Deadly Force (1983) - full transcript

(seagulls squawking)

(waves crashing)

(alarm buzzing)
- News radio time now 7:27.

Here are the news headlines,
All News Report at eight.

Fire department officials stated today

that the loss in last night's
fire at a furniture warehouse

in downtown Los Angeles,

is estimated at over one
and a half million dollars.

The city council will
meet in a special session

later this morning to decide

whether Councilman Daniel
Mishrow will be asked to resign.



Police Captain Otto Hoxley

says there are still no new
suspects in the X Murder case.

The only good news is that
after 15 related homicides

in the past nine weeks,

this is the 13th straight day of quiet.

It's a busy Wednesday
morning on the freeways,

and at 7:33, here is Scott White,

Traffic and Weather
Central with an update.

- [Scott] Good morning, Sis.

A sig-alert is still in effect

for that overturned tractor trailer

that continues to block the two

and three lanes of the Ventura Freeway,

eastbound that's right over the San Diego.



Now we suggest strongly

you use either Ventura
Boulevard or Burbank Boulevard

as an alternate route.

Now, the weather's going
to be mostly fair today.

Sunny this afternoon with
a high of 78, low 67.

Santa Ana wind conditions will continue

through the weekend, currently
at 71 beautiful degrees.

- [Sis] Now at 7:41,

here's more music from KMS Radio,

the best in the West for
your listening pleasure.

(soft rock music)

(dramatic orchestral music)
(Beverly screaming)

(screaming)

- [Man] We ain't on the take
like the man in blue.

This rat's dancin' just for you.

Try your luck, put it down, pick it up.

That's right, no more bets, no more bets!

- [Stoney] Ah!

- Alright, it's cool.

Look if I lose, I pay

and it ain't tomorrow, it's right away.

- How come he never goes
- Here you go, my man.

- In the odd numbers?
- Oh, yeah, one more.

- That figures, I knew it.
- Holy, smokes

Play again without me.

(men chattering)

How ya doin'?

(coin clattering)

- [Woman] 5052?

- Yo, Juliet, this is Romeo.

- [Woman] Well, hello, Romeo.

Listen, your wife's lawyer
called two more times

about those divorce papers
you were supposed to sign,

and I beeped you because

a Mr. Sam Goodwin just called from I.A.

He says it's an emergency,

so you better call him right back.

(atmospheric piano music)

- [Stoney] Two more, Harry.

You don't know how much I hate to fly.

- Where you going this time, Philly?

- To, ah, I.A.

(phone ringing)
Five hours in thin air, Harry.

- Wash these.

Billy's?

Yeah, he's here.

Stoney?

Stoney, it's a guy named Sal.

He says he's got a job for you.

You in?

- No, no, Harry, tell him
I'm on a plane, alright?

- He's on a plane.

He says he's on a plane.

He says he ain't hanging up.

This is it, your lucky day, you got him.

- Sal?

- Stoney, I got a Puerto
Rican revolutionary

wrapped up in dynamite,

and a million bucks in machinery

ready to go boom any second.

Stoney, please.

- Sal, I can't do this.

Listen, I'm on a plane.

Call the bomb squad.

- Bomb squad?

With what I got in that warehouse?

After they arrest him, they'll arrest me.

Look, I'm on your way to the airport.

What'll it take here?

Alright, alright, 20
minutes, $20,000.00 in cash.

- Hmm.
(upbeat rock music)

Right on time, beautiful.

(tires screeching)

- So, hotshot,

another flight, another six strings, huh?

Hey, hey, Stoney, look at this.

Grandson number 11.

Jason Scott Wilderman.

Jason Scott, whatever happened

to nice names like Isador.

(horn beeping)

Hey, you wanna go to Heaven, asshole?

- [Man] Up yours.

- So, Stoney, you goin' home

for a little schmanky-panky
with the ex-wife, huh?

- Gussie, she's not my ex-wife.

We are temporarily disengaged.

- [Gussie] What time is your flight?

- Well, I got to stop by Astoria first.

I got to do a little job there,

and then we'll go to the airport.

- Stoney, why are you
stopping to play with bullets?

You could get shot.

- I could miss my plane.

- Okay, wiseguy, so
what's out in Los Angeles

if not the ex-wife?

- There's some maniac out there.

There's a son of a bitch who threw

my friend's granddaughter
off a seven story balcony.

- And they say New York is crazy.

- Come on, get outta here.

Come on, get outta here.

- [Man] I ain't doing nothing wrong.

- Look, get outta here.
(tires screeching)

You're crazy, you gonna go?

Bullshit.

Oh, here he is.

Where the hell you been?

The place could be ashes by now.

- Just calm down, will ya?

- Calm down, he says.

Look, I hope you're sober

because this here dude is
gonna blow the place up.

- I'm like a rock, Sal.

(group chattering)

What's his name?

- What do I know from names?

Ah, Chico, Paco, Groucho.

What are they pickin' on my for?

He's in there, now I've been good to them.

- Yeah, you're a real humanitarian, Sal.

You wanna get 'em back?

- [Sal] Yeah, come on, get out of the way.

Get outta here.

You better move it.

- I'm gonna call the cops.
- Nevermind, get outta here.

- [Man] No, no cops.

Don't call no cops, no.

(crowd chattering)

(lift whirring)

(speaking in foreign language)

- Why don't you come
mess with me, Sal, huh?

'Cause you're not brave?

You chicken shit.

(speaking in foreign language)

(lift whirring)

Come on, Sal.

You big, fat son of a bitch.

(speaking in foreign language), Sal.

I'm gonna blow your shit to hell.

(lift whirring)

(drill bit clanking)

I hear you, Sal.

Come out, I hear you down there.

Come out, I'm gonna blow your
place to kingdom come, man.

I'm gonna blow your junk
business to hell, Sal.

You old, fat, rude (speaking
in foreign language).

Come up, Sal.

I heard you.

(speaking in foreign language)

- I'd say it looks like
a Mexican standoff.

- I'm a Puerto Rican, man,

and this is real dynamite.

- Well, I'm French, German, and Italian,

and this is a real gun.

- What are you lookin' at, man?

- Is that a Japanese plunger?

- So what?

- (laughing) We're in a lot of trouble.

I seen one of those go off
in a hostage situation.

Accidentally blew some
guy's butt to Brooklyn

and his mind to Cuba,
you know what I'm sayin'?

Ya hear me?

- No shit?
- No shit.

- Well, so what, man?

I'm gonna die anyways.

- Don't you understand the game?

You blow this place up, who gives a damn?

Sal, he calls the insurance company.

Either way you're dead,
either way you're the loser.

- He was doin' my old lady, man.

He was doin' my old lady.

I got my pride, man.

No.

(lift whirring)

I got to blow this place, man.

- Well how about I blow off your balls?

- God, man, are you fuckin'
crazy with that shit?

You oughta be locked up somewhere, man.

- You see, dying is one thing

but pain is a whole other subject.

(gun clacking)

I got to tell you what,

I'm very sorry that Sal is doin' you wife,

but he is paying me to take you outta here

whether you're breathing or not.

So what do you say you and I
make a little deal, alright?

