Miami Vice

"MIAMI VICE"
screenplay by Michael Mann based on "Miami Vice" created by Anthony Yerkovich
First Draft 9/22/04 WGAw
Miami Vice
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FADE IN: FADE IN: EXT. OCEAN - CLOSE UP: WATER - MORNING LIGHT
We are at the delicate interface between ocean and air...liquid and gas...the event horizon where molecules evaporate. This interchange is ethereal. Then, low frequencies rumble through depths...louder...closer, now... And the ocean surface is torn by a 46-foot catamaran and the ROAR of 2,700 horsepower, rocketing at us at 140 knots... OFFSHORE RACER: in PROFILE. AERIAL: "BORN TO WIN" "BORN TO WIN"
...has a canopy, low like a B-1 bomber and extends a half mile. It launches off two-foot swells, goes airborne, pushes to 150 knots with another 1,100 RPM left... INT. RACE BOAT - SONNY CROCKETT pilots the "Born to Win" in full helmet. flaps is RICARDO TUBBS... EXT. OCEAN - "BORN TO WIN" leads the frontrunners towards a finish line demarcated by a couple of $10 million yachts loaded with media. At the last moment occurs a small power loss, and "Born to Win" gets nosed into second place by the 46-foot Skater, "Goddess"... CUT TO: EXT. MARINA - "BORN TO WIN" - LATER thunders to the dock, throttled down at low revs. The canopy is up. Crockett and Tubbs' helmets are off. Dockhands tie it off. It's the same crowd you catch at a Grand Prix: ninefigure money, tall, Northern Italian women and minor German princesses with Swiss educations, no bimbos and no questions about asset origins. The exception is "Born to Win's" sponsor, a blonde, dreadlocked, bearded 6'4" SWITEK. He looks like a dot-com entrepreneur who got out in time. Next to him is a blonde Ukranian lady with high cheekbones. We'll see her again. WINNING CIRCLE - CROCKETT + TUBBS in second position to the Japanese driver and throttle man of "Goddess," neither of whom speak English. The #3 boat, "Bicardi Silver," was driven by David Scott and throttled by John Tomlinson... On the throttle and
(CONTINUED)
Miami Vice CONTINUED: CROCKETT + TUBBS
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leave the winning circle among Asian and Mexican billionaires. As the small crowd breaks up... A DEEPLY-TANNED PLAYER named NICHOLAS in Vuarnet wraparounds and buzz-cut white hair glides by... NICHOLAS (low) Burnett, what's crackin'? CROCKETT Nothing. TUBBS Maxin' and relaxin'. NICHOLAS (doesn't believe them) Sure. Change your mind; get inclined? Let me know... Whatever Nicholas is soliciting, Crockett and Tubbs don't want. (Nicholas brokers "go-fast" runs, moving loads from offshore into South Florida. Among guys who pilot offshore race boats, there are one or two who've never run a load, but no one's found them yet.) Meanwhile... CUT TO: INT. ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT A couple-hundred-thousand-dollars worth of granite and steel. Off-screen a restaurant-grade Sub-Zero opens with a hiss. Fan starts. Beyond the kitchen we SEE through a dining room to a den. A chair is overturned. We HEAR muffled sounds. We SEE feet extend through a door jamb. Someone's on the floor. A television is playing, distantly. INT. DEN - SEE FAMILY PICTURES so close they almost come to life. A Venezuelan family, two boys and a girl in a pool. Maria, Alonzo, the two boys at their sister's baptism. And we see holding the baby daughter is Riccardo Tubbs. A family dinner at a South American restaurant. Tubbs sits with the youngest daughter on his lap. Maria is on the other side of him. This is the image that almost comes to life. We hear the vivacious latin ambience late on a Sunday afternoon when families take the grandparents and have dinner.
Miami Vice
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INT. KITCHEN - SUB ZERO REFRIGERATOR MOVE from the bright glare of the interior ONTO the broad neck of a MAN. A Viking is tattooed there. The image morphs into a naked woman presenting her rear to a muscled biker next to a chopper above a swastika residing between shoulder blades. SS lightning bolts are on his neck. PULL BACK from this MAN, who is bent into the frig because he's hungry. His head is shaved and he's naked from the waist up. A BLACK HEFTY GARBAGE BAG is tied around his waist. Yellow industrial gloves are on his hands. Something bad is happening in this house... CUT TO: INT. HELICOPTER - NIGHT It's a Sikorski skimming across the water of Biscayne Bay on a moonlit night at living-room level past stilt houses. RICARDO TUBBS pilots the chopper past the brightly lit windows of high-rise Collins Avenue condos for the fugitive rich...and heads towards the MacArthur Causeway. CROCKETT What's our deal? TUBBS Backup in case the Russians get physical. CROCKETT How lucky's Miss Universe gotta be? TUBBS Skin has to touch skin. That's the requirement for the warrant. Then he makes a credible excuse and he stops.... (beat) Her crew blackmailed and assetstripped the last mark down to his social security... In the back - her long copper legs stretched out under a short skirt - is GINA CALABRESE. GINA This I gotta see... (beat) ...the "make up an excuse and stop" part.
(CONTINUED)
Miami Vice CONTINUED: CROCKETT Have faith.
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GINA I have faith. In horoscopes and fortune cookies... TUBBS So? GINA Switek pulling this off...? That's not faith; that's delusional... Wearing enough of nothing to hide the micro .380, which Gina checks right now. There's a round in the chamber. AERIAL: THE SIKORSKI crosses past the stacks of $5 million condos to a landing pad on a roof. The Miami of the '80's, that twilight-zone frontier built on coke-fueled cash flow, is over. The frontier development stage is passed. It has BECOME Casablanca. Anything goes; everything has a price. CUT TO: EXT. ROOFTOP LANDING PAD - WIDE The chopper rockets in, settles. INT. UTILITY STAIRCASE Crockett, Tubbs and Gina descend to the 25th-floor penthouse, the target. As Crockett and Tubbs continue down to 24, she looks over her shoulder at Tubbs... TUBBS Damn, girl... INT. SURVEILLANCE APARTMENT (ONE FLOOR BELOW THE TARGET) PENTHOUSE - CROCKETT + TUBBS - NIGHT enter. Two surveillance technicians, RICK and FRANK, are glued to a monitor showing a bedroom in which nothing happens. LT. CASTILLO is there, out of a past somewhere between CIA and the Jesuits... Referring to the monitor on which there are NO PEOPLE in an EMPTY BEDROOM. They are watching air move. TUBBS This is exciting... RICK That's 'cause nothing is happening.
(CONTINUED)
Miami Vice CONTINUED: CROCKETT No shit...?
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FRANK (it goes past him) Yeah. This is their surveillance...how they video their marks? See, we jacked their fiber optics, like we piggybacked their signal. Get it? TUBBS Cooool... They exit to... INT. PENTHOUSE CONDO - CROCKETT + TUBBS are met at the door by security, who recognizes them, and are welcomed by their host, UGO. This is the Baccardi Cup AfterParty. The same players from the marina... OVER CROCKETT + TUBBS enter an 8,000-square-foot penthouse...offshore racer types, players, So Bee models... UGO Runnin' the Biscayne 200? Crockett wanders off... TUBBS If a coupla new exhaust manifolds show up... CROCKETT approaches a bar and female bartender... CROCKETT Gin and Tonic. Plymouth or Boodles. BARTENDER (Scandinavian accent) Lemon or lime? CROCKETT Lemon doesn't go in Gin and Tonics, darlin'. Where ya' from? BARTENDER (leaning in) Gottingen. That's in Sweden.
(CONTINUED)
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CROCKETT You in Miami workin' on your complexion...? She's beautifully bronzed. BARTENDER (laughs) I was in Namibia... CROCKETT Doing...? BARTENDER With the United Nations High Commission on Refugees. Famine relief. Gina's listening on her personal comms. CROCKETT Really? I did refugee relocation in Somalia. But they transferred me out after I was wounded... Gina rolls her eyes as she crosses by Tubbs. GINA Only African he ever "relocated" was a $2,000-an-hour Nigerian model for Gucci, and he got wounded when she took an NBA draft choice to the Super Bowl instead of him... TUBBS He did volunteer one time... TRUDY (entering) For a massage parlor bust? (beat) Why am I here...? TRUDY JOPLIN is a tall African-American. She whispers into a small mic. If you looked closely, she's ripped...as if steel cables moved under her smooth skin. She slides past Tubbs and Gina... TUBBS (low) ...to backup Switek. it gets lethal. TRUDY That's impossible.
No.
But only if
(CONTINUED)
Miami Vice CONTINUED: (2) TUBBS Why?
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TRUDY Because you cannot kill him. SWITEK all white bling, is arguing with his blade-thin, glassy-eyed, adrenaline junkie partner, ZITO. Approaching is "Miss Ukraine." High cheekbones suggest one of Genghis Khan's horsemen found her maternal ancestor as attractive as Switek finds her... Tubbs clocks three beefy Russians in a corner, one is unusually fit. TUBBS And there's Dmitri... CROCKETT The honey trap. And there's the honey. TUBBS Hello, Miss Ukraine... MISS UKRAINE brings Switek his glass of champagne... She whispers something in his ear...and is led towards a back bedroom. Gina ambles over. TRUDY (to Crockett) Eleven to seven he blows it. CROCKETT (whispers) Twenty on my man... TRUDY You're giving away your money, fool... Tubbs opens his Moto as if he's about to make a call...Trudy looks over his shoulder. What we see is the feed from the monitor in the surveillance room downstairs. CLOSER: TUBBS'S MOTO Two blonde people starting to get naked. Switek and Miss Ukraine. A second call comes in. Tubbs ignores it. TUBBS (to Zito) You bet your partner?
(CONTINUED)
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ZITO Sure. Switek versus primal impulse from the amygdala. Higher thinking versus the lizard brain. Tectonic plates of libido confront the cognitive. GINA Oh, bullshit. She cops his joint. He pushes the button. TRUDY What's so fucking difficult? THEIR FACES. They watch. And...Crockett's cell phone rings. He separates from the group... CROCKETT Yeah...? STEVENS (O.S.) Sonny...? CROCKETT Yeah. STEVENS (O.S.) Where's Riccardo? CROCKETT On the phone. I'm sorry. STEVENS (O.S.) I'm sorry, Sonny...
EXT. BALCONY - CROCKETT - NIGHT enters. He's come outside to hear better.
In the background Gina shakes her head about Switek. He blew it. Trudy looks at Crockett and sees Crockett's focused, hearing... CROCKETT Who is this? INTERCUT WITH: INT. BENTLEY - ALONZO STEVENS - NIGHT He's cruising at 85. He's floating in a magnolia leather interior. But it's bloodstained from his nose and mouth. He's been beaten. His white shirt is torn. He doesn't care...
(CONTINUED)
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STEVENS (voice cracks) It's fucked up. I'm sorry... CROCKETT (recognizing him) Alonzo? (beat) What are you talking about? are you...? STEVENS They had me from the gate. CROCKETT I don't understand... Crockett's alarmed. outside... He catches Tubbs' eye and waves him
Where
STEVENS I gave up nothing on you guys. Don't worry. I kept you and Rico out of it. Only the Feds. They're on their own...it's all their deal, anyway, so fuck 'em. CROCKETT (O.S.) Alonzo, what's goin' on?! STEVENS After I check on Francine and the boys, then I'm gone. Sonny, tell Rico I'm so sorry. I wanted you to know... Tubbs joins Crockett on the balcony. CROCKETT Where are you? STEVENS (O.S.) ...look after her. Ask Rico to. Okay? Do that for me. I had to do it. They had me from the gate. Do that. Whatever you can do for them. Okay? (breaks) Look what I did to them, Sonny...! CROCKETT Alonzo...! STEVENS (O.S.) Goodbye.
(CONTINUED)
Miami Vice CONTINUED: (2) Crockett's phone goes dead. TUBBS What is it? CROCKETT Alonzo... TUBBS Stevens? CROCKETT (nods) Something's wrong.
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Crockett's entering a number while... TUBBS (dialing) I'll try Francine... Meanwhile Crockett HEARS... MACHINE VOICE (recording) Federal Bureau of Investigation. Our office hours are... (Crockett punches threedigit code) FBI AGENT VOICE F.B.I.... CROCKETT (cuts him off) This is Detective Crockett. MiamiDade P.D. Patch me through to your Special Agent in Charge, James Fujima? It's an emergency... FBI AGENT He'll be in on Monday... CROCKETT I said, "emergency." If he's not reachable, who's running the weekend? The ASAC? FBI AGENT We don't give that out... CROCKETT Listen carefully. Crockett compels himself to be patient. struck out with Alonzo's home phone. Meanwhile, Tubbs has
(CONTINUED)
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CROCKETT (cont'd) (into Nextel) An informant who is working one of YOUR cases right now called me. YOU may have a problem. So get me somebody on the other end of this telephone who knows what the hell I'm talking about...! Meanwhile... TUBBS (into phone) C'mon... VOICE (O.S.) Miami-Dade PD Tech... TUBBS (into phone) Bobby G. The firefly we used to have on Alonzo Stevens' Bentley, check if it still runs; if so, launch Air Support. Locate the Bentley... (pause, listens) I don't know...we haven't worked with him for six months... CROCKETT (waits, then hears a click on his Nextel) Hello? FUJIMA (O.S.) This is Agent James Fujima. CROCKETT Detective Crockett. FUJIMA (O.S.) What's your Miami PD badge number? CROCKETT 4-4-7 Charlie 12-92. FUJIMA (O.S.) (pause) Okay. What's up? CROCKETT A C.I. we cut loose to your Joint Interagency Task Force. Name of Alonzo Stevens. Now, he's YOUR informant. Stevens, called us. I haven't spoken to him for six months. (MORE)
(CONTINUED)
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CROCKETT (cont'd) I do not know what case you have him on. I do not know what he is talking about. But whatever he is doing for you, it sounds like it is going bad. Right now... FUJIMA How do I discuss operations over an open line? CROCKETT How do I know? (beat) I got the call from Alonzo on an open line. That is the hand we have been dealt at this moment, at eleven-forty-seven o'clock Friday night. Okay? I am trying to alert you, here. (beat) You know whether or not...you have a thing goin' down. I do not. (beat) But we know this guy. I think you know this guy. Normally, he is cool. Tonight he is distraught. That is atypical. That engenders foreboding. Do you understand the meaning of the word "foreboding"? As in badness is happening to your deal right fucking now? CUT TO: EXT. ABANDONED METAL SHED, INDIAN RIVER - WIDE - NIGHT Nothing. Rusting marine parts and corrugated metal fall into weeds next on a channel of the Indian River. It cuts through inner-city Miami. Distant noise. But... INT. METAL SHED - ARYAN BROTHERS in low light are strapping up. Kevlar vests go over tattooed arms and chests. Glimpses of swastikas. Handguns in waistbands. SMGs (Small Machine Guns) slung from shoulders over white shirts, business-suit jackets. Everybody wears surgical gloves. Shoes are industrial. REAR SHOT: TWO OF THE BROTHERS
are leaving. One carries a very long rifle with a flash suppressor. It is a bolt action .50 caliber Burrows. NEARBY ON THE RIVER is a second Aryan Brother sniper team with an identical weapon aimed at an empty lot a thousand yards away across the Indian River...
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INT. METAL SHED Two Suburbans and an Escalade pull out... CUT TO: EXT. INDIAN RIVER - EMPTY LOT Caribbean freighters seized MOVE IN. Two Cadillacs are An interior light comes on. slickster types. Patient. triggers his cell phone. A by US Customs rust at the bank. parked. Waiting. A door opens. MOVE CLOSER. Two Russian One looks at a watch. The other meeting is imminent. MEANWHILE: INT. FBI OFFICE - RAC JAMES FUJIMA - NIGHT Empty except for the FBI Agent in a sweatsuit carrying files, as if he stopped by when Crockett's call came in. He's on a computer. He picks up the phone... FUJIMA Guy's involved in a "meet"... CROCKETT "Buy and walk"? "Buy and bust"? "Reverse undercover"? What? FUJIMA Meet and greet. "I flash you some of mine, you flash me some of yours?" CROCKETT And the deal goes down at another place at another time. FUJIMA That's right. CROCKETT ...so there's no industrialstrength HRT weapons team out there tonight? Crockett puts his Nextel on "speaker" so Tubbs can hear, too. Correct. cash. FUJIMA Flash samples. Flash
TUBBS (into phone) Haitian, Dominican, Russian, Israeli?
(CONTINUED)
Miami Vice CONTINUED: FUJIMA White supremacist types. Crockett's impatient.
