Confidence Movie Script
confidence by Doug Jung First Draft March 2000 BLACK: JAKE (V.O.) So I'm dead... FADE IN: EXT. - BACK ALLEY- NIGHT (PRESENT) Dumpsters overflow with the day's garbage. A pillar of steam rises from an underground grate. It's the dark place between buildings that a reasonable person avoids. We see JAKE VIG, a guy in his late 20's whose fashionable suit and good looks are in obvious contrast to the surroundings-- At first glance, you'd think he could run for Congress some day. At first glance. Jake faces a garbage dumpster on his knees, execution style. His face gives away nothing-- He could be kneeling in a strawberry field. JAKE (V.O.) And I think it's because of this redhead... BUTCH (O.S.) Know who I am, Jake? JAKE The Anti-Christ? BUTCH (O.S.) No. I'm not the Anti-Christ. Or the Prince of Darkness. I'm just a guy looking for some answers. There's the LOUD UNMISTAKABLE "CLICK" of a gun being cocked. The barrel of a gun slides gently along Jake's ear and comes to rest at the base of his skull. The voice and the gun belong to BUTCH (40's). With his suit and conservative looks, you'd make him out for a "Steve" or "Roger" more than a "Butch". BUTCH (cont' d) Things are probably going to end badly for you, Jake. JAKE Gee... What makes you say that? BUTCH Your life flashing before your eyes? JAKE Just the last three weeks. (CONTINUED) 2. CONTINUED: BUTCH That's not a bad place to start. CUT TO: EXT . - BACK ALLEY- NIGHT Title: Three Weeks Ago... The same alley... The door of a building bursts open as LIONEL DOLBY (late 40's), dressed in a cheap suit, stumbles out breathing heavy. The dim light of a bare bulb glares off the sweat on his forehead. A moment later, Jake emerges from the same door carrying a large black revolver. JAKE I lost my head. I'm... Sorry. I don't know what happened. LIONEL Y-y-you fucking shot him! That's what happened! JAKE I had to! That motherfucker was about to welch! You saw what he was doing, right? You heard him! Lionel starts shaking his head spastically. LIONEL I can't be here! You understand? I can' t-- JAKE Listen to me! It went to shit. It happens sometimes. In the distance, A POLICE SIREN WAILS, growing louder. LIONEL Oh Jesus! JAKE LISTEN to me! We don't have much time. We can still get through this but you have to keep your head and trust me! Jake takes a tentative step forward. Lionel sees a BLOOD STAIN on Jake's shirt and recoils. The SIREN GROWS LOUDER, Jake turning his head towards it. (CONTINUED) 3. CONTINUED: LIONEL What-- What do we do? JAKE Help me. Jake waves Lionel back through the door they came out of. CUT TO: INT. - THE EUCLID BAR A dive furnished with a few mismatched chairs and a bar. A single overweight PATRON sits at a corner table with face buried in his hands as he WHIMPERS. Jake and, Lionel Dolby pass him as they emerge from a back hallway. MILES, late 20's, wipes blood off the bar. Placed at the edge of the bar are two briefcases, both open, both filled with neat stacks of blood splattered money. A DEAD GUY lies face down on the floor in a pool of blood. Jake grabs the Dead Guy's legs as Lionel watches in disbelief. JAKE Come on. Grab his arms. Lionel stands frozen. Jake, drops the dead guy's legs with a THUD. JAKE Lionel... He's dead. Yeah, maybe you didn't pull the trigger, but you were standing right there and watched me do it. Help me. Grab his arms. The POLICE SIRENS grow LOUDER. MILES Tick-tock... JAKE If you wanna help, then help. If not, shut up. MILES Your mess. JAKE Then shut up. MILES My place. (CONTINUED) 4. CONTINUED: Miles lets out a little chuckle; it's just enough to set Jake off again. Jake pulls the gun and points it at Miles. MILES Oh please... Miles non-chalantly pulls a sawed off shot gun frown under the bar. MILES (cont' d) You think this kinda shit hasn't happened here before? Given it's usually on Thursdays. And usually, I gotta tell the cops, "No, Officer... I didn't really get a good look at the shooters." Usually anyway. PATRON (without looking up) I didn't see nothing. And I swear if you let me go now, I won't say- JAKE Relax, porkchop. The POLICE SIRENS sound like they're right outside. LIONEL I can't be here! Jake cocks his gun, never taking his stare off Miles. JAKE Then go. Lionel looks at the briefcases of bloodied money. LIONEL What about... The money? JAKE What about this situation makes you think I can answer that question right now? Lionel again looks at the briefcases; then the shotgun leveled at Jake; then at the direction of the POLICE SIRENS... He runs for the door without a second thought. CUT T0: 5. EXT.- THE EUCLID/CITY SIDEWALK- NIGHT Lionel emerges up the stairs from the basement level bar to street-level just as a POLICE CAR SCREECHES to a halt in front of the bar, lights flashing, SIREN WAILING. On the door is the emblem for the NEW YORK POLICE DEPARTMENT. Lionel does his best to look casual as TWO UNIFORMED OFFICERS jump out of the car and rush the Euclid. One of the Officers catches Lionel looking over his shoulder. The last thing Lionel hears before he turns a corner-- OFFICER (O.S.) Everybody FREEZE! As soon as he's turned the corner, Lionel breaks into a full sprint down the street. CUT TO: INT.- THE EUCLID OFFICER WALTER SOBOZINSKI, a middle aged cop with a couple of spare tires, stands by the front door with his gun drawn, in a dramatic stance. SOBOZINSKI (yelling) I said, freeze you motherfucking, cocksucking, scumbags! The second middle aged cop, OFFICER RICHARD ROTTOVICH comes calmly down the stairs behind Sobozinski. ROTTOVICH We're clear. Rottovich closes the door and locks it behind him. SOBOZINSKI (still yelling) Or I'll blow off every one of your fucking heads! Sobozinski lets out a bellowing LAUGH. We PAN OVER TO REVEAL Jake, Miles and BIG AL (the Patron) sitting at the bar by the Dead Guy. JAKE Stop waving that thing around. MILES You sure we're clear? (CONTINUED) 6. CONTINUED: ROTTOVICH Guy looked like he was trying not to shit himself. (re: the Dead Guy) Nice. DEAD GUY What took so fucking long? The Dead Guy stirs-- GORDO, late 20's, dressed in a blood soaked suit stands up; wiping blood off his face. DEAD GUY/GORDO I've been lying in this shit like half the night. MILES You guys were late. We had to go to a Mexican stand-off. JAKE And you know I hate guns. Jake tosses the revolver on the bar. SOBOZINSKI We were fighting crime. MILES Keeping the city streets safe for drug dealers and pedophiles everywhere. Jake starts taking the money out of the briefcases. Gordo strips out of the jacket and shirt, revealing a THIN WHITE VEST. A wire runs from a battery pack on his belt, up the center of the vest, ending at a scorched, bloody, explosive squib. Gordo drops the vest along with a plastic bag containing fake blood. A nasty bruise on his chest marks the spot where the squib was. GORDO Shit. JAKE I told you, use less powder. GORDO But you won't get that splatter effect. Jake removes the blood stained bills from the top of the pile. (CONTINUED) 7. CONTINUED: JAKE Then these go into your cut. Big Al moves over to the bar. BIG AL Hey, Jake... When am I gonna get to play the Inside? JAKE Gordo plays the inside. You're the Shill. BIG AL Yeah, but come on... All I get to do is cry and get insulted. JAKE What are you talking about? You should get a fucking Academy Award for the Shill work you do. (off Al's smile) We got it down cold, Al. You don't want to jinx it by changing something up, do you? BIG AL I' m gonna go get eggrolls. Anyone want eggrolls? Al slaps Jake on the back and exits. Jake catches Gordo hawking over his shoulder. JAKE What? I can feel you looking at me. GORDO That's a lot of cash. He came up with it pretty quick. JAKE Probably some investment banker or convertible-bonds-broker-dickhead. Did you see how fast he ran out of here? It's done. He's not coming back. GORDO I guess. I gotta drop a dime. Did anybody mess up the hoop? MILES It's clean. Gordo disappears dawn the back hallway. (CONTINUED) 8. CONTINUED: Jake rubber bands two small wads of cash and hands them to Rottovich and Sobozinski. JAKE Ten percent. SOBOZINSKI You guys got sack, I'll give you that much. JAKE Confidence. It's just confidence. Sobozinski and Rottovich head for the door with their newly padded pockets. ROTTOVICH (patting his pocket) Feels a little light, Jake. Next time we're in for twenty. MILES Twenty? My ass! JAKE What are you talking about? Ten's standard. ROTTOVICH Yeah Well, Sobo's kid needs braces. SOBOZINSKI Do you have any idea what those monks charge for that medieval torture? JAKE We got a good thing going here. You want to blow it over an overbite? ROTTOVICH Don't get me wrong, Jake. I like you boys. You guys are the steadiest business in town. But what can I say? Twenty percent's still better than what we give to any of the other criminals. JAKE All the shit we pulled with you and you're trying to shake us down? You guys got sack. ROTTOVICH Was that a threat? Did I hear a threat? (CONTINUED) 9. CONTINUED: ROTTOVICH (cont' d) Last I remember, we were talking economics, then this..? What happens next time if we gotta stop and help a little old lady cross the street? Well, shit... Then we gotta pass the call to someone else. Sobozinski and Rottovich exit. MILES (shaking his head) Cops... CUT TO: EXT. BACK ALLEY- NIGHT (PRESENT) Butch shaking his head, still holding the gun. BUTCH Grifters... JAKE We can't all be model citizens such as yourself. BUTCH It's all about the money, isn't it? JAKE Isn't it always? CUT TO: INT.- FOUR SEASONS HOTEL- NIGHT A suite in the upscale hotel. Miles answers a KNOCK on the door-- An expensive CALL GIRL stands at the door in an overcoat. JAKE (V.O.) It's what makes us run. And despite what they say, it can buy you love. CALL GIRL Are you ready for me, Ralph? She lets the overcoat fall open, revealing her lack of clothing. CUT TO: INT.- PRADA STORE- NIGHT Gordo stands in front of a mirror trying on a new suit. The sales people fawn over him. (CONTINUED) 10. CONTINUED: JAKE (V.O.) It can buy you a new and better you. GORDO I just don't know if this says, "me". What's the fabric? CUT TO: INT.- BIG AL'S APARTMENT- NIGHT Big Al has a cordless phone to his ear... JAKE (V.O.) It can erase all those things about you that you wish didn't exist. BIG AL It's Alfonse. I want to settle up. I haven't been ducking you. I told you I'd get it. Big Al picks up a CHINESE TAKE-OUT MENU and leafs through it while on the phone. CUT TO: EXT.- SOHO STREET- NIGHT Jake walks down the crowded street, passing the bars and restaurants of SoHo. His jacket's buttoned up to hide the blood stains. JAKE (V.O.) It can make you think you're on top of the world. Jake passes a group of well-dressed, well manicured people waiting in line outside of a trendy bar called "Wax." Among the hip and well dressed, he seems out of place at the moment. An outsider. An attractive blonde in her late twenties, LILY, bumps into Jake. LILY (innocently) Oops. She throws Jake a smile he can't but help return. They stand for a second facing each other before she's whisked away by an OLDER MAN, dressed in an expensive suit. (CONTINUED) 11. CONTINUED: Jake's smile fades as he watches her saunter into the bar, but not before she throws him another glance over her shoulder. Jake continues on into... CUT TO: INT.- NEIGHBORHOOD BAR- CONTINUOUS A semi-crowded bar. Not hip and trendy like "Wax." Jake finds an empty stool at the end of the bar and orders a drink. He takes a second to look around at the cliques of people talking, laughing, having a good time before he pulls a newspaper out his coat pocket. Jake takes a pen from the bar and opens to the crossword section. JAKE (V.O.) And if you believe that money can do all that for you, you're the perfect mark. Jack Kerouac said that if you own a rug, you own too much. I don't necessarily like Kerouac and driving cross country isn't exactly my idea of a good time, but the guy's got a point... Jake sits alone with his crossword puzzle. CUT TO: INT.- JAKE'S APARTMENT- LATER Jake enters a sparsely furnished loft. The skyline of Brooklyn twinkles through dirty, picturesque windows. Jake drops his keys on a table and hits a button on an answering machine. ANSWERING MACHINE You have no new messages. JAKE (V.O.) If you've got nothing, you've got nothing to lose. And when it comes to money, finding it and losing it, you always gotta remember how much of it's just luck... Jake stands his sparse little world, addressing the quiet before he fishes for his wallet, which he can't find. LILY (V. O. ) Oops. (CONTINUED) 12. CONTINUED: The realization makes Jake smile. Then a FLAPPING SOUND spins him around to see a PIGEON, flapping up against the inside of a partially opened window. Visibly upset by the bird, Jake moves towards the window and pushes it wide, allowing the bird to escape. JAKE Dumb fucking luck. Jake stares out the window after the bird. CUT T0: INT.- DOLBY'S APARTMENT- NIGHT A nicer apartment than Jake's. Lionel Dolby, the Mark from the Euclid rushes around, haphazardly throwing things into a suitcase. There's a KNOCK on the door that stops Lionel dead in his tracks. Another KNOCK. Lionel still frozen. The door flies open with a BOOM. In the doorway, we see HARLIN, an older mountain of a man dressed in a plain black suit. Behind him is LUPUS (late-20's), dressed in a sweatsuit a pilot could spot from 20,000ft. LUPUS Mr. Dolby. King would like a word with you. LIONEL R-r-right now? LUPUS Please. We have a car waiting. I apologize for the door. CUT T0: INT . - JAKE'S APARTMENT- MORNING A RINGING PHONE... Jake stirs on the futon oddly placed on the floor in the middle of the room and picks up the phone. JAKE Yeah. MILES (O.S.) You better get over to Al's. Now. (CONTINUED) 13. CONTINUED: Miles hangs up before Jake can answer. CUT TO: INT.- BIG AL'S- DAY Jake stand's with Miles in the sparse living room. Big AI's body sits reclining on a Lazy Boy chair, eyes bulging open. An open carton of food rests in his lap. A feast of take-out Chinese surrounds him. The TV blares an old episode of "The Little Rascals." There's a singed, neat bullet hole in his forehead. MILES I was supposed to meet him for breakfast. He likes that new IHOP they just opened, you know... He likes to order that thing. The Rutti-Tutti-Fresh and Fruity thing they got. JAKE Miles... MILES Sorry. I'm just... Look what they did to him. Right in the middle of his egg- foo-young. Big Al stares up at them with those bulging, vacant eyes, his mouth hanging open. Jake reaches down and grabs the remote control and turns the TV off. JAKE (V.O.) Big Al used to send money to his Father, some Vietnam Vet slowly losing his mind in a VA hospital in Cleveland. Al was like that. That's why Al never played the Inside. CUT TO: INT.