Out of Sight Page #15

---

FOLEY:

Low class of people there, Snoop.

WHITE BOY BOB:

You call him that again I'll put your

head through the wall.

BUDDY:

What? You mean Snoop?

MAURICE:

Nobody calls me Snoop no more or Snoopy,

is what White Boy's trying to say.

He's a little crude, you understand.

No, I left that Snoopy sh*t behind me.

BUDDY:

But you call this bozo White Boy?

GLENN:

White Boy Bob.

(baiting)

White Boy used to be a fighter.

BUDDY:

What's he do now outside of shoot his

mouth off?

White Boy Bob stares down Buddy who couldn't give a sh*t.

FOLEY:

Like being back in the yard, huh?

MAURICE:

Just like it. Nobody backing down.

You back down, you p*ssy. Tell me what

you and Buddy doing up here in the

cold?

FOLEY:

Glenn didn't tell you?

GLENN:

I thought you guys were busted.

FOLEY:

Why? Just because you left us standing

on the side of the road?

Foley looks at Glenn. Glenn shrugs, laughs nervously. Foley

smiles, laughs with him, maybe a little too hard. Now Maurice

starts laughing. Buddy, too. White Boy's lost, looking from

one guy to the next as Foley gets up, faces Maurice, his smile

going away as he says...

FOLEY (CONT'D)

Look, Snoop, I don't know what Glenn

promised you or what you think you're

gonna get, but the deal is me and Buddy

get half of whatever we take from

Ripley, understand? How you and Glenn

cut up the rest is up to you.

MAURICE:

Let's go outside and talk.

FOLEY:

What's the matter with right here?

It's nice and warm.

MAURICE:

Warm? Man, it's ninety-five degrees

in here, sometimes a hundred -- the

way Emanuel always kep' it so his boys'd

sweat, get lean and mean like Tommy

Hearns. No, I ain't talking any

business in here. To me this is holy

ground, man. You understand? I got

to be someplace anyway. Y'all want to

talk, come to the fights tomorrow night,

we'll sit down and look at it good.

The State Theater.

Foley nods then looks at Glenn as Buddy gets up.

FOLEY:

We'll see you tomorrow then.

Maurice then watches as they walk out.

MAURICE:

White Boy, how much is the reward on

the man again?

WHITE BOY BOB:

Ten gees.

MAURICE:

Uh-huh.

(then)

You recall, did it say dead or alive?

EXT. CRIME SCENE - NIGHT

The same decrepit two-storey place Maurice et al hit earlier.

Now it's a CRIME SCENE. A SMALL CROWD of neighbourhood gawkers

stand just behind the yellow tape. A HUGE SPOTLIGHT lights up

the front yard.

Karen pulls up in her rental car, gets out and badges the visibly-

freezing COP at the tape, working crowd control.

KAREN:

I'm looking for Ray Cruz.

COP:

He's inside.

(pissed)

With everybody else.

Karen ducks under the tape and starts up the walk. She pauses

to watch as two CORONER'S ASSISTANTS cover with a sheet a DEAD

BLACK WOMAN who lies just below a broken upstairs window.

INT. HOUSE - SAME

Hell. Karen has to step over a body minus a face that lies in

the doorway. Straight ahead on the stairs is another body, A

MAN ON HIS BACK, head down the stairs, shotgun blast to the

chest. He wears a dress, now bunched up around his waist.

Congealed blood runs down the stairs. COPS and CRIME SCENE

TECHS are everywhere. Karen looks at the guy on the stairs.

VOICE:

Called themselves the Youngboys.

Karen looks over as RAYMOND CRUZ, a stocky, genial-looking

detective comes out of the kitchen.

CRUZ:

Ironic, isn't it?

KAREN:

How are you, Raymond?

CRUZ:

Freezing. But I'm getting warmer.

He kisses her on the cheek. She indicates the body by the door.

KAREN:

Quite a mess.

CRUZ:

Yeah. And I thought everyone liked

Eddie.

KAREN:

Who?

