Out of Sight

                         "Out of Sight"  

                         Screenplay by

                          Scott Frank

                       from the novel by

                         Elmore Leonard

                                        White Final:        08/05/97
                                        Blue Revised:       09/17/97
                                        Pink Revised:       11/11/97
                                        Green Revised:      12/15/97
                                        Goldenrod Revised:  12/16/97
                                        Buff Revised:       03/17/98
                                        Salmon Revised:     03/23/98

     BLACK

     We hear TRAFFIC, some STREET NOISES, then...

     FADE IN: A MIAMI STREET - DAY

     The financial district.  Lots of people in suits.  A shaky,
     spasmodic ZOOM IN finds...

     JACK FOLEY -- forty, big, focused expression -- as he rips a
     tie from around his neck and throws it down in the gutter.  He
     starts across the street, now peeling off his suitcoat and
     dropping that, too, right there on the asphalt as we then...

     WHIP PAN OVER TO REVEAL: A BANK ACROSS THE STREET

     As Foley goes inside, we then...

     CUT TO: A PRINTED BROCHURE THAT READS...

                        LOOKING FOR MONEY?

                  YOU'VE COME TO THE RIGHT PLACE.

     We then PULL BACK TO REVEAL that we're now...

     INSIDE THE BANK

     as Foley stands at a counter holding the above CREDIT APPLICATION
     while he studies the bank layout.

     Foley watches a MAN IN A SUIT, carrying an attache-case, enter
     the bank and move through the gate into the fenced-off business
     area at the front.  An EXECUTIVE rises from his desk, shakes
     hands with the man and they both sit down.

     Foley rosses the brochure in the trash, then crosses to a teller
     window where a nameplate on the counter tells us the young woman
     with the pile of dark hair smiling at him is LORETTA.

                              TELLER/LORETTA
                 How can I help you, sir?

                              FOLEY
                 Loretta, you see that guy talking to
                 your manager, has his case open?

     Foley takes out a ZIPPO LIGHTER and casually, yet expertly,
     begins to fiddle with it as the teller looks across the bank.

                              LORETTA
                 That's Mr. Guindon, one of our assistant
                 managers.  Our manager is Mr. Schoen,
                 but he's not in today.

                              FOLEY
                 But you see the guy with the attache
                 case?

                              LORETTA
                      (looks again)
                 Yes.

                              FOLEY
                 That's my partner.  He has a gun in
                 there.  And if you don't do exactly
                 what I tell you, or you give me any
                 kind of a problem, I'll look over at
                 my partner and he'll shoot your Mr.
                 Guindon between the eyes.

     Loretta goes stiff, swallows, stares back at Foley.

                              FOLEY (CONT'D)
                 Now take one of those big envelopes
                 and put as many hundreds, fifties and
                 twenties as you can pack into it.
                 Nothing with bank straps or rubber
                 bands.  I don't want any dye packs.  I
                 don't want any bait money.  Start with
                 the second drawer and then the one
                 over there, under the computer.  Come
                 on, Loretta, the key's right there
                 next to you.  No bills off the bottom
                 of the drawer.
                      (as she works)
                 First time being robbed?
                      (she nods)
                 You're doing great.  Just smile,
                 Loretta, so you won't look like you're
                 being held up.
                      (she smiles awkwardly)
                 That's the way, you're doing fine.

     We hear a bit of thunder and Foley cuts a fast look out the
     front door.  When he turns back, he sees that Loretta's having
     some trouble fitting all the bills into the envelope.

                              FOLEY (CONT'D)
                 Here, give me the twenties.  I'll put
                 'em in my pocket.  Okay, I haven't had
                 to give my partner a sign; that's good.
                 Now, he's gonna wait thirty seconds
                 till after I'm out the door, make sure
                 you haven't set off the alarm.  If you
                 have, he's gonna shoot Mr. Guindon
                 between the eyes.  Okay?  I think
                 that'll do it.  Thank you, Loretta,
                 and have a nice day.

                              LORETTA
                 You, too.

     Foley heads for the door.  He pauses by Mr. Guindon's desk,
     looks back at Loretta.  Foley smiles at her, then turns to the
     Man sitting with Mr. Guindon, indicates Loretta...

                              FOLEY
                 She's cute, isn't she?

     The man looks across the bank at Loretta.

                              MAN
                 Uh, yeah, I guess so.

     Foley winks at Loretta and walks out.

                              MAN (CONT'D)
                      (to Mr. Guindon)
                 Who was that?

     EXT. BANK - SAME

     As Foley comes out, he calmly walks to a Honda Civic and gets in.

     INT. CAR - SAME

     As Foley tries to start the car.  No go.  He tries again.

                              FOLEY
                 Come on...

     But the car won't start.  Foley bangs on the wheel...

                              FOLEY (CONT'D)
                 Fuck!

