Out of Sight Page #4

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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.

MARSHALL:

He's still married though, huh?

KAREN:

Technically. They're separated.

MARSHALL:

Oh, he's moved out?

KAREN:

He's about to.

MARSHALL:

Then they're not separated, are they?

KAREN:

Can we change the subject?

MARSHALL:

What're you doing at Glades?

KAREN:

Serving process, a Summons and

Complaint. Some con doing mandatory

life doesn't like macaroni and cheese.

He files suit, says he has no choice

in what they serve and it violates his

civil rights.

MARSHALL:

You know you can always step in, work

with me full-time as one of my

investigators.

KAREN:

No thanks.

MARSHALL:

You used to like it.

KAREN:

Dad...

MARSHALL:

You'd meet doctors, lawyers -- nothing

wrong with them necessarily if they're

divorced. Why settle for some cowboy

cop who drinks too much and cheats on

his wife? That's the way those hotshots

are, all of 'em.

KAREN:

I really gotta go.

MARSHALL:

We don't get to talk much any more.

KAREN:

How 'bout I come next Sunday and watch

the Super Bowl with you?

MARSHALL:

I'd like that.

She gets up, kisses him again.

KAREN:

Thanks for the gun, Dad.

INT. FOLEY'S CELL - BELLE GLADE - DAY

Foley comes in, lies down on the bunk. He looks about the

cell. All he's got to show for himself. It's now quiet on

the cellblock. Foley closes his eyes and we...

CUT TO:
EXT. PRISON AUDITORIUM

A few hundred cons scream encouragement/insults as MAURICE

"SNOOPY" MILLER, a lanky, scary, mean-looking black man in boxing

trunks, hits a white guy with a ferocious hook.

Title reads:
LOMPOC FEDERAL PENITENTIARY. LOMPOC, CALIFORNIA.

And then... TWO YEARS AGO.

AT THE BACK OF THE AUDITORIUM

Foley leans in a doorway watching with BUDDY BRAGG -- black,

Foley's age, shaved head.

The BELL SOUNDS and the white guy staggers to his corner, as

does Maurice. GLENN MICHAELS -- surfer look, dark shades --

counts cash in Maurice's corner, whispers something into the

fighter's ear.

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