Original subtitles

[sultry jazz music]

♪ ♪

♪ ♪

♪ ♪

♪ ♪

♪ ♪

(Jake) I ALWAYS WANTED TO BE CLOSE TO DANGEROUS GUYS.

MAYBE I WANTED TO BE A DANGEROUS GUY.

TRUTH IS, I DIDN''T KNOW WHAT I WANTED.

[siren wailing]

[alarm ringing]

I''M TELLING YOU, JERRY,

THESE ROBBERY CREWS ARE OUTFITTED WITH WEAPONS OF WAR.

THEY''RE NOT AFRAID OF THE POLICE,

AND THEY''RE NOT AFRAID TO DIE.

AND THAT''S THE HANDLE FOR THE ARTICLE.

HOW DO WE EXPECT THE COPS, OUR FIRST LINE OF DEFENSE,

TO COMPETE WITH THIS?

ALL RIGHT, THIS IS ONE OF MY BEST STORIES EVER, JER.

THAT''S NEWS?

WHY NOT?

BANK ROBBERS WITH HIGH-POWERED WEAPONS?

WHAT ARE YOU SAYING?

LOOK, I''M NOT YOUR PRIEST, AND I''M NOT YOUR FATHER,

BUT THIS GARBAGE

THAT YOU''VE BEEN BRINGING ME RECENTLY

IS THE GODDAMN WORK

OF A MAN WHO DOESN''T WANT TO BE A JOURNALIST ANY LONGER.

SO WHAT AM I SUPPOSED TO DO?

I SOLD A LOT OF MAGAZINES FOR YOU, JERRY.

YEAH, YOU DID.

AND YOU STILL CAN, I GUESS.

GET YOURSELF A JOB AT A NEWSSTAND.

NOW, YOU EXCUSE ME.

I''VE GOT TO MAKE A PHONE CALL.

GO ON.

GO ON.

[melancholy music]

♪ ♪

[sighing]

[faint heavy breathing]

[kissing]

I, UH, I GOTTA GET OUTTA HERE.

NO. YOU STAY.

I''LL GO.

(woman) JAKE.

JAKE, WAIT.

WHERE WILL YOU GO?

I ACTUALLY KNOW A PLACE WHERE THEY LIKE LOSERS.

I THINK I''LL GO THERE.

(man) ♪ FOUR MILES LONG AND SIX BLOCKS WIDE, ♪

♪ A LOT OF SPACE TO LOSE, A LOT OF TIME TO DIE. ♪

♪ SO GIVE ME A BOTTLE; ♪

♪ THAT''S ALL I GOT WORTH LIVING FOR. ♪

♪ WHOA, I''M BETTING IT ALL. ♪

♪ THERE AIN''T NO FUTURE ON THIS JERSEY SHORE. ♪

♪ THERE''S THE OLD STEEL PIER WHERE HORSES FLY; ♪

♪ ATLANTIC CITY, WHERE YOUR SOUL CAN DIE; ♪

♪ YEAH, THERE AIN''T NO HEAVEN AND THERE AIN''T NO DOOR. ♪

♪ AND I''M BETTING IT ALL ♪

♪ THERE AIN''T NO FUTURE ON THIS JERSEY SHORE. ♪

♪ NAKED TO GRAY, ♪

♪ THE OLD WISE MEN SAY. ♪

♪ BURN MY TICKET FOR THE LAST TRAIN LEAVING. ♪

♪ I CAN CLOSE MY EYES, ♪

♪ ''CAUSE I AIN''T BELIEVIN'' ANYMORE. ♪

♪ OH, THERE AIN''T NO HEAVEN, AND THERE AIN''T NO DOOR. ♪

♪ AND I''M BETTING IT ALL ♪

♪ THERE AIN''T NO FUTURE ON THIS JERSEY SHORE. ♪ ♪

[thunder rumbling]

HOW YOU DOIN'', JAKE?

THE USUAL?

PLEASE.

[liquid pouring]

WHAT ARE YOU LOOKIN'' AT?

SIX BUCKS.