How about I pay you,

I pay you $2,000.00,

and you walk outta here
with me hand and hand,

and we walk out alive?

- Um, $10,000.00, man, huh?

$10,000.00.

- Four.

Top offer, asshole.

- Seven.

- [Stoney] How much?

How much?
- Okay, wait.

- How much?
- Okay.

Okay, make it a flat five.

(gun clacking)

- [Stoney] How much?

Goddammit, talk to me.
- Okay, man.

- Okay, what?
- Make it four.

- Four!

Say it.
- Four, four, it's okay.

- Four, relax your hand.

Take your hand off the goddamn plunger.

Take it off.

(plunger clanking)

- You're crazy, man.

- Oh, yeah.

(gun clacking)

Hell of way to spend a mornin', ain't it?

What's your name?

- [Antonio] Antonio.

- Well, Tony, you just relax, alright?

I'm gonna get you through
this with no sweat.

No cops out there, nothing.

(crowd cheering)

(speaking in foreign language)

(upbeat rock music)

(speaking in foreign language)

There you go, Sal.

One wacko complete with dynamite.

- Hey, Stoney, goddamit, he's still wired.

- Sal, you paid me to
get him the hell out,

not diffuse him, I'm on a plane.

What can I tell ya?

(plane whirring)

(employee chattering on intercom)

(atmospheric synthesizer music)

(passengers chattering)

Sam, Sam?

- Oh, hey, you got, you're early.

I didn't expect you.
- Yeah.

- You got here early, huh?

- Yeah.
- How are ya?

- Good.
How was the flight?

- Ah, terrifying.
- Yeah.

- Jeez, you look terrific.
- How ya doing?

- Fine.
- Sam?

- Fine.

Ah, not so fine.

Hey, it's good to see ya.

Stoney, thanks for comin', thanks.

Here, I'll take your bag.

[Employee On Intercom] Please pickup any

black courtesy telephone.

- [Sam] Did they feed ya on the plane?

- [Sam] No, they tried,
but I wasn't interested.

- [Sam] I got some steaks at home.

How was the flight?
- Oh, the flight

was like a ride from hell.

- Can you reach Captain Hoxley?

- I wanted to bury her tomorrow,

they won't release the body.

16 people this creep kills.

16.

Why did they have to
pick on my Beverly, why?

- Don't do this to yourself.

Alright, now look, ah,

what's the I.A.P.D. got so far?

- Walls, they got.

This freak kills anything,
men, women, kids, old ladies.

Yeah, the whole city's kickin' in.

The reward is a quarter
of a million bucks.

I mean, she was the best.

Ever since you left,

she's been the only reason
I've, I've kept straight.

(tires screeching)

- Sam.
- Goddammit.

(tires screeching)

- Welcome to I.A.

How ya doin', Lopez?

That good, huh?

(Stoney sighing)

- You got a license for this?
- Yeah, yeah.

- Lock pick, who told you to get out?

You still hang around
with old cons, Cooper?

- You just relax, Sam.

Lopez here needs to play his
Sergeant Preston routine.

- Just walk.
- Yeah.

- And don't talk.

Walk.

- Good news travels fast, huh, Lieutenant?

- You're not good news.

- Right.

- And it's Captain.

- Captain?

Jesus, Hoxley, I'm real
proud of ya, that's great.

- You broke your word, Cooper.

You came back.

- Yeah, well let's just, um,

let's say this is a
condolence call, alright?

- Look, the day I took your badge

was the last time I ever
wanted to see your face.

You don't like the way the system works?

Well, nothing's changed.

We still do things that way.

Strictly by procedure.

- Strictly by procedure.

Well, you're right, Captain,

the day you took my badge

was the day I stopped playing your system.

- You get involved in this investigation,

and I'll put you away so far,

they'll have to airmail in light.

- (laughing) That's a
little too far for me,

you know what I mean?

(dramatic orchestral music)

(atmospheric rock music)

(tires screeching)

- [Otto] This is Captain
Hoxley with a code five.

Stoney Jackson Cooper is back in town.

He's after the X murder
reward, stay on him.

- So, Sam, let's, ah, let's
go to Spring Street, alright?

- Stoney, you said you
were gonna bunk in with me.

Now why do you wanna start
that all over again, huh?

You know, Eddie said she
don't want ya no more.

- So how much are you charging

for these sessions, Dr. Goodwin?

- Oy vey, okay, I'll stop
at Spring Street, okay?

I'll stop and you'll call her, okay?

- No, I'm not calling my own wife.

- That was your problem
from the beginning, Stoney.

If ya got a good woman,

ya got to treat her like a queen.

Like I did my Harriet,
may she rest in peace.

You took Eddie for
granted and you know it.

Today, women want a life of their own.

- [Stoney] So do men, Sam.

- You should have called first.

I'm tellin' ya.

Alright, Stoney, I'll park out front.

(atmospheric rock music)

(atmospheric orchestral music)

- [Eddie] Joey was working
camera on interview

and when we both got back to the station,

there was a pink slip waiting for him.

- They'll be lots of changes

in the news department
before they're done.

- [Eddie] What are you gonna do?

- What is anybody gonna do?

- [Eddie] What?

- What is anybody gonna do?

He owes me money already, you know?

- He owes me money, too.

And he told me he paid you.

(blues piano music)

- When's the?

- Diego, please don't play with that.

It reminds me of my husband.

- Oh, Jesus.

Stoney, absolutely not.

- You kept the Bosendorfer.

That's great, Ed.

- Great, hell, that's the only thing

you left me with more than 10 bucks.

- Edwina, I'm gonna head
back to the station.

I'll call you back later on,

and we'll talk about the new format, okay?

- Diego, sit down.

Stoney was just leaving.

- Dayglo?

- Diego.

- Diego, how ya doin'?

Stoney Cooper, Eddie's husband.

- Not anymore.

- I better get back to the station.

I have to help Dave with the tapes.

I'll call you back later.

- Diego, you don't have to go.

- I'm sure you two have
a lot to catch up on.

Listen, you need company right now.

Anyway, I think Ryan's sick,

and I have to go on location

to run his sound for the
11 o'clock news spot.

So I'll call you when I get back.

Okay, Edwina?

- Edwina? (chuckling)

- Stoney, hit the pike.

- Um, didn't you get my card?

I sent ya a card.

You look great, Ed.

Did you lose weight?

- Stoney, why didn't you sign

the divorce papers my lawyer sent you?

- So, ah, hi, how are you?

What are ya doin'?

Are you still writing copy
for the 100 thou a year guys?

- No, I've graduated.

If you'd taken the time to write a letter,

you'd know I was now reporting the news.

Stoney, what are you doing here?

- Jesus, Ed, ah, let's see, um,

I came back to I.A. just to see

how my old enemies are doin', alright?

So how ya doin'?

- I'm not your enemy.

- No?

- I'm not.

I just don't like you anymore.

Anyway, you came back for X murders.

- Ah, number 16, the girl thrown off

the balcony this morning,

is Sam's granddaughter, Ed.

- I know.

I tried to call him.

- Alright, look, ah, I'd like to visit.

The Bosendorfer, huh?

What the hell's the matter with you?

It's 18 months, Eddie.

18 months, I come by to say goddamn hello.

