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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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