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					                         SMOKE & MIRRORS



                            Written by


                           Stuart Elms




                                                     FIRST DRAFT




Address: 43 Temair House, Tarves Way, London, SE10 9JX
Phone Number: 07801 421 425
E-mail: stuart.elms@talk21.com
TITLE: FEBRUARY, 2000

FADE IN:

EXT. OFFICE BUILDING -- DAY

People are coming and going through the doors of this
rather plush office building.

Among those going in is JAKE HARRISON -- fifty years-old
and distinguished, with a full head of grey hair -- dressed
in a blue boiler-suit, leather gloves on his hands, woolly
hat on his head and carrying a large toolbox.

INT. OFFICE BUILDING -- RECEPTION -- CONTINUOUS

The reception is alive with people signing in, meeting
colleagues, chatting etc.

Jake cheerfully approaches a sour-faced RECEPTIONIST in her
forties, perched behind the reception desk.
                     JAKE
           Hello there. Jeff Burley here to see
           to the boiler.

                     RECEPTIONIST
           Sign in with security.

She nods her head to a SECURITY GUARD -- early-thirties in
a pristine uniform -- almost standing to attention at a
wooden podium.

With a smile, Jake turns and makes his way there.

On arrival, he does not receive a warmer reception.
                     JAKE
           Hello there. Jeff Burley here to see
           to the boiler.

                     SECURITY GUARD
           There’s no record of you today.

                     JAKE
           I was here last night and you hadn’t
           been informed I was coming then, so I
           was told to come back now.

                     SECURITY GUARD
           There’s no record of you coming today.

                     JAKE
           Look, you called me out on an
           emergency call and I can’t get in to
           do my job. Twice!

                     SECURITY GUARD
           Do I have to repeat myself again?
                                                    (CONTINUED)
                                                            2.
CONTINUED:

                     JAKE
          My gaffer told me it had all been
          confirmed.

The Security Guard stares coldly at him.

                    JAKE (CONT’D)
          Could you at least just check the
          book?

After a beat, the Security Guard complies, checking an A4
book sitting on the podium in front of him.

                    SECURITY GUARD
          I didn’t write this in here.

                    JAKE
          But I’m on the list, right?

The Security Guard is beaten to a bitter submission.
                    SECURITY GUARD
          I’ll get you an escort.

                    JAKE
          I’d appreciate that.

He radios through for someone to come to the reception as
Jake waits patiently.

When he is done, he offers Jake a pen and produces a second
A4 book.

                    SECURITY GUARD
          Sign in here.
                      JAKE
          Glad to.

Jake obliges.

                    SECURITY GUARD
          What company did you say you were
          from?

                      JAKE
          I didn’t.    But it’s ABC Plumbing.

                    SECURITY GUARD
          Do you have a contractor ID to verify
          that?

Jake has finished signing in and produces a credit-card-
sized photo ID from his back pocket.

The Security Guard snatches the card and inspects it
thoroughly.
                                                            3.


INT. OFFICE BUILDING -- TENTH FLOOR -- DAY

Jake is escorted by a SECOND SECURITY GUARD -- early-
twenties and not nearly as military. They exit an elevator
and head along a corridor past rows of occupied office
desks.

                    SECOND SECURITY GUARD
          I’m afraid I don’t know what it is
          you’re looking for.

                    JAKE
          It’s a dry riser.    Looks like a
          cupboard door.

The Second Security Guard looks at him blankly.

                    SECOND SECURITY GUARD
          Sorry, it’s my first week on this
          site.
                       JAKE
          It’s okay.     I’ve been here before.

They reach the far wall and the dry riser as Jake
described.

The Second Security Guard produces a bundle of keys and
checks the tags on each. Locating the correct key, he
opens the small door.

The hatch swings open to reveal a mesh of pipes within a
tight metal structure. Jake promptly ducks inside,
sticking his head back out.

                    JAKE (CONT’D)
          I may be some time up here. If you
          want, I can come and find you
          afterwards to lock up.

                    SECOND SECURITY GUARD
          That’s okay. I’ve been told to wait
          here until you’re done.

                    JAKE
          Suit yourself.

He slings the strap of his toolbox over his shoulder and
scurries up a metal ladder enclosed in an open metal
cylinder that lies before him. It leads all the way to the
top of the building.

INT. OFFICE BUILDING -- RISER -- MOMENTS LATER

Jake is still climbing the ladder at quite a speed, hand-
over-hand. He starts to breathe hard as he reaches the
top.


                                                    (CONTINUED)
                                                            4.
CONTINUED:

Above his head, a hatch covers the ladder, a metal grid
that makes up part of the flooring. In one move, he raises
the hatch, climbs through it onto the floor and closes it
behind him.

The area he now stands in is much larger, comprising the
office’s water tanks and electrical supplies. The
machinery hums with life. The light is not natural, just
dull and artificial.

Jake pulls his woolly hat down over his face, which unrolls
into a balaclava and makes his way to a fire exit on the
far side.

On arrival, he unwraps a piece of chewing gum and starts to
chew it. After a few seconds, he sticks the gum back onto
the silver wrapper it came from and holds it above the
door. He gently rocks himself into a rhythm of one, two,
and on the three opens the door, sticking the silver
wrapper in place so as not to break the circuit and trigger
an alarm.
The open door sends a wave of bright sunlight into the area
as Jake moves outside.

EXT. OFFICE BUILDING -- ROOF LEDGE -- CONTINUOUS

Jake pushes the door to a minimal jar behind him as he
finds himself on a small ledge on the side of the top of
the building.

He instantly hits the deck, his toolbox placed next to him.
Opening it up, he produces a roll of cloth, laying that on
the floor. He unrolls it to reveal various components of a
gun, which is assembled with minimal effort and time. The
gun is a powerful rifle with a large sight fixed on top.
Jake lies flat on his stomach, his gun facing outwards. He
takes a few seconds to compose himself before taking a deep
breath and leaning in to peer through the sight.

                                                    CUT TO:

JAKE’S POV:

Through the sight of his gun lies the Millennium Wheel
across the river Thames, in full view.

With a FLASH OF BLACK, the view is reduced to a quarter of
the wheel.

With another FLASH OF BLACK, the view is now concentrated
on a single compartment. It is occupied by a JAPANESE
FAMILY -- two parents and three children, enjoying the
ride.

With yet another FLASH OF BLACK, the cross-hairs of the
sight are targeted on the FATHER, his arms around the
MOTHER.
                                                   (CONTINUED)
                                                            5.
CONTINUED:

After a couple of beats, the trigger is pulled and the
FATHER collapses in a neat pile as the bullet penetrates
the glass and hits him between the eyes.

The MOTHER and CHILDREN break into hysterics over the
lifeless body.

                                                       CUT TO:

EXT. OFFICE BUILDING -- ROOF LEDGE -- CONTINUOUS

As quickly as Jake’s gun was assembled it is disassembled
and he re-enters the building.

From this ledge, the chaos across the river can be seen as
MEN IN SUITS with ear-pieces scramble to organise
themselves at the base of the wheel. The usual crowd of
gawpers have milled around them.

INT. OFFICE BUILDING -- RISER -- CONTINUOUS
Inside the door from the roof, Jake carefully but quickly
rolls up his balaclava. Next, he takes the silver wrapper
from the contact points above the door.

Ramming them into his pocket, he heads back for the ladder,
confidently descending it rung after rung.

INT. OFFICE BUILDING -- TENTH FLOOR -- MOMENTS LATER

Jake exits the riser at the point he entered it, finding
the Second Security Guard where he left him.

                    SECOND SECURITY GUARD
          That was quick.
                    JAKE
          The gasket’s blown. I’ll need to
          order a part and send someone back
          again tomorrow.

                    SECOND SECURITY GUARD
          Isn’t that typical?

                    JAKE
          Isn’t it just.

The pair head back out the way they came in.

EXT. VICTORIA EMBANKMENT -- DAY

Jake strolls along the embankment, the Millennium Wheel and
its surrounding confusion directly across the river from
him.

Police cars and ambulances speed past as they make a sharp
turn over Westminster Bridge, to join the site of the
incident.

                                                   (CONTINUED)
                                                           6.
CONTINUED:

Jake does not once look in their direction.

As he continues to walk, he does not notice a group of
JAPANESE TOURISTS huddled by the river wall, waiting to
have their picture taken. The one with the camera is a
young lady who stands on a bench to Jake’s left, framing
the shot.

As Jake walks directly into the line of shot, she calls out
to the rest.

                    JAPANESE TOURIST
              (in Japanese)
          Smile!

This grabs Jake’s attention, and he turns his head towards
the voice. As he does, the camera goes off, straight in
front of him.

Out of instinct, Jake reaches out and snatches the camera
away from the Tourist. He desperately searches for the
film compartment, but the camera is digital -- a new oddity
to Jake. Frustrated, he drops it to the ground and takes
off at a faster pace.

The huddled group of Tourists rush to the other’s side,
comforting her and watching Jake as he disappears.

INT. POST OFFICE -- DAY

Jake stands in front of a window being served by a young
female TELLER.

Underneath the window he passes her two small bundles, both
wrapped in brown paper, one after the other. The bundles
are each addressed to separate PO boxes.
INT. TUBE CARRIAGE -- NIGHT

Jake is asleep, his head resting against a glass partition
in this rather empty carriage.

EXT. TUBE STATION -- NIGHT

Jake exits the station and his attention is suddenly
brought to a loud ‘Evening Standard’ VENDOR, plying his
trade.

                    VENDOR
          Final edition! Get your final edition!

Jake silently exchanges his money for a copy and heads off.

                    VENDOR (CONT’D)
              (to Jake)
          Thank you, sir.
              (calling)
          Last edition!

                                                   (CONTINUED)
                                                            7.
CONTINUED:

As Jake leaves and the Vendor continues to call, his
sandwich-board can be seen with the headline: ‘Japanese
Ambassador Assassinated’.

INT. QUEEN ANNE PUB -- NIGHT

Jake sits quietly in the corner of this traditional pub.
It is an old-fashioned boozer and veery homely. There is a
pint of Guinness in front of him as he sombrely reads the
paper he bought, a slight shake of his head to himself.

                                               DISSOLVE TO:

PANORAMIC VIEW OF LONDON CITY

This shot is taken from inside a carriage on the Millennium
Wheel, speeded up many times over. As it goes up, down and
around, London city can be seen changing from day to night,
to day, to night and back to day again.

Through each change the people and activities are changing
with it accordingly. Although the same large area, it
looks very different from day to night.

                                                    CUT TO:

INT. ARCADE -- DAY

This is a loud arcade, lights flashing and machines
bleeping. All kinds of games / gambling machines sit in a
large circle, a dodgems floor positioned in the middle.

FAMILIES and TEENAGERS occupy the machines / dodgems, their
fun adding no end to the noise.

Jake is sitting on a stool that faces a camel racing game.
The player must toss their ball up what is essentially a
large open pinball machine. The points they score relate
to how far their camel travels, the winner being the one
whose camel crosses the finishing line first. There is a
COMPERE who stands beside the game, commentating on the
camel’s progress through a microphone.

On the stool next to him sits a man who will be known as
BOBBY. He is in his late-thirties and his smart suit
contrasts him to Jake’s casual dress and pretty much
everybody else around them.

The two men are competing furiously through the race, the
winner eventually being someone else in the line up.

There is a break between races and Bobby turns to Jake.

                    BOBBY
          A bit archaic this game, isn’t it?

                    JAKE
          It’s a classic.

                                                  (CONTINUED)
                                                            8.
CONTINUED:

                    BOBBY
          Not interested in the modern games?

                    JAKE
          I find this more comforting.

                    BOBBY
          It’s a new millennium, Jake.   A brave new
          world out there.

                    JAKE
          Millions of people shitting themselves
          over a computer error? You call that
          brave? More like bad seventies sci-fi.

                    BOBBY
          You’re acting like a dinosaur.

                    JAKE
          Dinosaurs were very powerful animals.
          You’d do well to remember that.
                    BOBBY
          But extinction was the price they paid
          when they failed to adapt.

                    JAKE
          Can we stop talking bollocks and start
          talking business? Why are we here?

                    BOBBY
          I thought you’d never ask.

Jake rises and the pair head outside.

EXT. LONDON COUNTY HALL -- DAY
Jake and Bobby exit the County Hall, a building that has
been restored to house the London Aquarium as well as the
arcade they were previously in.

Various Tourists and Teenagers mill around the entrance
which is situated on the south bank of the river Thames.

Jake takes a seat on a bench facing the north bank, lights
a cigarette and stares across the river. Bobby joins him
moments later.

                    JAKE
          Look at that. Houses of Parliament
          and Big Ben. You know nothing is late
          unless that structure there says so.
          Behind that, Westminster Abbey. Some
          of the greatest architecture known to
          man, certainly in this country.
              (a beat)
          Hundreds of years later and what can
          mankind with its infinite technology
          create today?
                                                   (CONTINUED)
                                                          9.
CONTINUED:

Jake cranes his neck to his right and observes the awesome
Millennium Wheel.

                    JAKE (CONT’D)
          The world’s biggest Ferris wheel!

                    BOBBY
          You got something personal against the
          wheel, Jake?

                    JAKE
          Why would you say that?

                    BOBBY
          Word is you put a bullet hole through
          it some weeks ago.

Jake stares at him coldly before rising and slowly strolling
along the river, Bobby joining him by his side.

                    JAKE
          There once was a time when every crook
          in town ran off to Spain. What’d they
          do that for?

Bobby knows he is not looking for an answer.

                    JAKE (CONT’D)
          Didn’t like the weather.   What’s wrong
          with English weather?

Again, Bobby stays silent.

                    JAKE (CONT’D)
          It gets dark too early. London’s
          beautiful in the dark. Better than in
          the day. Lit up like a model town.
          What, they were cold? They could
          afford to buy a coat.

Bobby is silently agreeing to all this as the pair continue
to slowly walk.

                    BOBBY
          I understand you have a military
          background.

Jake gives a little smile.

                    JAKE
          Yeah, I was in the military for a
          while. Trained as a marksman you
          won’t be shocked to hear. Even got to
          run some special-ops in Vietnam.

Bobby gives an unbelieving look as Jake stops his walk.



                                                    (CONTINUED)
                                                         10.
CONTINUED: (2)

                    JAKE (CONT’D)
          You don’t believe me, look it up.   But
          you won’t find it in any history
          books.

                    BOBBY
          What were you, SAS?

                    JAKE
          They’re not this country’s only group
          of special forces, you know.

Jake starts to walk again, Bobby trailing behind him with a
little shake of his head as Jake stops abruptly once more.

                    JAKE (CONT’D)
          You know, London is a beautiful city.
          It’s just covered in shit.

                    BOBBY
          I couldn’t agree more.
Once again, they start to walk.

                    JAKE
          So tell me about yourself.   What are
          you? MI5? FBI, even?

                    BOBBY
          I told you. I work for the criminal
          investigation department of the
          Metropolitan police force.

                    JAKE
          CID? Since when were CID licensed to
          carry a firearm?
Bobby nervously feels the slight lump that protrudes from
the base of his spine through his suit jacket.

                    BOBBY
          We all have to do what we have to do.
          I think you’ve watched too many
          episodes of ‘The Bill’.

                    JAKE
          Yeah, that must be it.

EXT. WATERLOO BRIDGE -- BOOK FAIR -- DAY

Jake and Bobby have arrived underneath Waterloo Bridge
where a book fair is held daily. Jake absentmindedly
flicks through a few books from one of the stalls.

The National Film Theatre sits behind them. PEOPLE are
browsing the book stalls and enjoying a drink / bite to eat
in the NFT’s café that also has a seating area outside.


                                                    (CONTINUED)
                                                         11.
CONTINUED:

                    BOBBY
          We need your help, Jake.

                    JAKE
          You need my help? And if you don’t
          get it, I get shafted I suppose.

                    BOBBY
          What we know and what we can prove are
          two very different things.

                    JAKE
          Is that right?

                    BOBBY
          That’s right.

                    JAKE
          Then why should I work for you?

                    BOBBY
          Because if you don’t, you’re shafted.
          But not necessarily by us. What
          happened to you, Jake? You used to be
          the biggest shark in this town.

                     JAKE
          Too big.   I was forced to down-size.

                    BOBBY
          When your mercenaries were killed.

Jake abruptly puts down the book he was flipping through.

                    JAKE
          Don’t call them that! They were
          skilled men plying their trade.

                    BOBBY
          Either way, I think you need us now as
          much as we need you.

                    JAKE
          Things changed.     This city changed.

                    BOBBY
          That’s all I’m saying.

EXT. WATERLOO BRIDGE -- DAY

On the bridge, Jake and Bobby look down to the river.

                    JAKE
          So how’s this going to work?    I don’t
          like violence, you know.

Bobby laughs.


                                                    (CONTINUED)
                                                          12.
CONTINUED:

                    BOBBY
          What?
              (hushed)
          Jake, you kill people for a living,
          for Christ’s sake. What do you mean
          you don’t like violence?

                    JAKE
          That’s what makes me is it?    What I do
          for a living?

                    BOBBY
          We are what we do.

                    JAKE
          So is a dustman a dirty man? A waiter
          nothing but a servant? And using your
          theory, what does that make you?

                    BOBBY
          I’ll need you to report any jobs to
          me. Plus, you’ll get some extra work
          from us now and again, depending on
          our operations.

                    JAKE
          I’ll need to think about this.

                    BOBBY
          You’ve got forty-eight hours.

Bobby hands Jake a card from his pocket.

                    BOBBY (CONT’D)
          Contact me here. Arrange a meet, but
          don’t treat the line as secure.
Jake takes the card and pockets it without looking.

                       BOBBY (CONT’D)
          My advice?     Think hard about this.

Jake stares at Bobby for a beat before turning and heading
towards Waterloo Station. He doesn’t get far before Bobby
calls after him.

                       BOBBY (CONT’D)
          Jake!

Jake turns.

                     BOBBY (CONT’D)
          Who did you think you were hitting on
          the wheel?

                    JAKE
          A Triad godfather in town for the
          week.

                                                     (CONTINUED)
                                                         13.
CONTINUED: (2)

                    BOBBY
          With a wife and kids?

Jake shrugs.

                    JAKE
          There are no stereotypes in this
          business.

                    BOBBY
          He was Japanese!

                    JAKE
          Just like I said.

Jake carries on his way.   This time, Bobby does not follow.

EXT. QUEEN ANNE PUB -- NIGHT

The lights are on inside the pub, piercing out through
cracks in the drawn curtains.
INT. QUEEN ANNE PUB -- CONTINUOUS

The pub is almost empty, just a few HANGERS-ON dotted
around the bar and in the chairs.

Jake sits in the same spot as before. Remnants of Guinness
line in a glass in front of him as he sits playing with the
card Bobby gave him.

The landlord, DEREK WEAVER -- fifties but looking years
older than Jake -- starts to empty the pub. He makes a
round of his premises, directing his speech from person to
person.
                    DEREK
          Thank you, gentlemen. Your custom is
          truly appreciated, but it is time to
          take that winding road home. Don’t
          feel too bad though, I’m sure I’ll see
          most of you first thing tomorrow.

As he makes his round, the Hangers-on one by one make their
exit with a grumble. Derek never once directs himself
towards Jake, who does not move.

Derek finishes his round by the door as the last Hanger-on
leaves. It is bolted and he turns back to behind the bar.

On arrival, he is met by Jake on the other side, who takes
a seat on a stool, the card still in his hand. Without
saying a word, Derek pours him another Guinness, placing it
on the bar.

Jake takes a sip of his pint and lights a cigarette. As he
does, Derek comes back around the bar, sits on the stool
beside Jake and lights one of his cigarettes.

                                                   (CONTINUED)
                                                          14.
CONTINUED:

The pair sit in silence for a moment.

                      DEREK (CONT’D)
            Do you think this guy’s legit?

                      JAKE
            I don’t know, Del. I don’t know who
            to trust these days.

                       DEREK
            Just don’t go making any rash
            decisions.

He clasps a hand on Jake’s shoulder.

                       DEREK (CONT’D)
            Use that head that’s been put on your
            shoulders.

Jake smiles at him.
                      DEREK (CONT’D)
            I’m beat. The cleaning can wait until
            tomorrow. You alright switching the
            lights out?