- Where are you staying?

You're not staying here,
where are you staying?

- I don't wanna stay here.

I'm staying at Sam's.

- Look, Stoney, I stopped being
your wife over a year ago.

I've got a life of my own

and I like it.

- Well, that's great

- You just can't walk in
here and take over again.

You can't do that.
- Hey.

- Look it, you're not super cop anymore.

Stoney, I can't go another 10 rounds.

- Well, you've fixed the
place up, haven't ya?

It looks pretty good.

- Stoney, please go.

- How long you been on this?

- Since it started, they
assigned it to me, Stoney...

- No, wait a sec, why didn't you tell me?

Do you have any leads, ah,

the guy used the same M.O. or what?

- No, sometimes he uses knives,

sometimes ice picks, strangulation,

I didn't say I'd help you on this.

- Didn't say, goddammit.

Now this is not for me.

(atmospheric orchestral music)

This is for Sam.

(upbeat rock music)

(door thudding against leg)
(Stoney screaming)

(Stoney groaning)

- Shit.

(fists thudding against body)
(Stoney groaning)

- Hey.
- Hit him.

- Hey!
- Cool it, old man.

- Mr. Ashley would like
you to be a nice guy,

get on a nice airplane,

and go back to your nice Big Apple, okay?

(body banging against wall)
(Stoney groaning)

(tire iron clanking)

(tires screeching)

(Stoney groaning)
- You wanna throw up?

- Yeah.

No.

Where is my gun?

- He threw it in there.

(dramatic orchestral music)

Now who the hell where those guys?

You know them?

- Yeah.

I had a slight difference of
opinion once with their boss.

- With their what?
- Their boss, Sam.

I'll take care of it.

(upbeat rock music)

- Here ya go.

Stoney, thought I should pick the lock.

- Sam, I want you to park the car

and stay in it, alright?

I'll be about 10 minutes.
- Alright.

(ominous orchestral music)

- No, no, no, you, you get back.

Back your ass outta here.

That's right.

Haul it.

(upbeat rock music)

(man groaning)

(man grunting)

(man groaning)

(dramatic synthesizer music)

(ominous orchestral music)

- Oh, oh, hello, young man.

You must be lookin' for my boy.

He's upstairs, first door to the right

at the top of the stairs.

But I'm not sure he's alone.

But I guess it's alright.

I'm alone a great deal.

When we lived in Albuquerque,
I wasn't always alone.

(woman groaning on TV)

- [Woman] Father once took me to Chicago,

and I always remembered that

because that's where I met his sister,

who crochets so lovely.

Have I ever knitted here?

Actually he took me maybe
once since Paul died.

(ominous orchestral music)

- Hi.

- You a friend of Ashley's.

- Intimate.

- Would you like me to wake him, sugar?

- Very gently.

- Ashley, baby.

Listen, honey.

- Goddamn you, leave me alone.

Watch your friggin' movie.

(women groaning on TV)

(Stoney's lips smacking)

- Pussy honey.

- You're dead.

Don't bother me.

- Ashley, old boy, I need a favor.

Like you outta my face for three weeks.

What do you say?

- You must think I'm getting senile.

I spent 20 months on that
bullshit you called a bust.

I owe you some trouble, sweetheart.

- Alright, you and I, we
stop waltzing right now.

Now I need some noise on this X killer.

I get the killer, we split the reward.

- Shh.

- Every badge in I.A. is out lookin'.

Hoxley's gonna run for
office on this bust.

You get in his way,

he'll bury you dick deep in elephant shit.

- I don't carry a badge anymore, remember?

And as you well know, I deliver.

- Ya got two weeks.

I'll tell my people.

Then your sweet little
old ass belongs to me.

- Terrific.

(woman groaning on TV)

Nighty, night.
- Don't push your luck,

Honey.

(women groaning on TV)

- They're gay.

- Whatever turns you on, baby.

- Right, goodnight.

(upbeat rock music)

Find out what you can on his victims.

Who's bangin' who, who's
important, who's not.

We meet a lotta cocks, Sam.

Promise 'em money, deals,
bribe 'em whatever.

It doesn't matter.

We got to make some connection fast.

(upbeat rock music)

- [Sam] It must be someone in sales.

- Yeah, well it doesn't
stop me from trying,

now does it?

Look, I still got a few
friends on the force, right?

- Yeah, well, I wouldn't
count on it if I was you.

Make a list and leave
it on the front door,

and I'll try to pick 'em up later.

No, I can't leave.

I'm here with my friend, Stoney.

Stoney, Stoney Cooper from New York City.

- Listen, listen, I'm not on the force,

you know I'm not on the force.
- I can leave here now.

- Oh, god.
- What?

- What, what I'm calling about

are the murders that have taken place,

Just listen to me, the
murders that have taken place.

I got Hoxley all over my ass,

I got all sorts of stuff.

I need whatever you got
as soon as possible.

I wanna make another stop, Sam.

- [Sam] Okay, but that's enough.

It's tomorrow already.

(speaking in foreign language)

(bus engine whirring)

(speaking in foreign language)

(speaking in foreign language)

(dramatic orchestral music)
(Mrs. Hernandez groaning)

(speaking in foreign language)

- [Diego] N-A-N-D-E-Z.

- Okay, do you have where she lives?

(speaking in foreign language)

- 2224 Alveraro Street.

- Otto, I checked the bus schedule.

They leave every half an hour.

We think he could be here than an hour.

- Good.
- Tony, Tony.

(sirens wailing)
(crowd chattering)

- Oh, hey, yeah.

- Don't touch, don't look.

Get on the other side of the police line

with the rest of the civilians.

- Great.

- You grandstand me on this one Cooper,

and I'll write a new law.

I'll put you away personally.

- I told ya I'd be no goddamn problem.

Now why don't you just back off, Hoxley.

- Who the hell do you
think you're talkin' too?

Move out!
- You.

Alright.

- Okay, we know she's been through a lot.

Could you just ask if she can stick around

just for a few minutes, I know.

(speaking in foreign language)

Please tell here I'm have,
- Hi.

- Stoney, I'm working.
(speaking in foreign language)

- Right, what do ya got so far?

- Exactly nothing.

Diego, could you ask her
maybe if we do the interview

just against the mural?

Just two seconds, that's all
it's gonna be, I promise.

(speaking in foreign language)
Is that alright?

- Diego, how ya doin'?

- Fine.
- Great.

(crowd chattering)

- Ow, who the, son of a bitch.

Stone man.

- Jesus, how ya doin'?

- Good, how you doin'?

What sewer you come up from, badass?

- You still working the crowd, aren't ya?

- Hey, man, once a
picker, always a picker.

- Mm-hmm.
- You freelancing?

- Yeah, I guess, I guess
you could say that.

Now look at me and tell me

what you can tell me about
the dead meat over there,

and why is it so deep in the barrio?

- Hey, man, maybe he come
down for some tacos, you know?

- Tacos, huh, tacos.

Well how much to find out
if he liked the food or not?

- Hey, man, that didn't happen here.

He was dumped on us.

- Now you do me a favor, alright?

You find out who, when, where, and how.

- Alright, I owe you maybe one.

- How many? I think you owe me
a little more than just one.