(woman) CAN I GET YOU SOMETHING TO EAT?

I''M NEW.

NAME''S GRACE.

NO FOOD, GRACE.

I''LL TAKE ANOTHER ONE OF THESE, THOUGH.

YOU''RE JAKE BRIDGES, RIGHT?

SORRY?

SOMEBODY SAID YOU''RE A REGULAR IN HERE.

PEOPLE ARE TALKING ABOUT ME BEHIND MY BACK.

I''M OUTRAGED.

IT''S NOT LIKE THAT.

YOU SEE, MR. BRIDGES,

I''M A JOURNALISM MAJOR.

WE STUDY YOUR STUFF,

AND YOU''RE A TERRIFIC FEATURE WRITER.

SO YOU''RE A WRITER, TOO, HUH?

NO.

WELL, I GUESS I WANT TO BE A WRITER.

AND YOU''VE WRITTEN A FEW ARTICLES,

AND YOU WERE WONDERING

IF I MIGHT HAVE THE TIME TO TAKE A LOOK AT THEM.

AND YOU''D LIKE TO HEAR MY OPINION,

AND YOU WANT ME TO BE HONEST.

BUT WHEN I READ YOUR STUFF, AND I TELL YOU THAT IT''S SHIT,

YOU WON''T KNOW HOW TO HANDLE IT, WILL YOU?

LET''S JUST SKIP IT, OKAY?

GLADLY.

MIKE, GIVE ME ANOTHER DOUBLE BOURBON.

THANKS.

HERE. FORGET IT.

I DON''T WANT ANYTHING FROM YOU.

HEY, HEY, GRACE.

WHAT?

I APOLOGIZE.

LOOK, I''M JUST IN A BIT OF A SLUMP,

VIS A VIS BEING PUBLISHED,

AND HAVING PEOPLE COMPLIMENT ME ABOUT MY PAST WORK--

WELL, IT JUST--

IT BOTHERS ME, THAT''S ALL.

IT SHOULDN''T.

BUT ANYWAY, THERE''S NO NEED TO APOLOGIZE.

YES, THERE IS.

I''LL BUY YOU A DRINK SOMETIME, ALL RIGHT?

THAT''D BE NICE.

(man) SO I TOLD HER SHE AIN''T GETTING DOLLAR ONE.

BITCHES THINK THEY OWN THE WORLD,

BUT IT DON''T WORK THAT WAY WITH ME.

(woman) IT''S GETTING LATE.

I''LL TELL YOU WHEN IT''S LATE.

GIVE ME ANOTHER WHISKEY AND SODA.

DON''T WATER IT DOWN THIS TIME.

OKAY?

OKAY, WHAT ARE YOU GOING TO HAVE?

I DON''T FEEL LIKE IT.

(man) LISTEN, GIRLY,

I''M BUYING, AND YOU''RE DRINKING.

SO WHAT''S IT GOING TO BE?

(Mike) HEY, MISTER,

WHY DON''T YOU TAKE IT EASY?

DO YOU WANT ME TO PUT MY FIST DOWN YOUR MOUTH?

YOU WANT ME TO CALL THE COPS?

YOU PICK UP THAT PHONE, AND I''LL BREAK YOUR ARM.

OKAY.

NOW...

WHAT ARE YOU GOING TO HAVE?

A SPRITZER.

PERFECT.

A SPRITZER-- OH, THAT''S GREAT.

GIVE THE LADY A SPRITZER.

HEY, WHY DON''T YOU LEAVE HER ALONE?

IT''S OKAY, MISTER.

I CAN TAKE CARE OF MYSELF.

WHAT''D YOU JUST SAY TO ME, PAL?

I SAID, "LEAVE HER ALONE."

SHE DOESN''T WANT TO DRINK WITH YOU.

[chuckles quietly]

WHY WOULD SHE?

YOU''RE FAT, UGLY,

AND GENERALLY DISGUSTING.

WHY WOULD ANYBODY WANT TO DRINK WITH YOU?

(Mike) HEY, JAKE, BACK OFF.

NO, NO, MIKE.

