds away. It's a rat
It is not an animal sound. We
are out of here.
We need the cash!!
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We walk!! Now.
No argument. Chris puts down his equipment.
They strip off and drop their surgical gloves. Chris tosses
his shop coat on the floor. Both unpin the lapels of what
is revealed to be dark suits with shirts underneath. They
abandon everything. They walk out the back door and keep
EXT. ROOFTOP - ON JACKSON
They're leaving. Why are they
ROOFTOP POV: WIDE ON ALLEY BELOW
Neil and Chris enter, approach the Pontiac with Cerrito
behind the wheel.
I can take 'em, now!
Let 'em go.
INT. EMA, INC. - HANNA
At least we got 'em on a...
For the first time in the last seven minutes we hear a
normal voice. Its LOUD.
(cuts him off; into
Let em go. We got nothing! Not
even a burglary. They didn't
fucking steal anything yet.
Don't you get it? All we've
got's breaking and entry.
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EXT. ROOFTOP POV: ON ALLEY BELOW
Neil and Chris are in the Pontiac. Jackson's men are
I'm not letting them walk!
The fuck you aren't! That's
exactly what you are gonna do.
It's my investigation. And my
authority supersedes your rank!
And I am not settling for some
chicken shit misdemeanor!
Cerrito pulls away. At the end he turns on his headlights,
signals like a good driver, and turns right.
INT. EMA, INC., FIRST FLOOR - WIDE
Manna snaps off the radio.
Back to work.
Then he pitches the radio in a line drive at Bruce, barely
missing his head.
SMASHES into pieces.
EXT. GENERAL LIQUORS, LAS VEGAS - WIDE - DAY
A "Las Vegas Police Department" car pulls to the curb.
Hanna and Schwartz get out and cross the crabgrass, dirt,
and debris-filled forecourt to a cheaply constructed wood
and glass one-story building.
MARCIAN0'S OFFICE - MARCIANO - DAY
Hangs up the phone. We HEAR the DOOR OPEN.
(rising; big smile)
What can I do for you guys?
Ignores his hand and shoves him
back into his office chair with
an open hand.
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Hanna rips open Marciano's desk drawer finds a gun, unloads
it, throws it on the floor, finds a small tape recorder,
pops the tape out and tosses it to Schwartz. Then he
flashes a badge at Marciano.
L.A.P.D. Who the hell you think
you're pushing around? You got
no jurisdiction and I know people
Who? The fucking Tooth Fairy!
You go back to Newark on a New
Jersey warrant for smuggling
cigarettes up from North Carolina
three years ago or you go to
work for us. Cut and dried.
Oh, my God...
"Who?" The stranger you been
talkin' dirty to on the telephone
every day for the last month.
You can't tie me to her!
Who has to. You're onna plane
to New Jersey, jagoff.
Why did I get mixed up with that
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'Cause she's got a great ass and
you goT your head all the way up
So it's no big thing. I don't
even want her. You can have
her, after. I want her husband
and all his buddies; that's all.
And you're gonna help.
INT. ROBERT'S COFFEE SHOP - NEIL + CHRIS - DAY
in a booth next to the window. Out the window is morning
traffic on Beverly Boulevard. Empty coffee cups say they've
been there a while. They lean close and talk low. Neil's
explosive behind it.
LAPD? The G? What? Where the
hell did this heat come from?
Maybe it's only the EMA score,
Assume they got our phones, our
houses bugged, I beepers on all
the cars. We got major problems..
Neil looks over at the cook behind the high counter and
NEIL'S POV: DAVID BREEDAN
Recognize the cook?
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D Block. San Q. Did a nickel on
INT. KITCHEN - BREEDAN
Grim, cold, working his ass off on five breakfast orders
Hey, David. How you doing?
Breedan turns, recognizes Neil and warms as if the sun
Hey, Homeboy! All right!
(flips eggs; checks
How bout you?
(sits on counter)
Gettin' by. You okay?
Yeah. Temporary. Know what I
Neil looks out and sees Cerrito.
Sure. See you around.
INT. RESTAURANT - ON BOOTH
Neil slides in.
What took you so long?
My car. Bugs. Two of 'em.
Count 'em. One in the wheel
well. Second behind the fire
wall. Night of the party? I
dropped Elaine and swung by EMA
to check out the junction box...
He doesn't have to say anymore.
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Without the platinum how do we
buy the bank score?
I cash in T-bills to pay-off
Kelso. That's not our problem.
What the hell happened to Van
Zant and our 750?
With the heat we got, you wanna
play World War Two in the streets
with Van Zant?
Van Zant gets a pass?!
Fuck Van Zant. I got more
motivation to whack him than you
do. He is a luxury. Our problem
is: jam and take the bank or
And I mean right fucking now.
Do not go home, pack, nothing.
Thirty seconds from now we are
on the road. Gone.
No answer. Chris and Cerrito are thinking.
For me, the bank's worth the
stretch. I say accept the risk,
I roll with you. Whatever...
Not on this one, Michael. On
this one you make up your own
...you figure this the best thing
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I got some plans. To go away
after. So for me, it's worth
Chris is surprised.
But, Elaine takes good care of
you. You got plenty put away.
T. Bonds; real estate. If I
were you, I'd be smart and cut
loose of this.
thinks. The he shrugs, laughs:
Hey. To me the action's half
the juice anyway. I'm in.
All right. All right.
EXT. WILIMINGTON OIL FIELDS - OIL PUMP - DAY
WIDEN. It's a desolate area - empty space. Off in the
distance is a manufacturing plant and a billboard. PAN
LEFT and HOLD on Cerrito's Coupe de Ville. It pulls down
the dirt access road, lurching up and down on its soft
shocks, and raising billows of tan dust. It stops. Neil -
in a gray chamois jacket over a black T-shirt - gets out.
He hasn't shaved in a couple of days. Chris and Michael
Cerrito get out the left side. They walk TO CAMERA and:
That the place?
Yeah. You see how the road leads
That's the escape route...
VERY LONG SHOT: NEIL, CERRITO AND CHRIS
the three men point. Chris draws a map. Then they climb
back into the sky-blue Cadillac and drive away.
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This is it.
PULL BACK and REVEAL Schwartz with binoculars and Casals
with earphones. They had been surveilling Neil and Cerrito.
There's a tape recorder with a directional microphone in a
I know. Let's go!
The two men run back from their observation position to an
unmarked car parked a hundred yards behind.
SAME SCENE - WIDE - LATER - SUNSET
It's later. The CAMERA PANS the empty, desolate landscape
of oil pumps, dirt roads and a solitary billboard.
What are they taking down out
PULL BACK to REVEAL Hanna, Schwartz, Casals and Bosko.
Hanna looks through binoculars.
They were looking at something
What's's that down there?
An auto parts company. They're
going to knock over a payroll?
The company only pays by check.
Maybe they're gonna steal the
hub caps ...
O.S. we HEAR a CLICK.
A billboard. Oil pumps. What
the hell's goin' on?
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That's what we were trying to
ANGLE ON HANNA
I got an idea what they're looking
at. You know what they're looking
Hanna turns his back on the rest of the detectives and a
big smile dawns upon his face. He raises his arms out
wide. Hanna turns in one direction, then another. Schwartz
Is that guy something; or is
that guy something? I mean, you
gotta give this crew credit.
They are so fucking good...
Know what he's looking at?
VERY TIGHT ON HANNA IN 3/4 REAR SHOT
The image vibrates. Hanna says more. We don't hear it.
We HEAR a CAMERA SHUTTER CLICK. The IMAGE FOCUSES and
DEFOCUSES. Another CLICK.
Us. The L.A.P.D. The Police
Department. We just got made...
EXT. KNOLL - L.S. HANNA - TWILIGHT
Pull back to reveal he's being surveilled by Neil. He's
been photographing Hanna with a black Nikon on a tripod
with a 1300Mm Questar Reflector lens. Neil's made his
tail. The recce in the blue Cadillac was bait. Neil half
returns Hanna's smile. He climbs into the Caprice. Cerrito
roars off, leaving a cloud of dust which billows into mauve
against the deep sky.
EXT. KELSO'S TRAILER - WIDE - NIGHT
Neil comes out with Nate. Kelso moves in his Wheelchair
and closes the door.
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They cross to Nate's Buick and get in. Neil carries a
large, black sample case.
INT. NATE'S MERCEDES - TWO SHOT - TRAVELING - DAY
Vapor lights glide past. Neil examines circuit diagrams
and architectural blueprints of the bank. Next he unfolds
a pasted-together 180 degree view of the street.
There's enough circuit diagrams
and blueprints here to build the
Neil puts the materials back in the case and snaps it shut.
Next, Nate hands Neil a thick envelope. Inside are the
pictures Neil took of Hanna and xeroxes of Hanna's
His name is Hanna; first name,
Vincent. I smeared this sergeant
in vice five yards. Hanna's all
over you. He's a hot dog.
Lieutenant in major Crimes Unit.
He's taken down some heavy crews.
Blew away Frankie Yonder in
Chicago and he was a fucking
maniac. Was working Narcotics
before that. He's good, Neil.
Dedicated. Divorced three times.
Current wife's Justine. He's
why the extra heat.
Vice sergeant says Hanna likes
you. Thinks you're some kind of
'star.' 'You do this sharp, you
do that sharp. Look how sharp
this guy is to figure that.'
Funny as a heart attack.
With this guy and this much heat,
you should pass on the bank.
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I've had heat before.
That's not the point.
This one's worth the stretch
I'm sure. Drop me at the garage.
INT. VAN ZANT OFFICE - ON VAN ZANT - DAY
He's checking a computer print-out against a ledger sheet.