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CROCKETT OMGs, Mongols, Nazi Low-Riders, prison gangs? FUJIMA NLR, we think. I wanna know... TUBBS (sarcastic) Oh, good... FUJIMA ...what else, what else did he indicate to you? I need to know everything he said. CROCKETT He is saying they had him from the gate. He is saying to my partner and I and to his family "goodbye." What does that tell you? CUT TO: INT. MIAMI-DADE P.D. CHOPPER - SWITEK + ZITO in the back seat get lucky. The pilot reacts as the TECHNICIAN in the copilot seat has picked up a signal from the FIREFLY...the LOCATOR...on Alonzo's Bentley. SWITEK (keys radio; too much static, tries cell phone) Sonny, we got him... INT. BLACK SIKORSKY CHOPPER - CROCKETT + TUBBS Tubbs pilots it while Crockett gets the location of Alonzo's car and repeats it into the headset to Tubbs as the... EXT. SKY OVER MIAMI - C + T'S SIKORSKY - NIGHT banks hard left and heads for north 95 towards Lauderdale. Meanwhile... CUT TO: EXT. INDIAN RIVER - WIDE: THE DEAL - NIGHT
Three Aryan Brothers in business suits get out of the rear of the Escalade and Suburban with a driver in each. Our two "Russians" approach from their Cadillac with a backup Cadillac and one driver on the other side.
(CONTINUED)
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CLOSER: ARYAN BROTHERS. Friendly. Hip-hop culture has invaded White Supremacist gangs. Buzz cuts. Goatees. A couple of diamond earrings. RUSSIAN #1 ...sample now is okay. And we want sample load when we do deal... ARYAN BROTHER Sure, man. RUSSIAN #1 What inventory you can supply...? ARYAN BROTHER #1 Meth. Glass, ice, K's, E's, Mitsu's, Ames, Ex...whatever you need. Coke? Tonnage. And Colombian H. But give us a heads up... The Aryan Brother pops him a couple of vials. ARYAN BROTHER #1 (cont'd) Ice. Spectra-analyze that shit. And party-on with the coke. You are looking at ninety-two percent pure...none of that jumped-on powder they sell up in New Yorioo... ARYAN BROTHER #2 Yeah... (beat) Now, let's see the green... One of the Russians puts his hand on a weapon as the other opens up a Nike sports bag. RUSSIAN Never seen money before? called "money." This is
Aryan Brother #1 reaches into the bag at the wrapped stacks of hundreds. Flips through a couple, takes one or two at random. Russian nods for him to go ahead. ARYAN BROTHER #1 Okay. You got lotsa green. We got all the goodies. We party. Larry'll call you in the AM and talk money, quantity, time and place... WIDEN. Everybody goes back to their cars. As the two "Russians" get into theirs, Aryan Brother #1 turns from the running board of the Escalade with his driver's door open.
(CONTINUED)
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ARYAN BROTHER Hey, Ivan! I forgot to ask you something, my brother... He looks at his partner and nods, who says something into a Nextel. ARYAN BROTHER (cont'd) ...they have a decent death-benefit program in the FBI? For the Russians in the car, time freezes. As they start to react, they're blown up by .50 caliber rounds from the two sniper positions. The .50 caliber rounds go right through car bodies, sheet metal, upholstery, glass, human flesh, bone, more upholstery and metal and out the other end. Another round goes through the passenger door, through the passenger, through the driver, out the driver door and into the night... WIDE The three Aryan Brothers approach the steaming cars with the chopped-up occupants and take the gym bag full of cash. The Escalade driver dons night-vision goggles. They load up and drive off as we hear the "thump, thump" of Air Support and some distant sirens. Meanwhile... CUT TO: INT. MIAMI-DADE CHOPPER - SWITEK + ZITO - NIGHT at 170 knots watching a thermographic image of Alonzo Stevens' car on a monitor weave through traffic northbound on the 95... SEE Tubbs' Sikorsky beyond Switek + Zito as it swoops from a higher altitude right past the Miami-Dade chopper, banks and dives for the freeway. EXT. FREEWAY Tracking with Stevens' Bentley from the front. The black Sikorsky is almost on the Bentley's hood. Tubbs racks the chopper sideways so that Alonzo can see Crockett in the copilot seat... CLOSER: CROCKETT
has his handgun out and is waving Alonzo over to the shoulder. Tubbs keeps the chopper almost blocking Alonzo's Bentley. Alonzo pulls over. Tubbs wheels around and lands on the shoulder. They approach... ALONZO STEVENS exits the Bentley and walks toward Crockett and Tubbs. holds his hand out to keep them at a distance. He
(CONTINUED)
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Freeway traffic roars past. Crockett and Tubbs don't get too close, heeding Alonzo's warning... TUBBS (incensed, over traffic noise) What the hell did you do? STEVENS The Feeb gig was I front a coupla undercover, Russian-speakers to them. One's ATF. And broker the deal. Set up the meet with the NLR types... Stevens takes a low-resolution E-mailed image from his pocket and hands it to Tubbs. Tubbs looks up, shocked, hands it to Crockett. Stevens' head rotates loosely on his shoulders...his mind's elsewhere...
CROCKETT'S POV:
IMAGE
Alonzo's wife, Francine, is bound - clothes torn - to a chair in a TV room. On the floor are two young boys bound with plastic ties. Paper bags are over their heads. Francine's eyes are as large as saucers. Around her neck is a necklace of C-4 explosive connected to a detonator. STEVENS (shouts) So I gave them up, the Feds! Gave up I knew. Now I got (cont'd) man! Gave up everything to go home...
CROCKETT How'd they get onto you? STEVENS How do I know? But it was from the get-go. Knew the FBI had run me into them. (beat) Sonny, I gotta go...! MEANWHILE: INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT and a Miami PD SWAT team crash through the front door. Another team through the back. Trudy in a tactical vest is second in with a 12-gauge. The house is empty. Gina and other detectives hang in the rear. First SWAT team "clears" the living room, dining room. Second clears the kitchen, maid's quarters...
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INT. ALONZO STEVENS' HOUSE - DOOR TO DEN - NIGHT ...last room to clear...center of the house. SWAT teams appear around corners. Weapons up. The looks on their faces tell us nobody is here...nobody alive...and what they see gives even these veterans pause as blood pools around the legs of a family and overturned chairs. Alonzo didn't save anyone. TRUDY (after changing channel) Hello, Sonny...? EXT. FREEWAY - TUBBS on police radio listens to a message from Trudy while... STEVENS (to Tubbs) I gotta, I gotta go...! TUBBS Alonzo... STEVENS What...? TUBBS (voice cracks) Alonzo, you don't need to go home. Now Alonzo knows. STEVENS They said they wouldn't hurt them, wouldn't hurt them if... TUBBS They lied. CROCKETT They been known to do that... Alonzo Stevens has a strange look in his eyes. He looks at Crockett and Tubbs, as if to say something. He doesn't. Crockett and Tubbs walk towards him, to reach him...to console him... BUT ALONZO STEVENS backs away. Looks at them sadly. And before they can stop him, he steps out onto the freeway, opens his arms, and embraces the front bumper of a 70 m.p.h. 18-wheeler. CUT TO:
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INT. MERCEDES CL-500 - CROCKETT + TUBBS - NIGHT Grim, silent, race through Miami traffic to the crime scene we know is ahead because... OVER TUBBS' SHOULDER we see all the lights from two dozen emergency vehicles a quarter mile ahead. Death is not procedural or casual, not when it's somebody you know, like an informant you worked cases with. Cell phone rings. TUBBS Yeah. CASTILLO (V.O.) What's your twenty? TUBBS Quarter mile away. lights... We see the
CASTILLO (V.O.) Turn around. TUBBS (taking cell) We know these people...! CASTILLO Grieve elsewhere. CUT TO: INT. PARKING STRUCTURE, TOP FLOOR - ANGRY MEN - 3 A.M. in a concrete space. We've entered mid-scene.
FUJIMA We're not certain... CASTILLO You said Nazi Low-riders...? FUJIMA We're not certain! TUBBS C'mon, man! FUJIMA We think NLR. We don't know! Alonzo only fronted as a broker for our guys to make the meet. He wasn't deep into the crew. CROCKETT White gangs...? It doesn't track.
(CONTINUED)
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TUBBS White gangs is tweakers and a crystal meth lab in a trailer park. Bounce around the old lady Saturday night and get your recidivist ass busted back... FUJIMA Not anymore. This is a distribution network out of South Florida, moving poly-drug loads, crystal meth through coke, to Nashville, Atlanta, Memphis, Cleveland. And computer fraud, identity theft. It's like that. CASTILLO (to the point) Tell them what you want. FUJIMA They knew about Alonzo, before he made a move on them. They had our operation. They've cut into us. CROCKETT How? FUJIMA We don't know. TUBBS Break your encryption? Hack your email? Employee databases? Somebody on the inside? FUJIMA We don't know. And that's the point. Maybe there's a mole. Whatever, it's a disaster. And it's a Joint Interagency Task Force. I have DEA, ATF, U.S. Customs components in on it. So the penetration could be from any one agency. What we do know is I have to suspend operations right now from undercover work through interdictions 'cause I have to assume our Operational Security is blown. TUBBS As in, your ass is dead in the water.
(CONTINUED)
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FUJIMA But Miami PD wasn't part of the J.I.T. And from what Alonzo said, he didn't give you up. CROCKETT So what do you want? FUJIMA To recruit you. Pause. CASTILLO ...I didn't want you around the crime scene because it's crawling with federal law enforcement. We don't know who's straight up, who's not... CROCKETT Recruit us to do what? FUJIMA Get into business with this crew, identify them. Illuminate their network. If you're lucky, discover their source, how they penetrated us. We'll indict and take it from there... CROCKETT How do we do that? Make a buy? (wry) That went well... TUBBS Reverse undercover? them? WE supply to
FUJIMA They got a steady stream of supply. So, no... CROCKETT From whom...? FUJIMA A Colombian producer. Named Archangel de Jesus Montoya-Londono. CROCKETT Never heard of him. FUJIMA From the North Valle area. Low-level, we think. New.
(CONTINUED)
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TUBBS Aryan brothers are not going to change-up suppliers. So... CROCKETT Transpo? How they bringing the loads in...? FUJIMA They're not. They collect in Miami. Montoya, the producer, handles deliveries. That's his end, and he varies the routes. We got some FLIR off an AWAC of a coupla go-fast boats, on one run, that's all. Fujima boots up his military-spec laptop to view the FLIR video. Meanwhile... TUBBS Track with me, here... (beat) They knew the "Russians" were undercover Feeb? They should have no-showed. But, no, these guys show anyway, and commit murder upon federal officers. And steal all your money... (beat; to Fujima) What does that say to you? CROCKETT (speculating) It says, "We do not fear you." (to Fujima) It says, "Fuck off and die." It says, "We get down for recreation..." Fujima's Dell laptop glows to life. Two almost indistinguishable boats and their wakes are SEEN. CROCKETT (cont'd) Blow that up... Crockett's attention goes to something atypical he spots about the wake emerging behind each boat. He exchanges a look with Tubbs. But they say nothing. TUBBS (to Crockett) So? CROCKETT We could try to run loads into these guys. (MORE)
(CONTINUED)
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CROCKETT (cont'd) (to Fujima) Run a few loads for Montoya into South Florida. Into this group. FUJIMA You need to consider a few issues. CASTILLO (to Crockett + Tubbs) ...you'd be operating outside territorial United States. Your badges do not count. You have no authorization to carry weapons. If you're busted, it could take a long time to get you re-patriated. And there's no backup... (to Fujima) And you will share with them all your intel on Montoya... FUJIMA Sure. CASTILLO I mean full disclosure. FUJIMA Of course. From my side, I don't WANT to know anything about what you're doing or how you do it... (to Castillo) So let me know if we're on... Fujima splits. Castillo waits until Fujima's car pulls away. * *
* * * * * *
CASTILLO (to Tubbs) About the Stevens family, I'm sorry. I know you were close to them. TUBBS I was the kids' godfather. CASTILLO (intuits) And...? TUBBS "And" what? CASTILLO I got to know. There is never any room for "personal"...
(CONTINUED)
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24.
CROCKETT (for Tubbs) He is fine. And we know the jokes. When it gets vengeful, things get messy. When they get messy the wrong people die... (beat) Everybody gets it. CASTILLO Good. TUBBS And the answer is "yes." (beat) Before she met Alonzo, once upon a time, a long time ago. (beat) You bet it was personal. ...and is now compartmentalized in the past. CASTILLO Okay. (to Crockett) What'd you spot...? CROCKETT Three wakes off the back of those boats. Who runs three Sterling engines off a deep-V hull? TUBBS Sal Maguda. CASTILLO He any good? TUBBS Oh, yeah... CASTILLO So what's gonna persuade Montoya to change off Sal Maguda running his deliveries...? It's a rhetorical question. CUT TO: EXT. INDIAN RIVER - THERMAL IMAGE OF TWO DEEP V-HULL GO-FAST BOATS - NIGHT They're two feet out of the water on their dry dock, next to a Marine Shed.
* *
(CONTINUED)
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It's an unlikely location because derelict factories, cheap apartments, weeds and marine scrap metal are the neighborhood. EXT. SURVEILLANCE LOCATION - CROCKETT + TUBBS and a SWAT team in the weeds across the river. They include SGT. JEAN-LOUIS BASTIDE, a Haitian in dark sweats. They all are in plain clothes. BASTIDE Odile, she say they're pregnant... We don't know what that means, yet. TUBBS Yeah? Okay. Only Jean-Louis and I do the talking... CUT TO: INT. MARINE SHED - DOOR - NIGHT Both steel doors EXPLODE as if their molecular structure, itself, disintegrated from one BLAST of Tubbs M-40 grenadelauncher firing a canister of ball bearings like a king-size shotgun on steroids as... GUARDS react, but Crockett draws down on one with an AK-47. Bastide wounds the second GUARD who had drawn down his H & K. A Third Guard begs to live in French Patois. They own the place. And Crockett sees... 800 individually-wrapped bricks of North Valle Colombian cocaine are on a table. TUBBS Comme on dit... (Like they said...) JEAN-LOUIS Charger et les recoit d'ici... (Load 'em up and get out of here...) You crazy? BAD GUY Que fais-tu?
TUBBS Que faisons-nous? De qu'a-t-il l'air, fou! Nous voulons tous votre drugs. (What are we doing? What's it look like we're doing, fool? We are stealing all your dope.)
(CONTINUED)
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26.
Suburban crashes through the wreckage of the door and backs to the table. Jean-Louis and SWAT #1 start throwing bricks into the back. Tubbs with Crockett exit. EXT. MARINE SHED - DRY DOCK - CROCKETT + TUBBS approach the two deep V-hull go-fast boats with three engines off the back. Tubbs cracks the breech of the grenade launcher and loads a 40-millimeter shell, while he strolls down the dock... CROCKETT tosses two Willie Peters (white phosphorus grenades) into the boats. Tubbs fires the M-40 at a third boat, which explodes flame, followed by... TWO CARNATIONS OF WHITE PHOSPHORESCENCE destroy the smuggler's Strykers, which we saw in Fujima's video. Crockett + Tubbs have just put Sal Maguda out of business. They walk away and around the side of the shed, disregarding the curious citizens of Little Haiti, come to watch the fireworks... CUT TO: INT. MERCEDES CL 600 ON A MIAMI STREET - CROCKETT + TUBBS BRILLIANT DAYLIGHT drive. Crockett reaches into a paper bag full of cell phones and grabs one. He dials up a number, grabs another and hands it to Tubbs. CROCKETT (in the phone) Hey, Sailor... (pause) Yeah, I'm good. (beat) Got a hole in the calendar...looking to charge up the cash flow. (waits) Yeah, later. Crockett struck out. While...
TUBBS (into phone) Hey, Nicholas, my ace. You know.
Wha's up?
NICHOLAS (V.O.) Same old...
(CONTINUED)
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27.
TUBBS (into phone) We got idle all of an instant. You got something from somewhere that's got to go someplace, somewhen, which is not too distantly in the future...? INT. COLLINS AVENUE CONDO - NICHOLAS - DAY ...the guy with the white hair. NICHOLAS It is fortuitous that you called... CUT TO: EXT. LA PERLA DISTRICT OF SAN JUAN, PUERTO RICO - TWILIGHT Corrosion and decay. People look coldly at us. Malevolence and malefaction on every corner. No one's picked up the garbage for a month. Poverty in the Caribbean half-light... CROCKETT & TUBBS cross the street to CAMERA from their rental car. The La Perla section was a 16th Century haven for pirates. It's had little civic improvements in 400 years. They enter a nightclub - shabby neon. INT. NIGHTCLUB - CROCKETT + TUBBS - TWILIGHT There are no customers. They're cautious. and frisk them. They expected that. Men stop them