- DINER- DAY Gordo enters and takes a seat in the back booth with Jake and Miles. GORDO Seems Lionel Dolby came down with a sudden case of drowning last night. They just pulled him out of the East River. JAKE Well, this is just fucking great... (CONTINUED) 14. CONTINUED: GORDO It gets worse. Now I know why he was such a good rope. X mean, cash.... That much and we never had to put him on the "Send?" Turns out this ducking Moe was an accountant for the King Pin. Gordo throws Jake a hard look, letting the news sink in. Jake can only slump back into the booth. MILES Who's that? GORDO The cash we fleeced off of him was collection money. He was supposed to take that money and give it to the King earlier yesterday like he does every Thursday. `Cept this time, he figured he could make a little something for himself off us and still get the King's money back before any body says "boo." MILES What's a King Pin? Gordo looks to Jake, but can see that he's still processing the information. GORDO Currently, the King Pin is a very large- type pole stuck up our asses. MTLES Mob? GORDO Independant. Same shit, just independant. They call him the King Pin because he looks like that guy from the comic book... Big. Fat. Bald. MILES So what? We hide, right? GORDO (shaking his head) What are you? New? Let me tell you how good this guy is. Last night, Al calls this bookie to settle up. Apparently he's been ducking him for like a month. So the guy asks him where he's got all this money all of a sudden, right? What does Al do? (CONTINUED) 15. CONTINUED: GORDO (cont'd) Does he tell him that he cashed in a fucking Bar Mitzvah bond? Does he tell him he's been giving head out back for twenty bucks a pop? No... He starts going on about this job he just pulled and how he fleeced some Wall Street asshole -type... How HE fleeced. MILES You're pissed we didn't get credit? GORDO No, that was the only semi-fucking smart thing he said! Except anybody that's ever met Big A1 knows that the only thing he's comfortable doing alone is eating. This guys tells this guy, that guy tells some other guy, eventually it works it's way back to someone who works for the King and-- INSERT SHOT INT- BIG AL'S APARTMENT- NIGHT Big Al sits on the Lazy Boy, about to take a big bite of egg foo young. He stops as the front door is kicked open with a CRASH. GORDO (V.O.) Shazaam. Big Al's eyes grow huge as we hear a LOUD BALM!!! BACK TO THE DINER GORDO (coat' d) Big Al gets whacked mid-egg foo young. The whole thing took about two and a half hours. That's how good he is. MILES We sure Big Al threw him to us? GORDO Come on... All three of them turn their attention out the window. They watch the bustle of people walking past wondering if any one of them is looking back. JAKE A bird flew into my house last night. Gordo and Miles exchange a look, unsure of how to respond. (CONTINUED) 16. CONTINUED: JAKE (cont'd) It's bad luck. MILES Just an idea, but let's just fucking split. We'll meet up anywhere. Akron or Austin or Atlanta. Anywhere... JAKE He'll find us. We go talk to him. GORDO Whoa. What? MILES We're going to give him the money back? JAKE You know what we're doing with the money. GORDO And what about Big Al? JAKE Leave him. Someone's going to find him eventually. Then they'll start looking for us, too. A WAITRESS approaches. WAITRESS What can I get you guys? MILES Coffee. And a valium. Jake turns his attention out the window. CUT TO: EXT. - THE EUCLID-- DAY A basement bar in a crummy neighborhood. There's no sign, but everything about it says, "Condemned." JAKE (V.O.) The Euclid was our place. CUT TO: 17. INT.- THE EUCLID- DAY Jake, Miles and Gordo sit at the bar of the run down watering hole. Jake stands placing neat stacks of money into a Fed-Ex box. JAKE (V.O.) Gordo fleeced the deed off some idiot in a card game. We used it every now and then for a rag, but mostly it was our office. Our Power Point. Gordo and Miles start unloading the same neat stacks of money from their pockets. It's not as much as Jake put in. JAKE That's it? MILES/GORDO Bills.../Had that thing... Shaking his head, Jake seals the Fed--Ex box, then hands the form to Miles and. Picks up the phone. MILES (cont'd) Do we want insurance? (off their looks) I'm just asking... JAKE Just mail it to the hospital. (dialing) Mr. King, please. It's regarding an accounting problem. Yes... Correct... I know where it is. That will be fine. Thank you. Jake hangs up the phone. GORDO When? JAKE Tonight. Just me. MILES Fuck that. We're going too. GORDO Alright, let's all put our dicks back in our pants for a second. Is this the best thing to do? Jake levels a stare at Gordo for a second. (CONTINUED) 18. CONTINUED: JAKE Meet me at my place later. MILES How do you know the King's going to let you walk? JAKE I'm getting a ride. Jake picks up the phone and dials another number. CUT TO: EXT.- THE BULLDOG GYM- NIGHT A neon sign in the shape of a boxing glove tells you what kind of gym it is. A police car comes to a stop in front. Rottovich and Sobozinski in the front seats. Jake gets out of the back. SOBOZINSKI The King, huh? Nice going. JAKE I try. ROTTOVICH Don't dick around too long. And if he stabs you or shoots you or causes any other form of profuse bleeding, call a cab because you are not getting back in this car! Jake nods and approaches the door where Harlin and Lupus stand vigil. Lupus wears another loud sweatsuit. HARLIN We appreciate your punctuality. Mr. King is expecting you. Jake takes a step towards the door, but is pushed up against The wall by Lupus who begins to roughly pat Jake down. HARLIN Lupus! LUPUS What? You said pat him down, I'm pattin' him down. Harlin shakes his head and pushes Lupus out of the way. (CONTINUED) 19. CONTINUED: HARLIN It only takes a moment to be polite. My apologies, Mr. Vig. If you wouldn't mind? Jake steps back and raises his arms. JAKE You the one that did it? You the one that got Al? HARLIN Mr. King prefers to farm out for that kind of work. (gesturing to the door) Please, after you. Harlin gives the Officers Sobozinski and Rottovich a slight nod of acknowledgment. CUT TO: INT.- BULLDOG GYM- CONTINUOUS Harlin and Lupus lead Jake through the cavernous gym. All around them, huge, sweaty, boxers work the speed bag, jump rope, spar, etc... There's not one that doesn't look like he's spent some time in the State Penal Boxing League. JAKE (a little nervous) Uh... Which one's the King Pin? HARLIN He's in the back taking a steam. Jake nods and let's out a silent sigh of relief. CUT TO: INT.- STEAM BATH- CONTINUOUS A huge room filled with steam. Harlin and Lupus stand by the door as Jake cautiously steps in. NEW AGE MUSIC is being played-- Could be Yanni. Sitting in a lounge chair, wearing a white terry cloth robe is THE KING PIN. His large body is less fat than just big, constructed of circles and topped off with the baldest head you've ever seen. A MANICURIST sits next to the King Pin working on his nails. (CONTINUED) 20. CONTINUED: KING PIN Ow! Watch the pinkie! This isn't so bad. Jake almost has to stifle a laugh. KING PIN (cont'd) Every time, you get the pinkie and I get a hang nail. ( to Jake) You Jake? Jake nods and the King motions for the manicurist to leave. KING PIN Grifter huh? Where have you been on the grift? Couldn't been here long 'cause I would have heard of you, Skippy. JAKE Jake. You can call me Jake. Here and there. KING PIN Here and there, Scooter? Here and there like Boston, Chicago, Houston? The bay area? Some action in London, `til it turned nickel and dime. Or how about that little stint down in Miami? Heard you actually got into some trouble with the Feds down there. You guy's pretty good? JAKE I have a good crew. KING PIN Minus one. Jake visibly bristles... JAKE Minus one. KING PIN You know, back in the day, grafting was considered a gentleman's racket. Good suits, good food... The Underworld of the Underworld. A grifter had to survive on his wits, his instincts... I like that. I like the idea of that. These days, things being what they are, guys like me gotta stay low. (MORE) (CONTINUED) 21. CONTINUED: KING PIN (cont' d) It's all take, take, take . You can' t just be fucking witty about it. JAKE I guess it lacks a certain style. KING PIN Of course, your line of work's only as good as the people you find. JAKE You can't cheat an honest man. KING PIN You can't cheat an honest man. But a man like Lionel Dolby... JAKE I apologize for the inconvenience. The King picks up a long, metal nail file. KING PIN Honest mistake. Just give me the money back and all will be forgiven. JAKE I can't do that. KING PIN Why not? JAKE Let me rephrase-- I won`t do that. KING PIN Let me repeat-- Why not? JAKE Because you killed one of my crew. KING PIN Buddy, that was business. Besides, you have more crew. Then there's you... JAKE I'll get the money back, plus interest. I go on the grift for you. You get a cat, I get a cut. And we get square. KING PIN (laughing) Fucking grifters! I love it! You got balls, I'll give you that much. (CONTINUED) 22. CONTINUED: JAKE No. Just confidence. The King Pin stands up and moves over to Jake. KING PIN I' ll be honest with you, Kid. A grifter comes in here with a fifteen hundred dollar D-K-fucking-N-Y suit, cooler than an Eskimo in winter and tells me he wants to grift for me? First thing I have to ask myself is, is he playing for me or is he just plain playing me? You tried it once. JAKE We got caught. So you know it won't happen again. With surprising speed, the King Pin grabs Jake by the neck. KING PIN I know it won't happen because you're going to feel like a Prom Queen who just got gang fucked by the wrestling team! A few pained CHOKES from Jake as his knees buckle. HARLIN Mr. Vig arrived with an escort. NYPD. The King loosens his grip and let's Jake fall. KING PIN Grifters... Always working an angle. Alright. I can see you got some vision. But I give you the Mark. I tell you the who and you give me the how. Lupus go with him. Lupus snaps to attention. LUPUS What? KING PIN Consider him part of your crew. Consider him a part of me. Jake begins to speak, but is silenced with a look. KING PIN He goes. Now let me see your hands. (CONTINUED) 23. CONTINUED: The King picks up the nail file again. JAKE Why? KING PIN You ask a lot of questions. Come on. (motioning with nail file) Let me see `em. Jake turns to find Lupus and Harlin on either side of him. They take him by the wrists and hold his hands up for the King. KING PIN (cont' d) I don't like to ask things more than once, Junior. I want you to know how much that irks me. The King begins to gently trace between Jake's fingers with the nail file. Jake remains rigid against Lupus and Harlin as the nail file scrapes along the soft, fleshy webbing between his fingers. Jake shuts his eyes... Then opens them to find the King now gently stroking his hands-- Almost a loving caress. KING PIN You have incredibly soft hands. Good cuticles . They' re like a baby's hands. Grifters with rough hands... You know that they're probably not that good. Means they've had to do some hard labor to make ends meet. But you... Smooth... Supple. The King continues to stroke Jake's hands with his own meaty paws. BUTCH (V.O.) Are you insinuating that the King Pin is of an alternative lifestyle? CUT TO: EXT. BACK ALLEY- NIGHT (PRESENT) Jake shakes his head slowly. JAKE I'm not saying anything. Besides, you're one to talk. You're the one who's got me on my knees in a dark alley. (CONTINUED) 24. CONTINUED: BUTCH And these cops? What do they get? CUT TO: INT. - SQUAD CAR- NIGHT Rottovich and Sobozinski sit staked out in front of a small cigar/magazine store. JAKE (V.O.) Just a tip. SOBOZINSKI What are we gonna do with this stuff anyway? Heroin? What the hell do you do with heroin? ROTTOVICH You sell it. SOBOZINSKI To who? ROTTOVICH Don't be an idiot. How hard do you think it is to sell one drug dealer's drugs to another drug dealer? If Vig's right, we might be looking at a hundred, maybe a hundred fifty grand... SOBOZINSKI You think this is a good idea? We never did this kinda shit before. ROTTOVICH What's he going to do? File a missing drugs report? If it works out, this guy might be good for a few more turns. A hooded figure turns a corner onto the street, heading for the Cigar Shop. He wears a knapsack slung over his shoulders. SOBOZINSKI Hope so. Those fucking orthodontist bills are killing me. One fifty every time they tighten those bitches up. One fifty! It's not even covered. ROTTOVICH It's cosmetic. They don't cover cosmetic. (CONTINUED) 25. CONTINUED: ROTTOVICH (cont' d) Last year I had a tooth capped. The dentist tells me I'm not covered for caps. It's cosmetic. CUT TO: INT.- ANOTHER CAR- SAME Parked across the street and well hidden among the other parked cars... SPECIAL AGENT GUNTHER MOONAN, a guy in his early 40's in the kind of suit you'd find on a "2--for-1" rack. He sits pointing a TELESCOPE MICROPHONE out the window, wearing headphones. He chews on gum loudly. ROTTOVICH (O.S. from headphones) Bullshit it's cosmetic! My fucking tooth was cracked in half. I made the son of a bitch write it in as a cavity. The department's dental is for shit. SOBOZINSKI (O.S. from headphones) Whoa, whoa... There he is. We HEAR the SOUNDS OF CAR DOORS OPENING, then SLAMMING SHUT. Moonan puts down the mic and hits "STOP" on a microcassette recorder. MOONAN Confessions of a poor brusher. Moonan takes a second to remove his gum, then checks his teeth in the rearview mirror. CUT TO: EXT.- STREET/BROOKLYN- SAME Rottovich and Sobozinski walk quickly down the street. Ahead of them, the hooded figure approaches, his hands buried in his pockets, a knapsack slung over his shoulder. As he gets closer, we see that he's just a KID of about ten or eleven. Rottovich reaches over and pulls off the Kid's hood. SOBOZINSKI You know who we are? KID The heat. (CONTINUED) 26. CONTINUED: Rottovich can't help smiling. ROTTOVICH That's right. We're the heat. (yelling) STICK `EM UP! The Kid jumps back startled and throws his hands up. The cops share a laugh. ROTTOVICH Alright. Put your hands dawn. What do you got in the bag? KID Something for my Pops. ROTTOVICH I see. Well, your Pops has been making you carry around drugs for him. We're going to have to take them. The Kid hesitates for a second before handing the knapsack over. Rottovich opens it and pulls out TWO BRICKS OF HEROIN, wrapped in plastic. He nods to Sobozinski. The Kid stays rooted right where he is, looking up at the Detectives like a lost puppy. KID My Pops is going to be mad. ROTTOVICH Give the kid a twenty. Sobozinski fishes in his pocket starts to peel off bills for the kid who then sprints away. SOBOZINSKI What's the world coming to? Everybody's on the friggin' take... Rottovich and Sobozinski head off with the knapsack. CUT TO: EXT. - BACK-NIGHT (PRESENT) Butch and Jake... BUTCH Keeping the Fix happy. (CONTINUED) 27. CONTINUED: JAKE You never know when you can use a crooked cop. BUTCH Keep going. I want to know how you got Lionel Dolby. JAKE So you want to know how to play the Big Con. BUTCH In this case, you might say I want to know how not to play the Big Con. Butch shoves the gun a little harder into Jake's head. CUT TO: INT.- BAR- NIGHT A trendy bar, dimly lit and packed. We PAN along the hip crowd and STOP on Jake speaking with a SLICK GUY dressed in black Armani. JAKE (V.O.) First thing about being on the grift.... You're only as good as your Mark. The Roper's the guy who finds them. Jake buys another round to the indifferent Slick. JAKE (V.O.) They all have money one way or another. Some of them come from money. THE SCENE DOESN'T CHANGE--- Slick MORPHS into a FAT TEXAS BUSINESS MAN wearing a ten-gallon hat. He doesn't smile. JAKE (V.O.) There's that saying-- Show me an honest man and I'll show you a natural born liar. There's always that little bit of bad no matter how much good. It's that little itch on the back of you neck. You may not even know it's there, but it is. The Fat Texan MORPHS into a WALL STREET-type suit, who remains stoic as Jake reaches over for another round of drinks. (CONTINUED) 28. CONTINUED: JAKE (V.O.) A good Roper knows how to scratch it-- You the outdoorsy-type? "I was just fly fishing out in Montana". You play the market? "I just got a tip on a tech start-up IPO." You saw "the 'Riverdance" twice? "I had a roommate in college who was gay." Whatever... Wall Street MORPHS into a THIN EURO-TRASH man who takes a drink from Jake without even a "thanks." JAKE (V.O.) It means that in fifteen minutes we're on good terms. Thirty, I'm your buddy. Euro-Trash MORPHS into an distinguished looking OLDER MAN as he takes a sip. JAKE (V.O.) In an hour, I'm your best friend. Jake punctuates some unheard point with a slap on his knee. JAKE (V.O.) Give me a day and you'll let me do your wife and daughter at the same time. It's too late for you... Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, the nervous mark from the earlier con. JAKE (V.O.) I have your confidence. CLOSE-UP: Dolby's lips loosen in a wide SMILE. Jake smiles back. He puts his drink down, then takes the drink from Dolby. They remain talking as THE BACKGROUND-- MORPHS INTO: EXT. - SIDEWALK-NIGHT Under the light of a streetlamp, the two continue to talk. JAKE (V.O.) I tell you the "Tale"-- It's the story of how we're going to make easy money. No one gets hurt. And here's the guy who's going to help. That's when you meet the Insideman. (CONTINUED) 29. CONTINUED: Gordo approaches, dressed in a suit and looking slightly anxious. Introductions are made. JAKE (V.O.) The Insideman's the one with the know- How, the scoop, the angle. But maybe 'you' re the suspicious type . So I give you the "Convincer." We both put up a little and we get a little back. Just a taste. Gordo pulls an envelope out of his coat and gives it to Dolby. JAKE (V.O.) Just enough that when I tell you we can make more off of it, you agree. Jake speaks quickly to Dolby who nods emphatically. He hands the envelope back to Gordo. JAKE (V.O. ) That`s when I put you on the "Send." You put in -a little, you got a little. Put in a lot... I "send" you out for mare. As much as you can get. CUT TO: INT. - JAKE'S APARTMENT- NIGHT Jake stands TALKING DIRECTLY TO CAMERA, loading a big, black revolver with bullets. JAKE Doesn't matter what the con is. Insider trading, a line we got on a bookie club, insurance scam, whatever... You saw the money and you want it. More of it. Who cares if you have to bend the rules a little? As long as no one gets hurt. Jake spins the gun cylinder then SLAPS it closed, pointing it straight at the CAMERA. JAKE (cont'd) Then someone does... BLAM!!! CUT TO: 30. INT. - THE EUGLID BAR- NIGHT A flash of Gordo's stunned face before his chest EXPLODES IN RED. Jake stands holding the smoking gun. Dolby looks around in shock. JAKE (turns 'to face CAMERA) Frankie Suits always said, that what you have to understand about any confidence game, is that it's like putting on a play where everyone knows their part... The Roper, the Insideman, the Shills... Everyone except for the Mark. Gordo lying in a pool of blood... GORDO (while playing dead) I've been shot. Oh. The humanity. Big Al sits cowering at a table... BIG AL (monotone) God. No. Please. Don't kill me. Miles casually washing glasses... MILES (indifferent) You better hurry. The police will be here any second. (breaking character) I don't really understand my motivation with this. Why am I washing glasses? JAKE (still facing camera) Now you're an accomplice in a homicide. Everything you thought you were in control of just flew out the window or is dripping down your leg. Dolby turns to Jake, eyes wide, lips trembling in fear. JAKE (turning to Dolby) You should be running out the door, desperate to forget this ever happened, ready to repent your greedy ways! (CONTINUED) 31. CONTINUED: Dolby eyes the briefcases of money. DOLBY What about... The money? JAKE (turns back to CAMERA) Then there it is again... That little itch. There's a guy holding a smoking gun, a guy bleeding all over the floor and still, all you can think about is the money. You twisted fuck. So we gotta give you the "Blow-off". We make sure that you never, ever want to look for us again. We get you off our backs. Forever. Jake stops for a second and listens... He points over his shoulder and on cue A POLICE SIREN WAILS in the distance. JAKE And that's why you need the "Fix"... Dolby bolts for the door without the money. CUT TO: EXT.- SIDEWALK- CONTINUOUS Dolby tries to act casual as he walks away. CUT TO: INT. - THE EUCLID BAR- CONTINUOUS Rottovich and Sabozinski enter the front door. JAKE (V.O.) The New York Police Department's finest. Half as smart and twice as crooked as the guy they just chased away. CUT TO: EXT - BACK ALLEY- NIGHT (PRESENT) Butch eases the gun off Jake's head. BUTCH So how'd you get caught? (CONTINUED) 32. CONTINUED: JAKE Suits used to say that in any con, sooner or later someone's going to start asking the right questions. Usually, it takes a little longer. CUT TO: INT.- JAKE'S APARPMENT--NIGHT Empty except for Gordo, Miles, Jake and Lupus, dressed in another of his trademark loud sweatsuits. JAKE We're working for the King. MILES (re: Lupus) Wait a second... Who's the mope? LUPUS I'm the King's eyes and ears. Just in case you decide to get cute. MILES So we gotta short con our way out of a hundred and fifty grand? That could only take like, a year. JAKE No. Big con. One rag. One rag and we get out from under all this. But we need another Shill. MILES What do we need another Shill for? JAKE Breasts. CUT TO: INT . - WAX--NIGHT A crowded night... LILY, the attractive blonde from earlier, flirts with a well dressed, OLDER MAN who has his hand firmly planted on her ass. She squeezes his hand and gives him a quick peck on the cheek before walking away. She takes a look at the man's wallet she just lifted before putting it in her bag. From out of nowhere, Jake bumps into her. (CONTINUED) 33. CONTINUED: JAKE (not so innocently) Oops. Jake takes her by the arm out to... CUT TO: EXT.- ALLEY/OUTSIDE BAR- NIGHT Jake pushes Lily through the back door where she finds Gordo, Miles and Lupus waiting. Her once flirtatious demeanor is replaced by something harder. LILY What is this? You guys cops or something? JAKE We're not cops. GORDO You gotta be kidding me. Her? JAKE Yes, her. Where's my wallet? LILY Your what? Jake takes her bag and dumps the contents on the floor-- A few wallets, a watch, even a wedding ring. Jake picks up one of the wallets filled with cash. LILY (cont'd) That's not-- JAKE (pocketing the wallet) You interested in a little work? Lily scoops up her bag and finds a cigarette, eyeing them all suspiciously. LILY Sorry about your wallet, but if you think I'm going to suck dick over thirty seven dollars, a waxed out Visa and a bad fake I.D., you're fucking crazy. (lighting the cigarette) Jake. 34. JAKE Take a deep breath and count to ten. It's not that kind of work. You're Lily, right? LILY Says who? JAKE You're working Daffy's block. He was going to break your kneecaps. Pick- pockets can be so bitchy sometimes. I told him you were with us, so that's two you owe me. Lily takes a second to look the guys over. Miles gives her a wink. Lily slowly raises her middle finger at him. JAKE We have work. It pays a lot. Unless you figure on getting rich lifting wallets while old guys feel you up. LILY Oooh. Sassy. What do you care who feels me up, Jake? Unless it kinda gotcha going. Did it, Jake? Getcha going? Lily saunters to Jake with a seductive grin. Jake may be aware that he's stopped breathing. She puts her hands on Jake's chest and leans in a half inch more, her lips an eyelash away from his. She whispers... LILY (cont' d) Keep the wallet. We're even. Take a deep breath... Count to ten... And go fuck yourself. Lily pushes past Jake and heads out of the alley. MILES Is it just me or is there something really hot about a girl telling you to go fuck yourself? Gordo gives Jake a nod of approval and Jake takes off after Lily. CUT TO: 35. EXT.- CITY SIDEWALK- NIGHT Lily down the street, Jake giving chase. JAKE Alright! Hold up. You win. You got the job. LILY Gee thanks. Now I don't have to find that bridge to jump off. Jake catches up and blocks Lily's way. JAKE We had to see what your deal was. I'm just a little superstitious. LILY Here's my deal-- Don't waste my time. What do you want me for anyway? You don't even know me. JAKE I just have a good feeling about you. Haven't you ever had someone say they had a good feeling about you before? Lily studies Jake's face for any hint of sarcasm. None. LILY No. (beat) What's my cut? JAKE You get an equal cut. LILY What do I have to do? JAKE Just play a part. A little acting. Lily steps back and hails a cab. LILY Make a wish. She points to a large digital clock hanging in a store window reading "11:11p". LILY Eleven-eleven. If you're superstitious, make a wish. (CONTINUED) 36. CONTINUED: Lily hops into the Cab and tosses Jake's new wallet onto the sidewalk. LILY (cont'd) That's twice. The cab pulls away. Jake looks up at the clock-- "11:12P". CUT TO: EXT. - BACK ALLEY- NIGHT (PRESENT) Butch smiles... BUTCH I can see why you liked her. JAKE That was it. We had our crew. Now we needed the Mark. CUT TO: INT.- THE EUCLID- DAY Jake stands in front of the crew: Miles, Gordo, Lily and Lupus. JAKE Morgan Gillette. Gordo and Miles both do their best to contain their disbelief. MILES Why? JAKE Because that's who the King Fin wants us to fleece. And Gillette's perfect... CUT TO: INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY A circle of BUSINESS MEN sitting at a conference table. JAKE (V.O.) His grandfather used to run liquor during prohibition and his father made a bundle in illegal importing and exporting. That makes him a third generation crook. (CONTINUED) 37. CONTINUED: JAKE (cont' d) He's been tied into pretty much everything; drugs, mob, money rinsing... We PAN AROUND THE TABLE OF BUSINESS MEN and settle on MORGAN GILLETTE, a man in his early fifties with the sharp, angular features of a reptile. We STAY with Morgan as the meeting breaks and everyone heads for the door and into... CUT TO: INT. - CITY BANK OF MANHATTAN/HALLWAY-DAY Gillette is greeted by a handful of SUITS. Butch is with them, staying in the periphery. JAKE (V.O.) There's a story going around that he helped fund the Contras back in the eighties. Gillette and his crew head through a large glass revolving door to... CUT TO: EXT.- CITY BANK OF MANHATTAN- DAY A busy mid-day New York sidewalk. Gillette heads towards a waiting Town Car. JAKE Most of his money's clean. A lot of it isn't. The best part is that we know exactly where it is. As Gillette and his crew disappear into the car, we PAN up to see the front of the building which has a large sign reading, "City Bank of Manhattan; A Gillette Family Company." CUT TO: INT.- THE EUCLID-- RESUMING Jake looks over the crew, who are less than convinced. GORDO How much we going after? JAKE Two million. Miles lets out a whistle. (CONTINUED) 38. CONTINUED: GORDO We only owe the King a hundred and fifty. JAKE We get fifty percent. And we get clear of the King. Jake looks over at Lupus for confirmation. LUPUS That's worth it right there. You ask me, I don't think you can do it. MILES I'm with Jack LaLane. That guy's untouchable. JAKE That's why we don't go after him directly. CUT TO: INT.- CITY BANK OF MANHATTAN/LOBBY Empty. The marble floor spotless, the dark oak teller windows vacant, a row of desks. JAKE (V.O.) We find a doable guy in Gillette's bank... Someone about mid-level. Not too high, not too low. A lone man, GRANT ASHBY, MATERIALIZES behind a desk on the empty floor and sits behind a computer terminal. JAKE (V.O.) We meet him with corporate papers, inquiring about a corporate loan for start up capital. The corporate papers are in order, but we need things to happen fast. Our guy fudges numbers in the right places, moves our papers to the top of the pile or to the bottom, depending upon what we need. GORDO (V.O.) How's that? He works for Gillette. JAKE (V.O.) We pay better. (CONTINUED) 39. CONTINUED: An envelope stuffed with cash MATERIALIZES on the desk next to Ashby. CUT TO: EXT . -- CAYMEN ISLANDS--DAY Crystal clear water gently rolls onto a white beach. JAKE (V.O.) Our guy gets us approved for the start up capital. But, the money can't be transferred to any one person. On the given day, the money's wired into a corporate account in an off-shore bank. CUT TO: INT.- GRAND CAYMEN'S BANK- DAY Another empty bank... A lone TELLER MATERIALIZES behind the counter. JAKE (V.O.) That same day, I show up in the Caymens with the proper I.D. and corporate papers to make a withdrawal. Jake MATERIALIZES on the empty bank floor, walking confidently up to the Teller with a SILVER BRIEFCASE in hand. MILE5 (V.O.) Uh... JAKE (V.O.) What? MILE5 (V.O.) I'm just thinking out loud here, but... Two million in a briefcase? JAKE (V.O.) Good point. Jake approaches the Teller, now wheeling a BLACK SUITCASE behind him by the handle. Jake presents the Teller with a series of papers and a photo I.D. JAKE (V.O.) It's bank policy not to release this money in cash because it's under a corporate account. (CONTINUED) 40. CONTINUED: The Teller turns to a computer printer and removes a check. Jake signs a few documents and places the check into his pocket. CUT TO: EXT.- CAYMEN ISLANDS/STREET--DAY Lined with shops and stores, but it's as empty as the bank. Not even a car: Jake strides out of the Grand Caymen's Bank and walks across the street to another building with a sign reading "BANK OF THE GRAND CAYMENS." CUT TO: INT.- BANK OF THE GRAND CAYMENS- DAY Again, empty... Jake strides in and approaches the deserted teller counter. ANOTHER TELLER MATERIALIZES and greets him with a smile. JAKE (V.O.) So we cash the check at another bank. Jake slides the suitcase and the check over to the Teller. CUT TO: INT.- JFK AIRPORT/TERMINAL HALLWAY- DAY Like the banks, empty. Jake walks with the suitcase down the flourescent lit hall towards a series of tables under a sign marked "Customs." JAKE (V.O.) Now, this is the most important part-- You can't just walk into the United States with a suitcase full of cash without evoking the words "cavity search". As we get closer to the Custom's Desk, a CUSTOMS OFFICER wearing a white short sleeve shirt and a badge MATERIALIZES behind it. JAKE (V.O.) That's why you need someone on the inside at Customs. Jake approaches and slides the suitcase towards him. The Officer slides it back to Jake, revealing another envelope stuffed with cash under it. (CONTINUED) 41. CONTINUED: The Officer literally looks the other way as he pockets the envelope and waves Jake through the gate. CUT TO: EXT.- JFK AIRPORT- DAY Jake exits the terminal. Outside, the street is empty, not a traveler, an airlines rep, a luggage handler or a cab. Jake waits at an empty cross walk until the "walk" signal is given. JAKE (V.O.) Then we disappear. As he walks away, WE SEE some PEOPLE MATERIALIZE carrying luggage... Then a FEW CARS... Then an AIRLINE REP... Gradually more and more people and cars, each MATERIALIZING into a normal scene at the airport until we lose Jake in the crowd. CUT TO: INT.- THE EUCLID- RESUMING Jake stops and gauges the crew for their reactions, which are the same all the way around-- Slack jawed disbelief. MILES (breaking the silence) This might just be me, but that is hands down, the dumbest fucking idea I've ever heard. GORDO People have tried this before, Jake. It's never worked. Teddy Fraiser and his crew went on vacation in Chicago for it. Last year, Mumps got pinched in L.A. JAKE It never worked before because A, they didn't flush the bank enough; B, their corporate papers were for shit; C, they didn't have someone on the inside with Customs. MILES Yeah, or D, it's a dumb fucking idea... JAKE Then what do you want to do, Miles? Run? (CONTINUED) 42. CONTINUED: MILES We never had a problem with that before. JAKE Yeah, well we never had this kind of problem before. MILES What are you talking about? Yes we have. And we would have been beautiful about it. We would've had a bucket of chicken delivered to the King with a nice kiss my ass card attached to it. Then we woulda moved on `til the next local putz caught on. JAKE We're getting a little old for running. MILES Yeah, well we're still a little young for Albany State Prison. Are you pissed about Al? I'm pissed too, but I' m not like "twenty-five to life" pissed. JAKE I'm getting clear of this. If you're not going to do it for the fucking principle, do it for the money. Gordo? GORDO Yeah... Whatever, Jake. JAKE No, not "whatever." You're either in or you' re out. A silence falls over everyone. LILY I'm in. Her eyes stay on Jake as a smile grows across her face. CUT TO: EXT.