The I t al i an J ob

scr eenpl ay by
The Power s
Based on t he Movi e
December 21, 2001
FADE I N:
EXT. THE PORT OF GENOA, . I TALY - NI GHT
For kl i f t s RUMBLE. Wor ker s WI PE FRAME. Al l t he bust l e and
cacophony of a maj or seapor t .
We FI ND our sel ves f ocusi ng on ONE LARGE CRATE. Wi t h t he
GRI NDI NG of gear s, a cr ane l i f t s i t of f t he dock and car r i es
i t ont o a shi p .
I NT. HOTEL ROOM- SAME TI ME
Thr ough ni ght - vi si on bi nocul ar s, CHARLI E CROKER, 28, wat ches
t he myst er i ous cr at e. Char l i e i s young t o r un hi s own cr ew
but he' s a bor n l eader .
CHARLI E
Lyl e?
SWI SH PAN TO: LYLE, 21, br i l l i ant and punct i l i ous, f i nger i ng
t he keyboar d of hi s st r ap- on super char ged l apt op.
LYLE
I ' ve got t he or bi t al dat a and SV cl ock
cor r ect i ons f or each sat el l i t e t hat get s
t he si gnal . That ' l l make my r eadi ng as
sol i d as t he Pr eci se Posi t i oni ng Ser vi ce
t hat onl y t he D. O. D. can use. We' r e
t al ki n' 100 met er hor i zont al accur acy,
156 met er ver ti cal accur acy, . 340
nanoseconds t i me accur acy.
SWI SH PAN TO: STEVE, 30, bear ded. St eve has an ar r ogant
conf i dence mi xed wi t h t he hi nt of a smi l e.
STEVE
Why can' t he t al k l i ke a per son?
CHARLI E
. . Because he' s not.
LYLE
I do need one mor e t hi ng, Char l i e.
CHARLI E
What ' s t hat ?
LYLE
Someone t o t ur n t he goddamn homi ng devi ce
on. No si gnal , no scor e.
( CONTI NUED)
CONTI NUED:
CHARLI E
( to St eve)
Wher e' r e t he I t al i ans?
STEVE
Pat i ence.
I NT. HUMVEE ( MOVI NG) - SAME TI ME
The dr i ver i s HANDSOME ROB, 30. Ri di ng shot gun i s HALF- EAR,
35, i mmer sed i n a book- : Al ber t Ei nst ei n Cr eat or & Rebel .
Hal f - Ear i s a l ar ge bl ack man wi t h a Sout her n accent and a
hear i ng ai d.
HANDSOME ROB
What ' s t hat shi t ?
HALF- EAR
A book. I t ' s cal l ed r eadi ng. You shoul d
t r y i t some t i me.
Handsome Rob hol ds up t hr ee f i nger s.
HANDSOME ROB
You wanna r ead somet hi ng. Read bet ween
t he l i nes.
HALF- EAR
Wel l her e' s somet hi ng even you can r el at e
t o. Al ber t got a l ot t a t r i m. That
geni us t hi ng i s a babe magnet .
HANDSOME ROB
Lemme see t hat book.
I NT. HOTEL J EWELRY SHOP - SAME TI ME
The f i nal member of t he cr ew, J OHN BRI DGER, 50s, i s a
t ast ef ul man buyi ng a ver y t ast ef ul , and ver y expensi ve,
di amond neckl ace. The sal eswoman wr aps i t up as he di al s a
number on hi s cel l phone.
STELLA ( V. O. )
Hel l o?
J OHN BRI DGER
Hi , sweet i e.
I NT. STELLA' S CONDO - PHI LADELPHI A - I NTERCUT
STELLA BRI DGER, 27, cr ushi ngl y at t r act i ve, has j ust st epped
out of t he shower , hai r st i l l wet , body wr apped i n a t owel .
( CONTI NUED)
CONTI NUED:
STELLA
Daddy. How ar e you?
J OHN BRI DGER
I ' msendi ng you somet hi ng.
STELLA
Real l y? Does i t smel l ni ce?
J OHN BRI DGER
No. But i t ' s spar kl y.
STELLA
Does i t come wi t h a r ecei pt ?
J OHN BRI DGER
I ' mhavi ng i t sent t o you f r omt he st or e.
STELLA
( t owel i ng her hai r )
Why not br i ng i t by your sel f ? We coul d
have di nner .
He l eaves t he st or e and heads f or t he HOTEL ELEVATOR.
J OHN BRI DGER
Be a l ong t r i p. I ' mi n Genoa.
She doesn' t l i ke t he sound of t hat .
STELLA
Let me guess. Checki ng out t he
bi r t hpl ace of Chr i st opher Col umbus.
J OHN BRI DGER
Somet hi ng l i ke t hat .
STELLA
W_i l i your par ol e of f i cer ' s appr oval .
He st eps i nt o t he el evat or . Ri des up.
J OHN BRI DGER
I t hi nk I ' ve pai d my. P. O. . my l ast vi si t .
I l i ked t he guy, but we never r eal l y
connect ed. .
STELLA
What ar e you i nt o, Dad? Don' t br eak my
hear t . You t ol d me you wer e t hr ough.
J OHN BRI DGER
Af t er t hi s, I swear t o you, I am.
( CONTI NUED)
CONTI NUED: ( 2)
STELLA
You pr omi sed me. Daddy, don' t do t hi s.
The el evat or door opens, Br i dger st eps out and st ar t s down
t he hal l .
J OHN BRI DGER
Ever yt hi ng' s goi ng t o be f i ne. I ' ve got
t o go now. I l ove you. Bye.
He cl i cks of f t hen uses hi s car d key t o st ep i nt o t he
I NT. HOTEL ROOM- CONTI NUOUS
He eyes Char - l i e, who l ooks pr et t y t ense.
J OHN BRI DGER
I t al i ans?
Not yet .
CHARLI E
STEVE
Don' t wor r y, t hey' l l come t hr ough. You
can t r ust t hese guys.
J OHN BRI DGER
I t r ust ever yone. I t ' s t he devi l i nsi de
t hemt hat I don' t t r ust .
( t hen, t o Char l i e)
Got a sec?
CHARLI E
My of f i ce.
I NT. HOTEL BATHROOM - NI GHT
They st ep i nsi de, Char l i e cl osi ng t he door .
J OHN BRI DGER
How you f eel i ng, boss?
CHARLI E
. Fi ne. I ' mf i ne, f i ne.
Br i dger seems amused by t hat answer .
J OHN BRI DGER
You know what . f i ne, st ands f or , don' t you?
Fucked- up, I nsecur e, Neur ot i c, and
Emot i onal .
( CONTI NUED)
CONTI NUED:
CHARLI E
You' ve become qui t e t he phi l osopher si nce
you qui t dr i nki ng.
J OHN BRI DGER
You don' t l i ke me sober ?
CHARLI E
No, I ' mgl ad. Makes you a bet t er t hi ef .
Br i dger pul l s out a f i ne ci gar , st i l l i n i t s wr apper , hands
i t t o Char l i e.
J OHN BRI DGER
For af t er t he haul .
CHARLI E
Hope I get t o f i r e i t up. I f St eve' s
I t al i ans ar e a no- show, i t ' s t hr ee mont hs
pr ep down t he shi t t er and I ' ve dr agged
you out of r et i r ement f or not hi ng.
J OHN BRI DGER
Thi s i s ki nda ni ce. You bei ng t he boss
wi t h al l t he wor r i es, me j ust al ong f or
t he r i de.
CHARLI E
Ai n' t you sweet . .
Fr omt he ot her si de of t he door , t hey HEAR
STEVE ( O. S. )
Char l i e!
I NT. HOTEL ROOM - NI GHT
Char l i e t akes t he bi nocul ar s f r omSt eve. He SEES TWO I TALI AN
CUSTOMS I NSPECTORS cl i mbi ng onboar d t he shi p.
CHARLI E
Your I t al i ans.
STEVE
Yup. Di xi e cups.
CHARLI E
Di xi e cups?
STEVE
I t oss ' emaway i f t her e' s a pr obl emdown
t he r oad.
EXT. SHI P - NI GHT
I n I TALI AN, t he I nspect or s qui z t he NERVOUS CAPTAI N about t he
myst er i ous cr at e.
One I nspect or t akes a cr owbar and yanks out sever al st r i ps of
pl ywood, REVEALI NG unmar ked car dboar d boxes i nsi de. The
ot her I nspect or pul l s out one of t he boxes and t ear s i t open.
I t i s f i l l ed wi t h t omat oes. He t akes a bi t e out of one.
Nods. Ever yt hi ng seems t o be or der . The Capt ai n l ooks
r el i eved. The i nspect or cl oses t he car dboar d box but . . .
Wat ch car ef ul l y now, because as he does t hi s, he hi t s a power
but t on on a smal l HOMI NG DEVI CE and st uf f s i t i n wi t h t he
t omat oes. . .
I NT. HOTEL ROOM- SAME TI ME
On Lyl e' s comput er scr een, a pul sat i ng dot appear s, BEEPI NG,
sendi ng out pr eci se l ongi t ude and l at i t ude.
LYLE
For t hose about t o r ock, we sal ut e you.
Char l i e di al s hi s cel l phone.
I NT. HUMVEE ( MOVI NG) - I NTERCUT
Handsome Rob answer s.
HANDSOME ROB
Yeah.
CHARLI E
Let ' s get r i ch.
Handsome Rob pul l s over . They' r e at t he por t . They can see
t he myst er i ous cr at e bei ng l ower ed i nt o t he shi p' s hol d.
Hal f - Ear cl i mbs out , t aki ng a l ar ge duf f el bag wi t h hi m.
CUT TO:
EXT. SHI P ( DOCKED) - LATER, NI GHT
The Capt ai n i s doi ng hi s f i nal checks bef or e l aunch. OUR
CAMERA DROPS t o
BENEATH THE WATER
wher e we FI ND Hal f - Ear , i n scuba gear , appl yi ng Ni t r amon
expl osi ve pr i mer t o t he hul l of t he shi p.
I NT. HUMVEE ( MOVI NG) - NI GHT
Pl owi ng t hr ough t hi ck br ush t hat br eaks out ont o a secl uded
beach. Handsome Rob i s st i l l behi nd t he wheel but now St eve
i s i n t he passenger seat . Lyl e, i n t he back, i s st i l l on t he
l apt op, l egs f i dget i ng l i ke a dr ummer on met h. POP goes hi s
bubbl e gum.
HANDSOME ROB
Can you chi l l out back t her e? You' d make
a hummi ngbi r d ner vous.
EXT. UNDERNEATH THE SHI P - NI GHT
Hal f - Ear f i ni shes up. Speaks i nt o t he headset i nsi de hi s
gear.
HALF- EAR
I ' mdone. Over .
LYLE ( V. O. )
Copy t hat . Enj oy t he r i de, cowboy.
Hal f - Ear gr abs ont o t he bot t omr ung of a l adder t hat i s
bbooll tt eedd tt oo tt hhee ssii ddff ee ooff tt hhee sshhii pp aass ii tt ll aauunncchheess ooff ff tt hhee ddoocckk
and i nt o deeper wat er .
CUT TO:
TWO BRI GHT CI RCLES I N A SEA OF DARKNESS
Comi ng cl oser . . . becomi ng cl ear er . . . I t ' s Char l i e and J ohn
Br i dger , i n scuba gear , r i di ng t or pedo- shaped Di ve Pr opul si on
Vehi cl es ( DPVs) t hat pul l t hemt hr ough t he deep bl ue sea at a
good 5 m. p. h. Bot h DPVs dr ag equi pment bags.
A Gl obal Sat el l i t e Posi t i oni ng Devi ce i s mount ed on t he
handl ebar of Char l i e' s DPV, bei ng f ed i nf or mat i on vi a Lyl e' s
l apt op. A ci r cl e pul sat es on t he moni t or , a beacon t o t he
cr at e i n t he shi p.
EXT. UNDER THE BOAT - NI GHT
Hal f - Ear st i l l cl i ngs t o t he l adder . I t ' s a wi l d r i de.
Thr ough t he headset i nsi de hi s gear , he HEARS:
LYLE ( V. O. )
Get r eady. 3. 2. 1. Dr op.
Hal f - Ear l et s go of t he l adder . The shi p' s pr opel l er s speed
by j ust above hi s head. WHOOSH.
He r emoves a r adi o- cont r ol l ed det onat or . Hi t s t he but t on.
EXT. SHI P - ON THE CUT
The hul l of t he boat EXPLODES.
I NT. SHI P' S HOLD
A ver y neat hol e on t he bot t omof t he boat beneat h t he cr at e
i s opened. Wat er RUSHES I N and t he cr at e f al l s r i ght t hr ough
t he cavi t y, vani shi ng.
UNDERWATER
The huge, heavy cr at e dr ops down. . . down. . . hi t s the bot tom.
ON THE SHI P
Chaos r ul es. She' s t aki ng on wat er f ast . No way t o save
her . The capt ai n or der s t he di nghy l ower ed i nt o t he wat er .
I NT. HUMVEE - NI GHT
Par ked i n t he sand at t he t op of t he bay. St eve l ooks out t o
t he bay t hr ough i nf r ar ed bi nocul ar s.
The shi p i s goi ng down. The cr ew on t he di ngy head back t o
t he por t , whi ch i s i n t he opposi t e di r ect i on of t hi s beach.
EXT. THE BOTTOM OF THE SEA - NI GHT
The DPVs ar e now at t ached by a t et her t o an under wat er
l i f t i ng bag t hat i s used t o move heavy l oads t hr ough wat er .
The cr at e i s sur r ounded by our t hr ee di ver - bandi t s.
Usi ng cr owbar s t hey pul l apar t t he pl ywood. The car dboar d
boxes of t omat oes dump out , t omat oes spi l l i ng ever ywher e.
And now we see what was hi dden bet ween t he boxes. . .
A l ar ge saf e.
They move l i ke cl ock- wor k. Hal f - Ear ai ms an under wat er l i ght
at t he di al . Char l i e dr i l l s a smal l hol e near t he di al .
J ohn peer s i nsi de a hor oscope and l i nes up t he t hr ee wheel s
of t he combi nat i on l ock. . . unt i l t he door pops open.
As t hey st ar e at what ' s i nsi de, t hey speak i nt o t hei r
headset s, hear d by al l .
CHARLI E
Sweet J esus.
J OHN BRI DGER
"That f or whi ch al l vi r t ue i s sol d. And
al most ever y vi ce . - gol d. "
( CONTI NUED)
CONTI NUED:
And now we see t he cont ent s of t he saf e: 160 gl i st eni ng GOLD
BRI CKS. Made i n Si ngapor e, t hey wei gh 25 pounds and each one
i s decor at ed wi t h t he f ace of an exot i c Bal i nese gi r l . We' r e
t al ki ng t hi r t y mi l l i on dol l ar s wor t h of gol d.
I NT. HUMVEE ( PARKED) - NI GHT
They hol l er and hi gh- f i ve and i t ' s j ust a gr eat moment t o be
al i ve. St eve t akes anot her peek t hr ough hi s i nf r ar ed
bi nocul ar s and sees
The l ast vest i ges of t he shi p hang above t he wat er l i ne, t hen
di sappear .
EXT. UNDERWATER - A LI TTLE LATER
The gol d i s now st acked and secur ed on t he l i f t i ng bag.
They at t ach an under wat er par achut e t o t he bag and hook a
hose f r oman ai r t ank i nt o pr ess of a pr essur e r el ease val ves
whi ch cause t he par achut e t o I NFLATE.
Looki ng l i ke a hot - ai r bal l oon under wat er , t he whol e t hi ng
f l oat s up about f i f t een f eet . Hal f - Ear hol ds ont o i t s si de,
goi ng al ong f or t he r i de.
Then Char l i e and J ohn Br i dger speed of f on t he DPVs whi ch ar e
t et her ed t o t he i nf l at abl e bag. As t hey gl i de t hr ough t he
wat er t owar ds t he secl uded' beach, we. . .
CUT TO:
EXT. MOUNTAI NOUS ROAD - FI RST LI GHT OF DAWN
The Humvee cl i mbs i nt o t he mount ai n r anges of t he Al ps.
I NT. HUMVEE ( MOVI NG)
The gol d i s i n t hr ee cr at es i n t he car go bay.
Handsome Rob and St eve ar e st i l l up f r ont . The ot her s ar e i
t he back seat s, t he di ver s out of t hei r scuba gear . They ar e
pour i ng champagne i nt o paper cups; except f or Br i dger who
abst ai ns. He hol ds up hi s empt y cup.
J OHN BRI DGER
My name i s J ohn and I ' ma ver y r i ch
al cohol i c. And I ' mgoi ng t o l i ve my l i f e
one ver y r i ch day at a t i me.
THE CREW
Al r i ght , J ohn!
( CONTI NUED)
CONTI NUED:
TThheeyy ll aauugghh aanndd ppoouunndd tt hheeii rr ff ii sstt ss aaggaaii nnsstt tt hhee rr ooooff ooff tt hhee
Humvee. Char l i e pul l s out t he ci gar Br i dger gave hi m. As
Br i dger l i ght s i t f or hi m
J OHN BRI DGER
You pl anned t hi s one down t o a t , ki d.
I t ' s a gi f t . You saw t he bi g pi ct ur e,
made cont i ngenci es, cover ed the angl es. .
Hear i ng t hi s, St eve l ooks a l i t t l e j eal ous.
J OHN BRI DGER ( CONT' D)
Shi t , you made t hi r t y mi l l i on dol l ar s i n
gol d dr op out of si ght wi t hout hol di ng a
gun. Who el se coul d' ve pul l ed t hat of f ?
CHARLI E
You coul d' ve. I had bi g shoes t o f i l l .
J OHN BRI DGER
Fi l l t he shoes but don' t f ol l ow t he
f oot pr i nt s.
CHARLI E
What ' r e you t al ki ng about ? You' ve l i ved
the l i f e.
J OHN BRI DGER
My l i f e' s been not hi ng but f ake I Ds, f ake
busi ness car ds and di vor ce paper s. Thi s
i s t he onl y t hi ng t hat ' s r eal .
Br i dger shows hi ma phot ogr aph of St el l a t hat he keeps i n hi s
wal l et.
CHARLI E
St el l a' s a beaut i f ul gi r l .
J OHN BRI DGER
She' s amazi ng. And I spent hal f her
chi l dhood i n pr i son. Thi s i s a once i n a
l i f et i me haul , Char l i e. Br i ng down t he
cur t ai n af t er t hi s one. Make a new l i f e.
Fi nd someone amazi ng and be t her e f or
her. ' ' ' .
As t he advi ce escapes Br i dger ' s mout h
EXT. MOUNTAI NOUS ROAD
A J eep t hunder s out of a hi di ng pl ace i n t he t r ees and bl ocks
t he r oad. The Humvee br akes t o avoi d r unni ng i nt o i t .
( CONTI NUED)
CONTI NUED:
HANDSOME ROB
Shi t .
Cl i ck. That ' s t he sound of a gun cocki ng as i t ' s pr essed
agai nst Handsome Rob' s t empl e.
STEVE
Anyone act s st upi d and hi s br ai ns go on
t he wi ndshi el d.
They see t he t wo I t al i an I nspect or s j ump out of t he J eep,
AK- 47s l evel ed at t he cr ew. St eve has doubl e- cr ossed t hem.
On t he cr ew: shocked woul d be a good pl ace t o st ar t .
CHARLI E
What t he hel l do you t hi nk you' r e doi ng?
STEVE
Sor r y Char l i e. But I want t he box of
Cr acker J ack al l t o mysel f .
The I t al i ans pul l t he cr at es of gol d out of t he back of t he
Humvee.
CHARLI E
You' r e not t hi nki ng t hi s t hr ough. I t ' s a
st upi d move.
STEVE
Thi nk so? Wel l you' r e t he br i l l i ant one.
The Mast er Pl anner . I sn' t t hat so, J ohn?
St eve cl i mbs out of t he Humvee, gun st i l l on Handsome Rob,
t he AK- 47s ai med at t he ot her s.
STEVE ( CONT' D)
You bet on t he wr ong hor se.
J OHN BRI DGER
We' l l hunt you down. You' re gonna r egret
thi s. .
EXT. HUMVEE
Saf el y out si de, St eve t ur ns hi s gun on Br i dger .
STEVE
No r egr et s, Di xi e cup.
BOOM. He shoot s Br i dger i n t he head. J ust l i ke t hat .
( CONTI NUED)
CONTI NUED:
The I t al i ans f ol l ow sui t , AK- 47s SCREAMI NG out bur st s of f ul l
aut omat i c f i r e at t he cr ew.
I NT. HUMVEE
They duck f or cover as t he vehi cl e i s r i ddl ed wi t h gunf i r e.
Gl ass shat t er s. Bul l et s r i cochet . They' r e i n t he epi cent er
of hel l .
Handsome Rob j er ks t he st eer i ng wheel and st omps t he gas.
Dr i vi ng bl i nd.
EXT. MOUNTAI NOUS ROAD
The Humvee hi t s t he si de of t he J eep, gr i nds al ongsi de i t ,
met al t ear i ng agai nst met al .
The Humvee' s r i ght si de t i r es pr ecar i ousl y hover by t he cl i f f
and t he r agi ng wat er bel ow.
The gunner s keep FI RI NG. Bul l et s r i p i nt o t he Humvee' s
t i r es.
EXT. HUMVEE
I t al most escapes, but i t can' t make i t on shr edded r ubber .
I t car eens of f t he r oad and
SERI ES OF SHOTS
The Humvee pl ummet s t hr ough t he ai r and pl unges i nt o t he
r agi ng r i ver .
I NT. HUMVEE
Wat er cascades i n t hr ough t he open wi ndows. They' r e t hr own
ar ound as t he Humvee r i des t he r api ds. WHAM. The passenger
door caves i n as t he Humvee r ams i nt o a l ar ge r ock t hen i s
swept f ur t her downst r eam. Thr ough t he f oamand spr ay,
Char l i e l ooks over t o Br i dger . He' s dead. The t or r ent
ROARS.
Onl y t hei r chest s and heads ar e above wat er . And t hat ' s not
al l . Ther e' s a WATERFALL AHEAD.
EXT. WATERFALL
The Humvee i s pal med i n i t s deadl y embr ace and hur l ed over .
I t car t wheel s i nt o t he pool bel ow, sendi ng up a huge geyser
of water .
I t si nks out of si ght .