CROCKETT We're from Nicholas to meet Jos... They're waved to the rear. They start towards a back table. A small group of people wait... OVER CROCKETT + TUBBS APPROACHING: JOS "COCHI LOCO" YERO
He's a former right-wing Colombian paramilitary from the North Valle near the Pacific coast. He runs operations, communications and security. He has cold eyes and a corpulent face. He's notorious for using torture to ferret-out informants. Right now he watches these two Americans approach. Security people are on either side of him. JOS YERO (extends hand) Jos... CROCKETT Sonny Burnett...this is my partner, Rico.
(CONTINUED)
Miami Vice CONTINUED: JOS YERO Sit.
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As Crockett sits, he notices that at a table a few to the side is a woman. This is ISABELLA. Behind glasses, she seems immobile, filled with intelligence, well-dressed in subdued Tom Ford and staring at him. Reading him. Crockett holds the look that extra beat and turns back to business... CROCKETT (to Security) Dos caf. He's security, not a fucking waiter. Security fetches coffee, anyway. TUBBS So lay it out, my brother... JOS YERO Nicholas said you okay. That's nice. But how I know if you any good? CROCKETT What...? JOS YERO Who you run loads for? Cause other than Nicholas, you knows you? Tubbs looks at Crockett. They thought it was a done deal. * * * But Yero nods.
CROCKETT (dark) My mommy and daddy know me. Isabella tilts her head imperceptibly. TUBBS And we didn't come down here to audition. Business auditions for us... (beat) ...and know who we are and know they want their load run by us before Nicholas calls. CROCKETT That way we do not waste AvGas or our motherfucking time. Yero's security reacts to the tone and raises weapons. start up out of their chair as... ZITO + SWITEK A few
* * * *
(CONTINUED)
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29.
appear at the door, SMGs from shoulder straps. Zito flips a D14 hand grenade which Crockett snatches out of the air, pulls the pin and slams on the table. Everyone FREEZES. Only Crockett's hand pressure restrains the clip. CROCKETT (cont'd) (goes right up in Yero's face) You want to "know" shit? Who the fuck are you? You got a side deal with U.S. Customs to open up the coast in a few spots...in exchange you flip them some gringo runners? Like us...? TUBBS You wearing a wire? Tubbs rips open Yero's shirt. Or DEA? CROCKETT The Feeb? No wire. Yero's furious. *
* * *
Yero's shirt...open to the waist.
Yero's people have weapons pointed their way. They outnumber Switek and Zito. Slack's taken up on triggers. It's on the edge. And the edge is overloaded. Tubbs reads that, warns Yero... TUBBS People gonna walk into this place and say, "Ola, hijo! That some crazy wallpaper. Whew...it wild! Is that a Jackson Pollack?" CROCKETT "No, viejo. That was Jos Yero, splattered all over his motherfucking wall." TUBBS So we can close each other's eyes right now. Real easy. Real fast. (pause) But, then, nobody makes any money... Yero gestures his security to calm down....one notch. Crockett and Tubbs still hold the grenades. Then Crockett opens his shirt. Pause. No wires. So does Tubbs. *
* *
(CONTINUED)
Miami Vice CONTINUED: (3) JOS YERO (flat) Equipment?
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TUBBS Slow and low, Adam A-500s... (Yero looks quizzical) ...carbon composite, stealthy, 1400 nautical-mile range, thousand ki payload...all the way to Caravels and 727's from a source country to a transshipment point. Small freighters. We've done containers... CROCKETT And specialize in very fast go-fast boats for coastal runs. TUBBS What kind of weight? JOS YERO We don't talk weight. logistics. Isabella sits, watching this. We talk She drinks her coffee.
JOS YERO (cont'd) You get longs and lats for the pickup. Open ocean. You run it in. On shore, our people receive the loads. CROCKETT (interrupts) The people on shore who handle a load we run are our people, not your people. No tweakers, dopers, firsttimers we don't know. They didn't do time with us, they ain't doing crime with us. TUBBS What you get from us is a date. A place. "In the parking lot of a Jack-in-the-Box in north Miami." At such-and-such time, an eighteenwheeler will be there. Keys in the ignition. Ready to roll. You pick it up. And you drive it... (waves his left hand) ...away. CROCKETT Money thing is done in advance in places where there are no guns. (MORE)
* * * *
* *
* * *
(CONTINUED)
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CROCKETT (cont'd) Because when money and guns get together, there is violence... JOS YERO You afraid of violence? CROCKETT I am not John Wayne. There is no "S" on his chest. We get down if the play calls for it. But we are into business and making money. TUBBS And violence is extra. And expensive. So how much weight you looking to move? JOS YERO Nothing. 'Cause how you do delivery on the beach, I don't like. Maybe this does not work. CROCKETT Then it don't work. TUBBS What happened to the last transporter you had? JOS YERO What do you care? TUBBS (to Crockett) Do we need this...? CROCKETT (rises) Red light, green light, Jos? JOS YERO (doesn't answer, leans back) I'm also called "Cochi Loco." That means "Crazy pig." 'Cause I enforce security and get people to tell me what I need to know. That part of what I do, you never want to find out about. (pause) Other people will negotiate the money and go or not go. Not me... TUBBS Then what were we talking to you for?
* * * * *
* * * *
(CONTINUED)
Miami Vice CONTINUED: (5) JOS YERO I had to lay eyes on you. CROCKETT And...? Isabella watches Crockett...
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JOS YERO (to Tubbs) You seem okay. (to Tubbs re: Crockett) But him? I don't like... how he looks... Everything goes from tense to lethal. Has Yero made them?
TUBBS What do I care what you think about how he looks? You wanna fuck my partner or do business? JOS YERO Wait by the phone. (pause) You get a call. Or maybe you don't. Until then, piss off back to where you come from... Crockett flips the hand grenade and catches it with his left hand...and he drops it in front of Jos Yero. It spins on the table. He had reinserted the pin. And they back out. CUT TO: INT. MIAMI SAFE HOUSE - TUBBS IN THE SHOWER - NIGHT Contemplative. Offscreen a door opens. Entering is Gina Calabrese. She's naked. She washes his back. She dumps too much shampoo on his head. He tries to clear it from his eyes. Laughs. They start to make love under the water, in the steam, through the misted glass, offscreen we hear an engine rumble... CLOSER: GINA
Somebody's coming. TUBBS ...Sonny can wait. Tubbs and Gina are not random lovers, they're in love. The look in her eyes, the openness is pure femininity behind the Bronx presentation. She smiles, touches the side of his face.
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EXT. SAFE HOUSE, ON THE INDIAN RIVER - CROCKETT - NIGHT ties up a 75' Sun Seeker. It looks like a 38' deep-V offshore racer on growth hormones. Crockett's alone, as dusk fades over the '60's ranch house on the river. It's under tropical trees, with one strip of white neon utility lighting outlining the flat eave. INT. SAFE HOUSE, KITCHEN - CROCKETT let himself in. He's at a kitchen stool at the counter when Tubbs enters in sweats. TUBBS Anything? CROCKETT Nothing. Gina enters in a robe... GINA (beat) "Hi, Gina. Hi, Sonny." CROCKETT Hi, Gina. (putting shopping bag on table) This is from Frick and Frack. Trudy? TUBBS (re: bag) What do we got? Crockett pulls out three overly-large cell phones... CROCKETT Satellite. New encryption. Supposedly sharper than the G... (to Gina) How good's our background? Tubbs and Crockett look at the Mac screen as Gina boots it up. Gina's fingers tap dance on the keyboard. GINA You're so not the PD, if you got busted on a DUI, you're in serious trouble...you're bad men back to grammar school. (to Tubbs) San Quentin. Pelican Bay. (to Crockett) Marine Corps. Statesville. (MORE)
(CONTINUED)
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GINA (cont'd) Pelican Bay, where you guys hooked up. Now you're too smart and too fast to get jacked again... CROCKETT How will it stand up? GINA If they ran the rental car or lease on this place...even if it's EPIC database in El Paso...they'd have to work through the layers of bullshit three weeks deep. Then they'd find your deeper, hidden criminal selves... INT. LIVING ROOM - BAD 3 AM TELEVISION - LATER No one's watching it. INT. BEDROOM - GINA asleep. Tubbs' eyes are wide open, staring... PAGER It's the
INT. SECOND BEDROOM - ECU:
lights up. Beeps. Crockett's hand grabs it. summons from Jos Yero. INT. KITCHEN - GINA - PRE-DAWN GINA (Lazily) What am I supposed to do after I get my nails and hair done...? TUBBS Reality TV and stay by the phone. That's what all wives-in-crime do...
He leans over and kisses her. She holds firmly the back of his neck and looks into his eyes. GINA Be...careful... You hear me?
He winks at her in assurance and he's gone. Her lazy smile drops off. "Careful"...she's not so sure he will be... CUT TO: INT. LEAR 55 JET - TUBBS PILOTS Crockett in the copilot seat. Switek and Zito are in the back, barely awake. Zito hands out coffee. Switek's stashing weapons behind the fuselage upholstery. Tubbs is clearing US air space as we...
Miami Vice
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EXT. SKY - AERIAL:
LEAR JET
rockets through cumulonimbus against a black sky up to 35,000 feet. TUBBS Where we meeting 'em...? CROCKETT Port-Au-Prince. EXT. PORT-AU-PRINCE AIRPORT, RUNWAY - LEAR JET - DAWN touches down, drives towards us... aviation facility... CLOSER: HATCH Turns towards commercial
opens. Switek and Zito emerge to rental cars with two carrental clerks waiting... CUT TO: INT. PORT-AU-PRINCE HOTEL ROOM - DOOR - DAY Crockett and Tubbs make a careful entry. carrying bags... CROCKETT What do we got? TUBBS Five minutes... We see TRADECRAFT. They clear the room. They check for bugs and external surveillance. They pull curtains. Tubbs from a bag pulls a scanner. Under the two beds. Behind the picture. The lamp. The telephone. Meanwhile... CROCKETT "traps" the room to reveal if it had been searched while they were gone. He aligns the suitcase perfectly parallel on the bench. A matchstick goes against the closed closet door. A ballpoint pen is leaned against the telephone. TUBBS (cont'd) ...show time. From his bag Tubbs pulls a Smith & Wesson J-frame hammerless in .357 Magnum. He holsters this on his ankle. A Remington 780 shotgun with pistol grip, sawed-off to a 12-inch barrel gets slung on a bungee-cord shoulder strap under his right arm. .9mm under his shirt in his waistband and two spare magazines clipped to his belt. CROCKETT Hands on weapons,
(CONTINUED)
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36.
loads a .45 "race" gun with rounded sights and a magna-ported barrel, cross-drawn, and a blunt .45 Para-Ordnance in the small of his back. They're ready. INT. CORRIDOR - THEIR DOOR opens. Crockett "traps" that door, too, with a small piece of tape. CROCKETT + TUBBS All of it tells us that where they are and where they're going is a high wire act without a net. No backup. Their badges don't work. There is no law; there is no order. They are in a state of nature where people get killed for their shoes. DISSOLVE TO: EXT. PORT-AU-PRINCE CEMETERY (HAITI) - CROCKETT + TUBBS LATE AFTERNOON wait. Shadows on white limestone monuments. Bird songs. DISSOLVE TO: WHITE MAUSOLEUMS - DUSK They wait. And wait. And nothing happens.
TUBBS They watching us watching them watching us waiting for them? Or what? CROCKETT Who knows... Still apprehensive, concluding they're victims of a "noshow"... TUBBS That's it. They split. CUT TO: INT. HOTEL - THIRD FLOOR CORRIDOR - CROCKETT + TUBBS TWILIGHT approach their door. Crockett stops. torn. Weapons appear in their hands. The tape "trap" is Someone's been here.
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INT. HOTEL ROOM - CROCKETT + TUBBS enter stealthily. Then, they relax. They need not have bothered being so careful about detecting a clandestine surveillance. OVER CROCKETT + TUBBS The room is overtly destroyed. Not one piece of furniture is unbroken. Walls have been opened. Pictures ripped. Curtains. Their stuff's strewn all over. And, then... DOORS CRASH in. HAITIAN PARAMILITARY in soccer jerseys and shorts with assault rifles... BEDROOM DOORWAY - FOUR MORE PARAMILITARY AK's are aimed at Crockett and Tubbs' heads. Crockett's .45 and his Para-Ordnance are in each hand. Tubbs' shotgun is aimed at the front door, his .9mm at the men streaming in the windows. Frozen moment. A woman's voice... ISABELLA (O.S.) (to Crockett) Put your guns on the table... (enters, sits) If we wanted you dead, you would no longer be drawing breath in Miami. We wouldn't have brought you all the way here. Really? CROCKETT So, what is this, a party?
Crockett + Tubbs put down their weapons. TUBBS We'll have room service wipe up the furniture...and bring drinks. Isabella says something in French. The Cops ease-up. Isabella's personal security frisks Crockett + Tubbs and remain. Paramilitary leave. CROCKETT Glad we came. This place is a lot of fun if you're Doctors Without Borders. So...? Isabella takes off her glasses. She's Afro-Cuban.
ISABELLA I run down the numbers. Nothing is very negotiable. Small loads? We pay three thousand a ki. (MORE)
(CONTINUED)
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ISABELLA (cont'd) We pay your fuel costs up front plus ten percent. The next ten percent on U.S. landfall. TUBBS Define small. ISABELLA Two, three thousand a ki. Two thousand ki's, your end is $6,000,000. (beat) Complex transshipments or dealing with containers, these have frontloaded costs we pickup. (beat) For this kind of weight, the balance of 80% is when our buyer picks up the load. (beat) Transactions are offshore. Dollars or euros. Secure internet transfers. We have lists of Cayman and Isle of Man banks infiltrated by IRS, to be avoided... (beat) No transactions of cash or other banking instruments take place on U.S. soil... (beat) That's the deal. CROCKETT I thought we had to meet the Man. ISABELLA You do. CROCKETT When? ISABELLA Right now. As she leaves... INT. MERCEDES - CROCKETT + TUBBS - NIGHT in the back seat on a rural road. Isabella is not with them. One of her Russians is. In the front seat, his SMG is ready; his eyes never leave Crockett and Tubbs. EXT. ROAD - CARAVAN A military Hummer in the front carries Isabella with her security. Behind is a crew cab with bench seats loaded with Haitian paramilitary.
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39.
INT. MERCEDES - TUBBS They approach a town. roadblock's ahead. CROCKETT has seen something else. waist. TUBBS' POV: He indicates the pager on his He nudges Crockett. A police
PAGER - NO SIGNAL
That's what's surprising. Tubbs pulls his cell phone. Meanwhile, they're slowing down for the police roadblock. Crockett gets tense... TUBBS watches. zero. His cell's SIGNAL STRENGTH INDICATOR steps down to
EXT. POLICE ROADBLOCK - COPS stop the caravan. INT. CAR - CROCKETT alarmed. EXT. ROADBLOCK - HAITIAN COPS check under the vehicles with mirrors. Salute. Usher the convoy past. INT. MERCEDES - CROCKETT + TUBBS exchange a look. Then they get it. The cops work as security for the narcotrafficker. The caravan advances towards a major intersection. This one is blocked-off by Haitian military. EXT. SECOND CHECKPOINT - CAR DOOR is snatched open. Haitian soldiers search Crockett and Tubbs. They defer to the Russian-speaking security. Mercedes pulls forward... CROCKETT eyes his pager; Tubbs his cell phone: no signal in an urban area? Blocking signal traffic is something the CIA does over Baghdad. It's not supposed to be happening in Haiti on a dope deal. CROCKETT + TUBBS SEE a third circle of security approach. See all the weapons. Is this turning bad?
(CONTINUED)
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PRIVATE-SECTOR TYPES IN BUSINESS SUITS carrying automatic weapons, some more casually dressed, some with night-vision goggles. The vehicles stop. EXT. TOWN SQUARE Crockett and Tubbs are directed to get out. They're pushed around and searched. A working class Glaswegion Scot, a couple of 5'10" Brits are off to the side with short hair and shoulders that are too deep and faces like Rugby players (exSAS). Russians are ex-KGB. Languages overheard: smatterings of Russian, Hebrew and English. Crockett and Tubbs look at each other: they get it. This is the cream of private sector security. And it says top dollar infrastructure. THEY + WE SEE: EXT. TOWN SQUARE