CRUZ:

Dude in the dress is Eddie Solomon,

used to buy scag off a corner till he

kicked it and found his happiness with

crack and then started dealing himself.

Word on the street was he was saving

up for an operation.

KAREN:

What is it with crack and transsexuals?

CRUZ:

Yeah, Eddie was a real character. Had

these girls cooked the rocks he called

the Rockettes.

KAREN:

Yeah. I saw one of 'em outside.

CRUZ:

Yonelle. Looks like someone raped

her, shot her, then threw her out the

window.

(shakes his head)

F***in' animals.

This shuts them both up. Cruz indicates the door.

CRUZ (CONT'D)

Let's get some air.

She starts to follow him out, pauses as she sees something on

the ground...

A BROKEN PAIR OF SUNGLASSES

Wrap-around... a lot like the ones she remembers Glenn wearing.

Karen stares at them a moment, then walks out.

EXT. CRIME SCENE - NIGHT

As Cruz and Karen walk to his car, STROBES FLASH as press

photographers struggle to shoot the crime scene.

CRUZ:

Other than we had so much fun the last

time we worked together. You gonna

tell me why you're comin' to me instead

of the FBI?

KAREN:

I report to the FBI, first thing they're

gonna do is ask me to go get some

coffee.

CRUZ:

You know, I'm not in homicide any more.

KAREN:

No, I didn't know that.

CRUZ:

Yeah, I'm crimes against persons and

property now, also sex crimes and child

abuse.

KAREN:

Detroit, you must be pretty busy.

CRUZ:

Yeah, and, as you can see, home invasions

are big, too.

KAREN:

Listen, Raymond, a year ago, DEA had

this guy Glenn Michaels on possession

with intent but couldn't make it stick.

In his statement, Glenn said he went

up to Detroit to visit a friend and

look into job opportunities -- if you

can believe that.

CRUZ:

Who was the friend?

KAREN:

Guy named Maurice Miller, also known

as Snoopy, a former prizefighter.

CRUZ:

Christ, I know Snoopy Miller. He's a

f***in' wackjob thinks he's Sugar Ray

Leonard. Hangs out with a couple other

Grade-A nutcases over on the West side.

KAREN:

I'll need a last known address.

CRUZ:

That's fine, but I don't want you to

talk to Miller alone.

KAREN:

Come on, Raymond, I'm a federal officer,

I'm armed.

He turns and looks at her.

CRUZ:

Yes, you are. I'll call you tomorrow

with the address.

As he gets into his car, we then:

CUT TO:
A NEWSPAPER

The crime scene from the night before. A shot of Karen and Ray

Cruz as they exit the house. A headline reads "TRIPLE MURDER"

blah-blah-blah...

BUDDY (PHONE)

You have the paper?

REVEAL:
FOLEY'S HOTEL ROOM - DAY

Foley, wearing a suit now, no shoes, no tie, looks at the

newspaper photograph of Karen.

FOLEY:

It's a terrific shot of her.

INT. BUDDY'S ROOM - SAME

Buddy looking at the same shot...

BUDDY:

Outside of that.

INTERCUTTING FOLEY & BUDDY

FOLEY:

Doesn't say what she's doing up here,

but I don't think it has anything to

do with us.

BUDDY:

She came up here on her vacation, 'cause

she likes shitty weather.

Foley reaches in one of the bags from the Jewish Recycling Center

and pulls out a tie.

FOLEY:

I think she's after Glenn. The girl

still with you?

BUDDY:

They don't stay the night, Jack, 'less

you pay for it.

FOLEY:

You tell your sister about it?

BUDDY:

Just hung up.

FOLEY:

How long you talk to her?

BUDDY:

Two hours.

FOLEY:

How long were you with the girl?

BUDDY:

Forty-five minutes.

FOLEY:

You didn't tell your sister about

Ripley, did you? 'Cause I don't wanna

go through that again.

BUDDY:

Forget about my sister. If Karen

Sisco's tailing Glenn, we're f***ed.

Tomorrow night at the fights we all

get picked up.

Rate this script:5.0 / 1 vote