                      JAKE
            I’m sure I can manage it.

                      DEREK
            Then I’ll say goodnight.    Think hard
            and sleep well.

He rises.

                      JAKE
            ‘Night, Del.

Derek heads back around the bar and through a door that
takes him upstairs.

Meanwhile, Jake takes another slug of his drink and
continues to stare at the card.

INT. QUEEN ANNE PUB -- LATER

Jake is switching off various lights in the pub.

After the last one, he opens a corner door that holds a
dartboard, revealing a set of stairs which Jake descends.

INT. QUEEN ANNE PUB -- JAKE’S ROOM -- CONTINUOUS

The stairs lead to a single room and Jake enters.

It is small and rather bare, the only furnishings a bed and
sink. The walls hold a handful of military memorabilia,
mostly photographs.

                                                     (CONTINUED)
                                                           15.
CONTINUED:

Jake crosses to one photograph -- a younger shot of himself
and two others. They are on a beach, having just climbed
from a small canoe, and all three look tired, dressed in
plain black combat fatigues.

He places the card in a corner of the frame and promptly
lies back on his bed.

EXT. SOHO -- GOLDEN SQUARE -- DAY

Bobby sits on a bench in the square park. TOURISTS and
OFFICE WORKERS are enjoying their lunches in the sun all
around him.

He checks his watch and looks around. Not finding what
he’s looking for, he settles back down and looks ahead.

There, sitting alone on a bench on the opposite side of the
park is Jake.

After the pair stare at each other for a beat, Jake beckons
him over with a flick of his head. Bobby complies.

On arrival, Bobby takes a seat next to Jake, not looking at
him directly. This continues throughout the conversation.

                    BOBBY
          I’m glad you arranged this meet.   So
          you’re interested in some work?

                    JAKE
          Why else would I be here?

                    BOBBY
          You know, London’s no different from
          any other city. Organised crime is a
          big problem. The criminals nearly
          always manage to escape the law.

                    JAKE
          Forgive me for being blunt, but what’s
          the job?

                    BOBBY
          You ever tried to catch a Triad in
          Chinatown, Jake?

Bobby turns his head to look at him for the first time.

                    BOBBY (CONT’D)
          I’m not making a joke.

                                                    CUT TO:

EXT. CHARING CROSS ROAD -- HELICOPTER’S POV -- CONTINUOUS

The shot is seen through a helicopter that buzzes over
Charing Cross Road.

                                                   (CONTINUED)
                                                           16.
CONTINUED:

The shot zooms into three young TRIADS standing under the
arches of a short parade of shops.

A VOICE crackles throughout.

                    VOICE
          Ground One, this is Bird Two.   Targets
          are in position.

Just then, the three Triads are joined by a SHIFTY LOOKING
MAN in his early twenties.

The group break as two of them stand as look-out and the
third leads the Man to the back of the pillars.

                    VOICE (CONT’D)
          Contact has been made. All units,
          stand by.

After just a few seconds, the Man emerges and heads away
from the Triads as they re-group.
As the Man leaves them behind, he runs a hand through his
hair.

                    VOICE (CONT’D)
          That’s the signal. All units go.
          Repeat, all units go.

Before he has finished talking, an undercover CID car
screeches to a halt in front of the three Triads, the blue
light on top flashing.

The Triads make a break for it, one hurtling over the
bonnet of the car as they make a dash down Charing Cross
Road.
Two more undercover CID cars pull up to the scene.   Several
officers exit, Bobby among them.

They all give chase to the fleeing Triads as they turn
right into Chinatown.

EXT. CHINATOWN -- CONTINUOUS

Bobby leads the chase, the Triads just in front. They turn
corner after corner, but Bobby keeps track, yelling at
people to move out of his way.

The Triads split, and Bobby chooses one to carry on
chasing, pointing in the directions the others went for the
following officers behind him.

The Triad he is chasing rounds another corner and into a
narrow alleyway where he slips through a back door.

Bobby spies where he went and is through the same door just
seconds later.
                                                         17.


INT. CHINESE RESTAURANT -- KITCHENS -- CONTINUOUS

Bobby comes hurtling through the door, into the kitchens.

He stops dead in his tracks as he is met with a wall of
steam, in the middle of which are many CHEFS, all Chinese.

Matters are not helped by the HEAD CHEF -- a middle-aged,
short, bald Chinaman -- approaching him wielding a meat
cleaver and screaming in Cantonese.

                                                     CUT TO:

EXT. SOHO -- GOLDEN SQUARE -- DAY

Bobby and Jake are as before.

                    BOBBY
          They’re not a real threat. They get
          no money from the mother country so
          they mostly operate from petty crime.
          This keeps them small.

                    JAKE
          You’re not after the Yardies, are you?
          I don’t want anything to do with them.

                    BOBBY
          Don’t worry, it’s not them. Believe
          it or not, their bark is actually
          worse than their bite. It’s just a
          very loud and even scarier bark.

                      JAKE
          Then who?    The Italians?
                    BOBBY
          The Italians still make more money
          legit than they ever did illegally.

                    JAKE
          Which leaves?

                    BOBBY
          Which leaves our current number one
          threat. The Russian Mafia.

                    JAKE
          The Russians? Since when?

                    BOBBY
          They’ve found a niche market.   A new
          fund of income.

                      JAKE
          Which is?

                    BOBBY
          Forging currency.
                                                    (CONTINUED)
                                                          18.
CONTINUED:

                    JAKE
          Whose?

                    BOBBY
          Europe’s. Since the mass introduction
          of the Euro, people are easily
          confused by counterfeit notes.

                    JAKE
          But it’s a brand new currency. It’s
          got to be the hardest to forge.

                    BOBBY
          Oh, it is. The Russian’s money wouldn’t
          get past a bank in Europe. But the
          regular public can’t tell the difference.
          Like you said, it’s brand new to them.
          And with the Irish about to change,
          there’s a whole new market opening up to
          them over the water.
                    JAKE
          So what’s the job?

                    BOBBY
          All future correspondence will be sent
          here. This is the last time we’ll
          meet in public.

Bobby hands Jake a small piece of paper. He takes one
quick glance before producing a lighter and setting fire to
it, staring into the flame.

                                                  DISSOLVE TO:

EXT. BANK -- DAY
Jake arrives outside and strolls into the bank.

INT. BANK -- ROOM OF SAFETY DEPOSIT BOXES -- DAY

From an open safety deposit box, Jake produces an A4 manila
envelope.

                    BOBBY (V.O.)
          The target is a man called Pavel,
          Pasha to his friends.

Jake pulls out a stack of papers from the envelope. On top
is a large photograph of Pavel -- Slavic, mid-thirties. It
has clearly been blown up from footage taken by a CCTV
camera.

                    BOBBY (V.O.)
          He’s the bag man, but don’t
          underestimate him. There’s a reason
          he’s on this job.


                                                     (CONTINUED)
                                                          19.
CONTINUED:

                    JAKE (V.O.)
          How many of them will there be?

                    BOBBY (V.O.)
          He works alone. And he’s good.

                    JAKE (V.O.)
          Where will I find him?

EXT. THE STRAND -- DAY

A bus pulls to a stop at a set of traffic lights. From the
back hops Pavel, suited and booted with briefcase in hand.

He turns down Villiers Street and heads down the hill
towards the river.

Through this:

                    BOBBY (V.O.)
          He’ll be on the two o’clock ferry to
          Canary Wharf from Embankment Pier.

                      JAKE (V.O.)
          And then?

                    BOBBY (V.O.)
          DLR to Lewisham.

EXT. VILLIERS STREET -- CONTINUOUS

From the top of the hill, Pavel passes the steps that lead
to Charing Cross station. Sitting on those steps is Jake.

As he passes him, Jake picks up the tail, following him
towards the river.
                    JAKE (V.O.)
          What’s in the briefcase?

                      BOBBY (V.O.)
          A plate.    For printing notes.

                      JAKE (V.O.)
          Just one?

                    BOBBY (V.O.)
          One of two. They travel separately.
          The first went yesterday.

                      JAKE (V.O.)
          Why?

                    BOBBY (V.O.)
          In case of interception. One plate’s
          no use to any rival. They can’t make
          money from it.


                                                  (CONTINUED)
                                                        20.
CONTINUED:

                    JAKE (V.O.)
          They could sell it back to the
          Russians.

                    BOBBY (V.O.)
          Too risky. Everyone likes their
          business clean over here.

                    JAKE (V.O.)
          Why are the plates being moved?

                    BOBBY (V.O.)
          They ship them from country to
          country. It’s been in the city a
          while now and they’re ready to send it
          to the next destination.

                    JAKE (V.O.)
          Which is where?

                    BOBBY (V.O.)
          We don’t know yet.

                    JAKE (V.O.)
          Is Interpol involved?

                    BOBBY (V.O.)
          We’re keeping them up to speed.   More
          or less.

                    JAKE (V.O.)
          Should I expect any company?

EXT. EMBANKMENT PIER -- CONTINUOUS

Pavel has made it onto the boat. Jake follows behind. Not
long after he boards, the mooring rope is tossed clear and
the boat gently pulls away down the river.

                    BOBBY (V.O.)
          I told you, he travels alone until he
          reaches Lewisham.

                    JAKE (V.O.)
          I meant from other rivals.

                    BOBBY (V.O.)
          Like I said, the first plate was
          successful. There’s no reason for any
          outside interest today.

                    JAKE (V.O.)
          What’s your source?

                    BOBBY (V.O.)
          I can’t disclose that information.
          But I assure you, it’s reliable.


                                                   (CONTINUED)
                                                         21.
CONTINUED:

                    JAKE (V.O.)
          Well that’s just fucking great.

                    BOBBY (V.O.)
          Sorry, Jake. That’s the way it is.

EXT. CANARY WHARF MOOR -- DAY

The boat has docked and the PASSENGERS are exiting. Pavel
is among them, still carrying the briefcase. Jake follows
close behind as they head away from the river.

                    JAKE (V.O.)
          Do you want him dead?

                    BOBBY (V.O.)
          Either way, I want that briefcase.

                    JAKE (V.O.)
          Where’s the pick-up?
                    BOBBY (V.O.)
          Leave it in the safety deposit box for
          collection at noon the following day.
          It will be replaced with the remainder
          of your fee. You can access it at any
          time after that.

EXT. FORECOURT OF OFFICES -- DAY

Jake is still tailing Pavel as they arrive in a forecourt
surrounded by offices.

Jake quickens his pace and marches alongside Pavel as they
bank one of the buildings.
Suddenly, in one move, Jake grabs Pavel, kicks a door into
the building next to them and hurls Pavel through it. It
is all over in the blink of an eye.

INT. OFFICE BUILDING -- STAIRWELL -- CONTINUOUS

The pair have landed in a stairwell of the office building.
Pavel lies completely still on his front before Jake, the
briefcase on the floor beside him. Jake hoists him up and
sticking the barrel of a gun into his back, frog-marches
him down the stairs. Pavel complies with no struggle as
Jake grabs the briefcase from the floor.

INT. OFFICE BUILDING -- UNDERGROUND CAR PARK -- CONTINUOUS

Jake thrusts Pavel through a door at the bottom of the
stairs that leads to the underground car park.

Pavel tries to turn to face him, but Jake spins him back
round. He continues to frog-march him into a corner of the
car park behind a pillar.


                                                   (CONTINUED)
                                                          22.
CONTINUED:

With his gun still trained on him, Jake turns Pavel round
to face him.

                    PAVEL
              (in Italian; calmly)
          The case is useless without me.

Jake replies just as calmly.

                    JAKE
          No hablo Espanola.

Pavel is clearly surprised.

                    PAVEL
          You are not Italian?

                     JAKE
          Italian?   Why should I--

Jake is cut short as a bullet tears into Pavel’s neck,
sending him to the deck in a gurgling pile of blood.

Shocked, Jake turns round in a flash, only to be met with a
blunt heavy object being swung hard into his forehead.

                                                     CUT TO:

BLACK SCREEN

Through the black is a rhythmic bumping sound.

After a few moments, a Zippo lighter is struck. It barely
illuminates the scene, but shows enough to see that Jake is
bundled up in the boot of a car.
He takes a moment to absorb his surroundings before lashing
out with his feet into the far corner of the boot. After a
few strikes, a hole is made as Jake has kicked his way
through the rear lights. This sends a dull ray of light
into the boot so Jake extinguishes his lighter.

Wincing, Jake puts a hand to his head.   He pulls it back to
reveal blood over his fingers.

He reaches to the hole he just made and fumbles around,
tugging hard at a row of exposed wires.

Finally, he finds what he is looking for and manages to
break the locking wire to the boot. With it, the boot
sharply springs open, revealing Pall Mall at sunset as Jake
is hit with a sudden rush of fresh air.

INT. CAR -- MOVING -- CONTINUOUS

Driving along Pall Mall is a man to be known as FORTUNATO --
a heavy-stocked Italian in his early thirties and dressed
in a sharp, pin-striped suit. His English is perfect, but
speaks with more than just a trace of an Italian accent.
                                                   (CONTINUED)
                                                           23.
CONTINUED:

The briefcase sits on the back seat.

Fortunato glances into his rear-view mirror and sees that
the boot is open.

                    FORTUNATO
          Shit!

He hits the brakes and crudely pulls the car to the side of
the road, immediately jumping out.

EXT. PALL MALL -- CONTINUOUS

Jake is running away from the car, into Saint James’s Park.
They are the only car on the Mall.

Casually, Fortunato reaches inside his suit jacket and
produces a large, gleaming handgun. He proceeds to fire
three shots into the air.

This spooks Jake, who instantly dives for cover behind a
bush. Fortunato takes a few paces forward, training his
gun on the bush Jake took refuge behind.

Behind it, Jake frantically searches for his own weapon.

                    FORTUNATO
          Hey, l’amico! I expect you’re looking
          for this right about now.

With his spare hand, Fortunato reaches into the back of his
trousers and produces Jake’s own gun.

Jake does not have to look.    He knows what he is holding.

                    JAKE
              (to himself)
          Fuck!

                    FORTUNATO
          Why don’t you come out so we can talk?

There is no movement.

                    FORTUNATO (CONT’D)
          If I wanted you dead, you would be at
          the bottom of the river by now.

Still, Jake does not move.

                    FORTUNATO (CONT’D)
          Okay, here’s your options. One, I
          wait for you to move and shoot you
          dead. Two, I just shoot you dead
          right now through that fucking bush.
          Or three, just me and you go to my car
          and have a chat.
              (a beat)
          You can sit in the front seat?
                    (MORE)
                                                    (CONTINUED)
                                                            24.
CONTINUED:
                    FORTUNATO (CONT’D)
              (a beat)
          Come on, I’ll buy you a cappuccino.

After a moment, Jake emerges from behind the bush with his
hands behind his head. Fortunato continues to train his
gun on him.

                    FORTUNATO (CONT’D)
          That’s good. Very good.

The pair back towards the car as Fortunato encourages Jake.

                    FORTUNATO (CONT’D)
              (half a smile)
          I see you have done this before!

And with that, the pair enter the car.

INT. CAR -- CONTINUOUS

Jake and Fortunato take a second to relax themselves. To
help matters, Fortunato passes Jake a cigarette, lighting
it for him before lighting his own and taking a long drag.

                    FORTUNATO
          You are in no danger, fratello.

Fortunato hands Jake the handle of his gun.   He takes it
and checks it -- it is still loaded.

                    FORTUNATO (CONT’D)
          Here.

He hands Jake a clean handkerchief from his breast pocket.
Jake stares at him for a beat, but then Fortunato points to
his own forehead.
                     JAKE
              (taking it)
          Thank you.

They sit in silence for a moment, smoking.

                    FORTUNATO
              (turning to him)
          So who are you, man?

                    JAKE
          Jake.

                    FORTUNATO
              (surprised)
          Okay. Fortunato.

He extends his hand and they shake.

                    FORTUNATO (CONT’D)
              (smiling)
          So who are you, man?
                                                   (CONTINUED)
                                                         25.
CONTINUED:

                    JAKE
          How do you mean?

                    FORTUNATO
          I mean, who are you working for? Not
          for us, and not for the Russians.

                    JAKE
          Who are you?

                    FORTUNATO
          You have to ask?

                      JAKE
          Italian.

                      FORTUNATO
          Bingo.

                    JAKE
          What am I doing here, Fortunato? You
          gonna kill me or let me go? Either
          way, I could use the rest.

Fortunato smiles and jams his cigarette into the corner of
his mouth. Turning the key, he guns the engine.

                    FORTUNATO
          My employer needs to see you.

The car pulls away.

EXT. ITALIAN CAFE -- NIGHT

Fortunato’s car pulls to a stop outside the café.
INT. FORTUNATO’S CAR -- SAME TIME

Fortunato kills the engine.

                    JAKE
          Is this it?

                    FORTUNATO
          This is it. Come on.

The pair exit the car.

INT. ITALIAN CAFE -- MOMENTS LATER

Fortunato and Jake enter the empty café.   The decor has not
been touched in many years.

                    FORTUNATO
          Take a seat here.

He points to a table beside them and Jake sits down as
Fortunato goes to a bar on the far wall.

                                                    (CONTINUED)
                                                         26.
CONTINUED:

Once there, he hands a briefcase over the bar to a dressed-
up WAITER, then lights a cigarette.

Seconds later, an elderly gentleman, MISTER TOTTI -- sixty
with pure white hair -- enters through a bead curtain from
the back rooms. He walks with a cane and goes straight to
Jake’s table, sitting opposite him.

Fortunato follows, joining them at the table but not
sitting. Mister Totti and Jake sit staring at each other
dead in the eye before Fortunato breaks the silence.

                    FORTUNATO (CONT’D)
          Signor Totti, this is Jake Harrison.
          Jake, this is Signor Totti.

The pair acknowledge each other with a nod of the head
rather than a shake of hands.

                    MISTER TOTTI
          Mister Harrison, I think it is fair to
          say that you have well and truly
          fucked my plans.

Jake takes this in.

                    JAKE
          Well, I’m sorry if I--

                    MISTER TOTTI
              (cutting in)
          What were you doing there?   What use
          is this briefcase to you?

                     JAKE
          To me?   Nothing.   To my employer,--
                    MISTER TOTTI
              (cutting in)
          Who is your employer?

                       JAKE
          Excuse me?

                    MISTER TOTTI
          Who paid you to do what you did?

Jake produces a cigarette and gestures to Mister Totti if
he minds him smoking. Mister Totti waves a hand of
approval so Jake lights up.

                    JAKE
          I was given the job by a detective
          from the Met.

                    MISTER TOTTI
          An officer of Her Majesty’s Police paid
          you to kill a civilian?

                                                    (CONTINUED)
                                                        27.
CONTINUED: (2)

Jake shrugs, sitting back in his chair with his cigarette.

Mister Totti runs a hand through his hair and sighs.

                    MISTER TOTTI (CONT’D)
          Let me paint a picture for you, so you
          know the situation you have put me in.
              (a beat)
          Pavel was not handing the bag to his
          contact. He was handing it to one of
          my men who had taken care of the
          contact. When the bag went missing,
          Pavel, a most trusted employee, could
          protest natural innocence and the
          Russians would believe they’d been
          double-crossed. But now--

He clenches his fist.

                    MISTER TOTTI (CONT’D)
          Now it stinks of outside conflict.
          And guess who the Russians will be
          pointing the finger at?

                    JAKE
          What concern is this of mine?

                    MISTER TOTTI
          I will now need some extra protection.

                    JAKE
          And where do I fit in?

                    MISTER TOTTI
          I want you to give it to me.
                    JAKE
          You’re holding me hostage to protect
          you?

                    MISTER TOTTI
          Nobody’s holding you hostage, Mister
          Harrison. You are free to leave
          whenever you wish. I want to employ
          you to protect me.

                    JAKE
          What is this, a job interview?

                    MISTER TOTTI
          It’s a proposition. You’ll be working
          alongside Fortunato here. I’m open to
          discuss your fee.

Jake is somewhat bemused.

                    JAKE
          I’m going to need some time over this.

                                                   (CONTINUED)
                                                          28.
CONTINUED: (3)

                    MISTER TOTTI
          Of course. You have until this time
          tomorrow. Meanwhile, Fortunato will
          drive you to wherever you need to go.

Fortunato nods towards Jake.