He looks like he's been sleeping in his clothes. His door
opens. He's startled.
in an iridescent gold suit no tie - sticks his head in.
He breaks the ankles of people who - for the most part -
work for a living and have fallen behind on a juice loan.
He looks the part.
Hear from him yet?
Not a thing.
Maybe he went away.
Not hearing bothers me more...
Where's this guy?
Hugh gestures down the corridor.
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This guy here...we put him on.
Turns out he knows McCauley.
Waingro. My name's Waingro.
I been living in this office day
and night. What's with your
I know all about how he thinks.
We took some major scores
together. He's probably busy
right now. But he's real
thorough. He won't forget you...
Yeah, I got some moves I could
make here, that could be a big
help to you...
INT. HANNA CONDO - HANNA - 6:OO P.M.
enters. he's beat. He enters kitchen.
INT. KITCHEN - WIDE
It's a mess with dirty dishes stacked in the sink.
INT. JUSTINE'S BATHROOM - JUSTINE
Putting on makeup. She's dressed up: short black dress,
fish net stockings.
Where we going?
No answer. Hanna gets it.
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Where are you going?
Hanna leaves. Then Justine looks at where he stood. Her
cold demeanor cracks, then reassembles and she lights a
roach, takes a hit, dumps it in the toilet and finishes
INT. KITCHEN - HANNA
starts cleaning dishes in the sink. A DOOR CLOSES (O.S.).
He pumps Liquid Vel. It suds. Hanna picks up a plate to
wash it. He looks at it. Pauses. Then he SMASHES the
plate into the piles of dirty dishes and rests on his
EXT. 405 - TRAFFIC - NIGHT
under the flight path near LAX. We CRANE DOWN and pick up
Neil's Town Car.
INT. TOWN CAR - NEIL - NIGHT
driving, looks into the rear mirror. FLASHERS hit his car
and a spotlight waves him over. He checks for helicopters.
There are none.
NEIL'S POV: ONE UNMARKED POLICE CAR
This is a routine stop. It's early evening, rush hour.
slips his 9mm. Browning under his thigh and pulls over.
EXT. 405 SHOULDER - WIDE
Both cars pull onto the shoulder. Out of the unmarked
police car walks Vincent Hanna in jeans and a sweatshirt.
He approaches Neil's car.
watches Hanna approach, wary. He didn't expect this to
You know I'm on you. Let's talk.
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Sure. Buy me a cup of coffee.
Hanna crosses back to his car.
EXT. FOOD STAND - HANNA + NEIL - NIGHT
at a table. Headlights stream by to and from the airport:
business people, families going on vacations, people living
normal lives who have never used guns to kill people, never
experienced physical violence, some who have never been
stolen from and never steal. Surrounded on all sides by
this flow of normalcy:
Seven years in San Quentin. In
the hole for three. McNeil before
Was McNeil as tough as they say?
You looking to become a
You looking to go back? I chased
some crews, the guys were lookin'
to fuck up and get busted back.
You must have worked some dipshit
I worked all kinds.
You see me doing thrill-seeker
liquor store holdups with a "Born
to Lose" tattoo on my chest?
No, I do not.
Right. And I...
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I am never going back.
The adversarial intensity is eye-to-eye.
Then don't take down scores.
I do what I do best. I take
scores. You do what you do best
trying to stop guys like me.
You never wanted a normal-type
What the fuck is that? Barbecues
That's part of it.
That's nice. That your life?
No. My wife spends half her
time on the couch. My
stepdaughter's got problems 'cause
her real father's a world class
asshole. And every moment I
got, I'm chasing guys like you.
A man told me once: you want to
make moves? Don't keep anything
in your life you're not willing
to walk out on in 30 seconds
flat if you feel the heat around
So if you're chasing me and you
gotta move when I move, how do
you expect to keep a family?
What are you, a monk?
I got a woman.
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What do you tell her?
She thinks I sell swimming pools.
And if you spot me around the
corner. You gonna walk out on
her? Leave her flat? Like that?
Not even say goodbye?
That's the discipline.
What you're left with is pretty
Then maybe you and me, we should
both go do somethin' else, pal.
I don't know how to do anything
...neither do I.
And I don't much want to.
Neither do I.
Both of these guys look at each other and recognize the
mutuality of their condition. Hanna's light laughter:
We're sitting here like a coupla
regular fellas. You do what you
do. I do what I gotta do. What
happens if I am there and I got
to put you away?
I won't like it. But, if it's
between you and some poor bastard
whose wife you're going to make
into a widow, brother, you are
gonna go down. 'Cause you don't
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have to be there. You coulda
gone and been a... a mailman.
There's a flip side to that coin.
What if you got me boxed in and
I gotta put you down?
'Cause no matter what, you will
not get in my way.
But now that we been face to
face, I would not feel good about
that. But I won't hesitate.
Not for one second.
Maybe it'll happen that way. Or
who knows ...
...maybe we'll never see each
They look at each other for a moment. Neil's wry smile.
Can we have the bill.
INT. HANNA'S OFFICE - HANNA - NIGHT
They dumped us!
They dumped us.
I was just with him!
Whattaya mean, "they dumped us"?!
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Chris slipped his tail. And
Chris doesn't talk about jobs
with Charlene so there's nothing
for Marciano to get from her.
Disappeared. No calls to the
house. Not home.
Locators on their cars?!
Cerrito dumped his on a UPS van.
Surveillance tailed a UPS van to
Hanna picks up phone to call someone.
They dumped all our tails?!!
All at the same time. About nine p.m.
I had coffee with McCauley half
an hour ago. What happened?
Our tail saw you. McCauley pulled
into a car wash. Car came out.
Hanna's got no one to call. He throws the phone at the
Does anybody have Any idea where
the fuck these people are at?
'Cause whatever they are gonna
do, they are doing it right now!
No one does.
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EXT. ALLEY - WIDE - NIGHT 1:00A.M.
We see nothing. The alley is black. We HEAR a BUZZ.
ZOOM IN to a figure in black - almost invisible. The BUZZ
becomes an intense TEARING SOUND. At the end of the ZOOM
we realize it's Neil.
Got it. it's eighteen inches
opens his satchel and takes out a voltmeter.
INT. BANK - UPPER STORAGE ROOM - WIDE - NIGHT
It's deserted and unlit. We HEAR the SCRAPING NOISE of
Neil and Chris working. SLOWLY ZOOM INTO the upper corner
near the ceiling: A row of large fuse boxes. We ZOOM INTO
the center one. A sign: "Lighting and Alarm Systems"
INT. ROBERT'S COFFEE SHOP - ON NEIL - DAY
He, Cerrito and Chris sit in a back booth. No one says
anything and they wait. There's the monotonous drone of
MUSAK. Neil watches the cook behind the high counter.
ANGLE ON KITCHEN - BREEDAN
Sees Neil and nods. Neil waves.
Where the hell's Towner? I wanted
to pass by early. I want to
check the slot for the work car.
Chris looks at the wall clock: 12:30.
crosses to CASHIER - an old lady with red lipstick.
(re: Neil, Chris
How long those guys been sitting
Hour or so...
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(crossing to grill)
They think this a hotel?
SOLENKO'S POV: OF NEIL, CHRIS AND CERRITO
in the booth. They're tense. Solenko doesn't know he
ought not to want to mess with them.
Twenty minutes, then I toss their
asses out of here.
INT. KITCHEN - BREEDAN - DAY
flips six eggs on the grill, throws frozen French fries in
the oil, turns bacon, flips pancakes and dumps eight pieces
of bread in the toaster. Solenko enters.
You spell me? I didn't take my
break yet ...
That spic, Cisco Kid, whatever,
didn't show. After the lunch
rush, haul out the garbage and
mop the back. Take your break
Breedan takes it out on the toaster handles - banging down
BOOTH - CERRITO
on his fifth coffee, looks up.
Here he is.
crosses through and joins them. He's tense.
Hey! I'm out! I can't go.
What are you talking about?
Anna's got a perforated appendix.
We took her to the hospital.
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They're operating right now.
It's a mess. I got to get back
What the hell I do for a driver?!
Look, I got her sister there,
waiting at the hospital. I came
over 'cause I didn't want to
talk on the phone.
I got to get back. Last thing
I'd do is let you down, Neil...
What do you call this? Backing
I waited too long trying to get
past today! So now maybe she
I got to be there...
What the fuck do we do now?
In answer, Neil rises and goes back into the restaurant
INT. KITCHEN - TWO SHOT - DAY
Neil enters. Breedan turns.
Here comes your second chance
for a change of luck...
Need a driver. Remember the
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(looks at Solenko)
Out back in five.
Neil leaves. Breedan rips off his apron. Eggs are burning
on the grill. The toast is smoking - clouds billow.
Sprinklers come on. Breedan couldn't care less.
rolls his apron into a ball and throws it away.
Where the fuck you going?
Breedan throws Solenko out of the way. Solenko slips and
falls into the wet mess on the floor.
INT. TOWNER'S HOUSE KITCHEN - TOWNER'S PICKUP - DAY
approaches, parks. He cuts the engine. FOOTSTEPS. Then
Towner enters his living room.
They buy it?
is revealed leaning against the door jam to the rear
bedroom. He straightens his clothes. A baseball bat rests
against the wall.
I got to hand it to you, sport.
You're slick, pal smart how you
handled all this. On the ball.
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He winks. Hugh Benny (from Van Zant's office) rests against
a bamboo bar with a 9mm. Beretta in his waistband.
Thanks. Where's Anna?
She's resting. It's going down
anyway? On schedule?