- PAY PHONE- DAY Jake dials a number... JAKE (V.O.) I agreed with Miles. It was, hands down, a dumb fucking idea. (CONTINUED) 43. CONTINUED: JAKE (V.O.) But they bought it. Now I had to deliver and I needed help. JAKE (into phone) Yeah, it's Jake. How'd that tip work out? CUT TO: EXT. BACK ALLEY- NIGHT (PRESENT) Butch takes out a cigarette. BUTCH But there were other factors. JAKE Factors that weren't clear to me until now. CUT TO: INT. - 16TH PRECINT/OFFICE- DAY An office of empty chairs and desks. Through the windows we can see the hustle and bustle of the precinct. SPECIAL AGENT GUNTHER MOONAN, still dressed in the same shitty suit, sits behind a desk as Rottovich and Sobozinski enter. MOONAN Gentlemen? Special Agent Gunther Moonan. Moonan quickly flashes a badge and his best Kodak smile. ROTTOVICH Special Agent? MOONAN You are Officer Richard Rottovich. And this would be Officer Walter Sobozinski. I'm looking for Jake Vig. SOBOZINSKI Who? MOONAN I've been looking for this Jake Vig for some time now. Problem is, the guy's the invisible man. A spook, a spectre, a ghost. Then, like a gift, Jake's good buddy and member of his crew, Alfonse Moorely, is found the other day with a hole in his head. (CONTINUED) 44. CONTINUED: Moonan holds up crime scene photos of Big Al's body. MOONAN (cont'd) Preliminary forensics suggests he was. Sitting there, bloated and purple in his egg foo young for at least seventy two hours. Alfonse was not a small man and there was a lot of food ordered, so you can imagine the smell. Bad for the neighbors, good for me because in all the time I've been looking for Jake, this is only the second time I've even gotten a whiff of him. ROTTOVICH Look Special Agent Moonan... We don't know what you're talking about. Moonan takes out a microcassette recorder and hits PLAY. ROTTOVICH (V.O. from tape) Don't be an idiot. How hard do you think it is to sell one drug dealer's drugs to another drug dealer? If Vig's right, we might be looking at a hundred, maybe a hundred fifty grand. CLICK. Moonan kills the recorder. MOONAN Oh yeah, I almost forgot. The two serious looking gentlemen outside? Internal Affairs. The Officers look out the window to see TWO SERIOUS LOOKING MEN in suits. MOONAN Do you want to know the first time I had a line on Vig? He sent me a birthday card. (off their silence) Belated, but it's the thought, right? Oh, this prick's got a sense of humor. But, then again you guys probably know him better than I do. In fact, I've only met the guy once. But now, now I have you. The next best thing. His partners. His "Fix." SOBOZINSKI What do you want? (CONTINUED) 45. CONTINUED: MOONAN You help me catch him. Whatever he's into next, I want you to be into. And what you're into, I'm into. If it all goes well, those two guys from IAD will never have to hear this tape. I'll clear you guys of anything you've ever done with Vig under the guise of some cross-departmental investigation. This prick's been on the wish list for so long, you'll probably get gold shields out of it. SOBOZINSKI What do you get out of it? MOONAN Peace of mind. SOBOZINSKI That's it? MOONAN Not everyone's on the take, Walter. ROTTOVICH If you Feds are so hot for him, why don't we just bring him in right now? MOONAN I want him for something big and to do that, we have to catch him in the act. SOBOZINSKI This guy must have been a real pain in your dick. MOONAN Literally. It's not a bad deal, gentleman. I get peace of mind. You get Detective Sheilds. But this is the best part, Walter... Walter, your daughter will get to keep her braces and have that winning smile. Capice? Rottovich and Sobozinski remain silent. MOONAN Good. One more thing... You gotta give up the booty. I can't have you guys running around with heroin. FREEZE FRAME ON MOONAN'S SMILING FACE. (CONTINUED) 46. CONTINUED: JAKE (V.O.) Let me tell you something about Moonan... CUT TO: EXT. - BACK ALLEY- NIGHT (PRESENT) A serious look comes across Jake's face-- Hate. Butch eases back with the gun for a second. JAKE He's just as crooked as the next guy. You'd think he'd have more important things to do with tax payer dollars. BUTCH Cue the fucking violins. Come on... It's getting cold. CUT TO: INT. - THE KIEV DINER- DAY Gordo, Miles, Jake and Lily next to him, all crammed into a booth. MILES Am I the only one who feels like we can't make a move with this guy on us? LILY We should ditch him. JAKE Just watch every thing you say around him. Every word, every move... It all goes back to the King Pin. Lupus exits the restroom, heading back towards the booth. GORDO How's the hoop, superstar? Clean? LUPUS What is it with you and bathrooms? MILES He doesn't like using a bathroom unless he knows it's clean. LILY Manly. (CONTINUED) 47. CONTINUED: GORDO You laugh now, but wait until you need a clean place to powder. This is New York city, Sister. Public sanitation does not run very high on the city hall agenda. You know what you can get off a toilet or doorknob? Let's do the list... Hepatitis, influenza, the flesh eating disease- JAKE Here's what's going to happen. Gordo, we need to find a guy in Gillette's bank. Miles, we need papers, corporate, insurance... MILES Is it all fugasi? JAKE No, the corporate papers have to be legit. But you gotta score an I.D. A clean one. Talk to Suits. I gotta get us a Banker. LILY What about Customs? JAKE I'll worry about Customs. LILY Hey, I' m not just along for the ride, so I don't want to hear any bullshit later about a smaller cut. JAKE Take a deep breath. You sound like you just broke up with your boyfriend or something. Jake rolls his eyes as Lily glares at him. CUT TO: INT.- BULLDOG GYM- DAY Boxers at the bags, a jumping rope, etc... Jake and Lily stand in front of the King Pin, who's dressed in shorts and a t-shirt. He wears boxing gloves and headgear. Lupus and Harlin stand vigil by the sparring ring. KING PIN How much? (CONTINUED) 48. CONTINUED: JAKE I think two million. KING PIN What do you need from me? Permission? Go! If you can fleece him for two million, then do it, Kid. JAKE I need you to stake me. KING PIN Stake you? JAKE I need you to stake me. I can't do it without it. It's just a couple hundred grand. Taken out of our cut when we're done. King Pin eyes Jake suspiciously for a second. KING PIN That's more than you already owe me. What happens if you fuck this up? JAKE Nothing ventured, nothing gained. KING PIN Hey Skippy? Do I have the word "chump" tattooed on my forehead? LILY Mr . King, I think--- JAKE (w/ a look) Hey, I got it! Take some mental notes. You just might learn something here. Lily just shrugs and rolls her eyes. KING PIN Listen, Scooter--- JAKE No, you listen. We're partners now and even though I'm running the show for you, I'm still running the show. That means I get a little respect. So I don't want to hear anymore of this Scooter, Buddy, Junior, Skippy, Tiger, bullshit. It's Jake. (beat) (CONTINUED) 49. CONTINUED: JAKE And I gotta tell you, for a guy who spends all his time in a gym, you could be in better shape. A few of the BOXERS training around stop and turn. The King Pin lowers a glare at Jake. KING PIN Take off your shirt. Jake looks behind him to see Harlin looming. JAKE Excuse me? KING PIN I said take off your fucking shirt. A few more BOXERS stop and turn. Jake notices he's being watched. The King Pin takes a step towards Jake... JAKE Fine. You want me to take it off, I'll take it off. Jake unbuttons his shirt and stands in front of the King Pin, arms crossed. It's getting weird. KING PIN Look at you, you skinny prick. JAKE You're not going to bust out baby oil and start rubbing me down or anything, are you? The King smiles and begins to take off his shirt. Harlin and Lupus share an uncomfortable glance. The King strips down to the waist and reveals an incredibly large, incredibly round stomach which he SLAPS loudly. KING PIN Come here. Feel this. JAKE No thanks. I'm good. KING PIN Come here! The King grabs Jake's hand and puts it on his stomach. It just got weirder. Now the whole gym has stopped, everyone focused on Jake and the King Pin. (CONTINUED) 50. CONTINUED: LILY You guys are freaking me out. KING PIN Shut up. Feel that? That's solid muscle. Not an ounce of fat. Go ahead. Punch it. JAKE I am not going-- The King starts to get that look again. Jake winds up and punches the King in the stomach. He shakes his fist in pain. KING PIN Come on. Harder. JAKE I think I just broke my hand. KING PIN Harder. Remember, I killed your buddy. Jake's demeanor changes as he winds up and hits the King as hard as he can. The King just smiles. KING PIN (cont'd) All muscle. The King then hits Jake back in the gut with surprising speed. Jake falls to his knees, but the King's right there. With one arm he pulls Jake up and starts to pummel him in the stomach with an unbridled visciousness. Jake spits up blood as the King hurls him face first into the ring. KING PIN Maybe it's true. Maybe you can't cheat an honest man. Me? I'm about as dishonest as they come and that's the truth. But if you even think about trying to con me they'll find fucking pieces of you in each of the five boroughs. Pieces of you, pieces of her, pieces of your whole crew. Can't be any mare honest than that. I'll stake you, but that's three hundred fifty you're in the hole and consider the juice running. Now go make me proud. Harlin and Lupus lift Jake up. Lily looks at Jake with a pained expression. (CONTINUED) 51. CONTINUED: JAKE You get all that? Everyone in the gym goes back to their workouts. CUT TO: EXT. - BACK ALLEY (PRESENT) Butch lets out an easy laugh. BUTCH Nice. JAKE We got our stake. Now we need to find our guy in Gillett's bank. CUT TO: EXT. - CITY BANK OF NEW YORK DAY A flood of people exit the bank at the end of the day. Jake, Lupus, Lily, Miles and Gordo wait by the side of the building. Miles reads off a piece of paper. JAKE (V.O.) What you're looking for in a mark is someone who's weakness you can exploit. MILES Michelle Strigo. Loan officer. Miles points out a woman crisply dressed in a suit, MICHELLE STRIGO. They follow her down the street. JAKE (V.O.) Guy like me, with people like that... I'll tell you what you're looking for without even meeting you. It's like a personal ad you wear over your head. Jake watches as she hails a cab. A MAN, also hailing a cab goes for the same one. Michelle gets into a screaming match with the man. FREEZE FRAME ON MICHELLE--- A CGI SIGN appears over her head "Single, volatile, confrontational woman seeks "man" for economic security and house chores." JAKE No. CUT TO: 52. EXT. - CITY BANK OF NEW YORK-NEXT DAY A flood of people exit the bank at the end of the day. Jake, Lupus, Lily, Miles and Gordo wait by the side of the building. MILES Jay Houlser. VP International finance. Miles points out a JAY HOUSLER, a young guy in suit. They follow him... CUT TO: INT.- TRENDY RESTAURANT- NIGHT Jake and the others watch Jay standing around the bar silently scoping the place with a group of young tucks(dressed oddly alike). FREEZE, FRAME ON GROUP-- A CGI SIGN appears over their heads: "YOUNG WALL STREETERS seek acknowledgement of monetary earning potential from Supermodel-types ages 20- 25." JAKE No. CUT TO: EXT. - CITY BANK OF NEW YORK- NEXT DAY The same flood of people exit the bank... Jake, Lupus, Lily, Miles and Gordo wait by the side of the building. MILES Alice Tanner. Finance Director. Miles points out ALICE TANNER, a mousy looking woman in a bad skirt. She gets to the intersection and waits for the light to change, even as hordes of others jaywalk the way New Yorkers do. FREEZE FRAME ON ALICE-- A CGI SIGN appears: "Single woman looking for opportunity. Plays by the rules and willing to claw her way up to middle management." JAKE No. CUT TO: 53. EXT. - CITY BANK OF NEW YORK- NEXT DAY Again the flood of people. Again Jake, Lupus, Lily, Miles and Gordo wait. MILES Grant Ashby. VP of Corporate Loans. Miles points out a GRANT ASHBY, a schlubish middle aged balding guy walking down the street. They follow. CUT TO: INT.- THE BULL AND THE BEAR PUB- NIGHT Dark oak and brass, the bar plays host to legions of Suited Urban Professionals gathered in cliques. Jake and the others watch as Ashby makes his way through the crowd, taking a seat alone at the bar. FREEZE FRAME ON ASHBY-- A CGI SIGN appears over his head: "SINGLE MALE seeks end to safety of tedious and solitary lifestyle. Moral and ethical constitution flexible." JAKE (V.O.) What you're looking for in a mark is someone who's got nothing to lose. No friends, no family, no life. You're looking for a guy who doesn't own a rug. Jake watches as Ashby orders a drink and pulls a newspaper from his coat. He opens it to the crossword-- Just like Jake would. JAKE Him. MILES You sure? Jake watches Ashby do the crossword puzzle alone. JAKE I' m sure. CUT TO: INT.- GARMENT DISTRICT/WAREHOUSE- DAY Jake, Miles, Gordo, Lily and Lupus enter a warehouse housing racks of clothes. (CONTINUED) 54. CONTINUED: JAKE Now we had the con and the mark. We needed to look the part... They're greeted by FRANKIE SUITS, an ancient rake-thin man, perfectly coiffed and exceptionally dressed. JAKE (V.O.) Frankie Suits was a legend in certain circles. He. Was on the grift since he was ten. FRANKIE Last of the red hot grifters. Suits grabs Jake with a hug. It's a heartfelt one. The others exchange greetings with Suits who moves over to Lupus and studies his loud sweatsuit. JAKE (V.O.) Back in the day, Suits made money running fight stores and the wire with a Fix so tight it was like a legit business. I never understood what the point was if grifting became like a regular job. JAKE We need wardrobe. FRANKIE (re: Lupus) So I see. In from Long Island? You fellas take a look around. GORDO Hey Suits? You got anything in like a eleven or twelve ounce Super 100 worsted? Miles gives him a look like he's speaking latin. Jake and Lily follow Suits into... CUT TO: INT.- SUITS' OFFICE- DAY A spare little office piled high with clothes. Suits reaches into a desk drawer and pulls out a large envelope and slides it to Jake. (CONTINUED) 55. CONTINUED: SUITS Corporate papers with the New York State seal, insurance documents with a proof of bonding and some fugasi financial records. There's also the I.D. you asked for. Corporate papers with the New York State seal, insurance documents with a proof of bonding and some fugasi financial records. There's also the I.D. you asked for. Jake takes out the papers and gives them the once over. He then puts an envelope thick with cash on the desk. JAKE Aces, Suits. SUITS Not easy pickin's. Papers like these speak to larger issues. Sorry about Alfonse. (off Jake's nod) You into something big? JAKE Pretty much. SUITS In over your head? JAKE Pretty much. Suits eyes Lily. SUITS Can I speak to you in confidence? JAKE Huh? Oh. She's alright. Suits gives Lily another suspicious look. SUITS Try and keep up... You ask for the Advantage Goods, then you guys come in looking to be Bean Traps. So I gotta think you're either working the mace or playing the Jug Mob. JAKE A little bit of both. Lily watches in utter confusion. SUITS Hey, I been on the ramp all my life, so I got no problem with the way you help yourself, Jake. (CONTINUED) 56. CONTINUED: SUITS (cont'd) I saw you go up from the Knecker, working that Grind, learning the Barnard's Law and I thought, "the kid's a prodigy.'" But I know that if you're using these goods... So then I figure, what's worth that? You're either looking for a little history or a retirement fund. Who's the Mark? JAKE Can't say. SUITS Then who's the Banker? JAKE The King. A dead look comes over Suits. SUITS The King? Jake, you play the heavy rackets like that... They put the lug on for nothing at all. JAKE I can handle it. SUITS I don't doubt your talent. You looking for that place in the hall of fame? JAKE It's not history. SUITS So what do you want? JAKE I want to get out from under all this for good. And I want to fuck them all doing it. SUITS Then I gotta say, in my opinion, you can't get what you want. Jake considers those words for a moment. JAKE Yes I can. Suits guages the seriousness in Jake's face and nods. The he gently rests his hands on the papers. (CONTINUED) 57. CONTINUED: SUITS Still time. JAKE Can't do it Suits. I can't lay down for this one. SUITS Okay. Here's the thing... You fall flat, you might not get anything short of stiffed. Then it's Blue River Land for everybody. Papers like these are dangerous because papers tend to multiply, then they start to take shape. Usually it's the shape of an arrow. I hate to do it, but after this, I gotta give you the blowoff. We Jake, Jake? Suits holds out his hand. Jake takes it. JAKE We're Jake. They shake, knowing it'll be the last time. CUT TO: INT.