Four avenues lead in. Each avenue is blocked. The square is closed down to vehicles and pedestrians. Locals have disappeared. In the center of the square are FOUR MATCHING BLACK SUBURBANS. CROCKETT gestures to Tubbs to look up. ROOFTOPS: They see...
TWO-MAN TEAMS - SNIPER + SPOTTER
with night-vision goggles... CROCKETT + TUBBS are clean. CROCKETT, TUBBS + ISABELLA cross through a no-man's land. open in Kosovo. TUBBS checks out the first Suburban's uplink satellite dish on a hydraulic mast. The rear's converted into computer equipment sitting in ruggedized racks... INT. SECOND SUBURBAN - WIDE Doors open. The interior has been converted into a luxurious, limo-like office with swivel seats. Isabella followed by Crockett and Tubbs enter. It's occupied by ARCHANGEL DE JESUS MONTOYA-LONDONO. He's not flashy. He has smooth skin, slightly opalescent, black eyes. His right arm is normal length, but shriveled. MONTOYA Please take that seat on the side... It feels like being in the
(CONTINUED)
Miami Vice CONTINUED: TUBBS Thank you.
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MONTOYA (polite, friendly) Excuse me because I am very busy and have many things to do, so this will be brief. Yes? (beat; not waiting) We will try you on a "run." One. To build trust. We do a thousand kis. In all matters, when you work for us, you must do exactly what you say you will do. (beat) In this business with me, if you say you will do a thing, you must do exactly that thing. (beat) Then? You will prosper beyond your dreams and you can live in Miami in millionaire style. (beat) If you are arrested, there will be lawyers made available to you in the United States. You will use them. Anything you need, you will be provided by me. It cost you nothing. You will contact and work through Jos Yero on logistics and communications. To do with money, you will work through my wife, Isabella... Crockett notices that Montoya lightly holds her hand. It's confident. And he sees the slight smile on Isabella's face as she watches he and Tubbs... MONTOYA (cont'd) More than I, in finance and business, she is very dangerous. I look forward to our doing work together. Whether we do or not, it is unlikely we will meet again. So I extend my best wishes to your families... (to Tubbs) Particularly to your beautiful wife. (beat) Thank you for making this long trip to see me... Dismissed, they exit. EXT. TOWN SQUARE - EXTREMELY CLOSE: TUBBS
(CONTINUED)
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42.
Subterranean alarms are going off. Tubbs finds himself in this small city, occupied by narcotraffickers and their security in the middle of nowhere. Urgency agitates Tubbs. He controls it... CROCKETT in the town square, now, too. But Isabella stayed inside Montoya's Suburban. Now, she lowers her window. ROADBLOCKS break up. Montoya's Suburbans pull out. The security cordon deforms. It all disappears around them. It leaves only the Mercedes, a driver, and Crockett and Tubbs... CLOSER: CROCKETT
looks after the caravan. CROCKETT'S POV: ISABELLA'S EYES She is
in the side-view mirror on the passenger side. looking at him. CROCKETT holds that look. ISABELLA'S EYES IN THE MIRROR holds his. CROCKETT
Sound deadens. His attention is on the woman in the mirror...until it's broken by Tubbs' attention to his cell phone. TUBBS' CELL PHONE Signal strength returns. Tubbs punches in numbers.
TUBBS (low) ...who did we just meet? He waits. A phone rings. Hello...? Tubbs is relieved... TUBBS You okay? It's picked up by Gina.
GINA (O.S.)
(CONTINUED)
Miami Vice CONTINUED: (3) GINA Yeah. TUBBS You sure? Yes. GINA What's up?
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TUBBS Nothing. Calling to say hi... What's up with you? INTERCUT WITH: INT. SAFE HOUSE, KITCHEN - GINA GINA Bored. To Tubbs, that's good news. TUBBS Okay...see you soon. GINA ...and thanks for the flowers. EXT. HAITIAN TOWN SQUARE - TUBBS TUBBS What flowers? GINA The bouquet, here. Five-hundred dollars worth of roses...yellow. Pause. TUBBS There a note? Pause. GINA You mean with the flowers...? TUBBS What's it say? GINA "Salutations from the south..." A deep chill. GINA (cont'd) I...I thought it was from you.
(CONTINUED)
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44.
And, now, she gets it. Gina is in the kitchen. Alone, in their secret safe-house location. She and Tubbs have nothing to say. He looks to Crockett. The message from MontoyaLondono is clear: I know you. I can reach out and locate you our yours. Anytime. YOU ARE NOT SAFE. TUBBS We're on our way... INT. KITCHEN - GINA - NIGHT TUBBS (O.S.) (forced casual) So why don't you...meet the plane... We sense this is code. right now! (cool) Okay. TUBBS Good idea. (beat) We'll grab a bite. Gina ends the call, drops to the floor to the wall, kills the lights, holds her Sig .9mm at her side as she moves deeper into the interior... CUT TO: INT. CUBAN CAFE ON CALLE OCHO, MIAMI - TUBBS + GINA - 4 AM Close on their two faces. He's holding her hand under the table. The noise of the surrounding crowd is a ROAR. That's the idea. They want their words buried under noise... PAST GINA: CROCKETT Trudy, Switek It means get the fuck out of there
GINA
discreetly at the door, watching the street. and Zito are at adjacent tables. GINA ...the lease, the phones, the cars...layers of false ident. Would take the FBI weeks. How long did it take them? Three hours? Four? (re: the note) This means, "We can reach out and touch somebody." Like Bad Teleflora.
(CONTINUED)
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TUBBS (cuts in) ...even if they could run the identities you built to EPIC, all they'll find is more cover... Trust what you built. It's quality, girl. We're cool... GINA (leans in; holds his hand tighter) ...you are trying to reassure me because you know when people get anxious, they make mistakes. You're worried about me. Do not be. (into his eyes) I am careful. I am cool. I got Trudy, backup, whatever. You worry about you. Because you are the ones who are in denied territory, not me. If your focus is on me, you'll miss something coming at you. That's how people slip up. Get hurt. And I'd die if anything happened. You worry about you. You and Sonny...are in the dangerous place. I'm fine... Gina leans back in her chair. Their eyes still connect across the distance between them. Their hands still touch. GINA (cont'd) (loud) Fuck 'em. They sent us some flowers. Big deal. Thanks for the flowers... Gina Calabrese shrugs. Tubbs laughs, and we are...
INT. SAFE HOUSE - BEDROOM - 4 AM Low music. Dark shadows. Half-light washes the walls from passing headlights. Tubbs are Gina are naked. It's the lovemaking of a man and a woman when they hold precious the moments they have because they know that in these moments they are safe. And that the present is fleeting. And they know their time together is about luck. Because life is short. Departure is imminent. Nothing lives forever. It's in their faces and their eyes... CUT TO: INT. SHACK (GUAJIRA PENINSULA, COLOMBIA) - CROCKETT - DAWN A lantern lights his face. The night is soft. Crockett's with a couple of campesinos, playing poker and drinking beer.
(CONTINUED)
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Whoever's shack this is, is a Tupac Shakur freak. His image is on all the walls. A diesel truck starts and pulls away outside. EXT. LANDING STRIP - TUBBS - NIGHT checking the cargo tie-downs inside an A-500 Adam aircraft. He's sweating. His shirt's off. The cargo is ten black plastic-wrapped and taped bundles. Like any good pilot, Tubbs trusts nobody but himself to tie-down the load. The rear seats are removed. There's a plastic bladder holding a reserve of 50 gallons of AvGas. INT. SHACK - CROCKETT wins. The girls shriek. Crockett pushes the money towards the Campesinos. They refuse. Crockett insists. One will only accept the money if Crockett accepts his Randall hunting knife. He does. Tubbs is in the doorway. CROCKETT We set. Crockett kisses the girls, gracious about the gift. looks out into the night. TUBBS To the limit. CROCKETT You worried about the tree line, US Customs AWACS, or something else on your mind? TUBBS Like...? CROCKETT Gina in the Miami pad. (no answer) You gonna give me phony denials? TUBBS No. (beat) You gonna give me phony reassurances? CROCKETT No. Good. TUBBS So let's go... Tubbs *
They head toward the strange-looking plane. It's a single fuselage with two propellers...one at the nose, one at the tail. Off the wings are two booms that connect to a rear wing. It's a Burt Rutan aircraft design.
(CONTINUED)
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There is neither metal nor exposed exhausts for radar or IF to spot. It does 200 knots at 22,000 feet. It'll fly, forever, 1,000 kilos of flake worth $23 million, and the total air weight is less than two Bentleys. It's the smuggler's dream airplane. EXT. LANDING STRIP - END OF RUNWAY - A-500 ADAMS heads for the tree-line. It will not make it. At the last moment, Tubbs pulls back the stick and the plane lofts over the trees, clipping the tops... INT. A-500 - CROCKETT throws a look sideways at Tubbs. EXT. SKY - A-500 airborne over the Caribbean, heading north... CROCKETT (O.S.) (into radio) Transglobal Airlines flight zerozero-zero...is in the air... ZITO (V.O.) Roger that. INT. A-500 - CROCKETT - MUCH LATER is dozing. A signal.
Tubbs points up and to the right. Crockett wakes, looks. An Aero Commander Turbo Twin is paralleling the A-500's course. Now, it slides over them...almost into a collision. It sits right over the A-500, separated by only 75 feet. INT. OPA-LOCKA AIR TRAFFIC CONTROL - TRAFFIC CONTROLLER - DAY handling a myriad of flights, reacts. On his radar he sees next to the image of the Aero Commander, a ghost image.... AIR TRAFFIC CONTROLLER Eleven-ten, Sierra, do you have a visual on another aircraft...? INT. AERO COMMANDER - SWITEK + ZITO - DAY Switek is flying and looks down at the A-500 below... ZITO Negative, Opa-Locka. INT. OPA-LOCKA AIR TRAFFIC CONTROL - TRAFFIC CONTROLLER keys his radio.
(CONTINUED)
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AIR TRAFFIC CONTROLLER Opa-Locka Air Traffic Control to JIT 0-seven-six-Nellie-Charlie... AWAC (V.O.) Hello, Opa-Locka. What's up? AIR TRAFFIC CONTROLLER I've got an Aero Commander coming in on a two-seventy-nine heading, but I had a double image...like there's another plane there, now I'm only picking up on one. What do you read? INT. US CUSTOMS AWAC - RADAR OFFICER RADAR OFFICER Let me see... His FLIR (Forward Looking Infrared) picks up Switek and Zito's Air Commander. He flips through all the different modalities of detection, including thermography, for anything else suspicious in the airspace... AWAC RADAR OFFICER (into mic) Too many Mai Tais at lunch... You're seeing double. One blip. One plane. EXT. SKY - SIDE SHOT: THE AERO COMMANDER LIKE A PANCAKE ON TOP OF THE A-500 RIGHT BELOW IT We get the joke. The A-500 with its stealthiness under the Aero Commander together like a single footprint. AERIAL ANGLE: TWO PLANES
piggybacked, enter US airspace and cross the coastline into Florida. From underneath, the Aero Commander sweeps to the right on approach as Tubbs radically dives for the trees, hugging the contour at 220 knots at 150 feet...having snuck this plane and its load into the United States of America. * CUT TO: EXT. CIRCLE 6 MOTEL, PARKING LOT - U-HAUL-IT TRUCK - NIGHT Alone in the acid-yellow glare of the sodium vapor lights. We wait. We don't know why we're here. PARKING LOT PERIMETER - SAWGRASS
(CONTINUED)
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MOVE IN...and we REVEAL staked-out are Crockett, Jean-Louis and Tubbs... CROCKETT Neptune gonna show? We don't know who he's talking about. JEAN-LOUIS Oh, he'll show. This is his kind of deal. Crime on crime. Who's gonna call the cops? CROCKETT (skeptical) Usually his thing is street dealers. Torture their families until they cough up the stash. This...? JEAN-LOUIS He's ambitious. TUBBS Heads up... ESCALADE Lights off. Cruises through the parking lot past the U-HaulIt to the other side and disappears. TUBBS (cont'd) That's slick: Neptune's Escalade's worth more than the real estate. But no one's supposed to notice his drive-by? CROCKETT Here's another incognito genius... ANOTHER ANGLE: MALIBU SS
cruises the other end of the parking lot. The Escalade returns. All's clear. Both converge around the U-Haul-It truck. Out of the Escalade steps NEPTUNE - 6'4", narrowshouldered and bald. From the Malibu and back of the Escalade, Four more Haitian ZO POUNDERS with handguns, shotguns and shades... NEPTUNE pops the lock on the U-Haul-It with a crowbar. He rolls up the door expecting millions worth of cocaine. Instead he comes face to face with the barrel of a 12-gauge... TRUDY April Fool, motherfucker.
(CONTINUED)
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Trudy whips the butt end of the shotgun around, caving in Neptune's cheekbone and nose... WIDER - NEPTUNE goes down for the count. Switek - under the truck - rolls out. Crockett, Tubbs with shotguns, Jean-Louis and Zito with CAR-15s emerge from the perimeter with bright lights on shouting for the Haitians to freeze... TUBBS (Patois) Arrete! Arrete! (to one) Et vous, mo-fo!
Freeze!
A 250-lb. ZO POUNDER brings up his weapon. Crockett BLOWS the guy's legs out from under him. Zito disarms him. The other two are disarmed. NEPTUNE is rolled over by Crockett. He plastic-ties his wrists and feet. Others are manhandled... JEAN-LOUIS (in French) Get the fuck in the truck...! Zo Pounders, plastic-tied, are thrown into the truck with the thousand kilos of cocaine. But not Neptune. The gate is rolled down and padlocked. CUT TO: INT. SAFE HOUSE - CROCKETT - NIGHT staring at his satellite cell. Waiting. He looks out the window at the passing river. Soft voices from another room...probably Tubbs and Gina. It's five in the morning. It rings. He answers. JOS YERO (O.S.) Client got delivery. But there were..."extras" in the back of the truck. CROCKETT "Extras" tried to relieve us of your weight... (beat) And by the by, you know of a player in Overtown who goes by the name of "Things Aquatic"?
(CONTINUED)
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JOS YERO I do. We don't do business with him... CROCKETT He tried to..."do business"...with you. Around ten. His place. Be there. JOS YERO I'll be there. EXT. OVERTOWN STREET - JOS YERO IN A TINTED EXCURSION - DAY cruises storefront churches, chacouteries, Baptist missions, Haitian restaurants and palm trees. Men in dark trousers and white shirts lean in doorways. The SUV preceding Yero stops three houses before us. The Excursion with Yero stops two houses beyond. Security - very casually - deploys. NOW, Yero approaches...seen through the curtains of the window we're looking through. Reveal Tubbs watching. And, he crosses to the door and opens it as Yero cautiously enters. INT. LIVING ROOM - YERO And his face registers surprise. CROCKETT Look familiar? DOPE Carefully stacked in the living room are the PLASTIC-WRAPPED BRICKS OF COCAINE THAT CROCKETT AND TUBBS STOLE FROM SAL MAGUDA'S WAREHOUSE WHEN THEY BLEW UP HIS BOATS. Hog-tied and bleeding all over his clothes, in the corner is Neptune. His mouth is taped. He's shaking his head...disclaiming, disowning and disavowing... TUBBS This the load you lost a while back? It is. load? Yeah. JOS YERO And what do I do with him? JOS YERO He try to take tonight's CROCKETT
(CONTINUED)
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TUBBS (shrugs) Whatever you want. Like we said, we're not into violence. Yero looks around the corner and sees Switek and Zito in the dining room, casually at ease with Galil assault rifles...meaning "don't even think about it"... CUT TO: INT. AN EMPTY MANSION - JOS YERO - DAY The empty mansion is on its own peninsula. Through the windows we see a yacht and Crockett's 48' Stryker, its canopy open but without its racing supergraphics. The mansion interior...all Beaumaniers limestone...is devoid of all furnishing. They sit on white plastic garden chairs from Sears. JOS YERO (suspicious) I walk into Neptune's house...very nice. But I also see you... and our drugs that got ripped from Maguda. TUBBS You don't like us finding your load? We can go and lose it all over again... CROCKETT How 'bout this? How'd Neptune know where to hit us? Huh? Whose Op sec's got a leak? Yours? JOS YERO What'd Neptune tell you? CROCKETT He didn't. Interrogation's not in our skill set. (beat) So c'mon, what suspicions have you master-minded off these associations? JOS YERO (whispers in Spanish to Isabella) Here's what this is...ask how much they want to turn back to us our load... Yero's certain about their motive.