                    MISTER TOTTI (CONT’D)
          Until then, I bid you adieu, and
          eagerly await your decision.

Mister Totti rises and leaves the table as Jake stands and
exits the café with Fortunato.

EXT. ITALIAN CAFE -- CONTINUOUS

Fortunato and Jake head for the car.

                    JAKE
          Well that was a surprise. So what’s
          he like to work for, your boss?
                    FORTUNATO
          He’s not my boss, he’s my employer.

Fortunato unlocks the driver’s door of the car.

                    FORTUNATO (CONT’D)
          So where are we heading?

EXT. BANK -- MORNING

Bobby arrives outside the bank, duffel bag in hand,
flicking away a cigarette as he enters.

INT. BANK -- ROOM OF SAFETY DEPOSIT BOXES -- LATER
Bobby puts his duffel bag on the floor beside him and opens
the safety deposit box.

As soon as it is open, he slams it shut again. Blatantly
not happy, he shakes his head, fuming. After a few
seconds, he opens the door once more.

From inside the safety deposit box, he produces a plain
envelope. Tearing it open, a key falls into his hand, a
number on the ring and the words ‘Victoria Train Station’.

INT. VICTORIA TRAIN STATION -- DAY

Bobby is at the station’s lockers and locates the
corresponding number to his key.

As soon as he opens the locker, a ringing noise comes from
within. It is from a mobile phone sitting on the top
shelf, which Bobby answers immediately.



                                                     (CONTINUED)
                                                          29.
CONTINUED:

                    BOBBY
              (into phone)
          Where’s the fucking case, Jake?

                    JAKE
              (from phone)
          Meet me upstairs in the foodcourt.

INT. VICTORIA TRAIN STATION -- FOODCOURT -- DAY

Bobby ascends the escalators to the busy foodcourt.

As he reaches the top, he searches the seats. Sitting in
the far corner at a two-person table is Jake, who
acknowledges him with a short nod.

Bobby takes a seat opposite him.   In each place is an
unwrapped burger and drink.

                    BOBBY
          I told you we’d never meet in public
          again.

                    JAKE
              (off food)
          Act like we’re eating together.     Nice
          and casual.

Bobby picks up the top of his burger bun, inspecting it
with a look of contempt.

                       BOBBY
          It’s cold.

                    JAKE
          I’ve been waiting for you.
He inspects it further.

                    JAKE (CONT’D)
          Actually, it was there when I got here.

Bobby slams the bun back down on the table.

                    BOBBY
          Where’s the fucking case, Jake?

                    JAKE
          I don’t have it.

                    BOBBY
          I don’t fucking believe this! Your
          first job and you got greedy already!

                    JAKE
          I’ve had a job offer.



                                                     (CONTINUED)
                                                      30.
CONTINUED:

                   BOBBY
         What? Are you trying to double-cross
         me, you piece of shit?

                   JAKE
         I’ve got nothing to double-cross you
         with. I don’t have the case.

                   BOBBY
         Then who has?

                   JAKE
         The Italians.

                   BOBBY
         You sold it to the Italians?

                   JAKE
         I didn’t sell it, they stole it.

                   BOBBY
         Was it the right case?

                   JAKE
         Of course it was the right case.

                   BOBBY
         Did you look inside?

                    JAKE
         No.

                   BOBBY
         Then how do you know it was the right
         case?
                   JAKE
         Because it was the only fucking case!

                   BOBBY
         This doesn’t make sense.

                   JAKE
         Either way, it’s the way it is.

                   BOBBY
         What was the job offer?

                   JAKE
         Protection.

                   BOBBY
         Protecting what?

                   JAKE
         Protecting who.    A Mister Totti.

                    BOBBY
         Totti?   Never heard of him.
                                                 (CONTINUED)
                                                        31.
CONTINUED: (2)

Bobby thinks to himself.

                       JAKE
          Well?

                       BOBBY
          Well what?

                    JAKE
          Should I take it?

                    BOBBY
          The job? I don’t know. It’s all
          happening a bit sooner than I thought.
          When does he need to know by?

                    JAKE
          This evening.

INT. ITALIAN CAFE -- DAY
Jake and Mister Totti are sat facing each other. They are
interrupted by a knock on the front door which is opened by
a SUITED GOON from the inside.

Fortunato enters through the door. Immediately seeing the
scene, he does not interrupt further. Instead, he lights a
cigarette as he hangs alone by the back bar.

                    MISTER TOTTI
          Your answer pleases me, Mister
          Harrison. You will start work first
          thing tomorrow morning.

                    JAKE
          I look forward to it.
He reaches across the table and the pair shake hands.

                    MISTER TOTTI
          Fortunato will brief you on your first
          assignment.

With that, he stands and leaves through the back as Fortunato
joins Jake with a smile.

                    FORTUNATO
          Welcome aboard, l’amico.

The pair shake hands.

                    FORTUNATO (CONT’D)
          Come on, I’ll fill you in for
          tomorrow.

They head to the front door.



                                                   (CONTINUED)
                                                         32.
CONTINUED:

                    FORTUNATO (CONT’D)
          You know, I knew you were a smart man.
          That’s how I knew you’d take this job.

INT. FORTUNATO’S CAR -- DAY

Fortunato and Jake climb into the stationary car, slamming
the doors behind them.

                    JAKE
          So what’s tomorrow?

                      FORTUNATO
          Tomorrow?    Tomorrow’s July third.

                    JAKE
          Is that a special day?

                    FORTUNATO
          It is for the Totti family.   It’s the
          day Senora Totti died.
                    JAKE
          His mother?

                    FORTUNATO
          His wife. Pancreatic cancer.    Seven
          years ago, now.

                    JAKE
          So why am I here?

                    FORTUNATO
          Every year, Signor Totti holds a
          memorial service at the church she’s
          buried. We’re his security.
                    JAKE
          What makes him need security?

                    FORTUNATO
          It’s one of the few days of the year
          he’s actually out in public.

                    JAKE
          A bit paranoid, is he?

Fortunato smiles and checks his rear-view mirror as he
starts the engine.

                    FORTUNATO
          He’s how you would say--
              (thinks)
          --a paranoid recluse.

He pulls the car onto the road.

                    JAKE
          So what’s the setup?
                                                          33.


EXT. COUNTRY CHURCH -- DAY

The landscape is filled with fields as far as the eye can
see. In the middle of the scene sits an ancient stone
church with quite a large graveyard in the rear.

                    FORTUNATO (V.O.)
          Here’s how it works.

The church bell loudly begins to strike twelve.

                    FORTUNATO (V.O.)
          At noon they arrive. Three cars.
          Mostly family, some close friends.

Two large iron gates rest at the foot of the cobbled path
that runs to the doors of the church. Outside these gates,
a convoy of three limousines rolls to a stop.

From the door of the church exits Fortunato and Jake. Both
dressed in black suits, they stand outside the door with a
serious demeanour.

Fortunato nods to the front of the first limousine. The
DRIVER, also in black suit, opens the passenger door.

From the limousine pours Mister Totti, flanked by his
daughter, NATALIA -- late twenties and slender -- and other
MOURNERS, all dressed appropriately.

Mister Totti and Natalia lead the slow march down the
cobbled path to the church.

                    FORTUNATO (V.O.)
          Our job is to cover the parameter.
                    JAKE (V.O.)
          Do you think there’ll be any heat?

                    FORTUNATO (V.O.)
          In that church? You’ll get a
          haemorrhoid from those benches.

                    JAKE (V.O.)
          From the Russians.

                    FORTUNATO (V.O.)
          The Russians? No, this whole business
          the other day was unfortunate. But I
          don’t think they’ll make a move
          tomorrow. It’s too soon, there’s not
          enough time to plan.
              (a beat)
          But, Signor Totti. He’s--

Fortunato trails off, thinking.

                    JAKE (V.O.)
          A paranoid recluse.
                                                  (CONTINUED)
                                                           34.
CONTINUED:

                     FORTUNATO (V.O.)
          Exactly!

By this time, Jake and Fortunato have stood to one side and
let most of the party of Mourners through the doors.

Fortunato follows the last one through, closing them behind
him. Jake waits outside.

EXT. COUNTRY CHURCH -- GRAVEYARD -- DAY

Mister Totti stands with a weeping Natalia at the foot of a
rather elaborate headstone. The rest of the Mourners stand
behind them. A PRIEST is saying a few words in Latin,
reading from a book. Fortunato and Jake are standing one
either side, each several feet away, keeping a constant eye
on the surroundings.

Suddenly, something catches Jake’s eye in the distance. At
the back of the graveyard is an open field covered in grass
that grows four feet tall.
It is in this grass that Jake is watching. After a few
moments, he catches Fortunato’s eye and nods with his head
towards the area.

After a beat, the pair move towards the back field,
flanking either side and slowly coming together. Jake,
slightly in front, reaches the fence that splits the
graveyard from the field. He stops and raises a clenched
fist to Fortunato behind him who also comes to a halt.

Turning his head, he gestures a ‘V’ sign, one finger
pointing to either eye, then points towards the area he is
concerned about.
Listening closely, he hears the sound of metal on metal.
Next, he puts his index-finger up and circles it in the air
before clenching his fist and pulling it down.

The pair split again and climb over the short fence, each
slowly closing in on the targeted area.

A few feet away, Jake stops dead in his tracks and
Fortunato does the same. He slowly pulls a gun from the
waistband of his trousers and points it down towards the
ground. Seeing this, Fortunato also follows suit again.
They have the area covered.

                    JAKE
              (calmly)
          Put the gun down and stand up with
          your hands on your head.

All of a sudden, a very alarmed face springs up from the
grass, looking like a rabbit caught in headlights. He is
dirty, middle-aged, and wears an old flat cap.

After a beat the man stands, bolting away from the pair.
                                                  (CONTINUED)
                                                           35.
CONTINUED:

Jake quickly reacts and it only takes him a few seconds to
catch and bundle him to the ground, landing on his front.

He stands over him, gun drawn and screaming his demands.

                       JAKE (CONT’D)
          Roll over!     Do it! Now!

Turning over, the man is dressed in an old pair of trousers
and jumper, tattered finger-less gloves grasping a shotgun
to his chest. This man is a POACHER.

                    JAKE (CONT’D)
          Drop the gun! Drop it!

                    POACHER
          Don’t shoot! Please! I was just after a
          rabbit or two. Maybe a pheasant.

                    JAKE
          Drop the fucking gun!    Do it!
                    POACHER
          Please don’t take my gun!    It’s all
          I’ve got!

                    JAKE
          Drop it now, or you die here!

The Poacher tosses his gun, covering his face with his hands.

                    POACHER
          Don’t shoot, please don’t shoot!

Jake kicks the shotgun away and continues to stand over
him, gun drawn.
From behind comes Fortunato.

                    FORTUNATO
          Hey, Jake. It’s over.     He’s just a
          fucking poacher, man.

Jake starts to calm down, breathing heavily. As he lowers
his gun, he turns to the graves and sees the whole group of
Mourners staring across at him.

Lowering his head, Jake slowly starts to control his
breathing as he stares at the ground.

INT. MISTER TOTTI’S HOUSE -- STUDY -- DAY

Mister Totti sits behind an oak desk smoking a cigar in his
elaborate study. Hundreds of books line the walls, sitting
on oak shelves. Just from this one room, it is clearly
situated in a grand house.

A knock comes from the door and Jake’s head pokes around
the corner.
                                                  (CONTINUED)
                                                        36.
CONTINUED:

                    JAKE
          You wanted to see me, Mister Totti?

Mister Totti waves him inside.

                    MISTER TOTTI
          Mister Harrison, please--

He gestures towards the empty chair opposite him and Jake
takes a seat.

                    JAKE
          I’m sorry for disturbing the
          ceremonies at the grave, Mister Totti.
          I’d like to apologise--

                    MISTER TOTTI
              (cutting in)
          Apologise? Please. Mister Harrison,
          you were doing what I was paying you
          to do. Any man with a gun that close
          to me, and I want to know about it.

                    JAKE
          I’m happy that you see it that way.

                    MISTER TOTTI
          What other way is there to see it?

He picks up a wooden box, offering it to Jake.

                       MISTER TOTTI (CONT’D)
          Cigar?

                    JAKE
          No, thank you.
                    MISTER TOTTI
          Mister Harrison, I was very happy with
          your work today. You met and rose
          above my expectations.

                       JAKE
          Thank you.

                    MISTER TOTTI
          I was hoping that you would like to
          continue your employment here.

                    JAKE
          By all means. As long as you have
          work for me.

                    MISTER TOTTI
          Excellent! So how are you enjoying
          the festivities, Mister Harrison--
              (thinks)
          --May I call you Jake?

                                                   (CONTINUED)
                                                          37.
CONTINUED: (2)

                    JAKE
          By all means.

                    MISTER TOTTI
          So how are you enjoying the festivities,
          Jake?

                       JAKE
          Very nice.     Under the circumstances,
          of course.

                    MISTER TOTTI
          Today, we mourned the death of a very
          special woman. Tonight, we celebrate
          her life. Please, go and mingle.
          Enjoy. Have some fun.

Jake rises.

                    JAKE
          Thank you very much, Mister Totti.
He extends his hand and they shake.

                    JAKE (CONT’D)
          You have a very beautiful home.

                       MISTER TOTTI
          Thank you.

Jake turns and quietly leaves the room as Mister Totti sits
back in his chair, a happy man.

INT. MISTER TOTTI’S HOUSE -- LIVING ROOM -- CONTINUOUS

Jake exits the study and into this unconventional living room
that like the rest of the house is large and elaborate.

Right now, it is host to a grand buffet. The Mourners from
the church mill around, chatting, eating and drinking.
They are joined by a number of other GUESTS.

As Jake enters, Fortunato is there to greet him, clasping
an arm around his shoulder.

                    FORTUNATO
          You did good work today, my friend.

                       JAKE
          So I hear.

                    FORTUNATO
          Come. I’ll introduce you to people.
          You hungry? You want to get some
          food? You thirsty?

The pair have found there way to the buffet table where
they run into Natalia. Jake stops dead in his tracks as he
really sees her for the first time.
                                                     (CONTINUED)
                                                          38.
CONTINUED:

                    FORTUNATO (CONT’D)
          Natalia, this is--

                    NATALIA
              (cutting in)
          You must be Jake.

She extends her hand and they shake.

                    NATALIA (CONT’D)
          My father and Fortunato have talked so
          much about you.

Jake is momentarily lost for words.    It is obvious that he
is staring.

                     FORTUNATO
          Okay!   Let’s move on.

He bustles Jake away as Natalia watches them leave, a wry
smile on her face.
                    FORTUNATO (CONT’D)
              (hushed)
          Hey, remember who she is. That’s
          young Senora Totti.

                     JAKE
          What?   Can’t a guy look?

                    FORTUNATO
          Yeah, just keep those eyeballs in your
          head. You old dog!
              (calling)
          Hey, Jimmy!
Fortunato ushers Jake towards the next person to meet.

EXT. MISTER TOTTI’S HOUSE -- GARDEN -- NIGHT

The standard of the garden reflects that of the house.
Large and beautiful, a river runs across the bottom.

It has a bank leading down to it, illuminated in white
light. This is where Natalia sits, staring into the water.
Behind her, the house is still full of people. The lights
shine out into the night and music can be heard in the air.

From the back of the house emerges Jake. He takes a moment
to take in the splendour and sees Natalia sitting alone.

EXT. MISTER TOTTI’S HOUSE -- RIVER BANK -- CONTINUOUS

Natalia is still alone with her thoughts.   Behind her, Jake
can be seen advancing.

When he arrives, he silently takes a seat beside her.    She
turns her head and smiles when she sees him.

                                                    (CONTINUED)
                                                          39.
CONTINUED:

                       JAKE
          I’m sorry.     If you want to be alone--

                    NATALIA
              (cutting in)
          No, please. I appreciate the company.

                    JAKE
          There’s a house of people behind you.

                    NATALIA
          Most of those aren’t here for my
          mother. They came for my father.

                    JAKE
          You don’t enjoy these parties?

                    NATALIA
          Every year, my father   ‘celebrates my
          mothers life’. Well,    believe me, it
          wasn’t like that when   she was alive.
          Quite the opposite in   fact.

                    JAKE
          Your father seems to be a good man.

                    NATALIA
          Oh, Jake, don’t buy into all that ‘man
          of honour’ bullshit. This is just a
          front to conduct business meetings.
          Have you had yours yet?

                    JAKE
          Well, we talked, sure, but I--

Natalia breaks him off with a laugh.
                    NATALIA
          Yeah, that’s what I thought. He’s
          always talking about the ‘family
          business’. The truth is, business has
          always come before family as far as my
          father’s concerned.

They sit in silence for a moment.

                     NATALIA (CONT’D)
          Have you ever lost anyone close to
          you, Jake?

                    JAKE
          Yes, I have.

                       NATALIA
          Your wife?

                    JAKE
          Never married.

                                                     (CONTINUED)
                                                          40.
CONTINUED: (2)

                       NATALIA
          A child?

                    JAKE
          Never had kids.

                       NATALIA
                 (half surprised)
          Oh!

Her surprise soon turns to a quizzical look as they sit
silently again.

                    NATALIA (CONT’D)
          Cheesecake!

                       JAKE
          Excuse me?

                    NATALIA
          Cheesecake! My father always gets the
          best cheesecake for these things.
          It’s magical. Will cure anything. If
          we hurry, we can still get some.

Jumping to her feet she grabs Jake’s arm, hoisting him up.

                       NATALIA (CONT’D)
          Come on!

She drags him, both laughing, back towards the house.

INT. MISTER TOTTI’S HOUSE -- LIVING ROOM -- NIGHT

It is later in the evening and the guests have started to
leave. Jake finds Fortunato sitting alone on a leather
sofa, smoking a cigarette.

                       JAKE
          Fortunato.

                       FORTUNATO
          Hey!

They shake hands.

                    JAKE
          I’ve got to get going.

                      FORTUNATO
          So soon?    It’s not over yet.

                    JAKE
          Yeah, I just got to go.

                    FORTUNATO
          Okay, my friend. I’ll see you out.


                                                    (CONTINUED)
                                                           41.
CONTINUED:

He stands and escorts Jake towards the door, passing
Natalia who is chatting to a Guest.

                    JAKE
          Excuse me, Natalia.

She stops talking and turns.

                    JAKE (CONT’D)
          It was a pleasure meeting you.

She smiles and shakes his hand.

                    NATALIA
          I’m sure we’ll cross paths again soon.

He returns her smile.

EXT. MISTER TOTTI’S HOUSE -- NIGHT

The scene is seen from a short distance. Fortunato sees
Jake out through the door and the pair shake hands.

With a LOUD CLICK, the shot turns to black and white as
seen through the lens of a stills camera.

Several more LOUD CLICKS follow, each one introducing
another black and white still. The series sees Jake open
and enter his car before driving off.

INT. JAKE’S CAR -- NIGHT

Jake is driving down an empty road.

Ahead he sees a man in the middle of the road waving his
arms above his head. Jake slows to see what is going on
and the man waves him into a lay-by.

He pulls over and peers through the window to see Bobby
looking in at him.

He rolls his window down.

                    BOBBY
          Hello, Jake. Long time no see.

From behind his back, Bobby produces a gun and puts it
inside the car.

                    BOBBY (CONT’D)
          Keys, please.

Shutting down the engine, Jake complies.

EXT. LAY-BY -- CONTINUOUS

Jake exits his car and slams the door behind him.


                                                    (CONTINUED)
                                                           42.
CONTINUED:

                    JAKE
          What the fuck is going on, Bobby?

Bobby puts his gun away.

                    BOBBY
          Well, I was hoping you could tell me a
          little something yourself.

                    JAKE
          What?

                    BOBBY
          You’ve not been in touch.

                    JAKE
          I’ve been working.

                    BOBBY
          You’re working for us.
                    JAKE
          I’m doing what you asked me to do.

                    BOBBY
          Where’s the briefcase, Jake?

                    JAKE
          The briefcase?

                    BOBBY
          Where is it?

                    JAKE
          I don’t know.
                    BOBBY
          Your job was to bring the briefcase.
          I suggest you find out where it is.

At that point, a car pulls past and both Jake and Bobby
stand back, further away from the roadside.