     Foley then stiffens as a cop sticks his gun through the open
     window into Foley's ear...

                              COP
                 I think you flooded it.

     Foley looks to the passenger window, where ANOTER COP, smiling,
     now has his gun pointing at him.

                              SECOND COP
                 Get out've the car, sir.

                              FOLEY
                 Wanna hear a funny story?

                              SECOND COP
                 Shut up and get out've the car.

     And as Foley obliges, we then...

     FADE TO WHITE.

     We hear a MAN GRUNT.  Then see Foley in SLOW MOTION as he jumps
     through frame, now we see a basketball come up in his hand as
     we realize he's on his way to the rim when...

     ...ANOTHER GUY rams into him in mid-air, knocks him down.

     EXT. PRISON YARD - DAY

     A BASKETBALL GAME in progress.  All of the men, Foley included,
     are dressed in blue coveralls and white T-shirts.  The game is
     rough.  Hair is pulled.  Eyes are poked.  Faces punched.

     A title reads: "GLADES CORRECTIONAL INSTITUTION.  BELLE GLADE,
     FLORIDA."

     Foley is the oldest player here.  He's getting tired, starts to
     lose his breath.  He finally walks off the court, breathing so
     hard he can't even talk.  He simply motions to SOME YOUNG CONVICT
     to come in and take his place.

     Foley sits down on a bench, tries to catch his breath.  He looks
     across the yard to where...

     A GROUP OF ELDERLY INMATES

     sitting around a wooden picnic table are playing cards.  All of
     them are over sixty.  One of them, a one-legged guy on crutches
     hops away from the table, spits out some tobacco as we...

     INTERCUT THE OLD TIMERS WITH FOLEY WATCHING THEM:

     As we see one old guy is making a picture frame out of old Pal
     Mal and Lucky Strike packs.  Another tends to a tomato bush in
     a tiny patch of garden near the wall.  Another one sits nearby
     painting a picture of a man and a boy fishing from a rowboat.

     Foley is about to get up off the bench when something catches
     his eye.  He watches as...

     TWO LATINO MEN

     both little guys, jog past the game, slow to a walk, then stop
     and begin stretching out.  One of them nods to Foley.  Foley
     nods back, waits for the Latin guys to walk off, then walks
     over to a guard, PUPKO ("PUP"), heavy-set, dumb as dirt.

                              PUP
                 You want something, Foley?

     Foley keeps his eyes fixed on the basketball game.

                              FOLEY
                 Some people are going out of here.
                 What if I told you where and when?

                              PUP
                 How many?

                              FOLEY
                 I expect you to look out for me, Pup,
                 let me run off work details.

                              PUP
                 Okay.  How many going out?

                              FOLEY
                 I hear six.

                              PUP
                 When?

                              FOLEY
                 Looks like tonight.

                              PUP
                 You know who they are?

                              FOLEY
                 I do, but I won't tell you just yet.
                 Meet me in the chapel at eight-thirty,
                 right before lock-down.

     INT. MESS HALL - LUNCH

     As Foley takes his tray up the centre aisle, he scans the sea
     of white T-shirts until he sees the two little Latins sitting
     at a table full of other little Latins.  CHINO -- fifties, in
     shape -- shovels macaroni in his mouth.

     Chino's "wife", LULU, nineteen, looks up from his own neat tray
     of macaroni and jello and watches Foley walk past and sit down
     with a bunch of bikers.

     Foley watches as the guy across from Chino scrapes some macaroni
     off his plate and on to Chino's and Chino wolfs that down, too.

     EXT. MESS - DAY

     Chino steps outside and lights a cigarette.  He puts an arm
     around Lulu, starts to walk off...

                              FOLEY (OS)
                 Today's the day, huh?

     Chino looks over, watches Foley approach, lets his arm slip
     down so he can hook his thumb into Lulu's belt... the next
     thing to having him on a leash.

                              FOLEY
                 You excited?

                              CHINO
                 I told you, man, Super Bowl Sunday.

                              FOLEY
                 Yeah, but I see you moved it up.

                              CHINO
                      (beat)
                 Why you think is today?

                              FOLEY
                 You were out running this morning,
                 sticking to your routine, anybody
                 happened to notice.  But you only did
                 a couple of miles instead of your usual
                 five.  Saving yourself for the main
                 event.  Then I see you inside eating
                 ten pounds of macaroni. Carbohydrates
                 for endurance.

     Chino and Lulu exchange looks.

                              CHINO
                 You want, I tole you you can come.
                 You all right, Foley.  I like you.

                              FOLEY
                 You told me I can come 'cause I caught
                 you digging the fuckin' tunnel, saw you
                 and Lulu coming out of the bushes,
                 thought maybe you two were making out.

     Foley smiles at Lulu, who glares back at him.

                              FOLEY (CONT'D)
                 So what, you finish ahead of schedule?

