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INT. BEY FAMILY HOME OVERBROOK, PHILADELPHIA - MORNING MRS. BEY, an attractive island women of medium olive complexion, far younger than her forty years, is in the kitchen preparing lunches for her boys. Her hair is in locks and she is inundated with curves. She is a nurse, mother and wife all with equal aplomb. MR. BEY, a handsome brown skin brother in his late forties with a burly frame and African features walks in adjusting his police uniform. MR. BEY Honey, I'm running late, no time for breakfast. MRS. BEY Do you see me making breakfast? (loudly) Guy bring me that permission slip. Mr. Bey pours some coffee into his travel mug as ten year old Young GUY shuffles into the kitchen with a crumpled permission slip, wearing his father's police cap. GUY Can't I go to work with you dad? MRS. BEY You know you have school. GUY School is boring. I wanna go get the bad guys. MR. BEY How about I pick you up in the squad car after school, and you can run the siren. GUY Yea! MRS. BEY But only if that report card looks better. Young JON, sixteen, bespeckled and scholarly bounds into the kitchen and slaps his brother in the back of the head. JON Yeah you need to get A's like me. Jon grabs his paper bag lunch, kisses his mother and heads for the back door. MRS. BEY What about breakfast? JON I gotta pick up my trumpet from Steve's, and then I got Jazz band. Mr. Bey takes his cap from young Guy and kisses his wife. MR. BEY You boys too old to hug your old dad? Guy hugs his father. JON Whatever dad. You stick to huggin' mom. MR. BEY Watch yourself. INT. MASTERMANN HIGH SCHOOL - DAY The fifty piece high school orchestra is set up in the practice room. Young Jon is first chair trumpet. Mr. Nelson walks in. MR. NELSON Only two weeks til Districts. Young SOPHIA is first chair violin, front and center. Jon peeks at Sophia who is candy-coated sunshine and imprinted in young Jon's mind like the princess she is. INT. MASTERMANN HIGH SCHOOL - CONTINUOUS Young Jon is walking down the hall with his buddies RICK and MIKE as they approach young Sophia who is fussing with her locker. RICK There goes your girlfriend. JON Shut up. MIKE Ask her to the dance. They approach young Sophia. Sophia turns. SOPHIA Wait for me Jon. We're going to the same class. INT. MASTERMANN HIGH SCHOOL - CONTINUOUS Young Jon is seated behind young Sophia in honors chemistry. The teacher, MR. HAMILTON, is droning on. MR. HAMILTON Notably in species where the female is the aggressor you will often notice that the male is left to his own demise and often put in an inadmirable position where he is thus forced to ascertain whether this endeavor is worth the pessitude from which an emanate domain might occur. Jon passes Sophia a note. She reads it, covers her mouth and lets out a soft giggle. EXT. PHILADELPHIA STREETS - DAY Mr. Bey is riding shotgun in an unmarked patrol car, followed by three black and whites, as they whisk silently through north Philadelphia. MR. BEY (sings) I believe I can fly. They approach a mobile command unit at Twenty Ninth Street and Diamond Avenue and stop. Police in vests and combat gear traverse the scene as they block off a six block radius with wooden police barriers and patrol cars. Mr. Bey, rifle in hand, hustles toward the command center where SERGEANT LOWE is staring at a map of the neighborhood. A police helicopter buzzes overhead. SERGEANT LOWE We got the JBM's on Gordon trying to talk 'em out. Hang back. Automatic gunfire rings in the background. MR. BEY Doesn't sound like they want to talk. Mr. Bey takes off towards the sound of the gunfire. Police assume tactical positions. Gunshots increase in alacrity. Mr. Bey takes cover behind a parked car next to OFFICER BROWN. OFFICER BROWN You hear that HK? MR. BEY Man those thing's are eight gee's a pop. OFFICER BROWN They don't have to get their budget approved by city council. Members of The Junior Black Mafia, a ruthless drug gang are engaged in a shoot out with the Philadelphia Police, and they have much heavier firepower than anticipated. Mr. Bey rises to take a shot. Officer Brown crawls to the other end and into the onslaught. Mr. Bey sees a body flash through the back alley to his right and takes off in that direction. MR. BEY Cover me! EXT. JBM DRUG HOUSE - CONTINUOUS CHARLIE CHAMBERS is escaping out the back door and down the back alley with two German Shepherds in pursuit. He is soul singer smooth and head of the Junior Black Mafia. He turns and caps the dogs who let out a whimper in defeat. CHARLIE CHAMBERS It's gonna take more than some bitch ass dogs. He hops a fence and runs through the breeze way between two houses, dodges across the Thirty Third Street traffic and disappears into Fairmount Park. Mr. Bey is closing in fifty yards back. MR. BEY I'm sick of chasin' people. Mr. Bey fires at Charlie Chambers. Charlie Chambers breaks into the clear beside Kelly Drive and runs toward the Strawberry Bridge. Two other assailants have emerged from the trees a few yards away. Mr. Bey continues the chase across the bridge. Two police cars have assumed the pursuit and screech to a stop as officers jump out. COP Drop your weapons. Now! One JBM member turns to fire on the cop cars and slumps to the ground as he is hit by police fire. Mr. Bey fires. MR. BEY Tough guy. Charlie Chambers barely feels the hit as adrenaline fuels his escape. The lone JBM member continues to fire his automatic and clips Mr. Bey multiple times, catapulting him over the bridge from the impact of the armor-piercing bullets. The JBM member is shot to death by the police. INT. CHAMBERS RESIDENCE, WYNNFIELD, PHILADELPHIA - MOMENTS LATER Young Sophia is dawdling at the piano when she hears her father, Charlie Chambers come in the back door. Sophia gets up to search out her father. She walks down the hall toward the sound of running water emanating from the bathroom. SOPHIA I thought you weren't going to be home until late. Charlie Chambers busts out of the bathroom with his arm freshly bandaged and fire in his eyes. SOPHIA (cont'd) (excitedly) Dad! What happened? Are you okay? Charlie Chambers walks towards his study as Sophia follows. CHARLIE CHAMBERS I'm fine honey. Capitalists don't like when you play their game better than them. Charlie Chambers goes to the safe in his study behind a picture of his native Jamaica and begins stuffing stacks of cash into a small duffel bag. SOPHIA What are you talking about? Where are you going? CHARLIE CHAMBERS Honey I can't explain now, but I promise everything is fine. When your mother comes home tell her I love her and to use the new account only. Charlie Chambers embraces his daughter. SOPHIA Dad... CHARLIE CHAMBERS Remember you can do whatever you want in this life. Now be strong for daddy and hang out in your room for now. Charlie Chambers pries his daughter away, kisses her forehead. Young Sophia drifts away. Charlie Chambers reaches into his safe and snatches a Desert Eagle hand cannon. Sirens wail in the distance. EXT. CEMETARY - DAY Mr. Bey is receiving a police funeral with full regalia. His coffin is draped with an American flag and the police band is playing 'Taps' as the drill team fires a gun salute. Sergeant Lowe watches as two officers fold the flag and then present it to him. Mr. Bey's partner, CHIEF,41, takes the flag and presents it to Mrs. Bey. CHIEF He was one of our finest and will always be with us in spirit. If you need anything at all... Mrs. Bey nods her head, accepts the flag and sheds a gentle tear. Young Jon and Young Guy walk up to the coffin, and each place a flower. Young Jon puts his arm around young Guy. GUY We'll get the bad guys for you dad... won't we Jon. Silence. Chief walks up behind the boys and puts an arm around each. GUY (cont'd) We will right? JON Yeah we will. GUY Promise. JON Promise. I/E. JON'S UNMARKED SQUAD CAR - DAY Jon, now in his thirties is parked on a stakeout in North Philadelphia at Broad street and Diamond Avenue. He observes as a dealer makes a drug sale to a couple of high school kids. JON (into police radio) Do you see this guy? They can't be more than tenth eleventh grade. GUY (V.O.) He's worthless. We need the supplier of the supplier of the supplier. JON Well we have to start somewhere. GUY (V.O.) I'm going to make a buy. JON This sure isn't the same Philly we grew up in. I remember the only drugs we did was some Tylenol for all the bumps and bruises. Now kids are fat, lazy, playin' video games all day. They don't even have to take gym in school anymore. GUY If you don't mind. Guy, now in his twenties, is walking down Diamond Avenue toward the dealer. Jon observes as Guy walks up to the dealer and engages him in conversation then makes a purchase. EXT. NORTH PHILADELPHIA - CONTINUOUS Jon is chasing a SUSPECT down a side street. Guy drives past and stops his car at the end of the block to join the chase on foot with police radio in hand. GUY (into radio) Jon, wait for back up. Suspect sees Guy and cuts through a lot in between two abandoned houses. Jon heads for the next block, and as he gets to the next corner, he sees Suspect run into an abandoned house. Jon follows him into the house. INT. ABANDONED HOUSE - CONTINUOUS Suspect is running up the stairs and runs into the bathroom. He opens the bathroom window as he hears Jon enter the house. He jumps out of the window to the kitchen roof and runs to the adjacent roof. Loud music is emanating from this house, and Suspect drops to the ground and rushes through the kitchen door. INT. DRUG HOUSE - CONTINUOUS Suspect has just entered a drop house which is being held down by a trio of Jamaicans. They are startled by his intrusion. JAMAICAN What the blood clot? What are you doin' here boy. DEALER The cops are on my ass. JAMAICAN And you came here? The Jamaican reaches into his waist and pulls out a Sig Hauer hand gun and kills Suspect. The two other Jamaican's raze the stash of guns in the closet. They throw bricks of marijuana into duffle bags. The Jamaican heads toward the back door and fires just as Jon is peaking his head around the corner. Sirens wail. The Jamaican fires again and the kitchen window shatters. INT. DRUG HOUSE - CONTINUOUS Guy enters through the front door just as the two Jamaicans are making their exit. JAMAICAN TWO Bumba clot. Jamaican Two tries to fire, but the cumbersome duffel bag slows his draw. Guy takes out both Jamaicans and continues through the house. As he gets to the kitchen, he sees the Jamaican peering out the window. GUY Drop it Rude Boy. The Jamaican spins to fire. Too late. Guy burns the Jamaican and runs out the back of the house. There he sees Jon laid out. GUY (cont'd) Oh shit. Jon! Jon! Guy rushes toward Jon. Jon weakly grabs at his bullet proof vest. JON (weakly) Good thing I sprung for the full extras package. GUY Are you alright? JON No. Blood begins seeping through Jon's pants leg. INT. TEMPLE HOSPITAL - DAY Jon, a bit disheveled, is hobbling out of his doctor's office on crutches. Chief waits on a nearby bench with a trumpet case on his lap and gets up as he sees Jon. JON Doc said everything looks good. What you got there? CHIEF I was cleaning the basement. I think this belongs to you. JON Is that my old trumpet. CHIEF Yeah you used to be pretty good. I thought you might get bored with all the time off. Maybe you could play that instead of drinking. JON Me? I don't drink that much. INT. IRISH PUB - LATER Jon is seated at a nearly empty bar with several empty shot glasses in front of him. The bartender is talking to two female patrons at the other end. BARTENDER You alright down there Jonny boy? JON Don't worry about me. I'm just gonna stumble home now. BARTENDER How about I call you a cab? JON Good idea. Another round while we wait. What are you ladies drinking? PATRON Whatever you're buying. JON Three seven and sevens. The two female patrons walk down to join Jon. JON (cont'd) Did you ladies want to share a cab? INT. JON'S LOFT - EVENING Jon is in bed with the two female patrons. JON Okay ladies let the games begin. Jon and the ladies begin a sexual excursion. INT. JON'S LOFT - MORNING Jon awakens, standing with his left side handcuffed to the bed. He jumps up to the cross bar and grabs his spare key. He unlocks the cuffs and stumbles through laundry, beer cans and take out containers. He trips over his trumpet case. JON Shit. Jon takes a piss and splashes some water on his face. He returns to the stairs and trips over the case again. He picks up the case, and the trumpet falls out. Jon picks it up and fingers the valves. INT. JON'S LOFT - CONTINUOUS Jon is cleaning up his place. He stops, grabs a water bottle and takes two big gulps. Jon looks at pictures of him and his brother through the years. EXT. FAIRMOUNT PARK, THE WHISPER WALLS - EVENING Jon is sitting on a bench in the moonlight, playing "Summertime" on his trumpet. He finishes the song, puts his trumpet away and stows it on the back of his Kataro motorcycle. He heads home. EXT. NEIGHBORHOOD BAR - CONTINUOUS Jon pulls up on his bike. He stops for a minute, sees his trumpet case in his mirror then takes off. EXT. STRAWBERRY MANSION, NORTH PHILADELPHIA - AFTERNOON Jon, 38, is riding his mountain bike down Thirty Third Street through Strawberry Mansion, a fancy name for a run down section of rough and tumble Philadelphia. It is littered with abandoned houses and a booming drug trade. As Jon continues away from Strawberry Mansion toward the Art Museum section of the city there is a dramatic, distressed divergence in the domiciles. We go from blocks of abandoned boarded up houses to well kept neighborly facades with picture windows full of knick -knacks and trophies. JON Two neighborhoods so close that couldn't be further apart. As Thirty Third Street ends, Jon turns left onto Kelly Drive. The Philadelphia Art Museum is stately in the background. The cherry trees and azaleas have just blossomed along Kelly Drive, and beautiful people are out recreating on a glorious spring day. On the river is a four man skull. Their COACH is in a trolling rowboat. COACH (yells into megaphone) You guys move slower than molasses in January. Jon approaches two female joggers wearing just enough spandex to leave nothing to the imagination. They stop in mid conversation as they approach Jon. Jon is wearing a