Bruce Willis and Samuel L. Jackson are set to star in "Black Water Transit," a Doug Richardson scripted adaptation of the Carsten Stroud novel that will mark the feature directorial debut of Samuel Bayer. "Black Water Transit" follows the divergent agendas of criminals, cops and lawyers as they collide over a shipment of illegal firearms and a double homicide. Willis plays Earl Pike, a criminal who tries to get his family's illegal gun collection to a safe haven. The film is targeted to go into production February 12 in New Orleans, Louisiana.

New York Times bestselling author Stroud writes with a brutal intensity that mesmerizes readers as it brings them onto the front lines of high-stakes police work. Now Stroud has written his most gripping novel to date, a high-voltage tale of betrayal, revenge, and redemption - deeply rooted in the violent underworld of East Coast crime. Jack Vermillion is an ex-Marine who came back from Vietnam and turned a two-truck shipping outfit into a multimillion-dollar empire. His work is his life. His only grief, a son, Danny, who ran off the rails years back and is now serving a ten-year sentence for armed robbery. A little downtime in Lompoc cooling his heels might do him some good.

But a desperate late-night phone call from Danny, in the prison clinic after a suicide attempt, forces Jack to go looking for a federal deal to save him. So when Jack is approached by a retired U.S. Army colonel named Earl V. Pike to ship his private gun collection - very simple, very illegal - Jack makes the fateful decision to flip one illegal gunrunner for one slightly imperfect kid, and turns Pike in to the ATF. At the same time, Casey Spandau, a female cop working Sex Crimes at the Two Five in Harlem, finally snaps - and decks a sleazy public defender who richly deserves it. After she's bounced straight into an NYPD-state police task force, Casey's future looks like a self-inflicted tour in cop hell.

Then she takes a call from a state cop searching for a blue Mercedes involved in a savage double homicide. The suspect? Earl V. Pike, U.S. Army, Ret. What had appeared to be two separate cases are now on a deadly collision course to disaster. For almost as soon as Spandau starts her investigation into the double homicide, her unit slams straight into an ATF sting, and an explosive blue-on-blue firefight erupts with fatal results. Five officers down.

Jack Vermillion finds himself on his way to prison - his company assets seized, his whole world shattered. But Jack isn't going down without a fight. He has only one way to prove his innocence, and it won't be pretty. And if anyone tries to get in his way? Well, there isn't a law enforcement agency in the world that can stop Jack Vermillion now. A heart-stopping, explosively paced novel of suspense, Black Water Transit is a tough and gritty take on what it means to be trapped on the wrong side of the law - and what can happen when a pretty good guy takes on the really bad ones.

Excerpt. © Reprinted by permission. All rights reserved.

The Taconic Parkway

New York State

Wednesday, June 21

0930 Hours

It's the first day of summer, New York State - a hot clear sun and the trees all greening out under a sky as blue as Bombay gin - this hard case named Pike - Earl V. Pike - he's doing ninety in a big navy-blue Benz 600, northbound in the cruise lane of the Taconic, listening to a tape of African drums, has it cranked up so loud the windows are vibrating - it doesn't bother him because his hearing is totally shot - too many years of small-arms fire popping off right next to his skull. The trees and the towns are just black-and-green blurs racing past his window, the incoming lane markers are hot yellow bars that make him think of tracer rounds. Pike is looking at his rearview mirror again, he's been checking it every few seconds, thinking very hard about a black GMC truck, windows tinted dark, hanging there in the cruise lane, rock steady, floating there like a big fat deerfly in the mirror, seven cars back. He speeds up, the Jimmy speeds up. He slows, the Jimmy slows. Earl Pike does not like this.

He takes a deep breath, lets it out slow, shifts his position. Under the blue dress shirt, plates of heavy chest muscle flex as he moves. He's got five circular scars big as silver dollars stitched across his belly in an arc from right to left. He can feel them tug like fishhooks in the muscle. His blunt face is seamed and cracked, his white hair short, a military cut, and his hands on the leather-wrapped wheel are corded and thick, the forearms ropy, veined, bared to his rolled-up sleeves. He has the build of a guy who works against the weight of things, but he's older now and the wear and tear is showing.

As he reaches the Gallatin exit brake lights flash on up ahead, hundreds of ruby lights against the forest green. The cars and vans back up fast and now he's down to a crawl in a mile-long caravan of cars and trucks. He pulls to the right far enough to get a view up the parkway. All he can see is an endless chain of traffic. Some feckless mutt in a fender-bender, he figures, and then he sees the exit sign for Highway 82. Maybe he can flank this tangle, go north on the back roads, get onto the Taconic somewhere farther on. A man named Jack Vermillion was going to be at the Frontenac Hotel just outside of Albany in the early afternoon. Pike had a four-hour safety zone, but he was a meticulous man, and it has been his experience that the devil who lives in the details never sleeps.

Pike cuts the wheel of the Benz hard and bounces over the curb, accelerates up the ramp. As he reaches the top of the exit and comes to a stop, he sees the same black Jimmy pulling up quickly behind him, a brand-new SLT. It's up too close for him to get the plates. The windshield is filled with a reflection of leafy branches from the trees all around them. All he can see through the tint are two vague shapes. He has no particular reason to be worried, but it's an operational habit with him. He tended to notice things like that. The Jimmy has no signal on. Pike waits at the stop sign for a flatbed trailer to pass through and then signals a left turn onto 82 in the direction of Blue Stores. He watches the Jimmy's lights and sees the turn signals come on. He's also making a left.

Pike thinks some more about the black Jimmy as he pulls out onto Highway 82 and crosses over the Taconic. The northbound traffic on the parkway was jammed solid as far as he could see. He moves out fast, passing the flatbed in a quarter mile.