Make the call.
Hugh crosses to the phone.
Know what happens when Neil finds
out? To both of us?
I know what's gonna happen.
Nothing's gonna happen. 'Cause I
got it master minded. I got it
jammed. This is solid. Take it
from the kid.
What do you mean, you don't know
where she is?
Towner looks at Hugh.
dialing the phone - stares at Towner with a blank look.
Fear blossoms. He races to the bathroom off the kitchen
from which Waingro entered.
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(following; to his
...showing her a good time.
We see Anna's arm on the floor. Waingro's picked up the
baseball bat he rested against the door jamb.
EXT. FIRST COMMERCIAL BANK OF WILMINGTON - TRAVELING PAST
ENTRANCE - DAY
We PAN to HOLD IT. The entrance is on the street. The
parking lot is on the side.
There's the slot.
PULL BACK to REVEAL we're SHOOTING from inside a Mercury
station wagon. Breedan drives. By now we're WIDE all the
way from behind the rear seat. Cerrito and Chris sit in
the rear. Ahead, cones block parking in one slot.
Looks right. Come out the door,
your angle takes you into the
car. Don't have to run around
the doors. You want them open?
No. 'Cause time is not a problem.
And I want nothing to look weird.
Po-lice response time?
There is none.
Cause we bypassed all the alarms
For you this whole gig is a slow
cruise down Hawthorne...
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Cerrito hands out women's stockings. The men rip open the
packages and start to roll them up.
INT. DIVISION HEADQUARTERS, HANNA'S OFFICE - BURGLARY
DETECTIVE - DAY
named HARRY DIETER - crosses through the corridor, taking
his tine - stopping for water and the candy bar machines -
enroute to Hanna's office.
INT. MERCURY WAGON - CERRITO - DAY
Breedan at the curb on a residential street off Hawthorne
in view of the bank. Cerrito from a paper bag hands out
three H & K model 53 small machine-guns and gives Breedan
a .45 and two extra clips.
Neil, Chris and Cerrito wear their stubby weapons concealed
under nylon shell jackets on shoulder straps. They shove
into place the curved clips, and release the top bolts,
jacking the first rounds into chambers.
checks his watch.
Drop us in the slot. Let's take
The Mercury wagon pulls from the curb.
checks and he re-checks his gun.
drives. Cool. Unharrassed. His own ran, performing the
simple and critical task of driving a station wagon and
obeying perfectly every single rule of the California
EXT. - HAWTHORNE AVENUE - MERCURY
APPROACHES CAMERA. Breedan puts on the left turn signal
and for the sign. Hawthorne is crowded with housewives,
women and kids and commercial traffic.
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There's a Safeway down from them with afternoon shoppers
and newspaper racks.
INT. HANNA OFFICE - DIETER - DAY
Hey, Casals. I got this tip
phoned in about this bank. It
mean anything to you?
Casals, bored, looks at the paper and explodes out of his
chair. Running for Hanna's desk:
Hanna comes up, coffee in his
Commercial Bank! Wilmington!
They look up at clock.
THEIR POV: IT'S 2:43.
Hanna spills his coffee and runs out without his coat.
Casals, Bosko and Schwartz follow.
INT. HENESSEY AND INGALLS, STOCKROOM - CLOSE ON EADY - DAY
unpacking a box of new books. A RADIO DRONES in the
RADIO ANNOUNCER (V.O.)
This is L.A.'s all news, 24-hour,
around the clock coverage of the
day's local, national and
international news, sports,
finance and weather, brought to
you by ...
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Eady has crossed to the RADIO and now turns it OFF.
INT. APARTMENT - DOMINICK - DAY
rolls on the white rug. WIDEN. Charlene holds out her
finger and Dominick grips it like a monkey and she pulls
She crosses and turns an the TV without volume. A
newscaster appears. Charlene turns her back on the TV.
On all fours, she advances on Dominick. He shrieks and
laughs and crawls away.
INT. BANK - ON STREET DOOR - DAY
Neil and Chris enter the street door. Chris lingers by
the guard. He reads a Rosicrucian handout. They smile at
each other. Neil approaches the window of teller JOHN
ON SIDE DOOR
Cerrito enters and hesitates to tie his shoe near Guard
in line, waits: an old lady finishes and leaves.
Can I borrow your pen, John?
John reaches into the side jacket pocket.
pulls his stocking mask down over his face. He reaches
over the counter and grabs smiling John Fiske's lapels and
yanks him over the counter top and throws him across the
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Magid turns. Cerrito saps him expertly on the right
shoulder, paralyzing his gun arm, spins him and swipes the
sap across his neck. Meanwhile:
has smashed Guard One in the stomach with the H & X -
doubling him up. Now he braces him against the wall,
disarms and handcuffs him. He jerks on his stocking mask.
WIDE - THE BANK
There are two FEMALE TELLERS and four CUSTOMERS. Neil
moves toward the bank Officers at their desks, specifically,
while bringing up his H & K.
Ladies and gentlemen! We are
holding up this bank.
We want to hurt nobody. You do
exactly like we say and you come
away okay. We're here for the
bank's money, not your money...
with Neil approaching, frantically stomps the alarm button
under his desk.
...you people behind the windows:
the salaries this bank pays aren't
big enough to take risks for, so
think of your take-home pay before
you risk your life.
of Tellers and customers. Scared, but Neil's monologue
holds their attention. Throughout he's approaching Timmons.
(to customers -
like a commercial)
...don't forget your money is
insured by the Federal Government.
You're not going to lose a penny.
Relax and you'll get through
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Any of the ladies feel ill or
anybody with heart trouble wants
to sit down, go right ahead.
Neil slams a punch into Timmons' face in calculated contrast
to his friendliness. It's an object lesson to customers
of the result of disobeying. Timmons flips backwards over
hauls him up, rips open his white shirt and pulls the key
an a lariat off his neck.
Don't touch your face. Let it
The white shirt is already splattered with blood. Customers
watch. They do not want this to happen to them.
pulls a straight razor and leans over Guard Magid. He
slits his pants leg and pocket open and extracts the other
key and it.
PAN 0N KEY
through the air and is caught by Chris. throws Timmons'
key. PAN it to Chris.
spins the ring handle for five seconds. The massive round
vault door opens. It reveals a second, rectangular door.
handcuffs Magid. handcuffs Timmons to his chair.
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Chris inserts both keys, turns them simultaneously and the
second massive door opens inward.
LOW ANGLE: STEEL INNER SANCTUM
Inside is the four-wheel cart and the two large canvas
bags of money. WIDEN TO REVEAL Neil is there as well and
opens the Hefty Garbage bag while Chris whips out an Exacto
blade and slices the canvas bags open to check the contents.
THE CANVAS BAG
disemboweled, spills money. Lots of it. Chris loads both
into two Hefty bags Neil holds open.
tosses one on his shoulder like a sailor's duffle bag, his
machine-gun in front...
EXT. BANK - WIDE FROM FRONT - DAY
Cerrito exited the bank via the side door and now moves
quickly TO CAMERA up the side - his stocking mask off -
his H & K low, concealed.
exits the bank through the front door TO CAMERA. The
sidewalk is crowded with school kids now and housewives.
No one pays attention as Neil tosses the first bag to
INT. HANNA'S CAR - HANNA, SCHWARTZ + BOSKO - DAY
racing in and out through the Hawthorne Boulevard traffic
to get past cars. Drucker and casals follow in a second
car. No sirens. Schwartz drives. The bank is seen 200
Too many people. This isn't how
to handle it
Vincent! Fuck this crew! Let
has to decide.
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HANNA'S POV: CERRITO'S
dumped the FIRST BAG in the station wagon and Neil's
reentering the bank for the SECOND BAG.
as car pulls in.
Left flanking fire. street.
He made the decision.
EXT. BANK AND STATION WAGON - CERRITO - DAY
awaiting bag number two. Breedan - calm and alert - IDLES
THE ENGINE in Drive while braking with his left foot.
coming out with the second bag. Chris follows - backwards
covering the interior. Neil avoids a lady pushing a
supermarket shopping cart, looks up and SEES:
NEIL'S POV: HANNA + SCHWARTZ
entering rapidly but surreptitiously 50 yards down the
sidewalk. Bosko's moving 90 degrees to the right, crossing
the street. There would be no, there was no, and there
never is any, warning. Neil Hanna and Schwartz with 12-
gauges OPEN FIRE. World War III ERUPTS. Now we hear
distant POLICE SIRENS.
is hit in the neck.
FIRING 3-SHOT BURSTS that blow up Schwartz and a lamppost
and hit a woman who falls over her shopping cart, shrieking.
Hanna's behind the lamppost.
across the street with his AR-180, opens up on the station
wagon which takes HITS. A BLACK AND WHITE slides sideways
and COP #1 with a shotgun runs across the street hollering
at kids who stop and stare and drop school books.
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COP # 1
Drop! Drop down!
over the station wagon roof FIRES a BURST at Bosko, then
swings onto Cop #1 and fires, killing him. Cerrito jumps
into the wagon.
THE STREET - WIDE: A BUS
The driver panics and slams on his brakes and his bus full
of people stalls in the combat zone between Bosko and the
Get the bus out of here..
shielded by the green bag of money which has taken hits,
FIRES at Hanna and backs to Chris.
pulls Schwartz to cover.
dazed - holding his bleeding neck while Neil FIRES into
the parking lot...
...hitting Casals getting out of his car. Casals sits
down as if stunned.
pulling his car out of the lot ducks behind the wheel and
crashes it into a parked car.
EXT. BANK - CERRITO
C'mon! C'mon! C'mon!