(CONTINUED)
Miami Vice CONTINUED: ISABELLA We want it back. CROCKETT Okay. ISABELLA What's the recovery? you looking for?
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How much are
TUBBS (to Crockett) How much we looking for? CROCKETT Nothing. ISABELLA What's "nothing"? Nothing. CROCKETT As in "free, gratis."
TUBBS And as an investment in the future... ISABELLA (takes off her glasses and looks at Crockett) "Future" of...? CROCKETT A fine...business...relationship... She holds Crockett's look...as she did before. TUBBS It's yours cause what's yours, is yours. And what's ours is ours... (to Yero) ...like the second ten-percent, which is now due, Yero, my ace. Isabella gestures. box full of money. Yero kicks across the floor a cardboard Tubbs glances inside. Doesn't count it.
TUBBS (cont'd) What's up next? Or is this a onetime deal? Isabella decides. ISABELLA (to Yero) Give them the shipment on the seventeenth...
(CONTINUED)
Miami Vice CONTINUED: (2) Yero doesn't like it. Conveyance? Maritime.
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She gestures "do it." TUBBS ISABELLA Jose will fill you in.
And she starts to leave...and sensing Crockett's gotten up and follows her. Meanwhile TUBBS (to Yero) Lay it out... And Crockett, close behind Isabella, now... CROCKETT (low) There is one thing you can do for me in recognition of the deathdefying risks we took to recover your product... ISABELLA (low) And what is that? This is the wife of narcotrafficker Archangel de Jesus Montoya-Londono. CROCKETT Let me buy you a drink. Isabella pauses. Crockett may get killed right now. near the open doors to the patio. ISABELLA (low) What do you like to drink? CROCKETT (low) I'm a fiend for mojitas. Isabella looks over at Crockett's boat. ISABELLA (low) How fast does that go? CROCKETT It goes very fast. ISABELLA Show me...? Back to Crockett... They're
(CONTINUED)
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Isabella and Crockett head outside towards the dock, Tubbs overtakes... TUBBS Can I talk to you for a second, partner...? They step aside. TUBBS (cont'd) (low, re: Isabella) Wha's up...? CROCKETT (low) I know what I'm doing. And he leaves to help Isabella board. Switek unties and pushes off the boat. Looking out the window at them is Jos Yero, as perplexed as Tubbs, who covers... TUBBS ...secure satellite comms. encrypted e-mail, the longs and lats for the transshipment point...all that? It's all cool. But I need a vector, not a location. 'Cause ships move. That's why they call them ships. Ship stops? It's trying to be an apartment building. At sea that attracts attention. That's bad... Meanwhile... INT. STRYKER, CABIN - CROCKETT + ISABELLA pulling away from the docks at 12 knots, repressing the thunder of the 2,700-horsepower engines. Crockett leaves the canopy slid back. They're open to the air. He gives Isabella headsets so they can talk over the roar. The wind starts to move her hair. She's not sure how to put on the headset. Crockett lets the boat rock over the swells while he arranges her headset around her ears. His fingers brush her hair, touch her skin... It was not intentional. But the look in Crockett's eyes is as if a small voltage passed through him. He plugs her headset into the dash, regains the wheel, shoves the throttles forward and...
Miami Vice
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EXT. OPEN OCEAN - "BORN TO WIN" cuts and then leaps over swells. In seven seconds they're doing over 70 knots. And Crockett holds it there as... ISABELLA The wind whips her hair behind her, now. The two are small against the smooth 50' long hull. Crockett hands her wraparound shades for her eyes. She doesn't want them... CROCKETT (through headset) So where's the best place for mojitas? ISABELLA Bodeguita del Medio. place for mojitas... CROCKETT Where's that? ISABELLA Off a little alley with cobblestones. Hemingway went there... CROCKETT The Keys? ISABELLA Havana. CROCKETT Havana? Cubans don't like us or my business... ISABELLA Are you afraid? (smiles; Crockett shakes his head "no") Good. And you don't need a visa. Cause you're with me. EXT. OPEN OCEAN - OVERHEAD "BORN TO WIN" - DAY rockets from one swell to the next, getting airborne. Wind and salt electrify Isabella. She turns to Crockett and smiles, putting on the glasses, now. Crockett gestures to her knees. She should keep them bent. Crockett pushes it to 75 knots... It's the only
FRONTAL:
CROCKETT + ISABELLA
(CONTINUED)
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in strong light, ripped by wind. Behind them are ocean and sky and twenty-foot plumes which jet from the props and make a wake that vectors in diagonals to what each is leaving behind them...where they've been...and converge to push them to the new places where they're headed. Behind, the skies are leaden. They're racing a storm. Sunlight shafts through a gap in thunderclouds, turning the clouds yellow. Now, they turn peach against the darkening open water and the grey sky behind. The boat vibrates, the engines scream and... CROCKETT waves her over to join him behind the wheel. He holds out his left hand to steady her. He brings her to him. Both lean against his high upholstered chair. He holds her to his side. Indicates the wheel... CROCKETT Light touch. Everything comes to you through the wheel. CROCKETT stays on the throttle, throttling back when the props are out of the water so you don't redline the engine and forward when reentering. The swells are now four feet. They launch off each, get airborne, cut into the next... CROCKETT (cont'd) How do we get into Cuba?! ISABELLA My cousin is the harbor master. You must not bring in drugs. You cannot be armed. If you're carrying, it has to go. Or stow it inside. No one will go near your boat... CROCKETT You do business in Cuba with your husband? ISABELLA I never do business in Cuba. (beat) And nobody goes to Cuba but me. (smiles) And he is not my husband... Crockett's surprised. And he doesn't push it.
CROCKETT Were you born in Havana?
(CONTINUED)
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ISABELLA Angola. My mother was being a surgeon there. She volunteered. Mozambique and Mali, too... (over the wind) ...those days, in those days...she was part of Cuba's gift to the third world. She came from a bourgeois family with a house in Verdado...we still have the house. We will go there... CROCKETT Where's she now? ISABELLA She's dead... Crockett looks at her. Her perspective is that of the '60's and '70's, the politics of national liberation, the perspective of Marcuse and Franz Fanon. CROCKETT Your father? ISABELLA Angolan Military. Went back to the fighting. Disappeared. Who knows...? Isabella looks at the look on Crockett's face. ISABELLA (cont'd) Go ahead and ask... CROCKETT How's he not your husband? ISABELLA I am no one's wife. I live in my own house. I do not live in a man's house. He has a wife. We are together. I am free. Because of banking and finance and travel... (looks at him, shouts over wind) And I can do anything I want... She laughs. She has that combination of intellect, beauty and youth. Everything is possible...life will never end...she can ride this crest eternally. And Crockett knows that her confidence makes her oblivious to peril, makes "right now" too real because she believes she will live forever.
(CONTINUED)
Miami Vice CONTINUED: (3) CROCKETT
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can't help it. He looks right at her. She lifts her face to the spray. Some clouds part and light strikes her... And Crockett wants to possess her; to protect her. He wants no one else to have her. He wants no harm to come to her. And this is an impulse that takes him over to the core of who he is. And, as we MOVE IN CLOSER, Crockett has to turn away... ISABELLA sees this. She's quizzical. Their eyes connect. "BORN TO WIN" leaps... CROCKETT his left arm around her shoulder, his right on the wheel. She rocks back against his body. They rip across the seas... CUT TO: INT. "JAZZ" - A HAVANA NIGHTCLUB JAMMED WITH PEOPLE - NIGHT 14-piece Afro-Cuban band. IN THE PRESS OF dancers at a small table, Crockett and Isabella... CROCKETT (shouts over noise) Mojitas...? ISABELLA (shouting back) Later! Do you dance? CROCKETT I dance... They move into the crowd under two-story high windows overlooking Meyer Lansky's Hotel Riviera - freeze-dried 1959 Las Vegas. CROCKETT + ISABELLA Whatever we knew about Sonny Crockett, we did not know he could dance. Their feet, their knees and thighs, perfectly matched, they samba, like lightning. Crockett looks back at her.
(CONTINUED)
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He swings her around and turns her to a close embrace as their hips and legs parallel each other's, as he turns her under his arm, stops her, pulls her backwards into his body, her hips into his, the fast beat, the footwork, and he spins her back facing him, pressing her closer as it gets faster and... CUT TO: INT. BEDROOM - CROCKETT + ISABELLA fall onto a bed, shedding the last of their clothes, making love in a house somewhere. Beyond them is an open window to the ocean. The sky turns red and grey but the water stays molten. Their eyes are open...because they're locked together the whole time and their faces are steady and urgently surprised because this is not language; not a symbol, not a representation of a thing. Jesus Montoya is not here. Miami is not here. This is discovery. This is fact. They have discovered each other and have never felt like this about anyone before in their lives. CUT TO: INT. HOUSE, BEDROOM - CROCKETT - MORNING His eyes open. He wakes up. Light and situation flood in. He does not know where he is. He pulls on his pants. Barefoot, he walks to the window. The interior is highceilinged with immaculately polished floors. And Crockett looks around, a stranger in a stranger place. EXT. THE BALCONY - CROCKETT enters. The paint on the outside of this house is peeling and patinaed with stain. The yard is overgrown. The stucco fence around the streamline deco facade is crumbling from weather and time... CROCKETT WATCHES THE OCEAN from the balcony of the futuristic villa in Verdado... A futurism from 1939, peeling aqua, aging science fiction. Wherever we are in the world, this place is out of the stream, outside history. And Isabella, this woman from a different world, enters, brings him an oversized cup of coffee. In his trousers, Crockett drapes an arm across her shoulders and they stand in the air. CROCKETT hears voices from the interior. ISABELLA My aunt. She's ancient. after the place... (MORE) She looks
(CONTINUED)
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ISABELLA (cont'd) (beat) This was my mother's family's home... CUT TO: INT. BODEGUITA DEL MEDIO - CROCKETT + ISABELLA - AFTERNOON in the funky yellow restaurant drinking mojitas. They've had lunch served to them at the bar. Frosted glasses have sugar on the bottom and are loaded with crushed Cuban herbs. The bartender has been there for 40 years. Crockett and Isabella look like regulars. They've served chicken and plantains. Like any restaurant, the people eating at the bar are the regulars. They sit where Hemingway sat in the slow part of the afternoon. ISABELLA Tell me everything. CROCKETT No. ISABELLA I insist. CROCKETT (flip) Okay. (beat) Macon, Georgia is where I was born. Wound up in a juvenile facility. I was 14. Then the military. Then prison. Because I was dumb and angry. Then I read. Then I got smart. Then I discovered what I know, now...it's all business... Isabella smiles. CROCKETT (cont'd) (to Bartender) My friend, two more. (beat) What was your mother's name...? ISABELLA Blanca...a rubio like you. (pause) I see her in a dress...an old photograph from Lucinda somebody's wedding...everybody is with couples. Husbands and wives. They all pose. My mother is alone because my father had to go back to the fighting. (she points) (MORE) (CONTINUED)
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ISABELLA (cont'd) ...she looks right into the camera. She is the most beautiful woman in the room. By herself. In a party dress. And she looked like she knew she would die alone... (beat...remembers) She spoke many languages. We were in Luanda when she died. I went to her friends in Mali. They sent me to the Ecole Polytechnique in Geneva to study mathematics, where I met Montoya in the discos. He had banking there...I was seventeen and very much into the clubs. And he sent me to University for an MBA in Finance. (pause) Your mother? CROCKETT Died in childbirth, having me... To mothers. them... ISABELLA And all that we owe
Isabella looks at Crockett and smiles and puts on her sunglasses. CROCKETT You know how improbable this is...? ISABELLA "Probable"...applies to an event that may be real. Doesn't apply here. CROCKETT ...'cause we have no future...are of today and not tomorrow. ISABELLA (laughs) That's right. CROCKETT ...and therafore there is no consequence? ISABELLA Exactly.
(CONTINUED)
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Crockett's hand is around her waist and slips down her hip as he pulls her closer and takes off her glasses and she puts down her drink and kisses him at the bar and Crockett's eyes dwell on her and she looks back at him and, now, knowing what he's thinking... CUT TO: INT. THE STREAMLINE HOUSE IN VEDADO - LEADEN SKIES - LATE AFTERNOON The water is like sheet metal as clouds allow only a sliver of light to illuminate the sea while rain greys-out most of it. Minute crimson is a freighter heading to the stone harbor. Fabric billows in the wind. PULL BACK into the room to Crockett and Isabella... TWO NAKED BODIES ...one light skinned, the other brown, intertwine in the opiated moments after sensuality. The afternoon half-light drapes parts of their bodies, making a relief against which their eyes hold each other's... CUT TO: INT. SHOWER - CROCKETT - LATER focused elsewhere. It's as if he's struggling to record the event of her in memory so she'll sustain there, because he compels himself to a different place, now. Then, the shower curtain parts. It startles him... ISABELLA enters. She touches his back. CROCKETT (soft) Let's talk deliveries. Isabella is not let down by the switch to commerce. She merely goes there, too. After all, this is their subject. Soft smiles. CROCKETT (cont'd) ...and a different kind of deal. ISABELLA Like...? CROCKETT Like "three thousand a ki?" nice. (MORE) That's He turns to her with a smile.
(CONTINUED)
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CROCKETT (cont'd) And I can supply the transportation into South Florida and the Gulf, more reliable and on-time than FedEx. But, three per ki was OK for openers. ISABELLA And why should continuing excellence cost more? Cost less. CROCKETT That's the point.
ISABELLA Is it December? CROCKETT What do you mean? ISABELLA Did Christmas come early this year...? CROCKETT Better than that. (beat) We become partners. Only in this territory and only on loads we run. And you don't pay us three thousand a ki. You pay us zero. Why we get is thirty percent of the load. Product or cash. "And why," you're thinking, "would I be crazy enough to out in these gringos like that? Is he chipping? Crazy for my love? Too many mojitas?" And the answer is, "of course" but also "no. It is because Sonny can deliver what no one else can." ISABELLA Good samba dancing...? CROCKETT Zero risk. ISABELLA 'Cause you don't lose loads? CROCKETT 'Cause we guarantee every load. (beat) Anywhere, for any reason, it comes up short, we make good. Your operations will, from now on, run risk-free.
(CONTINUED)
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ISABELLA And you're our thirty-percent partner? Her knowing smile speaks of experience beyond her years. ISABELLA (cont'd) (deadly seriously) What if I tell you that your ideas are too big for your skin? (beat) That merely to propose this is a dangerous thing? CROCKETT Then I would say to you, this has been fun... There's a long pause. This is business. This is what is.
ISABELLA The range should be between fifteen and seventeen-point-five percent of the P.O.E....to even consider it. CROCKETT I need thirty. Calculate in, also, the cash you don't have to front... ISABELLA Available cash is not an issue for us... CROCKETT Twenty-eight-point-five. ISABELLA What if I pushed to twenty-one...? CROCKETT I would say you're... (hesitates; holds up four fingers) ...four percentage points away from a deal... ISABELLA Maybe I'm only one. And she slides into his arms. And smiles...