Wouldn't you say?
- Alright, alright, look.

- Go on.
- I've been hanging out

at La Cocina.

Catch me there on Friday.

Bring the five-o, and I'll see

what I can come up with, alright?

- You be there.
- Yeah.

- No, no, you be there.

- Alright.

- Good to see ya again.

(upbeat rock music)
- At the end of the dock.

I always, always fish there.

(video game beeping)

- How ya doin', Jerry?

- Hey man, how you doin'?

I haven't seen you in awhile.

- Come on, what do you
say you and I go talk?

- No, let me finish my game.

- No, talk a walk.

(upbeat carnival music)

- So I want you to take this $10.00.

You got my phone number, right?

You call me.

(waves crashing)

- You know who you're afraid of?

You're afraid of Hoxley.
- Hey, listen.

- Yes, everybody's a prick.

- [Officer] Listen, he
could have my badge.

Do you understand that?

He can have my badge.
- No matter

Do you wanna know, first time in my life,

I didn't see, but that's why
the son of a bitch is after me,

and you know it.

(upbeat rock music)

- [Willie] Hey, hey, wait, wait, wait.

- [Stoney] Willie,
Willie, how ya doin', huh?

- [Willie] Hey, wait a minute, my head.

- [Stoney] Figured we go on
a little joy ride, alright?

- [Willie] No, I don't
want one, oh, come on.

- Now you listen, I'm not gonna bust ya,

you got it, huh?

Alright, Harry, Harry,
come on, look at me.

Stoney, I never busted you.

I saw Eddie yesterday.

- Yeah, has she got anything?

- Nothing, nothing but
a bunch of crank calls

from every crazy in town.

Look, let's check La Cocina
one more time, alright?

- Okay.

What we've got so far is exactly zero.

- [Stoney] Zero plus one.

- Huh?
- Jesus.

- Who's the old dude?

- Hey.
- This is my dad.

- No shit, you got to a dad?

- No shit.

Get in.

So what do you got?

- Alright, chick's name is Maria.

Some 20 dollar whore.

She works by the train
tracks, 6th and Main.

The trick's name was Warren Stugo

- Don't pay him yet.

- Jesus, talk to me.

- Hey, man, you asked for a name.

What the hell you want?

- That's right.
- The freaking almanac?

- Yeah, I want the almanac.

- You want the money?

- Alright, look man, word on the street

is that she tricked the dead
meat and she took him home.

Hey, maybe she liked him.

- Smart ass.

- Come on, come on, it'll
only take 10 minutes.

Hey.

- Hi.
- You wanna date good looking?

- Well, ah, we were thinking

maybe you'd take us both on for $100.00.

- Yeah, how are you with miracles?

- Well, that's why I work out
of the church, baby.

Maria can make the dead rise.

- Does that mean you will?

- Step into my pew, baby.

- Come on, Sam.
- I'm comin'.

- So, Maria, why don't you
tell me about Warren Stugo.

- Shit, I knew, cops.

Come on, guys, I need a break, okay?

I don't carve no X
- No?

- In that dude's head, he paid
- You didn't carve no X?

- Me $20.00 to go home and
watch me change my panties.

He don't touch me, I don't touch him.

- Maria, tell me about, ah...

- [Maria] I swear.

- [Sam] So let's go over to immigration.

- Oh, no, mi nino!

- Wait a minute.
- My baby, he's inside.

Don't take him from me.

(bus engine whirring)
(ominous orchestral music)

- You got a baby upstairs?
- Edward.

- You got a baby upstairs?

Let's go, let's go see your baby.

(dramatic orchestral music)

(atmospheric orchestral music)

(baby crying)

Maria, Stugo was a regular, right?

- Couple times.

He, he works near here.

He pass, I say hello.

I got the baby.

I got to make a livin'.

I don't kill no tricks.

- Right, right.

You tell me the truth.

Did Stugo ever say to you

that somebody was after him?

Somebody wanted to kill him?

And don't, don't lie.

- He was a weird guy, you know?

He was clean though, he paid cash.

No food stamps.

Sold cars or something.

He never said much.
- Right.

- He was not important guy,

you know?
- Look, answer the question.

(baby crying)

A trip back to Mexico
will refresh your memory.

- I swear, I don't remember.

I don't listen to no tricks.

I'm just trying to make
a living for my baby.

(baby crying)

(atmospheric orchestral music)

- Let's get outta here, Sam.

(baby crying)

Excuse me.

(singing in foreign language)

(dramatic orchestral music)
(Maria gasping)

(baby crying)

(ball thumping)

(fire crackling)

- Don't start with me.

Stoney, you have no right
barging in here like this.

You said you'd call first.

- I just wanna come by and tell ya,

you don't ever have to
get dressed up for me.

- Oh, very funny, I've got a date.

- A date?

No, come on, we're gonna
play some one on one,

just like we used to do
in the old days, alright?

- Forget the old days, Stoney.

- Right.

Where are you goin'?

- I've got a date.

A pre-interview dinner date

with Joshua Adams at
the Canfield Institute.

Stoney, don't be here
when I get back, alright?

- Alright.

- [Stoney] Ah, Fats. (meowing)

- And make sure the door is locked.

- Fats, I did you the
best favor of your life

when I had you neutered.

(atmospheric orchestral music)

(dramatic orchestral music)

- Most of us live the precise life

that we are given.

Dictated by society, our
physical surroundings,

our environment, our families.

Not realizing that we have the strength

to reach inside ourselves,

and bring forth the power to change.

Will you stand up, sir?

And you, ma'am, can you stand up?

Thank you.

What do you do, sir?

- I'm in ladies shoes.

(audience laughing)

- And you, ma'am?

- I'm a court stenographer.

- Do you have an arthritic condition, sir?

- No.

- Why then do you stand like a cripple?

Do you realize the signals you're sending?

I'm frightened, I'm in pain.

You are insignificant, sir.

Only because you believe
you are insignificant.

And what are you going to do about it?

And you, ma'am.

You have great beauty and you hide it.

Everything about you
says, I will not succeed.

What are you going to do about it?

- Find the power.

- What power?

- The power to change.

- What power?

- [Audience] The power to change.

- What power?
- The power to change.

- What power?

- [Audience] The power to change.

- What power?
- The power to change!

(atmospheric piano music)

(Stoney sighing)

(dramatic orchestral music)

(atmospheric piano music)

(dramatic orchestral music)

(machine gun firing)
(bullets ricocheting)

(dramatic orchestral music)

(machine gun firing)
(bullets ricocheting)

(machine gun firing)
(bullets ricocheting)

(police siren wailing)

- [Eddie] Stoney was the
only one who was surprised

when his grandstanding got
him busted from the force.

It became impossible to live
with someone who's separated.

- [Joshua] Were there other women?

- [Eddie] I don't think so.

I'm supposed to be interviewing you

and you're getting my life story.

- [Joshua] Maybe that's because
listening is a lost art.

In my profession, I have to be good at it.

- Really?

Listen, I do have a few questions.

It says here in your biography

that you appeared out of nowhere,

and founded the Canfield
Institute on a shoestring.

Then you became one of the driving forces

in the success training field.

Where is nowhere, exactly?