Neil can't rake it through the incoming FIRE from Hanna
and Cop #2 to the station wagon and Cerrito and knows it.
(to Breedan and
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ON STATION WAGON
Breedan floors it.
re-emerges, kneels and PUMPS SHOTS into the station wagon.
rounds the bus with the AR-180 and OPENS UP
draws everyone's FIRE. Breedan ducks and pilots it through
has taken off down the sidewalk, supporting Chris. TIGHTEN.
He runs in among crowds of civilians. He knocks over a
man, breaks through. People are screaming, staring,
INT. STATION WAGON - BREEDAN
getting BLOWN APART by Hanna, Bosko, and Cop #2 falls over
the wheel and then is thrown back.
EXT. STREET - STATION WAGON
tires are BLOWN OUT.
It spins across the street on steel rims and crashes
sideways into a parked car on the east side of Hawthorne.
INT. STATION WAGON - CERRITO
shot three times, holds his abdomen and bails, returning
FIRE. Breedan, like a rag doll is half over into the rear
seat and still being hit by more rounds. We HOLD on David
Breedan. He's dead.
EXT. SIDE STREET - CERRITO
east up a side street past people who stand on their lawns
and stare - traumatized.
Bosko and Cop #3 chase Cerrito. Cerrito FIRES a long BURST.
They can't fire back because of the people.
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EXT. SAFEWAY - TRACKING NEIL + CHRIS - DAY
and the money - running, skipping and dodging past all
manner of pedestrians, newspaper coin boxes, fruit vendors
and parking meters. People dodge, scream and fall down.
a half block behind, chasing Neil - pushing through the
Get down! Get down
EXT. SAFEWAY PARKING LOT - NEIL + CHRIS
Neil - supporting Chris - throws a lady, who was getting
out, back into her Olds Cutlass. He dumps Chris and the
money in the back seat and turns on Hanna.
extends the collapsible stock braces on the roof for
accuracy and FIRES over the roof of other cars and through
people at Hanna closing in 5o yards away.
EXT. SAFEWAY - HANNA + CIVILIANS
who panic. SHOOTING. Windows EXPLODE. A lady holds her
ears and shrieks. A newspaper coin box SHATTERS. A man's
bag of groceries explode milk and eggs everywhere. He
doesn't have a clear shot and drops, dragging people down
behind the wheel - burns rubber pulling out of the lot
over curbstones and through a fence into the alley.
EXT. ALLEY - WIDE
Suddenly Neil drives very normally and jerks the lady
upright next to him like a wife. He drives away.
runs to the alley - pulling his radio:
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This is Hanna!
(no response; shakes
No response. Dead batteries. He throws the radio at the
Safeway wall: SMASH. And runs up the alley. Meanwhile:
EXT. SIDE STREET - WIDE - DAY
Cerrito runs TO CAMERA through kids playing in a front
yard, looking over his shoulder at Drucker and Bosko who
can't fire because of the kids.
up a girl out of the yard.
She's the same age as his own daughters. He holds her to
his chest with one arm as a shield against Drucker and
Bosko. He FIRES a wild THREE SHOT BURST running up the
EXT. ALLEY - HANNA
emerges, cuts right. He brings up his 9mm. Smith and
Wesson. He slows. He stops. Hear his BREATHING. WIDEN
and PAN AROUND. Cerrito is running right at Hanna and
doesn't see him.
OVER HANNA'S SHOULDER: CERRITO'S
attention on Drucker and Bosko. Cerrito FIRES. The little
girl sees Hanna because he's aiming the 9mm. directly at
her with both hands. She stares into his eyes.
turns, sees Hanna. He starts swinging around the H & K on
its shoulder strap..
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WIDE - CERRITO
is hit dead center in the forehead and topples backwards
like a felled oak. The little girl falls half on and off
his dead chest, screaming.
WIDE - HANNA, DRUCKER + BOSKO
get to Cerrito simultaneously. Bosko pulls the girl up
and turns her away.
takes the girl and folds her into his bear-like chest. He
carries her off. He holds onto her and wraps his jacket
around her. Tears stream down his face.
standing there in the center of the mess: bodies, disabled
vehicles, people, shouting, SIRENS arriving, etc.
INT. DR. BOB'S DOG AND CAT HOSPITAL SURGERY - CHRIS - DAY
is unconscious on the table. BOB, a veterinarian of 55 in
a white coat and bald head, works on him. DOGS BARK O.S.
from the kennels.
A CLAMP CLATTERS into the bowl. Chris moans in a dry rasp
and convulses. Bob motions to Neil to hold Chris'
holds Chris down.
With one hand Neil gives Bob a tray of syringes.
WIDE - THE SURGERY
Bob's back obscures a series of injections into Chris'
neck and shoulder.
It's a veterinarian surgery and the metal table Chris is
an is for holding down dogs. Long leather straps aren't
buckled. There's pictures of cocker spaniels on the walls.
Spent syringes CLATTER into pans.
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INT. DR. BOB'S OFFICE - DR. BOB - DAY
washes his hands in the sink. Neil sits on his desk. A
tv plays news footage from Bosnia.
Blood loss and shock and he'll
have a lot of pain in the shoulder
and back, but I'll give you
quarter-grain phials of morphine.
What's the bottom line?
Missed the carotid artery by
millimeters. There is mostly
tissue damage. And the collar a
bone's smashed. Can he rest
Six, seven hours. What do I owe
News coverage switches to scenes from the robbery with the
commentator in a window.
It's got to be twenty thou.
What is this?
You're number one with a bullet
on the six o'clock news. It's
at least double the risk. So
I'm doubling my price.
Neil opens a shopping bag and stacks packets of bills.
News coverage switches to sports and weather.
You're wrong. It's four times
the risk. 'Cause something happens
to him, I'm coming back for you.
And I'm double the worst trouble
you ever had.
Bob looks at Neil's eyes and believes it.
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INT. SURGERY - CHRIS - DAY
on his stomach, breathing heavily.
I'll be back for you.
(a little dazed;
Charlene? Get her out!
First, I got to know if our escape
route got ratted-out along with
Who wasn't around Towner.
Chris hacks, coughs; Neil helps him spit into a steel pan.
EXT. HAWTHORNE - WIDE - SUNSET
It's the taped-off crime scene where Michael Cerrito
dropped. News media are all over. Spectators mill.
Emergency vehicles FLASHERS spin. Motorcycle cops re-route
The battered Mercury wagon is still in situ, being dusted
by two TECHNICIANS for prints. We HEAR a car pull in o.S.
Get out of my way!
Michael. Michael. Michael.
knocks over a Uniformed Cop and runs down the sidewalk to
the chalked outline of Cerrito's body on the cement and
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Another cop moves to stop her. She dodges him. Disheveled,
screaming, hysterical - she throws herself on the bloodied
ground Michael Cerrito died upon and clutches at the outline
drawing of his body and blood stains as if it were him.
with lights moves in and tapes her. A Police woman tries
to help Elaine up. Elaine bats her away.
EXT. ROBERT'S COFFEE SHOP - ON LILLIAN - NIGHT
enters from the coffee shop and crosses the street TO
INT. POLYNESIAN BAR, DOOR LILLIAN - NIGHT
enters. A TV mounted high in the corner BROADCASTS the
news with the SOUND OFF. A Man in a motorcycle jacket
plays the pinball machine. It CLICKS, bells RING, lights
crosses to the bar and leans over.
Say, bartender... ?
rings up a sale, changing a $20.
In a minute, lady.
Lillian waits. Behind and above her the Newscaster cuts
from Last coast storms to coverage of the bank robbery
aftermath: bullet holes in windows, Cerrito's body,
Breedan's body, etc.
sees none of it. Then: impatient:
(shouts to Bartender)
You seen that fella I pulled out
of here the other night? Big
fella with a beard?
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More robbery aftermath plays across the screen.
at end of bar. Finishes with the customer. On his way to
Lillian he turns up the TV volume.
TV ANNOUNCER (V.O.)
...dead were Michael T. Cerrito,
Caucasian male and the driver,
an unidentified black male in
his early 30's, who died enroute
to St. Vincent's Hospital...
As the bartender reaches her - WIDEN TO INCLUDE Lillian.
She stares at the television - stunned - at seeing David's
face on the paramedic stretcher in a FREEZE FRAME.
What can I get you, ma'am?
(she says nothing)
Lady, you okay.
She stares at the TV and holds onto the deep polished grain
of the bar.
INT. SHIHERLIS APARTMENT - WIDE - NIGHT
Charlene ignores Dominick playing at her feet as she watches
the news coverage of the bank robbery with her hand over
rises, picks up Dominick, crosses to the phone. She punches
11 digits. We HEAR the phone RING on the other end.
Harry? If you want me, Come
right down and get me and Dominick
(phone filter; eager)
Sugar. I'll catch the 8 o'clock
and rent a car. I'll be there
at your place in two hours.
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MARCIANO (V.O.) (CONT'D)
Get packed. Okay? I'll be right
Charlene hangs up. The PHONE RINGS again. She doesn't
INT. TOWN CAR - NEIL - NIGHT
on the phone. No answer. He hangs up.
INT. MARCIANO HOME - MARCIANO - NIGHT
WIDEN TO INCLUDE Las Vegas uniformed Cop and a
PLAINCLOTHESMAN who's risen put of his seat. A tape
recorder's attached to the telephone.
Let's get you on that plane.