INT. FORTUNATO’S CAR -- SAME TIME

Fortunato is driving, Jake and Bobby a reflection in his
mirror as he carries a curious, worried expression.

INT. MISTER TOTTI’S HOUSE -- LIVING ROOM -- NIGHT

All the Guests have now left, a team of CATERING STAFF
clearing away the remaining food.

Natalia steps to the table and grabs a slice of cake from a
plate before it is thrown in a black sack.
                                                            43.


INT. MISTER TOTTI’S HOUSE -- STUDY -- SAME TIME

Mister Totti is leaning across his desk and lighting the
cigars held by two JAPANESE MEN -- both in their fifties
and dressed in suits.

Just as Mister Totti sits back down, from the door comes
Natalia. All three men turn to face her as she stops in
her tracks.

                      MISTER TOTTI
          Natalia!

                    NATALIA
          What are you doing?

                    MISTER TOTTI
          Please excuse us darling, we are
          conducting business.

                    NATALIA
          Don’t call me that.

                    MISTER TOTTI
          Are you drunk?

                      NATALIA
                (smiling)
          No.

                    MISTER TOTTI
          Please, we can talk later.

                    NATALIA
          Have you even stepped foot outside
          this office tonight? Or is this how
          you ‘celebrate Mum’s life’?

                     MISTER TOTTI
          Natalia!
              (to the Japanese)
          Excuse me.

He rises and heads towards her.      Taking her by the arm, he
leads her towards the door.

                    MISTER TOTTI (CONT’D)
          I know you’re upset, we all are.

                     NATALIA
          Upset?   When have you ever been upset?

                    MISTER TOTTI
          What are you talking about?

                    NATALIA
          Did you ever once tell my mother that
          you loved her?

                                                      (CONTINUED)
                                                           44.
CONTINUED:

Mister Totti pauses.

                    MISTER TOTTI
          We must talk later.

                    NATALIA
          Later? It’s always later.     There
          never is a later.
              (raising her voice)
          I want to talk now!

Natalia rips her arm from her father’s grip.

The pair stand staring at each other.

                    NATALIA (CONT’D)
          Now I want to know. Did you ever tell
          my mother that you loved her?

Mister Totti raises his hand in a threatening manner.
                    NATALIA (CONT’D)
          That’s right, hit me like you hit her.

Like lightning, Mister Totti whips his hand across her
face. Natalia clasps her hand over it and doesn’t move,
not saying a thing.

Mister Totti opens the door and half pushes her through.

He calmly turns to the Japanese men and resumes his usual
gentle manner as he heads back to his desk.

                    MISTER TOTTI
          Gentlemen, please excuse my daughter.
          She desperately needs to learn some
          manners.

He takes his seat again.

                     MISTER TOTTI (CONT’D)
          Now.   Where were we?

EXT. BLOCK OF APARTMENTS -- DAY

Jake stands outside a plush block of apartments, containing
more than one penthouse.

He rings a flat via the intercom and waits for a buzz.
With it, he casually waves at a camera in the intercom
system and a second later, the door opens. Jake enters.

INT. HALLWAY -- DAY

Jake exits a lift and before him finds the front door he’s
after ajar. Pushing it open a little wider, he tentatively
creeps inside.
                                                          45.


INT. FORTUNATO’S FLAT -- CONTINUOUS

Jake sheepishly enters the beautiful flat.

                    JAKE
          Hello?

He is reassured by Fortunato’s bubbly voice calling back.

                    FORTUNATO (O.S.)
          Hey, fratello! Come in, take a seat.

                    JAKE
          I got your message.   What’s up?

He goes to the large window and is stunned by the panoramic
view that sprawls out over the rooftops of London.

                    FORTUNATO (O.S.)
          Today’s payday, my friend.
                    JAKE
              (to himself)
          Fuck me, what a view!

                    FORTUNATO
          I’m glad you like it.

Jake suddenly finds Fortunato standing directly beside him,
a glass of champagne in each hand, but does not jump.

                    JAKE
          How can you afford this?

                    FORTUNATO
          Signor Totti pays well.
He hands Jake one of the glasses, who refuses it with a
rise of his hand and a slight shake of his head.

Fortunato shrugs and heads away from Jake to place the
glass on a table. Jake turns back to admire the view once
more. He does not turn as he talks.

                    JAKE
          Why am I being paid so soon? I’ve
          only been working a few days.

                    FORTUNATO
          Signor Totti is very pleased with your
          work.

He starts to walk slowly back behind Jake.

                    FORTUNATO (CONT’D)
          Today, you get paid in full.

As he creeps closer, he pulls his gun from his waistband.

                                                   (CONTINUED)
                                                          46.
CONTINUED:

                    FORTUNATO (CONT’D)
          Everything you deserve.

And with that, he clumps Jake across the back of the head,
sending him crashing to the floor.

                                              FADE TO BLACK.

INT. FORTUNATO’S FLAT -- DAY

The shot is blurred, but slowly comes to focus, revealing
the large window.

Fortunato himself springs into view.

                    FORTUNATO
          Who the fuck are you, Jake?    I thought
          you were a friend.

Jake is tied to an armchair with bedsheets, facing the
window. He stays silent.
                    FORTUNATO (CONT’D)
          My instincts are normally top-notch,
          but I thought I could trust you. Why
          are you trying to fuck us?

                    JAKE
          I don’t know what you’re talking about.

                    FORTUNATO
          Who’s Steven Sanders?

                    JAKE
          I’ve never heard of him.
                    FORTUNATO
          Are you sure about that? I saw you with
          him last night. Plain as day.

                    JAKE
          Last night?

                    FORTUNATO
          You remember last night. Right after
          Signor Totti took you into his home.
          Fed you, met his family.

                    JAKE
          What are you talking about, Fortunato?

                    FORTUNATO
          I left the house behind you. On my
          way home, I see something interesting.
          You know what I see?

                    JAKE
          Why don’t you tell me.

                                                     (CONTINUED)
                                                           47.
CONTINUED:

                    FORTUNATO
          I see you and Sanders having a chat,
          that’s what I see. Are you calling me
          a liar, l’amico?

                    JAKE
          On the roadside?

                    FORTUNATO
          Oh, you’re starting to remember!   You
          want to tell me a little more?

                    JAKE
          The man I met was Bobby Owen.

                    FORTUNATO
          Bobby Owen?

                    JAKE
          He works CID for the Met. He’s the
          one I told you about who hired me to
          get the briefcase.

                    FORTUNATO
          He’s no copper, Jake.

                    JAKE
          Look, Fortunato. I don’t know what
          you want to do, but you don’t want to
          kill me. Why don’t you untie me now
          and we can talk about this.

Fortunato takes a moment to think and agrees, silently
loosening the ties. Jake does the rest.

Feeling the back of his head, he looks up at Fortunato.
                    JAKE (CONT’D)
          You know, that’s twice you’ve done
          that now.

                    FORTUNATO
              (coyly)
          Sorry.

Jake takes a cigarette and offers one to Fortunato, both
lighting up.

                    JAKE
          Why don’t you tell me about ‘Steve
          Sanders’.

                    FORTUNATO
          It was about two years ago. I’d just
          started working for Signor Totti, and
          my first job was to round him up.

                      JAKE
          What for?
                                                   (CONTINUED)
                                                       48.
CONTINUED: (2)

                    FORTUNATO
          Payback. Sanders is part of a group
          called The Untouchables. Organised
          criminals that evolved from the East
          End gangsters of the sixties. There
          are five heads of five ‘families’ --
          North, South--

                    JAKE
              (cutting in)
          --East, West and Central, the White
          Mafia. I’m not a tourist, Fortunato.

                    FORTUNATO
          Well they were trying to muscle in on
          Signor Totti’s operations. At that time,
          they were just getting started.

                    JAKE
          Come on. They were leaning on the
          Italian Mafia?
                     FORTUNATO
          What have the Italian Mafia got to do
          with this?

                    JAKE
          Well, Mister Totti.   I thought he was--

                    FORTUNATO
          Signor Totti is an ‘entrepeneur’. He has
          nothing to do with the Mafia. He has
          long surpassed their level of criminal
          activity. In this country, at least.

                    JAKE
          So the Untouchables were running the
          racket on him.

INT. ITALIAN CAFE -- NIGHT

The café is empty and dark. Just Mister Totti and Bobby
are sitting alone at a singly lit table. They are arguing
furiously, but their voices are not heard.

                    FORTUNATO (V.O.)
          They came to his place of business.
          Where his family ate and slept.

                    JAKE (V.O.)
          How long did this go on for?

                    FORTUNATO (V.O.)
          Only a few days. Signor Totti was
          adamant and he paid the ultimate
          price.
                                                           49.


EXT. ITALIAN CAFE -- NIGHT

The café is on fire. Flames lick through the windows, the
shell of the building an inferno.

Mister Totti stands outside looking on, distraught.

Behind him, fire engines pull to a halt, but he does not
register them.

                    FORTUNATO (V.O.)
          He was devastated. The place he built
          with his hands was gone.

                    JAKE (V.O.)
          And he knew this was the work of the
          Untouchables?

                    FORTUNATO (V.O.)
          Who else would have done such a thing?
                    JAKE (V.O.)
          Even still, wouldn’t he want a little
          more proof before waging war?

                    FORTUNATO (V.O.)
          Oh, he had proof. The man is
          paranoid, remember?

INT. ITALIAN CAFE -- NIGHT

Bobby is inside the empty, dark café, pouring petrol all
over the place, straight from the can.

He covers the curtains, the tables, the bar, everything.
Behind him, a small CCTV camera can be seen, whirring.

Just as Bobby sets fire to a rag cloth, the shot dissolves
to a grainy black and white.

It is being shown on a small television monitor, Mister
Totti sitting in front of it, bug-eyed.

                    FORTUNATO (V.O.)
          He had the recorders sealed inside his
          safe. They survived the fire.

                    JAKE (V.O.)
          Did he alert the police?

                    FORTUNATO (V.O.)
          The police? The only kind of justice
          Signor Totti believes in is street
          justice.

The picture goes to black as the inferno engulfs the cafe.


                                                   (CONTINUED)
                                                          50.
CONTINUED:

                    JAKE (V.O.)
          Which is where you fit in.

                    FORTUNATO (V.O.)
          He had the mechanical security, but it
          was now time for the physical kind.

INT. ABANDONED WAREHOUSE -- DAY

Shafts of light pour in through the gaps of the wooden
structure.

Bobby sits tied to a chair in the middle of the arena. His
face is bruised and bleeding, his eyes swollen. There is
nothing else inside.

Fortunato stands by him, staring coldly. He wears a
shoulder harness, his gun clearly sticking out.

                    FORTUNATO (V.O.)
          It didn’t take long to find him. They
          did not consider Signor Totti as big a
          threat as he was.

                    JAKE (V.O.)
          So then what?

Mister Totti enters the room, a wave of light coming in
with him through the door.

A determined man, he marches straight to Bobby, pausing
only to take Fortunato’s gun from his shoulder holster.

                    FORTUNATO (V.O.)
          Like I said, Signor Totti believes
          only in street justice.
                    JAKE (V.O.)
          An eye for an eye.

                    FORTUNATO (V.O.)
          Sometimes an eye just isn’t enough.

Bobby raises his head to see Mister Totti. As he
recognises him, he bursts into a fit of sobs and begging.
Again, none of this is heard.

Mister Totti points the gun at his heart and fires once,
sending Bobby crashing back across the floor and settling
in a pool of blood.

                    FORTUNATO (V.O.)
          He begged for his life. Like a baby.

INT. FORTUNATO’S FLAT -- DAY

Fortunato and Jake are sat as before.


                                                   (CONTINUED)
                                                         51.
CONTINUED:

                    JAKE
          So he’s dead. How could it be him?

                    FORTUNATO
          I heard a rumour that he was alive.

                    JAKE
          How is that possible?

                    FORTUNATO
          He was born with a heart defect.
          Instead of being to his left, it’s to
          his right. All his internal organs
          are like a negative.

                    JAKE
          You’ve got to be kidding me.

                    FORTUNATO
          Millimetres. But crucial millimetres.
                    JAKE
          Well what now?

                    FORTUNATO
          Now, I finish the job.

                     JAKE
          First, I need to know if this is the
          right man.

                    FORTUNATO
          You need proof?

                    JAKE
          That would be good, yes.
                    FORTUNATO
          How many people do you think are
          walking around London with a bullet
          scar where their heart should be?

INT. JAKE’S CAR -- DAY

Jake lands in the driving seat of his car with a heavy
sigh.

He reaches for his phone and dials.

                    JAKE
              (into phone)
          Yeah, it’s me.
              (a beat)
          No, trust me, it’s fine.
              (a beat)
          No, not yet.
              (a beat)
          Well, just name it.
                    (MORE)
                                                  (CONTINUED)
                                                           52.
CONTINUED:
                    JAKE (CONT'D)
              (a beat)
          Fine, I’ll see you there.

He hangs up the phone and tosses it on the passenger seat
before pulling away.

EXT. ROOFTOP -- DAY

Jake is leaning against a door on the rooftop of a building
in central London, smoking a cigarette.

To his side, Bobby enters through a different door and
stands looking out across the rooftop, his back to Jake.

                       JAKE
          Over here!

Bobby spins on his heels to face Jake and marches over
towards him.

                    BOBBY
          What the fuck is going on, Jake?    What
          are you doing?

                     JAKE
          I think it’s my turn to ask a few
          questions.

Bobby fumes and calms himself.

                      BOBBY
          Okay.    Shoot.

                    JAKE
          Who’s Steve Sanders?
Bobby freezes before replying.

                    BOBBY
          Where’d you hear that name?

                      JAKE
          Why?    Does it mean something to you?

                    BOBBY
          What are you getting at, Jake?   What
          have you heard?

Jake pauses.

                    JAKE
          Take off your shirt.

                       BOBBY
          What?!

                    JAKE
          Your shirt. Take it off.

                                                     (CONTINUED)
                                                          53.
CONTINUED:

                    BOBBY
          What are you trying to prove?

                    JAKE
          Just fucking do it.

                    BOBBY
          You think I’m wearing a wire? Is that
          it? Jake, we’re on the same team.

                       JAKE
          Are we?

                       BOBBY
          Of course.     You know--

                    JAKE
              (cutting in)
          Take off your shirt, Bobby.

                    BOBBY
          You really think I’m recording you--

                       JAKE
          Strip!

Bobby stares coldly at him before quickly ripping off his
jacket. He reveals a shoulder harness with handgun
protruding from it.

Jake whips out his own gun and aims it at him.

Bobby looks up and seeing Jake’s gun facing him, raises his
hands instinctively.

                     JAKE (CONT’D)
          Slowly!   Lay the gun down.

Bobby complies.

                       JAKE (CONT’D)
          That’s it.     Nice and easy.

The gun is on the floor, Bobby’s hands back in the air.

                       JAKE (CONT’D)
          Now strip.

Bobby unbuttons his shirt and pulls it off. As predicted,
he reveals a circular scar where his heart should be.

Bobby stands where he is, breathing heavily, defeated.

                    JAKE (CONT’D)
          Steve Sanders.




                                                  (CONTINUED)
                                                        54.
CONTINUED: (2)

                    BOBBY
          Jake, don’t listen to what they say.
          Two years ago, I was working
          undercover--

                    JAKE
              (cutting in)
          Shut the fuck up, Bobby.

                    BOBBY
          Jake, I was working undercover, and I--

Fortunato appears by Bobby’s side. He spins him around,
punches him hard in the face and sends him crashing to the
floor.

Throughout all this, Jake’s gun stays on Bobby.

                     FORTUNATO
          Get up!   Get the fuck up!
Bobby stays on the floor.

                     BOBBY
          Jake--

Fortunato presses his gun into Bobby’s face.

                    FORTUNATO
          Who are you with? How many people are
          watching us?

Bobby spits some blood from his mouth.

                     BOBBY
          Nobody.   I came alone.
                    JAKE
              (to Fortunato)
          You believe him?

                    FORTUNATO
          Of course not.

Fortunato hoists Bobby to his feet. He grabs him around
the neck tightly from behind, so that he can hardly
breathe, let alone talk. With his free arm he points his
gun to Bobby’s temple, effectively taking him hostage.

                    FORTUNATO (CONT’D)
              (shouting out)
          Are you watching? One fucking move
          and he loses his head!

With Jake leading the way, he backs Bobby into the building
through the door Jake was standing at.
                                                           55.


INT. BUILDING -- STAIRWELL -- CONTINUOUS

Jake still in front, Fortunato roughly pulls Bobby down two
flights of stairs backwards.

At the bottom, Jake is standing in front of an open goods
lift, holding the doors.

Fortunato drags Bobby inside, never relaxing his grip.

INT. BUILDING -- GOODS LIFT -- CONTINUOUS

Fortunato has Bobby as before.

                    FORTUNATO
          Third floor.

Jake hits the button and the lift descends.

INT. BUILDING -- GOODS LIFT LOBBY -- MOMENTS LATER
The doors open with a ‘ping’ and the three exit.

Fortunato drags Bobby along the corridor ahead of them
until they reach a fire exit at the far end.

Once there, Jake clearly knocks on the door three times and
a beat later, an old, short Spanish CLEANER answers.

INT. BUILDING -- HALLWAY -- CONTINUOUS

The door leads to a well-kept hallway of residential flats.

The three pass the Cleaner and through the door.   Jake
hangs back to hand him a few bank-notes.
Fortunato talks to him as he passes.

                    FORTUNATO
          Gracias, amigo.

The Cleaner acknowledges him with a slight nod of his head.

                    FORTUNATO (CONT’D)
              (over his shoulder)
          Hasta luego.

Jake takes his place back in the lead as they pass front
door after front door.

At the end of this corridor they reach another stairwell
and Jake holds the doors open again.

INT. BUILDING -- STAIRWELL -- CONTINUOUS

Fortunato takes no care in quickly dragging Bobby down
three or four sets of stairs, his grip as firm as ever.

When they run out of stairs, Jake has another door open.
                                                           56.


INT. BUILDING -- CARPARK -- CONTINUOUS

The three arrive in the building’s underground carpark.

Sitting across from the door is Fortunato’s car.

Jake is there first and jumps in the driver’s seat.
Shortly after, Fortunato bundles Bobby into the back seat.

As soon as the door closes, the engine revs to life, the
lights beam and the car screeches away.

INT. ABANDONED WAREHOUSE -- DAY

Bobby, still topless and with dried blood around his mouth,
is tied to a chair in the middle of the floor. The scene
is almost identical to before. This time, Jake joins
Fortunato in keeping watch over him. Nobody talks.

After a short while, Mister Totti comes in through the
large front entrance.
He wastes no time in joining Fortunato by his side.

Bobby looks up and sees him.

                     BOBBY
              (half a smile)
          It’s been two years.    Are you still
          mad at me?

Mister Totti does not reply.

Bobby drops his cockiness as his voice starts to crack with
fear.
                    BOBBY (CONT’D)
          Look, I’ve told you before. I didn’t
          burn down your little café, old man.

Mister Totti produces his own gun, pointing it straight at
Bobby.

                    BOBBY (CONT’D)
          Oh, what are you gonna do?     Kill me
          again?!

                    MISTER TOTTI
          I’m going to finish the job.

And with that, Mister Totti’s gun explodes in Bobby’s face.

EXT. BRIDGE -- NIGHT

Fortunato’s car pulls to a halt on the side of the road.
There is no other car in sight on this bridge that crosses
the river Thames just outside the city.


                                                   (CONTINUED)
                                                           57.
CONTINUED:

The boot of the car springs open a beat before Fortunato
and Jake exit.

They both meet at the rear and between them struggle to
pull out a roll of carpet which they eventually manage to
place on the side of the bridge. Throughout all this,
Fortunato sports a look of seriousness not expressed
before.

At the side of the bridge, they stand either end of the
carpet. In the distance, Jake sees two white lights coming
towards them down river.

                    JAKE
          Okay, here it comes.

The lights grow closer and closer until eventually
revealing what they are -- the tug that is pulling a Thames
Lighter, hauling a long line of crates.

As it gets closer, the noise grows substantially.
                    JAKE (CONT’D)
          On my count.

The front of the boat is almost at the bridge and Jake has
to raise his voice.

                    JAKE (CONT’D)
          And one.
              (a beat)
          And two.