tight red tank top to appropriately show his toned ebony physique. He is masculine and smooth, with Oakley shades and an Ipod strapped to his well defined biceps. JON Ladies. Jon passes the two women and turns to check them out. EXT. KELLY DRIVE - AUTUMN AFTERNOON - DAYDREAM Jon is looking behind him. The fall foliage is wavering with the warmth of orange, red and yellow. Sophia, 38, now a modern day vixen, is approaching on roller blades. Jon turns just in time to avoid Sophia and goes tumbling toward a flock of Canadian geese. Sophia glides over to assist Jon. Her blade catches a tree root causing her to stumble onto Jon. SOPHIA Is this how you always meet women? JON Usually they fall for me not on me. Sophia gets up and helps Jon up. SOPHIA Sorry. JON You know, I think... SOPHIA Mastermann. EXT. KELLY DRIVE - SPRING AFTERNOON - PRESENT Jon passes the water works and boathouse row as he continues his bike ride. He crosses the Falls Bridge towards East River Drive. INT. BLUE NOTE JAZZ CLUB - EVENING - DAYDREAM Jon is seated near the stage with a bottle of champagne on ice and a bouquet of flowers. There is an afrocentric couple seated next to Jon. AFROCENTRIC MAN It's just a political ploy created by the mayor to distract from her ineptness. AFROCENTRIC WOMAN You just can't stand having a woman mayor can you? That's the most ridiculous thing I ever heard. AFROCENTRIC MAN Then tell me why they've been after this man, this phantom for two years with no results. Sophia walks in wearing an elegant sapphire evening gown. Jon and Sophia exchange glances as the MAITRE D' seats Sophia. SOPHIA Oh Veuve Clique, someone has taste. JON Nothing but the best. Sophia sits as the Maitre D' opens the champagne with the faintest POP. Sophia smells the flowers. The champagne is poured, and a waiter brings strawberries and chocolate fondue. She sips her flute and tilts it towards Jon. JON (cont'd) I feel like we should be sitting at desks. SOPHIA (whispers) I think an intimate dinner and some jazz is just fine. JON Smart sexy sassy. I might have my hands full with you. SOPHIA Your hands, your arms, your legs and maybe your mouth. (gasps in mock amazement) So you still little boy blue? JON Actually yes. I have a little jazz ensemble that I put together. SOPHIA Do you ever play at Zanzibar Blue. JON I don't think we're ready for a place like that. SOPHIA I can get you a gig there. JON Well I guess we better practice more. Did you hear Mike Hill went from captain of the football team to prom queen. SOPHIA Are you serious? I haven't kept in touch with anyone. So no girl? Because I don't want no drama. JON No. I'm your typical womanizer. What about you? SOPHIA I'm tired of all the idiots out there. I'm looking for a cool musician type. JON Oh yeah? I could introduce you to the guys in the band. SOPHIA Funny. JON So you're pretty loaded? SOPHIA Well, I conned a rich old white guy into falling in love and changing his will right before he died. Jon looks in disbelief. SOPHIA (cont'd) I don't want to talk shop. The financial world is boring, just a bunch of numbers. JON You could help me with my investments if I had any. SOPHIA I'd be happy to look at your portfolio. JON You want to see my portfolio? I have some porno, and you can view those anytime. SOPHIA How about we make our own? JON I like it. SOPHIA We'll have to do this again, but I have to fly out early. EXT. FAIRMOUNT PARK - AFTERNOON Jon is twenty yards away from his brother. Guy, 31, is sitting on a secluded bench, feeding geese popcorn. Guy looks like your typical urban male with baggy jeans and a grey Mike Schmidt Phillies' jersey and a low slung red Phillies' cap. Guy watches as Jon rides up to him. GUY Glad you could make it. Jon walks his bike toward the river. Guy continues to feed the geese. JON I heard another corner got hit. GUY What else is new? How's the flavor of the month? JON Don't change the subject. I'm serious. GUY I like to keep my promises. JON I just can't do it. I lost my edge. But I'm still with you. GUY Have you seen Chief lately? JON Dad's killer is dead why do you need to keep doing this? GUY Somebody has to get this city right again. And that was just a foot soldier. We have to cut off the head. JON So you take out the Phantom; somebody else will just slip in place. GUY Is that why you quit? JON It was ripping me apart. I was on a downward spiral. If I didn't step away, who knows? GUY I just miss my partner. JON. Well hurry up and break this case so you can get off these streets. GUY How does mom like Florida? JON Just fine. She says. But it's not home. GUY Well I gotta go get my hustle on. INT. JON'S LOFT - EVENING Jon enters his loft directly from the service elevator in a converted warehouse. It has a large open floor space with a spiral staircase leading up to his loft bedroom. It is full of Afrocentric art, sculpture and has a sleek modern feel. There is a work out station hidden off in a corner. Near the elevator is a table with a trumpet sitting in an open case. Jon turns on his answering machine and goes to the kitchen for orange juice... MESSAGE ONE Hey Jon, it's Lisa. Haven't heard from you in awhile. Call me... MESSAGE TWO Meow, meow, my kitten misses you, and I do too. You know the number. Ciao. MESSAGE THREE Hey sexy, it's Rachel your friendly Filipino fellatio expert; need I say more? Jon drinks his orange juice, picks up the phone, changes his mind and walks to the bathroom to take a shower. INT. JON'S LOFT - EVENING Jon is preening in the mirror. He is wearing cream linen pants with a dark blue silk shirt, top two buttons open. He closes his eyes and begins to massage his temples. INT. DOWNTOWN PHILADELPHIA - EVENING Jon and Sophia are walking along the Parkway toward City Hall. SOPHIA What was I thinking? I should have pounced on you like a kitten. JON You were too busy being the most popular girl in school. SOPHIA I'm glad I don't worry about that anymore. JON What do you worry about? SOPHIA In such a male dominated field it's hard for me to feel close to anybody. JON What does one thing have to do with the other? SOPHIA Because when you're one of the boys you see what men really think about women. JON Most men. SOPHIA We'll see. What do you worry about? JON Whether we're going to resign McNabb or not. SOPHIA I'm serious. JON I try to take each day as it comes. That way you're not worrying about a bunch of things that may or may not happen. SOPHIA Were you a philosophy major or something? JON Just livin' and learnin'. EXT. NORTH PHILADELPHIA THIRTIETH AND DIAMOND - DAY Guy is walking down the street past abandoned houses and a burnt out car. Two young teens are riding scooters down the street. A car honks as it nears the two KIDS. The DRIVER leans out the window. DRIVER Watch it! Little punks. KID You watch it. They give the car the finger as it passes. Three little kids playing kick the can in a vacant trashy lot. We rise above the houses to see the empty, tree filled Fairmount Park just a few blocks away. We return to street level on THUG,27, a strappy street hustler on the corner making a sale to a couple of hood rats. Sirens roar as two cars go by in the background. Guy walks up to Thug. GUY Yo. THUG What the deal? GUY Trying to get that paper. THUG Well keep hustlin nigga... GUY Fuck this nickel and dime shit. THUG My nig you think I'm stuck on this corner? People are gonna recognize. LEON, a young man in his twenties, approaches in a wheelchair. He is a lookout for Thug. GUY Here come yo' boy? THUG Yo, can you give me a ride to Checkers? All you need is some handle bars. LEON Fuck you. GUY I'm out. Guy walks away and turns the corner. He stops at a pay phone to makes a call. INT. POLICE HEADQUARTERS - DAY Jon enters the Thirteenth Precinct, a converted old fire house. Jon passes two rookie cops getting dressed down by their SUPERIOR officer. SUPERIOR Every marijuana bust must be properly logged. We don't want people thinking we're smoking weed now do we. Two officers walk in with a suspect in custody. Jon recognizes the disorderly DRUNK. JON We're gonna have to start charging you rent. DRUNK (mumbles) I always get a good meal when I come here. DESK COP I didn't know you were back? JON Um, that's because I'm not. DETECTIVE RODRIGUEZ,mid 40's, a stocky Latino with a fu man chu, is approaching. He sees Jon and tries to duck away. JON (cont'd) Hey Rodriguez, you got that twenty you owe me? You're not the new guy anymore. Pay up. Detective Rodriguez takes off down the hall. Jon walks towards the hall. INT. CHIEF'S OFFICE - DAY Chief is on the phone. His office is woodsy and stately. Chief is in his early sixties but could pass for late forties. He is old school, ruff and gruff on the outside, but a big teddy bear at heart. Jon walks in. Chief hangs up the phone. CHIEF Well, well, well. Look who it is. Mister Indefinite- extended -leave due- to -emotional- trauma and stress. JON What's up? CHIEF (sneezes) My allergies are going crazy, and the Mayor's riding me like a Vietnamese prostitute over this drug situation. Other than that... JON I thought she was riding you for other reasons. If she wants to do something about drugs, tell her to walk a beat in Richard Allen or talk to the CIA. CHIEF But you didn't come here for shop talk. How are you? You seem to be your old self again. JON Yeah I feel fine. Just came by to show my face. CHIEF Well it doesn't look any better. JON Funny. CHIEF You know she asks about you. JON Who? CHIEF Anita. She was your dad's first partner. And she used to baby sit you when your parents needed a night out. JON Like I don't remember. I talk to her every once in awhile. Not as much as when she was D.A. CHIEF So, are you ready? JON For my gig tonight? Yes. CHIEF Oh yeah. How is your little jazz thing going? Chief picks up the phone just as it rings. Jon excuses himself. Chief waves at Jon. CHIEF (cont'd) Just the man I wanted to talk to. EXT. THIRTIETH ST. AND DIAMOND AVE. - DAY Thug is standing with a packed bookbag and two others of his crew, PETE and SMITH, twenty year old twins who are wildly spinning Leon in the wheelchair. THUG What you gonna do now Willy? Guy walks up to Thug. POROUS is also walking up with a bookbag. GUY Yo, what the deal? THUG It's about that time. Yo Porous your sac look a little light. DROP pulls up in a black Ford Mustang and parks in an empty lot across the street. Thug walks over to the car with his bookbag and talks to Drop. Drop and Thug exchange bookbags. Thug gives Guy a nod, and Guy walks over. Porous gets in the Mustang to make the exchange. POROUS Yo, can you cover me for five? DROP I covered your ass last week. It's on you this time. POROUS C'mon Dee, we go back light car seats and fat crayons. DROP Yeah, but my seat is in the upright position, and I haven't used a crayon since I got out of county. POROUS We all we got. DROP Stop using your product. Drop shoves a bookbag at POROUS as he exits. Drop peels off. Thug and Guy start to walk back over to the others. THUG C'mon let's go bag this shit. POROUS Yo look out for a brother. THUG Get yo broke ass outta here. GUY This shit like the army... THUG I put the word in for you. GUY Yo, that's what's up. THUG That nigga act like he don't know nothin' 'bout the corner no more. We'll see. INT. THIRTEENTH PRECINCT - DETECTIVE RODRIGUEZ'S OFFICE- DAY DETECTIVE RODRIGUEZ has his feet up on the desk and is drinking coffee while playing solitaire on his computer. His office is small and messy. His desk is piled high with overstuffed manila folders with reports he has yet to file. Chief walks in. CHIEF Here I am chasing you down. DETECTIVE RODRIGUEZ I was just on my way to see you. CHIEF Well... DETECTIVE RODRIGUEZ Guy is still on the street. Contact minimal. CHIEF Not good enough. Set up surveillance. DETECTIVE RODRIGUEZ I would advise against that. CHIEF Then it's a good thing you're not the boss. DETECTIVE RODRIGUEZ You'll blow his cover. EXT. THIRTIETH ST. AND DIAMOND AVE.-SIDE ALLEY- DAY Drop and Guy are arguing. DROP But you the new guy and now the feds is watchin' us. What gives son? GUY Man you trippin'. DROP What! Fuck this shit. Drop pulls out his Dessert Eagle handgun and pops Guy. INT. POLICE HEADQUARTERS - DAY Detective Rodriguez is following Chief through the open office area. CHIEF That area is a killing zone. Put a team on him at least until he get's off that corner. DETECTIVE RODRIGUEZ Si signor? CHIEF And what I tell you about that Spanish shit. DETECTIVE RODRIGUEZ But this is America. CHIEF And set up some tails to follow the drops. And don't use Piankhi or Laws. INT. REHEARSAL SPACE - DAY Jon's band is just gathering and warming up for rehearsal. Jon's phone rings. It's Sophia. SOPHIA (V.O.) Hey there handsome. JON Hold on a second. Jon walks out onto the fire escape where there is a view of the waterfront. JON (cont'd) So you back in town? INT. UNIVERSITY OF PENNSYLVANIA HOSPITAL - DAY Sophia is sitting in a private waiting room talking to Jon on the phone. SOPHIA I'm not interrupting anything am I? I made dinner reservations. JON (V.O.) I have rehearsal until seven, and I have to make a stop. SOPHIA I'll pick you up at nine. Smooches. Sophia hangs up the phone as a Nurse walks in. NURSE Right this way Miss Berry. You know you do look a bit like Halle Berry. SOPHIA I get that a lot. INT. UNIVERSITY OF PENNSYLVANIA HOSPITAL - DAY Sophia is sitting on an examination table as the handsome, European Dr. Carter walks in. He gives Sophia a sad smile. DR. CARTER I wish I had better news. SOPHIA I want a second opinion. DR. CARTER I know this is hard for you, but we caught it early enough. Once we remove it, everything should be fine. SOPHIA I don't want to have surgery. Dr. Carter takes out a prescription pad and scribbles a name and number. DR. CARTER Give her a call, and by all means,see another doctor if you like. INT. SOPHIA'S JAGUAR XK8 - DAY Sophia is sitting in her car blankly staring ahead. She places both hands on the steering wheel and lowers her head. EXT. SURVEILLANCE HOUSE - AFTERNOON DETECTIVE DAN KAPOWSKI and DETECTIVE MIKE GOMEZ, both in their forties and career cops are huffing and puffing through a back alley lugging two cases of surveillance equipment. They stop at a chain link fence. Detective Kapowski climbs the fence and barely gets his belly over. DETECTIVE GOMEZ Give me a hand. Detective Gomez hands Detective Kapowski the two cases and then climbs over with ease. Detective Kapowski and Detective Gomez walk into the abandoned house. INT. SURVEILLANCE HOUSE - CONTINUOUS Detective Kapowski and Detective Gomez view a monitor hooked up to a camera. Detective Kapowski listens with headphones to a parabolic microphone. Detective Kapowski is eating a cheese steak and fries while Detective Gomez is having an Italian hoagie and sour cream and onion chips. DETECTIVE KAPOWSKI Check this out. DETECTIVE GOMEZ You got something? DETECTIVE KAPOWSKI Yeah... (burps loudly) DETECTIVE GOMEZ Pig. INT. MEIJI-EN WATERFRONT RESTAURANT - EVENING Meiji-en is an exquisite Japanese restaurant with an indoor waterfall and koi pond. The walls are glass, presenting a view of the waterfront and Ben Franklin bridge, crossing into Jersey. A European couple, in their thirties, are arguing with the Maitre d'. MAITRE D' Listen, I understand, but we just don't have a table right now. EUROPEAN WOMAN Honey let's just have a drink at the bar. EUROPEAN MAN I don't want a drink at the bar I want a table. MAITRE D' Please, have a drink on us. Jon and Sophia walk in past the line and up to the Maitre d'. SOPHIA We have a reservation under Chambers. MAITRE D' Yes, your table is ready. Serge please seat them at two forty. SERGE walks over with two menus and the wine list. SERGE Right this way. EUROPEAN MAN This is ridiculous. We have reservations. Serge leads Jon and Sophia to a quiet, secluded table. Serge pulls out the chair for Sophia and presents the menus and wine list. SERGE Jon Paul will be right with you. Serge walks away as Sophia peruses the wine list. JON Very nice. What's up with you tonight. SOPHIA What do you mean. JON You seem a little distant. SOPHIA I'm right here next to you. JON Laugh out loud. SOPHIA I don't think what I want is on the menu. JON PAUL approaches the table. JON PAUL Good evening. Allow me to tell you our specials for this evening. SOPHIA Give us a few minutes. We'll have a bottle of Two Hands Shiraz. JON PAUL Excellent. Jon Paul walks away. JON What were you saying about what you want isn't on the menu? SOPHIA To tell you the truth, I'm not all that hungry. JON I'm starving. Jon Paul walks over with the wine. SOPHIA We've had a change in plans. We'll have to enjoy that some other time. JON PAUL Very well. Jon Paul walks away rather annoyed. JON We're not gonna grub? SOPHIA Let's go. INT. JON'S LOFT - LATER Sophia is hugging Jon from behind as they enter. Sophia kisses the back of Jon's neck. Jon pries himself away with a kiss and goes to get a bottle of wine and glasses. Sophia lights some candles located on the coffee table. Jon returns with an open bottle and two glasses. He fills the glasses and they toast. JON To possibilities. SOPHIA To getting entangled. JON I don't remember this side of you in school, but I like it. Jon pushes closer to Sophia. SOPHIA One track mind. JON As long as you're on the train with me. Jon and Sophia kiss. Sophia begins to undress Jon as they fall into the couch. They kiss passionately, slowly and softly. Jon starts to undress Sophia. They look at each other longingly. SOPHIA (softly) Is that for me? They kiss. Jon caresses her breast and leads her to the spiral staircase. Jon and Sophia continue to undress as Sophia pushes Jon down on the stairs and mounts him. Jon kisses Sophia's breast as she undulates on his lap. Sophia holds Jon's head and kisses him deeply. INT. JON'S LOFT - LATER Jon's bed has ebony 4x4 posts with iron links drilled into various sections. Jon wakes up in his bed alone, reaches, looks around and falls back to sleep. EXT. KELLY DRIVE NEXT TO THE ART MUSEUM - LATE NIGHT Guy is sitting at the top of a bench, sketching a picture of the ghost in the moonlight. The ghost is a dark, mysterious, statue of a woman with glowing, white eyes and a left hand hacked off just after the wrist. GUY My girl is doin' just fine tonight. Guy packs up and takes a short path which leads to front of the Art Museum. He sits at the top of the stairs viewing the Benjamin Franklin Parkway and the Philadelphia skyline. Guy lights a cigarette, takes a drag and exhales as a Jaguar xk8 passes. I/E. SOPHIA'S JAGUAR XK8 - CONTINUOUS Sophia is talking on speakerphone to Charlie Chambers while she drives. CHARLIE CHAMBERS (O.S.) (Computer enhanced voice) I want you to come down, tomorrow. SOPHIA I'm really busy. CHARLIE CHAMBERS(O.S.) (Computer enhanced voice) This is not a negotiation. We must talk. SOPHIA Then I will see you soon. EXT. PHILADELPHIA CITY STREETS - DAY Detective Rodriguez is walking down Seventeenth Street through the mostly Latino Spring Garden section of Philadelphia. Five young teens are playing stick ball in the street. Two women in their fifties are sweeping their front stoop and conversing in Spanish. Detective Rodriguez approaches three older TEENS pitching pennies. DETECTIVE RODRIGUEZ What I tell you guys. I catch you again, I'm going to tell all of your parents. TEEN ONE But it's only pennies. DETECTIVE RODRIGUEZ Then it's dollars then it's hundred's then it's your life. You don't want to gamble with your life do you? The three boys look at him silently, sheepishly, heads down. DETECTIVE RODRIGUEZ (cont'd) I didn't think so. Now get home and do your homework. The three boys scatter, and Detective Rodriguez continues toward home. EXT. THIRTIETH ST. AND DIAMOND AVE. Guy and Thug are on the grind. A hearse passes in the background followed by two limousines and several cars and a couple of Harleys. One of the bikes rides over to Thug and hands him a white envelope. Thug opens the envelope and reads the letter inside. GUY Who was that dog? THUG One of the captains. GUY It's sweet like that? THUG It's about time they started recognizing. I just got to get Dee. And it's me and you nigga. GUY I got you my nig. THUG Wednesday it's on. GUY Thursday... THUG Wednesday, greenie. GUY Yo, I'm going to the Chinese store. THUG Bring me back a loosie. Guy walks around the corner to a pay phone. INT. DETECTIVE RODRIGUEZ'S HOUSE - MOMENTS LATER Detective Rodriguez is entering his Spring Garden row home as his three children, Maria,age nine, Juan who is seven, and little five year old Jose rush to greet him. DETECTIVE RODRIGUEZ Y coma estan mis preciosos hijos ahora? DETECTIVE RODRIGUEZ (cont'd) And how are my precious children today JOSE Papi, papi! JUAN Papa mira que yo hize eu la esuela ahora. JUAN (cont'd) Dad look what i did in school today Detective Rodriguez walks towards the kitchen, dragging his children along. MRS. RODRIGUEZ, pleasantly plump and seven months pregnant, is preparing enchiladas, rice, beans, tortillas and salad. Detective Rodriguez gives his wife a kiss. DETECTIVE RODRIGUEZ Hola Carino. MRS. RODRIGUEZ Children set the table for dinner. Detective Rodriguez grabs a Corona out of the refrigerator. Mrs. Rodriguez begins to place food on the dining room table. MRS RODRIGUEZ (cont'd) Cena esta lista. MRS RODRIGUEZ (cont'd) Dinner is ready The children all sit at the table and hastily begin fixing their plates. MRS. RODRIGUEZ (cont'd) Wait for papi. Detective Rodriguez walks into the dining room and sits at the head of the table. Jose grabs the rice. MARIA Wait, like momma says. As Detective Rodriguez sits Mrs. Rodriguez places the enchiladas on the table and sits down. Everyone begins to eat. The phone rings. Detective Rodriguez starts to rise. MRS. RODRIGUEZ Sit and eat. I'll get it. Mrs. Rodriguez walks into the kitchen and answers the phone. MRS. RODRIGUEZ (cont'd) Si...si...un momento. Mrs. Rodriguez walks back in. MRS RODRIGUEZ (cont'd) Tu tienes una llamada por telefona. MRS RODRIGUEZ (cont'd) You have a telephone call. DETECTIVE RODRIGUEZ Yo estoy en la otra recomora. DETECTIVE RODRIGUEZ (cont'd) I'll get it in the other room INT. DETECTIVE RODRIGUEZ'S HOUSE - BEDROOM - CONTINUOUS Detective Rodriguez is sitting on the edge of the bed talking on the phone, nervously rubbing his face. PHONE Siempre tiene el negocio? PHONE (cont'd) Still in business? DETECTIVE RODRIGUEZ Bien...yo... EXT. MEXICO - EVENING A remote arid airstrip in the Mexican desert outside of Monterrey, Mexico. There is a white Jaguar limousine waiting in front of a large dilapidated airplane hanger. A white GULFSTREAM g350 luxury jet is about to land. The Gulfstream g350 taxis up to the hangar and stops adjacent to the limousine. As the door opens and stairs come down Sophia steps off the plane and enters the waiting limousine. The limousine drives off and another Gulfstream g350 takes off in the bg. EXT. MEXICO - CONTINUOUS A Jaguar limousine rambles along a dusty back road. After a few miles they pass a lush green field of cannibis. The Jaguar limousine slows as it approaches the ornate gates of Charlie Chamber's Spanish Villa. INT. CHARLIE CHAMBERS' SPANISH VILLA - LATER Charlie Chambers and Sophia are dining at a large ornate table in the formal dining room. They are having five pound lobsters on silver chargers. Sophia is cracking the remaining claw from her lobster. Charlie Chambers has hardly touched his plate. SOPHIA I love fresh lobster. CHARLIE CHAMBERS They were flown down on your plane. There are some things that have been brought to my attention. SOPHIA Always business. No concerns about your daughter. Sophia stops eating and looks at her father. CHARLIE CHAMBERS Oh I'm concerned. I took the liberty of checking on your new friend. SOPHIA Stay out of my private life. It is not part of the business. JOSE, the main servant, comes in to serve coffee and hands Charlie Chambers a green folder. CHARLIE CHAMBERS He's a cop. SOPHIA Jon is a jazz musician. CHARLIE CHAMBERS What are you going to do? SOPHIA You're serious? CHARLIE CHAMBERS You can't risk the business. SOPHIA He doesn't know what I do. He thinks I'm the same sweet Sophia from high school. Charlie Chambers gives the green folder to Sophia. She opens it and views the contents. Sophia gives the folder back to her father. SOPHIA (cont'd) I'll handle it. Sophia gets up from the table and walks out of the room. Charlie Chambers takes a sip of coffee, wipes his face and rubs his brow. EXT. THIRTIETH ST. AND DIAMOND AVE. - AFTERNOON Guy and Thug are standing on the corner. Guy is checking his knot of cash. GUY Yo, this shit is sweet. THUG This is peanuts. A Honda Accord Pulls up to the corner and gives a quick beep. Thug walks over to the Honda and sells two dime bags of bud through the passenger window in one smooth handshake. The Honda drives away. Two young ladies walk up to Guy. Guy smiles at them. INT. JON'S LOFT - EVENING Jon is practicing Soo Bak Doo, a Korean form of martial arts, and is repeating an eight combination move. INT. JON'S LOFT - CONTINUOUS Jon is meditating. He has used African print tapestries to section off a quiet corner of his loft replete with pillows and candles. INT. UNIVERSITY PENNSYLVANIA HOSPITAL - EVENING Sophia is in a hospital gown talking to Dr. Carter. DR. CARTER I don't mean to pry, but I called Dr. Williams. You never made an appointment. I know you think you can handle everything yourself, but you really should talk to someone. SOPHIA What does talking do? DR. CARTER Helps you cope and work through your emotions. The worse thing you could do is bottle everything inside. At least talk to a family member or a close friend. SOPHIA Thanks for caring. I'll be fine. I don't want people worrying about me. DR. CARTER So you want to schedule the procedure? SOPHIA Well I did talk to someone. He says think that if I change my diet it will stop spreading and even disappear. DR. CARTER I can't vouch for any holistic methods but if we don't see any changes in a month or two I think, we need to go in and take it out. I/E. SURVEILLANCE HOUSE - AFTERNOON Detective Kapowski is taking pictures of Thug. Guy walks up and shakes Thug's hand. Detective Gomez is working on the parabolic microphone. DETECTIVE GOMEZ Shit might as well be Fischer Price. GUY (V.O.) (Static, feint) Yo, what the deal? Detective Kapowski taps the microphone as the voices fade out. With no sound they watch the monitor and camera. Guy and Thug continue to talk. Thug is fidgety and keeps looking around. After a few moments, Drop screeches to a stop across the street. DETECTIVE KAPOWSKI Drop is early? Detective Gomez grabs his radio. DETECTIVE GOMEZ (into radio) Where's that tail? The parabolic microphone gives off static. Drop yells at Thug. THUG (V.O.) (Static) Yeah....shit...here Thug walks over to Drop's car starts to take off his bookbag and removes a .45 and puts it to Drop'S head. Drop slowly gets out of his Mustang as Thug keeps his gun pointed at Drop. The parabolic microphone sizzles. DROP (V.O.) (W/HEAVY STATIC) You done fucked up...you're a dead man... Drop reaches for the Dessert Eagle tucked in his waist, but not fast enough. Thug shoots Drop. Drop slumps against the car. THUG (V.O.) (W/HEAVY STATIC) Not before you. Thug moves Drop's body aside, gets into the Mustang, gives Guy the peace sign and peels off. Guy takes off. DETECTIVE KAPOWSKI (into radio) Shit...we have a 187, and suspect is on the move. I/E. DROP'S MUSTANG - MOMENTS LATER Thug is swerving through traffic and talking to himself. THUG I told 'em stop dissin' me...I ain't the one...treat me like shit...I'm big Teezy... not even knowin' I peeped the whole game. They won't underestimigate me again. Thug drives past an identical black Ford Mustang and slams on the brakes. He backs up and parks behind the identical black Ford Mustang. Thug gets out and walks into the restaurant. INT. RESTAURANT DROP POINT - CONTINUOUS Captain One is sitting in a booth. A waitress brings him a glass of water. Thug walks up to the booth. CAPTAIN ONE What the hell are you doing here? You're not the drop? The waitress walks away. THUG He's moved on. I'm taking his place. CAPTAIN ONE The hell you are. You already have your new assignment. You're making a big mistake. THUG That's the same thing Drop said. I guess I'll have to learn the hard way, cause I'm ready to play with the big boys. Thug pulls out his Forty Five. CAPTAIN ONE Ready to play with the big boys, huh? THUG Born ready my nig. Guy walks up behind Thug unseen. GUY The biggest boy is god. Tell him I said hello. Thug turns, but too late. Guy shoots Thug with a silenced Thirty