- GARMENT DISTRICT/WAREHOUSE- CONTINUOUS We follow Lily and Jake out of Suit's office. Lily can see that it's thrown Jake a bit. LILY What the hell's his problem? JAKE Don't worry about it. LILY It's just that I left my asshole decoder ring at home, so how do I know not to worry? Jake stops and turns to her, looking her up and down. JAKE You need to get a haircut. LILY What? JAKE And some new clothes. LILY Why? (CONTINUED) 58. CONTINUED: JAKE We're going to rope this banker tomorrow and you gotta at least look classy, if not be classy. You gotta do this thing and I don't even know if you can. LILY You're just going to have to trust me. JAKE I don't trust anyone. LILY Then show me how. CUT TO: INT. - TIFFANY'S - NIGHT Jake and Lily enter the store. Jake takes a quick moment to case the place-- A few scattered CUSTOMERS, some being helped by SALESPEOPLE. All the Customers look like the uppercrust crowd you'd expect at Tiffany's. JAKE (to himself) Oh yeah. This is good. This will do nicely. (to Lily) This is about confidence. Your confidence and their confidence. You get their confidence by giving them yours. Jake leaves Lily by the front counter as he starts a slow turn around the store. He casually pretends to be browsing as he moves next to MR. LEWIS, an older, distinguished looking gentleman, being helped by a SALEGIRL, who is scribbling on an order form. SALESGIRL Let me read this back. One silver Cattier watch, engraved-- "To Carolyn, the Attorney at Law. Happy Graduation, Counselor. Love Mom and Dad." MR. LEWIS Right. SALESGIRL One bracelet, engraved "To Abby. Happy 25th Anniversary, Love Tom." (CONTINUED) 59. CONTINUED: MR. LEWIS Perfect. SALESGIRL I' ll just go put this in, Mr. Lewis. The Salesgirl takes the order form and walks away. A change comes over Jake. It's subtle-- Posture, facial expressions, a slight tug of an accent-- but it's there. JAKE Mr. Lewis? Mr. Lewis turns and looks at Jake. There's no real hint of recognition, but Jake's smiling up at him like an old friend. JAKE It is you. Hello! Jake extends his hand. MR. LEWIS Sorry, I-- JAKE Jake. Jake Pearson. I go to lawschool with your daughter. Carolyn. We met once or twice. Mr. Lewis seems to search for second, then extends his hand more in an effort not to appear rude. MR. LEWIS Of course. Jake. Nice to see you. JAKE Well, it certainly is a coincidence. Here of all places! How is Mrs. Lewis? MR. LEWIS Great. Thank you. The Salesgirl returns. JAKE Excuse me? I believe you're holding something far me under Pearson. SALESGIRL Do you have a ticket? (CONTINUED) 60. CONTINUED: JAKE You know, this is kind of embarassing, but my wallet was stolen yesterday and I'm afraid the ticket was in it. But the name's Pearson. MR. LEWIS While you're back there, could you make sure that Carolyn is spelled with a "y"? The Salesgirl nods and disappears again. MR. LEWIS (cont'd) What brings you down from Boston, Jake? Taking advantage of the long weekend? JAKE My wife and I are just taking a little vacation. Behind his back, Jake discreetly waves Lily over. MR. LEWTS Carolyn's down this weekend too. Lily approaches. When she does, Jake pulls her close and gives her a loving kiss on the lips. It throws Lily for a second. LILY Uh... Everything okay? JAKE Honey, this is Mr. Lewis. Carolyn Lewis's father. Mr. Lewis, this is my wife, Lily. Lily and Mr. Lewis exchange handshakes. JAKE I'm sorry, honey. I'm almost done. Jake taps Lily on the back with the hand wrapped around her waist. LILY It's okay. I'll be looking for earrings. Jake gives Lily another kiss before she leaves. MR. LEWIS Attractive girl. (CONTINUED) 61. CONTINUED: JAKE Thank you. Actually, it's our first anniversary this weekend. She thinks I'm here to pick up something for my mother, but it's actually a gift for her. Think I've fooled her? MR. LEWIS Take it from me, you never do. But congratulations. Nice to be married, isn't it? JAKE Very much so. Jake smiles ear to ear, like the happy newlywed he's pretending to be. The Salesgirl returns. SALESGIRL We have Carolyn with a "y". I'm sorry, there's nothing under Pearson. If we had an invoice number-- Jake's smile dissolves as he grows a little anxious. JAKE I told you. My wallet was stolen. Please... Check again. Jake takes a nervous look over at Lily, who is drying on earrings with another Salesperson. MR. LEWIS Good luck. Congratulations again. He and Jake shake hands. JAKE Thank you, sir. You know, I hope this isn't too much of an inconvenience, but if Carolyn is coming down for the weekend, perhaps I could give you something for her? It's a check. We split the cost on a few books and I haven't had the chance to pay her back yet. Could you..? MR. LEWIS Sure. Jake pulls out a checkbook and pen. JAKE (writing) That'd be a great help. (CONTINUED) 62. CONTINUED: The Salesgirl returns. SALESGIRL I'm sorry. Nothing under Pearson. JAKE You're sure? This is... Just a complete disaster. SALESGIRL What was it? Jake quickley scans the jewelry in the glass case. JAKE A ring for my wife. Alot like that one. In fact, it was that one. SALESGIRL That's no problem. We have those in stock. JAKE Thank you. Sorry, I'm just a little anxious to give it to her. You take out of state checks? SALESGIRL With identification. Jake stops writing on the check and locks up. JAKE I understand that, but I had my wallet stolen last night. Is there any way..? SALESGIRL I'm sorry. Jake's anxious look comes back. JAKE I know it's policy, but... (looking over at Lily) The thing is... It's our first anniversary and we're only in town for the weekend. It's a very, very special night for my wife and I. This ring is my gift to her and I think she's going to really love it. I can give you phone numbers to call for people who'll vouch. I can send you I.D. later... (CONTINUED) 63. CONTINUED: SALESGIRL (sympathetic) I'm sorry. JAKE (clearing his throat) This is embarrassing. MR. LEWIS Jake? Jake looks up and rips the check out from his book. JAKE I'm sorry, sir. Thank you very much for doing this. And please tell Carolyn hello for me. Jake seems to be lost. Mr. Lewis looks over at Lily, who gives him a friendly smile, then back to Jake. MR. LEWIS Why don't you let me put the ring on the card and you can write me a check in return? Unseen to Mr. Lewis, one corner of Jake's lip goes up in a grin. CUT TO: EXT.- TIFFANY'S/SIDEWALK--NIGHT Jake and Lily exit the store. Jake hands Lily the trademark colored box. JAKE Happy anniversary. Lily takes the box and shakes her head, impressed. Jake Looks up to see Mr. Lewis watching them as he tries to hail a cab. Jake's demeanor quickly changes as he puts on a big smile. JAKE Smile. You just got a present from the man of your dreams. Lily puts on a big smile while opening the box. JAKE Now we gotta give him a strong finish. (CONTINUED) 64. CONTINUED: Jake pulls Lily closer and looks into her eyes. She leans in and they kiss-- A deep, slow kiss that makes people have to walk around them. Mr. Lewis sees them and smiles to himself as he gets into a cab. Jake and Lily are still kissing as the cab pulls away. Lily finally breaks the kiss--- Slowly. LILY He's gone. JAKE Uh-huh. LILY I gotta go get a haircut. JAKE Uh-huh. Jake watches as Lily walks away. She looks back at Jake once before disappearing around a corner. CUT TO: INT.- SIXTEENTH PRECINT- DAY Moonan sits on a desk, ear to a phone. JAKE (V.O.) It was all in play. Everything... MOONAN It's Moonan... I'm in New York. Listen, I got Vig. He's here and I'm this close... Look, I understand that, but I'm telling you this time... Obsessive is a big word to use... Goddamn it, Lou! I'm telling you, this is it. Yeah... I figured you'd feel that way. So here's the deal... Call Kylie over at the Bureau. Tell him I got something that might interest him. A guy they call the King Pin. I think there may be a corruption case brewing here, too... That's right. So even if I don't get Vig, you'll still have something to show. Rottovich and Sobozinski enter. (CONTINUED) 65. CONTINUED: MOONAN (cont' d) Good... I gotta go. (hanging up) So, what do you have for me? SOBOZINSKI Whaddya mean? We got dick. MOONAN You guy's are not working with me here. I just got off the phone with my boss. After he got done ripping me a new Lincoln Tunnel size asshole, he let me know exactly how little I'm welcome back if we come up short. And now here you guys are, WASTING MY FUCKING TIME! Moonan kicks a chair across the floor. ROTTOVICH Like we told you before, we think he's into something with the King Pin--- MOONAN (composing himself) Look, I'm not a confrontational person by nature. Moonan walks over to the fallen chair and picks it up. MOONAN I need answers and the only two things you've given me are jack and shit. You gotta do better. You gotta do better or I swear on my sweet dead grandmother's grave, I'm gonna make you guys an I-A-fucking-D cautionary tale. Moonan kicks the chair down again, sending Rottovich and Sobozinski back a few steps. CUT TO: EXT. - BACK ALLEY-NIGHT (PRESENT) Butch takes out two cigarettes and lights both, sticking one in Jake's mouth. JAKE Thanks. Did you know you shouldn't light three cigarettes with a match? (CONTINUED) 66. CONTINUED: JAKE (cont' d) Back in WWI or WWII, one of the WW' s, if you took the time to light three cigarettes with one match, some Nazi would be able to figure out where you were. Then, well... It was the last cigarette you and your two buddies ever had. So three on a match is bad luck. BUTCH You're a superstitious fucker. JAKE Luck's a funny thing. Especially the bad. BUTCH Like what? JAKE Having a gun pointed at you for one. It's not like breaking a mirror bad luck, but it's bad. Three on a match, black cats... Believe it. Believe it all. CUT TO: INT.- JAKE'S APARTMENT- NIGHT Miles, Jake, Lupus and Gordo sit around in silence. They're all dressed in new suits. JAKE (V.O.) (overlap below) But if you wanna talk about bad luck... MILES Where the hell is she? Just then, a KNOCK on the door. Jake opens the door to reveal Lily, dressed in an expensive business suit and sporting a sophisticated cut of new RED HAIR JAKE (V.O.) Redheads. JAKE FUCK! Gordo, Lupus and Miles look up at Lily. GORDO Oh shit. (CONTINUED) 67. CONTINUED: Lily stands at the door watching Jake freak out in disbelief. FREEZE FRAME ON LILY and her new red hair. JAKE (V.O.) Top three all-time worst red-heads... INSERT SHOT- A RED HEADED WOMAN enters dark bedroom, carrying an axe... JAKE (V.O.) Lizzie Borden... Axe murder. INSERT SHOT- A dinner table for TWELVE MEN dressed in flowing robes. A RED HEADED MAN leans over to whisper in the ear of an important looking guy in the middle... JAKE (V.O.) Judas... Betrayer. INSERT SHOT- A RED HEADED WOMAN, middle-aged with a bad haircut from the 70's carrying a suitcase leans down and tearfully kisses a SMALL BOY on the cheek. JAKE (V.O.) Shirley Vig... Abandoner. BACK TO FREEZE FRAME OF LILY The action resumes... LILY Nice to see you too. Why are you getting so bent? She takes a step into the apartment. JAKE You just put a mother of a jinx on us. LILY Lighten up. JAKE (V.O.) But the fucking Grand Poo-Bah of all jinxes? A bird in your house... Lily takes her jacket off revealing a delicate blouse, decorated with a design of flowers and a BIRD. FREEZE FRAME ON LILY'S BIRD BLOUSE. CUT TO: 68. (FLASHBACK) INT.- JAKE'S APARTMENT- NIGHT It's the scene earlier, when Jake finds a BIRD rapping at his window to get out. JAKE (V.O.) A bird enters your house... CUT TO: (FLASHBACK) INT.- BIG AL'S APARTMENT Big Al's bulging, vacant eyes stare straight at us, his mouth hanging open. JAKE (V.O.) It means death. BACK TO FREEZE FRAME ON LILY'S BIRD BLOUSE. The action resumes... JAKE You have no idea what you've done do you? No idea! What is this? Jake points to her hair. LILY You told me to change my hair! JAKE (re: the shirt) What about this? Do you have any idea what this means? You've killed us. We're dead! LILY Did I miss something? GORDO The red hair... It's bad luck. MILES It's not like she's a real redhead, Jake... JAKE Like that matters! You can't fool bad luck! You can't get by on a technicality! You can't trick karma! Lily grabs her jacket and starts out the door, then turns back around to Jake. (CONTINUED) 69. CONTINUED: LILY So much for that good feeling, huh? Silence. Jake can feel the eyes on him. JAKE Anybody says a word I swear to God... Jake takes off after her. CUT TO: EXT. - BACK ALLEY- NIGHT (PRESENT) Butch cracks a big smile. BUTCH She had you tempting fate. JAKE My father used to play the same fucking lotto numbers with these other guys in the pharmacy. The same numbers everyday for sixteen years. One day he gets pissed off, tells them he's out and plays his own numbers. They hit the Lucky Seven for one point two million. LILY steps out from behind Butch. LILY Guess he passed on that unlucky- asshole gene. Lily looks down at Jake and the gun pointed at his head. There's not even a hint of sympathy. LILY You should have trusted me Jake. CUT TO: INT.- THE BULL AND THE BEAR PUB- NIGHT Jake turns and looks at the crew, Miles, Gordo, Lupus and Lily behind him. Grant Ashby sits alone at the crowded bar, doing his crossword puzzle. Jake a smile and saunters over to the bar. GORDO She up for this? (CONTINUED) 70. CONTINUED: JAKE She's up for it. ANGLE ON ASHBY AT THE BAR Ashby sits finishing a drink. Snippets of CONVERSATION and LAUGHTER from the cliques around him catch his attention, but he remains alone. BLONDE (O.S.) Is this seat taken? Ashby turns to see an ATTRACTIVE BLONDE pointing to the empty seat next to him. ASHBY (brightening) Uh, no. Please. BLONDE Thanks. The Blonde grabs the barstool and starts to walk off with it. A rejected look from Ashby. LILY (O.S.) Sorry I'm late. Lily appears next to the Blonde. Ashby looks around to make sure she's talking to him. LILY But I'm not that late. You didn't have to give away my seat. ASHBY (getting it) I wasn't sure if you'd make it. BLONDE Oh, I didn't know you... Here. Sorry. Lily takes the barstool back. LILY No problem. The blonde woman leaves as Lily sits down next to Ashby. LILY Thanks for playing along. I just have to sit for a while. ASHBY Tough day? (CONTINUED) 71. CONTINUED: LILY Brutal day. They say the streets are lined with money down here, but I guess you have to know the secret handshake. What are you drinking? ASHBY Uh, Maker's Mark. Rocks. Lily signals the BARTENDER for two more drinks. ASHBY My name's Grant. Grant Ashby. LILY Oh god. I'm overbearing and rude. Lily. Lily Finn. They shake, Ashby's demeanor brightening again. ASHBY So, what do you do? LILY It's more like what aren't I doing. My partners and I are trying to secure start up capital for a small tech company. We tried the venture capitalist route in the Valley, but then again who hasn't up there. ASHBY Silicon Valley? LILY That's right. So, brainiacs that we are, we thought we'd be innovative and relocate east. Try our luck with a straight corporate loan out here. The drinks arrive. Lily hands the bartender a twenty. ASHBY I can--- LILY On me. For the seat. Cheers. She flashes a trademark smile as they CLINK glasses. LILY So we've been meeting with banks all day. It's amazing how many ways they can say "no" without ever using the word. (CONTINUED) 72. CONTINUED: ASHBY Well, typically, corporate loans are relatively simple matters, but you do need to demonstrate a capacity for gross fund recovery. Lily arches an eyebrow at Ashby. LILY Don't tell me you started a tech firm here before us. ASHBY No, no. Nothing like that. I work in a bank. LILY (leaning in) Really? Wish we had met eight hours ago. Ashby nods and shyly looks away. He could be blushing. Lily lets the moment play out for a beat before looking over her shoulder. LILY (getting up) My partners are here. Ashby reverts back to schlub mode. ASHBY Oh. Well, thanks for the drink. LILY You're welcome. I was just going to ask you if you'd like to join us. Ashby brightens again. CUT TO: INT.