EXT. MOUNTAI NOUS ROAD - SAME TI ME
The cr at es of gol d ar e now i nsi de t he I t al i ans' J eep. St eve
cl i mbs i n, l eavi ng t he cr ew f or dead.
UNDERWATER - SAME TI ME
The Humvee st r i kes t he sur f ace bot t omwi t h an omi nous t hud.
EXT. MOUNTAI NOUS ROAD - DAWN
The J eep j er ks t o a st op. A door opens and t he bodi es of t he
t wo I t al i ans, shot dead, ar e dumped out i nt o t he mud.
St eve s al one now. J ust hi mand t he mi l l i ons i n gol d.
I NT. HUMVEE - SAME TI ME
The wat er ent ombs t hem. Bl ood f r omBr i dger ' s f at al gunshot
mi st s t he wat er r ed.
They manage t o get t he door open. They st ar t t o swi mout but
Char l i e won' t go wi t hout Br i dger . He gr abs hi s f r i end' s body
and pul l s i t up wi t h hi m.
EXT. RI VER - SUNRI SE
They dr ag t hemsel ves ashor e, Handsome Rob hel pi ng Char l i e
pul l Br i dger ' s cor pse. Char l i e i s shocked, t or ment ed,
gr i eved, and angr y beyond descr i pt i on. Agai nst t he r ocky
embankment , he hol ds Br i dger . Not want i ng t o ever l et go.
CHARLI E ( V. O. )
I f you woul d have t ol d me t hat I woul d
spend t he next t hr ee year s sear chi ng f or
St eve Bandel l , I woul d have sai d t hat was
not hi ng. Cause I woul d have spent a
l i f et i me l ooki ng f or t hat bast ar d i f I
had t o.
DI SSOLVE TO:
I NT. OFFI CE - DAY
SOMEONE' S POV. A t op of t he l i ne saf e. The onl y l i ght i n
t he of f i ce i s t he beamof a penl i ght on t he di al .
GLOVED HANDS spi n t he di al , f eel i ng f or " cont act poi nt s",
ar eas on t he di al wher e a sl i ght r esi st ance can be f el t i f
you have t he t ouch.
( CONTI NUED)
CONTI NUED:
NEWANGLE. A woman hol ds t he penl i ght i n her t eet h whi l e
t r yi ng t o cr ack t he saf e. I t ' s St el l a Br i dger , now 30.
SUPERI MPOSE:
Thr ee Year s Lat er Phi l adel phi a
She mani pul at es t he di al . Cl i ck. She gr abs t he saf e' s l ever
and swi ngs t he heavy st eel door open, her f ace a mi xt ur e of
pr i de and r el i ef . But bef or e we see what ' s i nsi de
LI GHTS TURN ON.
S
TWO COPS l ur k at t he door way.
FI RST COP
You al ways wor k i n t he dar k?
STELLA
Buzz of t he f l uor escent s t hr ows me of f .
She' s al l your s.
The cops come cl oser and onl y now do we r eal i ze t hat t hey' r e
on t he same t eam.
SECOND COP
Damn. Chr i s Per l ey coul dn' t cr ack i t .
Nei t her coul d Mi chael Hoyt .
STELLA
Now you know who t o cal l f i r st .
FI RST COP
You' r e expensi ve, St el l a. Those guys cut
us a br eak on subpoena j obs. Goodwi l l ,
communi ty ser vi ce. . .
STELLA
Wel l I do i t f or t he money. I ' l l send
you t he bi l l .
SECOND COP
Don' t you want t o see what ' s i nsi de?
STELLA
I never l ook. Bye/ guys.
And as she wal ks of f , t hey do l ook at her .
EXT. STREET - DAY
A car RI SES I NTO FRAME on a bust l i ng st r eet : a 1960 Mi ni
Cooper S. , a wor l dwi de mot or i ng i con. I t s shape cr ouches l ow
t o t he gr ound and i t s t i ny 10- i nch wheel - at - each- cor ner gi ves
i t t he l egendar y Mi ni l ook.
( CONTI NUED)
CONTI NUED:
I f when you see i t s headl i ght s and cl assi c gr i l l e i t doesn' t
br i ng a smi l e t o your f ace, t hen you' ve got no aut omobi l e
soul .
I NT. MI NI ( CRUI SI NG) - DAY
St el l a t akes on t he r oad l i ke someone who l oves t o be behi nd
t he wheel of a car t hat cl ai med vi ct or y i n t he Mont e Car l o
Ral l y t hr ee t i mes. She passes a mi ni van, a br eeze wi t h t he
Mi ni ' s qui ck, go- kar t - l i ke handl i ng.
She sear ches f or a par ki ng space on a st r eet l i ned wi t h SUVs.
Sees a spot , i t ' s not r eal l y a space, j ust a gap bet ween t wo
gas guzzl er s, t her e' s no way any car coul d squeeze i n.
Br ake. Shi f t . Har d t ur n. She par al l el par ks t he Mi ni wi t h
ease. She' s r i ght i n f r ont of
HER SHOP
Ant i que keys and l ocks domi nat e t he st or ef r ont wi ndow wi t h
t he name of t he shop st enci l ed acr oss t he gl ass: BRI DGER
LOCK AND SAFE COMPANY. St el l a hops out of t he Mi ni . Wi t h a
poi sed wal k she heads i nsi de.
I NT. SHOP - DAY
I t i s f i l l ed wi t h ol d cast - i r on saf es she has r ebui l t al ong
wi t h some new model s. St el l a' s RECEPTI ONI ST gr eet s her .
RECEPTI ONI ST
How l ong?
STELLA
Four mi nut es, f or t y- t hr ee seconds.
Hi gh- f i ve.
RECEPTI ONI ST
You' r e t he man.
STELLA
So what ' s on t he l i ne- up?
RECEPTI ONI ST "
2: 00. Home saf e i n Fai r mount Par k.
Owner di ed and t he wi f e never knew t he
combi nat i on. And Todd Mi l l i ken cal l ed.
He has a pr ot ot ype combi nat i on l ock he
want s you t o t est out t omor r ow mor ni ng.
Says he added t wo f al se cont act poi nt s on
t he t umbl er .
( CONTI NUED)
CONTI NUED:
STELLA
Tel l hi mi f I don' t have i t opened i n si x
mi nut es f l at , br eakf ast i s on me.
RECEPTI ONI ST
And t her e' s a Char l i e Cr oker i n your
of f i ce. He sai d you t wo know each ot her .
( an asi de)
And he l ooks pr et t y f i ne f or a whi t e boy.
Wi t hout a r esponse, St el l a heads over t o
HER OPEN OFFI CE DOOR
and sees hi mf i ddl i ng wi t h her col l ect i on of saf e door s t hat
l i ne t he shel ves.
STELLA
Char l i e Cr oker .
He t ur ns ar ound. Smi l es. Char mi ng.
CHARLI E
Hi , St el l a.
She st eps i nsi de.
STELLA
Ref r esh my memor y. Af t er you came t o see
me and t ol d me what happened t o my
f at her , I t ol d you I never want ed t o see
you agai n, di dn' t I ?
CHARLI E
Yeah. You di d.
STELLA
So I ' ma l i t t l e conf used.
CHARLI E
I f ound hi m.
At f i r st i t seems t hat Char l i e' s wor ds have no ef f ect on her ,
but t hen he not i ces t hat her hands ar e t r embl i ng.
CHARLI E ( CONT' D)
I can t el l you wher e he i s.
STELLA
I don' t want t o know.
CHARLI E
Ar e you sur e?
( CONTI NUED)
CONTI NUED:
She doesn' t answer .
CHARLI E ( CONT' D)
He' s i n Los Angel es.
She doesn' t r espond. Doesn' t ask hi mt o go on, doesn' t ask
hi mnot t o. So he goes on. . .
CHARLI E ( CONT' D)
The gol d br i cks he st ol e f r omus wer e
mi nt ed i n Si ngapor e and decor at ed wi t h
t he f ace of a Bal i nese gi r l . I ' ve had my
t ent acl es out and got a cal l f r oma
f r i end of mi ne and your f at her ' s, Phi l l y
Steak.
St el l a r emember s hi m.
STELLA
When I was l i t t l e he woul d pl ay poker at
t he house and dr op quar t er s under t he
t abl e f or me t o f i nd.
CHARLI E
He got wor d f r oman L. A. connect i on named
Ski nny Pet e t hat a gol d deal er has been
buyi ng br i cks wi t h t he Bal i nese gi r l on
t hem, t hr ee or f our at a t i me.
STELLA
You ever hear d t he expr essi on, cut t o t he
chase?
CHARLI E
I t r acked St eve down t o an addr ess i n t he
Hol l ywood Hi l l s. He' s changed hi s l ast
name t o Fr ezel l i . And get t hi s: he had
a Wor t hi ngt on 1000 i nst al l ed i n t he house
bef or e he even moved i n. We bot h know
t hat you don' t i nst al l a Wor t hi ngt on 1000
unl ess you have somet hi ng pr eci ous t o
guar d.
STELLA
Pr eci ous or not , I don' t deal wi t h i l l -
got t en goods.
CHARLI E
We boost ed t hat gol d f r oma t er r or i st
gr oup t hat was about t o t r ade i t f or bi o-
weapons.
( MORE)
( CONTI NUED)
CONTI NUED: ( 2)
CHARLI E ( CONT' D)
Now t hat doesn' t exact l y make us Robi n
Hood, but maybe i n our own l i t t l e way we
wer e doi ng a good deed. Pr obl emi s, no
one i n my cr ew can handl e t hat saf e. And
I need someone I can t r ust .
STELLA
And you t hi nk t hat ' s me? Haven' t you
hear d t hat I wor k f or t he ot her si de?
CHARLI E
What I hear d i s t hat you have your
f at her ' s t ouch. And he was t he onl y
saf ecr acker I knew who coul d open a
Wor t hi ngt on 1000.
STELLA
I ' mnot a saf ecr acker . I ' ma
pr of essi onal saf e and vaul t t echni ci an.
CHARLI E
You' r e J ohn Br i dger ' s daught er . And t hi s
i s our chance t o set t hi ngs r i ght .
That set s her of f .
STELLA
Out chance? Who do you t hi nk you ar e
comi ng i n her e? St eal i ng t he gol d i sn' t
goi ng t o br i ng my f at her back t o l i f e.
CHARLI E '
No, i t won' t .
STELLA
Then get out .
EXT. STREET DAY
Char l i e comes out of her shop and st ar t s down t he si dewal k.
Suddenl y, Handsome Rob appear s out of t he cr owd and i s
wal ki ng next t o hi m.
HANDSOME ROB
How' d i t go wi t h t he chi ck?
CHARLI E
I ' mwor ki ng on i t .
HANDSOME ROB
I don' t want her on t he cr ew, Char l i e.
( CONTI NUED)
CONTI NUED:
CHARLI E '
Got t a have her . I mpor t ant pi ece of t he
puzzl e.
HANDSOME ROB
Ther e has t o be someone el se. What about
Bi l l Huchi ns?
CHARLI E
Doi ng t en l ong at Levi nwor t h.
HANDSOME ROB
Red O' Rei l l y?
CHARLI E
Chemo.
HANDSOME ROB
Mar t i n Her nandez?
CHARLI E
Found J esus.
Handsome Rob st ops Char l i e.
HANDSOME ROB
I don' t want a ci vi l i an t o scr ew t hi s up.
CHARLI E
She has t he ski l l . And t he mot i vat i on.
HANDSOME ROB
Exact l y. She' s emot i onal . You know what
happens when emot i on get s i nt o i t .
CHARLI E
I t ' s emot i onal f or al l of us at t hi s
poi nt . Don' t ki d your sel f .
I NT. EXPENSI VE RESTAURANT/ BAR - NI GHT
RI CHARD WORTH has hi s back t o t he bar . He' s a bl ue bl ood
t r i al l awyer wi t h an ego t hat has mor e hor sepower t han a
Fer r ar i .
RI CHARD
I t ' s al l i n my pat ent ed si deways gl ance.
Li ke t hi s. . .
He gi ves a si deways gl ance t o St el l a; i t ' s t hei r f i rst dat e.
( CONTI NUED)
CONTI NUED:
RI CHARD ( CONT' D)
I hi t each woman on t he j ur y wi t h one of
t hese. We make cont act . And I know
exact l y what t hey' r e doi ng. Undr essi ng
me wi t h t hei r eyes.
STELLA
I see. . .
What a ni ght mar e. Someone bumps i nt o St el l a, a mumbl ed,
" Excuse me. " Ni ght mar e cont i nues. . .
RI CHARD
The case i s al l but won. That ' s why i n
j ur y sel ect i on I choose as many women as
possi bl e. Except l esbi ans, of cour se. I
can t el l i n si xt y seconds i f t hey' r e a
l esbi an. Want t o know how I know?
STELLA
I f t hey don' t undr ess you wi t h t hei r
eyes?
RI CHARD
Pr eci sel y. Li ke t hat wai t r ess r i ght
t her e. See? She' s l ooki ng at me r i ght
bel ow my bel t . Def i ni t el y not a l esbi an.
A wai t r ess i s i ndeed l ooki ng bel ow Ri char d' s bel t . But
St el l a not i ces t hat she was onl y l ooki ng because Ri char d' s
zi pper i s al l t he way down. She smi l es.
STELLA
Your f l y.
RI CHARD
I amf l y. And I ' mda bomb. J ust wai t
unt i l l at er t oni ght .
Suddenl y a BUSBOY st umbl es and a t r ay of dr i nks f al l , soaki ng
Ri char d' s sui t i n r ed wi ne.
BUSBOY
Oh, man. I ' msor r y.
RI CHARD
You shoul d be. Mor on. What t he hel l ' s
wr ong wi t h you?
BUSBOY
I t was an acci dent . I ' mver y sor r y.
( CONTI NUED)
CONTI NUED: ( 2)
RI CHARD
Wher e' s t he manager ? Ri char d Wor t h i s
not payi ng t o have hi s sui t cl eaned.
Damn.
( t o St el l a)
I ' mgoi ng t o . . . I don' t bel i eve t hi s.
He st ar t s of f t o t he bat hr oomand as soon as t he space he was
occupyi ng empt i es, Char l i e f i l l s i t .
CHARLI E
I t hi nk your dat e' s goi ng pr et t y wel l ,
what do you t hi nk?
She shoot s hi ma l ook t hat coul d r ever se gl obal war mi ng.
STELLA
What ar e you doi ng her e?
CHARLI E
What do you mean? I come her e al l t he
t i me.
STELLA
I don' t t hi nk so.
CHARLI E
Sur e. Lawyer s, . j udges, my ki nd of cr owd.
See t hat gent l eman t her e, he sent enced me
t o 90 days i n count y once. We need t o
t al k.
STELLA
No, you need t o l i st en. I want you t o
l eave. Got i t ?
CHARLI E
Hey, I pai d val et par ki ng pr i ces t o get
i n her e, not t o ment i on a t went y spot t o
t he busboy t o spi l l t hat dr i nk on Mi st er
Zi pper .
STELLA
You I don' t bel i eve t hi s. You pai d
someone t o spi l l t hat dr i nk?
CHARLI E
Act ual l y, you pai d f or i t .
Char l i e r et ur ns her wal l et .
( CONTI NUED)
CONTI NUED: ( 3)
CHARLI E
Di dn' t not i ce i t was me who bumped i nt o
you ear l i er , di d you? Anyway, I was
hopi ng we coul d get t o know each ot her a
l i t t l e bet t er bef or e we l eave f or Los
Angel es. I al r eady booked your f l i ght .
STELLA
You t r ul y ar e a f at uous, odi ous man.
CHARLI E
I have no i dea what you j ust sai d, but I
l i ke t he sound of i t .
STELLA
Wel l maybe you' l l under st and t hi s. Hi t
t he r oad, J ack
CHARLI E
Char l i e - -
STELLA
Or you' l l be sor r y, Char l i e, cause I ' l l
ki ck you i n t he nut s so har d t hat your
voi ce wi l l be as hi gh as my heel s.
She means i t , t oo.
CHARLI E
I ' mbegi nni ng t o wor r y about t hi s whol e
r el at i onshi p.
STELLA
I ' l l l et you i n on a secr et . You can' t
have a r el at i onshi p wi t h a pi ckpocket ,
gol d r obber , or any ki nd of t hi ef .
Char l i e l ooks away, l et s her have her poi nt . Thi s whol e
t hi ng i s get t i ng pr et t y heat ed so when he t ur ns back t o her ,
he uses a whol e new appr oach. Hi s emot i ons ar e genui ne.
CHARLI E
J ohn wasn' t j ust a man I cr ewed up wi t h,
he was my f r i end, he was t he cl osest
t hi ng t o a f at her I ever had. I wi sh t o
God I coul d br i ng hi mback. But al l I
can do i s go af t er t hi s guy, t he guy t hat
ki l l ed hi m, and hi t hi mwher e he l i ves.
She f eel s t he honest y i n hi s wor ds but bef or e she can r epl y,
t hey' r e i nt er r upt ed by
( CONTI NUED)
CONTI NUED: ( 4)
RI CHARD
Ever yt hi ng al r i ght , St el l a?
He' s back, r ed wi ne spl ot ched on hi s sui t .
STELLA
Fi ne. Ri char d. Char l i e. Char l i e was
j ust sayi ng goodbye.
But f or now, Char l i e i s j ust st ar i ng at Ri char d, bor i ng i nt o
t o hi m. . .
RI CHARD
Can I hel p you wi t h somet hi ng?
CHARLI E
Oh, sor r y. I was j ust undr essi ng you
wi t h my eyes.
And wi t h t hat , Char l i e goes. St el l a can' t hel p but smi l e.
EXT. STELLA' S CONDO - NI GHT
She comes home, havi ng shed her dat e.
I NT. STELLA' S BEDROOM - NI GHT
She goes t hr ough a dr awer and pul l s out a package she hasn' t
l ooked at f or year s. She opens i t .
I nsi de i s t he beaut i f ul neckl ace t hat her f at her bought her
i n I t al y. I t br i ngs t ear s t o her eyes.
I NT. CHARLI E' S BEDROOM - NI GHT
He l i es i n bed, can' t sl eep. Hi s phone r i ngs. He pi cks up.
CHARLI E
Hel l o.
I NT. STELLA' S BEDROOM - I NTERCUT
She' s on t he ot her end of t he l i ne.
STELLA
I ' mi n t hi s f or one t hi ng, Char l i e, and
one t hi ng onl y. I want t o see t he l ook
on hi s f ace when hi s gol d i s gone. He
t ook my f at her f r omme, I ' mt aki ng t hi s;
i t ' s t he best I can do.
CUT TO:
EXT. STREETS - DAY
St el l a' s Mi ni passes, weaves, t ucks i n bet ween car s. She
dr i ves l i ke a madman.
I NT. MI NI ( SPEEDI NG)
Char l i e f eel s l i ke he' s i nsi de a vi deo game.
CHARLI E
I see Dr i ve Def ensi vel y i s your mot t o.
STELLA
Don' t wor r y. J ack Dani el s never l et me
down.
She sl aps t he dashboar d of her car .
CHARLI E
By t he way you dr i ve, I ' mnot sur pr i sed
you named your car af t er a bot t l e of
whi skey. Lef t .
STELLA
J ack Dani el s was chi ef engi neer of t he
Mi ni . And I dr i ve i t exact l y t he way i t
was meant t o be dr i ven.
She whi ps down the avenue. . .
CHARLI E
Anot her l ef t .
She hangs a l ef t .
STELLA
We' r e goi ng i n ci r cl es. Who' s t ai l i ng
you t hi s week?
CHARLI E
The possi bi l i t i es ar e endl ess.
EXT. STADI UM PARKI NG LOT - DAY
The Mi ni par ks i n t he mi ddl e of t he huge, empt y l ot t hat
sur r ounds Vet er ans Fi el d, home of t he Phi l adel phi a Phi l l i es.
I NT. MI NI
She l ooks ar ound. . .
STELLA
Wher e ar e t hey?
( CONTI NUED)
CONTI NUED:
CHARLI E
We' r e a l i t t l e ear l y. I di dn' t expect us
t o get her e qui t e t hat f ast . Ther e. . .
A Vespa pul l s i nt o t he l ot , headed t hei r way. I t ' s Lyl e.
Char l i e st ar t s t he i nt r oduct i ons. . .
CHARLI E
That ' s Lyl e. Gear head. He' s who r eal l y
i nvent ed Napst er . . .
QUI CK CUT TO:
I NT. DORM ROOM - NORTHEASTERN UNI VERSI TY - 1999 - NI GHT
Bel ow a Met al l i ca post er , Lyl e has f al l en asl eep on hi s desk.
Hi s r oommat e, Napst er cr eat or SHAWN FANNI NG, r ecogni zabl e i n
hi s t r ademar k basebal l cap, sneaks a peek at Lyl e' s comput er .
CHARLI E ( V. O. )
At l east t hat ' s how Lyl e t el l s i t .
CUT BACK TO:
I NT. MI NI - DAY
And now t hey see a monst er pi ck- up t r uck bounci ng i nt o t he
l ot , MUSI C THUMPI NG f r omi t s Al pi ne at ear - bl eedi ng l evel s.
CHARLI E
Hal f - Ear . Expl osi ves. He l ost f i f t y
per cent of hi s hear i ng i n t he f i f t h
gr ade.
QUI CK CUT TO:
I NT. GRAMMAR SCHOOL BATHROOM - 1990 - DAY
A 10 year ol d boy st ands i n f r ont of a t oi l et i n t he st al l .
BOOM! Wat er geyser s out of t he bowl and soaks hi m.
CHARLI E ( V. O. )
One M- 80 i n t he t oi l et bowl t oo many.
Some ki ds i n t he bat hr oomsaw t he whol e t hi ng.
KI D
That was r ad!
HALF- EAR
Wha' ?
CUT BACK TO:
I NT. MI NI - DAY
And now a RUMBLI NG i n t he di st ance. St el l a l ooks. Sees a
car st r eaki ng t hei r way, al most l i ke a mi r age i n t he heat
waves comi ng of f t he pavement . Cl oser . Fast er . A cl assi c
Must ang. I t s engi ne r umbl es l i ke a j ackhammer . I t ' s had
some ser i ous cust omwor k done t o i t .
CHARLI E
Handsome Rob. Pr emi er wheel man. He
once dr ove al l t he way t o L. A. j ust so he
coul d set t he r ecor d f or l ongest f r eeway
chase.