Eight Special. Thug slumps to the floor and Captain One sees Guy who has just saved his life. GUY (cont'd) I told that nigga not to do nothin' stupid. Guy stuffs his piece back in his waist. CAPTAIN ONE And to whom do I owe the honor. GUY On the streets I'm Gee. Captain One gets up. He looks down at Thug and dips a napkin in the water to wipe some blood off his clothes. CAPTAIN ONE I'll have to thank you later. They both head for the exit passing an elderly couple. GUY You got something to say? INT. JON'S LOFT- BATHROOM - CONTINUOUS Jon has just stepped into the shower. The phone RINGS. JON Never fails. Jon answers the phone in his shower. The caller ID says 'private'. JON (cont'd) Yeah? SOPHIA (V.O.) Are you in the shower? Do you have a garbage disposal in there too? JON Funny. I was wondering when you'd call. Sophia walks into the bathroom. SOPHIA I did better than call. JON What the...how'd you get in here? SOPHIA The door was open. JON Stop playing. SOPHIA Really...I can leave if you want. Sophia undresses and steps into the shower. SOPHIA (cont'd) (giggles) Oooh, is that for me baby? Jon and Sophia caress and kiss passionately. Jon presses Sophia against the marble tile as the shower gets steamier. Sophia's leg rises against Jon's leg and buttocks. Jon kisses Sophia's neck slowly, moves to her shoulder and then to her breast. Jon continues to kiss down towards Sophia's waist as they disappear in a steamy mist. INT. SOPHIA'S NEW JERSEY ESTATE - STUDY - CONTINUOUS Captain One is whispering into Detective Rodriguez's ear. Detective Rodriguez nods his head. Captain Three walks into the room. CAPTAIN THREE Send the usual ten 'G' envelope to his family? DETECTIVE RODRIGUEZ Make it twenty. I liked his gumption. And find Guy. It's time to put him to the test. CAPTAIN THREE You gonna just take some guy off the streets. DETECTIVE RODRIGUEZ No, his name is Guy or Gee. CAPTAIN THREE So who is he? What do we know about him? CAPTAIN ONE He saved my life. CAPTAIN THREE So you vouch for him? DETECTIVE RODRIGUEZ You got something on your mind? CAPTAIN THREE No. I just don't like to take chances. CAPTAIN ONE Are you questioning my credibility? CAPTAIN THREE Why would I do that? DETECTIVE RODRIGUEZ Gentleman. I believe we have more pressing matters. INT. JON'S LOFT- BEDROOM - LATER Sophia is getting dressed. Jon is in boxers, standing behind Sophia trying to stop her from getting dressed. JON Where ya goin'? I thought we'd get dinner. SOPHIA Speaking of dinner, I want to start eating more like you. JON Am I rubbing off on you? SOPHIA I mean I go to the gym and all but I don't feel that healthy sometimes. JON You feel healthy to me. SOPHIA I'm serious. JON Is something wrong? SOPHIA Jon I- (beat) I have to go mon amour. But you'll help me change my diet so we can both live to a hundred and eight? JON No problem, but by then I'll probably dump you for an eighty year old. SOPHIA You got jokes. Sophia starts to walk down the spiral staircase but turns to embrace Jon instead. JON I'll walk you out. EXT. THIRTIETH ST. AND DIAMOND AVE. - EVENING A coroners van and four police cars surround the taped -off crime scene. An officer is circling shell casings as Drop's body is wheeled by in a body bag. OFFICER ONE and OFFICER TWO are interviewing an ELDERLY BLACK LADY. ELDERLY BLACK LADY I told them boys, nothin' good will come from hangin' on the corner. OFFICER ONE Well did you see what happened? ELDERLY BLACK LADY One nigga popped anotha nigga and took off in the dead nigga's whip. OFFICER ONE Well what did they look like? ELDERLY BLACK LADY Niggas. Guy is watching the proceedings from the shadows as a black 2008 Cadillac STS-V pulls up in front of him. The passenger window lowers. CAPTAIN ONE What's going on? GUY Shit. CAPTAIN ONE Remember me? GUY Yeah. You owe me one. CAPTAIN ONE Get in. Guy looks around and gets in. Captain One drives off. I/E. BLACK CADILLAC STS-V - CONTINUOUS CAPTAIN ONE What you know about this game? GUY I been hustlin' since I was snot- nosed. CAPTAIN ONE For you now is the time of opportunity. GUY Oh really? CAPTAIN ONE That was a smart move you made. Always respect the chain of command. But now we need a new lieutenant. EXT. NORTH PHILADELPHIA SERVICE GARAGE - EVENING There are old cars in various states of disrepair. In the back of the garage four men are sitting at a card table passing a blunt. Maliik,27, six feet four inches and brawny is the obvious leader. DOLLAR,25, the proverbial jolly fat guy is loading a banana clip into an ak-47 machine gun. MIKE,28, tall and lanky is the strong silent type. BREADMAN,32, appears frail and uneasy. A MAC10 machine gun lies on the table. MALIIK We need a bigger piece of the pie my nigs. One block divided by four ain't gonna cut it. DOLLAR Yeah, fuck the Phantom. MIKE Maybe we should just link up with them. MALIIK (angrily) Why? So we can take a cut of somebody else's cut. Fuck that shit. We gotta take what's ours. BREADMAN If you can't beat 'em join 'em. DOLLAR Well let's beat 'em first. Niggas scared or what? MIKE Fuck you. I ain't no punk. BREADMAN I'm just sayin' Rico and them signed up and they gettin' it on level. MALIIK I'm running this show and we take ours. Now here's how it's gonna go down. I already talked to Bumpy and his crew. INT. CHIEF'S OFFICE - DAY Chief is toying with a new golf club and talking on the phone. CHIEF Are you sure? (pause) This week? Tell them thanks. Chief hangs up and presses the intercom. CHIEF (cont'd) Sally, get Rodriguez in here. SALLY (V.O.) He hasn't checked in yet sir. CHIEF Well find him. Chief continues to play with the club. SALLY (V.O.) The mayor is on line one. Chief picks up his desk phone. CHIEF This call may be monitored for quality assurance. MAYOR (V.O.) How come you never take me out anywhere? CHIEF I thought you were on line one not line whine. We just had lunch last week. MAYOR (V.O.) Grabbing a bite after a city planning meeting doesn't count. CHIEF I thought we had an agreement? MAYOR (V.O.) Fine. I'll find someone else to take me out. Click. CHIEF Hello? I/E. BLACK CADILLAC STS-V - DAY Captain One is observing Guy in his black Mustang with a female companion. A young kid walks up to the car and cleans the front window. Guy gives the kid a ten and then jumps out as he sees a DUDE who owes him money. Guy runs over to the Dude and grabs him. DUDE Yo, I got your dough right here dude. Chill. Guy lets Dude go and snatches the money. Jon pulls up on his motorcycle and nods. GUY (To dude) Beat it. Jon pulls off. Guy gets back in his car. The female gets out and Guy pulls off. Captain One starts his car. INT. MAYOR'S OFFICE - DAY THE MAYOR,48, SULTRY, statuesque and all business, is going through papers at her desk. From her smooth caramel complexion, to her perfectly coiffed hair you sense control. The intercom buzzes. MAYOR'S ASSISTANT (V.O.) There's a Mr. Jon Bey here to see you. MAYOR Send him in. Jon walks in. MAYOR (cont'd) Well, look what the cat dragged in. I didn't know you were back. JON I'm not. I just stopped by to see how your re-election campaign is coming. MAYOR You're into politics now? Or do you have something you want to talk about? What has what girl done this time? JON She's making me feel... crazy. MAYOR You mean you have feelings? JON Ha-ha. MAYOR So what's the problem? JON You know. MAYOR Had to happen sooner or later. The Mayor's phone buzzes. MAYOR (cont'd) Yes, Tasha? MAYOR'S ASSISTANT (V.O.) Jim Ellis is on line one. JON That old coot still around? MAYOR If it wasn't for that old coot, you wouldn't be able to swim. The Mayor picks up the phone. MAYOR (cont'd) I have to take this call. Check with Tasha to see when I have a free lunch this week. Jon excuses himself. INT. ART MUSEUM - DAY Sophia and Detective Rodriguez are walking through the medieval armor exhibit. Sophia is wearing a large floppy brimmed hat, concealing most of her face. Detective Rodriguez stops at a display of weaponry. SOPHIA I guess something was bound to happen sooner or later. DETECTIVE RODRIGUEZ He'll be on target. SOPHIA But how do we know he doesn't have the same ambitions? Sophia and Detective Rodriguez continue walking. DETECTIVE RODRIGUEZ In the end, all anybody wants is a piece of the pie. SOPHIA This stuff is so archaic. DETECTIVE RODRIGUEZ This is my favorite exhibit. SOPHIA Barbaric. INT. THUG'S APARTMENT - EVENING Guy walks into the shabby project apartment as roaches go scurrying. Guy dumps his bookbag onto the table and drops wads of cash and a few dime bags of weed onto the table. He takes a dime bag, rolls a blunt and starts to count the cash. I/E. BLACK MUSTANG - MOMENTS LATER Guy is driving down Thirty Third Street toward the Art Museum area. Guy takes Thirty Third to Kelly Drive and takes a left toward the Art Museum and downtown. Guy passes the rear entrance street to the Art Museum. He sees Sophia and Detective Rodriguez talking next to Sophia's Jaguar. INT. RESTAURANT DROP POINT - LATER Captain One IS WAITING IN A BOOTH. Guy walks in and sits down across from him. GUY I got everything right here. Just give me the keys, and I'm out. CAPTAIN ONE Not so fast. GUY What up? CAPTAIN ONE The HNIC wants to see you. GUY Is that a good thing? CAPTAIN ONE Usually. EXT. JON'S LOFT - LATER Jon is running out of his building as Sophia is walking up. Jon and Sophia almost run into each other. JON We've got to stop meeting like this. Let yourself in, I'll be back. SOPHIA You're not going anywhere. Jon kisses Sophia and tries to walk around her but Sophia blocks him and pushes him back toward the door. JON I really have to go... Sophia pushes Jon against the door and presses her body against his. JON (cont'd) What the hell? Sophia pushes Jon into the building. INT. ABANDONED HOUSE - LATER Detective Kapowski and Detective Rodriguez are playing chess. The monitor fizzles in and out. DETECTIVE RODRIGUEZ I told you he wasn't coming. Pay up. Detective Kapowski takes a twenty out of his wallet and gives it to Detective Rodriguez. He makes a move on the chessboard. DETECTIVE KAPOWSKI Checkmate. Detective Rodriguez gives the twenty back to Detective Kapowski. INT. JON'S LOFT - DAY Sophia, wearing one of Jon's button downs, is looking into Jon's refrigerator. SOPHIA I've never seen such a healthy fridge in my life. Jon walks up behind Sophia. SOPHIA (cont'd) Leafy greens, flax seed, noni juice. Where's the eggs and bacon? JON I thought you wanted to eat healthier. Sophia turns around. SOPHIA As long as I get my meat. She grabs his crotch. JON Delivered fresh daily. Sophia and Jon start to kiss. Jon's cellphone flashes red in the foreground. JON (cont'd) Oh shit. I/E. 1990 CHEVY MONTE CARLO - DAY Breadman is driving as Maliik, Dollar, and Mike check their weapons. BREADMAN Why I always gotta drive? MALIIK Because you can't shoot for shit. Make a left. Maliik, Dollar and Mike all don ski masks. BREADMAN Damn, I forgot mine. DOLLAR Again? Shit, them niggas is deep on the block. MIKE Fuck them. Let's do this. EXT. THIRTIETH ST. AND DIAMOND AVE. - CONTINUOUS Guy is talking to Leon. Pete sells a bag of weed to a bent old women. Smith is crossing the street toward Guy and his crew. PETE There you go grandma. SMITH Who dat rollin' up the block? EXT. THIRTIETH ST. AND DIAMOND AVE. - CONTINUOUS A 1990 Chevy Monte Carlo and a 1988 Caprice Classic slowly round the corner. Jon is on his way to find Guy. The cars pass Jon as the windows lower. Gun muzzles are protruded. Both cars open fire as they approach. Jon ducks for cover as bullets fly. Jon instinctively reaches back for his gun. Bullets fly from the two cars. A PEDESTRIAN is hit. PEDESTRIAN Shit! What the hell? On the opposite corner Leon pulls a sawed off shotgun from under his wheelchair and returns fire, hitting an innocent BYSTANDER. BYSTANDER (screams in pain) Oh Jesus! Neighbors scatter. Guy takes a semi- automatic Cobra Patriot hand gun from behind Leon's wheelchair and sprays the Caprice Classic. The Caprice Classic barrels into a parked car. Bullets fly and Leon is hit. The Monte Carlo peels off and leaves a deadly quiet. Guy surveys the scene looks at Leon who is slumped in his wheel chair. LEON (mumbles) Help me... Guy stares at Leon and runs past him and away. EXT. THIRTIETH ST. AND DIAMOND AVE. - CONTINUOUS Jon peers around the parked car and rushes to help a fallen victim. He dials his cell phone as the familiar fire returns to his eyes. JON I need a medic at Thirtieth and Diamond. Multiple shooting victims. Now! There are sirens and crying in the background. Two old black women come to their front doors to watch as Jon tries to stop the bleeding of a wounded victim. EXT. SIDE ALLEY - MOMENTS LATER Guy is running down the alley clutching his left arm, which has been grazed in the gunfire. He stops next to a dumpster, looks up at the sky and then bends over hands on knees and breaks down for a moment. A light rain begins to fall. INT. POLICE ATHLETIC LEAGUE GYM - EVENING Jon is shooting baskets, and Chief is rebounding inside the dark creaky old gym. CHIEF I'm going to pull him out. JON No. We have to take them out. Chief's cell phone rings. He answers. CHIEF We? (answers phone) Yes, alright. Got some info about the hit. Jon makes another basket. JON I'm on it. CHIEF Go get some rest cowboy. Sleep on it. Make sure you are making the right decision. JON. If I don't have his back, who will? I'm not a jazzman. I'm a cop. CHIEF You may not know this, but your father was happy you were so into your music. He didn't really want either of you to get into law enforcement. I think he knew he couldn't stop Guy. JON. So no matter what choice I make, I'm wrong? CHIEF You can't beat yourself up over a promise you made when you were a kid. JON. But he's my brother. CHIEF And he has the whole force behind him. JON. I can't back out now, not after what happened. CHIEF Just make sure this isn't an emotional decision. JON. Without emotions what do we have? EXT. THIRTIETH ST. AND DIAMOND AVE. - DAY Guy is leaning against his black Mustang talking to Pete and Smith. GUY I told them niggas, don't nobody fuck wit' this. PETE King Kong ain't got nothin' on you. SMITH That's fucked up what happened to Leon. PETE Nigga was already in a wheel chair from a bullet. GUY That's the way of the gun. Kill or be killed. Captain One arrives in his black Cadillac STS-V. Guy