(atmospheric classical music)

- Nowhere is where everybody is from

until they become somebody,

and then they're allowed by precedent

to lie about their origin.

- So you still know more about
me than I know about you.

- You're far more interesting.

And maybe this air of mystery

will rate me another interview.

- I hope so.

(upbeat rock music)

(glass cracking)

(door clacking)
(atmospheric piano music)

Well, what the hell happened here?

(atmospheric piano music)

(piano lid banging)

- Somebody tried to kill me.

- Don't look at me.

Though it's crossed my mind.

You'll live.

- Would you say I'm on to something?

- You can't live like this again.

I cannot live like this again.

- Again, I'm out on the streets,

this wacko knows I'm lookin' for him.

I got him scared,
goddammit, I got him scared,

and so what does he
do, he follows me here.

I'm sorry about the loft, alright?

- How many people in this town
would like to see you dead?

Maybe more than 10, hmm?

More than 100?

(Stoney groaning)

Huh, how many?
- Only Ashley.

Only Ashley.

And he doesn't have the guts.

Rub a little lower.

- Stoney, stop it.
- What?

- Stop it, just stop it.
- How can I?

- [Eddie] Stoney.

- Stoney.
- Stoney.

- I'm not.

- Okay, fine.
- I wouldn't think of it.

- No.

Don't come near me.

(towel snapping)

Gone mad?

Stop, come on.

- [Stoney] No, you come on.

Oh, god.

(atmospheric rock music)

(Eddie moaning)

♪ You lift me up ♪

♪ Then you let me down ♪

♪ Just one touch ♪

♪ And I come around ♪

♪ I know that there's no use ♪

♪ I know I can't break loose ♪

♪ I can't fight it ♪

♪ I just can't get free ♪

♪ I can't fight it ♪

♪ You got a hold of me ♪

♪ Tearing me apart ♪

♪ You've got me by the heart ♪

♪ No, I can't fight it ♪

♪ No ♪

♪ Oh, oh, oh ♪

♪ I can't fight it ♪

♪ Whoa, oh, oh ♪

♪ I can't fight it ♪

(Eddie laughing)
(Stoney laughing)

(man and woman laughing)

- Who's there?

Why don't you children go
do that some place else.

Scaring people like that.

Go now.

(Janine screaming)
(dramatic orchestral music)

(body thudding on stairs)
(Janine gasping)

- Here name was Janine Strand.

Maid at the hotel.

What the hell is going here?
(camera shutters clicking)

Get a security guard
- Come on.

- Down here right now.
- Move 'em back, back,

I told you to move back.
- Get back, move it back.

- [Man] We got ya.

- [Officer] Back, move it back.

- Mrs. Hooper.
(siren wailing)

Now, I understand we had
a shooting at your place.

- I know, the city's not safe anymore.

- Yeah, well I want you
to tell your glory boy

that he has warn out his
welcome in a very short time.

- Why is going from a black and white

to a gold badge in four months

make him a glory boy, Captain?

I think it makes him the best cop

you've ever had in your department.

- You just tell him

that I'll have a warrant out
for his arrest in 48 hours.

- Maybe you hate him for doing

what you couldn't do yourself.

- Not couldn't, Mrs. Cooper, wouldn't.

There's a difference.

If you can't be his wife,
at least be his friend.

Have him on the plane tomorrow.

- If I get him out of town,

can I have a story on this one?

- She's dead.

- Come on, people,

I told you before,
- You're a real charmer,

Hoxley.
- There's not gonna be

any news here.
- A real charmer.

- [Man] Come on, Lucas, just
wait till she's here, come on.

- Come on, come.
(crowd chattering)

- Listen, Hoxley said we could shoot this.

It's alright.

- He did?
- Yeah.

(crowd chattering)

Come on, Diego, I got to pull this one off.

Let's go, hurry.

- Don't do that again.

(camera clinking)

- I'll make a deal with you.

I give you what I got for what you got.

Deal?
- I don't have that much.

Stugo is a car salesman.

Lived alone, he had no police record.

He had his barbering license,

but I don't think he practiced.

Janine Strand, she was a night maid

at the Bonaventure Hotel last six years,

but her husband is Soledad Prison

serving 20 years for armed robbery.

She's clean.

I got not motives.

I got nothing.

- Ed, do you know what's wrong?

What's wrong is this
whole thing is random.

It's, it's scattered.

Now these psychos use patterns.

That's how they talk to the world.

So look, maybe our crazy
isn't as crazy as we thought.

I mean, maybe this guy just wanted

some of the victims killed.

- [Eddie] So he killed off all the rest

just to cover his tracks,
is that what you're saying?

- Absolutely.

I mean, look at it, it makes sense.

He's throwing everybody off,

nobody knows where to look.

- I've been through every
file with a fine-toothed comb.

- Well then here's what we do, dammit.

We start at the beginning, alright?

We get, um, perfect,

we get Sam to break into Hoxley's office,

and rip off the files on every victim

and suspect they drug in since day one.

(phone buzzing)

- Alright, excuse me.

Hello?
- Deborah Rondo.

- Yeah, put her on.

- [Deborah] You remember me?

- Yeah, Deborah, sure I remember you.

- [Deborah] I have to talk to you.

- [Eddie] Can you talk now?

- [Deborah] I called
earlier, you didn't answer.

- Well, wait a minute, I, I wasn't in.

- Ms. Cooper, I can't talk now.

I left you a message.

- What message?
- Meet me

- Debbie, don't hang up.
- At the security office

at the Hollywood Pacific Studios.

- Meet you where?
- Please.

(dial tone ringing)

- Wow, damn.

- Who was that?

- Wanna come with me?

- Terrific.

Where?

(upbeat rock music)

- Deborah?

Deborah Rondo?

She's not here.

- Perfect.

I'm gonna take a look around.

- Wait a minute, Stoney, wait a minute.

- [Stoney] No, look, you wait in the car.

- Why don't you wait in the car?

- Ed, listen.
- I'm the reporter

and this is my story.

- Story.

- Now I'm gonna see if I can find her.

- You and your goddamn stories.

Ed?

- Deborah?

Whoa, Stoney, look at this.

- Oh.
- Stoney.

(ominous orchestral music)

Hey, sailor, are you new in town?

(furniture scraping)
(ominous orchestral music)

- Maybe it's Deborah, maybe it's not,

but somebody's here.

Who's there?

Wait here.

(cat meowing)

(Eddie shrieking)

- Tony, I'm sorry, it was just a cat.

(dramatic orchestral music)

(Stoney grunting)

(body thudding against sign)
(Stoney groaning)

(upbeat rock music)

(board whacking against body)
(Harvey groaning)

(Eddie gasping)

Ah, Stoney?

(board thudding against legs)
(Stoney groaning)

(body banging down stairs)
(Stoney groaning)

Stoney?

(Stoney groaning)

Stoney, are you alright?

Stone, ah.

Stoney, please help me.

- Eddie?
- Please, Stoney.

Oh, thank god, help me, please.

- [Stoney] Come on, climb over me.

- Oh, Stoney, Stoney.
- Alright, come on, Eddie.

- Oh, she's dead.
- Come on!

No, no, don't lose him now, we got him.