The front of the boat has passed underneath and out the
other side of the bridge. The cargo continues to come
through, the end close by.
                       JAKE (CONT’D)
          And three.

The last piece of cargo has passed underneath and the pair
shove the roll of carpet down into the river.

It lands with a great splash into the ferocious wake of the
cargo boat.

Fortunato looks down where the carpet went with contempt
and spits after it. Jake sees this with a little concern.

                    JAKE (CONT’D)
          Relax, it’s done. That rip-tide will
          keep it hidden long enough. Come on.
          We can go now.

He hangs back a beat before following Jake to the car.
                                                           58.


EXT. APARTMENT COMPLEX -- NIGHT

This modern block of apartments sits on the south bank of
the river Thames, each with a balcony over the river.

Outside the main entrance stands two MEN -- both dressed
entirely in black and sporting ski-masks, completely
concealing their identities.

Man #1 pulls a key-card from his back pocket and slides it
into a controller on the wall by the door. It beeps once
and he enters a four-digit code into the number-pad.

With a heavy ‘clunk’, the magnet holding the door is
released and the two Men enter.

INT. APARTMENT COMPLEX -- HALLWAY -- MOMENTS LATER

The two Men creep up the staircase, their backs to the
wall, searching around them as they go.
They reach the floor they need and slowly head to one of
the front doors.

At the door, Man #1 takes a key from his pocket and
silently lets himself inside, Man #2 following behind.

INT. APARTMENT -- CONTINUOUS

Inside, Man #1 opens a door in the wall to his left that is
about four feet up. It reveals an alarm panel in full
operation, a red light to the top right silently flashing.

He enters another four-digit code and the light blinks
dead. Closing the door, the pair intrude further into the
apartment.
INT. APARTMENT -- BEDROOM -- CONTINUOUS

The pair enter the bedroom where a body lies sleeping under
the covers, the head facing away from the door.

The curtains on the bedroom window are open and the bright
moon outside just about illuminates the sleeping body.

Man #1 stands beside the head of the bed and pulls a Glock
semi-automatic handgun from a shoulder holster inside his
jacket, a silencer attached to the end.

Just then, the body rolls over to face the Man, still
sleeping. The face can be seen to be that of Natalia.

Man #1 extends his arm to full reach with the gun so that
it sits just centimeters from her face.

Backing his face away, he tentatively pulls the slide back
to load the weapon. As it is released, it makes a metallic
‘thunk’ -- the loudest sound for some time.

                                                     (CONTINUED)
                                                            59.
CONTINUED:

Natalia’s eyes spring open and she draws in a loud sharp
breath as she sees what she is facing.

INT. FORTUNATO’S CAR -- NIGHT

Fortunato is driving at full pelt, the look of seriousness
still on his face.

Jake offers him a cigarette which he takes and Jake lights
it for him as he continues to drive.

                    JAKE
          You were riled up on that bridge.
          That job was personal, wasn’t it?

                    FORTUNATO
          Signor Totti is a good man.
          Everything I have, I owe to him.

He takes a hard drag on his cigarette and exhales.
                    FORTUNATO (CONT’D)
          I can not see people do him wrong.

INT. FORTUNATO’S FLAT -- MORNING

Jake stands looking through the large window.   The first
light of day washes over the city.

To his side, Fortunato appears with two bottles of beer in
hand. Jake gratefully takes one and they both have a gulp.

                    JAKE
          New light, new day.

                    FORTUNATO
          And what will this day bring?

                    JAKE
          I don’t know. But as they say,
          everything can change in a day. I’m
          only here now because I took a job to
          intercept a briefcase!

                    FORTUNATO
          You believe in fate?

                    JAKE
          I believe we make our own fate.

                    FORTUNATO
          I hear that.

Fortunato smiles and leads the way to the sofas where they
both take a seat.




                                                     (CONTINUED)
                                                        60.
CONTINUED:

                    FORTUNATO (CONT’D)
          You know, you’re a cool customer,
          Jake. How did a man like you end up
          here?

                    JAKE
          I used to be in business with two
          friends. Ex-colleagues.

                    FORTUNATO
          Where are they now?

Jake takes a gulp from his beer.

                    JAKE
          Someone thought we were getting too
          big. Taking business away from them.
          They set us up, meant to kill us all.

                       FORTUNATO
          How?
                       JAKE
          Car bombs.

                    FORTUNATO
          And you survived?

                    JAKE
          I guess it just wasn’t my turn.

                    FORTUNATO
          Do you feel responsible?

Jake shoots him a look.
                    JAKE
          To a degree, yes.    I set the job up.

                    FORTUNATO
          How do you cope with that?

                    JAKE
          Every job I do, they still get their
          cut. One third each, posted to their
          families. One brown parcel of cash to
          replace a husband and father.

There is a moment of awkward silence.

                    FORTUNATO
          Who was behind it? The Untouchables?

                    JAKE
          Lee Gibson himself.

                    FORTUNATO
          The head of the central family?

                                                   (CONTINUED)
                                                             61.
CONTINUED: (2)

Fortunato whistles softly.

                    FORTUNATO (CONT’D)
          He’s a powerful man. If he wanted you
          dead, why are you sitting here?

Jake takes a beat.

                    JAKE
          He thinks I am.

Fortunato laughs, raising his bottle.   It breaks the mood.

                    FORTUNATO
          Well, here’s to the afterlife!

They both drink and sit in silence for a beat.

                    JAKE
          I’ve got a question.
                    FORTUNATO
          What’s that?

                    JAKE
          What was in the briefcase?

                    FORTUNATO
          Why do you want to know, Jake?

                    JAKE
          Because I’m asking.

                    FORTUNATO
          I can answer, but you won’t like it.
                       JAKE
          Humour me.

                       FORTUNATO
          The truth?

                       JAKE
          The truth.

                    FORTUNATO
          The truth is, I don’t know what was in
          the briefcase. Signor Totti wanted
          it, so he sent me to get it. He sent
          me to get it so I delivered it to him.

                    JAKE
          End of story?

                    FORTUNATO
          End of story.

Just then the phone rings.    Fortunato grabs it and moves
away as he answers.
                                                    (CONTINUED)
                                                         62.
CONTINUED: (3)

While he’s talking, Jake goes back to the window.

A few moments later, Fortunato is back by his side.

                    FORTUNATO (CONT’D)
          This may be your chance to find out
          what was in that briefcase after all.

                    JAKE
          What’s happened?

                    FORTUNATO
          Natalia’s been kidnapped.

INT. ITALIAN CAFE -- MORNING

Mister Totti sits alone at a table.

Hurrying through the door comes Fortunato, Jake behind him.

                    FORTUNATO
          Where is she? Is she alright?

Mister Totti raises a hand.

                    MISTER TOTTI
          Everything will be taken care of.

                    FORTUNATO
          I swear, Signor Totti. One fucking
          hair out of place and I’ll--

He clenches his hand in anger.

                    MISTER TOTTI
          Fortunato! Think with this--
              (touches his head)
          --Not this.
              (touches his heart)

Jake steps forward.

                    JAKE
          What’s the situation, Mister Totti?

                    MISTER TOTTI
              (to Fortunato; off Jake)
          You see? A man of reason.

                    FORTUNATO
          So where is this happening?    I will--

                      MISTER TOTTI
                (cutting in)
          No!

                      FORTUNATO
          No?

                                                    (CONTINUED)
                                                              63.
CONTINUED:

                       MISTER TOTTI
             I’m paying them.

                         FORTUNATO
             What?!    You can not be serious.

                       MISTER TOTTI
             I can not afford this heat right now.
             Not with the Russian threat.

                       FORTUNATO
             So what? We just bend over and let
             them fuck us up our ass?

                         MISTER TOTTI
             Enough!

Jake puts his hand on Fortunato’s shoulder.

                       MISTER TOTTI (CONT’D)
             This is what will happen.
Fortunato calms as Jake releases his grip.

Mister Totti produces a sports bag from under the table.

                       MISTER TOTTI (CONT’D)
             Jake, you will take this bag to the
             Lexmark hotel. Do you know it?

Jake nods.

                       MISTER TOTTI (CONT’D)
             Good. There, you will meet your
             contact at the front entrance.
             Following their instructions--
                       FORTUNATO
                 (cutting in)
             Wait, wait, wait. What am I doing in
             all this?

Mister Totti is getting annoyed.

                       MISTER TOTTI
             This is a one man job. Jake is
             perfectly able to carry it out.

                       FORTUNATO
             What, I haven’t proved myself?

                       MISTER TOTTI
                 (adamant)
             It is a one man job. Jake is
             perfectly capable.

Mister Totti has reached boiling point.       The following
dialogue is spoken in Italian.

                                                       (CONTINUED)
                                                           64.
CONTINUED: (2)

                    MISTER TOTTI (CONT’D)
              (off chair)
          Sit down.

Jake takes the hint and backs away to the bar as Fortunato
follows his order.

                    MISTER TOTTI (CONT’D)
          Don’t you ever take that tone with me
          again, you understand?

                    FORTUNATO
          Yes, Signor Totti.

                    MISTER TOTTI
          Jake will be able to perform the task--

                    FORTUNATO
              (cutting in)
          I will not let my friend go out there
          alone.
Mister Totti takes a beat to calm down.

                     MISTER TOTTI
          Your loyalty is admirable, Fortunato.
          But beware, there is such a thing as
          too loyal.

Fortunato responds by staring him straight in the eye.

                    MISTER TOTTI (CONT’D)
          If it means this much to you, I can
          not stop you from going.

Fortunato maintains his composure a moment later before
grabbing the bag from the table as he rises.

                    FORTUNATO
              (to Jake; in English)
          Let’s go.

He starts to head for the door as Jake follows.

                    FORTUNATO (CONT’D)
              (to Mister Totti; in Italian)
          I will not let you down.

And with that, the pair are gone.

INT. FORTUNATO’S CAR -- MORNING

The sun is almost up as Fortunato drives the pair to the
meet. Jake is looking in the bag that sits on his lap.

                    JAKE
          I don’t like this.


                                                    (CONTINUED)
                                                        65.
CONTINUED:

                       FORTUNATO
          What?

                    JAKE
          There’s fifty grand here.

                     FORTUNATO
          Right.   That’s the ransom.

                    JAKE
          Fifty grand? For a daughter? Seems a
          little cheap for a man like Mister
          Totti, doesn’t it?

                    FORTUNATO
          Well then they must be fucking
          amateurs.

                    JAKE
          I thought the Untouchables had her.
                       FORTUNATO
          They do.

                    JAKE
          You think they’re amateurs?

                    FORTUNATO
          If they only asked for fifty grand
          then yes.

                    JAKE
              (almost to himself)
          They’re not amateurs.

                     FORTUNATO
              (off road ahead)
          Where now?

                       JAKE
          Next left.

Fortunato makes the turn and the pair arrive in the hotel
car-park. It is isolated and lonely, the only two people
around being the two CONTACTS -- both in their thirties --
standing outside the entrance, smoking.

                    JAKE (CONT’D)
          This isn’t right.

                    FORTUNATO
              (concerned)
          What now?

                    JAKE
          It’s too quiet.

                    FORTUNATO
          Look at the time. It’s still early.
                                                  (CONTINUED)
                                                          66.
CONTINUED: (2)

                    JAKE
          For a hotel?

Fortunato takes a deep breath.

                    FORTUNATO
          Perhaps you are just nervous. You
          ever done something like this before?

                       JAKE
          Like this?     No.

EXT. LEXMARK HOTEL -- CAR PARK -- CONTINUOUS

The hotel is modern, with two glass lifts running up
outside the front of the building. Everybody inside seems
to still be sleeping as there is no movement.

Fortunato’s headlights drop as the engine is killed.

The two Contacts are looking their way.
Fortunato and Jake, bag in hand, exit the car and head
towards them.

                    CONTACT #1
          That’s enough!

The pair stop in their tracks.

                    CONTACT #1 (CONT’D)
              (to Jake)
          You, Moneybags! Bag on the ground.

Jake complies as Contact #1 pulls a gun on the pair.
                    CONTACT #1 (CONT’D)
          Now both of you, hands in the air.

Fortunato puts his hands straight up. Jake clasps both
hands just above the other wrist, so his arms are locked,
before raising them above his head.

Contact #2 searches Jake first, pulling a large handgun
from his waist, passing it to his partner.

                    CONTACT #1 (CONT’D)
          Moneybags! What’s this? Don’t make
          things more complicated than they are.

                    JAKE
          It’s my flexible friend.   I never
          leave home without it.

                    CONTACT #1
          Cute.
              (to Fortunato)
          And you? Where’s yours?

                                                   (CONTINUED)
                                                           67.
CONTINUED:

Fortunato pulls the bottom of his jacket open to reveal his
own gun. Contact #2 takes it and passes it to his partner
before searching him.

                    CONTACT #2
          He’s clean.

                    CONTACT #1
          Okay. Then let’s get to business.
          Why are there two of you?

                    JAKE
          I was never going to come alone.

                       CONTACT #1
          Why not?

                    JAKE
          Are you serious?

                    CONTACT #1
          Let me get one thing straight here.
          You are in no danger. This is a
          simple business deal.
              (a beat; to Jake)
          Moneybags, you come up with me. Your
          friend waits here.

                       JAKE
          Unarmed?

                       CONTACT #1
          Of course.

                    FORTUNATO
          No fucking way!
                       CONTACT #1
          Excuse me?

                    FORTUNATO
          No fucking way is my friend going up
          there alone, unarmed.

Contact #1 takes a deep breath.

                    CONTACT #1
          Look, have you been to bed yet?
          Because we haven’t and I bet you
          haven’t, either. We just want to get
          this deal done so we can go home and
          get some rest.

Fortunato and Jake look at each other.   Jake nods.

                     CONTACT #1 (CONT’D)
          Good.   Then let’s get this thing done.


                                                      (CONTINUED)
                                                          68.
CONTINUED: (2)

Contact #1 and Jake head towards one of the glass lifts as
Fortunato stays behind.

                    CONTACT #2
          Hey, relax. He goes in, he comes out,
          we all go home.

Fortunato just looks at the man before turning his worried
gaze back to the path Jake took.

INT. LEXMARK HOTEL -- LIFT LOBBY -- MOMENTS LATER

Jake and Contact #1 are waiting for one of the glass lifts.
Jake looks around him -- the lobby is deserted.

                    CONTACT #1
          You alright, Moneybags?   You look a
          little nervous.

                    JAKE
          Can we cut the chit-chat?   I just want
          to get this over with.

                    CONTACT #1
          My thoughts exactly.

EXT. LEXMARK HOTEL -- CAR PARK -- SAME TIME

Fortunato is still watching the lifts.

Contact #2 is sitting on the bonnet of his car. He pulls
out a pack of cigarettes, takes one and holds the pack out.

                       CONTACT #2
          Smoke?
Fortunato nods and heads towards him, taking the cigarette
and receiving a light.

                       FORTUNATO
          Thank you.

                    CONTACT #2
          No problem. So you been in this
          business long?

INT. LEXMARK HOTEL -- LIFT LOBBY -- SAME TIME

A lift opens with an announcement of “lift going up”.

Jake and Contact #1 step inside.

INT. LEXMARK HOTEL -- GLASS LIFT -- CONTINUOUS

As the lift ascends, Contact #1 looks outside where he sees
Fortunato and Contact #2 talking in the car park.

Meanwhile, Jake is checking out the inside of the lift.

                                                    (CONTINUED)
                                                           69.
CONTINUED:

Contact #1 starts to talk, still looking outside.

                    CONTACT #1
          You know, Jake, there’s something you--

On hearing his name, Jake is spooked.    Contact #1 realises
it too and falters.

Suddenly, Jake slams his fist against the ‘emergency stop’
button, causing the lift to slam to a halt.

In one swift move, Jake reaches into the front of his
jacket sleeve and produces a concealed gun -- a small snub-
nosed .22.

                       CONTACT #1 (CONT’D)
          Jake, no!

Contact #1 reacts fast and they struggle for the weapon.

EXT. LEXMARK HOTEL -- CAR PARK -- SAME TIME
Fortunato and Contact #2 are still by the car.

                    FORTUNATO
          What the fuck was that?

                    CONTACT #2
          Lift’s jammed. I’ll make a call.

He hops off the bonnet, into the driver’s side of the car.

Fortunato peers up at the glass lift, just about able to
see two struggling figures.

There is a BANG and the glass lift turns blood-red.
Fortunato tosses his cigarette and turns to the car.

                       FORTUNATO
          What the--

He is cut short as Contact #2 has emerged with a
tranquilliser gun in hand, firing a dart into his chest.

Fortunato drops to the floor like a sack of spuds.

Contact #2 looks up at the eerie lift as it starts back in
motion. He runs in towards the entrance.

INT. LEXMARK HOTEL -- GLASS LIFT -- SAME TIME

Jake stands by the control panel. Every bit of glass is
covered in dark blood, blocking out the world outside.

On the floor lies Contact #1, minus most of his head.



                                                     (CONTINUED)
                                                           70.
CONTINUED:

On the panel, Contact #1 had selected the fifteenth floor.
It shows that they are currently on the twelfth floor and
climbing. Thirteenth floor. Jake is frantically pushing
the fourteenth button.

INT. LEXMARK HOTEL -- LIFT LOBBY -- SAME TIME

Contact #2 comes skidding into the lobby.

He darts to the lift call panel and slams his fist into the
fire alarm box, setting bells ringing.

INT. LEXMARK HOTEL -- GLASS LIFT -- SAME TIME

The lift slams to a halt once again. The panel reads the
fourteenth floor, and Jake waits for the doors to open.

A message at the bottom panel lights up -- ‘Lift returning
to lowest level’ -- and it starts back on its way down.

Jake steps back. Gun still in hand, he runs his hands
through his hair before facing the door, waiting for it to
reach its destination.

INT. LEXMARK HOTEL -- LIFT LOBBY -- SAME TIME

Contact #2 is ducked behind a pillar, hidden from sight,
his tranquilliser gun pointed at the doors.

The lift arrives and the doors open.   Jake is not in sight.

INT. LEXMARK HOTEL -- GLASS LIFT -- CONTINUOUS

Jake has backed himself up against the side of the lift,
his shoulder resting alongside the control panel which just
about conceals him from the outside.
In the lobby, all is silent. Jake stands breathing for a
moment before plucking up the courage to make a charge.

With his gun leading the way, he hurls his body around into
the lobby, making an angle for cover.

INT. LEXMARK HOTEL -- LIFT LOBBY -- SAME TIME

Jake doesn’t get three feet into his escape before a dart
tears into his neck, as he in turn drops to the floor.

                                                FADE TO BLACK.

INT. LEXMARK HOTEL -- ROOM -- DAY

Jake lies on top of the covers of a bed in one of the
hotel’s rooms. He is still dead to the world.

A hand taps him across the face, trying to stir him.

                     VOICE (O.S.)
          Jake!   Jake, wake up. Jake!
                                                     (CONTINUED)
                                                           71.
CONTINUED:

As the slaps get progressively harder, Jake comes around.
His eyes open and he clambers his way to the head of the
bed, not knowing where he is.

FREDDY PULLMAN -- mid-forties, large build but gentle
manner -- perches on the side of the bed.

                        FREDDY
             Relax.   Here--

He extends an open packet of cigarettes and Jake takes one,
having it lit for him.

After taking a drag, he tries to talk, his voice hoarse.

                       JAKE
             Who are you? Where am I?

                       FREDDY
             You’re still at the Lexmark. Do you
             remember what happened this morning?
Jake nods.

                      FREDDY (CONT’D)
             Good. We need to talk. Do you know
             my name?

Jake shakes his head.

                       FREDDY (CONT’D)
             Do you know who I am?

                       JAKE
             You’re with the Untouchables.
                       FREDDY
             My name is Freddy.   Also known as DI
             Pullman.

He pulls out his badge to show Jake.

Jake takes a beat, a wide grin spreading across his face.

                       JAKE
             No you’re not.

                       FREDDY
             Jake, I assure you I am not with the
             Untouchables.

                       JAKE
             That may be, but there’s no way this
             is a CID operation.

                       FREDDY
             Granted, things haven’t exactly gone
             to plan.

                                                     (CONTINUED)
                                                            72.
CONTINUED: (2)

                    JAKE
          Come on, really.      What are you?   MI5?