EXT. TOWNER'S HOUSE - ESTABLISHING - NIGHT
The white frame house with one palm tree in front on the
hilltop overlooking downtown L.A. No lights are on. It's
INT. TOWNER LIVING ROOM - ON WINDOW - NIGHT
It's gray muslin drapes blow in TO CAMERA on the night
wind. SLOWLY we TRACK LEFT into the draperies and shadows.
it's eerie. Suddenly a face is there. It's Neil, flattened
against the wall, his .45 in his hand.
Neil FLASHES his penlight around the room. Nothing.
INT. TOWNER BEDROOM - DOOR
It opens silently. Neil's cautious, sweeping his .45 into
the corners, clearing them. He looks around. There's a
wallet with money and scattered clothes. It means they
INT. TOWNER KITCHEN - LOW
Neil - cautiously - enters. Nothing. O.S. we HEAR WATER
RUNNING from another room. TIGHTEN.
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Neil works his way to the SOUND. He crosses to the bathroom
off the kitchen.
INT. TOWNER BATHROOM - ON NEIL
through the crack in the door. He starts to push it open.
Something blocks it. The water SOUNDS are LOUDER. Neil
shines his light INTO CAMERA.
NEIL'S POV: WIDE - ON THE FLOOR
Towner is near death, beaten to a pulp. Something or
someone is in the shower stall. Blood's all over.
Neil uses his penlight. He puts a towel under Towner's
head. Towner's face - against the white octagonal tile
floor - is a mess. He opens his eyes. TILT UP to Neil.
Neil crosses to the shower stall and looks in. He comes
back to Towner.
So's Cerrito and Breedan...the
guy who stood in...for you.
Who did this...?
They had Anna.
Waingro? On his own?
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Uh-uh. For someone. The other
Coughs and shakes his head. He doesn't remember the name.
Neil thinks. Then:
Towner nods his head.
You say anything about our exit?
...don't remember. I...
C ' mon!
Neil...Neil...I don't think so.
Neil can't get a straight answer.
The house clean?
I'll call the medics.
PAN RIGHT with Neil. He turns off the water in the sink
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EXT. PUBLIC PHONE IN GAS STATION - NEIL - NIGHT
The freeway's nearby. Traffic ZOOMS past. It's all
concrete, public toilets, and green vapor lights.
(quietly; into phone)
You on a cellular?
NATE (V. 0. )
A brick house on Swallow Drive
in Bel Air.
(quietly; into phone)
Next: Waingro. Okay?
You got the time...?
I'll make time.
I need a new "out" laid on.
Do you know it's blown?
How can I trust it?
Hangs up. Neil drops another quarter and dials again.
After a moment.
EADY (V. 0.)
Things are screwed up. You're
not flying out after me. We go
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You and me got to straighten
something up first. I'll be by
EADY (V. 0.)
What's wrong? Neil?
Neil hangs up.
EXT. VAN ZANT HOUSE, FRONT DOOR - WIDE - NIGHT
Neil enters directly from the front door and RINGS the
bell. It's a $3,000,000, 70's modern. Neil puts his finger
over the peephole. After a few moments:
INT. HOUSE - VAN ZANT - NIGHT
can't see. Tries light switch. Nothing. He puts his ear
to the door to hear if someone's there.
VKN ZANT (O.S.)
Who is it?
EXT. HOUSE - NEIL
kicks the door in.
INT. HOUSE - VAN ZANT
goes flying back.
is four feet away. The big .45 Automatic is aimed into
the center of Van Zant's chest.
Waingro. Where is he?
How the hell should I know?
Neil pulls the trigger: TWO LOUD SHOTS blow Van Zant back
into his foyer. He slides 15 feet across the highly
polished black and white tiled floor. Neil walks away.
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EXT. L.A. CENTRAL MARKET PARKING LOT - WIDE - NIGHT
Porters wheel huge loads of fruits and vegetables and sides
of beef. Massive semi's pull through the lot.
That's a rip-off.
ZOOM onto cars parked side by side facing opposite
directions: Neil's Lincoln and Nate's Cadillac. They talk
You want a good getaway and you're
hot with a big score in your
pocket. You're a media event.
What the fuck do you expect?
What do I get for those dollars?
You end up in Ireland with good
papers and plastic.
Lear jet to Vancouver. Then
commercial to Reykjavik; then
For those bucks? 100 per cent.
I got the plastic on me. The
passports will be on the plane.
Who's the third?
A girl. With her own papers.
What are these good for?
Forty-five to sixty days.
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Make it twelve.
You're going for an important
ride. If they say twenty-four
for it to be right, then it's
You checked all around?
You and I go way back, kiddo, I
bought you the best.
Neil says nothing. Then:
Where's the pick-up?
Santa Monica Airport. They're a
legit operation. I won't have
details until tomorrow morning.
He hands over a small briefcase.
What is it?
Kelso's share. Ten per cent.
$400,000. That's less the 50
advance. The other bag was with
INT. LAPD CORRIDOR - ON HANNA, DRUCKER + FARINA - HAND
They're moving fast down the corridor. Hanna is throwing
everything into motion.
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You stick with the Charlene
Marciano's on a plane in here
from, Las Vegas to pick her up.
We got a house I set..
Maybe Chris or Neil will come
for her. Frankly, I doubt it.
You work Neil's transport from
here on the phones.
McCauley's gotta be gone. He
hadda have a getaway planned.
And now he's gotta get a new
one! Would you trust it after
Someone, somewhere's agenting it
for him. That's a main track.
We got Shiherlis setting up.
That's a main track. I want
How much time we got?
Hanna turns toward a door.
Eight, ten, twelve hours. For
him to set up a new out. After
that? He's gone. Bam! Bye-
Hanna exits through the door.
INT. INTERROGATION ROOM - WIDE - NIGHT
Hanna and Drucker enter. Bosko's there with HARRY DIETER
the burglary cop who gave Casals the tip on the bank job.
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(to Bosko; sarcastic)
He's the burglary cop with the
Who are you?
Hanna. Where'd it come from?
I got my informants. Just like
Hanna kicks a chair out of the way and bounces Dieter up
against the wall. Bosko starts to restrain him.
I got Schwartz. Dead. Casals
got no liver. He's dying. Don't
come on to me with "confidential
He slams Dieter into the wall.
Hugh. Hugh Benny. He gives me
Hanna's gone. Bosko follows.
INT. HUGH BENNY'S APARTMENT -FRONT DOOR - NIGHT
HOLD. Then it EXPLODES off its top binges and hangs
disabled. Hanna comes through with the cut down sledge
hammer. He's backed up by Bosko and Berryman - another
middle-aged heavyweight - with a regulation 12-gauge.
REVERSE - LIVING ROOM - HUGH BENNY
himself a heavyweight, races across the room for the rear.
Hanna tackles him.
hauls Hugh up, kicking, punching and bouncing him off the
walls. Hugh swings at Bosko.
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Bosko knocks it aside, and spins him to Hanna. Hanna throws
him into the bathroom.
INT. BATHROOM - BENNY
crashing in. Hanna throws him through the shower door
into the bath tub. Hugh's cut.
Who ratted-out McCauley? C'mon!
EXT. MARINA DEL RAY CONDOS - NIGHT
Farina gets out of an unmarked car with Charlene Shiherlis
and a sleeping Dominick and they cross into the building.
It's a rough cedar, two-story studio. A second car empties
four cops - including Cop $4 and Cop #5 - carrying flack
vests and M-16's. As they confer about positioning...
INT. SECOND FLOOR APARTMENT - CHARLENE - FIGHT
enters and sees Marciano already there. Surprised:
Whose side are you on?
I'm on yours.
You slimy piece of shit. What a
You told me you want out from
under? You're scared to death
of Neil. You wanted out? This
What's your end?
You dump broad! How'd I get
Hey, hey! Go easy on the lady!
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You heard me. She had a rough
Go mix her a drink. Cabinet
above the sink.
Get the fuck in there!
Marciano does. Charlene seems to soften and relax and
take satisfaction at Marciano's put-down.
He's right. And you know it.
You think you'd be betraying
(right to his face)
Well, you're right. You would
be. But if you don't betray
Chris, you betray Dominick.
Because he becomes an orphan
when you go to prison as an
accessory 'cause you got no living
parents to take him. Then he
ends up state-raised and fucked
for life. Your son Dominick's
innocent. He didn't choose a
life like that. Chris did.
Charlene rises and crosses to a bedroom and looks in the
door - presumably at Dominick.
Give up Chris. You get off clean.
Do it for your kid.
Charlene sits - shell-shocked - dressed in black with white
face and red lipstick. Marciano re-enters with a drink
for her. Charlene looks towards the bedroom containing
Dominick, then nods her head "yes." Farina dials a number.
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Vincent. It's me. We're set
here. She'll make the call.
Charlene dials a number into the regular phone. Then:
I'm going to give you an address
of where I'm staying. Could you
get it to Chris?
INT. HUGH BENNY'S APARTMENT - HANNA - FIGHT
He hangs up. Redials Drucker. In the b.g. Hugh Benny is
handcuffed, soaking wet and half-conscious on the floor.
Berryman watches him.
M. C. U.
It's me. Tracks back to this
union guy, Van Zant. He had
some beef with Neil. Neil already
settled it. Van Zant got dead
Now Hugh Benny has reformed his
wayward life and become a born-
again good citizen. So, he's
revealed the key player is this
cowboy Waingro. Used to be part
of Neil's crew. Waingro committed
a double murder today on Towner,
a driver, and his old lady.
Meanwhile Waingro's checked into
the Airport Hyatt House under
"Jamieson." Maybe Neil will make
a move on him, but not likely.
Get the word to bailbondsmen,
bookies, snitches in County,
etc. where Waingro is. And get
a team down there to set it up.
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Want me to do it?