sees him, gives his men fist pounds and heads over to Captain One's car. INT. JON'S LOFT - DAY Jon is rummaging through his closet. Jon grabs a shoe box, opens it and removes his badge. He stares at his badge intently as a flood of memories wash over him. Jon polishes off his brass and places it in his pocket. INT. SOPHIA'S NEW JERSEY ESTATE - EVENING Sophia is in a heated conversation with Detective Rodriguez. DETECTIVE RODRIGUEZ I told you I will handle it. SOPHIA Lately your way of handling things has led from one mishap to another. DETECTIVE RODRIGUEZ I can't control a wild street soldier any more than I could predict a drive by based on some hood beef. Because who would knowingly attack any of our men? SOPHIA Obviously they would. You bring him to me I want to meet him. DETECTIVE RODRIGUEZ You think that's wise? SOPHIA We'll do it in the Poconos. INT. THE THIRTY- EIGHTH PRECINCT - DAY Inside the main room three officers are standing around eating donuts. The DESK OFFICER is a female in her mid thirties. Jon walks in and shows his badge. JON Can you tell me where to find Detective Holland? DESK OFFICER Second floor, third door down on your left. JON Thanks. DESK OFFICER Anytime. You need anything else, just let me know sweetheart. Jon walks away smiling and turns to catch the Desk Officer checking his posterior. The Desk Officer sits back and smiles. INT. DETECTIVE HOLLAND'S OFFICE - CONTINUOUS DETECTIVE HOLLAND, who's messy frock of black hair contradicts his wide square jaw, is on the phone in his bland empty office. Jon knock's at his door. DETECTIVE HOLLAND Yeah, let me call you back. Detective Holland hangs up the phone. DETECTIVE HOLLAND (cont'd) Come in. Jon walks in. JON I'm Detective Bey from the infamous. DETECTIVE HOLLAND Good to meet you. Want coffee? JON No thanks. DETECTIVE HOLLAND Anyway, this kid's got some info. JON Kid? DETECTIVE HOLLAND Yeah he said his brother was one of the perps. There is a knock at the door, and OFFICER JUAN sticks his head in. OFFICER JUAN Yo, I got the kid. DETECTIVE HOLLAND So bring him. Officer Juan leaves to get the kid. DETECTIVE HOLLAND (cont'd) It may look like we're just standing around eating donuts, but we get things done. You sure you don't want coffee? JON I'm sure. Is that undercover around? DETECTIVE HOLLAND He's on leave, but I can put you in touch with him. Officer Juan returns with the scraggly, street-tough KID. JON Hi son, I hear you might be able to help us out. The Kid says nothing. OFFICER JUAN Just tell them what you told me. KID I don't want no one else to die. JON Neither do I. If we work together, maybe no one else will. KID I tried to tell my brother not to go, but he said I was just being a little punk. Now he's dead. DETECTIVE HOLLAND Do you know anything about the other men? KID (pause) I know where they are. EXT. PHILADELPHIA STREETS - LATER There is a procession of six police cars, lights flashing, with a S.W.A.T. van, SPEEDING SILENTLY THROUGH NORTH Philadelphia. INT. JON'S LOFT - EVENING Jon arrives home to find a small gift package waiting for him and a note. Jon opens the package. It is a heart shaped candle and the note says 'I COULDN'T HELP MYSELF'. JON How does she get in here? INT. NORTH PHILADELPHIA GARAGE - LATER Maliik, Dollar, and Mike are standing around a Monte Carlo talking. MALIIK Yo, where the fuck is Bread? MIKE Yo, I'm startin' to wonder about that nigga. DOLLAR Whatever, we got to get the fuck out of here. MIKE Yo, you here that? EXT. NORTH PHILADELPHIA GARAGE - CONTINUOUS A S.W.A.T. van follows two police cars as they approach the rundown North Philadelphia garage. The first car passes the garage and blocks the far intersection. The next car blocks the corner. The S.W.A.T. van spins around the corner and comes to a halt as six S.W.A.T. officers jump out and assume tactical positions surrounding the garage. The officers in the two cars at the end of the block assume tactical positions behind their vehicles. OFFICER ONE And here we go. The lead S.W.A.T. signals and a gas chamber is fired through a window. SILENCE. HISS. SMOKE. An engine roars and a 1990 Monte Carlo bursts through the garage door. The S.W.A.T. team opens fire. Maliik is driving, and Dollar sits in the passenger seat. Mike in the back. The back window is shattered by gunfire. Mike fires back. MALIIK God damn it. The S.W.A.T. team continues to fire on the Monte Carlo as it careens toward the police barricade. Mike is shot. DOLLAR Oh shit! The Monte Carlo tries to swerve around the police barricade and hits a parked car and a fire hydrant. Three Officers run over to the Monte Carlo weapons drawn. Maliik is dead, slumped against the steering wheel. Dollar is bloodied and injured but alive. LEAD S.W.A.T. You guys never learn. Dollar looks up and then collapses. EXT. RIVERVIEW THEATER- PARKING LOT - LATER Detective Rodriguez is waiting under the overpass in the back of a black Cadillac Escalade. BRUNO and TINY, two massive bodyguards, get out of the front of the Cadillac Escalade. Captain One arrives. Guy gets out and Bruno places a black hood over his head. Tiny opens the back door and eases Guy in. Bruno gets in to drive, and Tiny sits in the passenger seat. Captain One returns to his car. The cars pull off in different directions. EXT. PENNSYLVANIA TURNPIKE - CONTINUOUS Detective Rodriguez's black Cadillac Escalade travels north along a curvy portion of the highway. EXT. POCONOS- MOUNTAIN CHALET - DUSK Outside a secluded mountain getaway Detective Rodriguez's black Escalade arrives and parks near a black Lincoln Navigator, a black Mercedes G500, and a black Range Rover. Sophia's Jaguar XK is peaking around the rear corner of the structure. Bruno and Tiny get out and open the rear doors for Boss One and Guy who is still blindfolded. GUY Love that fresh mountain air. DETECTIVE RODRIGUEZ If you were supposed to know where we were, you wouldn't be blindfolded. GUY I see. INT. POCONOS- MOUNTAIN CHALET - CONTINUOUS There is a sense of foreboding inside. Curtains are drawn and the only light is coming from a small fire. Next to the fireplace is a dining table where an empty chair is waiting. On the other side sits BOSS THREE, a svelte middle aged brown skinned brother and BOSS TWO, a portly Italian. Bruno escorts Guy in and over to the chair and removes the hood. Detective Rodriguez follows behind and sits behind Boss Three and Boss Two. SOPHIA (V.O.) (computer enhanced) You've come a long way in a short amount of time. GUY Yeah, well I'm that kind of Guy. BOSS THREE You could be a narc. GUY You seen how I get down. I saved your boys life. Do pigs get down like that? BOSS TWO To protect their cover, yes. GUY Then shoot me. Fuck it. SOPHIA (V.O.) (computer enhanced) Enough. We need totally dedicated people. As a sign of your commitment, please allow Bruno a few seconds of your time. Bruno emerges from the shadows and takes a branding iron out of the fire. GUY This is a serious commitment without being able to see my new owner. Bruno approaches Guy. BOSS TWO You only deal with us. SOPHIA (V.O.) (computer enhanced) Your arm please. GUY And if I refuse? Tiny steps out of the shadows with a Benelli Nova 299 Pump shotgun aimed and pumped at Guy. SOPHIA (V.O.) (computer enhanced) I trust my colleague's judgement. Please don't disappoint us. GUY Get it on. Bruno takes the brand and applies it to Guy's Shoulder. Guy winces in pain as the brand sizzles his flesh. GUY (cont'd) God damn! Fuck! All that and still no face to face. Tiny puts the hood back on Guy. DETECTIVE RODRIGUEZ Let's go. GUY What about my arm? BOSS ONE Bruno, get him some ice. EXT. POCONOS- MOUNTAIN CHALET - MOMENTS LATER Tiny and Bruno are escorting Guy, who is still hooded, out the rear past Sophia's Jaguar. INT. THIRTEENTH PRECINCT - EVENING Chief and Jon are reviewing a whiteboard showing the structure of the Philadelphia drug cartel with a time line showing Guy's progression. There is a map of the city laid out on the table. JON If I didn't know better, I would have thought he was just a dealer. CHIEF So you mean he's doing his job. JON He's moving up way too fast. CHIEF You think he's getting sucked in? Detective Kapowski and Detective Gomez walk in. DETECTIVE GOMEZ Aww shit. Hell must be freezing over. DETECTIVE KAPOWSKI Funny how getting shot at will change your mind about things. DETECTIVE GOMEZ What the hell were you doing there anyway? JON What do you think? DETECTIVE GOMEZ But I'm his contact. JON I'm his brother. And actually Rodriguez is his contact. DETECTIVE GOMEZ He's not even here. Maybe if you would have made the meet. DETECTIVE KAPOWSKI Cost me twenty dollars. CHIEF Ladies, if you don't mind... DETECTIVE GOMEZ We pretty much got their routine. Detective Kapowski points everyone toward the map on the table. DETECTIVE KAPOWSKI They're doing car and merchandise exchanges at 'Guinellies', 'Paco's', and 'Oberon' On Third. DETECTIVE GOMEZ Our tail always loses them on the Ben Franklin. CHIEF Who did you use for the tail. DETECTIVE GOMEZ Piankhi and Laws. CHIEF Great. Picked the two idiots I said not to use. JON We need a chopper. CHIEF And what's the story on that garage we raided? EXT. THIRTY THIRD STREET BRIDGE - EVENING The Philadelphia skyline is in the background as two silhouettes, Detective Gomez and Guy, talk. DETECTIVE GOMEZ The only survivor is on life support. GUY Some kid ratted them out. DETECTIVE GOMEZ How the hell you know that? GUY We have our ways. And we paid some kid to rat them out. DETECTIVE GOMEZ Ain't that a bitch. They got us doing their dirty work. GUY I need a wire. DETECTIVE GOMEZ Too dangerous. That's why we're there. Plus with Jon back on the case we should have it wrapped in no time. Guy grabs Detective Gomez. GUY Yeah for super Jon. EXT. PHILADELPHIA/CAMDEN FERRY - MORNING Jon is standing by the railing. The ferry is crossing from Camden to Philadelphia. Jon is talking to Guy on his cell. JON You can't be serious. GUY (V.O.) What kinda whip she pushin'? JON A Jag xk8. GUY (V.O.) I was talking to the boss man and he said she. Why the disguised voice? So we wouldn't know it wasn't a man. JON. They just wanted to scare you. GUY A Jag was up in the Poconos. Where do you think all that cheddar is coming from? I mean how well do you really know her? JON Inside and out. GUY (V.O.) Just because you went to school with her back in the day don't mean you know her now. JON. You know you trippin' right. GUY (V.O.) Love is blind. Jon hangs up and continues staring at the city through the morning haze as the ferry docks into Philadelphia. Jon yawns and disembarks with the rest of the passengers. I/E. SOPHIA'S JAGUAR XK - MORNING Sophia is driving down Columbus blvd., talking on the phone. The ferry is in the foreground. SOPHIA I understand, but please let me handle this my way. CHARLIE CHAMBERS (V.O.) (computer disguised) If you can't, I'll hire professionals. SOPHIA I will handle it. Sophia stops at a red light as she hangs up. Jon is crossing the street in front of her. Sophia beeps her horn. Jon stops and gets into the Jaguar. SOPHIA (cont'd) Where you going so early? JON We gigged last night in Cherry Hill. Turned into an all-nighter. SOPHIA You're only allowed to have all nighters with me. How about breakfast? JON Yeah, I know a great place, make a left. So where were you headed? SOPHIA To the gym. You had a gig, but you don't have your horn. JON. Keys is bringing it back. We don't have to get breakfast if you were going to the gym. SOPHIA I know. INT. FAMOUS DELI - MOMENTS LATER Jon and Sophia are seated in a booth looking at menus. JON I know this isn't as posh as you're used to. SOPHIA Whatever. Remember when everybody used to come here after school? JON Maybe your clique. My crew only had enough for the lunch trucks. SOPHIA Oh yeah, the trucks. I used to love that sausage bagel with cheese and cream cheese. Mmm yum. A WAITRESS walks over. WAITRESS Are you guys ready to order? SOPHIA I'll have coffee, make that herbal tea with an everything bagel, lightly toasted. Very lightly. JON I'll have coffee, a whole grain muffin and the fresh fruit bowl. WAITRESS I'll be right back with your coffee. JON Did I just order coffee? I haven't had coffee in forever. The Waitress walks away. SOPHIA Old habit. Do you want a doughnut? JON No sweets. So do you live in your car, or what? SOPHIA I'm always on the move. JON Why do we only go to my place? SOPHIA Does it matter. The Waitress returns and serves Sophia and Jon coffee. JON So we can go to your place for dessert? SOPHIA (sips coffee) Sure my condo is right on the water. JON Let's talk about your work. SOPHIA Why the twenty questions? JON Why you don't want to answer? SOPHIA I started with investments, and a particular client offered me an exclusive contract. JON I thought you were your own boss. SOPHIA For all intents and purposes I am. He's more a liaison. Are you after my money? JON. Just your honey. Can I meet him? The Waitress brings their food. SOPHIA Does this look lightly toasted to you? WAITRESS Sorry, I'll get you another one right away. JON Easy killer. So.... SOPHIA Sorry. So what? JON You're not married are you? SOPHIA Are you serious? JON. I just feel like something is missing. Like you're not telling me something. SOPHIA You don't have any secrets? JON. I do have something I want to show you. SOPHIA Check please! INT. SOPHIA'S WATERFRONT CONDO - LATER Jon and Sophia are sleeping. Jon is restless. He twists and turns as he dreams. EXT. STRAWBERRY MANSION BRIDGE, NORTH PHILADELPHIA - DREAM Mr. Bey is chasing Charlie Chambers. Mr. bey is catapulting over the bridge falling endlessly to his death. INT. SOPHIA'S WATERFRONT CONDO - CONTINUOUS Jon and Sophia are sleeping as Jon suddenly sits up startled. Sophia wakens and turns to Jon. SOPHIA Are you okay, baby? JON. When's the last time you saw your father? SOPHIA Why do you ask? JON. Mine was shot to death. Sophia puts her arms around him as Jon lowers his head. SOPHIA Do you want to talk about it? JON. Not yet. Jon gets up to go to the bathroom. INT. JON'S LOFT - EVENING Jon comes home and sees the phone laying on the floor off the hook. Jon picks up the phone and notices his couch cushions are out of place. INT. JON'S LOFT - CONTINUOUS Jon is in his bedroom the bed is tossed and someone has spray painted the word "under" on the