                    FREDDY
          Jake, we’re the good guys.     That’s all
          you need to know.

                    JAKE
          All I need to know is why I’m not dead
          now. What do you need me for?

                    FREDDY
          For the same reason you agreed to help
          us the first time.

                    JAKE
          The briefcase?

                       FREDDY
          And Totti.
                    JAKE
          That’s different now. I don’t want to
          bring a good man down.

                    FREDDY
          A good man? Come on, Jake. You’re a
          man of the world. I didn’t expect you
          to buy into that front.

Jake is silent.

                    FREDDY (CONT’D)
          Why did you come here this morning?

                    JAKE
          To get back Natalia.

                     FREDDY
          Right. Do you know why she was
          kidnapped?

                       JAKE
          For money.     By the Untouchables.

                    FREDDY
          Wrong. We kidnapped her, posing as
          the Untouchables. The whole deal was
          a set-up. We told him we wanted you
          as revenge for killing Bobby.

                    JAKE
          He agreed to kidnapping her?

                    FREDDY
          That’s what I’m telling you.

                    JAKE
          No, that would never happen.
                                                       (CONTINUED)
                                                       73.
CONTINUED: (3)

                    FREDDY
          Jake, wake up!
              (pulls out key-card)
          This is the key-card to her building.
              (pulls out keys)
          These are the keys to her front door.
          He gave us alarm codes, the lot.

                    JAKE
          He’d never do that.

                    FREDDY
          He did!

                    JAKE
          Tell me how he’d explain it if I’m
          dead and you still have Natalia. Then
          what? How would he get her back then?

                    FREDDY
          We weren’t going to just kidnap her.
                    JAKE
          He’d never agree to killing her.

                    FREDDY
          Oh yes he did, Jake.   On one
          condition, though.

INT. MISTER TOTTI’S HOUSE -- STUDY -- NIGHT

Freddy sits across the table. A serious conversation has
just taken place. Mister Totti turns away in his chair and
puts his head in his hands.

                    MISTER TOTTI
          Just make it painless.

INT. LEXMARK HOTEL -- ROOM -- DAY

Jake and Freddy are as before.

                    JAKE
          No, that’s too much.

Freddy holds the keys and card out front.

                    FREDDY
          Look at these? Is this not too much?

                    JAKE
          So you used them?

                    FREDDY
          Of course we used them.   What else
          were we going to do?
                                                           74.


INT. APARTMENT -- NATALIA’S BEDROOM -- NIGHT

The scene picks up where it was left, with the two Men in
the room. The first has his gun loaded and pointed at
Natalia’s face as she has just woken up.

                    JAKE (V.O.)
          Tell me you didn’t kill her.

                    FREDDY (V.O.)
          Jake I told you. We’re the good guys.

The trigger to the gun is pulled to the sound of a loud
‘click’ indicating an empty chamber.

After half a beat of shock, Natalia is the first to react.

She dives away from the Man who jumps for her but misses,
landing head first on the bed.

Natalia scurries underneath the bed and comes out behind
the first Man, bowling straight into the second. She
knocks him to the floor and makes her escape through the
open front door.

INT. LEXMARK HOTEL -- ROOM -- DAY

Jake and Freddy are once again as before.

                    JAKE
          If she’s still alive, Mister Totti
          will think something’s up.

                    FREDDY
          All he’ll know is that you’re dead,
          meaning that we’re off his back and
          his daughter’s alive. An added bonus.

                    JAKE
          How will he know I’m dead?

                    FREDDY
          Fortunato will tell him.

                    JAKE
          He’s alive?

                       FREDDY
          He’s safe.

Jake is pleased to hear this.

                    JAKE
          This is all getting just a little
          complicated. Why should I get
          involved again?

                    FREDDY
          If you do, fifty grand--
                                                  (CONTINUED)
                                                           75.
CONTINUED:

He tosses the sports bag onto the bed by Jake’s side.

                       FREDDY (CONT’D)
          --Cash.

Jake takes a beat to look at the bag.

                    JAKE
          And if I don’t?

                     FREDDY
          If you don’t? Well, I might have to
          have an unofficial chat with Lee
          Gibson.
              (coldly)
          When he kills a man, he likes them to
          stay dead.

Jake is in deep thought.

                    FREDDY (CONT’D)
          I’m sorry to do it like this Jake, but
          I need you.

                    JAKE
          Why? I can see how I’d be of use on
          the inside, but I’m not anymore. What
          separates me from your men?

                    FREDDY
          My men have been on this case for over
          a year now. In the last few days,
          you’ve managed to kill two of them.

                    JAKE
          There’s just one thing still bothering
          me. If you really are ‘the good guys’
          as you say, why did Bobby have to burn
          down the café?

                    FREDDY
          When you’re pretending to be an
          Untouchable, you have to act and react
          like an Untouchable would.

                    JAKE
          Simply business?

                       FREDDY
          What else?

EXT. RESTAURANT -- BACK ENTRANCE -- DAY

At the back of this restaurant sits the doors that lead
into the kitchens. Beside those doors are two large black
disposal units.

Struggling through the doors comes a middle-aged KITCHEN
PORTER, a bundle of black sacks in each hand.
                                                   (CONTINUED)
                                                          76.
CONTINUED:

When he reaches the disposal units, he drops the sacks to
the ground and starts to toss them in through the top.

After the first couple of sacks have gone in, a frantic
familiar voice comes from inside.

                    FORTUNATO (O.S.)
          What the--? Oh, shit! What the fuck
          is this?

The Kitchen Porter creeps to the side of the unit and
cautiously stands on the tips of his toes to peer inside.

As he gets to the top, Fortunato’s ruffled and soiled face
springs from inside, covered in garbage. The site of him
sends the Kitchen Porter falling to the floor in surprise
before rushing back in, hollering out in his native tongue.

Fortunato, still dazed, clambers out of the unit. He
brushes the worst of the garbage from himself before
staggering down the street.
INT. QUEEN ANNE PUB -- DAY

Jake sits at the bar with Derek, the pair sharing a drink.

                    JAKE
          When did it get this complicated, Del?
          When did the line between copper and
          crook disappear?

                    DEREK
          Jake, you’re an old man in a business
          that wasn’t meant for you in the first
          place. By rights, you shouldn’t have
          survived this long.
                    JAKE
          Everything’s changed.

                    DEREK
          That’s what happens. The old make way
          for the young and their way of doing
          things. You know, the Smoke isn’t
          even anything like--

Derek trails off when he sees Jake grinning at him.

                     DEREK (CONT’D)
          What?   What are you grinning at?

                     JAKE
          Nothing.   It’s just--

                     DEREK
          What?



                                                   (CONTINUED)
                                                         77.
CONTINUED:

                    JAKE
          I haven’t heard it called that in
          years.

                    DEREK
          Heard what called what?

                    JAKE
          London. You called it the Smoke.
          It’s been years since I last heard
          someone call it that.

                    DEREK
          You see, that’s my point. We’re both a
          pair of out of place old dogs.
              (a beat)
          Nobody calls it the Smoke anymore?

                    JAKE
              (shaking his head)
          Just you and me I guess, old pal.
The pair laugh a little together.

                    DEREK
          Seriously, Jake. Make this one your
          last one, eh? I thought you’d died
          once already and this morning could
          have been for real. How many lives do
          you think you’ve got? One day they’re
          gonna run out.

                    JAKE
          Yeah, I know.

                    DEREK
          Why not find a nice girl and whisk her
          away some place? After all these
          years, I think you’ve earned it.

Jake smiles at him and takes another gulp from his drink.

                    DEREK (CONT’D)
          They’re fighting a lost cause.

                     JAKE
          Who are?

                    DEREK
          These gangs. Fighting for complete
          control of this city. London’s too big
          for any one power to control it, it’s a
          metropolis for Christ’s sake.

                    JAKE
          So what’s the answer?



                                                    (CONTINUED)
                                                            78.
CONTINUED: (2)

                    DEREK
          There is no answer. That’s why there
          will always be war. The power will
          always change. You’re on the winning
          side one day, but sooner or later,
          they’re destined to be beaten.

                    JAKE
          What goes up must come down.

                       DEREK
          Exactly.

                    JAKE
          You talk a lot of sense, Del.     You
          always have.

INT. ITALIAN CAFE -- DAY

Mister Totti is sitting alone at a table, head on his hands
in deep thought.
Through the door comes Fortunato, still covered in the
greasy stains from the garbage over his suit.

On arrival, Mister Totti’s head shoots up with a smile.

                       MISTER TOTTI
          Fortunato!

Fortunato moves towards him with both hands clasped
together in front of him.

                    FORTUNATO
          Signor Totti! Natalia, she--
Just then, Natalia appears from the back.    Fortunato is
elated to see her.

                       FORTUNATO (CONT’D)
          Natalia!

He makes the sign of the crucifix across his body with his
hand before kissing it.

                    FORTUNATO (CONT’D)
          Praise to Sainta Maria! I thought
          they would have killed you.

                    NATALIA
          They almost did. I was lucky to
          survive.

                    MISTER TOTTI
          Very lucky. But thank our Lord she is
          safe and sound.



                                                    (CONTINUED)
                                                           79.
CONTINUED:

                    FORTUNATO
              (to Mister Totti; solemn)
          They killed Jake.

Mister Totti’s head sinks.

                    MISTER TOTTI
          I feared the worst. Are you sure he
          is dead?

                    FORTUNATO
          I watch him go into the lift with one
          of them. They were armed and he was
          not. There was a gunshot, and only
          one walked away.

                    MISTER TOTTI
          This is a sad day for us all. But
          this is why I did not want you to be
          there, Fortunato. I can not afford to
          lose you as well.
Fortunato sits at the table and takes Mister Totti’s hand.

                    FORTUNATO
          On my life I swear. Those responsible
          will pay for what they have done. Now
          tell me what happened.

EXT. CATHOLIC CHURCH -- NIGHT

Fortunato trots up the stone steps that lead into this
grand church.

INT. CATHOLIC CHURCH -- CONTINUOUS
The inside is even more impressive than the outside. It is
complete with statues, crucifixes and elaborate stained-
glass windows. Its size is enough to dwarf any man
considerably.

As Fortunato enters, he makes the sign of the crucifix
across his body again and somberly shuffles down the aisle
to the alter at the front.

Once there, he kneels down and bows his head in thoughtful
prayer for a few moments.

On rising, he crosses to the side of the church where he
takes a candle and lights it, resting it in the wooden
display box.

Turning from the box, he goes to the old wooden seats where
he once again kneels in thoughtful prayer.

After a few moments, a firm hand clasps him on the
shoulder. His eyes open and he goes rigid, staring ahead.


                                                  (CONTINUED)
                                                           80.
CONTINUED:

                    JAKE (O.S.)
          I hope that candle wasn’t for me.

Fortunato spins around in joy, seeing Jake for the first
time. He jumps up and grabs him across the bench.

                    FORTUNATO
          Fratello, you are alive!

They share a little laugh as Fortunato releases.

                    JAKE
          I didn’t know you were a religious man.

                    FORTUNATO
          Well I guess we are both full of
          surprises, eh?

Another short laugh before Jake turns serious.

                    JAKE
          We need to talk.

EXT. BRIDGE -- NIGHT

The bridge is deserted, no sign of life anywhere around it.

Jake’s and Fortunato’s cars sit facing each other with
their headlights on. The pair stand in the light they
generate, a heated conversation underway.

                       JAKE
          Face it!     The old man set me up!

                    FORTUNATO
          No! I will not believe this! Why
          would Signor Totti do such a thing?

                    JAKE
          To save his own skin!

                    FORTUNATO
          You do not know him like I know him.

                    JAKE
          No, Fortunato. You don’t know him
          like I know him.

                     FORTUNATO
          I can’t believe you’ve swallowed this
          shit! Are you a fool? They are just
          using you!

                    JAKE
          Think about it. Why didn’t he want
          you to go with me? Because he knew I
          would be killed.


                                                    (CONTINUED)
                                                        81.
CONTINUED:

                    FORTUNATO
          Like he said. It was a one man job.
          And he let me go in the end.

                    JAKE
          Well think about that! If he sent you
          into the situation he thought you were
          going to, you’d be dead now!

                    FORTUNATO
          There is no way he would allow Natalia
          to be killed over a fucking briefcase!

                    JAKE
          Do you know what’s in the case?

                    FORTUNATO
          No, do you?

Jake does not have an answer.
                    JAKE
          How did they get into her apartment?

                    FORTUNATO
          It would not be hard to crack the code
          to the door.

                    JAKE
          Okay, well how did they unbolt her
          front door without a key? Was there
          any damage?

                    FORTUNATO
          So they had one cut.
                    JAKE
          From what?!

Fortunato searches for an answer but comes up short.

                    JAKE (CONT’D)
          They pulled the trigger in her face,
          did they not?

                       FORTUNATO
                 (angrily)
          Yes.

                    JAKE
          So why is she not dead?

                    FORTUNATO
          The gun jammed.

                    JAKE
          And Natalia managed to escape from two
          heavies before they could do anything?

                                                   (CONTINUED)
                                                        82.
CONTINUED: (2)

                    FORTUNATO
          She got lucky.

                    JAKE
          Seems a little easy, doesn’t it?

                    FORTUNATO
          Like I said. She got lucky.

                    JAKE
          Why did they only ask for fifty grand
          when they could easily have asked for
          five hundred? What’s fifty grand to
          the fucking Untouchables?

                    FORTUNATO
          Okay, okay! I can see you have put
          much thought into this.

                    JAKE
          Yes, Fortunato, I have.   Have you?
                    FORTUNATO
          It does not matter what you say. It
          is the principle. Signor Totti would
          never harm one of his own.

                    JAKE
          This is your chance to do something
          for yourself for a change.

                    FORTUNATO
          Jake, I have told you before.
          Everything I have I owe to Signor
          Totti. I will not turn against him.
                    JAKE
          You only have those things because you
          having them profited him.

                    FORTUNATO
          Either way, I still owe it all to him.

                    JAKE
          When it comes down to it, you mean
          nothing to him. And I hope you learn
          this sooner rather than later.

                    FORTUNATO
          Jake, I consider you a friend, but I
          must go where my loyalties lie. I
          hope that one day we will meet again.
          But if you choose to pursue this crazy
          mission, I hope that it is later
          rather than sooner.

He extends his hand to Jake and they shake.


                                                   (CONTINUED)
                                                           83.
CONTINUED: (3)

                    FORTUNATO (CONT’D)
          Tell me one thing before I leave.
          Have you always worked for these
          people? Taken us all for a ride?

                      JAKE
          No.    It is how I say it is.

                    FORTUNATO
          So the story you tell me about looking
          after your friends families. That is
          true?

                      JAKE
          Yes.

                    FORTUNATO
          Well, until next time, l’amico.

With a nervous wry smile, Fortunato climbs into his car.
Jake watches as Fortunato pulls away from the bridge before
climbing into his own car and heading the other way.

EXT. LEXMARK HOTEL -- CAR PARK -- NIGHT

Jake pulls up outside the entrance to the hotel.

Exiting the car with a coffee, he is met by Contact #2 and
the pair shake hands.

                    CONTACT #2
          Thanks for coming back, Jake.

                    JAKE
          This morning. I--
Jake trails off.

                    CONTACT #2
          It was business, Jake.

                      JAKE
          Right.

They turn and walk towards the hotel entrance in silence
for a few moments.

                    JAKE (CONT’D)
          Don’t you fellas ever sleep?

                    CONTACT #2
          Not often, no.

INT. LEXMARK HOTEL -- LIFT LOBBY -- MOMENTS LATER

Jake and Contact #2 wait as a lift arrives and the doors
open -- it is the same lift that Jake killed Contact #1 in.
                                                         84.


INT. LEXMARK HOTEL -- GLASS LIFT -- CONTINUOUS

The lift has been cleaned thoroughly.   No evidence of the
morning’s unpleasantness remains.

Jake and Contact #2 ride up in silence.

INT. LEXMARK HOTEL -- ROOM -- MOMENTS LATER

Freddy is staring at a layout pinned to a wall in the room.
It contains a blown-up road map with route markings.
Around that are various pictures of people taken through
surveillance -- Mister Totti, Fortunato, Natalia and Jake
included.

Just then, Contact #2 opens the door and lets Jake inside,
closing it after him. Freddy turns to face him.

                    FREDDY
          Jake!
They shake hands.

                    FREDDY (CONT’D)
          Glad you came.

                    JAKE
          So this is headquarters, is it?

                    FREDDY
          Of sorts, yes.

                    JAKE
          It’s hardly James Bond, is it?

                    FREDDY
          You’ve been watching too many movies.
          By the way, feel free to take a room
          for the time you’re working with us.

                    JAKE
          If I decide to work with you.

                    FREDDY
          Of course you will.

                    JAKE
          What makes you so sure?

                    FREDDY
          Why else would you be here?

Jake thinks.

                    JAKE
          Well this is what I want.

                    FREDDY
          I’m listening.
                                                   (CONTINUED)
                                                        85.
CONTINUED:

                    JAKE
          An extra two hundred grand on
          successful capture of the briefcase.

                       FREDDY
          And?

                    JAKE
          Complete immunity against my name for
          all crimes committed up to and
          including the termination of my
          employment here.

Freddy thinks.

                    FREDDY
          Crimes committed during our employment
          that are necessary for the capture of
          the briefcase.

                       JAKE
          Of course.

                       FREDDY
          Okay.

He extends his hand to shake.

                    JAKE
          And I want it in writing.

                       FREDDY
          Naturally.

Jake takes his hand and they shake.
                    FREDDY (CONT’D)
          Now let me show you something.

He turns to a second wall that is laid out similarly to the
first, but the faces are all Oriental.

                    FREDDY (CONT’D)
          This is who Totti is currently in
          allegiance with.

                       JAKE
          Triads?

                       FREDDY
          Yakuza.

                       JAKE
          Japanese?     Why them?

                    FREDDY
          Both are hungry for power here.


                                                   (CONTINUED)
                                                        86.
CONTINUED: (2)

                    JAKE
          Is that briefcase really the answer?

                    FREDDY
          What’s inside is.

                    JAKE
          Come on, level with me.

                    FREDDY
          I honestly think it’s better you don’t
          know what’s inside, Jake.

                    JAKE
          Well I have to know where it is at least.

                    FREDDY
          The case is being held by Yakuza in a yet
          to be confirmed position. Their numbers
          are thought to be small, but they more
          than make up for that in firepower.
                    JAKE
          Your information’s a little lacking.

                    FREDDY
          As I said, we’re waiting for
          confirmations so we need you at a
          moment’s notice.

                    JAKE
          So what’s your grand plan?

                    FREDDY
          I’m not gonna lie to you, Jake. We
          don’t know when that case will be in
          motion again. It needs to be a good
          old-fashioned ‘storm the castle’.

                    JAKE
          Define ‘storm the castle’.

                    FREDDY
          Blaze in, blaze out, briefcase in
          hand. This is why we need you.

                    JAKE
          Now that’s more like James Bond.

INT. ITALIAN CAFE -- NIGHT

Mister Totti is eating a plate of spaghetti at a table as
Fortunato ambles through the door.

                    MISTER TOTTI
          How was your prayer service?

Fortunato simply nods.

                                                   (CONTINUED)
                                                          87.
CONTINUED:

                    MISTER TOTTI (CONT’D)
          Good. Perhaps now we can start to put
          all this behind us, no? We have a lot
          of work ahead.

                    FORTUNATO
          I would like to ask you some questions
          about this morning, if I may?

Mister Totti stops eating and looks Fortunato in the eye, a
worried look on his face.

                    MISTER TOTTI
          Yes, of course. What is wrong?

Fortunato takes a moment.

                    FORTUNATO
          Well, it’s just--

He is cut off by Natalia’s entrance from the back.
                    NATALIA
          I’m ready to go now, father.

                    MISTER TOTTI
          Of course my angel. Fortunato, would
          you mind?

Fortunato turns to the door. As he does, Mister Totti
rises from the table and hugs and kisses Natalia goodbye.
Her response is cold, returning neither.

Fortunato observes this from the door where he is waiting.

                    MISTER TOTTI (CONT’D)
          I will see you in the morning.

INT. FORTUNATO’S CAR -- NIGHT

Fortunato is driving Natalia in silence.