(upbeat rock music)

(car engine whirring)

(car revving)

(Stoney screaming)
(gun firing)

(Eddie yelping)

Hang on.

And stay down.

(tires screeching)

(car bashing through gate)

(tires screeching)

- What about Deborah Rondo

lying back there in the net?

- I don't think she's in a traveling mood,

you know what I mean?

(tires screeching)

(tires screeching)

(cars bashing against each other)

(tires screeching)

(gun firing)

- Stoney, you're not a cop anymore.

- I don't need a badge.

I hit him.

(tires screeching)

(tires screeching)

Look, he's weaving all over the road.

I told ya I hit him.

- Why don't the cops just handle this?

- Right, like they handled it so far?

You know, goddammit, Eddie,
I take it very personally

when somebody tries to kill me.

Where did he go? I lost him.

(upbeat rock music)

- There he is, Stoney.

Oh, my god.

That's the Canfield Institute.

- Shit.

(horn beeping)

(horn beeping)

- Okay, see you next Tuesday.

(horn beeping)

(horns beeping)

(sculpture banging against car)

- You're under arrest, Mister.

- I just chased the X murderer
over your wall, alright?

You wanna relax?

- Joshua.
- Come on.

- Eddie?

What happened, what are you doing?

- No, no, come on.

Get these people back, alright?

You got the X murderer
loose on your property.

- I'll call the police from the house.

Come inside.

- [Man] Everybody just go to your cars.

(ominous orchestral music)

- This is incredible.

Do you always run around
the streets at night

finding dead bodies?

- (chuckling) Only with my husband.

- Dynamic personalities

always attract trouble.

(crickets chirping)

He's a lucky man to have a wife

so well suited to his extremes.

- He's not, and he doesn't, thanks.

- Here.
(Eddie sighing)

(crickets chirping)

(brick scraping)

(brick shattering)

You stay here, Eddie.

(ominous orchestral music)

(gun cartridge clacking)

(Harvey groaning)

(upbeat rock music)

(Eddie screaming)

- No.
(gun firing)

(dramatic orchestral music)

- I didn't have time to
think, I just, just fired.

- It's alright, it's alright.

- I heard her cry out,
I came into the room,

he was standing over her.

I just fired without thinking.

This is horrible.

(ominous orchestral music)

(lock clacking)

- Garbage they put in.

- Funny, I told you he might have been

missing a finger or two.

Always the same hand.

Never two full sets of prints.

- [Officer] Captain Hoxley?

- Those two, it's for real.

- Let's just, ah, let's
get outta here, alright?

- I can't leave.

Harvey Benton murdered 20 people.

I wanna know why.

This is important to me.

What's the matter with you?

It's the reward, isn't it?

You're all bent out of shape

because you didn't capture him.

Right?

Right?

(atmospheric rock music)

- Hey, let me tell you something.

I put six months in on this case,

you walk in with your fuck you attitude,

and think the reward money is yours.

Well, I got news for you.

My report says the reward
money goes to Joshua Adams.

- Alright.

- Hey, by the way, I understand

there's a certain scumbag hood

who might be a little pissed off

about some reward money you promised him?

Well, that's too bad, Cooper.

If you think you have a problem,

why don't you call a cop?

- Who's the scumbag
Hoxley was talking about?

- Ashley Maynard, you remember ole Ashley?

- What'd you do to him this time?

- I didn't do nothing.

I made a deal with the guy.

Everything's fine.

He might be a little upset

when he finds out about the reward money,

but I can handle the guy.

- Got him.

- Ah, god, no.

(upbeat rock music)

(tires screeching)

Hoxley called Ashley Maynard, goddammit.

(tires screeching)

I can't lose him, Eddie.

Get down, honey.

- He's gaining on us.

- Get down.

You me two weeks, Maynard.

- Times up, boy.
(gun firing)

(Eddie yelping)

(gun firing)

- Stoney!
- I'm gonna hit

the son of a bitch, just hold on.

Get down goddammit.

- Okay, cowboy,

You did me one time, Cooper,

but you ain't gonna do me again.

- Eddie, would you get down, goddammit.

- Damn you.

- We're gonna lose him over
the bridge, you understand?

Come on baby, don't fail me now.

(tires screeching)

(gun firing)

- Goddammit.

(gun firing)
- Stay down, duck.

- Got ya, Cooper.

You don't even know where you're going.

- This is crazy.

Stoney, no, we're not gonna make it.

We're not gonna make it.

- We're going to make it.

(Eddie screaming)

(horn blowing)

(cars smashing)

(horn blowing)

My god, Sam, did you look through the lens

when you shot this stuff?
- Who had time?

I found, I took, I left to
find an all night photo lab.

What's the difference,
the guy's dead you said?

I wish I could get my
hands around his neck.

Hey, what's bothering you?

- Heartburn.

- Well, here take a swig.

- Come on, Sam, the damn thing's too easy.

It's too simple.

I mean, a guy takes a shot in the skull,

police get prints up the
kazoo, everything matches,

everything's great in the world,

and I feel like run over
dog shit, I'm sorry.

- Here, take a swig,
I'll tell ya, it'll help.

- I don't want it.
(door clacking)

- Don't listen to him, Sam.

When he gets in his moods,
he's totally hopeless, here.

- No, no, look, look, when that guy

was climbing over the wall,

you didn't see the look in his eye.

To me, it didn't look like
he was running somewhere.

It looked like he had already
got where he wanted to be.

- What for?

It was a little too late
for success training.

- Wait a minute, wait a minute.

Why would a guy run to public
grounds with security guards?

- Hey, what's with you two?

- Unless Joshua Adams
was Ben's next victim.

- Oh, no, that's good.

That's good.

Alright, what else?

Here.

Working man, Warren Stugo.

Janine Strand, husband's
doing 20 years in Soledad.

- Harvey Benton, former
guard at Soledad Prison

in '67 through '72.

- There's been 10,000 people in prison

since Benton was a guard there.

- Okay, Sam, what else?

- Well, listen to this.

- What the hell is the matter with Hoxley?

Stugo, Benton, the hotel maid's husband.

We got three known connections to Soledad.

There are probably more
we don't even know about.

- So maybe Hox is already working on it.

- Working on it?

You know what that guy's working on?

He's running for councilman.

- So?

- So, ah, first thing in the
morning, we go to Soledad.

- Oh, yeah?

- Wait a minute, I wanna go.

- [Stoney] No.

- Stoney, it could be a story.

- You are a story.

(atmospheric orchestral music)

(atmospheric rock music)

- Soledad prison.
- I never wanted to see

that place again.

- [Stoney] Well, I never
wanted to be in airplane again,

but it's the only lead we got.

I just hope Lester Strand
feels like talking.

(bars clanking)

(bars clanking)

- I smell cop.

You're an old con.

That's easy.

What ya want?

- How ya doin'?

- My time.

I asked you, what do you want?

- I just want the son of a
bitch who killed her, Lester.

- We got TV.

They got the dude that stabbed Janine.

He was a screw in here.

- Suppose it wasn't him?

- Say what?

- What if they got the wrong guy, Lester?

Talk to me about Warren Stugo.

Stugo.

- White dude, civilian.