QUI CK CUT TO:
EXT. L. A. FREEWAY - 1999 - DAY
Handsome Rob' s behi nd t he wheel , f l i cks a ci gar et t e but t out
hi s open wi ndow
We wat ch i t hi t t he pavement , ashes spar k, and t hen behi nd
t he f al l en but t we see t hat ever y l ane of t he 405. i s f i l l ed
wi t h cop car s i n pur sui t .
CHARLI E ( V. O. )
Smashed t he mar k by t wel ve mi nut es.
We now see Handsome Rob t hr ough t he l ens of a TV news
hel i copt er camer a.
CHARLI E ( V. O. )
He got a hundr ed and t en l ove l et t er s
sent t o hi s j ai l cel l f r omwomen who saw
hi mon TV.
CUT BACK TO:
I NT. MI NI - DAY
As t he car s conver ge i n t he par ki ng l ot . . .
STELLA
And what about you?
CHARLI E
I ' ve been a t hi ef si nce I had baby t eet h.
QUI CK CUT TO:
I NT. GRAMMAR SCHOOL PLAYGROUND - DAY
SEVEN YEAR OLD CHARLI E i s shoved agai nst a chai n l i nk f ence
by a SI XTH GRADE BULLY.
BULLY
Cough i t up, Char l i e!
Char l i e hands t he bul l y a dol l ar bi l l . . The bul l y put s i t i n
a wal l et t hat i s over - st uf f ed wi t h cash and saunt er s of f ,
l aughi ng i t up wi t h hi s bul l y pal s. Char l i e t ur ns t o hi s 2nd
gr ade cl assmat e who spor t s a f r esh bl ack eye.
CLASSMATE
So much f or l unch.
SEVEN YEAR OLD CHARLI E
You need a dol l ar ?
CLASSMATE
I t hought he t ook your l ast one.
SEVEN YEAR OLD CHARLI E
He di d.
Char l i e hol ds up t he over - st uf f ed wal l et t hat he pi ckpocket ed
f r omt he bul l y.
SEVEN YEAR OLD CHARLI E ( CONT' D)
But I got l ot s - mor e now.
CUT BACK TO:
EXT. PARKI NG LOT - DAY
Door s open si mul t aneousl y. Ever yone out . The cr ew eyes
St el l a. Char l i e get s r i ght down t o busi ness.
CHARLI E
Thi s i s St el l a. She' s wor ki ng wi t h us on
t hi s one. I Ds?
Handsome Rob hands out f ake dr i ver ' s l i censes.
LYLE
(readi ng hi s)
Mel vi n l i sp? Coul d I j ust once
have a cool name?
HALF- EAR
( al so compl ai ni ng)
220 pounds? Tr y 180.
( CONTI NUED)
CONTI NUED:
HANDSOME ROB
Tr y
x
Deal A Meal ' .
LYLE
I don' t even have a cool ni ckname.
CHARLI E
Enough of t hi s sewi ng- ci r cl e shi t .
. Phones.
Hal f - Ear hands out new cel l phone t o ever yone and t akes t hei r
ol d phones.
HALF- EAR
Phi l l y St eak says t hese ar e cl ean as a
whi st l e. He al so got us f our dozen
i nt er nal chi ps wi t h di f f er ent number s.
Change out t he chi ps t wi ce a day.
As Char l i e hands out ai r l i ne t i cket s
CHARLI E
We t r avel t o L. A. separ at el y.
LYLE
You st i l l haven' t t ol d us t he most '
i mpor t ant t hi ng. What exact l y i s t he
j ob, Char l i e? And who exact l y i s she?
Lyl e and Hal f - Ear have been kept i n t he dar k unt i l now.
CHARLI E
Thi s i s St el l a Br i dger . And we' r e
f i ni shi ng t he j ob t hat we st ar t ed i n
I t al y.
They' r e a l i t t l e st unned at f i r st .
HALF- EAR
Hol y shi t . I t ' s about t i me.
CUT TO:
A MONTAGE - LAX - NI GHT
The cr ew depl ane f r omf i ve di f f er ent ai r pl anes, di f f er ent ai r
carr i er s.
They di sper se i n separ at e vehi cl es. See Char l i e at Avi s,
r ent i ng a car .
See Handsome Rob r ent i ng a U- Haul panel t r uck.
( CONTI NUED)
CONTI NUED:
See St el l a on a hot el shut t l e bus.
See Hal f - Ear on t he under gr ound Met r o Rai l , t aki ng t he Red
Li ne.
See Lyl e i n a t axi , headed sout h on Fi guer oa St r eet . He
not i ces a YOUNG WOMAN HI TCHHI KI NG. For a moment , t hei r eyes
connect . She i s a beaut i f ul wai f and t he. f eel i ng sweeps
t hr ough Lyl e: i f onl y. . . But t he t axi passes by.
Char l i e checks i nt o Shut t er s, wi t h i t s Vi ct or i an beach house
f eel and oceanf r ont vi ew.
St el l a' s at t he Peni nsul a i n Bever l y Hi l l s wi t h i t s opul ent
l obby.
Handsome Rob' s at t he St andar d, wi t h i t s ki t schy decor and
i r oni c st yl e. He st ar es at a huge empt y aquar i umbehi nd t he
f r ont desk wher e a per f or mance ar t i st wr i t hes and a DJ spi ns
out r hyt hmi c t hr obs. Ver y L. A.
Hal f - Ear ' s at t he new Renai ssance Hol l ywood Hot el adj acent t o
t he dr amat i c Babyl on Gat e and t he Kodak Theat r e.
And Lyl e' s at t he Downt own Bonavent ur e, r i di ng up t he gl ass
el evat or . Per f ect gear head hot el .
EXT. SHUTTERS HOTEL - BALCONY - SUNSET
The f i ve of t hemsi t i n chai r s on t he bal cony of hi s hot el
r oom. Ther e' s a sweepi ng vi ew of t he Paci f i c.
CHARLI E
We need an i n t o get a vi deo bl uepr i nt of
t he i nt er i or . We' r e not goi ng i nt o t hi s
pl ace bl i nd. Hal f - Ear , you t ake t he
f i r st sur vei l l ance shi f t . Who goes i n,
who goes out , l evel s of secur i t y, you
know t he dr i l l .
HALF- EAR
You got i t .
CHARLI E ,
I al so want audi o sur vei l l ance on hi s
phone.
LYLE
I ' l l hack i nt o t he phone company' s
cent r al of f i ce r emot e obser vance
moni t or i ng syst emand f ool i t i nt o
t hi nki ng t her e' s a l egal t ap on t he l i ne.
(MORE)
( CONTI NUED)
CONTI NUED:
LYLE ( CONT' D)
Rer out e t he di gi t al copi es of hi s cal l s
t o our own l i st eni ng post .
CHARLI E
How l ong?
LYLE
I ' l l bur n t hr ough t he ni ght , have i t up
and r unni ng bef or e mor ni ng.
CHARLI E
( t o Handsome Rob)
We need t o know how l ong t o get f r omt he
house t o Uni on St at i on downt own.
HANDSOME ROB
No pr obl emo.
CHARLI E
St el l a. How much t i me wi l l you need wi t h
t he saf e?
STELLA
I ' l l have i t open i n f i ve mi nut es f l at .
HANDSOME ROB
I t ' s not t he same as openi ng a saf e f or
t he cops. Your hear t wi l l be poundi ng i n
your ear s. Per spi r at i on on your
f i nger t i ps. I t ' s a whol e di f f er ent bal l
game.
STELLA
You get me t o t he saf e, I ' l l open i t .
Out over t he ocean, t he sun i s i n i t s deat h t hr oes, br ui si ng
t he sky a coi l i ng pur pl e and or ange.
EXT. STEVE' S HOUSE - MORNI NG
Nest l ed at t he end of a cul - de- sac on Opor t o Dr i ve i n t he
Hol l ywood Hi l l s. Chr ome. Gl ass. Car ved wood.
EXT. MARAVI LLA DRI VE - MORNI NG
The U- Haul panel t r uck i s par ked on t he si de of t he r oad t hat
over l ooks Opor t o Dr i ve and St eve' s house.
I NT. U- HAUL - MORNI NG
I t ' s been conver t ed i nt o t hei r sur vei l l ance vehi cl e, t he back
out f i t t ed wi t h moni t or s and sur vei l l ance equi pment .
( CONTI NUED)
CONTI NUED:
Hal f - Ear peer s t hr ough bi nocul ar s and says hi s ^not es' i nt o a
mi cr o- casset t e r ecor der . Hi s bi nocul ar s f ocus i n on t he
f ence t hat sur r ounds t he per i met er of t he pr oper t y.
HALF- EAR
(i nt o r ecor der )
We' ve got an ant i - scal i ng f ence.
Har dened, el ect r opl at ed st eel . Hacksaw
won' t wor k. We' l l need Ni t r amon.
The bi nocul ar s SWI SH PAN TO a guar d boot h wher e a guar d keeps
an eye on t he gat e.
HALF- EAR ( CONT' D)
Ar med guar d. 9MM semi - aut omat i c i n t he
hol st er . Secur i t y boot h i s accessi bl e
and i deal f or a t r i pl e char ger chemi cal
gr enade.
. The bi nocul ar s SWI SH PAN TO f our Rot t wei l er s pr owl i ng t he
gr ounds.
HALF- EAR ( CONT' D)
Shi t . Dogs. Why do bl ack men hat e dogs?
I ' l l t el l you why, Char l i e. Because dogs
ar e r aci st . That ' s a nat ur al f act .
SSoommeeoonnee eell ssee ddeeaall wwii tt hh '' eemm..
EXT. 101 FREEWAY - DAY
A sea of car s, gr i dl ock i n L. A. Cr ammed i n t he mi ddl e of t he
t r af f i c mel t down i s Handsome Rob' s r ent al car .
I NT. RENTAL CAR ( CRAWLI NG)
Ti mi ng out t he get away r out e. He' s got a Thomas Gui de on t he
passenger seat and a st opwat ch t i cki ng away but he' s goi ng
nowher e f ast . He f ut i l el y l eans on t he car hor n.
I NT. U- HAUL - DAY
Lyl e' s sur vei l l ance shi f t . He t akes di gi t al phot os wi t h a
t el ephot o camer a. ZOOMS I N on a secur i t y pad on t he f r ont
door.
LYLE
( i nt o mi cr o casset t e pl ayer )
Advent Home Navi gat or Hybr i d Syst em.
Moni t or s 132 poi nt s f or i nt r usi on, f i r e,
and envi r onment al hazar ds.
(( MMOORREE))
( CONTI NUED)
CONTI NUED:
LYLE ( CONT' D)
Best way ar ound i t i s t o get a back door
passwor d, t r i p t he al ar mdur i ng t he
hei st , t hen cal l i t i n as a f al se al ar m.
CUT TO:
I NT. STEVE' S HOUSE - OFFI CE - DAY
A HAND t ur ns t he di al t o a Wor t hi ngt on 1000 vaul t . The vaul t
opens and voi l a: st acks and st acks of gol d br i cks.
EXT. STEVE' S HOUSE - DAY
The same hand cl ut ches a ver y heavy duf f l e bag. OUR VI EW
BOOMS UP t o see St eve, t hr ee year s ol der t han when we l ast
saw hi m, hi s bear d shaved away.
I NT. U- HAUL - SAME TI ME
Thr ough hi s di gi t al camer a l ens, Lyl e wat ches St eve wal k
t owar ds hi s car : a Fer r ar i 550 Bar chet t a Pi ni nf ar i na. I t ' s
t he f i r st t i me he' s seen St eve i n t hr ee year s.
LYLE
( i nt o mi cr o casset t e r ecor der )
15: 25. Ther e he i s. He' s gai ned 15 t o
20 pounds l i vi ng of f our money. And
Handsome Rob, ' you' r e goi ng t o be pi ssed
when you see hi s wheel s.
Lyl e wat ches t he secur i t y guar d hi t a swi t ch i n t he guar d
boot h. The gat e r i ses l i ke t he bl ade of a gui l l ot i ne i n
r ever se. The Fer r ar i zooms away.
EXT. FI GUEROA STREET - DAY
Anot her r out e. Handsome Rob' s r ent al car i s i n t he l ef t t ur n
l ane wai t i ng f or t he l i ght t o change.
I NT. RENTAL CAR
The l i ght f i nal l y i s a gr een ar r ow but t he l ady i n f r ont of
Handsome Rob i s so pr eoccupi ed wi t h appl yi ng her make- up t hat
she doesn' t go unt i l he honks but by t hen i t ' s t oo l at e as
she makes , i t t hr ough t he l i ght but he doesn' t .
He checks hi s st opwat ch. Si mmer s.
EXT. PENI NSULA HOTEL - POOLS I DE - DAY
I n a bi ki ni , St el l a l i es on a l ounge chai r under a cabana,
r eadi ng a copy of Vogue magazi ne.
( CONTI NUED)
CONTI NUED:
But as we t ake a cl oser l ook, we see t hat she' s r eal l y
r eadi ng t he owner ' s manual f or t he Wor t hi ngt on 1000 saf e
whi ch she' s i nser t ed i n t he f ol d of Vogue.
I NT. U- HAUL - DAY
Char l i e' s shi f t . He sees a Lat i na housekeeper get i nt o her
car .
CHARLI E
( i nt o mi cr o casset t e r ecor der )
Housekeeper l eaves at 17: 30.
EXT. COI N & BULLI ON STORE - EVENI NG
St eve bangs a f i st agai nst t he st eel secur i t y door t hat
cover s t he cl osed st or e. The st eel door r i ses up and a
Ukr ai ni an named YEVHEN unl ocks anot her door . He i s t he gol d
deal er t hat Phi l l y St eak t ol d Char l i e about .
YEVHEN
You' r e r i ght on t i me.
I NT. COI N & BULLI ON STORE - EVENI NG
Yevhen i s 50 and l i ke many i n t he gol d t r ade, t her e i sn' t a
conspi r acy t heor y t hat he doesn' t embr ace. As t hey make
t hei r way t o a back r oom, he keeps hi s mout h i n over dr i ve
YEVHEN
Al l t hose poor bast ar ds out t her e put t i ng
t hei r l i f e savi ngs i n banks and S&Ls and
mut ual f unds. What do t hey t hi nk t hat
when t he col l apse comes t hey can depend
on t he gover nment ? I don' t t hi nk so.
St eve mot i ons t o a secur i t y camer a t hat l ooms down on t hem.
STEVE
I s t he camer a of f ?
YEVHEN
Of cour se. . J ust l i ke you sai d. I never
t ape you, you can see f or your sel f .
St eve sees t he r ed l i ght i s of f . He l ays t he duf f el bag on a
t abl e, unzi ps i t , pul l s out t hr ee 25 pound gol d br i cks wi t h
t he f ace of a Bal i nese Gi r l st amped on each one. As Yevhen
i nspect s t hem
YEVHEN ( CONT' D)
Gover nment s ar e not hi ng mor e t han puppet s
on t he st r i ngs of t he Tr i l at er al
Commi ssi on wi t h t hei r t wi st ed gods.
( CONTI NUED)
CONTI NUED:
Yevhen r et r i eves a br i ef case, opens i t , pr esent i ng St eve wi t h
st acks of Ben Fr ankl i ns: $100, 000 wor t h. As St eve i nspect s
t he cash
YEVHEN ( CONT' D)
I mean, i t ' s so obvi ous t hat i n a wor l d
wher e NAFTA can over t ur n t he Supr eme
Cour t , not t o ment i on Mi cr osof t ' s
nef ar i ous f i nanci al machi nat i ons, t hi s, i s
our onl y r ef uge ' gol d.
St eve cl oses t he br i ef case.
YEVHEN ( CONT' D)
Pl us a l i t t l e wal ki ng ar ound money.
EXT. 7TH STREET - NI GHT
A f ender bender i n t he mi ddl e of an i nt er sect i on has t r af f i c
backed up f or mi l es.
I NT. RENTAL CAR
Handsome Rob checks t he l at est t i me on t he st opwat ch.
I NT. U- HAUL - NI GHT
Thr ough ni ght - vi si on bi nocul ar s Char l i e sees a ( di f f er ent )
secur i t y guar d open t he gat e as St eve r et ur ns.
He wat ches St eve go i nsi de hi s house. Thr ough t he wi ndows,
he sees hi muse a r emot e t o t ur n on a TV.
EXT. 101 FREEWAY - THE NEXT DAY
A f r eeway si gn says: UNI ON STATI ON 1/ 2 MI LE
I NT. RENTAL CAR
HANDSOME ROB can see t he exi t up ahead, but t r af f i c i s so
backed up and goi ng nowher e t hat i t f eel s l i ke i t ' s a hundr ed
mi l es away. And i t ' s not even r ush hour . J ust l i f e i n L. . A.
I dl i ng on t he f r eeway, he l ooks at t he dr i ver s i n t he car s
besi de hi m. He sees a busi nesswoman r eadi ng t he Wal l St r eet
J our nal . Sees a man wi t h hi s f i nger deep, deep up hi s nose.
HANDSOME ROB
Wher e' s a gr enade l auncher when you need
one?
EXT. YAMASHI RO RESTAURANT - DAY
Our cr ew wal ks al ong t he pat hways of J apanese gar dens t hat
wi nd al ong out si de t he r est aur ant . I t ' s a br eat ht aki ng vi ew
f r omhi gh i n t he Hol l ywood Hi l l s. Some t our i st s t ake i n t he
vi st a.
HANDSOME ROB
Doesn' t mat t er what t i me i t i s. I t ' s
ei t her bad t r af f i c, peak t r af f i c, or sl i t -
your - wr i st s t r af f i c.
HALF- EAR
You got t a r i de t he Met r o- Rai l , man.
HANDSOME ROB
I ' msur e i t ' s i deal f or car r yi ng a t on of
gol d, geni us.
CHARLI E
What ' s your guesst i mat e?
HANDSOME, ROB
I f we had al l gr een l i ght s, f our t een
mi nut es. But i n t he t went y t i mes I ' ve
done i t , t he aver age i s t hi r t y- t wo
mi nut es, wi t h a t op t i me of f i f t y
mi nut es.
CHARLI E
Then we' l l t r avel l i ke Rockef el l er .
They don' t know wher e Char l i e i s goi ng wi t h t hi s, but t hey' ve
been ar ound hi ml ong enough t o know i t ' s goi ng somewher e.
CHARLI E ( CONT' D)
When car s f i r st st ar t ed cat chi ng on,
wor ker s on t al l l adder s woul d use t hese
swi vel i ng col or ed boar ds f or t r af f i c
si gnal s. Now whenever Rockef el l er woul d
t ake t he dr i ve f r omhi s mansi on t o hi s
of f i ce on Wal l St r eet , t he wor ker s woul d
make sur e t hat he got gr een boar ds al l
t he way.
HANDSOME ROB
How do we get al l gr een l i ght s?
CHARLI E
Lyl e?
LYLE
Let me see what I can do.
( CONTI NUED)
CONTI NUED:
HALF- EAR
Di d you know t hat t he f i r st t r af f i c
si gnal t o be pat ent ed was i nvent ed by a
bl ack man named Gar r et t Mor gan?
(t o Char l i e)
You' r e not t he onl y one who wat ches t he
Hi st or y Channel .
HANDSOME ROB
We st i l l need an i n t o get t he vi deo
bl uepr i nt .
LYLE
Car pet cl eaner s? Gut t er cl eaner s?
Fl ower del i ver y?
CHARLI E
We' l l never get by t he guar d unl ess
t hey' r e cer t ai n i t ' s l egi t . I ' mt hi nki ng
cabl e TV. We cut hi s cabl e, he cal l s t he
cabl e company. We show up. Send a cabl e
t echni ci an i nt o t he house wi t h a pi nhol e
vi deo camer a whi l e we get a f eed. t hr ough
an RF ant enna.
HANDSOME ROB
Who pl ays cabl e t echni ci an? St eve t hi nks
we' r e al l dead.
But St el l a knows t hat ' s not exact l y t r ue. He doesn' t t hi nk
St el l a i s dead; he doesn' t know her at al l .
STELLA
I f you' r e al l dead, I guess I ' mt he man
f or t he j ob.
CHARLI E
Ar e you up f or i t ?
STELLA
I n f or a penny, i n f or a pound.
EXT. ADELPHI A CABLE - PARKI NG LOT - EVENI NG
Ser vi ce t r ucks pul l i nt o t he l ot . Techni ci ans ar e get t i ng
out , f i ni shi ng t hei r shi f t s.
I NT. RENTAL CAR ( PARKED NEARBY)
Handsome Rob behi nd t he wheel . Lyl e shot gun, ai mi ng hi s
di gi t al camer a at t he exi t i ng wor ker s.
( CONTI NUED)
CONTI NUED:
LYLE
I ' mt el l i ng you. He cl ai ms he named i t
Napst er because hi s hai r i s so nappy
under neat h t hat cap of hi s. But I know
t he r eal r eason. I t ' s because I was
NAPPI NG when he st ol e t he i dea f r omme.
I shoul d' ve been on t he cover of P/ i red
magazi ne.
HANDSOME ROB
Woul d you cl amup. You' d gi ve a
woodpecker a headache.
LYLE
I ' mt he Napst er .
HANDSOME ROB
Okay. You' r e t he Napst er . Heads up:
cabl e chi ck.
They see a f emal e ser vi ce t ech get t i ng out of her wor k t r uck.
Lyl e zooms hi s camer a l ens i n on her Adel phi a Cabl e wor k
shi r t . I t has BECKY sewn i n above her r i ght br east .
LYLE
Becky. Ni ce name. I wonder what she
cal l s t he ot her one.
HANDSOME ROB
And i t ' s such a myst er y why you don' t
have a gi r l f r i end.
LYLE
I had a gi r l f r i end. Unf or t unat el y even
t hough t he r el at i onshi p ceased i n an
obj ect i ve r eal i t y, i t ' s st i l l goi ng on i n
my mi nd.
( t appi ng hi s head)
That woman' s l i ved i n her e r ent - f r ee f or
f our year s.
Lyl e t akes a f ew mor e pi ct ur es of Becky.
LYLE ( CONT' D)
Okay. Al l we need now i s a wor k shi r t
l i ke t hi s one and a ser vi ce t r uck l i ke
t hat one. You t hi nk St el l a wi l l be abl e
t o pul l i t of f ?
HANDSOME ROB
I have my doubt s, but t her e' s no t al ki ng
t o Char l i e.
( CONTI NUED)
CONTI NUED: ( 2)
LYLE
Maybe he' s been i nser t i ng hi s har d dr i ve
i nt o her sof t war e. Cl ouds t he j udgment .