CROCKETT We'll do it at twenty-two... Isabella laughs. She kisses him under the shower water. And it's tough to know who is pushing it further out onto the edge.
(CONTINUED)
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CROCKETT (cont'd) ...and now what? ISABELLA And now I make you breakfast again... Her breathing is heavier as she buries her head in his neck. CUT TO: INT. BOAT ON STORMY SEAS - DAY Crockett is alone. CROCKETT Rain and wind rip across his face. Havana. SATELLITE PHONE rings. Crockett picks it up. It's Tubbs... He left Isabella in Black skies mottled with grey.
TUBBS (V.O.) Where the hell are you, man? CROCKETT (into phone) On my way back... Crockett disconnects. He pushes it. It launches from one swell, airborne, and knifes into the next. It's violent. Crockett's thoughts and expression are about Isabella. They are criminal conspirators, a woman cheating on her narcotrafficker "husband," an outlaw smuggler who's really an undercover cop... OVER CROCKETT: GOVERNMENT CHANNEL - "BORN TO WIN"
rockets in and then throttles back. CUT TO: EXT. INDIAN RIVER SAFE HOUSE - TUBBS - DAY sitting on the U-shaped jetty as we HEAR Crockett kill the engines, tying it off. Gina stands halfway up the small lawn to the early 60's ranch house under tropical palms. Tubbs' mood is dark. As Crockett approaches, he looks blankly at Tubbs, offering no explanation... TUBBS (mutters) The meet with Castillo and the fed got set up. It's in 45 minutes... Tubbs goes inside. Crockett follows. As he passes Gina...
(CONTINUED)
Miami Vice CONTINUED: GINA What's up, Sonny...? Crockett looks at her. INT. HOUSE - CROCKETT enters.
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He has no answer.
While Tubbs is strapping up... TUBBS Where'd you go? CROCKETT Hit a couple of jazz clubs. back to her place. TUBBS Where? CROCKETT Verdado. TUBBS Verdado where? CROCKETT It's in the suburbs outside Havana. TUBBS Havana, Cuba...? CROCKETT Havana, Louisiana. (beat) Don't we have a meet? No. TUBBS ...where you're makin' a move on the wife of Archangel de Jesus Montoya? CROCKETT No. TUBBS You're not makin' a move on her...? CROCKETT We're makin' moves on each other. TUBBS Oh, that makes it okay, then. CUT TO: Fell
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INT. ENGINE ROOM OF A TRAMP FREIGHTER SEIZED BY US CUSTOMS AND TIED-UP ON THE INDIAN RIVER - FBI RAC JAMES FUJIMA - DAY We've entered a secret meeting mid-argument. FUJIMA Who said, "go exploring"? this staying on track. We want
CROCKETT (to Fujima) Who's the "we"? There's you and there's us. And all we got from you was bad intel. "Low-level producer." Yeah, right... FUJIMA What are you talking about? CROCKETT Montoya. We went to meet the village priest. It turns into Alice in the fucking Vatican and here's the Pope...of the North Valle Colombia dope trade. TUBBS His operations are kingpin size and first-class. His security is exEastern bloc, ex-SAS and Israelis. Their comms are satellite uplink with mainframe encryption, significant Sig Int and in their zones of activity, they have signaljamming capability... Fujima is surprised... Yeah. CROCKETT CIA-level stuff...
TUBBS And what does that level of spending on first-class, privatesector infrastructure signify to you? CROCKETT Mega-tonnage and mega-cash flow... FUJIMA Out of...? CROCKETT Haiti and Puerto Rico. Money through Dubai and Geneva maybe.
(CONTINUED)
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TUBBS Their loads are poly-drug. "E" from Holland, methamphetamine precursors from Jordan, Afghan "H." Mid-ocean transshipments. His real business is: he's a network. CROCKETT And we can illuminate part of it from the inside out. TUBBS So we want to change-up the mission statement. FUJIMA (no) Identify and indict the white supremacist group of importers. End of story. Everything else I'm hearing is speculation masquerading as intel... Crockett flips him a set of keys. FUJIMA (cont'd) What's this? CROCKETT Keys to the boat. Go do this motherfucker yourself. Fujima looks at Castillo...who is this insubordinate prick? FUJIMA Who are you talking to? TUBBS He's talking to you, bro. (beat) What he means to say is he is reluctant to abandon the penetration of a major narcotrafficking organization... CROCKETT (re: Fujima) Hey, fuck him. TUBBS Chill out Sonny. CROCKETT We're the ones doing the deathdefying shit? And he wants us to give that up? For what? (MORE)
(CONTINUED)
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CROCKETT (cont'd) A chump-change bust so he can get his picture in The Miami Herald to impress the slug farm in DC... FUJIMA (to Castillo) Control your men. CROCKETT I'm my own man. And anytime you want to see how much man I am? CASTILLO (low) That's. It. Everybody shuts up. CASTILLO (cont'd) (to Tubbs) Where are you on this? We know Tubbs has doubts about Crockett's motives and methods, nevertheless... With Sonny. TUBBS 110%. *
CASTILLO Then that's it. (to Fujima) Change the mission statement. Crockett stays in. He keeps working up the ladder. The local importers get a pass for the time being. FUJIMA I don't know. CASTILLO Yes you do... FUJIMA I got to talk to my ADO... CASTILLO No, you don't, Jim. (beat) 'Cause if I close this down, you got nothing to make a phone call about. And my guys don't have a week for a Feeb bureaucratic process. Every hour longer they're in there, they risk exposure. So, right here, right now, they're back in or I pull them out and close you down. What's it going to be? (CONTINUED)
Miami Vice CONTINUED: (3) Fujima nods acquiescence. FUJIMA Okay. He leaves.
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When he's out of earshot... CASTILLO (to Crockett) You fuckin' better be right...! CUT TO:
EXT. FREIGHTER ON THE INDIAN RIVER - CROCKETT + TUBBS - NIGHT step across to a second ship among the dozens tied-up along the river. Its crimson paint is peeling and it's been stripped of everything salvageable. They're alone. TUBBS (low) What is going on...?! CROCKETT As in...? TUBBS There is "undercover." is "Which way is up?" And there
CROCKETT You think I am in so deep I forgot? TUBBS I am asking. You to me. CROCKETT Do you believe...I have forgotten I am a cop? TUBBS I would never doubt you. This is the answer Crockett needed to hear. TUBBS And do you doubt complicit in the Alonzo and those Anyone...whoever (cont'd) I will slot anyone death of Maria, children? they are...
CROCKETT No, I do not. And we know that might mean Isabella.
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EXT. MONTOYA COMPOUND, GUAJIRA PENINSULA, COLOMBIA - ISABELLA - NIGHT We are on a peninsula with palm trees. A bluff dotted with a small forest of satellite dishes. A ribbon of white-sand and beyond that is silver light off the water. It is rural and futuristic at the same time. ISABELLA (O.S.) ...90- and 120-day futures with shorted Canadian and US dollars... CUT TO: INT. MASTER BEDROOM SUITE - ARCHANGEL DE JESUS MONTOYALONDONO in pajama top and boxer shorts, smoking a cigar. In a sweatsuit is Isabella, delivering a financial report. It's from memory. Nothing is written down, in the tradition of the elite section of Swiss private banking in which clerks commit portfolios to memory. There are no documents. ISABELLA ...and we're looking at Nigerian crude... MONTOYA Precursor shipments from Ras Tanura and Ju'aymah? ISABELLA Transshipped to a Malaysian container ship. MONTOYA Not French registry? ISABELLA They've been targeted. And Pakistani registry is too vulnerable to search and seizure right now. MONTOYA Jos doesn't like the deal in South Florida... Montoya's referring to Crockett. Alarm bells go off.
ISABELLA (cuts in) Burnett? (shrugs) They want 22% of the value on loads they run into South Florida. It's the Juarez cartel model. (MORE)
(CONTINUED)
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ISABELLA (cont'd) They guarantee the loads. The upside is our risk goes to zero. That frees-up capital. MONTOYA But what does your intuition tell you...? Is he suspicious? lovers? Does he suspect Isabella and Crockett are
ISABELLA My "intuition"...? My intuition made him breakfast the other morning in Havana. Her lieson with Crockett is the last thing we expected to hear from Isabella. MONTOYA And...? ISABELLA They're serious. They're cautious. They'll forgo a deal over a technicality of how a delivery's handled...they'd walk away, rather than compromise operational security...that's good. Montoya's thoughtful. ISABELLA (cont'd) But they have to be watched closely... MONTOYA Why? ISABELLA A good deal, like this with us, for Burnett will be good only temporarily. He'll get restless because he believes nothing is forever. Life is dust, make it while you can. He's ambitious. Montoya appreciates her thoughtfulness. ISABELLA (cont'd) So I predict a few good runs. there'll be a renegotiation. MONTOYA That's my girl... Then
(CONTINUED)
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Montoya uses Isabella and her sexual allure to gather insight into the people he does business with. That's part of their deal. MONTOYA (cont'd) On the next load, Jos wants to front them silver. But they them in lead... (beat) He thinks they are wrong. What do you think? ISABELLA (revealing nothing) I think Jos suspects anybody he doesn't intimidate. And people, who are good at what they do? They have egos, too... MONTOYA (careful) What would you do...? ISABELLA (equally careful) I like the diminished risk. It frees up capital reserves. I like working with self-interested businessmen who are competent. You can predict their behavior.... Montoya looks at her very carefully. at him. She stares right back
ISABELLA (cont'd) On the other hand...if what you wish, mi corazon, is la plumba...the lead? Then let's do that. Accept their deal. After the load is received...we will close their eyes forever... She looks at Montoya squarely. It hangs in the air. In his strange process of decision-making, Montoya reaches a conclusion... MONTOYA Let's try a few runs with these partners, I think. I will tell Jos... If Isabella is pleased, she doesn't show it. Montoya continues to stare at her unwavering expression, frozen in stone. He smiles, then, and starts to take off her clothes.
(CONTINUED)
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He reaches for her hand and brings her to him. She kisses him and he puts aside his cigar, pulls her face into his neck, and she runs her hands down him... CUT TO: EXT. BARRANQUILLA, COLOMBIA AIRPORT - A G3 - NIGHT lands. The door opens. Isabella emerges. CLOSER...she searches, looking for someone as she descends the ramp. Then... CROCKETT emerges from behind an SUV. ISABELLA'S expression changes, but she masks it. Businesslike, she walks across the tarmac. There are two Suburbans. One for her; one full of security. Crockett and her meet. No show of affection. Her Secretary, carrying her briefcase, accompanies her towards the second Suburban. INT. SECOND SUBURBAN - DOOR - NIGHT opens. Crockett and Isabella climb in. The rear is customized cream leather, luxurious with three telephones and a divider. As Isabella climbs in, followed by Crockett, she takes the briefcase from the Secretary and indicates he ride in the front vehicle. Doors close. Windows go up. Air conditioning comes on. She raises the divider, blocking the driver and locks the doors. They are sealed in the back. Alone. And she assaults Crockett with a passion that's desperate...as if making love to him puts her world back in balance. Their clothes come off, Crockett pauses... CROCKETT Hola, chica. ISABELLA Hola, viejo. He touches the side of her face. ISABELLA (CONT'D) Don't stop, bad man... As they continue, we... CUT TO: INT. BARRANQUILLA NIGHTCLUB - TUBBS + GINA - NIGHT at the bar. It's jammed. "Cochi Loco" Yero and his permanent bodyguard, El Tiburon, pass, smile. Tubbs introduces Yero to Gina, as his wife. He came to meet her plane.
(CONTINUED)
Miami Vice CONTINUED: Yero shakes Gina's Tubbs and Gina are an office. Cobalt fierce yellow eyes
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hand. He indicates to the bartender that to pay for nothing...and he moves towards blue light illuminates his face, and his are not filled with hospitality. CUT TO:
EXT. FALS DE IGUAZU AIRPORT (THREE BORDERS AREA) - MONTOYA NIGHT deplaning his G-4 crosses to his armored Suburban. INT. SUBURBAN - MONTOYA climbs into the back. It's also a traveling communications center, satellite uplink, encryption, the works... MONTOYA (to an Assistant) Do you have him? Assistant nods. Montoya takes the heavy handset...
MONTOYA (cont'd) Jos, about the Americans... INTERCUT WITH: INT. BARRANQUILLA CLUB, OFFICE - JOS YERO JOS YERO (in Spanish) They are "wrong." I do not trust them. MONTOYA (V.O.) (in Spanish) Why? JOS YERO (in Spanish) Too good at what they do, I don't know. Something I don't like. They are wrong... Montoya thinks. MONTOYA (V.O.) (in Spanish) Isabella likes them. We made their deal. Montoya hangs up. Jos Yero looks at the phone. CUT TO:
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INT. CLUB - CROCKETT + ISABELLA - NIGHT enter. GINA sees Crockett's carriage with this woman. It's different. Intuitively, she exchanges a look with Tubbs. Crockett makes introductions. Then, they move away to dance to a fast samba in perfect synchronicity. And, they're also SEEN by... JOS YERO He watches them, too. His yellow eyes are lit by strobes. His eyes locked onto Isabella...dancing with Crockett, their bodies close... And in the way he looks at them, hurt, like a betrayed lover, which he isn't and never could have been...we know now, the core of his antagonism. CUT TO: INT. HONDURAN FREIGHTER, DINING AREA - TUBBS - DAY It's a 30 year old, well-maintained carribean freighter with a steel table and u-shaped bench. In the dark interior, narrow spots reveal the group hovering over a ruggedized Workpad with navigational software. JOS YERO Transshipment point is here at 17:00 hours on the 23rd. TUBBS Uh-uh. No predetermined places and times to meet. Give me their heading and radio codes and I will talk to them directly with the longs and lats and time which will be a last minute deal... JOS YERO You give yours to me. We position all the assets hauling our loads... CROCKETT Now how we do it, blood. It risks signal interception and other bad things like people who don't need to know where we're at knowing. Tubbs hands Jos Yero's assistant, El Tiburon, a pager. They join Tubbs and Gina.
(CONTINUED)
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TUBBS At ten to three on the 27th, I will satellite page him with a website and encryption code. He will have ten minutes to log on and receive his new heading. Ten minutes and thirty seconds, website disappears and he can drive his fucking boat up to Iceland... Jos Yero doesn't like it. JOS YERO Malaysian registry. Small containership. (to El Tiburon) Give them their codes and heading. Everything Yero tells them feels to him like exposure. CROCKETT Packaging? JOS YERO Fifty-gallon drums. Thirty-two. hundred kilos in each. You transship that to the Malaysian boat. TUBBS Importation value? thousand a ki... At twenty-two A
JOS YERO You work that out with La Senora. (beat) You will get sixteen fuel bladders of crystal meth precursors from the Malaysian ship. For collection in North Miami. You warehouse it. Release it when we say. (beat) I'm sure you have friends with fast boats... CROCKETT If you see a few new faces, don't get jumpy... TUBBS And Jos, my ace, lots of transshipment. Lots of action. Skies are crowded. And the JIT has assets on land, air, and sea. (beat) (MORE)
(CONTINUED)
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TUBBS (cont'd) So any intel you got that can come our way and contribute to the good and welfare...? Jos Yero's on the spot. Sure. JOS YERO Check your e-mail.
Yero gets up and leaves the confined dining room. He exits onto the walkway outside the bridge. His path takes him past... EXT. HONDURAN FREIGHTER - TRUDY with Switek and Zito. Trudy's in a tank top. Trudy appreciatively... TRUDY returns the look with a stare that says, "Don't fuck with me". Jos raises his eyebrow and after noting the two handguns holstered in the waistband of her hiphuggers... CUT TO: INT. LONG CARGO SHED - JOS YERO + EL TIBURON walk. Cochi Loco's security leads and tails behind as... JOS YERO (to El Tiburon) You know what Escobar used to do? EL TIBURON What? JOS YERO (goes on) In the '80's, air routes came into favor. It required many pilots. The best were American. Former crop-dusters. They didn't fly by the book. Tell one: "Put that 747 down on this fifteen-hundred-foot runway." Somehow, he'd do it. Great pilots. But Pablo had a rule. After they flew six loads...this good pilot who facilitates so much good business... he would come back to Medelln or Barranquilla to pick up the next load? (beat) And no one would ever see him again. He'd disappear. (imitates Pablo) "You a good pilot? (MORE) (CONTINUED) Jos looks at