He cut hair in here when they
shived Mickey the barber.

- Same guy that killed
him killed your wife.

- People dying all the time.

- Ain't it the truth.

- Yeah.
- Harvey Benton.

- (sighing) The dude was a screw,

'70. '71.

Didn't like him,

but that ain't no reason to kill Janine.

- Come on, Lester.

Tell me something I don't know.

- Benton got to be buddies
with a con called Fulton.

Said he's the cat, he had
kind of his own machine.

Warden even left him alone.

Said he'll make model cons out
of all the hard asses, see?

- So this Fulton, he was, ah,

the jailhouse preacher, right?

- Oh, hell no, man.

I mean, the dude had control,
had screws running errands.

Crap like that.

If you didn't cop to his program,

like cleaning up the cells,

go into the library,

one night, one of his boys visit you.

And zip.

- I can't believe that cons
would let him stay alive.

- Yeah, we got to his ass one night.

Poured 200 proof grains
and it blew all over him.

Lit up like a Christmas tree.

Benton split right after that.

Couple of cons were transferred.

That's it.

- No, no, no, that's not it.

You recognize anybody else there?

- Goin' blind in here.
- Right.

- [Lester] Yeah, that's Warren the barber.

- [Stoney] Right.

- [Lester] That's the old dude

that used to come down from Salinas.

You know, do the plumbing around here.

- [Stoney] Mm-hmm.

- That's Janine, poor broad.

Marrying me.

- Anybody else?

- No man, that's it.

- Are you sure?

- Look man, I don't know nobody else.

- Yeah.

(knocking on gate)
- Open up.

- Hey, Lester?

I am sorry about your wife.

(ominous orchestral music)

- Fulton.
- He's dead.

- I know, but I'm still interested.

Look, we got to have more.

Sam?
- Yeah?

- You got any friends left up here?

- Sure, where they gonna go?

(keys jangling)

- [Jack] Where the hell did
you guys get this stuff?

- Oh, the world is full of thieves, Jack.

No, he's wrong, let's see Fulton.

Okay, now the composite, Jack.

Alright, lose the beard and the mustache.

- [Jack] Alright.

- And give me a chin.

- There you go.
- No, no,

More square.

- How's that?
- Good.

- Alright, now let me see some hair.

No, no, no, bushy, bushy.

- Okay.
- Wavey, more forehead,

you know?
- Bushy.

There ya go.

- Goddamn.

(ominous orchestral music)

(chuckling) He is good.

Sam, 10 more years of lines on that face

and who do you have?

- [Sam] That son of a bitch.

- Adams.

(dramatic orchestral music)

- [Sam] A little more
drink, a little less ice.

Stoney.

Well, I called the station,

and they said that Eddie is on

some kind of assignment in the cornfields.

So what do you wanna do?

March this stuff in to Hoxley.

- Hell, no.

Eddie gets this story.

- You sure you're ready
for this after last night?

- We need a script ready for
tomorrow's on camera interview.

I'm fine, thank you.

Thank you for asking, it's
more than some people did.

- 'Cause what we got so far
is Adams is Fulton, right?

- Right.
- But Fulton is dead.

A con gets a release ticket signed

by guard, Harvey Benton,

who checks out a burned body, you follow?

- Sure, I follow.

- Now, the next day he quits
his job at Soledad Prison.

10 years pass, 10 years, Sam.

- Yeah.
- Joshua Adams

got a thriving business,

but a lot of people who
knew his prison identity

are starting to turn up very dead, right?

And innocent people are dying also

in order to throw the cops off.

It's simple.

- Discover that power in you.

Convince yourself and you convince others.

(recorder beeping)
- Oh, excuse me.

Sorry, electronic reporting.

- Listen, we better get you to bed.

Give me the keys, I'll drive.

- Alright.

What we'll do is, ah,

we'll wait for Eddie to get
back from the cornfields,

put this whole thing
together, put a cherry on top,

and get it to Hoxley.

I cannot wait this man's face.

Hey, Sam?

- Yeah?
- It's not cornfield,

it's Canfield.

She's at Canfield.
(upbeat rock music)

- Well he doesn't know
anything, she'll be alright.

- Are you kidding, with her mouth,

she probably told him we were at Soledad.

Get in.

(upbeat rock music)

- You admire strength, don't you?

- Yes, I do.

I admire strength, not
necessarily the physical type.

- Like your husband?

- Sometimes he over machos it,

like you're doing right now.

But this morning he had
this wild, brilliant hunch,

and he took off without me

like I was some idiot child

that couldn't play in adult world.

- Which you certainly are not.

You're wonderful, Eddie.

(glasses clinking)
- Cheers.

(dramatic synthesizer music)

- [Stoney] Come on, come on.

Alright, you go first.

Jesus, get in.
- Alright. (groaning)

- Shh, there's a guard.

(upbeat rock music)

(guard groaning)
(Stoney grunting)

(Stoney grunting)
(guard groaning)

- [Sam] I'm gonna take his gun.

(upbeat rock music)

- Come on, goddammit, Sam.

- It's a tough one.

- Everybody lies for a good cause.

Women lie when they put on makeup.

Churches lie when they offer salvation.

Prisons lie when they
promise rehabilitation.

- Well that's a very strange analogy.

Were you ever in prison?

- We're all in prison, Eddie.

That's why my seminars are so successful.

(chairs clattering)

- [Stoney] Shh.

- It's alright.

I'll be right back.

(dramatic synthesizer music)

(door clacking)

- Get ready.

- Mr. Cooper.

Why didn't you ring the night bell?

It's alright, Marty.

I'm sorry, I haven't
had the pleasure, Mr.?

- Sam.
- Sam.

Tell me, was it necessary
for you to break in?

Or did you think that Eddie

was in some sort of danger here with me?

- Stoney, I don't believe this.

I could just kill you for this.

- I mean, here she is doing her job,

and there you are acting the fool.

- Oh, no, he's not acting.

What are you two doing here?

- What are we doing here?

Ah.
- Yeah.

- Mr. Adams, this is kinda
personal, you understand?

I just need a minute with my wife alone.

- Stoney, would you just leave, please?

Just leave.

- Now why don't you just come over here,

talk to me, before I break your arm.

- Excuse me, Joshua.
- Thanks.

Now, you're gonna listen to me

for the first time in your goddamn life.

What we are gonna do
is apologize to Adams,

and then you, Sam, and I are gonna walk

the hell outta here, alright?
- Alright.

- No, no, no arguments.

I'll explain.
- Right, just like that

I'm supposed to forgive
- Eddie, trust me.

- And forget.

What are you doing here?

You're supposed to be at
Soledad Prison till tomorrow.

- Terrific.
(dramatic orchestral music)

- Stoney?

Just go.

- Now I don't think Mr. Fulton

would like us to leave
right now, would you Roger?

- I'm sorry, but this is
breaking and entering.

I'll have to have that gun.

- Stoney, what are you doing?

- Shut up, Ed.

- You're behaving
irrationally, Mr. Cooper.

There's a guard behind you,

and there's another one
in back of your friend.

- Would somebody just please
tell me what's going on here?

Sam, what's going on here?

I don't get it.

- He's Roger Fulton.