HANDSOME ROB
He knows bet t er t han t o mi x busi ness wi t h
pl easur e.
( get t i ng out of t he car )
Onl y I ' mal l owed t o do t hat .
LYLE
Wher e you goi ng?
HANDSOME ROB
To get a wor k shi r t and a ser vi ce t r uck.
Lyl e wat ches hi mst r ol l over t o Becky and st r i ke up a
conver sat i on i n t he par ki ng l ot . Lyl e can' t hear what ' s
bei ng sai d, but Becky smi l es, and l est we f or get , hi s name i s
Handsome Rob f or a r eason.
I NT. BECKY' S APARTMENT - NI GHT
OUR CAMERA FOLLOWS a t r ai l of cl ot hes, hast i l y l i t t er ed, t hat
l ead t o t he cabl e chi ck' s bed. Li t candl es ar e on t he
bedsi de t abl e. The coupl e i s asl eep under a t angl e of
sheet s. Handsome Rob has cl ear l y mi xed busi ness wi t h
pl easur e. Hi s eyes f l ash open.
He sl i ps out of bed. Pul l s on hi s pant s. Reaches i nt o her
pant s and r emoves her key chai n.
He sel ect s t he key t o her ser vi ce t r uck and does an ol d
t r i ck: he bl ows out one of t he candl es and pr esses t he key
agai nst t he war mwax, maki ng a cl ear i mpr essi on of t he key' s
ri dges.
He r et ur ns t he key chai n. Takes a coupl e mor e st eps, past
her pant i es, past her br a and.
He snags her wor k shi r t . Then he' s gone.
I NT. HANDSOME ROB' S HOTEL ROOM - NI GHT
Usi ng l ocksmi t h equi pment , he cut s a key t hat mat ches t he
i mpr essi on on t he candl e wax.
EXT. ADELPHI A CABLE PARKI NG LOT - DAWN
St el l a, wear i ng Becky' s wor k shi r t , ar r i ves bef or e any ot her
wor ker s. Usi ng t he key Handsome Rob made, she unl ocks t he
door t o t he cabl e t r uck and get s i n.
EXT. NEARBY STREET - MORNI NG
The cabl e t r uck pul l s over . Char l i e and Lyl e cl i mb i nt o t he
back wher e t hey can' t be seen.
EXT. OPORTO DRI VE - MORNI NG
The cabl e r epai r t r uck pul l s over , par ki ng down t he st r eet
f r omSt eve' s house.
Char l i e get s out . He qui ckl y uses a cr owbar t o l i f t up a
si dewal k cement gr at e t hat says CABLE on i t . I nsi de ar e
cabl e wi r es t hat f eed t he st r eet . He cr ouches over and uses
pl i er s t o di sconnect one of t he cabl es.
I NT. STEVE' S HOUSE - MORNI NG
He dr i f t s i nt o t he ki t chen f or a cup of cof f ee. He hi t s t he
r emot e cont r ol f or a TV. I t t ur ns on but t her e' s not hi ng but
snow.
He goes i nt o t he l i vi ng r oomand checks out t he pl asma TV.
The cabl e' s not wor ki ng i n her e, ei t her . He hi t s an i nt er com
but t on on hi s t el ephone.
I NT. GUARD HOUSE - I NTERCUT
A SECURI TY GUARD answer s t he i nt er com.
SECURI TY GUARD
What can I do f or you, Mi st er Fr ezel l i ?
STEVE
The cabl e' s out . See i f you can get
someone over her e to f i x i t' .
SECURI TY GUARD
Yes, si r .
He f i nds t he number and di al s.
I NT. CABLE TRUCK ( PARKED) - MORNI NG
Lyl e moni t or s a di gi t al copy of t he secur i t y guar d' s cal l
t hat ' s bei ng r out ed t o hi s l apt op. Then he t akes of f hi s
headphones and t el l s Char l i e and St el l a:
LYLE
Whoa. I ' ve never hear d t he Muzak ver si on
of Pur pl e Haze bef or e.
CHARLI E
When' s t he. appoi nt ment ?
( CONTI NUED)
CONTI NUED:
LYLE
Thur sday bet ween 9 a. m. and 3 p. m.
Char l i e di al s a number on hi s cel l phone.
I NT. GUARD HOUSE - I NTERCUT
The secur i t y guar d answer s t he phone.
SECURI TY GUARD
Hel l o.
CHARLI E
Yes, I ' mcal l i ng f r omAdel phi a Cabl e. I
under st and your ser vi ce i s out and an
appoi nt ment was set up f or Thur sday.
SECURI TY GUARD
Yes.
CHARLI E
Wel l we have a t echni ci an wor ki ng i n your
ar ea who f i ni shed wi t h an appoi nt ment
ear l i er t han expect ed. Wi l l someone be
t her e f or t he next hour ?
SECURI TY GUARD
Sur e. That ' d be gr eat .
CHARLI E
Our t echni ci an wi l l see you t hen. Have a
ni ce day.
SECURI TY GUARD
You t oo.
Char l i e hangs up.
CHARLI E
Let ' s check t he camer a.
LYLE
St el l a, you' r e goi ng pat r i ot i c t oday.
Lyl e put s an Amer i can f l ag pi n on her wor k shi r t . Then he
hi t s keys on hi s l apt op and an i mage pops up on hi s moni t or
vi a an RF ant enna: t he POV of t he pi n.
CHARLI E
He' s got cabl e l i nes i n t he ki t chen,
l i vi ng r oom, bedr oomand a cabl e modemon
t he comput er i n t he of f i ce.
( MORE)
( CONTI NUED)
CONTI NUED:
CHARLI E ( CONT' D)
Tr y t o get a 360 l ook at each r oom. And
wal k sl owl y or t he i mage wi l l st r eak.
Lyl e hands her some paper s.
LYLE
I pr i nt ed t hese up t o l ook l i ke paper wor k
f r omAdel phi a. When you' r e done, ask hi m
t o si gn and dat e t he bot t om.
St el l a l ooks ver y t ense.
CHARLI E
How you doi ng?
STELLA
Fi ne. I ' mf i ne.
Char l i e seems amused by t hat answer .
CHARLI E
You know what . f i ne, st ands f or ? Fucked-
up, I nsecur e
St el l a j oi ns i n wi t h hi m. . .
STELLA & CHARLI E
Neur ot i c and Emot i onal .
They l ook at each ot her a moment . . . and smi l e.
I NT. RENTAL CAR ( MOVI NG) - DAY
Whi l e t he ot her s deal wi t h t he cabl e, Handsome Rob and Hal f -
Ear dr i ve down Sunset .
HALF- EAR
Her e' s our spot .
They pul l up i n f r ont of a st r i p j oi nt .
HANDSOME ROB
Gi r l s gi r l s gi r l s.
Hal f - Ear pul l s a swi t chbl ade out of hi s boot and put s i t i n
t he gl ove compar t ment . Handsome Rob gi ves hi ma quest i oni ng
l ook.
HALF- EAR
Phi l l y St eak sai d we' d be f r i sked.
I NT. STRI P CLUB - DAY
Out si de t he door way of a back r oomt hey' r e f r i sked by a BURLY
MAN. He' s ver y t hor ough, di ggi ng har d i nt o t hei r cr ot ches.
HANDSOME ROB
(scowl s)
Y' got a gr eat j ob.
BURLY MAN
Pays t he r ent , asshol e. You got a
pr obl em, t al k t o Ski nny Pet e.
He opens t he door t o t he
I NT. BACK ROOM
Wher e we meet SKI NNY PETE, who i s t he FATTEST MAN YOU' VE EVER
SEEN. He t akes up an ent i r e couch i n t he r ear of t he r oom.
Hi s cat cher ' s- mi t t - si zed hands mot i on t hemt o come cl oser .
SKI NNY PETE
Phi l l y St eak sent you?
Hi s voi ce i s r aspy, i t ' s l i ke a cl i mbi ng- t en- f l oor s- ef f or t
j ust f or t hi s guy t o get out t he wor ds.
HALF- EAR
That ' s r i ght .
SKI NNY PETE
So was I r i ght - on about t he gol d br i cks
or what ?
HALF- EAR
That ' s r eal l y not what I ' mher e t o t al k
about . Phi l l y St eak sai d you coul d get
us some suppl i es.
The f at t est man you' ve ever seen at t empt s a nod, t r i pl e- chi ns
col l i di ng l i ke a t r ai n wr eck.
SKI NNY PETE
What do you need?
HALF- EAR
A f our i nch can of Ni t r amon. Ni t r amon
pr i mer . Det onat i ng cor d. Two t r i pl e
char ger chemi cal gr enades. Launcher .
SKI NNY PETE
Ni ne p. m.
( CONTI NUED)
CONTI NUED:
HANDSOME ROB
Shoul d we hang her e? Check out t he
dancer s?
SKI NNY PETE
Not hi ng' s goi ng down her e. I don' t shi t
i n my own yar d, do you?
HANDSOME ROB
No, but I t ake a whi zz of f t he deck
somet i mes.
Wi t h hi s di st ended bel l y and bur st i ng shi r t , hi s eyes gl azi ng
wi t h r epl et i on, Ski nny Pet e wr i t es down an addr ess.
SKI NNY PETE
Fi ve t housand dol l ar s. And don' t be
l at e.
CUT TO:
I NT. SECURI TY GUARD BOOTH - DAY
Looki ng at a moni t or , one of St eve' s secur i t y guar ds sees t he
Adel phi a r epai r t r uck pul l up t o t he gat e. He hi t s a but t on
and t he gat e r i ses, beckoni ng i t i nsi de.
I NT. CABLE TRUCK ( MOVI NG)
St el l a heads up t he dr i veway, appr ehensi on pai nt ed on her
f eat ur es. Lyl e i s hi dden i n t he back.
She par ks next t o t he Fer r ar i and f i nds her sel f sur r ounded by
t he f our Rot t wei l er s. They snar l and f l ash t hei r t eet h
out si de her door unt i l a shr i l l WHI STLE yanks t hei r at t ent i on
t o
EXT. STEVE' S HOUSE
wher e St eve has j ust st epped out t he f r ont door . The dogs
i mmedi at el y back of f .
St el l a get s out of t he t r uck as St eve wal ks over , smi l i ng at
her.
She comes f ace t o f ace wi t h t he man who ki l l ed her f at her .
STEVE
I t ' s al l r i ght . They won' t bot her you
now.
She' s not sur e she' s goi ng t o be abl e t o speak or pul l t hi s
of f .
( CONTI NUED)
CONTI NUED:
STELLA
I t ' s okay. I ' mused t o r unni ng i nt o al l
sor t s of dogs on my j ob.
He hol ds out a hand.
STEVE
I ' mSt eve.
STELLA
Becky.
She shakes hi s hand. She hat es t hi s, f eel i ng hi s ski n t ouch
her s, but she can' t bet r ay her f eel i ngs. He st ands t her e a
moment .
STELLA ( CONT' D)
You want t o show me t he pr obl em?
STEVE
Yeah. Cour se. Thi s way.
I NT. STEVE' S HOUSE - SAME TI ME
She ent er s, movi ng her body t o gi ve t he pi nhol e camer a a f ul l
sweep of t he ent r yway.
STELLA
I ' d l i ke t o check t he cabl e modemf i r st .
I NT. BACK OF THE CABLE REPAI R TRUCK - SAME TI ME
Lyl e wat ches St el l a and St eve on hi s l apt op vi a t he pi nhol e
camer a and hear s t hemt al ki ng t hr ough hi s headphones.
I NT. HALLWAY - I NTERCUT
St eve l eads St el l a down t he mar bl ed hal l . . .
STEVE
I ' l l show you.
They st ep i nt o t he
OFFI CE
She t ur ns her body so t he mi ni - l ens can st ar e at t he gl eami ng
bl ack Wor t hi ngt on 1000 saf e. Then she goes up t o hi s desk
and pr et ends t o wor k on t he cabl e l i ne t hat f eeds i nt o hi s
comput er.
He st ar es at her as she bends down. . .
( CONTI NUED)
CONTI NUED:
STEVE
The cabl e guy who hooked t hi s up wei ghed
about 300 pounds, di dn' t wear any
under wear , and hi s pant s sl ung a l i t t l e
t oo l ow i f you know what I mean.
She t r i es her best t o i gnor e hi s f l i r t at i ous st ar e and hi s
wor ds.
STELLA
Ther e we go. Now ont o t he TVs.
I NT. BACK OF THE CABLE TRUCK - DAY
Lyl e sees a per f ect vi ew of t he mai n hal l way as St el l a wal ks
down i t .
I NT. LI VI NG ROOM - DAY
He escor t s her i nsi de. She wor ks on t he cabl e connect i on t o
t he pl asma TV. Fi ni shes.
STEVE
I s i t f i xed?
STELLA
Tur n i t on and see.
EXT. OPORTO DRI VE - SAME TI ME
Back at t he spot wher e Char l i e di sconnect ed t he cabl e.
Wear i ng a headset wi t h a mi c, he get s t he wor d f r omLyl e
LYLE ( V. O. )
Now.
Char l i e r econnect s t he cabl e j ust as
I NT. LI VI NG ROOM
St eve t ur ns on t he TV and t he pi ct ur e i s
STEVE
Per f ect .
STELLA
Then i t l ooks l i ke you' r e al l set .
St eve st ar es at her a moment .
STEVE
Have we met bef or e?
( CONTI NUED)
c
CONTI NUED:
She' s hopi ng t o get out as qui ckl y as she can.
STELLA
I don' t t hi nk so. Si gn her e, pl ease.
She hands hi mt he paper wor k and a pen. He si gns i t .
STELLA ( CONT' D)
Dat e.
STEVE
You r ead my mi nd.
STELLA
Oh, no. I meant t hat I need you t o put
t he dat e by your si gnat ur e. I t ' s t he
26th.
STEVE
I know what you meant .
( he smi l es)
Thi s mi ght seema l i t t l e sudden, but . . .
woul d you l i ke t o have di nner wi t h me?
STELLA
I don' t t hi nk t hat ' d be a ver y good i dea.
STEVE
Why? I s t her e some ki nd of cabl e- r ul e
agai nst dat i ng cust omer s?
STELLA
No, i t ' s my r ul e. I don' t accept dat es
f r ommen I ' ve j ust met . I ' ve onl y known-
you f i ve mi nut es.
STEVE
Then I guess I ' l l have t o sabot age my
cabl e over and over agai n unt i l you get
t o know me bet t er .
He' s bei ng char mi ng, and she has t o act l i ke he i s bei ng
char mi ng, but she r eal l y want s t o t hr ow- up.
STEVE ( CONT' D)
Look, I ' mj ust t al ki ng about di nner .
Fr i day ni ght . I t ' s no bi g deal . I f you
don' t l i ke me, you never have t o see me
agai n. You know I ' mnot goi ng t o st op
unt i l you say yes.
CUT TO:
I NT. CABLE TRUCK ( MOVI NG) - DAY
St el l a dr i ves i n heavy t r af f i c down Sunset . Char l i e and Lyl e
ar e i n t he back.
CHARLI E
I know i t was t ough i n t her e.
STELLA
He t ouched my hand. And he came- on t o
me. That sl i my, di sgust i ng man came ont o
me and I had t o pr et end t hat I l i ked i t .
St el l a keeps her eyes f or war d, on t he r oad, so Char l i e and
Lyl e can' t see her f ace. But Char l i e cat ches her r ef l ect i on
i n t he r ear vi ew mi r r or and wat ches a t ear gl i de down her
cheek. She wi pes i t away.
STELLA ( CONT' D)
You do know what t hi s means . . . I ' ve
cr eat ed our wi ndow of oppor t uni t y.
CHARLI E
I know. When St eve l eaves Fr i day ni ght ,
we go i n. By t he t i me he r eal i zes you' ve
st ood hi mup, we' l l be l ong gone wi t h t he
gol d.
CUT TO:
EXT. HOUSI NG PROJ ECTS - NI GHT
A di f f er ent wor l d. A di f f er ent vi be. That f eel i ng i n t he
gut : you don' t bel ong her e.
I NT. RENTAL CAR ( MOVI NG)
Handsome Rob dr i ves, Hal f - Ear i n t he passenger seat .
HALF- EAR
Ski nny Pet e.
HANDSOME ROB
The guy makes J abba t he Hut l ook l i ke a
spokesman f or t he Subway Sandwi ches'
di et .
They pul l over i n f r ont of t he apar t ment bui l di ng t hat Pet e
sent t hemt o.
HALF- EAR
What do you t hi nk?
( CONTI NUED)
CONTI NUED:
HANDSOME ROB
I ' mt r yi ng not t o.
EXT. APARTMENT BUI LDI NG - NI GHT
Hal f - Ear hi t s t he buzzer f or t he apar t ment number on t he
paper f r omt he f at man. The door t o t he bui l di ng buzzes i n
r esponse and t hey go i nsi de.
I NT. APARTMENT BUI LDI NG - NI GHT
Cl i mbi ng st ai r s. Fr ombehi nd cl osed door s: TVs, cr yi ng
babi es, vi ol ent yel l i ng. They st ar t down a hal l way. Ahead
of t hema door opens and a sui t case i s put i n f r ont of t he
door way. The door cl oses. They don' t even get a gl ance at
whomever i s i nsi de.
They go t o t he sui t case. Hal f - Ear cl i cks open t he l ock f or
j ust a peek. He sees t he goods.
Handsome Rob st ar t s t o sl i de an envel ope of cash under t he
door f r ame. I t s sucked out of hi s hand by someone on t he
ot her si de of t he door and di sappear s.
EXT. APARTMENT BUI LDI NG - NI GHT
Hal f - Ear car ef ul l y deposi t s t he sui t case i nt o t he t r unk of
t he r ent al car . Handsome Rob cl oses t he t r unk.
HALF- EAR
Dr i ve sl ow. We cr ash and we' r e a cr at er .
They get i nt o t he car .
I NT. RENTAL CAR
Handsome Rob keys t he i gni t i on.
The beamof hi s headl i ght s i l l umi nat e TWO HOMEBOYS. TWO MORE
st ep out of t he shadows, one r i ght up t o t he passenger ' s door
wi ndow. That one t aps a 9 MM agai nst t he gl ass.
Hal f - Ear l ower s t he wi ndow. The homeboy pat s one hand
agai nst t he f aux- l eat her i nsi de of t he door , hi s ot her hand
cl ut ches t he weapon.
HOMEBOY
What ' d you put i n t he t r unk?
HALF- EAR
Sui t case.
The homeboy, buggi ng on cr ank, i s not one t o be f ucked wi t h.
( CONTI NUED)
CONTI NUED:
HOMEBOY
J ust gi mme t he keys bef or e I pop a cap i n
your head.
Handsome Rob t akes t he t r unk key of f t he chai n and passes i t
over t o Hal f - Ear . . . who ner vousl y dr ops i t ont o t he car pet ed
f l oor .
HOMEBOY ( CONT' D)
Hur r y up!
Hal f - Ear r eaches down f or t he key. . . but i n t he f l ash of an
eye. . . movi ng so f ast i t al most doesn' t r egi st er . . . we see hi m
yank hi s swi t chbl ade f r omhi s boot , unl eash i t s bl ade, and
st ab i t down i nt o t he homeboy' s hand. The kni f e goes t hr ough
hi s hand and l odges i nt o t he f aux- l eat her i nt er i or of t he
door .
The homeboy suf f er s as Hal f - Ear whacks t he gun out of hi s
ot her hand whi l e Handsome Rob keys t he i gni t i on and guns
i t.
The ot her homeboys ar e al r eady POPPI NG OFF SHOTS at t he car
wi t h semi - aut omat i c handguns. Hal f - Ear hi t s t he deck. Gl ass
shat t er s.
I NT. TRUNK OF THE CAR
Bul l et s sl ami nt o t he t r unk, i l l umi nat i ng t he dar kness wi t h
st r eaks of l i ght f r omt he bul l et hol es. They bar el y mi ss t he
sui t case f i l l ed wi t h expl osi ves.
EXT. RENTAL CAR ( MOVI NG)
The homeboy i s st i l l at t ached t o t he car door by t he kni f e.
Hi s l egs scur r y t o keep up wi t h t he movi ng vehi cl e but i t ' s
goi ng t oo f ast so pr et t y soon he' s bei ng dr agged. Bul l et s
whi z by hi m. He cr i es out i n agony unt i l Hal f - Ear has t he
t i me t o yank out t he kni f e and t he homeboy r ol l s away on t he
pavement .
The car makes a shar p r i ght at t he next bl ock and pul l s . over .
The U- Haul i s wai t i ng f or t hem.
They get out of t he r ent al car and open i t s t r unk. Hal f - Ear
sees t he bul l et hol es t hat sur r ound t he sui t case. An i nch
cl oser and t hey woul d' ve been a cr at er .
HALF- EAR
Chr i st .
I NT. U- HAUL - NI GHT
They get i n wi t h t he sui t case. Char l i e i s behi nd t he wheel ,
he' s been wai t i ng f or t hem. He hi t s t he gas. They t ake of f ,
l eavi ng t he shot - up r ent al car behi nd.
CHARLI E
Looks l i ke t hat went wi t hout a hi t ch.
CUT TO:
I NT. CHARLI E' S HOTEL ROOM - DAY
An edi t ed l oop of t he ext er i or and i nt er i or of St eve' s house
pl ays on Lyl e' s l apt op. The cr ew i s huddl ed ar ound.
CHARLI E
Lyl e, what ' s t he di st ance f r omt he f r ont
door t o t he vaul t ?
Lyl e doesn' t answer .
CHARLI E ( CONT' D)
Lyl e?
Handsome Rob l eans over t o Char l i e.
HANDSOME ROB
He onl y answer s t o The Napst er now.
CHARLI E
I ' mnot cal l i ng you The Napst er . -
LYLE
You cal l hi mHal f - Ear .
HALF- EAR
That wasn' t my i dea.
LYLE
And hi m, Handsome Rob.
CHARLI E
That ' s onl y cause he i s Handsome Rob.
LYLE
And I ' mThe Napst er .
CHARLI E
How f ar ?
( si ghs, gi ves i n)
The Napst er .
( CONTI NUED)
CONTI NUED:
LYLE
Fi ve hundr ed yar ds.
CHARLI E
So her e' s t he r i ddl e. How do we get over
a t on of gol d f r omt he vaul t t o t he
get away car ?
STELLA
How wi de i s t he hal l way? .
The vi deo t hat St el l a got of t he hal l way pl ays on t he l apt op.
