SMOKE & MIRRORS Written by Stuart Elms FIRST DRAFT Address: 43 Temair House, Tarves Way, London, SE10 9JX Phone Number: 07801 421 425 E-mail: email@example.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.