- THE BULL AND THE BEAR PUB/TABLE- LATER Ashby sits with the crew, a few empty glasses in front of him. He looks remarkably relaxed, just another guy hanging around with a group of friends. JAKE (V.O.) She got one leg out from under him. Now we had to lean. 73. GORDO So then Miles walks straight into the Creative Director's office and says "The code's fine, the program's for shit" and throws down like a thousand pages of code on the guy's desk! They all break out into LAUGHTER. JAKE So this is our boss, right? He chases me and Miles out of his office and he's yelling and screaming, "You're fired! Your whole team's fired!" He starts looking for Lily, Lupus, Gordo-- MILES But the best part was that he couldn't find Gordo! He was in the bathroom. So he finally goes in there, kicks in a stall door and starts yelling! And there's Gordo, pants at the ankles, holding a PC World Magazine! More LAUGHS. GORDO I haven't been able to use a public bathroom since. LUPUS Especially with the thing! Lupus's non-sequitur brings the whole rhythm of the conversation to a grinding halt. JAKE Uh, right... And that was it. That's when we decided to start our own business. No more shithead bosses. ASHSY I envy you guys. Taking a chance like that. GORDO Masters of our own destiny. LILY So far, masters of our own demise. What bank are you with? ASHBY City Bank of Manhattan. (CONTINUED) 74. CONTINUED: GORDO That's that Gillette guy, right? (off Ashby's nod) You Like him? As a boss, I mean. ASHBY He's . . . He's okay. GORDO (goading) Come on... ASHBY No. More LAUGHS. JAKE What do you do over at your bank, Grant? ASHBY What do I do? I'm the VP of Finance. The group exchanges Looks. MILES Wow. We haven't met with anyone your level yet. VP? So that means there's you, then the P. ASHBY (Confidently Yeah. That's right. FREEZE FRAME ON ASHBY... JAKE (V.O.) Here's where a little research comes in handy. Corporate banks give out VP titles like calendars. It's a small lie, but now we're sure he's playing. RESUME ACTION JAKE Maybe you can help us understand what's so hard about getting a corporate loan. ASHBY Well, typically speaking, they're not. As long as you can demonstrate-- (CONTINUED) 75. CONTINUED: JAKE A capacity for gross fund recovery. Yeah, we got that part. ASHBY That's right. And tech firms... They 'tend to scare people off. JAKE They scare people off because most people lack vision. Vision and balls. Present company excluded of course. ASHBY Banks need to know how they're going to get their money back. JAKE We know exactly how we're going to make The money back. There in lies the Catch-22 ASHBY I don't follow. An uncomfortable silence falls. GORDO Jake... LILY It's alright. Grant's one of the good guys. She throws Ashby a flirty smile. LUPUS Yeah. He's our boy. Lupus casually punches Ashby in the arm. It's meant to be a friendly tap, but it's hard enough to jerk Ashby's head to the side. Ashby lets out an uncomfortable LAUGH as he rubs his arm. JAKE (leaning in) Listen, what I'm about to tell you, I'm telling you in confidence, okay? (off Ashby's nod) Have you ever heard of a company called Big.Com? ASHBY Big.Com. That Internet thing. (CONTINUED) 76. CONTINUED: JAKE Right. The guys who started that did what a lot of companies in the Valley do. They get a good idea, shop it around, raise some capital, then sell it off to a bigger company. Microsoft, Intel, Oracle, whatever. The beauty of it is, they've pretty much sold the company before they're even real. The bigger company is already set to buy it, all they want to do is make sure that the idea actually works. So they get some start up capital, make it work, then sell it for like five times the initial loan. ASHY Sort of like a letter of intent. JAKE Exactly. But the Catch-22 is that you can't tell anyone about the offer, because if it's public, you could start a bidding war and that's considered a breach of etiquette. It could kill a deal. But, wait too long and you're not considered hot anymore. ASHBY And you have this letter of intent? JAKE (quietly) Yes. That's why I wish there were guys willing to take a chance and live a little. LILY We're getting down to the wire. Apparently another company has a similar product in R&D right now. If they beat us to it... JAKE Off the record, I'm this close to cutting someone in on the action if it'd help. Ashby considers for a moment. ASHBY Should we get another round? Jake and Lily share an almost imperceptible look. CUT TO: 77. TNT.- CITY STREET- NIGHT Jake, Lupus, Miles, Gordo and Lily walking, still on a celebratory high. GORDO Poor bastard never knew what hit him. Jesus, I almost felt sorry for the guy. MILES I gotta work off some of this adrenaline. I got a line on this Pawn Shop guy over in Brooklyn. Anybody want in? LILY I' m going home GORDO Let's go, Jake? JAKE Uh... No thanks. I'm not going all the way to Brooklyn for a hundred dollar pay-off. GORDO You sure? Jake looks over at. Lily then nods. Gordo, Miles and Lupus start to head off. JAKE Lupus! Lupus turns and Jake moves closer. JAKE (cont'd) When this is all over, you're going to tell me who the King put on Al. LUPUS You going to have the time? JAKE I'11 find the time. Lupus nods and heads off. Jake watches them go. LILY Look at you... You want to go. JAKE For what? A couple hundred bucks? (CONTINUED) 78. CONTINUED: LILY I think you'd do it for free. You' re almost drooling. You like the rush. JAKE It's what I do. It's my job. LILY Why? Your mother not breast feed you or something? JAKE Are you asking me if I have something to prove? LILY Do you have something to prove? JAKE Not in that repressed anger sort of way. LILY I'm your basic underachiever. Can't stand working and porn doesn't seem like a good option. JAKE Good quality porn has it's place in the world. LILY Whatever. But you... I get the feeling you could have bullshitted your way into anything. So why this? JAKE I'm good at it. Lying, cheating. Manipulating... I'm good at it. LILY It's more than that. JAKE Intuition. It doesn't make you Yoda. Like tonight. You killed that guy tonight. But I knew you would. LILY So that was my part? Smile and shake my ass? JAKE No. You have another part? You'll know what to do. (CONTINUED) 79. CONTINUED: LILY How do you know I will? JAKE Intuition. CUT TO: INT.- LILY'S APARTMENT- NIGHT Illuminated only by the light coming from the windows... Jake runs a hand down the length of Lily's bare back. She falls onto him, both of them hitting the bed locked in a deep kiss. Lily's hand moves down Jake's arm until it finds his hand. LILY You have really soft hands. Like a baby's. JAKE (remembering the King) Don't ruin this for me. They roll off the bed onto the floor, a naked tangle of arms and legs, their hands still entwined. CUT TO: EXT. - BACK ALLEY NIGHT (PRESENT) Jake takes a deep breath, Butch and Lily behind him. BUTCH Is that what it was, Jake? Was it love? JAKE You know when the first con was ever played? It was when Adam fell for Eve in the Garden of Eden. Lily looks away, her face softening for a moment. JAKE Then she fucked him over with an apple. (with a dry laugh) Redheads... Jake continues to LAUGH... CUT TO: 80. INT . - LILY'S APARTMENT--DAY Not even the soft morning light can diffuse the reality of this slum-pit studio apartment. Jake lies next to Lily, kissing her neck. A spoon RATTLES in a glass from the growing RUMBLE of a passing subway train. The RUMBLE rises to an almost deafening volume. Jake's a little alarmed. Lily, oblivious. JAKE (drowned out by the rumble) How do you deal with--- LILY (yelling) WHAT? JAKE (yelling back) SAID, HOW DO-- (the subway passes) Deal with that? Lily shrugs indifferently. LILY Do you think we can do it? Jake resumes kissing Lily's neck, trying to rekindle some of last night's magic. JAKE Maybe. Even if we don't, you'll be alright. You're not in the hole with the King. Lily rolls away from Jake. Undaunted, Jake starts kissing her back. LILY Who says you have to know the King to be in a whole? I actually did have a real job once. When I was in high school, I worked as a candy striper. JAKE Sounds respectable. LILY Not the way I did it. I was loaded half the time. I don't know how you could change bedpans sober. (MORE) (CONTINUED) 81. CONTINUED: LILY (CONT'D) I used to hang out with this guy, Glenn. He was an x-ray technician or something. JAKE You want to talk about an old boyfriend right now? Jake, kissing up the length of Lily's neck. LILY He wasn't my boyfriend. I had a boyfriend at the time... What was his name? Anyway, Glenn was like thirty. I was only fifteen. But he was a nice guy. Real sweet. Liked to talk. We used to get loaded on pills from the nurses station and then listen to Morrisey or some stupid shit like that. JAKE Yeah, the sensitive guy-thing never worked for me. LILY We were friends. I trusted him. I should have known it was weird. But, then again I was weird. JAKE You guys got busted. This is a great neck. Jake still kissing... LILY No, we never got busted. We were done with a shift one night, both a couple of Percocets down and I was telling Glenn about my boyfriend, about how we were thinking about doing it, you know? I was thinking about letting him be my first because I loved him. (pause) What the hell was his name? JAKE Glenn talked you out of it. LILY Sort of. I was telling him about this great love of my life who's name I don't remember, and I could see... He was getting pissed. I thought it was just because he was worried about me, but... (CONTINUED) 82. CONTINUED: LILY (cont'd) He told me that I was stupid because my boyfriend didn't really love me. Jake grabs Lily and rolls her over onto her back. He climbs on top of her. JAKE He was looking out for you. LILY Then he grabbed me and threw me down on the floor, that really cold linoleum tiled hospital floor and started ripping my uniform off. (pause) He said he was going to "fuck some sense into me." Jake stops kissing Lily and looks up at her. LILY Shit, what was that guy's name? I really liked him. JAKE Lily... Jesus Christ... LILY After Glenn was finished, he gave me a couple of valiums and I went home. The next day, I finished my shift and met him around back, like we always did. I stuck a number eight scalpel into his chest. Three or four times. Jake slides off Lily. JAKE Did, uh... Did you kill him? LILY I don't know. I packed up my shit and ran away. To this... So unlike you, I guess I do have something to prove, in a repressed anger sort of way. Jake considers for a second. JAKE No. You trusted him... You were just getting square. LILY You know why I told you that, Jake? (turning towards him) Because I trust you too. (CONTINUED) 83. CONTINUED: Jake tries a reassuring smile even though he's not sure it's something he should be smiling about. The spoon starts to RATTLE again as another subway train RUMBLES in the distance. CUT TO: EXT. - BACK ALLEY-NIGHT (PRESENT) Lily shakes her head in disbelief that Jake would tell the story. JAKE Sorry, honey. But I figure if we can't all share at a time like this... Butch lowers the gun down and looks over at Lily. BUTCH You got some issues, huh? LILY (with a hiss) I can take care of myself. Butch freezes as A POLICE SIREN WAILS in the BACKGROUND, growing CLOSER then FADING again. He puts the gun back to Jake's head. BUTCH Hurry up. CUT TO: INT.- ASHBY'S OFFICE- DAY Ashby sits behind a desk in front of the crew. In front of him are the corporate papers. JAKE (V.O.) We had to finalize the deal. ASHBY Everything looks in order. JAKE This has to happen fast. ASHBY I know. It won't go unnoticed. JAKE There'll be red flags. Jake slides an envelope across the desk. (CONTINUED) 84. CONTINUED: ASHBY What's this? JAKE You need some convincing. Consider it a convincer. Ashby leafs through the money in the envelope. ASHBY Let's just slow down for a second... JAKE You're worried about recouping the loan. I already told you. ASHBY No, I understand that. What I mean... What I'm trying to say... I was actually wondering about... Well, my cut. ECU- A bead of sweat rolls down the back of Ashby's neck. JAKE (V.O.) Then there it is. Ashby gets the itch. JAKE The standard ten. ASHBY Ten percent. Of how much? JAKE Two million. GORDO We're going to make it back, Grant. Three or four times over. JAKE And all you need to do for your ten percent is put some paperwork through and push a button tomorrow. There's a pause before Ashby smiles, then reaches around to scratch his neck. CUT TO: INT.- CITY BANK OF MANHATTAN/HALLWAY- DAY Jake exits Ashby's office with Lupus, Gordo, Miles and Lily. They all follow Jake down the hallway. (CONTINUED) 85. CONTINUED: GORDO You'll be there? JAKE Eight A.M. flight. GORDO Calls? JAKE We'll use the Euc. They pass the glass partitioned conference room. Jake looks inside to see Morgan Gillette holding court with a bunch of SUITS. Butch stands behind Gillette. For a second, Butch and Jake's eyes meet. CUT TO: EXT.- STREET- DAY Jake, Lily, Miles, Gordo and Lupus... As they move through the crowded sidewalk, Rottovich and Sobozinski appear behind them. ROTTOVICH Hey Jake. Jake turns just in time to catch Rottovich's fist square in the face. Jake staggers back and Sobozinski pushes him into an alley. JAKE That tip not work-out for you fellas? ROTTOVICH Tip was fine, Jake. We were a little more curious about the Fed. JAKE Hey, listen... If you guys don't pay your taxes, that's your business. Sobozinski punches Jake in the stomach. Miles and Gordo lurch forward-- SOBOZINSKI (pulling his gun) Back up. LUPUS You want I should hold him down? (CONTINUED) 86. CONTINUED: Gordo throws Lupus a look. ROTTOVICH Special Agent Gunther Moonan. Ring a bell? JAKE Gunther? I think I'd remember a Gunther. ROTTOVICH Ring it for him, Sobo. Sobozinski punches Jake again. JAKE Oh yeah. Moonan. I remember now. Thanks. ROTTOVICH Well he's in town and he sure as shit remembers you. What are we going to do about this Jake? We can't afford to have a Fed onto us. JAKE Wouldn't dream of it. Rottovich punches Jake hard in the stomach, sending him GASPING to the ground. ROTTOVICH I don't know what you're into with the King Pin, but whatever it is we get a piece, understand? We get a big piece. If we find out you're keeping us out, I may suddenly develope a conscious and give you up to Moonan myself. Say something stupid if we got a deal, Jake. JAKE (gasping for breath) Something stupid. ROTTOVICH Good boy. SOBOZINSKI And don't leave town! (to Rottovich) I always wanted to say that... As the cops exit, Lily, Miles and Gordo rush to Jake. (CONTINUED) 87. CONTINUED: LILY People don't like you much, do they? Jake lets out a pained GROAN as they help him up. CUT TO: INT.- CAR- DAY Rottovich and Sobozinski get in the front of a squad car. In the back, Moonan sits reading the Travel section of the NY Times. MOONAN Did he buy it? ROTTOVICH I think so. What'd he ever do to you anyway? MOONAN Let's just say he burned me once. Moonan calmly turns the page of the paper. LUPUS (V.O.) Why's this guy so hard up for you? You're not exactly a threat to national security. CUT TO: INT.- THE EUCLID- DAY Jake sits at a barstool, battered and bruised. Lily tends to him with a towel. Miles and Gordo pour drinks. Lupus sits at a table, watching. JAKE We go way back... CUT TO: EXT.- DOG RACETRACK- DAY A BELL... A mechanical rabbit springs forward. Greyhounds bolt out of the gate. JAKE (V.O.) About four years ago, we were working in Miami, turf fixing for some local goon. CUT TO: 88. INT.-- RACETRACK- DAY Gordo, Miles, Big A1 and Jake watch the race with indifference, surrounded by excited SPECTATORS. JAKE (V.O.) Turns out this local goon was being watched by the Feds, which means we were being watched by the Feds. One in particular. Through the crowd, we catch a glimpse of Moonan, in sunglasses, watching the guys. JAKE (V.O.) Special Agent Gunther Moonan. Jake turns and catches Moonan looking at him. CUT TO: EXT.- RACETRACK/PARKING LOT- DAY Moonan walks over to a car. JAKE (V.O.) He didn't really have anything on us, but I figure, maybe this guy's good for a Fix. So I ask him out to dinner. Moonan pulls a piece of paper off the windshield that reads: "La Scala 2night." CUT TO: INT.- LA SCALA- NIGHT An elegant restaurant. Jake sits confidently in an expensive suit speaking to the shabbily dressed Moonan across from him. JAKE (V.O.) These guys we have now, sure, give them twenty bucks and they'll look the other way on a parking ticket. But a Fed... You get a guy like that as your Fix... Jake nonchalantly slides a fat envelope over to Moonan. Moonan picks it up and finds a wad of cash. JAKE (V.O.) It was probably a stupid idea. There I am, Armani and Rolex. There he is, JC Penny and Timex... (CONTINUED) 89. CONTINUED: Moonan smiles and slides the envelope back over to Jake with a disappointed shake of his head. JAKE (V.O.) So I took a shot. But now he had me on attempted bribery of a Federal Agent. As Moonan stands, we see Big Al get up from the next table. A1 "bumps" into Gordo, dressed in a waiter's white jacket. Gordo "trips;" spilling scalding hot coffee into Moonan's lap. Jake casually gets up and leaves. FREEZE FRAME ON MOONAN'S CONTORTED FACE. JAKE (V.O.) That's when Gordo comes in with the Hazelnut French Roast. RESUME-- Moonan falls to the floor, holding his crotch in agony. CUT TO: EXT.- LA SCALA/PARKING LOT- NIGHT Miles pulls up in an old Cadillac, picking up Jake at the entrance. They pick up Gordo and Big Al from a side door and drive off as Moonan limps out of the restaurant, still holding his crotch. CUT TO: INT.