Lyl e cal cul at es:
LYLE
Onl y si x f eet .
OUR VI EWPUSHES I N FAST on St el l a.
QUI CK CUT TO:
MI NI COOPER ( MOVI NG) - DAY
She' s dr i vi ng. Pur e concent r at i on. Then:
Ti r es spi nni ng over a mar bl e f l oor . Then:
The si devi ew mi r r or s scr api ng wal l paper . Then:
The t hi n car i s l i ke a mi ssi l e f i r i ng RI GHT DOWN STEVE' S
HALLWAY, a hai r - r ai si ng f i t .
CUT BACK TO:
I NT. CHARLI E' S HOTEL ROOM - DAY
Her i dea br i ngs a smi l e t o her f ace.
STELLA
J ack Dani el s, st r ai ght up.
CHARLI E
Mi ni s?
STELLA
We coul d r umbl e r i ght up t he f r ont st eps,
br i ng t he get away car r i ght t o t he vaul t ,
and t hen st r ai ght t o Uni on St at i on.
Handsome Rob l i kes i t .
HANDSOME ROB
We' l l need t hr ee t o hol d t he gol d.
EXT. CAR RENTAL COMPANY - DAY
Par ked i n t he l ot ar e shi mmer i ng Super char ged Mi ni Cooper s, a
new model t hat st i l l capt ur es t he l egendar y Mi ni l ook and
f eel .
Hal f - Ear cl i mbs i n one Mi ni . Lyl e i nt o anot her .
I NT. CAR RENTAL COMPANY - SAME TI ME
I n t he backgr ound, a l ar ge wi ndow over l ooks t he l ot .
Handsome Rob f i l l s out t he paper wor k on t he Mi ni he' s r ent i ng
whi l e f l i r t i ng wi t h a pet i t e COUNTER BABE.
HANDSOME ROB
I ' d say you' r e a Maser at i 250 S. J ust
4- cyl i nder s but can go 0 t o 60 i n 4. 2.
COUNTER BABE
As l ong as i t ' s a conver t i bl e I al ways
l i ke t o have my t op down.
At t he same t i me, i n t he backgr ound, we see Lyl e and Hal f -
Ear ' s Mi ni pul l out of t hei r par ki ng spaces and BACK RI GHT
I NTO EACH OTHER. J ust a l i t t l e bumper hi t .
COUNTER BABE ( CONT' D)
Do you know t hem?
They get out of t hei r car s and st ar t yel l i ng at each ot her .
HANDSOME ROB
Never seen ' embef or e i n my l i f e.
CUT TO:
EXT. YEVHEN' S COI N & BULLI ON STORE - NI GHT
St eve bangs a f i st agai nst t he st eel secur i t y door t hat
cover s t he cl osed st or e. The st eel door r i ses up and once
agai n Yevhen unl ocks anot her door .
YEVHEN
You' r e ear l y.
STEVE
And I ' mi n a hur r y, okay?
I NT. YEVHEN' S COI NS & BULLI ON STORE - NI GHT
I t doesn' t seemt o mat t er i f St eve' s i n a hur r y or not ,
Yevhen st i l l r uns at t he mout h whi l e headi ng i nt o t he back
room.
( CONTI NUED)
CONTI NUED:
YEVHEN '
Of cour se t he Fl or i da vot e r i ggi ng was a
CI A and Mob oper at i on. ,
STEVE
( wi t h t ot al di si nt er est )
That a f act ?
YEVHEN
You want f act s? Fact : CI A of f i ci al s
wer e al l owed f r ee and i l l egal access
t o of f i ci al el ect i on mat er i al .
St eve put s hi s duf f el bag down on t he t abl e. I t THUDS. Once
agai n, he pul l s out t hr ee gol d br i cks t hat each wei gh 25
pounds.
YEVHEN ( CONT' D)
Now gi ven t he sor di d hi st or y i n Mi ami of
j oi nt vent ur es bet ween Cent r al
I nt el l i gence and t he Mob, whi ch l ed t o
t he unsuccessf ul at t empt s t o ki l l Fi del
Cast r o and t he successf ul assassi nat i on
of your Pr esi dent J ohn F. Kennedy, t hi s
conj unct i on r ai ses numer ous r ed f l ags.
STEVE
And I ' d l ove t o hear mor e about i t , but
l i ke I sai d. . .
YEVHEN
Don' t wor r y, we' l l have you out i n no
t i me. The cash i s on i t s way.
St eve cocks hi s head, as i f he coul d not have hear d r i ght .
STEVE
On i t s way?
YEVHEN
My cousi n i s br i ngi ng i t over .
STEVE
Your cousi n?
YEVHEN
Yes. Cousi n Mashkov.
STEVE
He' s on hi s way?
YEVHEN
Don' t wor r y, he wi l l be her e any mi nut e.
( CONTI NUED)
CONTI NUED: ( 2)
St eve l ooks up t o t he secur i t y camer a.
STEVE
The t ape' s of f ?
YEVHEN
Of cour se. Bel i eve me, he doesn' t want
t o be on vi deo, ei t her .
STEVE
Yevhen. Di dn' t I t el l you, many t i mes,
t hat I never want ed t o meet wi t h anyone
but you?
Yevhen sweat s a bi t .
YEVHEN
I know. But i t ' s hi s cash. He uses me
t o l aunder money. I ' mj ust a mi ddl eman.
STEVE
And a mi ddl eman i s supposed t o st ay i n
t he mi ddl e.
YYEEVVHHEENN
But you wer e ear l y. Pl ease. Don' t
wwoorr rr yy.. II tt wwii ll ll bbee ff ii nnee.. MMyy ccoouussii nn'' ss aa
cool guy. Li ke I am.
STEVE
What you ar e, i s a Di xi e cup.
Yevhen smi l es qui zzi cal l y, not sur e i f he' s bei ng
compl i ment ed or i nsul t ed.
YEVHEN
Di xi e cup?
Bef or e t he wor ds ar e out of Yevhen' s mout h, St eve gr abs one
of t he 25 pound gol d br i cks and sl aps i t acr oss Yevhen' s
f ace, shat t er i ng hi s j aw.
Yevhen' s f al l s t o t he f l oor and St eve l i f t s t he br i ck agai n
aanndd rr aammss ii tt ddoowwnn oonntt oo hhii ss hheeaadd wwii tt hh aann uuggll yy TTHHUUDD.. AAnndd aaggaaii nn..
AAnndd aaggaaii nn..
He t hen t akes t he gol d br i ck sl at her ed i n bl ood and
pl aces i t back i n hi s duf f l e bag.
CUT TO:
I NT. YEVHEN' S COI NS & BULLI ON STORE - TEN MI NUTES LATER
Yevhen' s Ukr ai ni an cousi n, MASHKOV, st ar es down at t he
cor pse. St eve i s l ong gone.
Mashkov kneel s down by t he body and st ar t s sobbi ng.
I NT. HOUSE - NI GHT
Mashkov wal ks t hr ough a l i vi ng r oom, past some l i ght i ng
equi pment and a vi deo camer a and we get j ust enough of a l ook
t o r eal i ze t hat a por no i s bei ng shot her e but he coul dn' t
car e l ess as he makes hi s way i nt o t he ki t chen wher e
Hi s boss, DANYA, 60, t he owner of t hi s house, i s eat i ng a
bowl of Fr ost ed Fl akes at t he ki t chen t abl e. They speak i n a
col l oqui al Ukr ai ni an t ongue t hat we SUBTI TLE.
MASHKOV
My cousi n Yevhen was beat en t o deat h.
DANYA
By who?
MASHKOV
That ' s what I ' mgoi ng t o f i nd out .
They st op t al ki ng f or a moment as one of t he "ACTRESSES"
comes i n, pl ops her sel f down next t o Danya and pour s her sel f
a bowl of cer eal . She put s her hand on Danya' s l eg. She' s
young and i t ' s a di st ur bi ng i mage and we RECOGNI ZE HER:
she' s t he HI TCHHI KER who Lyl e passed i n t he t axi r i de down
Fi guer oa St r eet when he f i r st ar r i ved i n L. A.
Danya goes back t o speaki ng SUBTI TLED UKRAI NI AN.
DANYA
And what wi l l you do when you f i nd t hi s
pi ece of shi t who ki l l ed your cousi n?
MASHKOV
I ' l l hack of f hi s l i mbs and bur y hi m
whi l e he' s st i l l al i ve.
DANYA
Okay. But now we shoul d st op t al ki ng
Ukr ai ni an, i t ' s r ude t o my gi r l .
( swi t chi ng t o accent ed ENGLI SH)
How ar e you t oni ght , Kar en?
KAREN
Hungr y.
( CONTI NUED)
CONTI NUED:
DANYA
Then eat your Fr ost ed Fl akes.
KAREN
( l i ke Tony t he Ti ger )
They' r e gr r r r eat !
Danya l aughs pl easant l y.
DANYA
Such a per f ect gi r l .
But as she eat s her cer eal , we see a t r oubl ed, sad l ook on
her f ace.
I NT. RENTED WAREHOUSE - DAY
The t hr ee Mi ni s ar e par ked i nsi de: one r ed, one whi t e, one
bl ue. Handsome Rob and St el l a ar e doi ng cust omwor k under
t he hoods. Lyl e i s wear i ng t he st r ap- on l apt op and t ypi ng
away. Hal f - Ear squeezes si l ver Hal i bur t on sui t cases i nt o t he
Mi ni s' t r unks as Char l i e ent er s
CHARLI E
How ar e our mat chbox car s?
HANDSOME ROB
Souped.
STELLA
Don' t l et t hei r si ze f ool you. These
wer e r al l y car s back i n t he day. 135
mph, 155 hor sepower
LYLE
Do I get t o dr i ve one?
HHAANNDDSSOOMMEE RROOBB
He.
LLYYLLEE
Why not ?
HANDSOME ROB
Because you can' t navi gat e your way out
of a par ki ng l ot . Her e' s your r i de.
He pul l s a bl anket of f a Vespa. Lyl e poi nt s at Hal f - Ear .
LYLE
But he r an i nt o me.
( CONTI NUED)
CONTI NUED:
HANDSOME ROB
He' s not dr i vi ng ei t her .
(t o Stel l a)
You ever got a speedi ng t i cket ?
STELLA
Let ' s put i t t hi s way: I can onl y get
i nsur ance t hr ough compani es t hat
adver t i se on TV at 3: 00 i n t he mor ni ng.
HANDSOME ROB
You dr i ve. I dr i ve. Char l i e dr i ves.
CHARLI E
I got us spot s f or t hr ee car s on a car
car r i er and f i ve f i r st cl ass seat s.
Tr ai n 59 f r omUni on St at i on t o New
Or l eans.
HALF- EAR
That ' s N' Or ' l i ns, Yankee.
CHARLI E
What ' s t he wor d on Rockef el l er ?
LYLE
The Tr af f i c Cont r ol Cent er i s on t he t op
f l oor of a bui l di ng on Ol ympi c and Gr and.
They get t hei r dat a f r ompavement l oop
det ect or s and vi deo i mage vehi cl e
det ect or s. That i nf o i s f used t oget her
by speci al l y desi gned al gor i t hms t o
pr edi ct t r af f i c condi t i ons and cont r ol
t he t r af f i c l i ght s. So al l I have t o do
now i s change t he dat a by cr eat i ng my own
al gor i t hm.
CHARLI E
What can I do t o hel p?
LYLE
I need t o har d- wi r e i nt o t he mai nf r ames.
EXT. TRAFFI C CONTROL CENTER - NI GHT
Housed i n a t ower i ng bui l di ng on t he cor ner of Ol ympi c and
Gr and i n t he hear t of downt own L. A. OUR VI EWRI SES UP t o t he
r oof t op, wher e WE FI ND Char l i e and Lyl e.
OUR VI EWMOVES I N CLOSER on Char l i e, who adr oi t l y pi cks t he
l ock t o an access door and t hey cl i mb down a shor t set of
st eps i nt o t he ~
I NT. MAI NTENANCE ROOM - CONTI NUOUS SHOT
Fr oman equi pment bag, Char l i e pul l s out a si l ent power dr i l l
and uses i t t o r emove an access panel f r omt he AC vent .
I NT. AI R- CONDI TI ONI NG VENT - NI GHT
Char l i e l eads, cr awl i ng t hr ough t hi s t i ght space, hi s pat h
i l l umi nat ed by t he t hi n beamof a penl i ght .
I NT. TRAFFI C CONTROL ROOM - NI GHT
A hi gh- t ech set t i ng wi t h a hal f - dozen wor ker s over seei ng t he
l ar ge t r af f i c i nf or mat i on moni t or s t hat di spl ay mul t i pl e
i mages.
OUR CAMERA PUSHES I N on t he wal l of moni t or s and t hen
BLACKNESS as OUR VI EWCROSSES t o t he
OTHER SI DE OF THE WALL
Wher e t he 70" t al l mai nf r ame comput er s ar e housed and
r unni ng. We see t hat t he AC vent t o t hi s r oomi s now open
si nce Char l i e and Lyl e have al r eady snuck i nsi de.
They move f ast . Char l i e r emoves t he r ear panel s of t he
mai nf r ames whi l e Lyl e adept l y har d- wi r es hi s l apt op i nt o t he
comput er s. The l apt op' s scr een l i ght s up.
Char l i e f i t s t wo f al se panel s wher e t he r ear panel s of t he
mai nf r ames used t o be. Lyl e pul l s an i nnocent l ooki ng f i l i ng
box out of hi s equi pment bag. He pl aces t he box on a near by
shel f wher e i t enj oys l i ne- of - si ght t o t he f al se panel s.
He punches a key on hi s l apt op and t he f al se panel s and t he
f i l i ng box qui et l y cl i cks i nt o act i on, communi cat i ng wi t h hi s
l apt op vi a i nf r ar ed. Hi s l apt op now shows a gui l t wor k of
t humbnai l vi ews f r omt he t r af f i c i nf or mat i on moni t or s.
Typi ng commands, Lyl e i s cl ear l y oper at i ng on a hi gher
bandwi dt h t han t he r est us.
LYLE
B4 X TTr at i o, wher e Bi ar e Fi sher ' s
l i near di scr i mi nant f unct i on
coef f i ci ent s, SpdRat i s t he speed r at i o,
and TTr at i o i s t he t r avel t i me r at i o.
CHARLI E
I have no i dea what you' r e doi ng. J ust
do i t f ast .
( CONTI NUED)
CONTI NUED:
Ther e.
He hi t s t he ENTER but t on.
LYLE ( CONT' D)
We own t hi s pl ace.
CUT TO:
I NT. THE PANTRY RESTAURANT - DOWNTOWN L. A. - DAY
Thei r mot t o: "Never cl osed. Never wi t hout a cust omer ! " The
pl ace has t he same decor as i t di d 75 year s ago. I t ' s al so a
spot wher e ever yone mi nds t hei r own busi ness. One of t he OLD
TI ME WAI TERS l eads OUR CAMERA t o a t abl e i n t he back wher e
Mashkov si t s acr oss f r oma LAPD HOMI CI DE DETECTI VE. He
sl i des over an envel ope of cash and a phot ogr aph of Kar en.
MASHKOV
$2000. And t hi s i s t he new gi r l . Fr esh
of f t he bus. One of Danya' s guys pi cked
her up hi t chhi ki ng downt own.
The det ect i ve checks out t he phot o.
DETECTI VE
Those t i t s' d make Dr acul a r i se f r omhi s
cof f i n at hi gh- noon.
MASHKOV
They' r e al l your s Sat ur day. You can do
what ever you want t o her . Her name i s
Kar en. . .
DETECTI VE
You' r e t oo gener ous.
MASHKOV
I needed a f ast answer .
DETECTI VE
And I ' mt he Shel l Answer Man. A guy who
wor ks t he count er at your cousi n' s shop
t ol d me t hat someone named Ski nny Pet e
had been aski ng ar ound about gol d br i cks
wi t h t he f ace of a Bal i nese gi r l on t hem.
Same gol d br i cks your cousi n was buyi ng.
MASHKOV
You t al ked t o t hi s Ski nny Pet e?
( CONTI NUED)
CONTI NUED:
DETECTI VE
I t hought you' d want a shot at hi mf i r st .
CUT TO:
I NT. RENTED WAREHOUSE - DAY
Handsome Rob does some f i nal t une- ups on t he Mi ni s.
Hal f - Ear l oads a t r i pl e char ger chemi cal gr enade i nt o a
l auncher .
Char l i e st eps i nt o t he U- Haul whi ch i s par ked i n her e. . .
I NT. U- HAUL
Lyl e i s f i xi ng gl i t ches on hi s comput er pr ogr am. St el l a i s
doi ng her nai l s. Char l i e l ooks at her .
STELLA
You want t he saf e cr acked, don' t you?
CHARLI E
Yeah.
STELLA
Then I have t o have per f ect nai l s.
Squar e t i ps have a mor e even sur f ace
ar ea. Bet t er gr i p, no sl i ppi ng.
CHARLI E
Ar e you maki ng t hi s shi t up?
STELLA
I j ust l et you i n on a val uabl e t r ade
secr et .
LYLE
Char l i e.
CHARLI E
Yeah?
LYLE
St eve cal l ed t o conf i r ma 7: 30
r eser vat i on at Agp' s. And as f or your
get away, not even Rockef el l er had i t so
good.
CUT TO:
9
I NT. STEVE' S BEDROOM - NI GHT
He' s get t i ng dr essed f or hi s dat e. We can t el l by t he way he
pr eens i n f r ont of t he t hr ee si ded f ul l l engt h mi r r or ,
ador ni ng hi msel f i n t he most expensi ve f ashi on, t hat he i s a
vai n and ar r ogant man.
EXT. RENTED WAREHOUSE - NI GHT
The t hr ee Mi ni s pul l out of t he war ehouse and head of f down
t he r oad. The U- Haul f ol l ows.
I NT. CHARLI E' S MI NI ( MOVI NG) - NI GHT
Leadi ng t he pack. He wear s a headset and mi c.
CHARLI E
Radi o check.
I NT. HANDSOME ROB' S MI NI ( MOVI NG) - NI GHT
He dr i ves, Hal f - Ear i n t he passenger seat .
HANDSOME ROB
Got cha, boss.
I NT. STELLA' S MI NI ( MOVI NG) - NI GHT
She f ol l ows behi nd Handsome Rob' s Mi ni .
STELLA
Loud and cl ear .
I NT. U- HAUL ( MOVI NG) - NI GHT
Lyl e dr i ves. Hi s Vespa i s par ked i n t he car go bay wi t h hi s
equi pment .
LYLE
Check.
CUT TO:
EXT. STEVE' S DRI VEWAY - NI GHT
Looki ng shar p, St eve get s i nt o hi s Fer r ar i .
EXT. OPORTO DRI VE - NI GHT
The U- Haul i s i dl i ng on t he si de of t he st r eet about a mi l e
down f r omSt eve' s house. The Vespa i s par ked behi nd i t .
( CONTI NUED)
CONTI NUED:
Fr omup ahead, we see t he Fer r ar i cr ui si ng down t he wi ndi ng
r oad. As i t passes by.
I NT. U- HAUL
Lyl e speaks i nt o hi s headset :
LYLE
For t hose about t o r ock, we sal ut e you.
EXT. OPORTO DRI VE - NI GHT
Fr omsi de st r eet s, t he Mi ni s conver ge on t he r oad and head up
t owar ds St eve' s house.
I NT. CHARLI E' S MI NI ( MOVI NG) - NI GHT
He can f eel t he adr enal i ne al r eady st ar t i ng t o cour se t hr ough
i s body.
CHARLI E
Thi s i s i t , guys. Moment of t r ut h.
He t akes a shar p cur ve. . . and t he moment t hat St eve' s house
shoul d come i nt o vi ew. . . he hi t s t he br akes, hi s expr essi on
t ur ni ng t o compl et e sur pr i se.
HI S POV
The nei ghbor acr oss t he st r eet f r omSt eve i s havi ng t he
bi ggest par t y i n t own. The r oad i s f i l l ed wi t h par ked car s
and ar r i vi ng guest s. Ai n' t no way t hey' r e bl owi ng t he gat e,
l aunchi ng chemi cal gr enades or i n any way r obbi ng St eve' s
house i n t he mi dst of t hi s.
CHARLI E' S FACE
As he t akes t hi s i n, t her e' s a KNOCK on t he wi ndow. He
t ur ns. Sees a uni f or med VALET. Rol l s down t he wi ndow.
VALET
Ar e you hear f or t he Baxt er par t y, si r ?
EXT. OPORTO DRI VE - NI GHT
We see t he t hr ee Mi ni s pul l t i ght U- t ur ns and head back t he
way t hey came.
I NT. CHARLI E' S MI NI ( MOVI NG) - NI GHT
He sl aps hi s hand agai nst t he st eer i ng wheel , f umi ng.
( CONTI NUED)
CONTI NUED:
CHARLI E
Shi t . St el l a?
I NT. STELLA' S MI NI ( MOVI NG) - I NTERCUT
She al r eady knows what he' s goi ng t o say.
STELLA
I know. I ' ve got a dat e t oni ght .
CHARLI E
You' l l have t o f ake i t . Laugh at hi s
j okes. You need hi mt o ask you out
agai n.
CUT TO:
I NT. AGO RESTAURANT - NI GHT
A posh r est aur ant . As OUR CAMERA FI NDS St el l a and St eve, she
i s l aughi ng at somet hi ng he sai d, f aki ng her way t hr ough t he
dat e. They' r e si t t i ng at an i nt i mat e t abl e.
STELLA
You r eal l y make l augh.
He t akes t he l i e l i ke t he compl i ment she want s hi mt o t hi nk
i t i s.
STEVE
So her e' s what I have l i ned up f or af t er
di nner . We' l l go t o Cl ub Deep. The
Fer r ar i al ways get s me t o t he f r ont of
t he l i ne. We' l l do a l i t t l e danci ng. . .
STELLA
Not t oni ght . I don' t want t o be out
l at e.
STEVE
Why t he cur f ew?
STELLA
Let ' s j ust say I ' ve made some wr ong cal l s
i n t he past . I l i ke t o t ake t hi ngs sl ow,
caut i ous. Next t i me. . .
STEVE
I under st and. You have not hi ng t o wor r y
about . You can t r ust me.
( CONTI NUED)
CONTI NUED:
STELLA
I t r ust ever yone. I t ' s t he devi l i nsi de
t hemt hat I don' t t r ust .
That sayi ng st r i kes St eve.