She opens a packet of cigarettes and offers him one as he
shakes his head in refusal. Cracking the window, she
lights up as the pair stay silent a moment longer.

                    FORTUNATO
          How does it feel knowing a man died
          for you?

                    NATALIA
          How am I supposed to feel?   Grateful?

                    FORTUNATO
          Maybe, yes. Or hurt, angry, or just
          plain upset.



                                                     (CONTINUED)
                                                         88.
CONTINUED:

                    NATALIA
          Of course I’m upset. Jake was a kind
          man who died for nothing.

                    FORTUNATO
          He died for you.

                    NATALIA
          No, he died for my father. A
          pointless and wasteful death.

                    FORTUNATO
          You do not think it was honourable?

                    NATALIA
          There is no honour in murder.

                     FORTUNATO
          Murder?   What makes you say that?

                    NATALIA
          Open your eyes, Fortunato.     Jake’s
          death was business.

                    FORTUNATO
          What do you know?

                    NATALIA
          Obviously more than you.

They have arrived at Natalia’s block of apartments and
Fortunato kills the engine.

                    FORTUNATO
          This is important, Natalia.    You must
          tell me what you know.
                    NATALIA
          All I know is what I see, Fortunato.
          The same as you. Maybe, just maybe, I
          see it in a different light.

She opens her door and exits the car.

EXT. APARTMENT COMPLEX -- NIGHT

Fortunato exits the car after Natalia.

                    FORTUNATO
          Let me see you to your door.

                    NATALIA
          Really, there’s no need.

                     FORTUNATO
          Please.   For my own sake.

Natalia shrugs and Fortunato follows her into the building.
                                                           89.


INT. APARTMENT COMPLEX -- HALLWAY -- MOMENTS LATER

Natalia lets herself in as Fortunato hangs back and surveys
the lack of damage done to the lock before stepping inside.

INT. APARTMENT -- HALL -- CONTINUOUS

Fortunato closes the door behind him.   Natalia has gone
into the kitchen.

                    FORTUNATO
          There is not much damage to your lock.

                    NATALIA (O.S.)
          They let themselves in with keys.

She reappears from the kitchen.

                     NATALIA (CONT’D)
          Do you want a coffee or something,
          Fortunato?
                    FORTUNATO
          No.  Thank you.
              (a beat)
          How did they get your keys?

                    NATALIA
          They didn’t. I’ve always had my keys.

                    FORTUNATO
          So where did they get theirs from?

                    NATALIA
          That, I don’t want to think about.
                     FORTUNATO
          Why not?

                    NATALIA
          I’m scared I’ll find the answer.

She heads back into the kitchen and Fortunato follows.

INT. APARTMENT -- KITCHEN -- CONTINUOUS

It is an ultra-modern, stylish chrome kitchen, matching the
rest of the apartment.

The kettle has boiled and Natalia pours a cup of coffee.

                     FORTUNATO
          Is this the first time you’ve been
          back here?

                    NATALIA
          No, I came home to get dressed.


                                                     (CONTINUED)
                                                           90.
CONTINUED:

                    FORTUNATO
          Whose keys did you use then?

                    NATALIA
          I had to have security let me in.

                    FORTUNATO
          Hasn’t Signor Totti got a set?

                    NATALIA
          My father ‘couldn’t find’ his.

                    FORTUNATO
          That is not unusual. It must have
          been a while since he last used them.

                     NATALIA
          Yes, it is. And that is one way of
          seeing it.

                    FORTUNATO
          But this is one of those things you
          see differently?

                    NATALIA
          Those men were not here to kidnap me.

                    FORTUNATO
          Their gun jammed. It does happen.      It
          has happened to me.

                    NATALIA
          I didn’t get away.   They let me go.

                    FORTUNATO
          What are you thinking, Natalia?   Tell
          me what you are thinking.

Natalia sighs.

                    NATALIA
          Are you sure you don’t want a coffee?

                    FORTUNATO
          No, thank you. I should be going.

                    NATALIA
          Thank you for the ride, Fortunato.

                    FORTUNATO
          Good night, Natalia.   I hope you sleep
          well.

                    NATALIA
          I hope you do too, Fortunato.

Fortunato stays where he is a beat longer before turning
and leaving.
                                                           91.


EXT. APARTMENT COMPLEX -- MOMENTS LATER

Fortunato exits the complex and climbs into his car.

INT. FORTUNATO’S CAR -- CONTINUOUS

Fortunato sits in the driver’s seat, thinking.

INT. ITALIAN CAFE -- NIGHT

Fortunato enters.   Mister Totti is at his usual table.

                    MISTER TOTTI
          Thank you, Fortunato. You have always
          been good to my family.

Fortunato lamely smiles.

                     MISTER TOTTI (CONT’D)
          Now.   You wanted to talk.
                     FORTUNATO
          It is okay. Sometimes you must ask
          yourself for the answers to your
          questions.

                    MISTER TOTTI
          Those are the words of a true man.

                    FORTUNATO
          It must take one to know one.

Mister Totti smiles.

                    FORTUNATO (CONT’D)
          Do you need me again this evening,
          Signor Totti?

                    MISTER TOTTI
          No, thank you Fortunato. Get some
          rest. You have earned it and I expect
          you shall need it.

                    FORTUNATO
          Good night, Signor Totti.

                    MISTER TOTTI
          Good night. And thank you again.

Fortunato leaves silently.

INT. LEXMARK HOTEL -- ROOM -- NIGHT

Jake sits on a bed with some files in front of him. The
one open is Natalia’s and he studies pictures of her and
the outside of her apartment.

A knock comes from the door and Freddy enters, a bundle of
files in hand.
                                                   (CONTINUED)
                                                          92.
CONTINUED:

                    FREDDY
          I thought you’d want to see some files
          on the Yakuza involved. Familiarise
          yourself with names, numbers, ages.

                     JAKE
          No.   No names.

                    FREDDY
              (off Natalia’s file)
          Well, I hope it’s not extra-curricula.

Jake stares back down at the pictures of Natalia’s
apartment complex.

EXT. APARTMENT COMPLEX -- NIGHT

Jake arrives at the front door and hits the intercom.

A moment later, Natalia’s voice crackles through.
                     NATALIA (V.O.)
          Hello?

                     JAKE
          Pizza.

                    NATALIA (V.O.)
          I didn’t order any pizza.

                    JAKE
          Says here one pizza in the name of
          Jake Harrison.

There is a long pause before the door ‘clunks’ and Jake
steps inside.
INT. APARTMENT COMPLEX -- HALLWAY -- MOMENTS LATER

Jake enters the hallway from the staircase and finds
Natalia standing by her open door.

She heads inside and Jake follows.

INT. APARTMENT -- LIVING ROOM -- CONTINUOUS

Natalia enters the spacious living room and goes straight
for the drinks counter.

Jake follows in behind her. Natalia fixes two drinks, not
looking at him while she does.

                    NATALIA
          I knew you weren’t dead.

                    JAKE
          Is that so? What else do you know?


                                                     (CONTINUED)
                                                          93.
CONTINUED:

                    NATALIA
          That I should be. And my father knew.

                    JAKE
          It would appear that way.    What I want
          to know is why.

She hands him his drink.

                    NATALIA
          He’s not my real father. My mother
          could not have children. Quite an
          embarrassment for an Italian man. Not
          that he ever wanted a child. Just
          something you do. So I was adopted at
          birth. As a result of which, he
          resented the both of us. My mother
          and me.

                    JAKE
          Interesting story.    But why would he
          try to kill you?

                    NATALIA
          He didn’t try to kill me. It wasn’t
          him that pulled the trigger. A
          situation arose where he would profit
          from my death and he took it. Simple
          as that.

                      JAKE
          Even so.    Is that really enough?

                    NATALIA
          I told you before, Jake. When it
          comes to the family business, business
          always comes before family.

                    JAKE
          Come on, Natalia.     What do you really
          know?

Natalia freezes and stares Jake dead in the eye.

                    NATALIA
          Why the fuck are you here, Jake?

                    JAKE
          Not to play games.

Suddenly, she starts to move seductively towards him.
Taking a sip from her drink she slowly licks her lips,
holding her glass in both hands.

                      NATALIA
          Then why?

                    JAKE
          To find some answers.
                                                     (CONTINUED)
                                                           94.
CONTINUED: (2)

Natalia is inches away from Jake.

                    NATALIA
          And can I give it to you?

She moves her mouth across his face, keeping just
centimetres away. Jake gulps.

                       JAKE
          I hope so.

Natalia pauses, her body still almost on top of Jake’s.

                    NATALIA
          I know where the briefcase is.

                       JAKE
          And?

                    NATALIA
          I know how to get it.
                       JAKE
          And?

                    NATALIA
          And I now know it must be worth a lot
          more to my father than I am.

                    JAKE
          So now what do you want to do?

                    NATALIA
          Now I want to give you what you really
          came here for.
She grabs Jake, kissing him passionately and pulling him
backwards as the pair fall onto the sofa.

They quickly get back on their feet and Natalia leads the
heated encounter out onto the balcony.

EXT. APARTMENT -- BALCONY -- CONTINUOUS

Jake and Natalia come stumbling through the doors and land
against the railings with a thud.

Their kisses become more erratic as they tear each others
clothes off, the encounter getting physical.

INT. FORTUNATO’S FLAT -- LIVING ROOM -- MORNING

The only sound is that of a telephone ringing.

A few moments later, a dishevelled Fortunato staggers in
from the bedroom having just woken up. He snatches the
phone from its cradle.


                                                    (CONTINUED)
                                                    95.
CONTINUED:

                    FORTUNATO
              (into phone)
          Hello?
              (a beat)
          I will be right there.

EXT. APARTMENT -- BALCONY -- MORNING

Jake and Natalia sit on the balcony smoking.

                    JAKE
          Are you really not worried that your
          father will try to kill you again?

                    NATALIA
          Not unless he can profit from it.

                    JAKE
          But you know about the case.

                    NATALIA
          I don’t know about the case, I just
          know where it is. And he doesn’t know
          what I know.

                    JAKE
          So how do you know what you know?

                    NATALIA
          It’s a big house, Jake. You’d be
          surprised what a girl can learn if she
          listens properly.

                    JAKE
          What interest do you have in this case?
                    NATALIA
          It could be my ticket.

                    JAKE
          Your ticket to where?

                    NATALIA
          I don’t care. Anywhere.      As long as
          it’s far away from here.

                    JAKE
          What are you going to do? Grab it
          yourself? Then what? Sell it?

                    NATALIA
          That’s where you come in.

                    JAKE
          And what makes you think I’ll help?
          You know the arrangement I’m in.

                    NATALIA
          It could be a ticket for two.
                                                          96.


INT. FORTUNATO’S CAR -- DAY

Fortunato is driving Mister Totti, who sits in the back
seat, talking on his mobile phone.

He looks in the rear-view mirror, trying to catch the
conversation. Mister Totti sees this and points at the
road ahead. Fortunato snaps his attention back to driving.

INT. LEXMARK HOTEL -- ROOM -- DAY

Freddy stands at the wall with Yakuza faces, phone in hand.

                    FREDDY
              (into phone)
          That’s affirmative.

He abruptly hangs up the phone as Contact #2 enters.

                    FREDDY (CONT’D)
          Where the hell’s Jake?
                    CONTACT #2
          He didn’t come back last night.

                    FREDDY
          Well where did he go?

                     CONTACT #2
          Out.

                     FREDDY
          Out?

                    CONTACT #2
          He wasn’t our prisoner.
                    FREDDY
          Get him on the phone.

EXT. QUEEN ANNE PUB -- DAY

Jake and Natalia stand outside the pub.   Jake looks around
him as he bangs on the door.

INT. QUEEN ANNE PUB -- SAME TIME

Derek is hoovering the empty pub as the sound of Jake
banging on the door finally reaches him.

He switches off the hoover before crossing the floor,
unbolting and opening it.

Jake rushes in. With one hand he shakes Derek’s, with the
other he pulls Natalia in behind him.

                     DEREK
          Jake!   How are you?

                                                   (CONTINUED)
                                                             97.
CONTINUED:

                    JAKE
          In a rush, Del. Just come to grab
          some things.
              (off Natalia)
          This is Natalia.
              (to Natalia)
          Natalia, this is Del.

                    NATALIA
          Hello, Derek.

                    DEREK
          Call me Del. Please--

He signals to the bar for Natalia to take a seat.

As she does, Jake disappears through the door and down the
stairs to his room.

                    DEREK (CONT’D)
          Can I get you a drink?
                    NATALIA
          No, thank you. I’m fine.

                    DEREK
          You know, Jake’s said a lot about you.

                    NATALIA
          Oh, really?

INT. QUEEN ANNE PUB -- JAKE’S ROOM -- SAME TIME

Jake is kneeling in one corner. Long screwdriver in hand,
he rips up one of the bare floorboards.
Once up, he easily lifts another two or three around it.

From under the floor, Jake carefully pulls up a large
silver case, followed by an old sports bag.

Inside the case, nestled amongst the black padding, is an
arsenal of handguns, each varying in size and power.

One by one, Jake takes them out and finds a place to
conceal them on his person.

Unzipping the sports bag, he reveals a pump-action shotgun
and many rounds of ammunition, plus magazines of bullets
for the handguns. He in turn stuffs these into his pockets
and, grabbing the shotgun, heads back upstairs.

INT. QUEEN ANNE PUB -- CONTINUOUS

Natalia and Derek are sat at the bar, sharing a laugh.

Jake emerges through the door, ready for action.    Seeing
this, Natalia jumps up from her stool.

                                                    (CONTINUED)
                                                           98.
CONTINUED:

                    JAKE
          Okay, let’s go.

                    NATALIA
          It was nice to meet you, Del.

                    DEREK
          Likewise, Natalia.   You look after
          him, you hear?

She nods and smiles before heading out through the door.

                    DEREK (CONT’D)
          Jake!

Jake stops and turns.

                    DEREK (CONT’D)
          Make this one count, okay? Don’t go
          doing anything stupid like getting
          yourself killed again.
                    JAKE
          That’s the plan, Del.

                    DEREK
          So you do have a plan?

                    JAKE
          I always have a plan.

With a smile, he follows Natalia through the door.

INT. JAKE’S CAR -- DAY

Jake is driving Natalia, his shotgun resting between
himself and the door as his phone rings.

                    JAKE
              (into phone)
          Hello?

                    FREDDY
              (from phone)
          It has to be now.

                    JAKE
          One step ahead of you, buddy.

                    FREDDY
          What are you talking about?

                    JAKE
          I’m going for the case.

                    FREDDY
          Jake, are you fucking us?   It sounds
          like you’re fucking us.

                                                     (CONTINUED)
                                                           99.
CONTINUED:

                    JAKE
          Wouldn’t dream of it.

And with that, he hangs up the phone and puts his foot down
a little harder on the accelerator.

INT. LEXMARK HOTEL -- ROOM -- SAME TIME

Freddy is in the same room, phone in hand. He taps it
across the back of his head in thought for a moment before
turning behind him to Contact #2.

                    FREDDY
          He’s fucking us. Move in.

Contact #2 storms out through the door.

EXT. NARROW ALLEY -- DAY

Jake’s car rolls to a slow halt at the end of a line of
cars in this narrow alley in the heart of London.
Deteriorating buildings and garages align either side of
the road.

INT. JAKE’S CAR -- SAME TIME

Jake and Natalia sit in silence for a beat.

                     JAKE
          Are you sure you want to go through
          with this?

                    NATALIA
          Can you think of another way?

                    JAKE
          Once inside, give me five minutes.

Natalia nods and opens the door.

                       JAKE (CONT’D)
          Good luck.

With a smile, she leans across and kisses Jake, before
leaving the car.

Through the windshield, Jake watches as she crosses the
road and stands by a loading bay that leads into the back
of a building. It is covered by a large roller shutter.

She presses an intercom and stares up at the large CCTV
camera that is mounted above her head.

A few moments later, the shutter is rolled up by a young
YAKUZA. Some words are spoken and the Yakuza disappears
back inside, closing the shutter behind him.

Natalia turns back to look at Jake.

                                                  (CONTINUED)
                                                          100.
CONTINUED:

                    JAKE (CONT’D)
              (to himself)
          Come on, come on.

Soon after, the shutter opens again and Fortunato appears.

INT. BUILDING -- LOADING BAY -- CONTINUOUS

Fortunato stands under the shutter, Natalia before him.

                      FORTUNATO
          Natalia!    You should not be here.

                    NATALIA
          Nonsense. I’ve been here a hundred
          times before.

                    FORTUNATO
          Well, times have changed.

                    NATALIA
          I haven’t seen him before.

                      FORTUNATO
          He’s new.

                    NATALIA
              (shrugging)
          I saw my your car parked outside and
          thought that you or my father, if he’s
          around, might like to get some lunch.

                    FORTUNATO
          He is doing business right now.

Natalia shoulders her way into the building.
                    NATALIA
          That’s okay. I can wait.

Fortunato rattles the large roller shutter closed.

EXT. NARROW ALLEY -- SAME TIME

As soon as the shutter is closed, Jake starts up the car
and drives round the corner.

Parking up, he exits his car and fixes a strap across his
chest that has been made to clip onto his shotgun. Once
secure, he swings it round so it lays across his back and
cautiously marches round the corner and down the alley,
crossing the road.

INT. BUILDING -- LOADING BAY -- SAME TIME

Natalia glances up at a small box office that overlooks the
loading bay, its blinds drawn.


                                                     (CONTINUED)
                                                         101.
CONTINUED:

                    NATALIA
          Is my father in his office?

                    FORTUNATO
          Yes, but he is--

                    NATALIA
              (cutting in)
          I know, doing business. I’m going for
          a smoke on the roof. Care to join me?

                    FORTUNATO
          I will send someone with you.

He turns behind him and signals with his hand.

                    NATALIA
          I don’t need the company, just thought
          you’d like to join me.

From the shadows steps another young Yakuza.   This one has
an AK47 hanging around his neck.

                    NATALIA (CONT’D)
          Bloody hell! What’s that for?

                    FORTUNATO
          Your protection.

Head down, Natalia strolls to the back of the loading bay,
sneaking glances here and there as she goes. The Yakuza
follows in her path.

She climbs the metal staircase at the far end which leads
to a gangway overlooking the loading bay.
From the gangway, Natalia opens a fire exit which sends a
waft of light and fresh air into the stuffy building.

She steps through the door which leads to a flat roof.

The Yakuza keeps his position inside, blocking the door.

EXT. NARROW ALLEY -- SAME TIME

Jake has arrived at the far end of the alley. The last
building has a wall that he stands on and jumps to a lower
level roof.

From here, Jake climbs up a set of external fire exit
stairs that lead to the higher roof.

Jake is now on the same level as Natalia.

EXT. BUILDING -- ROOFTOP -- SAME TIME

Natalia is leaning against a short brick pillar, smoking.

The Yakuza is inside, facing away from her.
                                                   (CONTINUED)
                                                          102.
CONTINUED:

                    NATALIA
          You don’t say much, do you?

The Yakuza turns his head, says nothing and turns back.

EXT. NARROW ALLEY -- ROOFTOP -- SAME TIME

Jake is on the move, running cat-like across the rooftops,
back towards Natalia. He ducks low as he runs, always
looking ahead of himself.

He reaches a part where the crooked alley is at its
narrowest and stops. He turns to the edge of the building
and surveys the distance. Taking a deep breath, he steps
back before running up and leaping across to the other
side, landing with a thud into a forward roll.

EXT. BUILDING -- ROOFTOP -- SAME TIME

Natalia casually turns her head to the right, searching
along the rooftops. Jake comes into view and silently
makes his way towards her. The pair remain silent.

Natalia signals to Jake the number one and points inside.

Jake slides along the wall to the open door.    He quickly
ducks his head inside and pulls out again.

Jake takes a beat before swinging through the open door.

INT. BUILDING -- GANGWAY -- CONTINUOUS

Jake grabs the Yakuza by the throat, cutting off his
windpipe, and breaks his neck. In one move, he drags him
back out through the door.
EXT. BUILDING -- ROOFTOP -- CONTINUOUS

Jake lays the Yakuza around the corner from the door.

                    NATALIA
          I saw five inside.   All armed.

                    JAKE
          Armed with what?

                    NATALIA
          I don’t know.

