Point Break Page #26

BODHI:

Goodbye, Johnny.

The floor rushes up and smashes us in the face.

A view of shoes, running away from us, leaving bloody

footprints. Then total darkness.

CUT TO:

INT./ EXT. FIRST SECURITY BANK - LATER

Ten minutes later the bank "crime scene" is in full swing.

UNIFORM COPS are everywhere, trying to get statements from

sobbing witnesses. HARP, MUNOZ, COLE AND PAPPAS represent

the FBI contingent. Cole has one arm strapped to his body

in a fairly elaborate sling, and he moves slowly.

Harp is barking orders to everyone in sight. Outside

(visible beyond the doors) it's total pandemonium, with

cops and ambulances, and of course a huge crowd of

rubberneckers. A MINICAM CREW shows up. Harp starts

shouting at them.

COLE, with evident pleasure, cinches down a pair of

handcuff's on Utah's wrists with his good hand. Johnny

has a deep cut on his forehead, and the blood is trickling

into his eyes, but he seems not to notice. Not to hear

MUNOZ speaking monotonously--

MUNOZ:

-- if you so desire, an attorney

will be provided for you free of

cost. Do you understand these

rights I have explained to you?

Utah?

Pappas charges through the crowd, pushing Munoz aside.

PAPPAS:

He knows his goddamn rights!

(looks at Utah)

Jesus, kid. I knew you were getting

too close to these guys.

(turns to the other

agents)

Gimme the goddamn key to these

things, Cole. Christ!

He gestures to the cuffs still cutting into Johnny's

wrists.

Cole hands him the key.

Harp storms toward them.

HARP:

Don't take those off. Just leave

them on! Your partner's an

accessory to murder. You realize

that?

Harp spins Johnny by the shoulder to look at--

Paramedics carrying the covered body of the off-duty cop.

Beyond, still on the floor, is Grommet, his eyes staring

in death.

He was right about not making thirty.

HARP:

Three men dead. One of them a cop.

How's that sit in your gut, Utah?

UTAH:

(cold and scary)

Take your hand off my shoulder right

now.

Harp pulls back instinctively. Utah's eyes burn into him.

Looks like Johnny's not in the FBI anymore.

PAPPAS:

Look, Harp. Don't turn him over to

the uniforms like some punk. Let me

ride him in.

HARP:

Yeah, sure. Why not? You two

screw-ups deserve each other.

That's why I put you together in the

first place. Christ Pappas, you're

as bad as he is... talk about the

blind leading the blind--

Pappas steps close to the Supervising Agent.

PAPPAS:

Harp, let me tell you something. I

was an agent in this bureau when

your mommy was still wiping your

shinny pink ass, and you know one

thing I learned in all those years

that you still haven't?

HARP:

What that?

Angelo steps in with a roundhouse that has all of his 280

pounds behind it.

Harp's head snaps back, and he flops in a heap.

PAPPAS:

Respect your elders.

(he takes Utah by

the arm)

Let's go kid.

Harp struggles to sit up, rubbing his jaw, as Pappas

stuffs Utah into his car. Harp is so shocked he doesn't

say a word.

CUT TO:

INT. PAPPAS' CAR

They drive for a couple of blocks in silence, side by

side.

Utah in disgrace. Contrite. Stony. Finally...

UTAH:

I know where they're going.

PAPPAS:

Figured you did.

Angelo flips Johnny the key.

Johnny lets himself out of the cuffs. He sits rubbing his

wrists.

UTAH:

Only problem is... we can't arrest

them or shoot them.

ON PAPPAS' "what the f***?!" expression we--

CUT TO:

EXT. SANTA MONICA AIRPORT

LONG LENS SHOT through a forest of small planes as Pappas'

sedan glides INTO FRAME. It moves sharklike among through

the Cessna forest. Slows to a stop.

Through the jungle of wings and fuselages we see Pappas

get out of the car and start working his way among the

aircraft.

Utah slides behind the wheel and drives on.

TIGHT ON TURBOPROP ENGINE roaring as it warms up.

The same aircraft as before.

Bodhi and Nathaniel are loading duffel bags into the open

back door as the pilot completes his pre-flight checks.

The Ex-President's suits have been removed, along with the

body armor, and no guns are in sight. Just a couple of

guys getting ready for a charter flight. Bodhi looks up

and stops his work as...

THE FBI SEDAN stops about 50 feet away.

Nathaniel pulls a shotgun out of one of the duffels.

Utah gets out. He holds his hands out from his body and

turns completely around. Without his jacket on, it is

evident that he is not carrying a gun.

He walks forward.

UTAH:

I'm not armed.

BODHI:

But you're not alone.

UTAH:

Good guess. There's a gun on you

right now.

Bodhi feigns casual interest. Looks around. He can't

see...

PAPPAS nearby. Moving cat-like behind a row of service

vehicles. He gets his snubnose .38 propped on the bumper

of one, with a clear shot at Bodhi and Nathaniel.

UTAH:

Where's Roach?

BODHI:

Around somewhere. Listen, I'm in

kind of a hurry, Johnny U. What can

I do for you?

UTAH:

You gotta tell me where she is.

BODHI:

And let my policy expire? Sorry.

UTAH:

Look, Bodhi man. People are dead.

The ride is over.

BODHI:

I say when it's over!

UTAH:

The guy you killed was an off duty

cop! If you get out of here they'll

nail you wherever you land. They

have a new thing called radar.

Maybe you've heard of it.

Though he can't hear what's going on. THE PILOT has

clocked the tension between the two men. And the shotgun

in Nathaniel's hands. He blanches, and starts to shut

down the plane's power.

By his reaction we see that he's obviously not in on it.

ROACH comes out of the hangar building nearby. Neither

Utah nor Pappas see him. But he sees Pappas drawn down on

Bodhi. He drops quickly to one knee and opens the duffel

he was carrying.

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