STEVE
That ' s an i nt er est i ng sayi ng.
STELLA
What ?
He l ooks at her cl osel y, r eal l y cl osel y.
STEVE
Ther e' s onl y per son I ' ve ever hear d say
t hat . Used t o say i t al l t he t i me.
Thi s wor r i es her . Because of cour se, she used t o hear i t
f r omher f at her .
STELLA
Who was t hat ?
Under t he t abl e, he gr abs her by t he wr i st , squeezes i t l i ke
a vi se.
STEVE
A man named J ohn Br i dger . Wher e di d you
pi ck up t hat phr ase?
STELLA
Ow. I don' t r emember . You' r e hur t i ng
me.
STEVE
J ohn Br i dger was a t hi ef . And he had a
daught er . About your age. He t ol d me
t hat she t ook over a saf e and l ock
company t hat he used as a f r ont .
STELLA
Let go of my wr i st . What i s wr ong wi t h
you? I t ' s j ust a sayi ng.
St eve' s voi ce i s cal m, so at ease t hat wat chi ng t hemyou' d
t hi nk t hi s was pl easant di nner conver sat i on.
STEVE
No wonder I l i ked you r i ght away. J ust
l i ke I l i ked your ol d man, r i ght up unt i l
t he moment I shot hi mi n t he head.
(MORE)
( CONTI NUED)
CONTI NUED: ( 2)
STEVE ( CONT' D)
Now t el l me who you' r e wor ki ng wi t h and
t el l me t he pl an. Do i t now or we' l l go
f or a r i de and I ' l l br eak ever y bone i n
your body.
St el l a i nt ent i onal l y knocks over a gl ass of wi ne. I t
shat t er s on t he f l oor . An emer gency si gnal . . .
Char l i e, Hal f - Ear , Handsome Rob and Lyl e appear ar ound t he
t abl e.
St eve i s shocked t o see t he men he l ef t f or dead t hr ee year s
ago st andi ng bef or e hi m, ver y much al i ve.
They pul l up chai r s f r omanot her t abl e, enci r cl i ng hi mf or a
t ense and poi nt ed t al k.
CHARLI E
Somet hi ng wr ong, St eve? You l ook l i ke
you want t o cal l Ghost bust er s.
Hal f - Ear f ur t i vel y sl i des t he swi t chbl ade out of hi s boot .
HALF- EAR
She' s comi ng wi t h us. You got a pr obl em
wi t h t hat ?
STEVE
Fi ne by me. But i t ' s you t hat has t he
pr obl em.
LYLE
How do you f i gur e?
STEVE
You' ve j ust bl own t he one t hi ng you had
goi ng i n your f avor , t he el ement of
sur pr i se. And I was sur pr i sed.
( he l aughs unpl easant l y)
J esus Chr i st when I saw al l you guys come
out of t he woodwor k. For a mi nut e I
t hought maybe you wer e ghost s. But
you' r e scr ewed now.
( an ar r ogant sneer a Hal f - Ear )
Di d you f i gur e out how t o t ake car e of my
secur i t y guar d? I ' l l hi r e f i ve mor e.
( at Lyl e)
You know how t o bypass my al ar msyst em?
I ' l l have a new one i nst al l ed t omor r ow.
( at Handsome Rob)
Does i t t ear you up i nsi de seei ng what
car I dr i ve? I ' l l buy a mat chi ng one i n
red.
( at St el l a)
(MORE)
( CONTI NUED)
CONTI NUED: ( 3)
STEVE ( CONT' D)
( at Stel l a)
You t hi nk you can cr ack r ay saf e? You
7
11
end up t he same way as your dad.
( t hen t o Char l i e, al l smi l es)
Looks l i ke Good Ti me Char l i e' s got t he
bl ues.
CHARLI E
You can wear t hat shi t - eat i ng gr i n on
your f ace, but I know under t hat Ver sace
shi r t you' r e i n a col d sweat . And you' r e
not goi ng t o sl eep a mi nut e t oni ght .
Cause you t hought you' d got t en away wi t h
i t f r ee and cl ear . You t hought you' d
got t en r i d of us. You' r e t he one who' s
scr ewed. Ri ght t o t he wal l .
STEVE
Gi ve i t your best shot . I ' l l out smar t
you ever y st ep of t he way. And t hi s
t i me, I ' l l bur y you mysel f .
CHARLI E
( t aki ng t he chal l enge)
Get mor e guar ds. Change t he al ar m. Buy
a dozen Fer r ar i s. We' l l st i l l be her e.
. Sl eep ti ght.
Char l i e gr abs a br ead st i ck of f t he t abl e and goes. The
ot her s f ol l ow. CUT TO:
I NT. STRI P CLUB - BACK ROOM NI GHT
The door bur st s open as t he bur l y man we met ear l i er i s
dr agged i nsi de at gunpoi nt . Fi ve Ukr ai ni ans ar med wi t h MAC-
11 machi ne pi st ol s st or mt he r oomwher e Ski nny Pet e wor ks.
Mashkov wal ks behi nd t he posse. He car r i es a duf f el bag. He
t akes i n t he si ght of t he f at t est man he' s ever seen.
MASHKOV
( i n accent ed Engl i sh)
Do you know who I am?
SKI NNY PETE
You wor k f or Danya.
MASHKOV
Yes. And you ar e gonna be st r ai ght wi t h
me and ever yt hi ng' s gonna be okay. You
f uck wi t h me, I wi l l be r ut hl ess.
SKI NNY PETE
I under st and.
CONTI NUED:
MASHKOV
I don' t want you t o under st and. I want
you t o over st and.
SKI NNY PETE
Over st and. . . Okay.
MASHKOV
Because i f you don' t over st and, I wi l l
use t hi s.
Mashkov nonchal ant l y opens t he duf f el bag and pul l s out a
shor t - handl ed ax. Ski nny Pet e sees dr i ed bl ood on t he bl ade.
MASHKOV ( CONT' D)
Someone was aski ng about gol d bar s wi t h a
Bal i nese gi r l ' s f ace on t hem. I want t he
name of t hi s man.
CUT TO:
EXT. SHUTTER' S ON THE BEACH - MORNI NG
The sun shi nes over t he ocean and t he hot el .
I NT. CHARLI E' S HOTEL ROOM
The cr ew i s gat her ed. Lyl e, moni t or i ng di gi t al sur vei l l ance
on hi s l apt op, t akes of f hi s headphones.
LYLE
Wel l we scar ed hi mal r i ght . He' s f l yi ng .
t he coop. Hi s secur i t y guar d cal l ed
Br i nk' s Ar mor ed Car Ser vi ce t o conf i r ma
5 p. m. pi ck up at hi s house, t hen J et Cl ub
t o conf i r ma MD11 Car go pl ane depar t i ng
f r omt he I mper i al Ter mi nal at LAX at 8
p. m.
CHARLI E
Conf i r med? How' d we mi ss t he f i r st
cal l s?
LYLE
They must have been cel l ul ar . The car go
pl ane i s bei ng char t er ed t o Mexi co Ci t y.
HANDSOME ROB
Onl y pl ace wi t h wor se smog and t r af f i c
t han L. A.
( CONTI NUED)
CONTI NUED:
STELLA
Once t he char t er ' s i n t he ai r , he coul d
change t he f l i ght pat h t o anywher e. And
good- bye gol d.
CHARLI E
Not so f ast . Thi s i s good news f or us.
HANDSOME ROB
Good news?
CHARLI E
Somet i mes when you' r e up t o your ass i n
al l i gat or s you f or get t hat you st ar t ed
of f t r yi ng t o dr ai n t he swamp.
HANDSOME ROB
Meani ng what t he f uck?
CHARLI E
We' ve been t r yi ng t o get t o t he gol d i n
t he saf e. Now t he saf e i s cor ni ng t o us.
We' l l boost i t i n t r ansi t .
He mi ght as wel l have sai d t hey' l l st eal t he Hol y Gr ai l
bef or e sunr i se.
HANDSOME ROB
Char l i e. He coul d t ake a dozen di f f er ent
r out es t o t he ai r por t and we have no i dea
whi ch one. We can' t t ake out an ar mor ed
t r uck dur i ng r ush hour .
CHARLI E
We' r e al r eady set t o do i t . Napst er :
how woul d you l i ke t o cr eat e t he bi ggest
t r af f i c j ami n t he hi st or y of Los
Angel es?
LYLE
Keep t al ki ng.
CHARLI E
You gr i dl ock ever y r out e except t he one
we choose. For ce t he t r uck t o go exact l y
. wher e we want i t t o go.
HANDSOME ROB
But wher e do we want i t ? We can' t shoot
i t out wi t h ar med guar ds i n a Br i nk' s.
We' d l ose.
(MORE)
( CONTI NUED)
CONTI NUED: ( 2)
HANDSOME ROB ( CONT' D)
And even i f we pul l ed i t of f , t he cops
woul d be al l over us, chasi ng us al l t he
way t o Uni on St at i on. We' r e out manned
and out gunned.
CHARLI E
But not out smar t ed.
Char l i e hums wi t h f ocused ener gy. Ther e' s a t er mf or i t i n
hor se r aci ng. When a t hor oughbr ed i s at peak condi t i on, and
t wi t chi ng wi t h eager ness t o r un, he i s ""on t he muscl e. " That
descr i bes Char l i e r i ght now.
CHARLI E {CONT' D)
We' l l do i t l i ke t he I t al i an j ob. We' l l
make t hi r t y mi l l i on i n gol d dr op out of
si ght .
They' r e i nt er r upt ed by Char l i e' s cel l phone RI NGI NG. Thi s
t hr ows t hemal l of f .
CHARLI E
Who el se has t hi s number ?
HALF- EAR
No one but us.
I t ' s st i l l RI NGI NG. Char l i e deci des t o answer i t .
CHARLI E
Hel l o?
I NT. OFFI CE - PHI LADELPHI A - I NTERCUT
Meet PHI LLY STEAK. Or at l east meet t he back of hi s neck.
Because t hat ' s wher e he has a t at oo t hat says PHI LLY STEAK.
PHI LLY STEAK
Why' d you do i t ?
CHARLI E
( i nf or mi ng t he cr ew)
Phi l l y St eak.
( t hen i nt o phone)
Do what ?
OUR CAMERA TRACKS AROUND t o Phi l l y St eak' s f ace whi ch i s
weat her ed and as l eat her y as a f oot bal l . An ol d school
cr ook.
PHI LLY STEAK
Yevhen. The Ukr ai ni an gol d, deal er . You
di dn' t , have t o cl i p hi m, f or Chr i st ' s
sakes.
( CONTI NUED)
CONTI NUED:
CHARLI E
Cl i p hi m?
PHI LLY STEAK
Li st en t o me. You' ve got t a get out of
L. A. Now.
CHARLI E
What ' r e you t al ki ng about ? We di dn' t
cl i p anybody.
PHI LLY STEAK
Wel l Ski nny Pet e j ust cal l ed me.
Yevhen' s cousi n i s under t he di st i nct
i mpr essi on t hat you di d.
CHARLI E
Why does he t hi nk t hat ?
PHI LLY STEAK
Because you want ed, t o know about t he gol d
wi t h t he Bal i nese Gi r l . Pl us I guess
Pet e was under dur ess. Thi s Ukr ai ni an
t hi nks he' s PaXi l Fucki ng Bunyan.
CHARLI E
Do you know how t o get i n t ouch wi t h hi m?
PHI LLY STEAK
Yeah but ~
CHARLI E
Maybe t her e' s a way we can pl ay t hi s t o
our advant age.
PHI LLY STEAK
Ar e you out of your mi nd? Li st en t o me,
Char l i e. Get out of L. A. Now. Cause i f
t her e' s one t hi ng I know, i t ' s t hat you
never mess wi t h Mot her Nat ur e, mot her - i n-
l aws, or mot her - f ucki ng Ukr ai ni ans.
I NT. SAFE HOUSE - MORNI NG
Speaki ng of Fi ve Ukr ai ni ans l ock ' n l oad t hei r MAC- 11
machi ne pi st ol s pl us an M4 car bi ne wi t h a 40mmgr enade
l auncher mount ed beneat h t he bar r el . Mashkov ent er s t he r oom
and t el l s t he ot her s i n SUBTI TLED UKRAI NI AN.
MASHKOV
He' s goi ng t o be on Tr ai n 59 f or New
Or l eans.
( CONTI NUED)
CONTI NUED:
UKRAI NI AN
You sur e your sour ce i s good?
MASHKOV
I ' msur e.
CUT TO:
I NT. DANYA' S HOUSE - MORNI NG
The home wher e t he por no was made. Kar en, wear i ng a backpack
st uf f ed wi t h her onl y bel ongi ngs, cr eeps i nt o t he ki t chen
wi t h t wo 3/ 4" vi deot apes i n hand.
She set s t hemdown on t he count er . They say MASTER TAPE on
t he l abel s. She opens t he mi cr owave oven. Put s t he t apes
i nsi de. Set s t he t i mer f or 60 mi nut es at t he hi ghest l evel
and pr esses t he st ar t but t on.
As t he vi deot apes st ar t t o cook, we wat ch Kar en f l ee out t he
door .
CUT TO:
EXT. HOLLYWOOD AT HI GHLAND - DAY
The U- Haul i s par ked on t he si de of t he noi sy, congest ed
boul evar d. A l ar ge met al sheet i s now mount ed on t he si de of
t he panel t r uck. .
HI GH ANGLE. Par ked behi nd t he U- Haul ar e t wo of t he Mi ni s
and Lyl e' s Vespa. We see t r af f i c f l owi ng t hr ough t he busy
i nt er sect i on next t o t he vehi cl es. Then WE BOOM DOWN, r eal l y
f ast , r i ght i nt o t he bl ack pavement and
THROUGH THE DARKNESS and out t he ot her si de, so we ar e now
under gr ound i n t he mi ddl e of t he
METRO RAI L TUNNEL
wher e Hal f - Ear i s at wor k, mount i ng Ni t r amon pr i mer t o t he
t unnel wal l s, Char l i e assi st i ng. They bot h wear or ange
j umpsui t s, pl us headset s and mi cs.
HALF- EAR
Di d you know Ei nst ei n
7
s 7t h gr ade t eacher
t ol d hi mhe was a mor on who' d never
amount t o anyt hi ng? Same as mi ne.
CHARLI E
St i l l hope f or t hat Nobel Pr i ze.
( CONTI NUED)
CONTI NUED:
HALF- EAR
Not me, man. But I di d get my col l ege
di pl oma.
CHARLI E
No shi t . I t hought you dr opped out of
hi gh school .
HALF- EAR
Got my GED af t er I t al y t hen j ust kept
goi ng.
CHARLI E
How' d you manage t hat , al l t he j obs we' ve
been pul l i ng?
HALF- EAR
Qui t goi ng t o st r i p cl ubs. Went t o
ni ght school i nst ead. Ci t y col l ege i s
al l .
CHARLI E
Good f or you. That ' s a r eal f eat her i n
your cap.
HALF- EAR
I di dn' t want t o say anyt hi ng t o t he
guys.
Ther e' s a RUMBLI NG SOUND i n t he di st ance.
CHARLI E
Secr et ' s saf e wi t h me.
The RUMBLI NG gr ows unbear abl e as a Met r o r oar s cl oser ,
headl i ght s gobbl i ng up t he dar k t unnel . They pr ess
t hemsel ves i nt o a cr evi ce i n t he wal l .
Wi t h a ROAR and a gust of wi nd, t he Met r o howl s by. I t makes
t hei r j aws cl at t er .
I NT. U- HAUL ( PARKED) - DAY
St el l a' s i n t he car go ar ea wi t h Lyl e who' s wor ki ng hi s
l apt op. I t ' s moni t or di spl ays a st r i ng of comput er code. He
HEARS over hi s headset :
CHARLI E ( V. O. )
Napst er . How goes i t up t her e? Over .
LYLE
Wor ki ng on t he Met r o Rai l syst em. Al most
ready.
EXT. MARAVI LLA DRI VE - SAME TI ME
Handsome Rob' s Mi ni i s par ked on t he si de of t he wi ndi ng
r oad. Usi ng bi nocul ar s, he l ooks down ont o Opor t o Dr i ve at
St eve' s house. I nt o hi s headset :
HANDSOME ROB
Ever yt hi ng' s qui et her e. Over .
I NT. METRO RAI L TUNNEL - DAY
The Ni t r amon i s appl i ed. Hal f - Ear cl oses hi s eyes. Char l i e
obser ves hi ma moment .
CHARLI E
You okay?
HALF- EAR
Ah huh. J ust need a moment ' s medi t at i on.
CHARLI E
Now?
HALF- EAR
I ' mabout t o i nser t a wi r e i nt o a
det onat or t ube and i f t he wi r e t ouches
t he si des of t ube, we' l l be bl own t o
Ki ngdomCome. Best t o be at one wi t h
your sel f .
CHARLI E
Take al l t he t i me you need.
Anot her moment , t hen Hal f - Ear set s t o wor k. Char l i e hol ds a
mi ni - f l ashl i ght , i l l umi nat i ng t he i nt r i cat e det onat or . Ver y
car ef ul l y, he i nser t s a wi r e i nt o a t ube. Remember , t he wi r e
must not t ouch t he si des.
The wi r e i s hal f - way i n when a LARGE SPI DER dr ops ont o hi s
hand. Fr ozen, he ponder s t hi s.
Char l i e sees t he spi der , doesn' t know what t o do.
Hal f ~Ear st udi es t he spi der . . . t hen he cl oses hi s eyes j ust a
moment . . . r el axes. . . br eat hes i n> br eat hes out . . . and t hen
He l eans f or war d, opens hi s mout h and cl amps hi s l i ps over
t he spi der , comes back up. Fi ni shes i nser t i ng t he wi r e.
J ob done, he cal ml y opens hi s mout h/ t he spi der put s a hai r y
l eg out and del i cat el y expl or es hi s cheek. Hal f - Ear pl ucks
i t of f j ust as del i cat el y, deposi t i ng t he spi der on t he wal l .
( CONTI NUED)
CONTI NUED:
Char l i e j ust shakes hi s head i n di sbel i ef .
HALF- EAR
My wor k her e i s done.
EXT. OPORTO DRI VE - DAY
A Br i nk' s t r uck cl i mbs t he r oad t owar ds St eve' s house,
f l anked by t wo BMWK1200LTA mot or cycl es.
EXT. MARAVI LLA DRI VE - . SAME TI ME
Thr ough bi nocul ar s, Handsome Rob i s st i l l keepi ng an eye on
St eve' s house f r omt he hi gher vant age poi nt .
HI S POV
The f r ont gat e' r i ses. The Br i nk' s t r uck and mot or cycl es ar e
l et i nsi de and head up t he dr i veway.
But t hen he sees a SECOND ARMORED t r uck dr i ve up, al so
guar ded by t wo mot or cycl es. And a t hi r d Br i nk' s f ol l owed by
mot or cycl es t ur ns i nt o t he dr i veway.
EXT. STEVE' S HOUSE
I t ' s a convoy of mat chi ng ar mor ed t r ucks. . .
EXT. MARAVI LLA DRI VE - DAY
Wi t nessi ng t he t wi st of event s t hr ough hi s bi nocul ar s. He
speaks i nt o hi s headset mi c
HANDSOME ROB
Pr obl emo.
I NT. U- HAUL - I NTERCUT
The r est of t he cr ew i s now al l i n t he U- Haul . Lyl e' s
manni ng t he l apt op.
CHARLI E
What i s i t ? .
HANDSOME ROB
He' s br ought i n t hr ee i dent i cal ar mor ed
t r ucks.
CHARLI E
Shi t . Decoys. I t ' s l i ke a shel l game on
wheel s.
( CONTI NUED)
CONTI NUED:
LYLE
How can I r er out e t he t r uck i f I don' t
know whi ch t r uck t o r er out e?
EXT. STEVE' S HOUSE - ( TI ME CUT) DAY
The car avan of ar mor ed t r ucks and mot or cycl es now head down
t he dr i veway. The Fer r ar i f ol l ows behi nd.
EXT. MARAVI LLA DRI VE - DAY
Handsome Rob sees t he vehi cl es head east on Opor t o. He
r epor t s i nt o hi s mi ke:
HANDSOME ROB
Thr ee Br i nk' s t r ucks ar e l eavi ng wi t h
mot or cycl e escor t s, pl us St eve i n hi s
Fer r ar i .
I NT. U- HAUL
Maddeni ng f r ust r at i on.
LYLE
How' r e we goi ng t o f i gur e out whi ch t r uck
has t he gol d?
Char l i e i s j ust as f r ust r at ed. . . but i n a t i ght spot he al ways
comes up wi t h an i dea. ,
CHARLI E
You can moni t or t he t r af f i c vi deo camer as
f r omyour l apt op, r i ght ?
LYLE
Yeah.
CHARLI E
Wher e' s t he f i r st camer a t he t r ucks wi l l
go past ?
Lyl e hi t s a command key and we now see t he i nt er sect i on of
Woodr ow Wi l son Dr i ve and Cahuenga wher e vehi cl es ar e dr i vi ng
under t he t r af f i c si gnal t hat a t r af f i c vi deo camer a i s
mount ed t o.
LYLE
Cahuenga Boul evar d. They al l have t o
cr oss t hat .
CHARLI E
The wei ght of t he gol d wi l l l ower t he
suspensi on on t he t r uck.
EXT. CAHUENGA BOULEVARD - DAY
The f i r st ar mor ed t r uck makes i t s way t hr ough t he gr een
l i ght .
I NT. U- HAUL
Lyl e hi t s t he keyboar d and l i nes of measur ement s appear
acr oss t he i mage of t he Br i nk' s t r uck. He st r i kes anot her
key, moment ar i l y FREEZI NG t he i mage. He makes a vi sual check
of t he t op of t he ar mor ed t r uck agai nst t he Cahuenga
Boul evar d st r eet si gn.
LYLE
Li nes up wi t h t he t op of t he si gn.
Next . . .
He unf r eezes t he f i r st i mage j ust i n t i me t o check out t he
next ar mor ed t r uck i n l i ne. FREEZE. The t op of t hi s t r uck
al so l i nes up per f ect l y wi t h t he t op of t he st r eet si gn.
LYLE ( CONT' D)
Fi r st t wo ar e t he same.
EXT. CAHUENGA BOULEVARD - SAME TI ME
The t hi r d Br i nk' s t r uck makes i t s way t hr ough t he
i nt er sect i on, t he Fer r ar i behi nd i t .