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JOS YERO (cont'd) Make a lot of money for Pablo? Thank you very much." And then Pablo would kill his ass. After six loads. (pause) And who was Pablo Escobar? A provincial who got busted-out by the white collars from Cali. When the gringos got him, he was nobody. We're three times better than Pablo Escobar. (beat) The means we kill these sonsabitches three times sooner. (beat) And do you know why Pablo Escobar did that? EL TIBURON Why? JOS YERO He didn't like pilots. EXT. BARRANQUILLA HARBOR, CARGO SHED - JOS YERO + EL TIBURON enter from the cargo shed onto a roadway just as... YERO POV: GINA They're en route to pick up
passes by, driven by Switek. Tubbs.
JOS YERO (CONT'D) And put eyes on her. Put eyes on her twenty-four hours a day... CUT TO: EXT. BARRANQUILLA BEACH - CROCKETT + ISABELLA, TUBBS + GINA NIGHT Isabella hands out banana leaves wrapped and tied around cooked rice and barbecued pork. Gina and Tubbs walk away down the beach towards phosphorescent waves. ISABELLA I forgot the napkins. CROCKETT And the chopsticks and fortune cookies? ISABELLA What's the best fortune you ever got?
(CONTINUED)
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CROCKETT They're all the same. "Financial security is around the corner." "Your friends love you." ISABELLA In Kowloon, once, I got one that said, "Live now because life is dust." Crockett and Isabella wander down the beach, hard from the ebb tide. CROCKETT Do you have assets somewhere else? Bank accounts? ISABELLA Why? CROCKETT ...to fall back on. You know, a fail-safe. Insurance. ISABELLA Do I need it? CROCKETT (shrugs) Everybody needs it. Ask Prudential. Or Allstate. ISABELLA (laughs) 'Cause whatever can go wrong, will...? The Perseids make the night sky over the water look like the Fourth of July. CROCKETT Something like that. The odds catch up with you. The odds are like gravity. You can't negotiate with them. (then) So...at some point, you should cash out, take your money and run... ISABELLA (smiles) Really? CROCKETT Sure. As far away and as fast as you can.
(CONTINUED)
Miami Vice CONTINUED: (2) ISABELLA When? Whenever. sooner.
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CROCKETT Maybe later, maybe
What is Sonny Crockett trying to say to her? ISABELLA Would you find me...? CROCKETT Of course. ISABELLA Where would I go? CROCKETT Zanzibar. The Comoros Islands. Somewhere in the Indian Ocean. There's twelve-hundred islands there... ISABELLA (smiles) Is this the protective male talk? CROCKETT (deadly serious) This is the talk of a man...if he were your husband...he would never put you at risk. He would never put you within a thousand miles of anything that could hurt you. ISABELLA And if I were in the Comoros, in the Indian Ocean, where would you be...? CROCKETT A few more moments, still in this business. Then I'd find you. ISABELLA Would you? Because if you couldn't, I would be very lonely... I would have left the only world I know and have known since I was seventeen. (smiles, touches Crockett) But none of this will happen. So it doesn't matter. Because we are on the Guajira Peninsula. And all you see around you...look around... (MORE)
(CONTINUED)
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ISABELLA (cont'd) is Archangel de Jesus MontoyaLondono. He is my man. And you are a smuggler moving a load... Her eyes say that she listened to his warnings and will disregard them. Life is dust. Meaning is in the moment, and that's right now. The intensity is because it's impossible. impossible, they've been free to imagine. the heat of it stronger... CROCKETT ...in the morning. ISABELLA I'll be on board by noon. Crockett didn't expect that. ISABELLA (cont'd) What did you think? This deal with you is my deal. I am responsible. She vouched for him. She has to stand behind it. his arm around her waist. He puts Because it's And that's made
CUT TO: INT. HONDURAN FREIGHTER, BRIDGE - TRUDY + CROCKETT - DAWN The Freighter is anchored a half mile offshore. Magenta breaks the horizon. away... CROCKETT Go ahead. Too fast. Switek? Zito joins them. Same. Tubbs joins them. CROCKETT What's your take? TUBBS What's the point? It's going down. (CONTINUED) SWITEK But it's your call, boss. TRUDY Too many moving parts. CROCKETT Trudy looks at Crockett, looks
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CROCKETT Call the US Coast Guard: "Come and arrest our ass." (beat) And Switek resumes romancing Miss Ukraine... Crockett looks at Trudy. There's a connection between Crockett and Trudy. It's filial. Crockett has a special regard for her judgment. TRUDY If we were for real, and knew our shit, we'd fade this one... CROCKETT Then you should. TRUDY (no) If you're down, we're down for the play. CUT TO: EXT. SAFE HOUSE ON THE INDIAN RIVER - GINA - NIGHT drives up. Parks. She approaches along the sidewalk, down the walkway under the banana trees and birds of paradise. Motion sensors trigger exterior lights. Gina cocks her ear, waiting to hear... Then, offscreen, Tommy the dog barks. Reassured, her left hand on her .380, she reaches for her keys, opens the door... INT. SAFE HOUSE - GHETTO BLASTER A finger pushed the stop button. OVERHEAD: enters. FROM BEHIND HER - WE MOVE CLOSER AS... a leather sap arcs through the air and descends onto her left shoulder, paralyzing her arm. Other arms grab her, push her head down. The same sap backhands with massive force across the back of her neck... CUT TO: INT. DOUBLE-WIDE TRAILER - ECU: GINA - NIGHT ENTRY WAY - GINA The dog stops barking.
slowly comes to consciousness. She looks around, disoriented. Her eyes roll back in her head and she slips into dreamland for a moment. She rouses and opens her eyes again, blinks, disoriented...
(CONTINUED)
Miami Vice CONTINUED: WIDE PAST GINA TO WHICH SHE SEES: PLAID HOUSEDRESS
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AN EMACIATED WOMAN IN A
stares at her from the back corner of the double-wide trailer. With her is an overweight autistic Boy of about 11. He plays in the corner and watches a small TV with a coat hanger for an antenna. The Old Woman pays Gina no attention On her face is zero affect. There are other sounds in the room. WIDER: GINA
and we see she is tied to a chair that is bolted to the floor. Her clothes are disheveled and ripped. She tries to focus. Then somebody's thick arms are fitting something around her neck. A blindfold goes over her eyes. Around her neck is a C-4 "necklace" like the one we saw on Stevens' wife in the beginning of the film. The arms and back belong to the deepchested Aryan Brother we saw from the Stevens' house and Coleman's double-wide. MOVE IN ON GINA. He reaches below the frame and does something. Gina writhes away from him in the chair. He laughs. He backs away from her to camera...and holds something in his hand. * A CAMERA He takes a digital picture. CUT TO: EXT. HOMESTEAD FLORIDA TRACT HOUSE - FRONT YARD - DAY A tall wall of planting hides the $150,000 house from the road. Neighbors are double-wide trailers. The house has some sophisticated radio antennas as well as a twelve-foot satellite dish. On the driveway are two Escalades and a Bentley. Out the back, off the dock is a two-million dollar sports/fishing boat. Someone's entering numbers on a cell phone. INT. HOMESTEAD FLORIDA TRACT HOUSE - COLEMAN waits. The guy working the cell phone is the buzz-cut Aryan Brother we saw in the Stevens kitchen in the opening. Coleman's shirt open in the Barcalounger watching ESPN. His watch is loaded with ice, and a four-carat diamond in his ear. He is all white bling. Coleman's tattooed up. Not with "cool" Celtic symbols...his tats are neo-Nazi, white supremacist, hard-core prison stuff. CELL PHONE in the hands of the deep-chested Aryan Brother. Three girls in cutoffs and halters are making sandwiches and laughing in the b.g.. Then:
(CONTINUED)
Miami Vice CONTINUED: ARYAN BROTHER El Tiburon.
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Coleman takes the satellite phone, attached to a laptop. He enters a number. A frequency-response graphic displays in the computer. His conversation with El Tiburon is encrypted so the voices are distorted... COLEMAN So...? EL TIBURON (in Spanish) Meth precursors and the Dutch party favors are en route. COLEMAN (perfect Spanish) All I want to know is the where and the when. Spare me mini moves, progress reports and bullshit. EL TIBURON (in Spanish) Okay. You got the "item"? COLEMAN I got the item. EL TIBURON (in Spanish) And our friend don't like the rest of the people bringin' the merch to you. COLEMAN (in Spanish) How many? EL TIBURON (in Spanish) Two main players plus three. COLEMAN (in Spanish) My end? EL TIBURON (in Spanish) 25% discount on the load. COLEMAN (in Spanish) Make it 40%.
(CONTINUED)
Miami Vice CONTINUED: (2) EL TIBURON (in Spanish) Make it 35. COLEMAN Deal. Coleman hangs up.
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INT. HONDURAN FREIGHTER - FUNKY BRIDGE In calm seas they're tied up to a Malaysian small container ship. On it, Yemenese with AK-47s maintain a watchful eye. From Crockett's POV as... OTHER ANGLES: SWITEK, TRUDY, ZITO
with an assortment of CAR-15s, Galils and two RPGs mount a similar guard. EXT. MALAYSIAN CONTAINER SHIP - FUEL BLADDERS swung by the Honduran freighter's crane cross 10' of open water onto freighter's deck to join 18 others already there. It's the last of the transfer. EXT. MALAYSIAN CONTAINER SHIP - CAPTAIN CAPTAIN (loud hailer) Me-a salama. Ila l-liqa. EXT. HONDURAN FREIGHTER - TUBBS Yeah. TUBBS Whatever... (waves)
EXT. OCEAN - THE TWO FREIGHTERS separate. INT. HONDURAN FREIGHTER, BRIDGE - CROCKETT watches crew stow the cargo. Then, his satellite phone blinks red light. Crockett boots up the computer to encryption. Picks up the phone. CROCKETT Yeah? JOS YERO (O.S.) (phone filter) Hey, Captain Kirk. I think maybe I have second thoughts. Tubbs enters.
(CONTINUED)
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CROCKETT (into phone) You got something to say, Jos, let's hear it. JOS YERO I confess I have succumbed to my weaknesses. An inability to see another's point of view. (beat) I've discussed it with professionals. Even with one of your friends. She's here now... Crockett puts him on speaker. JOS YERO (cont'd) (beat) So I want you to deliver my product, how I want my product delivered. Isabella walks in. Crockett gestures for her to be quiet.
CROCKETT What friend? JOS YERO Mrs. Rico. But don't worry. She is safe. To insure that, I am keeping her close to me. It's always good to keep people your friends care about close to you. Tubbs reaches for the phone. Trudy intercepts him.
Crockett turns it away and goes off the speaker... JOS YERO (cont'd) So, I will tell you when you're 10 minutes out where to drop the load into the hands of my people. You have 35 minutes to enter Government Channel. Head up the River... We will watch you. Then I will call you. (beat) And you can reach out for La Senora in Barranquilla or wherever 'cause I don't give a shit... Jos Yero does NOT know Isabella's on board. CROCKETT Proof of life. How do I know Mrs. Rico's alive?
(CONTINUED)
Miami Vice CONTINUED: (2) JOS YERO 'Cause she will tell you. He hangs up. ISABELLA That sonofabitch! TUBBS (turns on Isabella) You set this up!
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ISABELLA (sarcastic) Of course! That is why I placed myself here, with you, knowing Yero would pull this crap. CROCKETT Yero doesn't know she's here! Crockett looks at Isabella, who's distracted in calculating what's really happening. SWITEK (entering) Cigarette and the two Starkeys are coming in. (senses) What...? TRUDY They grabbed Gina... Isabella punches numbers into a satellite phone. ISABELLA It's all bullshit. Jesus is out of communication in Fals de Iguazu. Jos knows that... Whatever he's going to do, he has to do it fast because he's acting on his own. And he will need a story. TUBBS Meaning...? ISABELLA They will kill you. And then they will kill your wife, too. CROCKETT Yero, by himself? ISABELLA Maybe. Maybe with the crazy whites. No results.
(CONTINUED)
Miami Vice CONTINUED: (3) Zito enters, makes the situation... ZITO We're half loaded...
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TRUDY Gina. Like Alonzo's wife... Loco's got her.
Cochi
CROCKETT Dump the rest. Let's get the boats up that river. Crockett picks up the phone and dials. His eyes contact with Tubbs has Tubbs take Isabella out of the Captain's Bridge. She pulls her arm away. As they head down from the bridge...we see... EXT. HONDURAN FREIGHTER - DOPE-ON-A-ROPE lines run from the freighter to two go-fast boats. The fuel bladders with crampons slide down the rope into the smaller "cigarette" boats..."dope-on-a-rope." WIDER: ONE STARKEY
loaded, takes off into the night, no lights. A second one pulls away as the third boat's being loaded; Switek and Zito climb into a cigarette. Meanwhile... INT. HONDURAN FREIGHTER, BRIDGE - CROCKETT on the satellite phone. He waits.
CASTILLO (O.S.) (filter) Yeah? CROCKETT Jos Yero changed-up the drop plan on us. He's grabbed Gina. CASTILLO Where's the new drop point...? CROCKETT They'll have surveillance on us. We'll know only at the last moment... CASTILLO What do you think? CROCKETT It's a rip and a hit.
(CONTINUED)
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CASTILLO (to someone else) Get me Air Support... (to Crockett) We'll be airborne and assault the ambush... CROCKETT You can't. TUBBS They'll kill Gina. CASTILLO They may have already, so we protect the living. Proof she's alive? CROCKETT Supposedly it's coming. INT. SCARAB - SWITEK, ZITO + TRUDY rip from one swell to another, airborne, in between their load. Trudy's on the comms. Switek drives with night-vision gear. INT. STRYKER - CROCKETT, TUBBS + ISABELLA Crockett drives. Tubbs is on the throttles. Isabella's between them. Then, Tubbs is sent a page. Reads the number. Picks up the satellite phone. Crockett takes control of the throttles, too. TUBBS (into phone) Hello...? And Tubbs hears..."And weather on the southeast throughout today and looking into the weekend is broken clouds, humidity 78%, small chance of rain. And coming up in four minutes at 5:45 is Lou Dobbs with Friday's market previews..." LOU DOBBS (O.S.) Welcome, folks. Today's Friday, the three-hundredth-and-fourteenth day of the year... TUBBS They're proving it's right now. And that she's alive right now... GINA (O.S.) ...nice friends you got. Trailer trash with a bad smell...
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INT. DOUBLE-WIDE TRAILER - GINA - NIGHT The phone is ripped away from her. It's disconnected. CUT TO: INT. STRYKER - TUBBS He puts it together... TUBBS Smell. Bad smell. Trailer... (he gets it) She's allergic to diethylene...she in a meth lab? Crockett takes the phone, dials Castillo. CROCKETT Just came in. She's still alive. CASTILLO Safe house is empty... (beat) Air Support's set to jump when we know your drop point. Gina? TUBBS (takes phone) She's sending a message. Meth Lab. Trailer park. Anything with interesting antenna arrays...? CASTILLO There's three between Miami International and the glades. I'm gonna try for her, but this is triage. Protect the maximum number of lives. You need to know that... Crockett knows the Sophie's choice Castillo may have to make. And it may cost Gina. Crockett glances at Tubbs. Crockett pushes the throttles forward... EXT. GOVERNMENT CHANNEL - TWO BOATS: STRYKER THE SCARAB + THE
jam over the swells into Government Channel, NOT SLOWING this time, even though the limit is 15 knots. Barely missing sport fishing boats, slower recreational craft. CUT TO: EXT. AERIAL - PAST HELICOPTER CO-PILOT over his FLIR monitor scanning trailer parks. Nothing. he notes a double-wide with two satellite dishes. Then
(CONTINUED)
