on moore, over him as a train streams by beneath the overpass.
on moore, as he starts to get into the stationwagon. he looks around one last time, shrugs, as if to say "so be it," and gets
on blane, as he gets into the driver's seat.
the uniformed guard, at the counter, chatting with another server.
on the woman, a small 'visine-like' bottle from her pocket, tips her head back, and moves as if to put the drops in her eyes.
at the door to the store. the three men, moore and the heavyset man, pincus, put, stockingmasks over their heads.
on moore in the walk in safe, as he consults a small index card
a black and white image--the two men--pincus in a stockingmask, moore seen plainly, as if through the surveillance camera.
moore nods, finishes scooping the contents of the boxes into the
on moore, who uses the tools in his cane, to attempt to open the
pincus, pulling moore away. the heavyset man puts the pink packages
a beautiful young woman, the same woman we saw in the previous sequence, in shorts and a t-shirt, and sunglasses, near the mast of
on the florid man, as he nods. and bends to look under the sail.
fran and moore, he shrugs, starts to turn. fran puts a hand on
blane, in hooded sweatshirt and jeans, smoking a cigar, looks down, from a wooden balcony, on the gym below.
on moore, as he exchanges a look with blane
the group in the booth rises, bella motions them out of the front
bergman, looks up.
pincus, bella, and blane, blane is scanning the street, he turns back in the direction of bergman, and nods.
on moore and blane, moore starts to half-turn, blane puts his arm on moore's elbow, and starts to walk him away.
on blane, who is still trying to signal pincus.
on the two policemen, who are walking toward blane and moore, we see moore detach himself from blane, and continue walking, turning
on blane, as he walks up toward a passerby. he takes a piece of paper out of his pocket, as if looking for directions.
on blane, as a car runs into him.
on his hand, as it comes down, with a thump, on the hood of the
on the two policemen, turning to the sound of the accident.
on blane, on the ground, holding his leg.
sidewalk, passerby. moore walking in the street. pincus comes up
underneath the overpass. we see the highway about, and the
moore, climbing the bank, up to the roadgrade, toward the
on the stationwagon, with bella putting it in gear, and moving it toward blane and moore. we see the police cruiser turn in, to cut
on moore, as he puts up the shield on a welder's mask, wipes his brow, puts the shield down again, and continues cutting with an acetylene torch on a large, industrial air-conditioning unit.
on the two, as blane hands the clipboard to pincus.
on bella, as he walks into the shed. he takes out an envelope.
on moore, looking at them.
on blane as he walks over to moore, at the welding station. he
moore and fran, on the deck, walking toward the marina.
moore pov. over her shoulder, through a plateglass window, into the shed, into the dark machineshop. foundry area of the boatyard.
on fran, as she begins to lower the phone, as she looks at
on the phone cord jack, in the wall, as it pulls out of the wall.
on moore climbing down an improvised stairway-ladder, to the level of the boatyard, in the b.g., we see fran, still talking on the phone, moving out of the window.
moore, moving through the machineshop area, past several motors and marine transmissions, hung from the ceiling on hoists.
the form of the man, silhouetted in the light from the open shed door, leading to the marina. angle, on moore coming up behind the man, moore looks out of the shed, checking for the presence of others. he turns back, and comes up behind the man in the shadows.
from the front, the man moves forward, and we see it is bella,
from the rear, we see bella walk forward to a glassed office area. we see his reflection, and, behind it, moore's reflection.
the door, swinging open, no one beyond. we hear moore's voice.
on moore, as he walks into the room. to confab with blane.
on fran, as she comes into the gym, and stands, watching the boxer, who is going back to hitting the heavy bag. he turns to
on the track. moore walks into the shot, pacing off steps down the
ext the security truck at the side of the road, by the overpass. blane, running back toward the truck.
on moore, walking up to the woman. he consults a piece of paper.
on moore, as he walks to the security gate.
on moore, carrying a case of tools, as he walks to an employee's entrance, several employees in work wear, streaming in. moore takes an employee's badge, and affixes it to his collar.
in the stationwagon, as fran looks down at her watch.
pincus, at the bank of phones, he does the same, as he talks on
in the concourse. pincus, dressed as a guard, extracts a small shim
on moore, as he disconnects the video, and we see the screen go blank. he turns to show pincus, coming into the shed behind him.
on the security truck, as the gates swing open, and it enters the
on pincus, as he takes a seat at the security console. and moore
the train slowing down, brakes screeching.
in the lavatory, as the device explodes.
ext the train, to show the train slowing, and the last car
on the tarmac. moore, in a security uniform, hoists himself up onto the hood of the car, and into the cargo door.
on blane and bella, below, bella starts to follow moore. blane
on moore, as he removes a key from the neck of the co-pilot, and walks back to moore, they open one of the metal cases.
in the security truck. bella, accepts the conveyor. the belt of the conveyor begins to move, and the covered ignots to descend down
int the security shed. pincus coming back in, followed by the
on moore, as he steals a glance back at pincus.
ext the stationwagon, driven by fran, pulling into the arrivals
on pincus, as he steals a glance at his watch. he looks up.
on the van, as it pulls into a parking garage.
on blane, as he takes the roll of tape from his belt, and tapes the covering again over the bar. he replaces the bar, and moore
on bella, as he takes the receipt, and throws it on his dashboard,
on the van, coming out of the parking garage, and onto the access
on the van, going onto the shoulder of the accessroad.
on fran. as she gets down, and walks the cop to the back.
on officer two and bella, who is in the cab.
on bella as he takes the cigarette and lights it, he puts the matches back on the dash, next to some paperwork.
on fran, as she walks up, followed by the other cop.
on the officer one, as he reaches into the cab for the paperwork.
at the roadblock, the cops waving the wrecker through.
in the parking garage. moore, turns away from the edge, and walks back, unsteadily.
fran and bella, in a booth at the garage. bella looks back at
on the cheap, unslept-in bed is a dufflebag, in it we see the security guard uniform, and the f.a.a. inspectors badge.
on moore, as he puts on the clean shirt. he reaches in the bag and takes out hornrim glasses, and puts them on. he stuffs the
in the scrub woods on the side of the road. the truck, on its side, the side panels crumpled, the back sprung open.
on bella and fran, as she comes around the back of the truck.
on fran, as she backs away from bella, back into the woods.
on bella, at the truck, as he continues ripping off the coverings.
on bella, as he watches the policeman depart.
bella. hold. he picks up the phone. digs for some change, and
the tail of the aerohelvetica plane, the large swiss cross. tilt down to show several trucks surrounding it, a police cruiser, and the truck bearing moore and blane, pulling up to the plane.
on the tarmac. moore gets out, as blane reverses the truck. blane walks up to a small ground of coveralled workers, and two cops.
the hywest foundry containers coming down the conveyor, as blane
tight on pincus, the mother and the young girl (whom we saw earlier,
tracking back before pincus and the girl, as they walk.
on bergman, behind him is seated bella.
on fran, in her underwear, as she retreats back into the dressing room and throws herself with all her weight against the partition,
on bergman, as he beckons several of the thugs onto the boat.
on bergman, as he looks back at the shore.
on moore, who moves jerkily, to the side of the pier. he tries to push the boat away, to get to blane in the water. he unties the line which holds the boat to the pier, and pushes the boat away. he throws the line to blane, who uses it to lift himself up
fran, as she looks beyond moore.
on moore, as he slowly shakes his head. he sighs. he walks back
on moore, in the truck, as it pulls out of the garage.