No. You stay on who's agenting
Neil's getaway. What have you
Hanna hangs up.
He's here. He's still here. I
can feel it.
For how long?
Eight, ten hours max.
INT. EADY'S HOUSE - EADY - NIGHT
was in bed. Now she answers the door. The bamboo shades
are partly raised revealing the L.A. basin - the city of
light. She wears a red and black Japanese kimono. Neil
McCauley enters. Eady stares at him as he crosses to the
fridge and drinks from a bottle of club soda.
What did you do?
Was that you?
It's what I don't do.
I don't sell swimming pools. It
would have been okay. You would
have flown out after. You didn't
need to do a thing. Now I'm
jammed. We got to go together.
Because we get dropped in a place
and then I decide: New Zealand
or Brazil or Tunisia, whatever.
I can't leave a string back here
to where I am.
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He realizes he's way ahead of her.
I rob and steal for a living.
Do you understand?
You killed people?
If they got in the way. Yes.
It's their problem.
The woman on the grass...where
her husband got shot..
Michael Cerrito's wife. Michael
was my friend. He knew the risks.
He didn't have to be there. He
coulda been a...been a mailman.
I don't believe it.
She stares at him.
Eady. Get packed. Get dressed.
Eady runs out the door.
EXT. HILLSIDE - WIDE - NIGHT
Eady - in her black and red kimono - tears up the steep
hillside of golden fountain grass TO CAMERA from her house
on the side of the hill. We HEAR her BREATHING.
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She keeps going. Neil catches her and she falls into the
CLOSE - TWO SHOT
Why you do this to me! What I
do to you?!
She does. She goes totally blank. Neil picks her up.
INT. EADY'S HOUSE - WIDE - DAY
It's morning. Eady's affect is flat, robotic.
Use these credit cards. They
say "Mr. and Mrs." I reserved
the car. Buy me some clothes.
Here's a list. I can't go home
for my stuff. Can you do it?
When's it over?
Twenty-two hours. Then we fly
out of here...clean.
He kisses her. She doesn't respond. She stares at him.
I want you to let me go. When
will you let me go?
You can go now. There's the
door, you want out...
No, I have to do what you say.
But will you let me leave after?
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It will be different...
She starts to leave. Neil stops her. She glances at him
INT. CAR - HANNA - DAY
It's morning. He's been up all night.
INT. HANNA CONDO - HANNA - DAY
COOKING SOUNDS. He stops. Frozen.
on his sofa watching his TV. His name is RALPH.
(ignorant of Hanna's
presence; to Ralph)
enters, sees Hanna.
Oh. Meet Vincent.
Excuse me. You didn't tell me
Ralph sees Hanna's 2" .38 in his waistband.
Oh, my God...
What's your name?
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Hanna's reaction to Ralph is vacant of emotion.
I'm Vincent Hanna.
Don't you even get angry?
Ralph, you can ball my wife.
You can lounge around her $1.7
million condominium on her sofa.
You can do all those things.
But you do not get to watch my
Hanna lifts it off the table, spilling framed pictures. A
commercial segues to a quiz show.
I've never screwed around. I've
been true blue to you since the
day we met.
It would have been preferable if
you had! You made me do this!
Right I had Ralph fuck you 'cause
it makes me feel so good.
Put down the television. You
Dr. Prince says I'm trying to
get your attention. Christ! I
have to pay someone to figure
out my life with you.
Maybe I should...
Why's it my job to figure it all
out and explain it to you?
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'Cause you're the one who spends
all the time on the couch.
And what do you do?
What do I do? I speak the English
language. Words. Sentences
How admirable: proletarian candor.
Except you don't say a damned
thing. You neglect me. You
don't call. I can worry about
you or not. So I withdraw. You
don't notice. You're walking
through our life chloroformed,
Vincent. Wake up. It's almost
She unplugs the TV. The image Hanna's holding dies. Hanna
looks at her and leaves.
EXT. DR. BOB'S DOG AND CAT HOSPITAL, KENNELS - WIDE - DAY
Basset Hounds BAY. Nate, Neil and Chris walk between the
cages of parked pets - all of whom make a RACKET. The
talk loudly over it. Chris' left arm is in a canvas sling.
His hair has been cut short. He looks different. Dogs
I got Cerrito's share deposited
in the Delaware Trust for Elaine.
She's pretty bad...
Passports. Traveler's checks.
(hands them over)
Hangar 17. Plane call letters
are 1011 Sierra. Touches down,
holds for five minutes and splits.
The plane will stand an FAA check.
Filed flight plan. The works.
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Here's the address Charlene said
she was at. But I don't have
documents for her.
I'm not flying. I'm drivin'.
(looks at Neil; to
Fly. Send for her later.
Can't you talk to him?
I been trying.
Talk to you in three hours in
case there's changes.
NEIL + CHRIS
Use the Camaro. Its clean and
will stand a DMV check.
Registration in the glove box.
How you getting around?
Someone's picking me up.
A girl on the side?
See you, cowboy.
So long, brother.
They embrace. Neil slaps the side of his face slowly -
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INT. MERCEDES 560 SL, TRAVELING - NEIL + EADY - DAY
Clothes are in the trunk.
No. When's it over?
Six hours. 8 p.m.
She stops for a red light - a little sharply.
I'll buy you lunch. Everything's
smooth. We're going to fly
Neil looks for Eady's reaction: no response.
INT. FARINA APARTMENT - WIDE DAY
been up all night and looks it. Bags of take-out food and
coffee containers litter the table. Dominick crawls over
and up Farina's leg.
Charlene comes over. Farina picks Dominick up and makes a
face and growls. Dominick laughs. Charlene smiles and
takes him. Phone RINGS. Farina takes it, listens. Then:
Not a thing. What about you?
INT. HANNA OFFICE - WIDE - DAY
Hanna, Drucker and Bosko - more all-nighters with one day
growths - pore through files and hang on phones.
It's frantic. Hanna's on with Farina.
Someone's agenting Neil's stuff?
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Who? The Tooth Fairy? Talk to
Hanna hangs up. He thinks for a second.
...how did Charlene get the Marina
address passed to Chris?
They come up out of their chairs and Hanna's punching
numbers. He's furious.
I don't believe I didn't think
EXT. SAN DIEGO FREEWAY, PHONE BOOTH - NEIL - TWILIGHT
Green vapor lights have ignited on the freeway behind them.
Neil drops the quarter and dials. Eady sits in the Mercedes -
waiting. Behind them streams of cars and headlights pass
by. We HEAR a PHONE RING.
NATE (V. 0.)
Yeah, Breedan's end?
Still can't find nobody. It's
in the Delaware Trust. You tell
me later what to do. And about
your ride. No changes. Right
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Starts to hang up...
NATE (V. 0.)
By the by: I heard your pal is
checked into the Airport Hyatt
under "Jamieson"...if you still
Neil doesn't answer.
I figured you wouldn't waste the
In the background Eady turns on the radio and watches Neil
in the phone booth and rests her chin on her hand on the
You figured right.
Take it easy, old man.
(phone filter; laughs)
You take it easy. Be careful,
Neil hangs up and turns to Eady. He stands there. He
That was the last bridge.
Eady looks away.
gets in and hugs her desperately. It's the most emotional
we've ever seen him. Eady responds not at all. Neil lets
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INT. NATE'S STOREFRONT TAX OFFICE - NATE - DUSK
hangs up - still smiling. Behind him - out the window -
two cars SCREECH to a halt. Hanna's the first one out.
Bosko and Drucker are in the second car. Guns drawn, they
bust into the Tax office. As they come through the door:
INT. HANNA'S CAR, TRAVELING WIDE ON REAR SEAT - NIGHT
Nate's handcuffed behind his back between Hanna and Bosko.
He blows out of here, you'll do
his time. I want...
Screw what you want. Who the
fuck are you?
Your worst nightmare. Hard time,
I ain't looking at shit, and you
know it! So don't con me.
(grabs Nate; to
I'll work him...
(shouts at Bosko)
Don't touch him!
Accessory. Armed robbery and
murder one. Dealing stolen
merchandise and securities. You
agent for Neil. At least the
armored car and bank. Everything
I tie him into, I tie you into.
Two cops dead. Other bodies on
the sidewalk. You understand
that kind of heat? You fucking
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INT. DIVISION, BOOKING ROOM - TRACKING ON - NIGHT
Hanna dragging in Nate followed by Drucker and Bosko. A
Booking Officer's in front of a cage. Hanna throws Nate
at the cage.
(shouts to Drucker)
Book him on Accessory to Armed
Robbery, Murder One, A.D.W., and
Trafficking Stolen Merchandise.
(shouts at Nate)
The Nazi's in Quentin will turn
your ass into a satchel. You're
an old man. Gimme Neil!
What I'll give you is so many
false arrest lawsuits, you won't
have time to write traffic
Nate's dragged away.
INT. HANNA'S OFFICE - HANNA - NIGHT
with Drucker and Bosko - enters and kicks a chair out of
Get me Farina.
Drucker punches in the number.
Can we put Nate away?
With a staff of five or six
marshaling physical evidence for
six months after two years' worth
of continuances...maybe he'll do
18 months. Won't fucking happen.
Check the bait.
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Yeah. At the hotel.
Bosko starts dialing. Drucker hands Hanna the phone with
Farina on the other end.
EXT. PACIFIC PALISADES CLIFFS - TWO SHOT- TWILIGHT
The sun is setting beyond Point Dume. Neil and Eady are
at the edge of the sea cliff. He checks his watch. He
looks cut at the sky. He wears clothes Eady bought.
POV: SANTA MONICA BAY
The swells rock a few small boats near the reef: PAN RIGHT.