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CASTILLO (V.O.) (to Tubbs) Three possibles... CUT TO: INT. STRYKER - TUBBS on with Castillo. CASTILLO (V.O.) ...eliminated one. SWAT's on the next two... TUBBS Trudy and I are goin' for Gina... INT. SCARAB - SWITEK slams the Scarab sideways, spewing a huge wake, driving it through a circle to slough off speed as he pulls into a dock. Crockett's Stryker does the same. Tubbs transfers into this boat with Trudy and Zito. Switek gets into the Stryker with Crockett and Isabella. As they speed up Government Channel. CUT TO: INT. STRYKER - CROCKETT ISABELLA If they attack you... CROCKETT (finishes) ...it's gonna be an L-shaped ambush. They're not gonna open up until they got the party favors, 'cause all they'd get is a lot of police scrambling to a gunfight. They will wait till they got the goods before they do the deed. CUT TO: SCENES IN WHICH: (A) TRUDY + TUBBS DISCOVER + ASSAULT THE PERIMETER SECURITY OF THE TRAILER IN WHICH GINA IS HOSTAGE. (B) CROCKETT, SWITEK, ZITO + ISABELLA AND THE THIRD BOAT MAKE THE DELIVERY. DURING IT ISABELLA, FURIOUS THAT THIS TRAITOROUS SONOFABITCH, COCHI LOCO, IS MAKING HIS OWN MOVE, RAGES INTO THE MIDDLE GROUND, CALLING DOWN JOS YERO. BLOCKED BY AN ARYAN BROTHER, SHE PUSHES, HE SLAPS HER, SHE SHOOTS HIM IN THE LEG. ALL SIDES DRAW DOWN IMPENDING CHAOS. CROCKETT + COLEMAN COOL IT. COLEMAN WANTS HIS LOAD. THE LURE OF EASY MONEY HAS A VERY STRONG APPEAL.
(CONTINUED)
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AND ISABELLA IS STILL COMPLETELY UNAWARE CROCKETT + TUBBS ARE ANYTHING OTHER THAN PLAYERS. (C) TUBBS + TRUDY INSERT A FIBER-OPTIC SURVEILLANCE TAP.
EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - TRUDY - NIGHT CASTILLO (O.S.) (radio filter) Do you have her?! Trudy DOESN'T answer. She's totally focused on a clamshell video screen connected to a fiber optic... FOLLOW THE FIBER OPTIC...as a SWAT technician feeds it into... CUT TO: INT. METH LAB, DOUBLE-WIDE TRAILER - CU: THE FLOOR - NIGHT
Where it meets the wall, a tiny hole has been drilled and we see the 4mm diameter lens connected to the flexible fiber optic poke through. The camera's on the floor where it meets the wall. EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - OVER TRUDY And Trudy and we SEE in fish-eye a long-haired Nazi Low-Rider and the bulked-out Brother with the Hefty garbage-bag apron. Deeper in the trailer, her clothes torn, blindfolded, is Gina with the C-4 necklace. Beyond her, the woman in the house dress and her large, retarded son. TRUDY (into radio, to Castillo) Have eyes on her. She's alive. Moving in... INT. METH LAB, DOUBLE-WIDE TRAILER - LONG-HAIRED NLR GUY reacts to knock on the door. TUBBS (O.S.) Asian Star... ARYAN BROTHER You order Chinese? LONG-HAIRED NLR GUY (laughs) No, but I'm starving... Laughs, reaches for the door... ARYAN BROTHER Don't... Too late. Door's opened.
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EXT. DOUBLE-WIDE TRAILER - TUBBS, holding the bag of Chinese for the Long-Haired NLR. reaches and... TUBBS rips Long-Hair through the door, down the stairs, where two SWAT slam him into the ground. He struggles. A baton slams twice across the back of his neck. He's out. Handcuffed, and Tubbs and Trudy are in the interior... INT. METH LAB, DOUBLE-WIDE TRAILER TUBBS HOLD IT!! Bulked-out Aryan has a handgun in one hand, detonator in the other. Eyes wide. Standoff. The Old Woman in house dress is SCREAMING... Her retarded Son sees Tubbs/Gina as a threat to his mother...grabs butcher knife...rushes forward during... TRUDY PUT DOWN THE DETONATOR! FROZEN. Aryan doesn't move. around Gina's neck. GINA struggles against plastic ties, to hear, to see, as... OBESE SON shouts, surges past bulky Aryan, heading for Tubbs... TUBBS prepares for the autistic son, not seeing behind him... ARYAN BROTHER #3 rising from a bare mattress with an aluminum baseball bat, coming up behind Tubbs. WIDE - TUBBS slips the Autistic Son, rotating his right arm around the kid's right arm, getting slashed on the back of his forearm, but grabbing the Son's wrist as the momentum propels him past Tubbs, who torques the wrist back. Screaming, Son's ruined wrist, Tubbs took the knife, and as the Aryan Brother swings the bat... LOW ANGLE: TUBBS The FARQ-like necklace of C-4 He
(CONTINUED)
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ducks the bat. It dents the faux-wood paneling. Tubbs slams the knife twice into the man's slide, doubling him up, leaving the AB Brother to crawl, bleeding, with a 10-inch butcher knife through his kidney into his right lung... AND Tubbs' gun in his left hand has never moved off-target of the Aryan brother with the detonator in his hand the whole time until right now: he snaps a ROUND into the wounded Aryan Brother's head. And, that fast, Tubbs' gun is back on target. AND THE FIERCE EYES OF BULKED-OUT BROTHER A nihilistic smile dawns there. ARYAN BROTHER Shoot me, she dies. Hey, fuck it, man. We can all go. TRUDY (cool) That's not what will happen. (that stops him) What will happen is... (as she's aiming her Car15 and slowly taking up the slack on the trigger...) ...what will happen is, I will put a round precisely through the medula at the base of your brain, at an entry-point mid-distance between your upper lip and the bottom of your nose, and you will be dead from the neck down. Your finger won't be able to twitch. Do you believe that? ARYAN BROTHER Fuck... BLAM. That's all he gets out. Trudy does exactly that. Aryan Brother falls like a felled tree. Tubbs retrieves the detonator. Trudy unties Gina. Carefully, Tubbs pulls the sensitive remote detonator from his hands. TUBBS puts his coat over Gina. fallen AB... GINA Motherfucker! She kicks him in the head. TUBBS He's dead! Tubbs grabs her to pull her off. As she half leaves, turns to the
(CONTINUED)
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TRUDY (on radio, to Castillo) ...got Gina. She's okay. CUT TO: EXT. INDIAN RIVER - CASTILLO - NIGHT hears. CASTILLO (into loud hailer) Go! EXT. RUSTED FREIGHTER - AB SNIPER #2 with a .50 caliber Burrows is hit about 15 times from MPD SWAT firing from across the bridge on a down angle towards him. MPD helicopters suddenly LIGHT up the sky. CUT TO: INT. SUBURBAN - YERO observing from a block south on the bridge sees the police assault, raises night-vision binoculars. YERO'S POV: HE SEES CROCKETT + ISABELLA Crockett fires with the MPD
behind structures on the jetty. SWAT. INT. SUBURBAN - YERO
pushes "send" on his satellite phone... CUT TO: INT. GUAJIRA PENINSULA COMPOUND, COMMUNICATIONS CENTER ENCRYPTION The technicians are eating in the next room. recording... YERO (in Spanish) Isabella. The gringos are police. She's their informant...! CUT TO: INT. SUBURBAN - YERO YERO Go! We hear the
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EXT. STREET + BRIDGE - YERO'S SUBURBAN pulls out, racing to get away from the firefight. But BRIGHT LIGHT freezes it...heavy rounds slam into the engine, crack the block, stream sprays, it seizes up. Suburban crashes into a car at the curb. Yero bails out. EXT. SKY - HELICOPTER - TUBBS half out of his seat, a Galil in full auto on his shoulder, hovering above Yero and the Suburban. PA (loud hailer) Freeze! You're under arrest. Down on your knees. Put your hands on your head... CLOSE: YERO
does none of that. Enraged, he pulls up a 9mm H+K SMG to fire up at the helicopter ON TUBBS aiming down at CAM. bursts. The assault rifle unloads in three-shot
OVER TUBBS DOWN TO YERO IN THE BRIGHT LIGHT The pavement, the car and Yero are cratered by the 7.62mm rounds. Yero goes down. Dead. EXT. STREET - WIDE: HELICOPTER
lands. Tubbs bails, grabbing his duffle bag and the rifle and turns down the street towards the firefight and Crockett... CUT TO: EXT. JETTY - CROCKETT holding Isabella down, FIRES past a Toyota. It's turned into a sieve. He tells Isabella to stay behind the engine block. Then he ASSAULTS the ambush. SWITEK is shot in the calf, spins, goes down, gets up, limps to cover, keeps firing. EXT. SCRAP FREIGHTER - COLEMAN ...taking and returning FIRE from Crockett and Zito and from his left flank from the SWAT team on the bridge...knows every moment more he's here, more MPD assets are coming in. He wants to finish it faster.
(CONTINUED)
Miami Vice CONTINUED: LOW + WIDE: COLEMAN
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bails off the freighter onto the dock. DARK-HAIRED ARYAN BROTHER with a full auto AK is with him. They move from cover to cover, their heavy Kevlar body armor absorbing rounds. And they attack Crockett and Zito, who are outgunned. CROCKETT + ZITO run for cover, fire three-shot bursts, run and cover. ISABELLA runs from cover into the clear with her handgun firing at the crazy whites, furious at the betrayal by Yero. She's shouting in Spanish. It's insane. CROCKETT sees Isabella, moves. COLEMAN sees Isabella, swings his assault rifle onto her as... CROCKETT Isabella!! CROCKETT RUNS and sees Coleman because he's turned he's exposed his legs and Crockett slows and blows Coleman's legs out from under him. Coleman's on the ground, scrambling for his rifle to kill Isabella. Dark-Haired NLR is pulling the trigger on Crockett when BOOM... TUBBS fires the M40 grenade launcher loaded with shot. NLR is nearly cut in half. CROCKETT + ZITO FIRE at the prone Coleman. WIDER: Coleman's dead. Dark-Haired But...
THE FREIGHTERS - THE FIREFIGHT Meanwhile...
continues as other NLR battle Miami SWAT. CROCKETT
goes to Isabella, pulls her into the shadows away from dockside, keeping her low, seemingly away from the police. OK, how will they get out of here? OVER CROCKETT + ISABELLA: TUBBS
(CONTINUED)
Miami Vice CONTINUED: (2) approaches from the left. CLOSER: TUBBS
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Tubbs and Crockett's eyes connect.
sees his partner with this woman. The frozen moment. Isabella doesn't understand the changed expression on Tubbs' face. We do. CROCKETT EYE TO EYE WITH HIS PARTNER 50 yards away. All meaning is transmitted. And Tubbs nods...and the nod means: "get her out of here..." As Tubbs speaks into his radio, his right arm belted where it was slashed, heading towards the diminished firefight, now under MPD control, as... CROCKETT RACES ISABELLA AWAY through the weeds and scrap, away from the firefight, away from the freighters, AWAY FROM THE POLICE. Beyond them, we hear the gunfight diminishing. CUT TO: EXT. STREET - CROCKETT + ISABELLA enter from the rubble-filled industrial lot. Cars have stopped, their occupants seeking cover behind them. Crockett hesitates not at all. He grabs a late '80's Mercedes left with its door open. Its owner, a middle-aged man at the curb, starts to object. Crockett raises his gun. Owner demurs. Crockett steals away in it down the street into the night, its lights off. CUT TO: INT. MERCEDES - CROCKETT + ISABELLA breathing. She's hyperventilating. He steadies her. Crockett sees something and she does, too. CROCKETT'S POV: A ROADBLOCK Then,
appears around the corner. Rearview mirror: flashing lights on his tail. Nowhere to go. Crockett stops. ISABELLA thinks this is it. rifles, approach. She's dead. SWAT, shotguns and assault
INT. MERCEDES - CROCKETT CROCKETT Touch the windshield with your hands. Let 'em see your hands are empty. Steady.
(CONTINUED)
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SWAT SERGEANT (approaching) Don't move! Don't move! Keep your hands where I can see them... They do. Then the SWAT Sergeant stops... SWAT SERGEANT (cont'd) ...Sonny? Yeah. CROCKETT Hey, Robert.
The police relax, turn away. SWAT SERGEANT Are you okay?! CROCKETT Yeah. Going to Miami General. Check out Gina. Everybody's okay. Everybody's fine... Crockett nods and drives through the roadblock. away into the night. He drives CUT TO: INT. MERCEDES - CROCKETT does not look at Isabella. He shoots up the on-ramp onto I-95. His eyes at the moment are world-weary and streetwise. It's all out. All is in the open. Finally, he looks over his right shoulder at her. ISABELLA stares at him. Incredulous. For the first time she realizes he's the police and has been undercover. And now she hits him... EXT. HIGHWAY - MERCEDES swerves across three lanes, up on two wheels, almost rolls, cuts off a semi, which barely recovers, and spins out onto the shoulder, off the shoulder, down into the gravel. It comes to a stop and... INT. MERCEDES - ISABELLA tries to bring her .380 around. Crockett overpowers her. Takes the gun. She slams him in the face with a closed fist. He grabs her wrists, spins her around, pushes her at the door, handcuffs her behind her back.
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EXT. HIGHWAY He floors the Mercedes. It spins through 270 degrees, scattering gravel and dust, and pulls back onto the freeway, driving out of the city, away from Miami, out, into the night. CUT TO: INT. MERCEDES - LATER She won't look at him. She won't reply. She's frozen, immobile, withdrawn deep, darkly into herself. CROCKETT Isabella...? No reply. Isabella wonders where he's taking her, what will happen to her, but she won't ask. CUT TO: EXT. TWO-LANE BLACKTOP THROUGH CYPRESS - NIGHT Nothing. The cypress are silhouettes against a lighter mauve sky. Engine sound. Then, the Mercedes enters and speeds down the empty two-lane blacktop. And at the end, the trees open up and there's the open ocean and, beyond that, the Florida Keys. We see a house. CUT TO: INT. HOUSE IN THE CYPRESS - WIDE: NIGHT
Door opens. Crockett leads Isabella in. He uncuffs her. She rips away from his hand holding her arm. She walks to the other end of the large room with the picture windows overlooking the water and the jetty and a boat tied up there. Low furniture. Sparse, it was built in the '60's. She walks to a restroom, slams the door. Offscreen, a faucet runs. Suddenly, the door opens. She comes out, glaring, shouting.
ISABELLA What are you going to do with me? Are you taking me to jail? You think I will turn into your informant, is that it? CROCKETT No. CUT TO:
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INT. MONTOYA COMPOUND, GUAJIRA PENINSULA - COLOMBIAN MILITARY + DEA TYPES - DAY in stencilled body armor storm in through doors and windows. It is a police action, an assault. REVERSE: EMPTINESS
It's as if no one had ever lived there. A few papers flutter in the breeze from the light wind entering through the open doorways. White papers against white marble against white walls. A profound statement of nobody is home. Wherever Montoya is, he is not here. CUT TO: INT. HOUSE IN THE CYPRESS - CROCKETT - LATE AFTERNOON staring out the window at the narrow jetty. distantly, alone at the end. CLOSER: ISABELLA She's withdrawn into herself. Isabella sits,
Crockett joins her.
CROCKETT No part of it wasn't real. ISABELLA I know. (quietly) And now? CROCKETT It still is. I'm so in this, I don't know which way is up... All I know is I won't let anything bad happen to you. (beat) Just like I said. (beat) And I know we can't ever see each other again. And we never will. Isabella sits there for a moment. away. Then... ISABELLA You said time is luck... Meaning, who can tell? somewhere else. There may be a time for them She glances at him, looks
CROCKETT Luck ran out. (beat) This was too good to last.
(CONTINUED)
Miami Vice CONTINUED: He touches her hand. his arm.
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And she leans all her weight against CUT TO:
INT. CYPRESS HOUSE, BEDROOM - CROCKETT - LATER asleep. The moonlight is silver tinged with green. Someone else had been in the bed with him, but he is there alone, now. Crockett wakes up. He looks around. She was there and now she's gone. He gets out of the bed and looks out to the ocean and the jetty. The boat's gone. She's gone. Sonny Crockett looks out the window.
THE END

Miami Vice

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Miami Vice

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"MIAMI VICE"

screenplay by Michael Mann based on "Miami Vice" created by Anthony Yerkovich

First Draft 9/22/04 WGAw

Miami Vice CONTINUED: CROCKETT + TUBBS

Miami Vice CONTINUED: CROCKETT Have faith.

Miami Vice CONTINUED: CROCKETT No shit...?

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Miami Vice CONTINUED: (2) TUBBS Why?

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TUBBS (into phone) Haitian, Dominican, Russian, Israeli?

Miami Vice CONTINUED: FUJIMA White supremacist types. Crockett's impatient.

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TUBBS (into phone) Hey, Nicholas, my ace. You know.

NICHOLAS (V.O.) Same old...

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Miami Vice CONTINUED: JOS YERO Sit.

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Yero's shirt...open to the waist.

Miami Vice CONTINUED: (3) JOS YERO (flat) Equipment?

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INT. SECOND BEDROOM - ECU:

EXT. SKY - AERIAL:

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TWO-MAN TEAMS - SNIPER + SPOTTER

Miami Vice CONTINUED: TUBBS Thank you.

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looks after the caravan. CROCKETT'S POV: ISABELLA'S EYES She is

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How much are

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CROCKETT Were you born in Havana?

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