mattress. Jon looks under the bed. There is nothing there. INT. JON'S LOFT - LATER FORENSIC OFFICER ONE is dusting Jon's phone for fingerprints as FORENSIC OFFICER TWO comes out of the kitchen. Jon is about to open the elevator door. FORENSIC TWO Nothing in there, but I would throw that milk out. The elevator opens, and Chief steps out. JON It's soy. FORENSIC TWO My point exactly. CHIEF I keep telling you to get a security system. JON I'm my security system. Besides nothing is missing...like it's some practical joke. CHIEF Could be an old bust or an old lover. JON You're kidding. Forensic One walks over. FORENSIC ONE We're about done. JON Thanks. Hey, what happened to that guy with the afro? The Forensics team packs up and leaves. CHIEF Is this what you came back for? JON Actually... CHIEF Just go be a jazzman. Don't end up an old coot like me who doesn't know how to do anything else. EXT. THE GHOST - LATER Guy is leaning against the ghost checking his watch when Jon arrives on his motorcycle. GUY On time as usual. JON I was at a crime scene. Somebody broke into my place. GUY They didn't take your black book did they? JON They didn't take anything. They just wrote under on my sheets. GUY Undercover... You still don't think it's her? JON I was with her. GUY All day? JON Do you know what you're saying? GUY Do you know who you're fucking? INT. UNIVERSITY OF PENNSYLVANIA HOSPITAL - DAY Sophia is talking to Dr. Carter in his office. DR. CARTER It's amazing. Your latest test shows a remarkable improvement. Whatever you're doing, keep it up. SOPHIA I stopped eating meat and processed foods. I've been trying to eliminate stress. DR. CARTER Well I'm going to have to look into these natural methods and not be so quick to just prescribe drugs for everything. SOPHIA The body really is amazing. DR. CARTER Your whole attitude is different. Did you fall in love? SOPHIA We're getting a bit personal aren't we doctor. DR. CARTER Never stopped us before. SOPHIA I beg your pardon. I think that's my cue to leave. DR. CARTER Well miss, keep up the good work. INT. P.A.L. GYM - DAY Chief is walking at a medium pace on a partially inclined treadmill. Jon is standing next to him talking. JON I'm beginning to wonder about her too. Really I don't know nothing about her, except she's rich and great in the sack. CHIEF Women always have their secrets... JON Do you know Anita's secrets? CHIEF No, and I don't want to. JON Let me have your keys. CHIEF For what? JON I need to do some police work and I don't want a squad car. CHIEF Requisition a dual purpose from fleet. JON Too much paperwork. CHIEF And what am I supposed to drive? JON Get a squad car. Jon takes the keys and turns the treadmill on high, forcing Chief to run full speed. Jon walks away as Chief turns the machine down and doubles over gasping for air. INT. POLICE HEADQUARTERS - DAY Jon is going through some old files in the police archives. He pulls a couple of Manilla folders out and tucks them under his arm. I/E. CHIEF'S UNMARKED POLICE VEHICLE - LATER Jon is sitting outside of Sophia's condo in the Chief's unmarked squad car. Jon is looking through some folders as he eats a veggie wrap and drinks carrot juice. I/E. CHIEF'S UNMARKED POLICE VEHICLE- LATER Jon is doing a crossword puzzle he checks the time. It's four twenty. I/E. CHIEF'S UNMARKED POLICE VEHICLE - EVENING Jon is drinking coffee. Jon check's his watch. It's nine forty. Jon starts the car and leaves. INT. SOPHIA'S NEW JERSEY ESTATE - STUDY - MOMENTS LATER Sophia and Detective Rodriguez are sitting in two arm chairs separated by a small table. There is a folder on the table. SOPHIA I think we're getting too rich and complacent. Detective Rodriguez slides the envelope to Sophia. DETECTIVE RODRIGUEZ Here he is. Sophia looks at the contents of the envelope. Sophia shakes her head in disgust. SOPHIA You could be right. DETECTIVE RODRIGUEZ You're leaving? SOPHIA Yes. Sophia rises to leave. Detective Rodriguez rises with her. DETECTIVE RODRIGUEZ Am I so easily replaced? SOPHIA Just no more slip ups. DETECTIVE RODRIGUEZ Not what I meant. SOPHIA I know. INT. REHEARSAL SPACE - EVENING Jon is at rehearsal with his Band. JON Alright, let's go through that last part again and call it a night. The Band plays a few upbeat bars that ends in a flourish. JON (cont'd) That's a rap. If we keep this up we might actually get somewhere. They all start breaking down and packing up. STIX I'm hungry. JON You're always hungry KEYS You hangin' with us tonight? JON Why not. KEYS We won't see him. STIX You know where we'll be. KEYS Hey what's up with that honey dip? STIX Honey got dipped and split. JON I'm glad you're so concerned with my personal life. BASS You know we live vicariously through you. Everyone looks at Bass who never says anything. JON You better be careful using big words like that. KEYS You need a lift? STIX He's got his death wish. EXT. REHEARSAL SPACE- CONTINUOUS Jon is putting on his motorcycle helmet. Jon starts his motorcycle and takes off. EXT. PHILADELPHIA STREETS - CONTINUOUS Jon is riding up Locust street as headlights come on behind him. Jon sees a 2008 black Dodge Charger lingering in his rearview mirror. Jon hits the gas as the Charger revs it's engine. Jon speeds up and takes an opening between two cars onto the sidewalk. The Charger pulls even and Jon hits the gas again as he nears a parking garage. JON What now? The Charger passes him forcing Jon into the parking garage. Jon makes it through the opening just before the Charger smashes through. Jon flies up the garage ramp as the Charger resumes the chase. Jon hits the roof and cuts right and circles back. He stops right by the ramp. The Charger roars up to the roof catching air as it hits the top. As soon as the Charger passes, Jon throttles down the exit ramp. Jon hits the street and heads toward Rittenhouse Square and cuts through the park to Walnut Street. JON (cont'd) Follow me now. The Charger makes it back down the garage battered and bruised and heads toward the sound of Jon's purring machine. Jon goes up Walnut street and over Twentieth street. Jon looks back, doesn't see the Charger. Just as Jon is crossing Market street the Charger comes up Market and just misses Jon's rear tire. Jon guns it. The Charger does a one hundred and eighty degree spinout. The Charger goes down Twentieth street but Jon is gone. EXT. PHILADELPHIA STREETS - CONTINUOUS Jon is catching his breath next to his motorcycle in a subway entry way. Jon's phone rings. JON Yes. STIX (V.O.) I knew you weren't coming? JON Life gets hectic sometimes. STIX (V.O.) You okay? JON Yeah, Gotta go. Jon hangs up, starts to make another call, then decides to wait. INT. MAYOR'S OFFICE - EVENING Chief's jacket is flung across a chair and his shirt is half buttoned as he fixes his tie. The Mayor is sitting on her desk in just her skirt and bra fixing her lipstick with a compact mirror. MAYOR So Jon is really making progress? CHIEF Actually it's Guy that's making all the progress. We've gotten further this month then the past two years. MAYOR You guys could do wonders if you could shut down this phantom. CHIEF We just acted like sneaky kids. MAYOR Wasn't it fun? Chief's cell phone rings. It's Jon. CHIEF Que paso? JON (V.O.) Somebody just tried to take me out. CHIEF What! Where are you? Chief puts his handcuffs away. The Mayor grabs her blouse and puts it on. JON (V.O.) It's cool. I'll see you in the morning. CHIEF You sure...all right then. MAYOR What's wrong? CHIEF Nothing. MAYOR That didn't sound like nothing. Anything I can do? CHIEF No. I'll walk you out. INT. DETECTIVE RODRIGUEZ'S HOUSE - BEDROOM - EVENING Detective Rodriguez is sitting on the edge of his bed talking on the telephone. DETECTIVE RODRIGUEZ Si ya la complete. PHONE (V.O.) Si eres fiel a la causa tu familia sera recompensada. PHONE (cont'd) You remain loyal to the cause and your family willl be rewarded. DETECTIVE RODRIGUEZ (cont'd) Mi familia y yo estamos agradecidos. DETECTIVE RODRIGUEZ (cont'd) I thank you and my family thanks you. Detective Rodriguez hangs up the phone just as Mrs. Rodriguez walks into the room. MRS RODRIGUEZ Who was that darling? DETECTIVE RODRIGUEZ Just some business. MRS RODRIGUEZ (sarcastic) Mm- hm. Me estas eres infiel? Detective Rodriguez pulls his wife onto his lap and holds her and his unborn baby. DETECTIVE RODRIGUEZ Por supeusto q'no, but I'll be glad when you have this baby. Mrs. Rodriguez holds her husband's head between her hands and tenderly kisses his cheek. MRS RODRIGUEZ There are other ways. They embrace and fall into the bed in a passionate kiss. INT. THUG'S APARTMENT - EVENING Guy has hooked up Thug's place with a high definition plasma television, furniture and girls in bikinis on the walls. The table is full of cocaine and money. Guy is weighing and bagging coke with FEMALE COMPANION. Female Companion is doing more using than bagging. GUY What the fuck bitch? FEMALE COMPANION C'mon have a little fun. Just cut it some more. Female Companion places some coke on her breast and offers it to Guy. GUY Stop playing. FEMALE COMPANION Loosen up. Female Companion goes to her knees and undoes guy's pants puts cocaine on his penis and begins to perform fellatio. Guy does a line off the table and goes back to bagging. INT. THIRTEENTH PRECINCT - DAY The Thirteenth Precinct is strangely quiet as Jon is walking in. Chief is walking towards the exit. CHIEF I was about to report my car stolen. Jon tosses Chief his car keys. CHIEF (cont'd) Let's go grab a bite. Jon and Chief exit the precinct. INT. NEIGHBORHOOD GREASY SPOON DINER - LATER Jon and Chief are both having french toast and coffee as they talk. JON You know I don't eat food like this anymore. But since we always have this together. CHIEF Since I used to pick you up from boy scouts. So what's up with the case? I suspect foul play. JON (sarcastic) Really? Robert Cray, what should I do? CHIEF You're asking me? JON I'm running out of answers. CHIEF I hate it when that happens. A WAITRESS walks over. WAITRESS Everything okay? CHIEF Just fine. A little more coffee. The Waitress walks away. JON It's all twisted and I'm caught in the middle. CHIEF So you're in prime position to figure it out. JON You know you're right. The Waitress returns and fills their coffee. CHIEF Imagine that. Jon throws some money on the table and gets up to leave. JON I'll see you later. INT. SOPHIA'S WATERFRONT LOFT- EVENING Sophia is standing in her empty living room talking on the phone. SOPHIA Yes- everything has been taken care of- wait, hold on (SOPHIA CLICKS OVER) What? I already told you. Just follow the plan. INT. ZANZIBAR BLUE - EVENING Zanzibar Blue is packed as the show is about to start. The Mayor and Chief are in the audience. Jon and his band prepare on stage. KEYS Well strike up the band. JON Good evening ladies and gentlemen. Never in my wildest dreams did I ever think I would be playing at the world famous Zanzibar Blue. But here we are so buckle up as we take you on a jazz excursion. Special welcome to all VIP'S which would be everybody in here. Let's have some fun tonight. Jon nods to the Mayor and Chief. Jon snaps his fingers. JON (cont'd) One, two, three. The Band starts to play a fast paced song. INT. ZANZIBAR BLUE - LATER The Band is ending a slow melody. Jon notices Sophia walk to the bathroom. JON The next song is called 'Mysterious Enigma' KEYS I thought we were playing 'Blues In A Minor. Jon nods in agreement. The Band starts to play a deep resonant harmonic rhapsody that has the audience mesmerized. INT. ZANZIBAR BLUE - LATER The audience is filtering out and the Band is starting to break down as Sophia walks up to the stage. SOPHIA Great set Satchmo. There are catcalls from the Band. JON Thanks to you. Ignore the peanut gallery. Chief walks toward the stage. JON(cont'd) I want you to meet someone. CHIEF Great show. JON Ted this is Sophia. Sophia, Ted. CHIEF Sophia... Chambers, isn't it? Jon didn't tell me you were a model. SOPHIA You're sweet. Isn't that the mayor? CHIEF Want to meet her? SOPHIA We've met. (nods toward the mayor) Are you ready? JON I'll catch you cats later. Keep your eyes where I can see them. STIX Art is art and that right there is a Picasso. JON Let's get away from these vultures. SOPHIA I have a surprise for you. INT. GUY'S APARTMENT - EVENING Guy is bagging coke with street soldiers Q, BEE, TERRY AND OC, new recruits. There are dime bags of marijuana on the table. Q Yeah these motha-fuckas is making large money. GUY Is everyone straight on the routine and the rotation? BEE Basically it's sell this shit. OC Basically. BEE Hey Tanya from over on Diamond got that shit. Q That good shit or that shit you don't want. BEE That shit you don't want. OC How you know Bee. BEE Three the hard way. I just came from the clinic. OC I told you stay away from her nigga. I'm already knowin' how she gets down. Q Three hats minimum for these hood rats. BEE What about that jawn you hit raw off the party line? Q Why you keep bringin' up old shit? OC sneezes blowing coke everywhere. GUY Aw nigga! What the fuck! BEE God damn turn your head next time or somethin'. OC tries to sniff some of the coke out of the air. GUY This motha fucka. That's commin' out your cut. EXT. CITY HALL - DAY Chief is sitting in an unmarked car as he watches the Mayor exit and approach a young handsome Asiatic business man. She gives him a warm embrace and kiss. Chief takes out a small camera and snaps some pictures. CHIEF Bitches. Chief snaps a few more pictures as the Mayor and the young businessman start to walk. Chief starts his car and pulls off. INT. JON'S LOFT- BATHROOM - DUSK Jon is standing in front of the mirror checking his tie as the phone rings, it's Sophia. SOPHIA (V.O.) You ready handsome? JON Always ready for you. SOPHIA (V.O.) I'm outside. EXT. JON'S LOFT - MOMENTS LATER Jon exits carrying a bouquet of flowers. Sophia is waiting in white Jaguar limousine, the door opens revealing the sultry seductress' beckoning leg. INT. JAGUAR LIMOUSINE - CONTINUOUS Sophia is pouring a flute of champagne for Jon. JON I'm impressed. SOPHIA This is just the beginning. JON Well then I can't wait to see the ending. SOPHIA Hopefully there won't be an ending. JON No champagne for you. SOPHIA I'm driving. EXT. DOWNTOWN PHILADELPHIA - MOMENTS LATER The Jaguar