- THE EUCLID- DAY (RESUMING) Jake finishes the story to Lupus. JAKE And that's how Special Agent Gunther Moonan and I became friends. Lupus nods, satisfied. GORDO Moonan. Here. Shit... LILY So what? We just stay clear of him. Jake gets up, hard enough to knock the chair over. LILY Jesus... Take it easy. (CONTINUED) 90. CONTINUED: JAKE No, I'm not going to take it easy. You can't stay clear of this guy. He will be on this until the end of time. MILES What do we do? We change the scam? JAKE There is no scam! I've got a fucking sign on my back! I can't leave town now and come back with a suitcase full of money. You get it? It's over. We walk. GORDO Jake-- JAKE What do I always tell you guys? Don't spend it all. Sooner or later we're going to run into some bad luck. Save some. Put it away, so when shit like this happens, you're not desperate. That's it. The gig's up. LILY That's it? What are you talking about? We can still do this! GORDO Jake, I mean, come on-- JAKE No, no, no! Not this time. I am doing this for your own good! You guys have got to learn when to stop. You with the Armani! You with the hookers! MILES Escorts! JAKE Do you even remember Al? Do you remember what he looked like sitting there? LILY You are such a raving pussy sometimes. JAKE Hey, we fucked once, honey. That hardly makes you a good judge of character. And don't think I didn't know you were working some angle with that either. (CONTINUED) 91. CONTINUED: LILY Everyone's working an angle, right? JAKE There are three people I trust-- him, him and a guy who got killed. I don't know who you are! You're like some stray doq that wandered into the house. So I'm telling you to cut loose of this. No one's looking for you, Not the King, not Moonan and not Gillette. Just go wherever it is you would go. It's over. Lily looks around the room. No one seems to be backing her up. LILY What about... JAKE What about what? LILY What about the money? Jake stops and levels a look at Lily. JAKE So there it is. You got that big itch you need to scratch. It's all about the fucking money. What do you want, an apology? LILY No, I want my cut! JAKE I'm going to say this one last time for You, so take a deep breath and count to ten. There is no cut. Lily levels a look of utter contempt at Jake. LILY You're an asshole. With that, she grabs her coat and leaves. Lupus sits quietly, taking it all in. GORDO So that's it... JAKE That's it. (CONTINUED) 92. CONTINUED: LUPUS King ain't gonna like this. JAKE Don't worry, I'll settle up with your boss. We haven't skipped town yet. LUPUS What I'm saying is, is that the King ain't gonna care. See he had a real thing with getting this Gillette guy, If you ask me I think he's jealous. JAKE Of what? They're both crooks. LUPUS Exactly. `Cept this Gillette guy. He gets to walk around in three piece suits, hob knob with the Mayor, own a bank, that kinda shit. Meanwhile, the King sits holed up in the steam, afraid to even take a leak without me or Harlin watching the door. JAKE My fucking heart bleeds. LUPUS Your buddy. That fat guy. The King couldn't wait to have that guy whacked. He didn't even know who the guy was, but he was so pissed off at him, he gets him drilled. It ain't personal. It's business. JAKE Point, Lupus. Give us a point. LUPUS Point is, you don't go through with this, he's going to go after you next. And he don't even like you, Jake. Lupus stares blankly at Jake. CUT TO: EXT. - BACK ALLEY (PRESENT) Butch hovering over Jake... BUTCH So much for honor among thieves. You would have cut loose your friends, your girl... (CONTINUED) 93. CONTINUED: JAKE I was doing it for them. BUTCH BULLSHIT! You were scared, Jake! You - Lost your nerve! You lost your confidence! You weren't being noble. You weren't trying to save anybody but yourself! Admit it. JAKE It's not true. BUTCH Yes it is Jake! Yes it is! They were right there for you. She was right there for you! Look at her! Jake doesn't move. Butch grabs him by the hair and turns him towards Lily. BUTCH (cont'd) She trusted you and you sold her out! Be honest! Be a man! Tell her, Jake! Tell her that you loved her but the money meant more to you! Butch kicks Jake in the gut. BUTCH (cont'd) Grifters... Gentleman's racket... My ass. You're just any other lowlife stammer-- Looking out for number one. Jake shuts his eyes, maybe because Butch is right. CUT TO: INT . - JAKE'S APARTMENT-- NIGHT Lupus and Jake sit at the table. Lupus on the phone. LUPUS Hey, boss. It's me. The bank's in. It's happening tomorrow... Jake? Lupus turns to Jake and slaps him on the shoulder good buddy-style. LUPUS (cont' d) He got a little shaky there for a minute, but we got him back in the batter's box. CUT TO: 94. INT. -BULLDOG GYM - SAME The King Pin on a cell phone. Harlin stands in front of him, punching the King's stomach hard enough that he's sweating. The King seems to hardly notice. LUPUS (O.S.) Coupla things. They got this Fed , loo king around and the girl just split. KING PIN A Fed? Is he close? LUPUS (O.S.) I don't think so. Their Fix gave us the heads up and Jake's got a plan that'll probably keep him off. BACK TO LUPUS LUPUS But this girl, the redhead. She knows a lot. She could be a pain in the ass. Jake looks up. JAKE No. She won't. She's not going to be a problem. Lupus cups the phone. LUPU He wants to talk to you. (whispering) Don't tell him I said he was jealous of Gillette, okay? Jake reaches over and grabs the phone. JAKE Uh huh... Uh huh... Okay... I understand. Jake hangs up the phone. LUPUS What'd he say? JAKE Oh, you know... Don't fuck this up. I'll kill you. I'll kill your family. I'll shoot your dog... All the usual. Then he said good luck. (CONTINUED) 95. CONTINUED: A FLAPPING SOUND catches Jake and Lupus's attention. A WHITE PIGEON sits on the frame of an open window. JAKE Aww, shit! CUT TO: EXT. BACK ALLEY- NIGHT (PRESENT) With a shrug, Jake continues... JAKE We were back on. BUTCH After you cut her loose. JAKE She walked. Lily pushes Butch aside and moves closer to Jake. LILY I walked? Let me tell you a story, asshole... CUT TO: INT.- LILY'S APARTMENT- NIGHT Lily stands at a hot plate in her "kitchen" frying an egg. HEAVY FOOTSTEPS from the hall catch her attention, growing louder, then stopping at her door. A KNOCK. HARLIN (0.S.) Lily? Lily frantically rumages through drawers. She pulls a knife, but it's only a butter knife. She tosses it aside. Lily moves to the door and looks out the peep hole. HARLIN (O. S.) .Jake sent me. Lily moves to the closet. LILY Jake? Hold on. I just got out of the shower. More KNOCKING. (CONTINUED) 96. CONTINUED: Lily rumages in the closet and a baseball bat. She hefts the bat and takes a stance in front of the door. More KNOCKING. LILY HOLD ON! Another KNOCK. Lily slowly reaches for the doorknob. Then the door flies open with a CRASH. Harlin fills the doorway. HARLIN The King would like to have a word with you. Lily, wide-eyed, stands frozen with the bat still cocked.. LILY Uh, right now? HARLI Please. I have a car waiting. Lily takes a swing. Harlin easily grabs the bat and backhands Lily. She goes flying back into the far wall, bounces off and lands with a THUD at Harlin's feet where she finds the butter knife. Harlin reaches down and pulls Lily up by the hair. The egg SIZZLES in the pan. Lily takes a stab at Harlin, but the knife just bounces off his coat. Harlin slaps Lily again, sending her flying into the stove. Smoke starts to rise from the burning egg. Harlin steps closer, but Lily throws her hands up in surrender. A spoon RATTLES in a cup as the RUMBLE of a subway train grows LOUDER. HARLIN (Drowned out by rumble) I apologize for the-- LILY (yelling) WHAT? HARLIN (yelling back) I SAID, I APOLOGIZE FOR-- (CONTINUED) 97. CONTINUED: Lily shakes her head and points to her ear and mouths, "Can't hear you." Harlin moves closer and they lean into each other. HARLIN (cont' d) (louder) I SAID, I APOLOGIZE FOR-- (the subway passes) --The door. LILY (Nodding) No problem. She grabs the smoking pan from the stove and WHACKS Harlin across the head. The burned egg lands on the floor. Lily watches as he sways and teeters on his feet, like a drunk. She raises the pan again... But before she delivers the final blow, Harlin steps on the egg, causing his leg to shoot out from under him. He lands flat on his back, out cold. The wood floor CREAKS with his weight. Lily wipes the blood from her nose and turns the hot plate off. CUT TO: EXT. - BACK ALLEY- NIGHT (PRESENT) Jake, Butch and Lily... JAKE Sorry. I didn't know... LILY Your friend, Big Al? It should have been you. BUTCH Alrlght, alrlght. What happened today? JAKE Today? Started off great... CUT TO: EXT.-- CAYMEN ISLANDS/BEACH- DAY Crystal blue water gently rolls onto virgin white sand. A jet cuts a line across the cloudless sky... (CONTINUED) 98. CONTINUED: JAKE (V.O.) Ashby was going to call us with the exact time of the transfer. The King was waiting on us. Just to be safe... CUT TO: INT.- JET- SAME Gordo sits in first class, impeccably dressed in a Brooks Brothers suit. JAKE (V . O . Gordo went down to the Caymens instead of me. I needed Rottovich and Sobozinski to keep Moonan off our backs and the only way I could do that was to stay in town and cut them in on the deal. CUT T0: INT.- 16TH PRECINT- SAME Rottovich and Sobozinski sit around the desks, as Moonan reads the newpaper behind them. JAKE (V.O.) So they waited for my call while Miles and I waited for Ashby's call. CUT T0: INT.- THE EUCLID- SAME Jake sits with Miles and Lupus at a table in the otherwise empty bar. MILES He should be landing in the Caymens about now. The Custom's guy is ready right? Jake stares off into space, absentmindedly flipping a penny in his hand. JAKE Feeling lucky today, Miles. Found a penny-- Heads up. There was an empty cab right outside my building. We hit every green light. MILES And we got rid of the red head. Jake considers... (CONTINUED) 99. CONTINUED: JAKE And we got rid of the red head. MILES Jake? Customs? Jake just nods and continues flipping the penny. JAKE (V.O.) They say a good chess player can. See up to twenty moves deep. That means that in some games, you've calculated every possible move in your head... The game's over before it's even " really started. CUT T0: INT.- CITY BANK OF MANHATTAN/ASHBY'S OFFICE- SAME Ashby sits at a desk, computer terminal in front of him. He speaks in hushed tones on the phone. JAKE (V.O.) Same thing with playing a con. You have to be able to see that deep. ASHBY Jake? Right. Uh-huh... Uh-huh... Yeah, it's going through-- INSERT SHOT- ECU of Ashby's finger on the "Enter" key. ASHBY (coat' d) Now. Ashby hangs up and checks over his shoulder. CUT T0: INT. - THE EUCLID BAR- SAME Jake hangs up and immediately dials another number. JAKE (V.O.) In order to ensure that we weren't going to welch, Ashby's pay-off was to be directly deposited into his own offshore account which he could confirm electronically. In this age of ecommerce, paper currency has become " more of a liability than a commodity. Especially to us. (CONTINUED) 100. CONTINUED: JAKE (into phone) Go. CUT TO: EXT.- CAYMEN ISLANDS/CAFE- SAME Gordo listens into a cell phone: Without saying a word, he gets up, wheeling a nondescript BLACK SUITCASE. Across the street sits the Grand Caymen's Bank in all it's pastel and brass glory. CUT TO: INT.-- GRAND LAYMEN'S BANK- DAY Gordo moves across the lobby of the bank to the back of a line at the Teller windows wheeling the black suitcase. JAKE (V.O.) Gordo was making the withdrawal from the Grand Laymen's Bank. Gordo stands in front of a Teller. She reads off a paper then does a double take at Gordo, who smiles back. JAKE (V. O. ) They check the papers... Gordo slides a folder of corporate papers along with his photo ID towards the Teller. We follow the teller as she hands the papers to the OFFICIOUS LOAN OFFICER. ANGLE ON the teller window-- A check is pushed to Gordo. JAKE (V.O.) ...They stick. Gordo shakes the Loan Officer's hand and calmly walks towards the door. CUT TO: EXT.- LAYMEN ISLANDS/STREET DAY Gordo walks across the street with the suitcase and pulls a cell phone from his pocket. GORDO First and ten. (CONTINUED) 101. CONTINUED: Gordo hangs up without another word. He approaches a building with the words "BANK OF THE CAYMENS" engraved over the brass handled doors. CUT TO: INT.- BANK OF THE CAYMENS- DAY Gordo approaches the teller window with the check in hand. JAKE (V.O.) Then he had to bang it out across the street at the Bank of the Caymens... GORDO I'd like this cashed, please. ANOTHER TELLER looks at the check then back up at Gordo. GORDO (cont'd ) I also need to deduct a certain amount and deposit it into this account number. Gordo takes another piece of paper and slides it to the Teller. CUT TO: INT.- CITY BANK OF MANHATTAN/ASHBY'S OFFICE- DAY Ashby sits, nervously tapping his computer monitor with a pen. MARIE, a secretary, pokes her head in. MAR I E Mr. Ashby? Mr. Thompson from International with a 34R on a corporate account. Ashby watches the screen, as a big broad smile comes across his face. ASHBY Probably just a new account marker. (standing) Tell him I already left for lunch and that I'll call him later. Ashby grabs his coat and strides confidently out. CUT TO: 102. INT.- BANK OF THE CAYMENS/VAULT ROOM- CONTINUOUS A SECURITY GUARD stands in the small, windowless room. Gordo is escorted into the room by a BANK OFFICIAL. BANK OFFICIAL We'll let you have a moment. On a small table are neat piles of bundled money, shrink wrapped in plastic. Gordo seems in awe. JAKE (V.O.) We called them Green Twinkies. The Bank Official and Security Guard exit. Gordo holds up a Green Twinkie up to his nose and takes a deep breath. CUT TO: EXT.- CAYMEN ISLANDS/STREET- DAY The Security Guard holds open the door as Gordo exits, suitcase in tow. Gordo takes his cell phone out as he moves across the street. GORDO We got Twinkies. Gordo pockets the phone and disappears into the crowd. CUT TO: INT.-- THE EUCLID- SAME Jake hangs up the phone and dials another number. He nods at Lupus. JAKE (V.O.) Miles was on his way to the airport to wait for Gordo to land. I made the call. JAKE Yeah, it's me. I need an escort. Not a ride, just an escort. You wanted in, this is in. CUT TO: INT.- 16TH PRECINCT/DETECTIVES' OFFICE- DAY Sobozinski behind a desk. Sitting in a chair leafing through a magazine is Moonan. Rottovich on the phone... (CONTINUED) 103. CONTINUED: JAKE (O.S.) Kennedy. International terminal. Gordo with a black suitcase. You got Moonan under control? ROTTOVICH Don't worry about Moonan. We got him covered. When..? (hanging up) It was him. There's a shipment coming through tonight. Kennedy. MOONAN Shipment of what? (off Rottovich's shrug) Find two cars. And change into plain clothes. After Rottovich and Sobozinski exit, Moonan dials a number. MOONAN It's Moonan. Tonight. JFK. International terminal. Come heavy. CUT TO: INT.- THE EUCLID- NIGHT Jake sits at the bar, looking at his watch. He notices his hand is shaking. LUPUS So that's it, huh? You get the cops to give you a safe ride. JAKE Let me ask you something... You really think I'm going to come this close, this fucking close and let my guard down? I'll get square with your boss. I'll get square with whoever did Al. I'll get square with everybody. Then I'm going going to cash in my chips and be on my way to a new and better me far away from here. LUPUS You're a weasal. Lupus gets off the stool and we follow him into... INT.- THE EUCLID/BATHROOM- CONTINUOUS Lupus enters the small. Bathroom and pulls a cellphone. (CONTINUED) 104. CONTINUED: LUPUS Yeah... He's landing with the money at Kennedy in a few hours. International Terminal. You were right. He's trying to fuck you. You want it, you gotta get it at the airport... CUT TO: INT.- BULLDOG GYM/LOCKER ROOM- SAME The King Pin closes the cell phone and looks over at Harlin, who's hair is singed and matted down on one side. KING PIN He's got pigs for an escort. You believe this guy? HARLIN I'll get the car. KING PIN Always something. The King struggles into a pair of pants, then turns around. KING PIN (cont' d) My ass look big in this? Harlin deliberately looks away. HARLIN Looks fine, Boss. CUT TO: EXT.-- JFK AIRPORT/PARKING LOT- NIGHT A black Lincoln Town Car rolls through the parking lot. Behind the wheel we see Harlin with the King Pin riding in the back. The Town Car passes... MILES SITTING ON THE HOOD OF A CAR LOOKING AT THE TERMINAL. We follow the Town Car as it passes... ROTTOVICH AND SOBOZINSKI STAKED OUT IN AN UNMARKED POLICE CAR A FEW SPACES PAST MILES. (CONTINUED) 105. CONTINUED: The Town Car finally parks in the same row, each car, separated only by a few spaces. CUT TO: INT.- UNMARKED POLICE CAR- SAME Sobozinski and Rottovich overlook the terminal. SOSOZINSKI You trust this Moonan guy? ROTTOVICH I don't trust anybody. You see how bad this guy wants Vig? It's like a sickness. I say we collar Vig ourselves. We got Vig, then we got leverage. And we trade; Vig for that tape. I want to see it right in front of my face. SOBOZINSKI It's just insurance. ROTTOVICH That's what I'm talking about. SOBOZINSKI I'm down! Sobozinski holds his hand up for a high five. ROTTOVICH What are you doing? SOBOZINSKI High five. ROTTOVICH Put your hand down. I don't high five. There's the CRACKLE from a walkie-talkie. MOONAN You guys awake? ROTTOVICH (into walkie) We're here. CUT TO: 106. INT.