The sun is gone. The sky To the LEFT the bulk of a 747
rises over the ocean slowly, as if gravity didn't exist.
Look over there.
watches screaming gulls swirling below against the water.
(talks to the back
I don't even know how to think
like this...cause this has
happened to me late in my life.
But I got some expectations.
For us. You can walk right now
if you want. Walk away. Or
you...on your own...you choose
to come with me. I got enough
in there to take care of us for
There's no response.
She turns and looks into his eyes. He touches the side of
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She folds into his arms and they stand there against the
darkening sky and red cirrus.
EXT. MARINA - WIDE ON ALLEY FROM ROOF - TWILIGHT
Neil's Lincoln driven by Chris enters and parks near six
guys playing shirts and skins under two spotlights. He
winces from the pain. His arm is in the sling. He looks
at the piece of paper Nate gave him and looks up TOWARDS
CAMERA at the address. He doesn't get out of the car.
COP #6 (V.O.)
(radio filter; matter
Richie. A possible moved into
COP #5 (V.O.)
We got him.
PULL BACK TO REVEAL we're SHOOTING FROM the roof of the
apartment building DOWN onto the alley and in the
FOREGROUND, prone on the roof is COP #5 in flack vest with
an AR-180 rifle with a nite-site scope aimed at Chris.
Two buildings away is Cop #4.
INT. HANNA'S OFFICE - WIDE - NIGHT
Hanna's on the phone.
Got a live one.
INT. SECOND FLOOR APARTMENT - FARINA - NIGHT
WIDEN TO INCLUDE Charlene, two cops and Marciano (very
nervous). Farina folds away from the window and sets down
the phone - off the hook. -
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C'mon, sugar: show yourself
Marciano fades back. Charlene sits frozen to the spot.
It's as if the pressure had battered her into a stupefied
One second at the window. Then
it's all over...
looks at Farina. She slowly
crosses to the window. Marciano
has faded to the back of the
EXT. ALLEY - CHRIS
CHRIS POV: CHARLENE
looks down at Chris - deep into his eyes. She's disturbed.
She's unsure. Then she decides.
looking up into Charlene's open face from inside the
Lincoln. He starts to get out. Then he sees...
And we TILT DOWN her body to her hand at her side. Her
hand subtly waves him away, gestures towards the roof.
INT. APARTMENT - REAR SHOT ON CHARLENE
For Christ's sake...that's not
even him. That's not Chris.
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EXT. ALLEY - WIDE ON CHRIS
turns to basketball players.
Any of you guys know anything
for rent around here?
BASKETBALL PLAYER #1
Alberiz's grocery on Dell Avenue
got cards on the wall.
He dribbles and fakes a hook shot and passes. Chris starts
to look down the alley.
Unit two. This is command.
Take him at the street. Check
INT. APARTMENT - WIDE
UNIT TWO (V.O.)
Charlene crosses back to her chair. Farina stares at her
unsure. Marciano re-enters and paces idly.
Where the hell is he?
Maybe he's not coming.
You better hope he shows! Or
you're going to the can, you two
Farina grabs Marciano, spins and slams him into the wall.
(shouts at cop)
Get him the hell out of here!
UNIT TWO (V.O.)
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UNIT TWO (V.O.)
This guy's John Pearson. Valid
I.D. car's registered to one
Bukowski. Ran a make to DMV.
It's clean. So's the car.
Let him go.
Farina clicks off the radio and picks up the phone.
Want a cup of coffee while we
wait, Mrs. Shiherlis?
That would be nice.
Farina dials. Charlene closes her eyes. it's like she
sees the gray institution of a women's prison. She shuts
her eyes tighter to make the vision go away. Tears start
INT. HANNA'S OFFICE - HANNA - NIGHT
False alarm, Lieutenant.
Hanna hangs up. He dials another number. It rings.
INT. HYATT HOUSE LOBBY - DESK CLERK - NIGHT
DESK CLERK/COP - in hotel blazer - answers the phone.
What's the score?
On this Waingro?
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DESK CLERK/COP (CONT'D)
I just told Bosko. Zero.
INT. HANNA'S OFFICE - HANNA
You know what?
Neil's gone. Bam! Flyin' like'
C'mon! How do you know? We
What do we got?
(as if to Neil)
Bon voyage, motherfucker, you
I'm going to the hotel. I'm
gonna take a shower. I'm gonna
sleep for a month.
EXT. POLICE PARKING L0T - HANNA - NIGHT
gets into his Olds with his TV set still on the front seat
and pulls out, laying rubber.
INT. CAR - HANNA - NIGHT
stops sharply for a red light. The TV bounces against the
dash. Hanna looks at it. It's idiotic. He drops the car
into park, opens the passenger door.
WIDER - HANNA'S
foot comes up. He braces his back against the driver's
door and kicks the TV set out of the car.
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EXT. STREET - THE TV SET
SMASHES onto the pavement. Passengers at a bus stop stare
at Hanna. The light changes green. Hanna pulls away.
INT. HOLIDAY INN: HANNA'S ROOM WIDE - NIGHT
It's empty. Out the windows the mustard Hollywood glare
stays low into the building.
ANGLE - A SHADOWY FIGURE
surreptitiously moves through the room examining things.
It's a woman and in rear shot she is naked. We HEAR a key
in the lock. She turns: it is Lauren.
opens. Hanna - disgusted - tips off his clothes and throws
them at the furniture. He turns on the shower and goes
in. He didn't see Lauren.
INT. SHOWER - HANNA
under the water, half opens his eyes and just stands there.
LAUREN'S BARE LEGS
enter the bathroom and quietly slide the shower curtain.
Hanna doesn't hear her.
HANNA + LAUREN
from the front. He's oblivious. She's behind him.
She does two things: she runs her hands across his stomach
Hanna, terror-stricken, swings around and Lauren, screaming,
starts assaulting him.
They slip in the tub and crash onto the bottom. Hanna can
barely restrain Lauren who has the strength of someone in
a psychotic episode.
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EXT. CHILDREN'S HOSPITAL - BLACK AND WHITE - DAY
Code 3, pulls up and Justine runs out and sees:
JUSTINE'S POV: HANNA CARRYING LAUREN
out of a police ambulance wrapped in a towel like a baby.
His face is scratched and bleeding.
She struggles, but bent double in his arms, she's
immobilized. Attendants rush at them with a stretcher
with restraining belts. Hanna shoulders them aside and
races into emergency.
INT. EMERGENCY CORRIDOR - TRACKING HANNA WITH LAUREN AS
JUSTINE - DAY
You're gonna be okay, baby.
Your mommy and me are here.
Everybody's here. We're going
to take care of you. We love
Lauren relaxes in his arms, carried like a baby; and tears
stream down her face.
one arm locked around Hanna - trying to see her daughter.
Then Lauren goes wild again and Hanna tightens.
Let me take her.
I got her.
Watch her tongue!
She's not epileptic! This isn't
5 mg of Thorazine.
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HOSPITAL WAITING ROOM - HANNA + JUSTINE - LATER
his arm around her. She leans back against him.
You okay, baby?
She shrugs. Then she moves closer to him and be pulls her
into his shoulder.
INT - MERCEDES - NEIL + EADY - NIGHT
Neil drives. He's pensive. He sees the "Hyatt" sign.
RADIO ANNOUNCER (V.O.)
Hey there, old aware ones, and
you, too, my fair ones ...
Neil KILLS THE RADIO.
What is it?
He turns the RADIO BACK ON.
RADIO ANNOUNCER (V.O.)
Brought to you this fine day
which is A-okay!
The Mercedes is in the left. Suddenly Neil pulls across
three lanes and shoots up an offramp - fast. Neil checks
I got this errand to run that I
The airport is right there. Is
Sure. It's a thing I got to
take care of... is all.
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EXT. HYATT HOUSE HOTEL - WIDE ON FRONT - NIGHT
A lot of traffic and lights. Neil drives the Mercedes
past the front and turns left at the corner into a dark
side street on the side of the hotel. He parks.
Leave it running.
crossing the street in his dark suit towards the hotel's
...be right back, Eady.
He waves without looking.
Some employees exit.
INT. OFFICE - ON PAINTERS - NIGHT
Two house PAINTERS and all their gear are in an empty office
in front of a big picture window. Out the picture window
across the street is the Hyatt House. They're not painting.
They're playing gin on a cardboard box. Maybe they're on
CLOSE ON ONE PAINTER
He has a Nite vision light accumulater scope and looks
across at the hotel.
PAINTER ONE'S POV: STREET + MERCEDES
with Eady, exiting employees and Neil slips in the side
pans his scope up the hotel.
What's going on?
Nothing. He's watching TV.
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PAINTER ONE'S POV: ROOM 1403 + WAINGRO
across the way. He watches TV with his feet up.
are police - Waingro's surveillance team.
We going to finish this game or
INT. LOCKER ROOM - NEIL - NIGHT
crosses to a desk and red wall phone near some lockers.
The place is abandoned.
(into phone; familiar)
Hi. It's the kitchen again.
A... "Jamieson" ordered a BLT
and they got his room number
They're always doing that.
Neil starts ransacking the lockers.
EXT. HOTEL - EADY - NIGHT
in the Mercedes. Waiting. She stares at something strange.
WIDEN: it's her hand. It spasms. She grabs onto the
steering wheel to make it stop.
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HOTEL LOCKER ROOM - NEIL'S
found a Hyatt security uniform. He puts on the short jacket
and San Brown belt and hat.