I''M TRYING TO EXPLAIN SOMETHING TO THIS PIG.

BUTT OUT, ASSHOLE...

BEFORE YOU GET HURT.

[groaning]

[thunder rumbling]

YOU''RE DEAD, BOY.

[whimpering]

WHAT DO YOU THINK, YOU SON OF A BITCH, HUH?

WHAT DO YOU THINK?

YOU KNOW WHAT?

WHO THE FUCK ARE YOU?

I WORK FOR A GUY NAMED LYLE. YOU KNOW HIM?

YEAH, I''M WAITING FOR HIM.

YEAH, YOU GOT HIS FUCKIN'' MONEY?

WHERE''S HIS MONEY? WHERE IS IT?

(man #1) I GOT IT RIGHT IN MY POCKET.

BUT I''M SUPPOSED TO GIVE HIM THAT PERSONALLY.

(man #2) YOU''RE NOT GOING TO GIVE HIM THE MONEY.

YOU KNOW WHY? ''CAUSE YOUR LITTLE STORY

DOWN IN JERSEY CITY DIDN''T CHECK OUT,

''CAUSE YOU''RE A FUCKIN'' LIAR. YOU ASKED WHO I AM?

I''M THE WRATH OF GOD, LEW.

DO NOT TELL ME YOU WEREN''T WARNED.

[bones cracking]

[screaming]

AH, YOU BROKE MY FUCKIN'' ARM.

[sirens wailing faintly]

CAN YOU GET UP?

[groaning]

[slow swing music]

♪ ♪

[knocking]

[man over television] Who are you really, and what were you before?

What did you do, and what--

[television shuts off]

FRANKIE?

(Frankie) IT''S ME.

I RAN INTO THIS GUY IN THE GYM.

HERE YA GO.

WHAT HAPPENED TO HIM?

HE TRIED TO TAKE THE BUM OUT BEFORE I DID.

TRIED TO DO MY JOB FOR ME.

(woman) WELL, HE DIDN''T DO IT VERY WELL, DID HE?

NO, HE DID NOT.

I''M A NURSE.

I KNOW WHAT I''M DOING.

CAN YOU FOLLOW MY FINGER?

[groaning]

THAT HURT?

NO, FEELS GOOD.

[footsteps approaching]

(Frankie) THIS IS MY MELISSA.

YOU''RE A LUCKY GUY, FRANK.

(Frankie) YEP.

IS THAT BAD?

SHOULD WE GET HIM AWAKE OR SOMETHING?

NO, HE''S IN SHOCK.

HE NEEDS TO REST.

RIGHT.

WEIRD GUY.

YOU WEREN''T HURT?

PIECE OF CAKE.

THAT''S MY FRANKIE.

WHITE SIGNIFIES PURITY.

NO, IT SIGNIFIES NURSE.

I WORK THE GRAVEYARD SHIFT,

11:00 TO 7:00.

DON''T TRY TO GET UP.

FRANKIE''S SLEEPING.

YOU SHOULD BE RESTING.

WHERE ARE YOU GOING?

I JUST TOLD YOU: I''M GOING TO WORK.

WHEN I COME BACK, I''LL BRING YOU SOME DRUGS.

THEY''LL MAKE YOU FEEL MUCH BETTER, I PROMISE.

ISN''T THIS WHERE I''M SUPPOSED TO JUST SAY NO?

NO, IT ISN''T.

YOU AND FRANKIE ARE NICE PEOPLE.

I DON''T WANT TO PUT YOU OUT ANYMORE.

NO, FRANKIE''S THE NICE ONE.

WELL, YOU WOULDN''T HAVE DONE WHAT HE DID?

LET''S JUST SAY I WOULD NEVER BE IN THE SAME POSITION TO.

WHAT''S YOUR NAME AGAIN?

JAKE BRIDGES.

YOUR NAME IS, UH--

I THINK YOU TOLD ME.

I JUST CAN''T REMEMBER.

YOU GOT TO STAY PUT.

I KNOW WHAT I''M TALKING ABOUT.

WHAT''S YOUR NAME?