                    JAKE
              (off dead Yakuza’s weapon)
          Were they like this?

                    NATALIA
          No, all handguns.

                    JAKE
          Were they moving or standing still?

                                                    (CONTINUED)
                                                         103.
CONTINUED:

                    NATALIA
          Two stationary, three moving.   Jake,
          Fortunato’s down there.

                    JAKE
          Where else would he be?

Jake thinks for a beat, then fishes out one of his
concealed handguns, handing it to Natalia.

                       JAKE (CONT’D)
          Take this.

She takes it.

                    JAKE (CONT’D)
          Be careful. It’s loaded.

Jake creeps back towards the door.

                    JAKE (CONT’D)
          Stay here and keep your head down.

And with that, Jake goes back inside.

EXT. NARROW ALLEY -- SAME TIME

A car pulls to a stop where Jake’s originally sat. Freddy
is driving and Contact #2 is in the passenger seat.

INT. FREDDY’S CAR -- SAME TIME

From inside the car, the closed roller shutter of the
building is in plain sight.

                    CONTACT #2
          Do you think he’s in there?

Freddy grabs the radio from its cradle on the dashboard and
holds down a button on the side.

                    FREDDY
              (into radio)
          All units in position. Standby.
          Nobody move until I say so.

He releases the button and hangs the radio back up.

                    FREDDY (CONT’D)
          If he is in there, I think we’ll soon
          know about it.

INT. BUILDING -- GANGWAY -- SAME TIME

Jake inches along the wall towards a corner of the gangway
where another Yakuza is looking down on the loading bay.

As he gets closer, Jake slides a short, sharp jagged blade
from his jacket sleeve.
                                                     (CONTINUED)
                                                       104.
CONTINUED:

At arm’s length, he lunges the blade up into the Yakuza’s
side, piercing his lungs. Unable to scream, the man falls
back, dead. Jake moves his body so it lies against the
wall.

INT. BUILDING -- OFFICE -- SAME TIME

Mister Totti sits across a table from a Japanese Gentleman
who is recognised from the study in his house. The
briefcase sits by his feet on the floor. The blinds are
drawn, cutting off all activity from the loading bay.

In the corner stands Fortunato and a Yakuza. The pair are
friendly and playing the reaction game ‘slapsies’, where
your opponent must strike your out-stretched hand before
you react.

                    MISTER TOTTI
          With all due respect, the price and
          percentage have been agreed.
                    JAPANESE GENTLEMAN
          There is nothing wrong with your
          price. It is the percentage I would
          like to discuss.

                    MISTER TOTTI
          As I say, it has been arranged.   We
          had a deal.

                    JAPANESE GENTLEMAN
          With equal respect, this is why we are
          here. To re-negotiate.

Mister Totti thinks, getting annoyed as Fortunato’s game
grows more vocal and spirited.
                     MISTER TOTTI
              (snapping)
          Fortunato!

The Japanese Gentleman follows suit by barking an order at
his colleague in his own language. The pair stop their
game and stand more professionally.

Mister Totti rubs his face.

                    MISTER TOTTI (CONT’D)
          I do not like to re-negotiate.

                    JAPANESE GENTLEMAN
          Without re-negotiations, we wither and
          we die.

                    MISTER TOTTI
          Was that a threat?

                    JAPANESE GENTLEMAN
          Figure of speech.
                                                   (CONTINUED)
                                                          105.
CONTINUED:

                    MISTER TOTTI
          I must think about this.

The Japanese Gentleman waves a hand in approval.

INT. BUILDING -- GANGWAY -- SAME TIME

Jake moves on round the corner of the gangway and is
unexpectedly faced with yet another Yakuza.

The Yakuza is just as surprised to see Jake and pauses
before reaching for his weapon. As he does, Jake grabs his
hand and the pair are locked in a struggle.

After a few moments, Jake is able to push the Yakuza up
against the wall, giving him a little room to move. He
uses this by jabbing a flat palm underneath the Yakuza’s
chin, raising his head. With his free hand, he smashes a
fist into his throat, breaking his windpipe as the Yakuza
falls to the floor with a gurgle.
Jake stands over the dead man’s body, breathing hard. Just
then, there is a short shout in Japanese from below and a
bullet tears into the wall by Jake’s head.

He instantly dives for cover and swings his shotgun round
from his back, pulling the pump-action.

INT. BUILDING -- OFFICE -- SAME TIME

Mister Totti’s head is up, listening. Fortunato is at the
window, peeking through the closed blinds.

The silence is broken by two booming shots from a shotgun.
Mister Totti is furious.
                    MISTER TOTTI
          Are you trying to fuck me?    At my
          place of business?

                    JAPANESE GENTLEMAN
          Signor Totti, this is not--

He is unable to finish his sentence as Mister Totti has
pulled his gun and fired two shots into his chest.

Before his body has hit the ground, the standing Yakuza in
the room has his gun drawn and aimed at Mister Totti, who
is also hit twice by Fortunato, that much quicker to react
with his own weapon.

Two bodies on the floor and their guns still smoking,
Mister Totti grabs the briefcase by his side. Signaling to
Fortunato to lead the way out the office, the pair move to
the door as the firefight in the loading bay grows.

INT. FREDDY’S CAR -- SAME TIME

From inside the car, the sound of gunshots can be heard.
                                                   (CONTINUED)
                                                       106.
CONTINUED:

Contact #2 reaches for his door handle.

                    FREDDY
          Why go in there when he’ll bring the
          case to us?

Contact #2 is not sure.

                      FREDDY (CONT’D)
          Trust me.

INT. BUILDING -- GANGWAY -- SAME TIME

Jake is lying on his stomach at the front of the gangway.
He has a dead Yakuza placed on the edge, using his body for
cover. His shotgun rests on the man and faces down into
the loading bay as he blasts round after round. When the
gun finally emits an empty ‘click’, Jake scrambles back to
the wall, receiving a hail of bullets in return.

Jake empties his pockets but finds no more shotgun shells.
He tosses the weapon away and produces two handguns. When
a break in the firing comes, he heads back to his position
and starts unloading his twin handguns.

As he does, something catches his eye to his right. He
rolls to his left, one gun always firing down, and with his
spare weapon shoots dead a Yakuza that had been creeping up
the stairs towards him on his right.

After both weapons are emptied, he rolls to his left and
crouches by the top of the other staircase that leads down
to the loading bay. This time, there is no returned fire.

A few moments later, the sound that breaks the eerie
silence is Fortunato’s voice.
                     FORTUNATO (O.S.)
          Jake!   Come on down here.

Jake peers through the railings and sees Fortunato standing
alone in the loading bay. He has the briefcase in one hand
and his gun raised to the ceiling in the other.

                    FORTUNATO (CONT’D)
          You want this briefcase, we want this
          briefcase, no? Let’s talk about this.

Natalia looks down from above, her gun in hand.

                     JAKE (O.S.)
          There’s no more time to talk,
          Fortunato.

From behind, Mister Totti silently creeps up on her.

                    FORTUNATO
          You know it does not have to end this
          way, l’amico.
                                                  (CONTINUED)
                                                          107.
CONTINUED:

Jake stays where he is, keeping as hidden as possible.

                    JAKE
          We’ve all made choices, and we have to
          live with them now.

Suddenly, there is a scream, and both men’s attentions are
drawn to the far staircase, where Mister Totti is leading a
struggling Natalia down, his gun to her head.

A few moments later and he is on the loading bay floor,
just a few feet from a stunned Fortunato.

                    FORTUNATO
          Signor Totti, what are you doing?

                    MISTER TOTTI
          Come on down Jake, no-one has to die.

                    FORTUNATO
          Let her go, Signor. This has nothing
          to do with her.

                    MISTER TOTTI
          This has everything to do with her,
          you fool. Now be silent.

There is a clinking of metal as Jake slowly appears at the
foot of the stairs, his gun trained on Mister Totti.
Fortunato’s is still pointed to the ceiling.

                    JAKE
          Let her go, Totti.    You can’t profit
          from her death.

                    MISTER TOTTI
              (to Fortunato)
          You see?
              (to Jake)
          Drop your gun, Jake. Kick it to me.

                    FORTUNATO
          Signor Totti, I must insist that you
          let her go.

                       MISTER TOTTI
          Fortunato!

                    FORTUNATO
          I must insist!

He snaps down his gun so it is trained on Mister Totti.

Out of instinct, Mister Totti directs his gun away from
Jake and on Fortunato. This gives Natalia a couple of
inches to shoulder her way from her captor.



                                                   (CONTINUED)
                                                        108.
CONTINUED: (2)

Suddenly faced with a free shot, Jake squeezes his trigger
and fires into Mister Totti. His reaction is to fire his
own weapon, as does Fortunato.

In a moment of mayhem, there are three shots fired and two
bodies hit the floor.

Jake rushes over to Fortunato’s side and raises his head.
He was hit in the face and it isn’t pretty. Swallowing
hard, he lays his lifeless body down to rest.

                    JAKE
          I’m sorry, fratello.

He looks up at Natalia who is by Mister Totti’s side.   She
shakes her head.

After a beat, Jake snaps himself back in charge.

                    JAKE (CONT’D)
          Are you okay?
                      NATALIA
          I’m fine.

                    JAKE
          Are you sure?

                      NATALIA
          Yes.

                    JAKE
          Can you handle this?

                    NATALIA
          I think so.
                    JAKE
          Don’t think so, do so.

                      NATALIA
          Okay!

He snatches the briefcase from the floor and kneeling down,
swings the harness that held his shotgun around to his front.
The two clips are now securely attached to the briefcase and
Jake swings it back over his shoulder.

                    JAKE
          You need to go out the front.
          There’ll be people watching you, but
          they won’t stop you. They only want
          me and ultimately this case.

                      NATALIA
          Okay.



                                                   (CONTINUED)
                                                           109.
CONTINUED: (3)

                      JAKE
            Get the car and come as fast as you
            can to the end of the street. I’ll
            meet you there as planned. Okay?

She nods.

                         JAKE (CONT’D)
            Right, go!

He sprints back up the staircase to the gangway, towards
the door as Natalia pulls the roller shutter up enough to
duck outside.

INT. FREDDY’S CAR -- CONTINUOUS

Through the windscreen, Natalia’s exit can be seen from the
building. Freddy grabs his radio.

                      FREDDY
                (into radio)
            Bird One come in.    This is Ground One.

The ‘thunk thunk’ of rotating helicopter blades comes back
over the radio with the PILOT’S VOICE.

                      PILOT’S VOICE
                (from radio)
            Ground One, this is Bird One.

                      FREDDY
            Bird One, female suspect is fleeing
            from scene. Be advised to follow and
            report any rooftop activity.

                      PILOT’S VOICE
            Bird One copy, Ground One.

Freddy hangs up the radio and turns to Contact #2.

                      FREDDY
            Follow the cat to find the mouse.

The Pilot’s Voice comes back over the airwaves.

                      PILOT’S VOICE
                (from radio)
            Ground One come in. This is Bird One.

                      FREDDY
                (into radio)
            Ground One copy. Go ahead Bird One.

                      PILOT’S VOICE
            Ground One, male suspect spotted
            fleeing over rooftops.

                      FREDDY
            Does he have the briefcase?
                                                       (CONTINUED)
                                                       110.
CONTINUED:

                    PILOT’S VOICE
          That’s affirmative.

                    FREDDY
          Bird One, what’s the location of
          female suspect?

                    PILOT’S VOICE
          Female suspect has entered vehicle and
          is on the move.

                    FREDDY
          Copy that, Bird One.   Keep me posted.

                    PILOT’S VOICE
          Roger, Ground One.

EXT. NARROW ALLEY -- ROOFTOP -- SAME TIME

With the briefcase attached to his back, Jake is pelting
over the rooftops. He doesn’t stop to measure his jump,
just leaps across the narrow alley, Freddy’s car below.

Hitting the deck the other side, he jumps back to his feet
and continues to sprint over the rooftops.

INT. FREDDY’S CAR -- SAME TIME

The Pilot’s Voice comes back through the radio.

                    PILOT’S VOICE
              (from radio)
          Ground One, this is Bird One.     Female
          suspect now heading your way.

Contact #2 peers down the alley and sees Jake’s car turn
inside and stop.

                    CONTACT #2
          There she is.

Freddy grabs the radio.

                    FREDDY
              (into radio)
          All units, this is Ground One. Be
          advised, am on the move. Remain in
          position until instructed otherwise.
          Repeat, remain in your positions.

He cradles the radio and guns his engine.

EXT. NARROW ALLEY -- SAME TIME

As Natalia pulls Jake’s car to a stop, he leaps down beside
it from the ledge above. His feet hit the floor and he
dives into the passenger side.
                                                          111.


INT. JAKE’S CAR -- CONTINUOUS

Jake lands head first and scrambles towards Natalia.

                    JAKE
          I’m driving.

                    NATALIA
          What?!

                    JAKE
          Get over here!

The pair get tangled up as they frantically try to swap
seats. Throughout all this, Freddy’s car can be seen
getting closer and closer.

They are settled enough to get going as Freddy’s car is
just feet away.

Jake slams the gears into reverse and screeches backwards
out of the alley.

Jake swings the briefcase into his lap and unclips it,
tossing it to Natalia.

                    JAKE (CONT’D)
          Here, take this.

Ramming it into first, he heads down the side road, Freddy
turning after them.

CAR CHASE MONTAGE

The following shots are seen from Freddy’s car, bystanders
POVs and the ever-present helicopter that looms overhead.
The soundtrack is constantly interrupted by the radio
conversations between Ground One and Bird One and the other
Ground units. They are used to swap positions of Jake’s
car and their various plans to cut him off.

-- Jake recklessly takes corner after corner in the narrow
roads of London.

-- He dives from road to pavement to road in a desperate
effort to lose Freddy.

-- Jumping a red light, he narrowly misses an oncoming car,
and is forced to swerve into the opposite lane, now having
to negotiate traffic coming at him head first. Freddy
sticks behind him, cruising in his slipstream.

-- A planned attack to ram Jake from an open side-road is
just avoided, and causes more of a problem for the
following Freddy.



                                                  (CONTINUED)
                                                       112.
CONTINUED:

-- Now on the Embankment, Jake swerves over the partition
in the middle of the road at every given chance as he pulls
from lane to lane.

-- Two cars dart into his lane just ahead and skid across
the road in an effort to block him. Jake floors it and
smashes his way through the middle, leaving Freddy to deal
with the spinning debris now in his path.

-- Making a dangerous move through traffic, Jake swerves
into the Rotherhithe Tunnel. Once again, he belts his way
down the wrong side of the road, swerving to keep control.

-- Once in the tunnel, Freddy hangs back. The traffic
peters out in front of Jake as the news is confirmed that a
solid roadblock is in place the other side.

EXT. ROTHERHITHE TUNNEL -- DAY

Jake slams on his brakes as he is faced with lines of
spikes in the road that burst all four of his tires.
Barely able to keep the vehicle under control, sparks fly
from the exposed metal wheels as the car slides to a stop
across the road. Beyond him sit lines of police cars, the
front row occupied by SNIPERS taking aim over the bonnets
of the cars.

INT. JAKE’S CAR -- SAME TIME

Jake and Natalia sit in silence.

                       NATALIA
          Now what?

                    JAKE
          To be honest, I’m all out of ideas.
Freddy’s car rolls up and stops behind them.

                    JAKE (CONT’D)
          Open the briefcase.

                       NATALIA
          What for?

                    JAKE
          If we expose whatever’s inside, it
          could save us.

                       NATALIA
          That’s it?     That’s your plan?

                    JAKE
          It’s all I can think of.

She fiddles with the lock.

                    NATALIA
          It’s locked.
                                                  (CONTINUED)
                                                        113.
CONTINUED:

Jake grabs it and tosses it on the back seat.   Pulling out
his gun, he fires two shots at the front.

INT. FREDDY’S CAR -- SAME TIME

A PANICKED VOICE comes through the radio.

                    PANICKED VOICE
              (from radio)
          Shots fired! Shots fired!

Freddy grabs the radio.

                    FREDDY
              (into radio)
          All units stay as you are. Don’t move
          a fucking muscle until I say.

INT. JAKE’S CAR -- SAME TIME

Jake and Natalia both sit looking into the backseat at the
opened briefcase, dumbstruck.

                    JAKE
          I don’t believe it.

                    NATALIA
          Tell me that’s not what I think it is.

                    JAKE
          I don’t fucking believe it.

He leans into the back and pulls out wads of blueprints.

                    JAKE (CONT’D)
          Blueprints? Fucking blueprints?!
                    NATALIA
          Look underneath.

                       JAKE
          That’s it!     That’s all it is!

Freddy has his gun raised at Jake through the window.

EXT. JAKE’S CAR -- SAME TIME

Contact #2 is in the same stance on Natalia’s side.

                    FREDDY
          Step out of the car with your hands in
          the air! Slowly!

Both Jake and Natalia comply.

                    FREDDY (CONT’D)
          Put your hands on the roof.


                                                   (CONTINUED)
                                                         114.
CONTINUED:

As they do this, they are searched for weapons by Freddy
and Contact #2.

Contact #2 comes up empty as Freddy takes a handgun from
Jake’s waistband. He slots it into his own trousers and
holsters his weapon.

                    FREDDY (CONT’D)
          Turn around, Jake.

Jake does so, a defeated man.

                    FREDDY (CONT’D)
          Where were you trying to go?

                    JAKE
          You tailed us from a hot spot. I
          didn’t know who you were. I had to
          make sure you weren’t one of them.

                    FREDDY
          Oh, is that so?

                       JAKE
          Of course.     What did you think?

                    FREDDY
          You weren’t trying to fuck us?

                       JAKE
          No!

Contact #2 comes out from the back with the briefcase.

                    CONTACT #2
          It’s all here.
He heads off to the line of waiting cars.

                    FREDDY
          Why was the case open, Jake?

                    JAKE
          It fell open while I was driving.

Freddy smiles to himself and turns away.

                    JAKE (CONT’D)
          All of this over a set of blueprints?

He turns back.

                    FREDDY
          Jake, just because something isn’t
          valuable to you, doesn’t mean it’s not
          valuable to anyone else.

                    JAKE
          But blueprints?
                                                   (CONTINUED)
                                                         115.
CONTINUED: (2)

                     FREDDY
          Security blueprints. If Totti had
          sold them to the people he had lined
          up, the effects would have been
          crippling.

Jake shakes his head.

                    FREDDY (CONT’D)
          I told you it was best you didn’t know
          what was inside.

                    JAKE
          And why was that?

Freddy shrugs.

                    FREDDY
          I was scared you wouldn’t help us if
          you did.
Freddy turns once again.

                    JAKE
          Hey, Freddy! We had a deal, remember?

                    FREDDY
              (over his shoulder; casually)
          Yeah, we did.

INT. QUEEN ANNE PUB -- DAY

The pub is empty of customers.

Derek stands at the corner of the bar reading a paper.
Natalia sits by herself at a table with a magazine.
Jake emerges from the door that leads to his room.
Crossing the floor, he joins Natalia at her table.

                    JAKE
          Are you holding up okay?

                     NATALIA
          So so.   How about you?

                    JAKE
          I bet this wasn’t the kind of fresh
          start you had in mind, eh?

                    NATALIA
          No, but it’s a start.

                    JAKE
          You feel like taking a walk?

                    NATALIA
          Yeah, I’d like that.

                                                     (CONTINUED)
                                                         116.
CONTINUED:

The pair stand and head for the door.

                    JAKE
              (calling out)
          Del, we’re going out for a walk.

Derek raises a hand as they exit through the door.

EXT. QUEEN ANNE PUB -- CONTINUOUS

Jake and Natalia exit through the door of the pub that
looks exactly the same as it has before. The only
difference this time is that it leads onto a beautiful
beach front.

The sign above the door now reads: ‘The Spanish Queen
Anne’.

The pair pause to each light a cigarette before heading on
down the beach through a number of TOURISTS and LOCAL
SUNBATHERS.
A stray football comes Jake’s way and he dribbles it back
to the LOCAL BOYS playing their game a few feet away. Once
there, he shoots it past the GOALKEEPER and falls onto his
knees in celebration with the other Boys.

With a laugh to herself, Natalia continues her walk towards
the rolling sea.

                                                     FADE OUT.

				
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