I NT. U- HAUL - SAME TI ME
The t hi r d Br i nk' s comes i nt o t he moni t or ' s vi ew. FREEZE.
The t op of t he t r uck i s bel ow t he t op of t he st r eet si gn.
LYLE
That ' s our t r uck! Li cense pl at e
AWP82092.
EXT. CAHUENGA - SAME TI ME
We see t he t r uck wi t h t he Cal i f or ni a pl at e AWP82092. OUR
VI EWRI SES UP unt i l we' r e l ooki ng at an AERI AL VI EWas t he
t hr ee ar mor ed t r ucks and t hei r mot or cycl es f an out i n t hr ee
di f f er ent di r ect i ons, wi t h t he Fer r ar i goi ng i n a f our t h
di r ect i on. ^
EXT. HOLLYWOOD AT HI GHLAND - DAY
Handsome Rob pul l s up i n hi s Mi ni and par ks behi nd t he ot her
Mi ni s.
I NT. U- HAUL - SAME TI ME
Char l i e gi ves t he command.
CHARLI E
Gr i dl ock t i me.
Lyl e execut es, hi t t i ng a ser i es of keys and
I NT. MAI NFRAME COMPUTER ROOM - SAME TI ME
i nconspi cuous on a shel f , t he dummy f i l e box CLI CKS i nt o
act i on I n r esponse, t he f al se panel s on t he mai nf r ames HUM
t o l i f e and i n t he adj acent
TRAFFI C CONTROL CENTER
The mosai c of t r af f i c scr eens SPI RAL I NTO DARKNESS.
The wor ker s can' t bel i eve i t . They st ar t hi t t i ng t hei r
keyboar ds t r yi ng t o get t he syst emup and r unni ng agai n. But
i t ' s usel ess si nce
I NT. U- HAUL
Lyl e cont r ol s t he syst emnow. A si ngl e mouse cl i ck l oads hi s
new al gor i t hmi nt o t he comput er and
SERI ES OF RAPI D- FI RE SHOTS
Al l t he t r af f i c si gnal s i n Hol l ywood t ur n ar een
si mul t aneousl v.
EXT. I NTERSECTI ONS
See car s col l i de i nt o each ot her . See a domi no l i ne of r ear -
end cr ashes. A mot or cycl e t umbl i ng over .
I NT. TRAFFI C CONTROL CENTER
The st ymi ed wor ker s wat ch hel pl essl y.
I NT. U- HAUL
Lyl e qui ckl y t ypes out some wor ds and
I NT. TRAFFI C CONTROL CENTER
The wor ker s see t he wor ds f or mon t he gi ant scr eens:
YOU' LL NEVER SHUT DOWN THE REAL NAPSTER!
EXT. MORE I NTERSECTI ONS
The t r af f i c l i ght s t ur n RED si mul t aneousl y. Then al l t ur n
GREEN. Then RED agai n.
I t ' s demol i t i on der by t i me. Dai sy- chai ns of wr ecks. Car s
spi nni ng l i ke hockey pucks. Tot al t r af f i c mel t down.
I NT. KNX- AM 1070 TRAFFI C HELI COPTER - DAY
Sweepi ng over a panor ami c vi ew of t he gr eat est t r af f i c j ami n
L. A. ' s hi st or y i s t r af f i c anchor CHRI STI NA GRI EGO. She
r epor t s what she sees:
CHRI STI NA GRI EGO
Thi s i s Chr i st i na Gr i ego wi t h your dr i ve-
home t r af f i c r epor t on KNX. I ' ml ooki ng
down on Hol l ywood Boul evar d . and t hi s i s
def i ni t el y a CI G al er t .
I NT. FERRARI
They' r e bl ocked i n sol i d ahead and behi nd.
STEVE
What t he hel l ?
He t ur ns on t he r adi o as
I NT. U- HAUL
Lyl e' s f i nger s dance acr oss t he keyboar d.
LYLE
Openi ng up a space on Nor t h Hi ghl and.
I NT. GOLD TRUCK
St uck i n t he mi ddl e of i t . The dr i ver and guar d, bot h ar med,
ar e as conf used as ever yone el se.
GUARD
Get us out of her e.
DRI VER
I ' mt r yi ng.
He sees a way out , a sudden openi ng on Nor t h. Hi ghl and.
I NT. U- HAUL
Vi a a t r af f i c vi deo camer a, Lyl e sees on hi s l apt op t he gol d
t r uck, f ol l owed by t wo mot or cycl es, maki ng t he t ur n ont o
Nor t h Hi ghl and.
LYLE
He' s t aki ng i t . . .
Lyl e hi t s mor e keys.
LYLE ( CONT' D)
I now command you t o t ur n l ef t .
EXT. GOLD TRUCK
I t comes t o t he next i nt er sect i on. Ever y l i ght i s st uck on
r ed except t he l ef t t ur n onl y si gnal whi ch i s gr een. No
choi ce. The t r uck t akes i t .
I NT. U- HAUL
He' s st r i ki ng keys, an or chest r al conduct or , t he cr ew hi s
audi ence.
LYLE
I ' ve got i t on Hol l ywood Boul evar d.
Ti me t o sl ow down.
EXT. HOLLYWOOD BOULEVARD
Si gnal s t ur n gr een, but onl y f or t hr ee seconds, l ong enough
f or one car t o gun t hr ough i t at a t i me.
At t he same t i me, we see Char l i e get out of t he U- Haul and
cl i mb i nt o t he f i r st Mi ni . St el l a get s i nt o t he second Mi ni .
Hal f - Ear j oi ns Handsome Rob i n t he t hi r d.
I NT. FERRARI - DAY
St eve get s t he scoop over t he r adi o. He can' t bel i eve i t .
CHRI STI NA GRI EGO ( V. O. )
Accor di ng t o t he pol i ce, t he comput er s at
t he Tr af f i c Cont r ol Cent er ar e down.
St eve knows who di d t hat .
STEVE
Sonovabi t ch.
I NT. CHARLI E' S MI NI - DAY
Thr ough hi s r ear vi ew mi r r or , Char l i e eyes t he gol d t r uck
cr eepi ng cl oser .
CHARLI E
Gent l emen, st ar t your engi nes.
THREE SHOTS
St ar t i ng t hei r engi nes- wi t h souped- up, t hr oat y r oar s:
Char l i e; Handsome Rob; St el l a.
CHARLI E
Gi ve us t he f l ag when you' r e r eady.
I NT. U- HAUL
Lyl e has hacked i nt o t he Met r o Rai l ' s Cont r ol Syst em. St ar t s
hi s magi c.
LYLE
Shut t i ng down t he r ai l as we speak.
I NT. METRO RAI L TUNNELS - SEVERAL SHOTS
A Met r o i s speedi ng t hr ough t he Bl ue Li ne t unnel . Suddenl y
i t l oses power and comes t o an i ngl or i ous st op.
Anot her Met r o st ops on t he Red Li ne.
I nsi de a Met r o on t he West si de Cor r i dor as i t st ops; conf used
passenger s st ar e out t he gl ass.
I NT. U- HAUL
Hi s l apt op shows a gr oup of st i l l ci r cl es t hat r epr esent t he
st al l ed Met r os.
LYLE
Tunnel ' s cl ear . Go!
EXT. WALK OF FAME
The t hr ee Mi ni s j ump t he cur b and dr i ve r i ght over t he st ar -
l i ned si dewal k. . . Pedest r i ans t hr ow t hemsel ves out of t hei r
pat h. . . The car s r un over Mar i l yn Monr oe' s st ar and t he
f l ower s and candl es l ef t by f ans. . . They make a shar p t ur n
down t he cement st ai r s t hat l ead t o t he Met r o Rai l pl at f or m.
At t he same t i me
EXT. HOLLYWOOD BOULEVARD
The cr eepi ng gol d t r uck i s j ust about al ongsi de t he par ked
U- Haul .
I NT. U- HAUL
Thr ough hi s si devi ew mi r r or , Lyl e eyes t he pr ogr ess of t he
gol d t r uck. He gi ves t he wor d:
LYLE
Comi ng i nt o posi t i on. . .
I NT. METRO RAI L STATI ON
The Mi ni s r oughl y bounce down t he second f l i ght of st ai r s.
The si des of t he car s scr ape agai nst t he met al handr ai l s.
Tour i st s, wor ker s, al l scamper away.
I NT. U- HAUL
The gol d t r uck get t i ng cl oser .
LYLE
Fi ve. . . Four. . .
I NT. METRO RAI L STATI ON
The Mi ni s l and on t he pl at f or mwher e ever yone i s wai t i ng f or
t he next Met r o.
Heads t ur n at t he si ght of t hese hal f - car s st r eaki ng by.
I NT. U- HAUL
The gol d t r uck i s al most al ongsi de t he U- Haul .
LYLE
Three. . .
I NT. METRO RAI L STATI ON
Char l i e' s Mi ni f l i es of f t he pl at f or mand l ands on t he r ai l
l i ne. The car ' s shocks t ake t he hi t .
The ot her Mi ni s f ol l ow sui t , of f t he pl at f or m, ont o t he
rai l s.
LYLE ( V. O. )
Two. . . One. . .
THE MI NI S
Dr i ve past t he spot wher e t hey put t he Ni t r amon expl osi ves.
LYLE ( V. O. )
Do i t .
I NT. STELLA' S MI NI
She br akes t o a st op and br aces her sel f as
. I NT. HANDSOME ROB' S MI NI
Hal f - Ear pul l s out hi s hear i ng ai d, hi t s t he r emot e t o a
det onat or and
EXT. HOLLYWOOD & HI GHLAND
The sect i on of pavement t hat t he gol d t r uck si t s on spl i t s
apar t . The r oad sur f ace dr ops away. Smoke bi l l owi ng up as
The BRI NK' S TRUCK FALLS. . .
I NT. METRO RAI L TUNNEL
Suddenl y t he st r eet , t he ar mor ed t r uck and dayl i ght come
cr ashi ng down at us i n a cl oud of smoke and debr i s.
The t r uck' s wi ndshi el d i mpl odes.
The Mi ni s come t o a st op. Hal f - Ear j umps out . Ai ms t he
gr enade l auncher . FI RES.
I NT. GOLD TRUCK
The t r i pl e char ger chemi cal gr enade sai l s i n t hr ough t he
wi ndshi el d and expl odes, knocki ng out t he guar ds. The dr i ver
sl umps agai nst t he st eer i ng wheel , t he hor n BLARI NG under hi s
wei ght . At t he same t i me:
I NT. . U- HAUL - ON THE CUT
Lyl e hi t s a but t on on a r emot e cont r ol and
EXT. U- HAUL
Cl amps unl ock, r el easi ng t he heavy st eel sheet f r omt he si de
of t he U- Haul . I t SLAMS DOWN, neat l y cover i ng t he gapi ng
hol e i n t he r oad l i ke a huge manhol e cover .
EXT. HOLLYWOOD & HI GHLAND
The mot or cycl es f ol l owi ng t he Br i nk' s come t o a sudden st op.
The mot or cycl e guar ds wat ch t he smoke cl ear . The ar mor ed
t r uck has vani shed! Vapor i zed i n t he gr i dl ock! Gone!
Pandemoni um. Peopl e scat t er . A man j umps out of hi s BMW
and spr i nt s away f r omt he expl osi on.
Lyl e get s out of t he U- Haul and r uns t o hi s get away vehi cl e:
t he Vespa. He' s about t o hop on, but somet hi ng st ops hi m. . .
The si ght of t he vacant , shi mmer i ng, 2002 BMW750i L par ked
j ust ahead, keys dangl i ng f r omt he i gni t i on.
At t he same t i me, t he mot or cycl e guar ds cl i mb of f t hei r
bi kes. Dr aw semi - aut omat i c handguns. Resul t : mor e madness
Byst ander s f l ee.
The BMWt ear s out of t her e, Lyl e behi nd t he wheel .
I NT. METRO RAI L TUNNEL - DAY
The r ear door t o t he Br i nk' s i s open. Our cr ew sees t he
Wor t hi ngt on 1000 i nsi de.
CHARLI E
Ni ce wor k.
HALF- EAR
Wel l l i ke Ei nst ei n al most sai d: geni us
i s t en per cent i nspi r at i on, ni net y
per cent det onat i on.
CHARLI E
Let ' s get our gol d.
St el l a goes up t o t he i mposi ng saf e. Gi ves i t a l ook of
moment ar y r espect , t hen set s t o wor k. . .
I NT. KNX- AM 1070 TRAFFI C HELI COPTER - DAY
Chr i st i naGr i ego t el l i ng her r adi o audi ence:
CHRI STI NA GRI EGO
I ' ve seen ear t hquakes, mudsl i des, f i r es,
r i ot s, but t hi s. . . Let me t r y t o pai nt a
pi ct ur e f or our l i st ener s.
I NT. FERRARI
Heari ng the news over the radi o . " ' - '
( CONTI NUED)
CONTI NUED:
CHRI STI NA GRI EGO ( V. O. )
Ther e' s been some ki nd of an expl osi on
and a Br i nk' s t r uck has j ust dr opped down
i nt o t he Met r o Rai l Bl ue Li ne.
St eve sl ams t he car i nt o gear and j umps t he si dewal k, passi ng
t he gr i dl ock. He hol l er s i nt o a wal ki e- t al ki e
STEVE
The t r uck' s i n t he Met r o Rai l . Wher e
does t he Bl ue Li ne go back above gr ound?
EXT. STREETS - SERI ES OF SHOTS
The mot or cycl e guar ds who wer e escor t i ng t he decoy t r ucks
hear St eve over t hei r wal ki e- t al ki es. Wi t h squeal s of
r ubber , t hey t ur n ar ound as one of t he guar ds answer s
MOTORCYCLE GUARD
I t comes out at Fl ower & Pi co.
At t he same t i me .
I NT. METRO RAI L TUNNEL - DAY
t
St el l a wor ks t he di al , f eel i ng f or cont act poi nt s. And
EXT. HOLLYWOOD & HI GHLAND - DAY
The t wo mot or cycl e guar ds f er vent l y t r y t o l i f t of f t he st eel
sheet t hat dr opped down f r omt he U- Haul .
I NT. METRO RAI L TUNNEL - DAY
They see dayl i ght st ar t t o st r eami n f r omabove as t he st eel
sheet sl i des a l i t t l e.
CHARLI E
St el l a?
STELLA
ShJ l hh..
We HEAR St el l a' s hear t poundi ng i n her ear s. See t he
per spi r at i on on her f i nger t i ps.
STELLA ( CONT' D)
You know when you sai d t hi s woul dn' t be
t he same as openi ng a saf e f or t he cops?
HANDSOME ROB
Yeah.
( CONTI NUED)
CONTI NUED:
STELLA
Di d you have t o be r i ght ?
EXT. HOLLYWOOD & HI GHLAND - DAY
The mot or cycl e guar ds st r ai n, managi ng t o shi f t t he st eel
sheet enough so t hey can see t he ar mor ed t r uck bel ow.
I NT. METRO RAI L TUNNEL - DAY
CLOSE SHOTS on St el l a' s eyes, pur e concent r at i on. CLOSE
SHOTS on each number on t he di al . Fi nal l y: CLI CK.
She gr abs t he saf e' s l ever and swi ngs t he st ur dy st eel door
open. She i nst i nct i vel y l ooks away.
CHARLI E
Don' t you want t o see what ' s i nsi de?
STELLA
I never l ook.
CHARLI E
Tr ust me. You wanna l ook.
So she does. I nsi de i s a mount ai n of gol d br i cks. . .
EXT. HOLLYWOOD & HI GHLAND - MOMENTS LATER
The mot or cycl e guar ds heave, st r ai n, f i nal l y get t i ng t he
st eel pl at e of f . But i t ' s t oo l at e as
I NT. MI NI S - SERI ES OF SHOTS
Engi nes REV. Exhaust j et s. Hands sl amst i ck- shi f t s.
I NT. METRO RAI L TUNNEL
The car s st r eak of f deeper i nt o t he Met r o Rai l t unnel ,
headl i ght s bounci ng of f t he wal l s.
I NT. CHARLI E' S MI NI ( MOVI NG) - DAY
I t ' s a r ush cr ui si ng down t he t unnel . Taki ng t he Bl ue Li ne.
Leadi ng t he pack. But t hey' r e not home f r ee yet .
EXT. 101 FREEWAY - DAY
Rush hour gr i dl ock no pr obl em. The Fer r ar i ' s 12 cyl i nder
massi ve 210bph engi ne bel l ows as i t hi t s 120 m. p. h. i n t he
br eakdown l ane.
A Hi ghway Pat r ol car st ar t s chasi ng af t er i t , si r en wai l i ng.
I NT. FERRARI ( HAULI NG ASS) - DAY
Mer gi ng ont o t he 110 Sout h, St eve sees t he pat r ol car i n hot
pur sui t .
He shi f t s i nt o si xt h and suddenl y t hi s car i s a r ocket
bl ast i ng of f , doi ng a 1/ 4 mi l e i n 1. 3 seconds, l eavi ng t he
pat r ol car f ar behi nd. At t he same t i me
I NT. SAFE HOUSE - GARAGE
Mashkov and t he ot her heavi l y ar med Ukr ai ni ans cl i mb i nt o a
SUV. The gar age door opens and t he vehi cl e char ges out of
t her e. And at t he same t i me
I NT. METRO RAI L TUNNEL
The t hr ee Mi ni s speed by UNDERNEATH OUR CAMERA i n st r eaks of
r ed, whi t e, and bl ue.
I NT. CHARLI E' S MI NI ( MOVI NG)
He spot s t he pr over bi al dayl i ght at t he end of t he t unnel .
EXT. FLOWER & PI CO - DAY
Wher e t he Bl ue Li ne r i ses up t o gr ound l evel . The Mi ni s
t hunder i nt o t he dayl i ght , past t he above gr ound pl at f or m,
j ust as t wo mot or cycl es come f l yi ng ar ound t he cor ner af t er
them.
Pi ct ur e t hi s: t wo guar ds on each mot or cycl e wi t h each man
seat ed behi nd t he dr i ver hol di ng AK- 47s i n each hand, gi vi ng
t hemt he appear ance of havi ng submachi ne guns gr owi ng out of
t hei r shoul der s.
Fi nger s go f l at agai nst t he AK- 47s t r i gger s. Bl owi ng SHOT
af t er SHOT at t he Mi ni s. BAM- BAM- BAM.
I NT. CHARLI E' S MI NI
I n t he t eet h of gunf i r e. Bul l et s expl ode t hr ough t he back
wi ndow i n a cacophony of CRASHI NG GLASS. A shot wi ngs hi s
door . POP! I nt o headset :
CHARLI E
Spl i t up!
EXT. FLOWER & PI CO
They head of f i n di f f er ent di r ect i ons t hr ough congest ed
downt own r ush hour t r af f i c.
( CONTI NUED)
CONTI NUED:
One mot or cycl e t akes of f af t er Char l i e' s Mi ni . The ot her
goes af t er Handsome Rob' s Mi ni . So St el l a' s f r ee and cl ear
except t hat St eve' s Fer r ar i i s bar r el i ng down Pi co and comi ng
af t er her .
I NT. LAPD HELI COPTER ( FLYI NG)
An LAPD PI LOT swoops i n, bar ki ng out i nst r uct i ons t o pol i ce
car s conver gi ng on t he scene.
EXT. CHARLI E' S MI NI
Tur ni ng ont o Exposi t i on, t he mot or cycl e i n pur sui t , t he
chopper over head.
Hi s r ed Mi ni j umps a cur ve, now on a wi de si dewal k,
accel er at i ng f ul l t hr ot t l e f or t he hor i zon whi l e pedest r i ans
f l at t en t hemsel ves agai nst a hi gh- r i se i n f ear .
I NT. CHARLI E' S MI NI
He sees someone gi ve hi mt he f i nger . Mut t er s:
CHARLI E
I f you don' t l i ke how I ' mdr i vi ng, get
of f t he damn si dewal k.
Meanwhi l e:
I NT. HANDSOME ROB' S MI NI
He' s got t he ot her mot or cycl e on hi s t ai l , RELENTLESS GUNFI RE
doggi ng hi s ever y move.
He shi f t s smoot h as si l k, squeezi ng bet ween a car he' s
passi ng and an oncomi ng car i n t he ot her l ane. Hal f - Ear i s
t r yi ng hi s best t o r emai n cal mbut J esus, t hat was cl ose.
Suddenl y, Handsome Rob veer s of f t he r oad and WHAM. He t akes
down a chai n l i nk f ence and i s now i n t he par ki ng l ot of t he:
EXT. CONVENTI ON CENTER .
Hi s whi t e Mi ni cat apul t s acr oss t he asphal t , t he mot or cycl e
st i l l r i ght behi nd.
I NT. HANDSOME ROB' S MI NI
Up ahead, he eyes t he open door ent r ance t o t he Convent i on
Cent er . St omps t he gas.
HALF- EAR
What ar e you doi ng?
( CONTI NUED)
CONTI NUED:
The t ur bi ne howl s.
HALF- EAR ( CONT' D)
What ar e you doi ng?
EXT. CONVENTI ON CENTER
The Mi ni squeezes t hr ough t he door way and i nt o t he
I NT. CONVENTI ON CENTER
I t ' s t he STAR TREK GRAND SLAM 2002 convent i on i n f ul l swi ng.
' Di spl ay t abl es ar e l i ned up i n t he caver nous hal l and t he
Mi ni snakes t hr ough t he maze and t he Tr ekki es as
The mot or cycl e f ol l ows r i ght behi nd and t he chase i s r eal l y
on now.
THUDA THUD THUDA, t he Mi ni ' s wheel s cl i mb a f l i ght of st eps.
Waves of peopl e f l ee t he pat h of t he l i t t l e car and
THUD, THUDA, THUD, t he mot or cycl e f ol l ows r i ght behi nd.
The Mi ni zi ps down t he wi de Concour se Hal l t r avel s
under neat h banner s of St ar Tr ek char act er s t hat hang f r omt he
cei l i ng t he mot or cycl e keeps up, t i r es t ear i ng i nt o t he
car pet i ng.
I NT. HANDSOME ROB' S MI NI
He shi f t s, swer ves, avoi di ng peopl e, obst acl es.
HALF- EAR
Go t hat way!
Handsome Rob t ur ns, t aki ng t hemdown t he
WEST HALL
t hat st r et ches out t owar d t he St apl es Cent er .
