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.