In a few minutes he's far from the sound of the highway and traveling at a steady seventy down a two-lane blacktop that curves and twists over rolling countryside. The Jimmy has also passed the flatbed truck and is now a half-mile back, speeding, closing fast.

Pike keeps his left hand on the wheel and disconnects his seat belt, leans across the center console, flips open the glove compartment, pulls out a worn leather shaving kit, sets it down on the passenger seat. The Jimmy is now less than a hundred feet back.

He zips the kit bag open and lifts out a gray steel Smith and Wesson with his right hand, rebuckles his belt, and holds the Smith on his thigh. The Jimmy is now signaling a pass, so close to his bumper now that all he can see are headlights. There's a flat stretch coming up fast, and then a long left curve running through a tree-lined section. There is no one else on the road. Pike lifts his foot off the accelerator, lets the Benz slow.

He can hear the Jimmy's engine wind out as the driver guns it. The Jimmy pulls out and comes up beside him, the engine a dull roar through the thick glass of the Benz's window. There's movement up ahead, a pale-blue pickup pulling onto the highway. It makes a right turn that puts it directly into the path of the Jimmy. The driver floors it, gaining speed. The pickup truck coming in fast, the Jimmy parallel with his car now, Pike looks up at the passenger window, a shiny black screen, now rolling down, the blue pickup flashing its headlights, the driver punching the horn. Pike looks back up at the Jimmy. A young woman, blonde, maybe nineteen, her lips are moving, she's swearing at him, her face bright red and her mouth twisted and ugly. Pike hits his brakes and opens up the lane, the Jimmy driver cuts the wheel hard, just catching the left front fender of the Benz as he cuts in front, and now Pike sees the Jimmy's brake lights come on.

The suicidal son of a bitch. He locks up the Benz, the scene bright and clear in his mind, his heart rate steady, no panic. There's a pale-blue streak at his left shoulder and he hears the horn on the pickup blaring as it goes by. Fifty feet ahead the Jimmy is now pulling away, the driver's arm is coming out of the window, the fuck-you finger raised, and Pike gets the New Jersey plate number - IMA DV8 - "I'm a deviate"? - but now the Jimmy's brake lights come on again, and he sees smoke coming from the tires - it veers and comes to a full stop in the middle of the highway. Pike hits the brakes harder, his shaving kit flies into the passenger well, the Smith comes off his lap, lands with a thump beside the brake pedal. He brings the car to a halt less than four feet off the Jimmy's tailgate.

The driver's door pops open and a young man wearing a white tank top and tan slacks jumps out of the truck and comes back toward the Benz. His head is shaved and his body packed to bursting with muscle and sinew, a bony Italian face swollen with anger. He comes jogging in, much too fast for Pike to get out of the car and deal with him. As the man clears the left fender, he kicks the Benz hard and Pike hears glass shattering. The man - no older than nineteen or twenty - reaches the side window of the Benz, slams it hard with the flat of his hand. The Benz rocks from the blow. Pike locks eyes with the kid, who leans down into the window space and screams directly onto the glass, his breath clouding on it. Pike sees that the man has several of his rear molars capped, around his thick neck there's a gold chain with a scapular medal of Saint Christopher hanging on it. The kid's eyes are very blue, although his skin is olive and his shaved head is tinged with black bristles. His mouth is as ugly as the girl's. Pike isn't really listening to the words. He's busy processing a tactical shift. This is just a random contact with a civilian. This has nothing to do with his work. It looks like the kid has convinced himself that the near miss was Pike's fault, and is now communicating his displeasure to Pike using all the hip-hop gangster slang his sluggish cortex can process. This element of the contact pisses Pike off. Was this fool so degraded he couldn't even curse in his own fucking idiom? How did nigger thugs get to dominate the insult landscape in America? Pike feels his temper starting to slip some cables.

He watches the veins pulsing in the kid's neck. The kid is likely a lifter or some kind of jock and could be in the middle of some sort of steroidal episode. Or he is just a complete asshole. Pike is making a concerted effort to leave the kid alone. He has business to take care of at the Frontenac. He has no time for this jerk. Just move away, he is saying to himself, almost like a prayer. The kid sees his lips forming words, steps back, kicks out at the glass. His sandal slips on the tarmac, he falls on his ass. Hard. This does not improve his mood in any visible way. Pike watches him spring up, approach the car again. This is bullshit, Pike is thinking.

He'll give the boy one more chance. He knows exactly where the pistol is, down by the brake pedal. One more kick and it's a nine-mill head canoe coming right up and the carnival band plays a requiem for this buffed-out moron. Then ten minutes for the blonde with the ugly mouth. Maybe less. The kid has more to say, he says it some more, but no more kicks seem to be in the works. The boy is breathing very hard now. He makes another war face at Pike, shakes himself like a dog coming out of the water, walks away, glaring over his shoulder at Pike. Pike, maybe for amusement, at any rate against his own better judgment, gives him a finger-flutter wave, a big happy smile.

The kid stops so fast he skids on his sandals, comes back toward the front windshield, leans far over the hood, works his throat and mouth for a few seconds, and spits onto the glass, directly over Pike's face. Now there's a shrill call, and the kid turns away. The blonde girl is out of the car, yelling at him.

He looks back down at Pike, makes a kissy face, and walks away with his shoulders rolling and his arms spread out so Pike can see how big his deltoids are. Pike watches through the dribble of lumpy brown and yellow spit running down the windshield as the kid gets back into the Jimmy and slams the door so hard...

Cinemark Movie Club
Brian B.