     Chino looks towards the fence along the front of the yard.

                              CHINO
                 You see what they doing, those posts
                 out there?  Putting up another fence,
                 five metres on the other side of the
                 one that's there.  We wait until Super
                 Bowl Sunday, they could have the second
                 fence built and we have to dig another
                 nine, ten days.  So we going soon as
                 it's dark.  You want -- I mean it --
                 you can still come.

                              FOLEY
                 I appreciate the offer.  And it's
                 tempting.

     Foley looks off towards the visitors' parking area, the fence
     not twenty yards away.

                              FOLEY (CONT'D)
                 But, man, it's a long run to
                 civilization.  A hundred miles to Miami?
                 I'm too old to start acting crazy, try
                 a stunt like that.  You make it out,
                 send me a postcard.

     CUT TO: A NOTEPAD

     where we see someone has written "IT'S MAGIC!" then crossed out
     the "IT'S" and replaced it with the word "LIKE".  We hear THE
     PHONE RING AND...

     REVEAL: INT. ADELE'S APARTMENT - DAY

     Miami Beach Moderne.  ADELE -- mid-thirties, pretty, Foley's ex --
     sits at her kitchen table writing on a pad.  She grabs the phone.

                              ADELE
                 Hello?
                      (then, sighs)
                 Yeah, I accept.

     INT. PRISON HALLWAY - DAY

     Foley on the phone...

                              FOLEY'S VOICE
                 Hey, Adele, how you doing?

     INTERCUTTING FOLEY & ADELE:

                              ADELE
                 Hey, Bank Robber, want some advice?
                 Next time, leave the engine running.

                              FOLEY
                 That's funny, Adele.  How many more
                 times you gonna gimme that one?

                              ADELE
                 Till it's not funny any more.  What do
                 you want, Jack?

                              FOLEY
                 You know that Super Bowl party?  They
                 changed the date.  It's on tonight,
                 eight-thirty.

                              ADELE
                 Didn't you tell me one-time calls aren't
                 monitored?

                              FOLEY
                 I said not as a rule.

                              ADELE
                 So why don't you come right out and
                 tell me what you're talking about?

                              FOLEY
                 Listen to Miss Smarty Mouth.  Out there
                 in the free world.

                              ADELE
                 What's free about it?  I'm looking for
                 work.

                              FOLEY
                 What happened to Mandrake the Magician?

                              ADELE
                 Emil the Amazing.  The bastard fired
                 me and hired another girl, a redhead.
                 I'm working on a new business card,
                 pass out to the cafes.  How's this
                 sound--

                              FOLEY
                      (cuts her off)
                 Listen, Adele, the reason I called,
                 that party is today instead of Sunday.
                 About eight-thirty, like only a few
                 hours from now.  So you'll have to get
                 hold of Buddy, whatever he might be
                 doing...

                              ADELE
                 And the one driving the other car?

                              FOLEY
                 What're you talking about?

                              ADELE
                 Well, seeing as you have so much luck
                 with cars, Buddy thought it might be
                 better to bring two.  He got this guy
                 he says you know from Lompoc, Glenn
                 something.

                              FOLEY
                 Glenn Michaels.

                              ADELE
                 Yeah, that's him.  Buddy says Glenn
                 thinks you guys are real cool.

                              FOLEY
                 He did, huh.  Well, tell Buddy I see
                 Glenn wearing his sunglasses I'll step
                 on 'em.  I might not even take 'em off
                 first.

     INT. RESTAURANT - DAY

     As MARSHALL SISCO -- fifty -- slides a small wrapped box across
     a table...

                              MARSHALL
                 Happy birthday.

     ...to where KAREN SISCO -- twenty-eight, black suit, long hair,
     a knockout -- sits.  She picks up the box and shakes it.

                              KAREN
                 You fit another Chanel suit in here?

                              MARSHALL
                 Something better.  Open it.

     Karen starts to carefully unwrap the present.  Marshall watches,
     takes a sip of his drink, looks around the bar, sees how
     everyone's looking at the two of them...

                              KAREN
                      (opens the box)
                 Oh my God...

     She pulls a gleaming automatic pistol from the box...

                              KAREN (CONT'D)
                 It's beautiful.

                              MARSHALL
                 It's a --

                              KAREN
                 --Sig-Sauer .38.  I love it.

     She leans across the table and kisses him.

                              KAREN (CONT'D)
                 Thanks, Dad.

                              MARSHALL
                 Happy birthday, kid.
                      (then)
                 You want another Coke?

                              KAREN
                      (checks her watch)
                 Can't.  I gotta drive out to Glades,
                 then I'm meeting Ray Nicolet at ten.

                              MARSHALL
                 Which one is that?  The ATF guy?

                              KAREN
                 He was.  Ray's with the F.B.I. now,
                 he switched over.