WHI Z. The Mi ni goes by. WHI Z. The mot or cycl e goes by. ,
Then
The Mi ni st eamr ol l s t hr ough t he exi t door s an' d - -
EXT. CONVENTI ON CENTER/ STAPLES CENTER
I t bounds down out door st eps and r amps ont o t he out si de
ent r ance t o t he St apl es Cent er , f i t t i ng snugl y bet ween cement
pi l l ar s t hat ar e desi gned t o keep r egul ar - si zed car s out .
I NT. STAPLES CENTER - DAY
The Mi ni bul l dozes t hr ough gl ass door s. Acr oss t he l obby.
Down an ai sl e t hat l eads r i ght t o
CENTER COURT
wher e OUR L. A. LAKERS ar e i n t he mi dst of pr act i ce. The
Mi ni s do l ook l i ke mat chbox car s next t o t hese t ower i ng
pl ayer s.
The car ' s t i r es l eave a st r eak of r ubber on t he par quet
f l oor . The t eamcl ear s a pat h. The car i s of f t he cour t
bef or e t hey know i t .
But now t he pl ayer s see t he mot or cycl e comi ng down t he ai sl e.
See t he guns. See secur i t y guar ds r unni ng af t er i t .
KOBE BRYANT pi cks up a basket bal l .
The mot or cycl e char ges acr oss cent er cour t .
Kobe ai ms. . . hur l s t he bal l . I t RAMS i nt o t he mot or cycl e' s
handl ebar s. The bi ke spi ns out of cont r ol and i nt o a nast y
f al l , spi t t i ng of f t he r i der s whi l e
EXT. STAPLES CENTER
The Mi ni cr ashes out t he opposi t e si de of t he ar ena and
gl i des r i ght t hr ough t he L. A. Spor t s Ar ch of Fame bef or e
escapi ng ont o Fi guer oa. Meanwhi l e:
EXT. SOUTH ALAMEDA - DAY
The Fer r ar i i s eat i ng up t he pavement as i t hounds af t er
St el l a. Two pol i ce car s ar e r oar i ng af t er t hembot h.
I NT. STELLA' S MI NI
She sl aps t he gear s i nt o act i on, maneuver s t i ght t ur ns ar ound
t he car s i n her pat h, j ust l i ke she does at home wi t h J ack
Dani el s.
EXT. SOUTH ALAMEDA
A cop car t r i es t o pass t he same car as t he Fer r ar i but
smashes i nt o an oncomi ng vehi cl e. As i t spi ns l i ke a
cor kscr ew
EXT. FERRARI
The r ear t i r es spi n smoke and i t l aunches l i ke a mi ssi l e
af t er t he Mi ni .
I NT. STELLA' S MI NI
She keeps f l oor i ng i t . . . t he gauge r i si ng. . . t he cust omi zed
engi ne scr eami ng. . .
But t he Fer r ar i , l i ke an unst oppabl e f or ce, hangs menaci ngl y
i n her r ear vi ew mi r r or .
I / E FERRARI
St eve RAMS i nt o t he r ear bumper of t he bl ue Mi ni . The bumper
t ear s of f , r ol l s acr oss t he pavement . The Fer r ar i i s about
t o make anot her char ge.
I NT. STELLA' S MI NI
She yanks t he wheel l ef t t o avoi d t he hi t . Suddenl y f i nds
her sel f i n t he pat h of an ARROWHEAD WATER TRUCK. She yanks
t he wheel r i ght t o avoi d a col l i si on.
I NT. ARROWHEAD WATER TRUCK
The t r uck dr i ver hi t s t he br akes, over compensat i ng as he
t ur ns away f r omt he Mi ni and
EXT. SOUTH ALAMEDA
The t r uck f al l s over ont o i t s si de, sendi ng t hose bi g j ugs
al l over t he . r oad, wat er expl odi ng i nt o t he ai r and
The Fer r ar i cr ashes t hr ough t he j ugs, one r ol l i ng up t he hood
and over t he wi ndshi el d, dousi ng i t l i ke a car wash.
The l ane i s bl ocked by t he wr eck. St eve makes a r i ght t ur n.
The pol i ce cr ui ser hi t s t he br akes but not f ast enough. I t
sl ams i nt o t he wat er t r uck.
EXT. 5TH STREET
St eve t ur ned ont o a one- way st r eet and he' s goi ng t he wr ong
way. A J eep Wr angl er al most r uns i nt o hi mhead- on but bot h
car s st op j ust i n t i me.
The DRI VER of Wr angl er , a muscul ar f i r e pl ug of a guy, j umps
out , f ur i ous.
FURI OUS DRI VER
What ' s wr ong wi t h you, you st upi d- ass,
son of a bi t ch, di ckhead. . .
As mor e i nvect i ves ar e hur l ed, St eve get s out of t he Fer r ar i
and wal ks t owar ds t he f ur i ous dr i ver .
( CONTI NUED)
CONTI NUED:
FURI OUS DRI VER ( CONT' D)
What ? You want a pi ece of me? C' mon,
dumbshi t . Br i ng i t on. I ' l l be pul l i ng
peanut s out of your asshol e
BANG. St eve shoot s t he guy' s f oot .
FURI OUS DRI VER ( CONT' D)
Shi t ! Shi t ! You shot me i n t he f oot !
Whi l e t he f ur i ous dr i ver hops on one l eg, St eve get s i nt o t he
Wr angl er and t akes of f , abandoni ng t he Fer r ar i . At t he same
t i me
I NT. BMW75OI L ( MOVI NG) - SUNSET
Lyl e' s coast i ng down Exposi t i on Boul evar d t owar ds Uni on
St at i on. Cl ear sai l i ng f or hi m.
He sees a young woman t humbi ng f or a r i de. I t ' s Kar en. And
he r ecogni zes her : she was hi t chhi ki ng when he f i r st ar r i ved
i n L. A. He pul l s over . To Lyl e, she mi ght be an angel i n
t he empyr ean i f she wasn' t , so compl et el y, a woman.
LYLE
Wher e ar e you goi ng?
KAREN
Away.
LYLE
How about f ar , f ar away?
KAREN
The f ar t her t he bet t er .
EXT. FI GUEROA & OLYMPI C - DAY
Char l i e' s st i l l havi ng a hel l uva t i me get t i ng r i d of t he
mot or cycl e. I t scr eams l i ke a Banshee as i t st r eaks up
al ongsi de t he Mi ni . Char l i e suddenl y sees an AK- 47 poi nt ed
r i ght at hi m.
I NT. CHARLI E' S MI NI
He j er ks t he st eer i ng wheel and swer ves of f t he st r eet ,
dr i vi ng t hr ough t he par ki ng l ot of t he hi st or i c Hot el
Fi guer oa.
Wi t h t he mot or cycl e doggi ng hi s heel s, he l ooks up at t he
bui l di ng. I t has t hr ee t ower s t hat r i se up 12 st or i es, wi t h
a gi ant mur al of Al ber t Ei nst ei n cover i ng one of t he t ower s
( i t ' s an ad f or Appl e Comput er s: Thi nk di f f er ent . )
( CONTI NUED)
CONTI NUED:
Suddenl y t he LAPD hel i copt er swoops down t owar ds t he par ki ng
l ot , shat t er i ng t he ai r , bl owi ng up di r t and di scar ded
newspaper s i n a r ush of t ur bo- wash, t r yi ng t o box i n t he
Mi ni .
I NT. CHARLI E' S MI NI
He' s got no pl ace el se t o go . . .
I NT. HOTEL FI GUEROA
The Mi ni squeezes t hr ough t he ent r ance and i nt o t he l obby
wi t h i t s exot i c Mor occan decor . Hor r i f i ed guest s cat apul t
out of t he way. The Mi ni dr i ves past wooden st at ues, pot t ed
pal mt r ees.
The mot or cycl e f ol l ows t he car as i t st r eaks t owar ds t he
el evat or . Char l i e l ooks back, sees t he mot or cycl e. The
el evat or door opens. Some t our i st s st ep of f .
CHARLI E
Goi ng up?
I NT. ELEVATOR
The Mi ni dar t s r i ght i n, not an i nch t o spar e. Char l i e
r eaches out t he wi ndow, . pr esses t he but t on f or ROOF.
He sees t he mot or cycl e char gi ng af t er hi m, bur ni ng r ubber
acr oss t he beaut i f ul t i l ed f l oor . Cl oser , cl oser .
The door cl oses j ust i n t i me.
A second el evat or opens, t he mot or cycl e zooms i nsi de, peopl e
scr eami ng at t he si ght of t he guns.
EXT. ROOFTOP - DAY
The door s open, PI NG, and t he Mi ni r ever ses out , spi ns.
LOOKI NG DOWN ont o t he bui l di ng' s r oof t op, we see t hat i t i s
shaped l i ke a capi t ol E, t hr ee t ower s connect ed by a nar r ow
st r i p. Each t ower has i t s own el evat or . .
I NT. CHARLI E' S MI NI
He want s t o dr i ve acr oss t he r oof t op st r i p but t her e' s a bi g
pr obl em: t he gi ant si gn t hat excl ai ms HOTEL FI GUEROA i n r ed
and whi t e neon l i ght s bl ocks so much of t he st r i p t hat even
t he Mi ni coul dn' t squeeze t hr ough.
( CONTI NUED)
CONTI NUED:
I n hi s r ear vi ew, he sees t he second el evat or door open and
out comes t he mot or cycl e. He' s t r apped up her e. But he' s
not about t o abandon shi p.
EXT. ROOFTOP
So he f l oor s i t , sl aps t he gear s, hur t l es t o t he edge of t he
f i r st t ower and i n
EYE- POPPI NG CGI SLOWMOTI ON SHOTS
Hi s car hur l s i nt o t he wi de bl ue empt y space. . . The gr ound
del i r i ousl y di st ant . . . Spi r al i ng t hr ough t he ai r l i ke a
f oot bal l . . .
NEXT TOWER - ROOFTOP
The Mi ni l ands r i ght - si de- up wi t h a THUD. Char l i e, r at t l ed,
l ooks over hi s shoul der and sees t he LAPD hel i copt er r i si ng
over t he r oof t op, t ur bi nes SCREAMI NG.
And her e comes t he mot or cycl e. Fl yi ng f r omone sect i on of
t he r oof t op t o t he next . I t l ands and t he dr i ver REVS i t
f or war d
I / E CHARLI E' S MI NI
He speeds t owar d t he edge of t he r oof and l aunches of f
t owar ds t he t hi r d t ower some t went y f eet away. Lands. Keeps
goi ng t o t he l ast el evat or , ski ds t o a st op.
He r eaches out , punches t he cal l but t on. Then l ooks over hi s
shoul der t o wi t ness
THE MOTORCYCLE
goi ng f ul l t hr ot t l e t o make t he f i nal r oof t op t o r oof t op
j ump.
But i t s f r ont wheel hi t s t he edge sl i ght l y of f - ki l t er . . .
I t soar s but wi t h a sl i ght downwar d t r aj ect or y. . .
Towar ds a l ar ge wi ndow on t he t op f l oor . . .
Then l ower . . .
And t he l ook on t he dr i ver ' s f ace says i t al l a s . . .
The f r ont wheel of t he mot or cycl e SMACKS i nt o t he si de of t he
bui l di ng, j ust bel ow t he wi ndow.
( CONTI NUED)
CONTI NUED:
The guar ds ar e f l ung of f t he bi ke and t hei r bodi es CRASH
t hr ough t he wi ndow as
A hunk of expl odi ng met al i mbeds i t sel f i n t he si de of t he
LAPD chopper and
I NT. HOTEL FI GUEROA
The guar ds l and i n t he Tangi er Sui t e i n a hai l st or mof gl ass
shar ds.
I / E. LAPD HELI COPTER
Smoke bi l l ows out wher e t he hunk of met al hi t . The pi l ot
keeps i t under cont r ol but i t ' s t i me t o go. Wi t h a WHI NI NG
THROB, t he i nj ur ed chopper banks away.
I NT. HOTEL FI GUEROA LOBBY - DAY
PI NG. The el evat or door opens. Char l i e' s Mi ni shoot s out
t hen ski ds out t he l obby' s exi t . He made i t .
CUT TO:
I NT. STELLA' S MI NI ( SPEEDI NG) - DAY
She checks t he r ear vi ew mi r r or . No si gn of t he Fer r ar i .
J ust a J eep Wr angl er back t her e.
St el l a l ooks r el i eved. Feel s l i ke she' s home f r ee.
CUT TO:
EXT. UNI ON STATI ON - SUNSET
St el l a' s Mi ni pul l s up t o t he r amp of t he encl osed car
car r i er at t he end of Amt r ak Tr ai n 59, bound f or New Or l eans.
She can see t he ot her t wo Mi ni s ar e al r eady i nsi de. She get s
out and hands t he car go l oader a t i cket .
EXT. UNI ON STATI ON - NI GHT
The "Al l aboar d" announcement goes out over t he PA syst em.
Then t he Super l i ner t r ai n pul l s out of t he st at i on, qui ckl y
pi cki ng up speed.
I NT. FI RST CLASS CAR - NI GHT
The out si de st r eaks by t hr ough t he wi ndow. I t ' s a happy
cr ew. Champagne i s pour ed. Char l i e hol ds up hi s gl ass and
get s t hei r at t ent i on.
( CONTI NUED)
CONTI NUED:
CHARLI E
I want t o make a t oast . Cause t her e' s
somebody mi ssi ng her e t oday, and we al l
know who i t i s.
They al l r ai se t hei r gl asses.
CHARLI E ( CONT' D)
To J ohn Br i dger . The most br i l l i ant
mast er pl anner of t hemal l . We wi sh he
was wi t h us.
We PAN ACROSS t hei r f aces. I t ' s been a t hr ee year odyssey
f or t hem. They got t he gol d, but t hey l ost someone t hey
l oved.
ALL OF THEM
To J ohn.
Cl i nk.
I NT. CAR CARRI ER - NI GHT
OUR CAMERA MOVES past t he t hr ee Mi ni s par ked i nsi de. . .
And STOPS at t he l ast car i n t he car r i er t he J eep
Wr angl er . I t s r ear hat ch r i ses and St eve cr eeps out .
ar ound. I t ' s saf e.
Looks
He wal ks over t o St el l a' s Mi ni . Pops open t he t r unk
REVEALI NG a si l ver Hal i bur t on sui t case. He unzi ps t he case.
I t ' s f i l l ed wi t h st acks and st acks of gol d br i cks, t he exot i c
f ace of a Bal i nese gi r l on each one.
St eve pul l s out a br i ck, embr aces i t . He knows hi s gol d.
These br i cks ar e r eal .
But as he has a moment wi t h hi s gol d, BEHI ND HI M, t he t r unks
of t he ot her t wo Mi ni s RI SE i n uni son.
Then Mashkov RI SES out of t he t r unk of t he whi t e Mi ni .
Anot her Ukr ai ni an RI SES out of t he t r unk of t he bl ue Mi ni .
Four mor e Ukr ai ni ans sl i de out f r omunder neat h t he Mi ni s.
They cock t hei r M- l l s.
CLI CK CLI CK CLI CK CLI CK CLI CK CLI CK.
St eve hear s t he sound f r ombehi nd hi m.
see t he weapons poi nt ed at hi m.
He t ur ns ar ound t o
( CONTI NUED)
CONTI NUED:
MASHKOV
Take out your gun and dr op i t on t he
f l oor.
St eve has no choi ce.
STEVE
Who ar e you?
MASHKOV
You knew my cousi n. Yevhen.
STEVE
I never knew anyone named Yevhen.
MASHKOV
Get i n t he t r unk. Not t hat t r unk, t hi s
one. That gol d i s f or us. A gi f t f r om
some ol d f r i ends of your s. They sai d t o
t el l you t hat t hey di dn' t mi nd shar i ng
t he box of Cr acker J ack, as l ong as you
di dn' t get any. Not even t he t oy.
sur pr i se.
The Ukr ai ni ans f or ce St eve i nt o t he t r unk of t he whi t e Mi ni .
And f or t he f i r st t i me, he' s scar ed. Looki ng up at Mashkov,
he begs.
STEVE
Pl ease. Don' t shoot me. Pl ease. . .
MASHKOV
Don' t wor r y. That wasn' t t he deal . I ' m
not goi ng t o shoot you.
STEVE
Thank you. Thank God.
MASHKOV
( t o the ot her s)
He r eal l y t hought I was goi ng t o shoot
hi m.
The Ukr ai ni ans l augh. St eve t r i es t o l augh.
MASHKOV ( CONT' D)
No. No. I ' mnot goi ng t o shoot you.
I ' mgoi ng t o hack of f your l i mbs and bur y
you whi l e you' r e st i l l al i ve.
And wi t h t hat , he cl oses t he t r unk. THUD. Li ke t he l i d of a
cof f i n. And f or St eve, t he wor l d f al l s i nt o BLACKNESS.
I NT. FI RST CLASS CAR - SAME TI ME
Under neat h t he cr ew' s seat s, we see t he ot her t wo si l ver
Hal i bur t on sui t cases f i l l ed wi t h t he r est of t he gol d. We
BOOMUP t o our f i ve t hi eves. . .
CHARLI E
New I Ds.
Handsome Rob passes out new f ake dr i ver ' s l i censes f or when
t hey ar r i ve i n New Or l eans.
LYLE
( re: hi s f ake l i cense)
Si mon Quackenbush? Coul d I j ust once
have a cool name?
HALF- EAR
( al so compl ai ni ng)
250_ pounds?
They' r e i nt er r upt ed by t he RI NG of Char l i e' s phone. He
answer s.
CHARLI E
Di d you get what you want ed?
I NT. CAR CARRI ER - I NTERCUT
Mashkov i s on t he ot her end of t he l i ne.
MASHKOV
I ' mhappy.
Dur i ng t hi s, Lyl e t ypes commands i nt o hi s l apt op t hat i s
connect ed t o a phone j ack i n t he car .
CHARLI E
I t was good doi ng busi ness wi t h you.
Lyl e hi t s a f i nal command and
I NT. ENGI NEER ROOM - SAME TI ME
A si gnal box r ecei ves t he command and
EXT. CAR CARRI ER - SAME TI ME
The coupl er bet ween t he car car r i er and t he r est of t he t r ai n
i s el ect r oni cal l y di sengaged.
Thi s causes t he t r ai n t o separ at e f r omt he car car r i er . The
t r ai n speeds on wi t hout i t at 100 mi l es per hour .
( CONTI NUED)
CONTI NUED:
The car car r i er sl owl y comes t o a st op i n t he mi ddl e of
nowher e.
CUT TO:
I NT. DI NI NG CAR - NI GHT
The Di ni ng Car f eat ur es cr i sp whi t e l i nens and ext ended
wi ndows f or sceni c di ni ng. Lyl e wal ks over t o a t abl e wher e
Kar en i s wai t i ng f or hi m. She l ooks r espl endent .
LYLE
I s t hi s seat t aken?
KAREN
I t i s now.
He si t s. And as OUR CAMERA HOLDS ON Lyl e, r eady t o embark on
a new l i f e, we
CUT TO:
THE COVER OF WI RED' MAGAZI NE
I t f i l l s THE SCREEN. And beneat h a phot ogr aph of Lyl e
hi msel f , we r ead t he headl i ne:
WI LL THE REAL NAPSTER PLEASE STAND UP
HowThe Laptop Fugi ti ve Pul l ed I t Of f
CUT TO:
I NT. PARLOUR CAR - NI GHT
And as OUR CAMERA FI NDS Hal f - Ear , checki ng out t he books i n
t he l i br ar y, f eel i ng l i ke t he weal t hy man he i s, we
CUT TO:
THE COVER OF PHI LADELPHI A CI TY COLLEGE' S ALUMNI NEWS
And beneat h a gr aduat i on phot o of Hal f - Ear i n hi s cap and
gown, we r ead t he headl i ne:
"HE WAS ONE OF MZ BEST STUDENTS"
Prof essor Rel i ves Memori es of Erudi te Fugi ti ve
CUT TO:
I NT. LOUNGE CAR - NI GHT
And as OUR CAMERA FI NDS Handsome Rob, who' s al r eady caught
t he eye of a woman at t he bar , we
CUT TO:
THE COVER OF THE ADELPHI A CABLE I NSI DER NEWSLETTER
And beneat h a . phot o of Becky t he cabl e chi ck, we r ead t he
headl i ne:
"HE TOOK THE SHI RT OFF MX BACK AND I ' D GI VE I T TO HI M AGAI N! "
Feds Say Techni ci an Admi t s t o Encount er Wi t h ' Handsome' Thi ef
CUT TO:
I NT. FI RST CLASS CAR - NI GHT
Char l i e and St el l a dr i nk f r omgl asses of champagne.
CHARLI E
. We di d i t.
STELLA
We sur e di d.
CHARLI E
Ther e' s somet hi ng I ' ve been meani ng t o
ask you, St el l a. But I ' ve j ust been so
busy l at el y, what wi t h t he expl osi on, car
chase, Ukr ai ni ans and al l .
STELLA
I t has been a hect i c day.
CHARLI E
I t ' s about t hat t hi ng you sai d t o me back
i n Phi l adel phi a.
STELLA
That t hi ng?
CHARLI E
You sai d t hat you can"t have a
r el at i onshi p wi t h a pi ckpocket , gol d
r obber , or any ki nd of t hi ef .
STELLA
Oh. . . That t hi ng.
( CONTI NUED)
CONTI NUED:
CHARLI E
Do you st i l l bel i eve t hat ?
STELLA
Yeah. I do.
CHARLI E
Wel l I was wonder i ng. . . What about a
r et i r ed pi ckpocket , gol d r obber , t hi ef ?
STELLA
Now t hat ' s an ent i r el y di f f er ent
. quest i on.
And as an eni gmat i c smi l e set t l es acr oss her f ace, we
CUT TO:
THE COVER OF CONDE MAST TRAVEL MAGAZI NE
And beneat h a phot o of sunbat her s on a gl or i ous beach, we
r ead t he headl i ne:
LI VI NG THE GOOD LI FE ON THE PI NK SANDS OF BEBMUDA
And OUR VI EWSLOWLY PUSHES I N CLOSER ON t he magazi ne cover . . .
CLOSER on t he l i ne of sunbat her s. . . PANNI NG ACROSS t hei r f aces
__ and you' d never not i ce unl ess you wer e r eal l y, r eal l y,
l ooki ng f or t hem. . . i s i t t hem?. . . CLOSER on the pi xel s. . . and
yes, i t sur e i s . . . Char l i e & St el l a i n l ounge chai r s, l i vi ng
t he good l i f e.
FADE OUT.
The end.