limousine arrives in front of a downtown skyscraper. The driver escorts the dashing couple out of the car and they walk into the building and to the elevator. Jon I don't recall there being a restaurant in this building. SOPHIA There isn't. The elevator arrives at the top floor. The doors open and Sophia and Jon disembark and walk a short distance to the roof exit. Three WAITERS in tuxedos and white gloves are standing by as well as a string quartet who begin to play as Sophia and Jon walk toward a table with an elaborate ice sculpture surrounded by flowers. JON. This is unbelievable. SOPHIA So are you. WAITER ONE pulls out a chair for Sophia as she sits down. WAITER TWO pulls out a chair for Jon. Both Waiters step away. WAITER THREE walks over with a large bottle of Evian, fills the water glasses and walks away. Waiter One returns pushing a table with a live nude sculpture with artistically placed sushi and sashimi. Jon takes a piece of sushi and smiles at Sophia. JON My favorite. SOPHIA Which one? As Waiter Three is filling the wine glasses, Sophia and Jon admire the view. JON What kind of strings did you pull for this? SOPHIA A friend owns the building. Waiter One walks on screen carrying two salads and serves them to Sophia and Jon. JON You're trying to make me say those words. Sophia nibbles at her salad. Jon gets up walks over to her and gets on one knee. JON (cont'd) Will you...let me watch the Eagles in peace? SOPHIA I have season tickets. JON Will you marry me? SOPHIA Jon? JON Season tickets... Jon gives her a kiss and then has some more sushi before he walks back to his seat. SOPHIA If I didn't know better, I would think you were serious. JON Season tickets. SOPHIA Is that all you care about. JON The sex ain't bad. Waiter Two walks on screen carrying a silver charger with filet of sol stuffed with spinach and mushrooms garnished with vibrant edible flowers and places it between Jon and Sophia. EXT. THUG'S APARTMENT- EVENING Guy, OC, Bee, and Q are leaving Thug's apartment. Guy's Mustang is parked in front. GUY OC and Bee take the Hooptie. Q, you ride with me. BEE Why we can't be out? OC Yeah why we gotta take the chump car? GUY I think you just answered your own question. Let's move. Guy and Q get into the black Mustang. Guy starts the car peels off. EXT. ROOFTOP - MOMENTS LATER Waiter One is clearing the table. Jon and Sophia are nibbling at tiramisu. JON Fabulous. Too bad I don't have my trumpet. Waiter Three brings a gift wrapped box and presents it to Jon. He opens it. JON (cont'd) A Dave Monette. Jon fingers the trumpet, takes a sip of water and gets up from his seat. Jon starts playing 'SIMPLE MELODY' as he looks out at the city. Sophia walks up behind him and puts her arms around him. SOPHIA I could listen to you play forever. As Jon continues to play Sophia nudges him forward. JON I think we are close enough to the edge. SOPHIA Are you ready to fly? JON I don't do drugs, and I left my wings at home. SOPHIA No silly, over here. Sophia leads Jon over to the waiting helicopter. As Sophia and Jon approach the helicopter the Fourth Waiter opens Jon's door. JON Where's the pilot? SOPHIA I told you I was driving. JON Get the hell out of here. SOPHIA I went into the Navy right after high school, and due to my high intelligence, they put me right into their pilot training program. JON If you say so. SOPHIA Don't worry. It'll be fun. Sophia gets into the pilot seat as Jon gets into the passenger seat. The Fourth Waiter closes Jon's door and places a black object over the lock. Sophia does her pre flight check. Jon is having trouble with his safety harness. SOPHIA (cont'd) This was supposed to be taken care of weeks ago. I guess we're grounded. JON Oh no. This I gotta see. Jon tries his safety harness a few more times. It clicks. JON (cont'd) There I got it. Let's go. I/E. HELICOPTER - MOMENTS LATER Sophia and Jon are flying high over the city. SOPHIA The view is breathtaking, isn't it? JON The view from where I'm sitting is just fine. SOPHIA Don't pour it on too thick, or I'll have to pull over. The helicopter continues to soar high over city hall and towards the waterfront. JON I still can't believe you can fly. The helicopter buckles against an air current. JON (cont'd) Or maybe not. SOPHIA The air's a bit choppy tonight. JON Maybe we should land. SOPHIA Are you scared? Don't be scared. JON Look, there's my place. SOPHIA Want me to drop you off? The helicopter experiences more turbulence causing Jon's safety harness to come undone. JON Aw shit. Sophia looks and sees that Jon's safety harness has come undone. SOPHIA It was fun while it lasted. I'm going to take her in. EXT. ROOFTOP - NIGHT Waiter Four is smoking a cigarette while Waiter One and Waiter Two are clearing the table. Waiter Four is still wearing his gloves. WAITER TWO You could help you know. WAITER FOUR I'll be right there. Waiter Four walks towards the edge and pulls out a small pair of high-powered binoculars to view the helicopter. He takes a drag of his smoke and leaves the cigarette smouldering between his lips. WAITER TWO Look he's still wearing those sweaty gloves. (yells to waiter four) You can take the gloves off now. Waiter Four pulls out a silenced Walther PK7 then turns and kills Waiter One and Waiter Two with two kill shots to the head. Waiter Four tosses the gun and returns to his binoculars and the helicopter. Waiter Four TAKES ANOTHER DRAG AND PULLS OUT A FLASHING ELECTRONIC DETONATOR. Waiter Four continues viewing the helicopter as he presses the detonator. I/E. HELICOPTER - CONTINUOUS Jon is trying to get his harness to snap as Sophia radio's for landing clearance. SOPHIA (to radio) This is B- T -Q-N- 6- Just as Sophia banks right there is a small EXPLOSION. SOPHIA (cont'd) Oh my god! THE HELICOPTER ROCKS FROM THE EXPLOSION, AND Jon's DOOR FLIES OPEN. MORE TURBULENCE HITS THE HELICOPTER CAUSING Jon TO SLIP TOWARD THE OPEN DOORWAY. HE GRABS HIS SAFETY HARNESS AS HIS LEGS DANGLE OUT. Jon LOOKS AND SEES THE CITY BENEATH HIM. Sophia INSTINCTIVELY REACHES OUT TO Jon AND LOSES PITCH CONTROL CAUSING Jon's HARNESS TO SLIP EVEN FURTHER. Jon SEES THE CITY BELOW HIM AND REACHES FOR Sophia, BUT SHE PULLS HER HAND BACK TO REGAIN CONTROL OF THE HELICOPTER. SOPHIA Just hold on! I'm going to find a flat roof. The explosion has caused damage making the helicopter wobble and smoke. Jon's harness loosens further causing Jon to fall completely out of the helicopter. SOPHIA (cont'd) (screaming) Jon! Jon! Jon grabs the landing gear to keep from falling to his death. SOPHIA (cont'd) Jon! JON Help, I'm in The Matrix. SOPHIA Oh my god! Hold on baby! Sophia descends toward a high rise apartment with Jon clinging to his life. Sophia navigates the gusty wind and lowers the helicopter a few feet from the rooftop. Jon drops and rolls onto the rooftop and breathes a huge sigh of relief. Sophia lands the helicopter a few feet away. Sophia shuts down the helicopter and rushes to embrace Jon. SOPHIA (cont'd) Oh my god! Jon! Sophia embraces Jon and kisses his face all over, warmly, passionately. Jon stops her, pushes her away, stares into Sophia's eyes, and pulls her back to a passionate kiss. They kiss and kiss some more then Sophia hastily starts to undress Jon as their heat grows stronger. Jon rips off Sophia's clothes. Sirens approach in the background. The moment consumes them. They kiss and embrace. Just as they are about to copulate two fireman burst onto the roof carrying rescue gear. Jon and Sophia stand in embarrassment. Two more Fireman arrive with a hose. FIREMAN ONE Relax guys. They already have a hose. The four Fireman look at Jon who has moved in front of Sophia. Fireman One pulls two blankets out of his gear and walks toward Jon and Sophia. FIREMAN ONE (cont'd) So let me guess...your clothes got caught in the rotor. Jon takes the blankets covers Sophia then himself. JON Something like that. FIREMAN ONE Let's get you out of here. Fireman One escorts Jon and Sophia towards the exit. FIREMAN ONE (cont'd) You know you look familiar. JON I get that alot. FIREMAN ONE No, really. You in the fraternity? JON Maybe you've seen me at a jazz concert. I play trumpet. FIREMAN ONE When's the last time you seen a fireman at a jazz concert unless the stage was on fire? JON We have been known to have that affect. FIREMAN ONE No really, maybe you got a brother on the force or something. JON Family of musicians bro. They enter the elevator, and the door closes. I/E. GUY'S MUSTANG - EVENING Guy is talking to Q. GUY Yo my nig, I want you to keep an eye on OC. He seems shifty to me. Q I'll pop that nigga? Q pulls out a Dessert Eagle hand cannon. GUY Chill my nig. Just keep your eyes open. Q That nigga's a narc? GUY You think you could tell a cop if you spotted one? Q Don't shit get by me my nig. GUY I think he might be trying to skim off the top. Q Just let me gat him up. GUY Just chill. Keep your piece in your pants. Q What? Q puts his gun to Guy's temple. Q (cont'd) Don't nobody talk to me like that. I'll shoot my momma, I swear to god. GUY You wanna take that shit out my face. Q Say something else. Q puts the gun away and starts laughing. Q (cont'd) I was just fucking with you G. I always wanted to be an actor. You should have seen your face. You was shook. GUY Nigga please. Like that was the first time I had a gun in my grill. I/E. SOPHIA'S JAGUAR - LATER Jon and Sophia are riding along Columbus Blvd. JON So where are we headed? SOPHIA We're already here. JON I was wondering if you could be around a little more. SOPHIA Meaning... JON Unless you have a family somewhere you're hiding. SOPHIA What about my work. JON Maybe you've worked enough. Jon and Sophia look at each other silently. SOPHIA Does it bother you that I make more money than you? JON Not at all. SOPHIA Then what? JON I just wonder why you keep doing what you do. It's not like you need more money. SOPHIA Maybe we should talk about this in bed. JON It's not just about the sex for me. SOPHIA So what are you saying. JON You know. SOPHIA A storm is coming. EXT. PHILADELPHIA STREETS - EVENING Guy is driving down Broad Street, near Temple University. Guy's cell phone rings. Guy turns on his wipers as it begins to rain. GUY Yo, what up? CAPTAIN ONE (V.O.) I got a flat, and I don't want to use roadside assistance if you know what I mean. GUY Where you at? CAPTAIN ONE (V.O.) Ninth and Luzerne. GUY Be right at you. INT. JON'S LOFT - EVENING The storm intensifies. Inside Jon'S BEDROOM HAS TAKEN ON A MEDIEVAL ELEMENT, HEAVY DARK VELVET DRAPES, BLACK CANDLES, His wrought iron four poster bed has become a bondage chamber with handcuffs and velvet ropes hanging from the iron rings. SOPHIA (O.S.) I didn't even know you had another entrance. We hear keys being jangled and a door being opened and shut. Jon and Sophia enter through a split in the velvet drapes. Sophia looks around. SOPHIA (cont'd) Looks like you got naughty things on your mind. Jon lights the candles. JON Don't get too comfortable. SOPHIA I should have brought my whip. JON Don't worry. Lightning crackles. INT. JACK'S LOFT- BEDROOM - CONTINUOUS Sophia is wearing a black bra and panties with her hands handcuffed to the posts and her legs spread and tied at the ankles with red velvet rope. Jon is topless in skin tight leather pants. JON Comfy? SOPHIA I'm dripping wet. JON Oh, I forgot, one more thing. Jon grabs a leather muzzle with a red ball gag from behind his back. SOPHIA How deep are you taking this? JON To the bottom. Now I'm going to... SOPHIA You're gonna what? JON I think it's time for the truth. SOPHIA You don't want to know what I'm thinking. Jon takes a cat o' nine tails and softly whips Sophia's legs. JON I was hoping you were thinking about our little problem. SOPHIA Falling in love is a problem? JON The games are over. He whips her a little harder. SOPHIA It seems they're just beginning. JON I know who you are. SOPHIA And who am I, Mr. Jazzman? JON You're the phantom. SOPHIA You're an undercover cop, and I love you. JON I don't want to send you to jail. He whips her a little harder. SOPHIA Run away with me. JON After what you've done? SOPHIA Do you love me? JON You hurt my brother. SOPHIA If you love me then nothing will happen to him. JON No more games. Jon whips her legs with some intensity causing Sophia to arc her back. SOPHIA Believe me. JON And you broke into my place? He whips her again. SOPHIA Only to surprise you. You learn a lot in the Navy. JON And you didn't have anybody try to run me down? He raises the whip. SOPHIA Didn't you here me? I'll admit when I first found out, I was going to have my fun and then have you dismissed. Jon whips her harder. Sophia grimaces. JON Have me dismissed. SOPHIA But somewhere along the way things got real. You do that again and so help me. He whips her and Sophia's adrenaline and excitement cannot be contained. He presses up against her. Kisses her, reaching down into her panties. JON So here we are. SOPHIA (whispers) There's something else. They kiss closely, and Sophia whispers into Jon's ear. JON You mean Anita? Sophia whispers into Jon's ear again. JON (cont'd) What a tangled web. EXT. PHILADELPHIA STREETS - LATER Captain One is standing in the rain next to his black Cadillac STS-V. The rear passenger side is jacked up. Guy pulls up behind Captain One, gets out and walks over. GUY What are those firestones? CAPTAIN ONE Ha-ha, just grab the spare out of the trunk. I still got a bullet in my back. Any heavy lifting and I could end up paralyzed. GUY Don't sweat it. Guy goes to get the spare. As Guy bends over the open trunk Captain One hits him from behind with a tire iron, knocking him into the trunk. Captain One closes the trunk, kicks out the jack, gets in his car and pulls off. INT. SOPHIA'S NEW JERSEY ESTATE-GARAGE - EVENING Detective Rodriguez and Captain One are standing by the open trunk of Captain One's Cadillac with Guy still inside. DETECTIVE RODRIGUEZ There were still five hours on the clock. CAPTAIN ONE He's a fuckin' pig. What difference does it make? DETECTIVE RODRIGUEZ You know how she is about following directions. CAPTAIN ONE I say we kill him now. Detective Rodriguez's cell phone rings. He answers. It's Sophia. DETECTIVE RODRIGUEZ Where are you? SOPHIA (V.O.) I'm fine. DETECTIVE RODRIGUEZ Dumb ass here jumped the gun on your little plan. SOPHIA (V.O.) What? You didn't kill him did you? DETECTIVE RODRIGUEZ He'll be a little sore tomorrow. SOPHIA (V.O.) Keep him there. Wait for my call. INT. JON'S LOFT- BEDROOM - EVENING Sophia is still in bondage. One hand is free. Jon's phone rings. He answers. It's Chief. JON Yes? CHIEF (V.O.) She'll see you first thing in the morning. Everything okay? JON You bet. CHIEF (V.O.) Get some rest. Jon hangs up and toys with the whip. SOPHIA Can you let me out now. JON How do I know you're not setting me up. SOPHIA You have to trust me. I can leave it all behind as long as you're with me. JON Well. Jon whips Sophia and removes her clothing and kisses her body. INT. SOPHIA'S NEW JERSEY ESTATE-GARAGE - EVENING Guy is tied up and seated across from Detective Rodriguez who has a gold plated HK P7 semi-automatic on his lap. GUY I told Jon I saw you outside of the Art Museum. So whose side are you really on? DETECTIVE RODRIGUEZ The side with the money. I got kids to feed. GUY How about I just keep working for you? Since really I been working for you anyway. DETECTIVE RODRIGUEZ Interesting but unlikely. GUY I've been re-evaluating. I'll have more with you after two years than twenty on the force. DETECTIVE RODRIGUEZ Chief is expecting you to bust somebody. GUY You got away. DETECTIVE RODRIGUEZ Maybe we can work something out. It's always good to have a man on the inside. GUY You mean another man on the inside. DETECTIVE RODRIGUEZ Exactly. EXT. PHILADELPHIA CITY HALL - DAY Jon is walking across the city hall courtyard to the tower stairs. Jon starts to walk up the stairs. INT. PHILADELPHIA CITY HALL-MAYOR'S OFFICE - DAY Jon is walking into the Mayor's outer office and over to her receptionist. JON Detective Jon Bey. RECEPTIONIST She isn't back from a breakfast function. JON I'll wait. Jon sits in a nearby chair. RECEPTIONIST She might be awhile. The Mayor walks in with an aide. MAYOR (to aide) So reschedule the teamsters and the Philadelphia duck society. The Mayor notices Jon. MAYOR (cont'd) Ted told me you'd be by. Give me a minute. The Mayor walks into her inner office with the aide. Jon continues to wait. After a few moments the AIDE walks out. AIDE The Mayor will see you now. Jon gets up and walks into the Mayor's office. MAYOR Wasn't expecting to see you again so soon? JON. I wasn't expecting that you were a beguiling bitch. MAYOR Pardon me? The Receptionist buzzes the Mayor. RECEPTIONIST (V.O.) Your eight thirty is here. MAYOR Reschedule them. NERD (O.S.) (yells) Ducks are people too. JON Don't play games. It's been you the whole time. MAYOR Where do you get such nonsense? JON You set me up. MAYOR I was merely pointing you in the right direction. JON You were trying to eliminate your competition. MAYOR I was trying to rid the city of drugs. The Mayor quietly slides a Derringer .38 Special from her desk. JON You going to shoot me? In your office. C'mon Anita. MAYOR Sophia's been playing you from the start. Do you think you're going to run away and live happily ever after? She's not the type. JON Like you know you manipulative conniving succubus. You haven't even been honest with Ted. MAYOR She's probably gone already, and you have no hard evidence against me. Besides who would ever believe that Philadelphia's favorite mayor was a drug dealer on the side. Now I trust you'll do your job and leave me to do mine. JON You're insane. MAYOR You may not like my methods, but I get results. Now go see if your precious love is waiting. JON. I'll be back. EXT. PHILADELPHIA STREETS - MOMENTS LATER Jon is weaving his motorcycle through traffic. INT. MAYOR'S OFFICE - CONTINUOUS The Mayor is taking money from a wall safe and putting it in her briefcase. She stops to press the intercom. MAYOR Nancy, cancel everything for the rest of the day. RECEPTIONIST (V.O.) Is everything okay? MAYOR I'm feeling a little ill. No more Bruno's for breakfast. INT. JON'S LOFT - MOMENTS LATER Jon rushes in. JON Sophia? Darling, I'm home. Jon walks through the apartment and up the spiral stairs. On the bed is a note that says "I love you." Jon races back out. EXT. PHILADELPHIA STREETS - MOMENTS LATER Jon is riding his motorcycle through the streets of Philadelphia back to city hall. INT. MAYOR'S OUTER OFFICE - MOMENTS LATER The Receptionist is drinking coffee. Jon rushes in. RECEPTIONIST She left. JON Where did she go? RECEPTIONIST She didn't say. JON Of course she did. You're her trusted secretary. RECEPTIONIST I am a personal assistant. She said she wasn't feeling well and was going home to take a nap. Jon takes out his cell phone to make a call. JON Pick me up at City Hall. EXT. WYNNFIELD, PHILADELPHIA - LATER Wynnfield is a lovely old tree lined section of Philadelphia with large three story stone and brick houses. The Mayor lives in one such house. Jon and Chief pull up in Chief's unmarked squad car, park and get out. CHIEF I don't see her car. Or the Blues that are supposed to be on watch. JON You wouldn't have a key? Chief knocks at the door. No answer. Jon picks the lock. CHIEF That's breaking and entering. JON Then wait outside. Chief rushes inside. CHIEF (yells) Anita? It's Ted. JON They're gone. Jon starts to walk through the house. CHIEF What about Guy? JON Let's go. CHIEF I'll call over to Jersey. EXT. SOPHIA'S NEW JERSEY ESTATE - CONTINUOUS A REPORTER is giving a live report. In the background four New Jersey state troopers are joined by a forensics van. REPORTER It is also being reported that the disappearance of Philadelphia Mayor Anita Brickman is also tied into this so called phantom. Chief walks out, followed by a hooded Guy being escorted by Jon. REPORTER (cont'd) The police are escorting someone out of the house now. Could this be the phantom? The Reporter walks towards the group. Chief breaks away to cut her off. REPORTER (cont'd) Sir is that the phantom? CHIEF All I can say at this time is we have reason to believe that this house was part of a complex network of drug traffickers. REPORTER What about the reports that the mayor was somehow involved? CHIEF No comment. REPORTER What about- CHIEF That's all for now. Chief walks away. REPORTER Stay tuned as we continue to track this story. Live from Swedesboro, New Jersey, I'm Jasmine Calista. EXT. CHARLIE CHAMBERS' SPANISH VILLA - DAY Charlie Chambers is waiting outside as his Jaguar limousine pulls in through the gates and stops in front of him. Out steps the Mayor. CHARLIE CHAMBERS How was your flight? MAYOR You know how I hate to fly. CHARLIE CHAMBERS Well come inside. Have a drink. Calm your nerves. Then we'll talk. They walk inside and go to the study. They are seated by the window in large leather armchairs. Between them is a small round table with a tile mosaic of the grim reaper. Pedro brings two drinks and places them on the table then leaves. The Mayor picks up her drink and takes a large sip. She savors the warming affects of the alcohol. MAYOR I told you all along that I was the right woman for the job. CHARLIE CHAMBERS Don't you think we should have discussed this? MAYOR I'm not the one sleeping with a cop. I did you a favor. Don't have bad judgement just because she's your daughter. Now we can move forward. The Mayor takes another sip of her drink. Sophia walks in. SOPHIA Sounds like a plan. MAYOR What the fuck? CHARLIE CHAMBERS You seem surprised? SOPHIA I can't believe you. MAYOR If I recall it was your father's man that killed Jon's father. That's how it's always been us against them. SOPHIA You've been trying to get your claws into my father since my mother died. Why do you think he supported your political career? To keep you as far away as possible. MAYOR Fuck you. SOPHIA Pretending to be my friend when all along you've been divisive at every turn. Plotting and planning. I do remember how you love a good screwdriver. The Mayor throws the glass down. MAYOR I thought I was part of this family? CHARLIE CHAMBERS After what you did... MAYOR But... I was only keeping things in order. CHARLIE CHAMBERS I give the orders. MAYOR But... CHARLIE CHAMBERS But nothing. The Mayor quivers and passes silently into death. SOPHIA I don't know what she was thinking. CHARLIE CHAMBERS She's not thinking anything now. Pedro, limpiar. Pedro walks in. CHARLIE CHAMBERS (cont'd) Get help if you need it. PEDRO Si, Signor. Pedro leaves to get help. SOPHIA I hope he understands I had to do it this way. Pedro walks back in with Juanito to remove the Mayor's body. INT. JON'S LOFT - DAY Jon and Guy are talking. JON What you think about the Birds this year? GUY The usual. Improve at every skill position, and they have a chance. Just like you'll have the itch to be chasin' down bad guys. Jon notices an envelope on the floor and picks it up. Jon opens the envelope. Inside is a plane ticket and a letter from Sophia. While Jon is reading the letter Guy's cell phone rings, it's Detective Rodriguez. DETECTIVE RODRIGUEZ (V.O.) Are you still with me? GUY Yeah. DETECTIVE RODRIGUEZ (V.O.) Good. Meet me at Pier Thirty-four at ten. Things are in motion. Guy hangs up. JON I don't think I'm going to be getting that itch. Jon shows Guy the ticket and the letter. GUY So that's it. JON You have a problem? GUY Why you say that? JON The look on your face. GUY It's not that. JON Help me pack. EXT. SOPHIA'S ISLAND VILLA - DAY A helicopter approaches Sophia's oceanfront villa, which is spread out over twenty manicured acres. A small orchard encases the rear of the twenty thousand square foot main house. There is a helipad thirty yards from the pool. The helicopter lands and Sophia exits with Stix, Keys, and Bass. They head toward Jon who is rising from a chaise lounge and heading to meet them. BASS Boy done hit the jackpot. KEYS I think I saw this place on the travel channel. They are all face to face and greet Jon. JON I would have come to meet you but... KEYS No sweat. Where' my room at? BASS Where do we set up? SOPHIA Wherever you want. EXT. SOPHIA'S ISLAND VILLA - EVENING The fire pits are blazing and the band is jamming on the gazebo as the maid, gardener and the rest of the staff claps and dances. Sophia, seated, is silhouetted by the sunset. A MAID meanders out with a telephone. MAID You have a call Miss Sophia. SOPHIA Thanks. Sophia takes the call. GUY (V.O.) Everything's moving. SOPHIA Any problems? GUY (V.O.) Smooth sailing. Sophia hangs up and looks towards Jon who is smiling back. Two black helicopters approach. As Sophia hears the approaching sound she gazes at Jon intently. The band stops playing as they here the noise. Jon looks at Sophia. Sophia darts for the mansion. Jon takes off after her as he draws his gun from a rear holster. JON Sophia! Wait. The rest of the band look at each other in disbelief. The band scatters while a dozen FBI agents exit from the two helicopters and surround the mansion. The helicopters rise to shine their spotlights over the massive villa. Sophia is seen through a second story window. INT. SOPHIA'S ISLAND MANSION - EVENING Sophia is running down a hall and into an adjoining room. She rushes toward a sculpture resting on a pedestal. She removes a panel from the pedestal and removes a gold-plated Walther PP7, several documents and a few stacks of cash. She dials her cell phone. SOPHIA Dad, I need your help. CHARLIE CHAMBERS (V.O.) After you blatantly disobeyed me when I told you he was a cop. You come to me for help? SOPHIA I can always count on you, right? Dad? CHARLIE CHAMBERS What can I do? The phone goes dead. SOPHIA Bastard. INT. SOPHIA'S ISLAND MANSION - CONTINUOUS Jon is searching the house for Sophia. He rushes the door of the study then heads for the grand stair case. JON. (calls out) Sophia! Darling? Where are you? Why did you run away? Jon climbs the stairs with his weapon drawn. SOPHIA (O.C.) I love you. JON. Sure you do. Jon reaches the top of the stairs and peaks down the hall. He crosses to the first bedroom. JON. (cont'd) You know how many junkies I've seen. My aunt ruined her life because of drugs. Jon checks the room. SOPHIA (O.C.) We all make our own choices. Jon continues down the hall. SOPHIA (cont'd) You said you'd run away with me. JON. You said you'd leave it all behind. SOPHIA (O.C.) I'm not going to jail. Jon opens the next door and finds nothing. JON You know I did some research and your father was responsible for the death of my father. Jon continues to walk down the hall. SOPHIA (O.C.) What does that have to do with us. JON Everything. Your father gave you the keys to the whole operation and you've been rolling ever since. So who knows how many deaths you are ultimately responsible for. To think I almost fell for you. Sweet Sophia. SOPHIA (O.C.) You're breaking my heart. We were not a violent organization by any means. In fact your brother killed one more man than all of my bosses combined. Jon enters a large ornate bathroom, facing a gilded oval mirror. JON A small price to pay. SOPHIA (O.C.) You put a price on love. JON The Sophia I knew is long gone. My brother tried to tell me but... Jon continues to walk down the hall and opens the door to a large room full of windows. To the left of him is a large mirror. Jon walks toward the mirror. SOPHIA (O.C.) I tried to let it go, but my father wouldn't let me. JON And where is he now? Jon looks into the mirror and sees Sophia standing behind him. JON (cont'd) You profess to love me, but you keep things from me. SOPHIA I was afraid. Sophia starts to walk toward Jon. The helicopter is catching shadows. JON. Sophia you have money. You'll do some time at a country club and... SOPHIA And what? You'll be waiting for me. I don't think you could send me to jail, I get out and then we live happily ever. Jon starts to walk toward Sophia. The helicopter noisily probes it's beam through the window onto Sophia. SOPHIA (cont'd) But you win. She raises her gun to give it to Jon. Jon looks at the helicopter. JON Sophia. No! Jon runs toward the helicopter spotlight just as the helicopter fires. Jon jumps in front of Sophia and catches most of the bullets and falls to the ground. An FBI agent approaches. FBI AGENT ONE Put down your weapon. JON. So this is love. FBI AGENT ONE Drop the weapon now! SOPHIA I love you. Sophia raises the gun, and the FBI agent immediately opens fire, tattering Sophia who crumples to the ground facing Jon. THE END
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