INT. HYATT HOUSE, LOBBY - SERVICE DOOR: NEIL - NIGHT
enters and crosses to the elevators. He glances to his
NEIL'S POV: DESK CLERK
talks on his police radio. TILT DOWN. A 9mm. Beretta is
under the counter top.
continues to the elevators. It says he KNOWS Waingro is a
trap. He knows the LAPD are here. He's come for him
INT. SERVICE ELEVATOR - NEIL'S HAND - NIGHT
punches 14. PAN AROUND to Neil. The elevator rises. He
pulls his .45 and checks that there's a round in the
chamber. He slips it back into his waistband, cocked and
INT. HOTEL, 14TH FLOOR ELEVATOR LOBBY - DOORS - NIGHT
slide open. Neil emerges. He does two things. He wedges
the ash tray to hold open the elevator door. Then, he
smashes the glass and sets off the fire alarm. Immediately
a SIREN SOUNDS. The building's elevators - except Neil's
descend. We HEAR:
A fire has been reported. Please
leave your rooms now. Proceed
down marked fire exits. Use the
staircases. Do not use the
elevators. This is NOT a drill.
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INT. APARTMENT - ON PAINTERS - NIGHT
Yeah. Whyn't you call out for
pizza? Sausage, peppers,
That chick on the ninth floor
got naked and she's pressing
herself against the glass again.
(crosses to window)
Let me see.
Painter One looks through the scope. He looks down at the
ninth floor and laughs. Then he looks away and sees
PAINTER TWO'S POV: ROOM
Waingro goes to a drawer, pulls out a gun and starts towards
PAINTER TWO (O.S.)
INT. HOSPITAL WAITING ROOM - HANNA WITH JUSTINE
Lt. Hanna. Telephone. Lt. Hanna.
Hanna crosses to the nurse's station. TIGHTEN. He answers:
Fuck McCauley. You handle it.
Call Bosko and Drucker in. Get
me at the hospital after.
watching Hanna, heard the conversation.
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rejoins her and takes her hand. He looks at her and then
at the floor. He puts an around her.
...Will things change between
I don't know...
...but I am reminded of how much
I love you. But that may not be
You have to go to work, don't
(touches her face)
As he's rising.
Be careful, Vincent. Be very
Let's keep on trying?
walking backwards, facing her, nods "yes." The last thing
in the world he wants to do is leave. Then he turns and
starts running down the white marble corridor...
INT. 14TH FLOOR CORRIDOR - NEIL - NIGHT
in the hotel security uniform approaches against the flow
of people leaving the floor. The emergency LIGHTING is on
and the PA fire alarm message still SOUNDS. Neil taps his
flashlight on the doors of 1404, 1405 and 1406 as well as
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I'm hotel security. We're
evacuating the floor.
I can't leave.
Sir, I'm afraid you'll have to.
INT. ROOM 1403 - WAINGRO - NIGHT
looks through the peep hole.
WAINGRO'S POV: NEIL'S BACK AND CORRIDOR
A few patrons exit past the uniformed Neil. It looks
INT. 14TH FLOOR HALLWAY - DOOR TO 1403
opens silently, half-way.
looks inside. Waingro's obviously hidden behind the door
Neil kicks the door and...
INT. 1403 - DOOR
smashes into Waingro. Neil hits the door again and it
smashes into waingro a second time.
reaches around, grabs Waingro by the arm, dislocates his
shoulder, breaks his collarbone and throws him across the
room. Waingro's gun goes flying.
on the sofa, seeing Neil McCauley. He feels his internal
organs drop through the floor. He looks away.
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LOW + WIDE
I should have dumped you in that
parking lot. Look at me, you
Waingro won't look at Neil.
Gimme your eyes. 'Cause you're
Waingro, pathetically, obeys and looks up. Neil's .45
now looks out the window, searching.
NEIL'S POV: HIGH RISE ACROSS THE STREET + "PAINTER" TWO
staring at Neil through the Nite vision scope, disbelieving.
Neil sees "Painter" One is shouting into his police radio...
INT. 1403 - NEIL'S
surprised not at all. He expected the police. He turns
away from the window, looks once at Waingro and leaves the
INT. MERCEDES - EADY - NIGHT
twisted in her seat, trying to see, frightened by the noise
and sirens. WIDEN. An L.A.P.D. fire engine ROARS in.
Now an unmarked car skids into the driveway. Drucker,
Bosko and others spill out carrying shotguns. A black and
white parks perpendicular to the traffic flow and halts
cars. She's worried, confused.
INT. ROOM 1403 - WAINGRO - NIGHT
dead iN sitting position on the sofa with his head back as
if he fell asleep watching the football game.
INT. HANNA'S UNMARKED CAR - HANNA - NIGHT
cruising scanning the streets. He's aggressively searching
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Casals come in.
Vincent. I'm in the southeast
What's the situation?
Three teams are moving up the
other three stairwells to the
14th floor. Elevators are out
of commission because of the
fire alarm. Surveillance said
McCauley looked right at 'em.
Didn't seem surprised.
It means he knew we were here
and came anyway.
I got two Special Weapons Teams
deployed at the front and back
On their way. You want a command center in the...
Yeah, yeah, that's fine. Stay
on it. 10-4.
For some reason Hanna's disinterested. He's moving down a
different track. He's cruising the streets looking for
HANNA'S POV: SIDE STREETS
adjoining the hotel are cluttered with emergency vehicles,
cars, pedestrians, on-lookers, service people from adjoining
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trying to see through, past, around everything. We don't
know what it is he's looking
HANNA'S POV: FIRE ENGINE, AMBULANCE, MERCEDES, BLACK AND
Then Hanna's P.O.V. PANS LEFT back to the Mercedes. The
woman waiting in the passenger seat. It is Eady. She's a
block down. A woman waiting...in a car...alone.
It's what he was looking for.
EXT. STREET - WIDE
Hanna is out of the car in the jammed street, running
towards Eady and the Mercedes a block away.
EXT. HOTEL, SIDE DOOR - NEIL
emerges and APPROACHES CAMERA. In the foreground is Eady
in the Mercedes.
calm, assured, approaches the car for the short drive to
the airport. Then, Neil senses and...
SIDE ANGLE: NEIL
turns and looks over his left shoulder.
NEIL'S POV: VINCENT HANNA
a half block away, running through vehicles and incoming
on-lookers right at him.
stops. He turns to Eady.
looks at him, quizzically.
running towards Neil and Eady.
climbing out of the Mercedes, now, confused...
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starting to leave, moving at an oblique angle. Looking at
her ... leaving her ...
next to the Mercedes. Shouting at Neil. We can't hear
what she says. SIRENS and NOISE of an ambulance.
AMBULANCE pulls in front of him, blocks him. He's around
it, pushing a news crew out of the way, stops.
MERCEDES WITH EADY
in the street. Alone. No Neil.
spins around, searching.
HIGH + WIDE: HANNA
in the sea of people and vehicles, crossing drivewaYs and
landscaping. Hanna - against the tide - moving away from
the crime scene and police barricades to neighboring
through the crowd, searching. People pushed aside so he
can see. Then...
HANNA POV: THROUGH OFFICE BUILDING LOBBY TO REAR PARKING
A figure is running between cars. Beyond are the lights
of an L1011 ten feet off the ground about to touch down.
EXT. RUNWAY APRON - L1011 - NIGHT
ROARING through the frame. Reveal Neil jumping a fence
and running across the grass between power units and the
racks of lights strobing their arrow sequence at the head
of the runway. Beyond is Sepulveda Boulevard and normal
running towards us.
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EXT. RUNWAY - L1011
it's landing gear down, its lights blasting into the lens
fills the frame as it descends to the runway. It wipes
out the strobe racks in a chaotic blast of xenon.
EXT. RUNWAY APRON - LONG SHOT:
runs across the grass between the fence to the strobe
among the structures housing the ballasts for the lights.
The ROAR of a 757's 95,000 lbs. of thrust beats an him.
He spins to protect his face. His clothes and hair are
whipped. As he runs to us ...
HANNA POV: UP INTO LIGHTS SEARCHING FOR NEIL. SUDDENLY:
NEIL (SLO MO)
is there. His .45 is up, centered into Hanna's face.
He's eight feet away, framed against the glaring racks of
NEIL'S HAND (SLO MO)
squeezing the trigger, both eyes over the front sight,
moving laterally on target through the liquid air and
NEIL'S .45 (SLO MO)
as the trigger's squeezed and the sear's released and...
MACRO: THE .45's HAMMER (SLO MO) falling.
HANNA (SLO MO)
coming up with his 9mn. He's too late...
The hammer drops. Nothing. His .45 misfires.
HANNA (SLO MO)
His 9mm. coming up...
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NEIL'S HAND (SLO MO)
swipes across the .45's slide.
MACRO: THE BREECH OF NEIL'S .45 (SLO MO)
The misfired round, ejected and spinning away. The new
round, moving forward, the slide returning to battery...
FIRES THREE perfectly controlled, hammered-on SHOTS. His
front sight barely moved.
HIT THREE TIMES in the chest - is blown back into the racks
of lights. He lies still.
approaches, slowly. His gun hand drops to his side.
WIDE: NEIL + HANNA
Neil's on the ground, his back against the rack. One arm
is in his lap. The other is flung over the top bar of the
strobe rack. Neil looks at Hanna and gestures with his
hand. Hanna takes it. Neil holds on tight.
...not half bad.
...pretty good your own self.
Then Neil's eyes dim. And he dies.
LONG REAR SHOT: HANNA + NEIL
Neil's head has fallen onto his shoulder. Hanna still
grips his hand and looks down the runway into the west at
the lines of blue runway lights like rivers. The two of
them stay there like that.