- Who's Fulton?

- Roger Fulton died in prison.

- No, no, no, somebody died,

but it sure as hell wasn't you, was it?

- I'm afraid I'm gonna
have to insist on that gun.

This is my house and I
have a right to protect it.

(upbeat rock music)

- I feel sick.

(ominous synthesizer music)

- Marty, I think you should
relieve Mr. Cooper of his gun.

(dramatic orchestral music)

And check his friend, too, please.

Marty, take the goddamn gun.

- Go on, make one step, Marty,

and I'll blow a whole in this man's head

the size of a cantaloupe.

(dramatic orchestral music)

- It's academic.

The jealous husband breaks
in, shoots his wife,

one of my men shoots him.

- How do you explain Sam?

- Sam gets to go home and go to bed.

- Sam, is an accomplice, of course.

- My god, you are smooth, aren't you?

- Now put the gun down.

- You're busted.

- Do it.

- Duck!
(gun firing)

(light socket zapping)
(guns firing)

(upbeat rock music)
(Eddie gasping)

- [Eddie] Oh, my god.

- You had no right
resurrecting Robert Fulton.

- God!
- I put too much hard work

into killing him off.

(Eddie screaming)
- Sam, you okay?

- Yeah, I should go look for a phone?

- No, phones, I want
this scumbag for myself.

- He's got Eddie.

- He's got me, Sam.

I'll make him a trade,
you stay right there.

(upbeat rock music)

Fulton?

- It's exciting to kill, isn't it?

Especially a little at a time.

How many people have you killed, Stoney?

10, 20, more than the X murderer?

How will you feel when
you kill your own wife?

(gun firing)
- Stoney!

(Eddie yelping)

- I'm a very good shot,
(Eddie crying)

Stoney.
(Eddie crying)

Don't think I didn't hit my aim before.

(ominous synthesizer music)

(Eddie crying)

(Stoney groaning)

(Eddie yelping)
(upbeat rock music)

(body thudding on ground)

(Eddie groaning)
(gun firing)

A quick reaction.

I like a good adversary.
(Eddie gasping)

It's not gonna make me happy
to see Eddie die, though.

Such a waste of a classic woman.

- You sick bastard.

Either way you look at
it, you're dead meat.

- Please, Stoney, no police idioms.

They make you sound unintelligent.

Now!

(gun firing)

(man groaning)

(Eddie screaming)
- Good shot.

You play well.

We could pull on this all night, Stoney.

It's very private here.

(gun firing)
(bullet ricocheting)

(Eddie gasping)

Think of how little
there'll be left of you,

and what I'll be doing with
your wife after you're dead.

(gun firing)
(Eddie yelping)

(Joshua laughing)

(Eddie crying)

(upbeat rock music)

- Stoney!

Stoney!

- [Joshua] (laughing)
Come and get her, Stoney.

- Come on, Fulton.

It's just you and me.

Come on, genius.

You can put on your thousand dollar suit,

do you hear me?

Go to your fancy parties,

and ass kiss society,

but you're never gonna
be one, you hear me?

You're never gonna be one of 'em.

Well, you got the cards, deal 'em.

- You'll come around

when you understand the program.

(ominous synthesizer music)

You see, once the Canfield
Institute was created,

certain key people had to be eliminated.

You can see the reasoning, can't you?

- Where's my wife?

Where is she?

Are you okay?

Don't worry, alright?

I'm gonna make a deal, right?

- We're two of a kind, Mr. Cooper.

We understand the use of
violence as a means to an end.

Now give me your gun.

Do it.

(dramatic synthesizer music)

(guns firing)
(Eddie gasping)

(Joshua grunting)

(Joshua screaming)
(bodies thudding on floor)

(upbeat rock music)

- Oh, Stoney, Stoney, no.

Come on.
- No!

Goddammit.

Just help me or leave me alone.

(Stoney groaning)

(tires screeching)

(body thudding against car)

(Stoney screaming)

- Stoney!

(tires screeching)
Oh, my god, oh, my god.

(tires screeching)

(gun firing)
(trunk exploding)

(tires screeching)

Whoa!

(car rumbling)

(car exploding)

(car exploding)
(Eddie gasping)

(Eddie crying)

(fire roaring)

(sirens wailing)

- [Officer] Okay, I'll get Officer Moore,

and see if we can see who's down there.

- Cooper?
- You cannot leave

that dead body there.
- I'll put him over there.

- [Hoxley] Cooper, where do
you think you're going?

- Anybody wanna go with Hoxley?

- I wanna get you to a hospital.

- Sam?

- I'm hungry.

- [Hoxley] What happened here?

- [Stoney] Alright,
let's pick up the reward,

take and ambulance to Baja
and fish for margaritas.

(Eddie laughing)

- [Hoxley] That's it, glory boy.

Your final warning.
(Eddie laughing)

You're not going anywhere

until I find out what happened here.

(Eddie laughing)

You leave I.A. and I'll have your ass.

- [Stoney] Oh, shut up, Hoxley.

(upbeat rock music)

♪ It's the walk of the lonely
in the dark of the night ♪

♪ It's the face on the shadow ♪

♪ About to end inside ♪

♪ The thief on the corner ♪

♪ The cat with a gun ♪

♪ He needs a victim and you're the one ♪

♪ Keep on fighting ♪

♪ You got to keep on
fighting just to survive ♪

♪ Keep on fighting ♪

♪ It's a race to the finish ♪

♪ You've been driving, driving ♪

♪ Keep on fighting ♪

♪ The luck of the winner ♪

♪ Gonna keep you alive ♪

♪ It's the beat of the thunder ♪

♪ The blade of the knife ♪

♪ In the heat of the city ♪

♪ It's a run for your life ♪

♪ It's the sting of bullets ♪

♪ The blood on your hands ♪

♪ The stain on your heart ♪

♪ That no one understands ♪

♪ Keep on fighting ♪

♪ You got to keep on fighting ♪

♪ Just to survive ♪

♪ Keep on fighting ♪

♪ It's a race to the finish ♪

♪ You've been driving, driving ♪

♪ Keep on fighting ♪

♪ The luck of the winner ♪

♪ Gonna keep you alive ♪

♪ Keep on fighting ♪

♪ You got to keep on fighting ♪

♪ Just to survive ♪

♪ Keep on fighting ♪

♪ Oh, it's a race to the finish ♪

♪ You've been driving, driving ♪

♪ Keep on fighting ♪

♪ Keep on fighting,
fighting, fighting keep on ♪

♪ Keep on fighting ♪

♪ Whoa, the luck of the winner ♪

♪ Gonna keep you alive ♪

♪ Keep on fighting ♪
♪ Keep ♪

♪ Keep on fighting ♪
♪ Keep on ♪

♪ Ah, ah, ah, oh ♪

♪ Keep on fighting ♪
♪ Yeah ♪

♪ Keep on fighing ♪

♪ Keep on fighting, fighting ♪

♪ Keep on fighting, baby ♪

♪ Keep on fighting ♪
♪ Keep on ♪

♪ Keep on fighting ♪

♪ Keep on fighting, fighting, fighting ♪

♪ Keep on fighting ♪

♪ Keep on fighting ♪