- JFK AIRPORT/TERMINAL- SAME Moonan sits a safe distance away from an area marked "Customs". Behind a large table, a few CUSTOMS OFFICERS in white shirts mill around. Moonan speaks into a mic hidden in his sleeve. MOONAN Stay sharp. Moonan keeps his eyes on the Customs desk. CUT TO: INT . - JET- NIGHT Gordo sits squashed in the window seat, next to a VERY HEAVYSET COUPLE. MR. HEAVYSET Oh jeez. Mr. Heavyset quickly gets up. CUT TO: INT.- THE EUCLID- SAME Jake sits at the bar, the phone a few inches away. Lupus pours himself a drink from the bar. The phone RINGS. JAKE Gordo. CUT TO: INT.- JET- SAME Gordo on the Air-Phone next to MRS. HEAVYSET... GORDO I'm landing in about fifteen minutes. MR. HEAVYSET returns to his seat, drying his hands on his own shirt. MR. HEAVYSET Jeez... I tell ya, this airline food goes right through me every time. Mrs. Heavyset pats her husband's hand. GORDO You ever use the bathroom in Kennedy? (CONTINUED) 107. CONTINUED: JAKE (O.S.) What? No. Use the bathroom on the plane! Gordo eyes Mr. & Mrs. Heavyset. GORDO Let me just say that there is no way I'm using the bathroom on this plane. CUT TO: INT.- THE EUCLID- SAME Jake hangs up... JAKE He's wheeling around two million dollars in cash and he wants to stop to use the bathroom. You believe this? LUPUS Maybe he's got it right. Maybe we're all just looking for a safe place to shit. JAKE That was fucking deep. Lupus gets up and heads for the bathroom again. CUT TO: INT.- TOWN CAR- SAME A CELL PHONE RINGS with a digitized version of "Ode to Joy". The King answers it. KING PIN Speak. LUPUS (O.S.) He's landing. He's got a suitcase on wheels. KING PIN So do half the other people in this place. How do I know which one? LUPUS (O.S.) I got it figured out... He's got this thing with bathrooms. If he makes it through Customs, he'll be heading for the john. (CONTINUED) 108. CONTINUED: KING PIN Good. Good. Do not let Vig out of your sight. The King hangs up the phone and motions to Harlin to go. CUT TO: INT. -- THE EUCLID BAR- SAME Jake looks up at a small digital clock sitting behind the bar. It reads "11:11PM." Lupus emerges from the back hallway to find Jake dialing a number. JAKE What's up with you? Bladder infection? LUPUS Keep it up. LILY (O.S.) You got my cell. Leave a message. JAKE It's me. It's Jake. Listen... It's happening. Gordo's landing right now. Meet me at the Euclid... For your cut, I mean. It's... I want you to have it. Jake hangs up the phone. LUPUS You really like that bitch don't you? I gotta tell you, I was pretty convinced that the whole thing before was blowing her off for her cut. You know how it is, get her to do some shit for you, throw her a bang to keep her happy. But, if you're into her... That's cool. JAKE That's what I like about you, Lupus. You're a free thinker. Don't let the King tell you different. LIONEL Not for nothing, Jake, but the guy who whacked your buddy? It was me. The King usually farms out for that kind of stuff, but I tell ya, he was so pissed off he couldn't wait for the regular guy. Fucker didn't even put down his Kung Pao Chicken. (CONTINUED) 109. CONTINUED: Jake seems to be reeling with the information. JAKE Egg Foo Young. (standing) Stand up. LUPUS What? JAKE Stand up. LUPUS (laughing) No offense, but I've seen you fight. You gotta be kidding m- Jake's sends a fist flying right into Lupus' mouth, knocking him over. JAKE I said stand up. CUT TO: INT.- MORGAN GILLETTE'S OFFICE- NIGHT MORGAN GILLETTE sits behind a desk in an ultra modern office, his reptilian like face fixed straight ahead. Butch leans against the wall behind him. JAKE (V.O.) This is probably about where you came in. GILLETTE Wow. Now that's an exciting story. Butch, has anyone ever tried something like this before? BUTCH Not that I recall. What do you want us to do about it? GILLETTE Let's see... Let's suppose he gets to Customs and he gets caught. We get our money back, but then we have to deal with a criminal investigation. I don't much like that idea. Then again, let's suppose he actually gets through Customs. Now, that'll be something. We recover the money in cash and let the insurance cover the corporate fraud. We double our money. (CONTINUED) 110. CONTINUED: BUTCH So we go to the bar. GILLETTE I think so. The airport's going to be crawling with police. Traffic will be a nightmare. Go down to the bar. If they pull it off, great. Have someone deal with Ashby. BUTCH We'll take care of it. GILLETTE And how much did you say you wanted for this... What did you call it? A finder's fee? REVEAL Lily sitting on the couch in front of them, cell phone in hand. LIL Ten percent. GILLETTE Ten? That seems a little high. BUTCH Ten is standard, sir. GILLETTE Fine. But only if we recover the cash. LILY Only if--? No way. I want something for this. GILLETTE Have a little faith in him, honey. Butch, see if you can get him to tell you how he did it. Or almost did it. Sounds like a good story. BUTCH I' ll ask. Gillette picks up an APPLE from a bowl in his desk... The oldest con. GILLETTE Apple? CUT TO: 111. INT.- AIRPORT/TERMINAL HALLWAY- NIGHT We follow Gordo as he wheels the black suitcase down the long corridor towards the Customs Desk. Moonan spots Gordo and speaks into his wrist. MOONAN I got him. ANGLE ON THE CUSTOMS DESK A few TRAVELERS quickly move past the desk. Gordo approaches a CUSTOMS OFFICER. Gordo lays the suitcase on the desk: The Customs Officer looks nervously in both directions before waving Gordo through. Moonan follows at a safe distance as Gordo clears Customs. CUT TO: INT.- CAR- SAME Rottovich and Sobozinski check their guns. MOONAN (O.S.) He's headed towards the eastern most exit. Do not, under any circumstances approach. I want to follow this all the way down to Vig. SOBOZINSK (into walkie) Roger that. ROTTOVICH Oh yeah, we'll wait, jerk-off. Sobozinski snorts a LAUGH as they get out of the car. CUT TO: INT.- JFK AIRPORT/TERMINAL- SAME Gordo wheels the suitcase towards the exit when he spots the MEN'S ROOM. He stops and considers for a moment before he turns and enters. Moonan watches a few yards back. He pulls his badge out from under his shirt, hanging from a chain. (CONTINUED) 112. CONTINUED: MOONAN (into mic) He just went into the crapper. Hold your positions. Harlin walks into the Men's Room half a minute after Gordo. CUT TO: INT.- MEN'S ROOM- SAME Gordo pads the toilet with half the roll before gingerly setting his ass down. Suddenly the STALL DOOR FLIES OPEN. Harlin steps in, Gordo defenseless with his pants at his ankles. Harlin picks him up off the toilet and throws him into the wall repeatedly before letting him fall face first onto the dirty floor. CUT TO: INT.- JFK AIRPORT/TERMINAL- CONTINUOUS Moonan watches the door to the Men's Room as Harlin comes out, wheeling the black suitcase behind him. MOONAN (into mic) They pulled a switch. Big guy. Blue suit. Keep on him. CUT TO: EXT.- JFK AIRPORT/PARKING LOT- CONTINUOUS Rottovich turns the walkie talkie off as he and Sobozinski fall in behind Harlin. ANGLE ON MILES-- Who steps out of his car, watching the little parade go by with a look of confusion. CUT TO: INT.- THE EUCLID- SAME A LOUD THUMPING NOISE... Jake has Lupus by the hair as he rams his head repeatedly into the bar. Jake then gets him into a headlock. Lupus snaps his head back and butts Jake in the nose, sending him staggering back. CUT TO: (CONTINUED) 113. CONTINUED: TNT.- JFK AIRPORT/TERMINAL- SAME Moonan taps the mic hidden in his sleeve, then checks the walkie. MOONAN Hello? Can you hear me? Moonan pulls the ear plug out and races down the hall. CUT TO: EXT.- JFK AIRPORT/PARKING LOT- SAME Harlin gets to the King Pin's car and opens the back door. As he crams the suitcase in, Rottovich and Sobozinski come up behind him, guns drawn. ROTTOVICH Hey asshole. They both grin like idiots. CUT TO: INT.- THE EUCLID- SAME Jake goes flying into the bar. Lupus pushed Jake back up against the bar and lands a series of body blows. Jake manages to grab the phone and whips it across Lupus' head, sending him to the ground. Jake straddles Lupus and raises the phone for the last whack. We HEAR A LOUD CLICK. Jake stops and the two slowly get up. As they stand, we can see that Lupus has the barrel of a small gun in Jake's mouth. Jake shuts his eyes tight, still holding the phone. Which just then, RINGS. Jake opens his eyes and looks at the phone. Then to Lupus, who nods. Jake picks up the receiver and speaks, the gun still in his mouth. JAKE Eww-Whoa? CUT TO: EXT.- JFK AIRPORT/PARKING LOT- SAME Miles on a cell phone... (CONTINUED) 114. CONTINUED: MILES Jake! I don't know what's going on! The King Pin... He's here and he just got pinched. I think with the twinkies! It looks like half the police department's down here! In the BACKGROUND, a whirlwind of activity-- Red and blue flashing lights, half of the police department, Federal Agents in blue windbreakers... The King and Harlin slumped over the hood of the car, cuffed. CUT TO: INT. - THE EUCLID BAR- SAME Jake drops the phone and looks at Lupus. LUPUS What happened? JAKE (w/ the gun still in his mouth) Eee Oott Auught! LUPUS (pulling the gun out) Sorry. What? JAKE HE GOT CAUGHT! Your boss tried to pull a switch and he got us all fucking pinched! Lupus picks up the phone and dials another number... No answer. LUPUS Shit. Lupus cocks the gun and crams it back into Jake's mouth. JAKE Aaaaiiit!!! Ooopusss!! Lupus takes a newspaper off the bar and covers Jake's face with it. SLAM!!!-- Blood splatters across the front page of the Metro Section. The paper falls away revealing Jake, wide- eyed, the gun hanging from his mouth. Lupus lies in a heap at the floor. 115. CONTINUED: Jake lets the gun fall and Looks up to see Butch, standing at the door, gun in hand. Lily steps out from behind him. JAKE (V.O.) I never thanked you for that. CUT TO: EXT. BACK ALLEY- NIGHT (PRESENT) Jake runs his tongue across the front of his teeth. BUTCH You're welcome. LILY Can we please all stop being so goddamnfucking-polite and get to the point? BUTCH Right. Where's the money, Jake? Butch presses the gun against Jake's head. Jake turns and looks at Lily. They lock eyes. JAKE What do you get, Lily? Finder's Fee? Because it is all about the money, right? LILY You sold me out. You should have trusted me like I trusted you. You fucked up. You fucked up HUGE. Butch taps Jake on the head with the gun. BUTCH Alright... Turn around. She doesn't get shit, unless I get that money. Where is it? JAKE Probably safe in the hands of the Federal Government. Butch buttons his coat. BUTCH Oh, Jake. You disappoint me. And you just let Lily here down again. (MORE) (CONTINUED) 116. CONTINUED: BUTCH (cont'd) What was it you said about playing the big con? JAKE It's like putting on a play, where everyone knows their part except for the mark. BUTCH Like putting on a play... Guess some people forgot their lines. JAKE Guess so. BUTCH So why don't you take a deep breath, Jake, and I'll count to ten. One. Two. Three... As Butch continues to count, Jake slowly turns his head and looks at Lily. Butch, still counting, smiles at Lily's obvious contempt then slides the gun along the back of Jake's head. JAKE I do trust you, Lily. Butch turns back to Lily to see her reaching into her bag... BUTCH Wha- Butch spins and aims at her. Lily pulls out a gun and... BLAM!!! CUT TO: INT.- JFK AIRPORT/BATHROOM- SAME Gordo stirs on the floor of the stall, slowly getting up. Pieces of toilet paper are stuck to his face. JAKE (V.O.) Trust... CUT TO: INT.- CAR- SAME Miles gets back in the car and SCREECHES out of his parking space. (CONTINUED) 117. CONTINUED: JAKE (V.O.) It should be a four letter word. CUT TO: EXT. - BACK ALLEY- NIGHT (PRESENT) Lily drops the gun and breaks down in tears BUTCH Jesus Christ! Tell me before you do something like that! Jake lies face down in a puddle, the collected pool of water growing red with blood. POLICE SIRENS WAIL in the distance, growing closer. BUTCH You should leave. Butch disappears down the dark alley. Lily stands for a moment and takes a final look at Jake's body. She then turns and runs back into the bar. JAKE (V.O.) So I'm dead... EXT.- JFK AIRPORT/PARKING LOT- NIGHT POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm all over the parking lot. The King and Harlin are bent over the hood of the car, cuffed. One Federal Agent pulls the black suitcase out of the car. JAKE (V . O . ) But maybe I can't blame Lily. Maybe I just should have just trusted her to play her part. Because playing the big con is like putting on a play. A play where everyone knows their part except for the Mark... CUT TO: (FLASHBACK) INT.- DINER Jake sits with Lily, Miles and Gordo crammed into a booth. (CONTINUED) 118. CONTINUED: JAKE Just watch everything you say around him. Every word, every move... It all goes back to the King Pin. Get it? CUT TO: (FLASHBACK) INT.- JAKE'S APARTMENT Lily with her new red hair and the bird blouse. The crew watches Jake slowly flip out. JAKE You have no idea what you've done do you? No idea! What is this? Jake points to her hair. Lupus quietly watches, taking it all in... CUT TO: (FLASHBACK) INT.-- THE EUCLID- DAY Jake and Lily squaring off... JAKE (V.O.) You tell them the "Tale". JAKE What do you want? An apology? LILY No, I want my cut! Lupus watches quietly, taking it all in... CUT TO: (FLASHBACK) INT.- THE EUCLID/BATHROOM Lupus on the cellphone to the King... JAKE (V.O.) And like in a game of chess, you've played every possible move in your head... LUPUS You were right. He's trying to fuck you. You want it, you gotta get it at the airport... CUT TO: 119. EXT.- JFK AIRPORT/PARKING LOT- NIGHT POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm around the King Pin's car. JAKE (V.O.) Then you give them the "Blow-off". You get them off your back. Forever. The King Pin and Harlin are bent over the hood handcuffed. Rottovich and Sobozinski lie on the ground, face down, their hands behind their heads. ROTTOVICH We're on the job! We're active in the one-six. Next to them, a Federal Agent opens the suitcase. Coffee beans spill out on the asphalt, followed by the two bricks of heroin. The TWO INTERNAL AFFAIRS officers from before emerge from the crowd. IA OFFICER#1 Officers Rottovich and Sobozinski? The second Internal Affairs officer holds up a MICROCASSETTE. SOBOZINSKI Fuck me... CUT TO: (FLASHBACK) INT.- LA SCALA Jake slides a thick envelope of money to Moonan, seated across from him. JAKE (V.O.) But most of all, you need the "Fix". This time, Moonan TAKES IT. CUT TO: (FLASHBACK) INT.- THE EUCLID Jake finishing the Moonan story... JAKE That's how Special Agent Gunther Moonan and I became friends. (CONTINUED) 120. CONTINUED: Lupus nods, satisfied. CUT TO: (FLASHBACK) INT.- CUSTOMS DESK Gordo hoists the suitcase onto the desk. The Customs Officer looks around nervously. We see he's looking at Moonan in the B.G., who gives him a nod. JAKE (V.O.) Like Suits said, sooner or later someone's going to start asking the right questions. The Custom Officer waves Gordo through. Gordo reaches down and picks up an IDENTICAL BLACK suitcase already lying on the table next to his and leaves. JAKE (V.O.) Rottovich and Sobozinski would ask how the drugs got in that suitcase. The King and Gillette would ask where the money really went. Moonan walks over to the Customs Desk and takes the original black suitcase. He nods to the Customs Officer. Moonan turns and walks TOWARDS CAMERA, wheeling the suitcase behind him. JAKE (V.O.) And all of them would ask what agency Special Agent Gunther Moonan worked for. We CLOSE-IN ON THE BADGE hanging from Moonan's neck. On it is a number and the single word, "CUSTOMS". CUT TO: EXT. BACK ALLEY- NIGHT (PRESENT) RIPPING SOUNDS... JAKE (V.O.) But what do I care? I'm dead... A THIN, WHITE VEST, splattered with blood and wired with squibs falls to the ground. POLICE SIRENS WAIL just around the corner. CUT TO: (CONTINUED) 121. CONTINUED: Jake emerges from .the back alley, his shirt ripped and splattered with fake blood. JAKE (V.O.) No one's going to ask me: A black car comes to a stop n front of him. The tinted glass slides down and Jake leans in. JAKE Drop something? Inside we see Moonan and Lily riding in the back, Miles and Gordo up front. LILY (innocently) Oops. She smiles that smile. JAKE (V.O.) Redheads... Jake gets in and the car pulls away, followed seconds later by two Police Cars SCREECHING to a stop in front of the Euclid. FADE TO BLACK: THE END.