THE NAME''S MELISSA.

LIE DOWN.

THAT''S WHAT YOU NEED.

THERE, THAT''S GOOD.

LIE DOWN.

YOU NEED TO SLEEP.

[quietly] MELISSA.

[groaning]

(Frankie) HEY, WHERE YOU GOIN''?

WELL, I WAS GOING TO LEAVE YOU A THANK-YOU NOTE, BUT I--

DO I LOOK LIKE THE KIND OF GUY

WHO READS THANK-YOU NOTES?

ACTUALLY, NO.

YOU WANT TO THANK SOMEBODY, YOU THANK THEM IN PERSON.

UNLESS YOU GOT NO MANNERS.

I''M SORRY.

I LEFT MY ETIQUETTE BOOK AT HOME TODAY.

I GOTTA GO.

WHAT''S WRONG WITH YOU?

YOU DON''T WANT TO KNOW.

I''M TALKING TO YOU.

LOOK, I DON''T EVEN WANT TO BE TALKING TO YOU NOW.

OKAY?

SOMETIMES I GET

A LITTLE ARROGANT, A LITTLE POMPOUS.

IT''S MY LIFE, ALL RIGHT?

[melancholy music]

♪ ♪

HOW WAS WORK?

[Melissa sighs]

DON''T ASK.

THAT GUY JUST UP AND LEFT.

YEAH, I NOTICED.

WHAT AN UNGRATEFUL BASTARD.

HE TALKED PRETTY SMART.

WHAT DOES THAT HAVE TO DO WITH ANYTHING, FRANKIE?

I''VE NEVER SEEN A GUY IN MY WHOLE LIFE

SO WILLING TO TAKE PAIN AS THIS GUY, YOU KNOW?

[chuckling]

SOME PEOPLE LIKE IT.

THEY CALL THEM MASOCHISTS.

YEAH, BUT NOT LIKE THIS.

FEEL LIKE SOMETHING SPOOKED ME, YOU KNOW?

OOH.

WHERE DO YOU WANT ME, HOT STUFF?

ON TOP OF ME.

WHY DO YOU ASK IF YOU KNOW WHAT I''M GOING TO SAY?

I LIKE TO HEAR YOU SAY IT.

[chuckling]

(man) LOOKIE HERE, PLIMPTON.

ASSHOLE''S RIGHT ON TIME.

BUSINESS MUST BE GOOD.

FANCY GODDAMN CAR.

WISEASS SON OF A BITCH.

[man chortling]

BUT WHEN YOU GOING TO MAKE ME SOME BABIES, FRANKIE, HUH?

WHEN I''M GOOD AND READY.

AW, NOW, LOOK HERE. LOOK HERE.

(Frankie) THAT''S KEEYLEN?

YEAH.

TROUBLE.

OH, THEY KEEPS ME ALIVE.

YOU KNOW, BERNARD, I GET OFFERS EVERY MONTH

TO TAKE MY CREW TO CHICAGO, DETROIT, NEW ORLEANS.

FLATTERING, GENEROUS OFFERS--

BUT I NEVER GO.

DO YOU KNOW WHY?

NO, SIR.

ASIDE FROM THE FACT THAT I LIKE THIS PLACE,

THE SALT ON THE AIR,

THOSE ARE THE PLACES THERE''S SO MANY GODDAMNED PEOPLE,

YOU CAN''T KEEP TRACK OF ANYTHING AT ALL.

YOU DON''T KNOW WHO IS DOING WHAT TO WHO.

YOU KNOW WHAT I MEAN?

OH, YES, SIR. YEP.

THEN THAT MAKES IT EASY TO SPOT A SILLY GUY LIKE YOU

TRYING TO STEAL FROM ME.

[scoffs]

[chuckling]

WHERE''S THAT SHOT OF YOUR FOLKS?

NOW, LOOK, YOU KNOW WHY THEY''RE SMILING IN THIS PICTURE?

UH-UH.

''CAUSE YOU DON''T LIVE WITH THEM NO MORE.

[laughing]

I WILL PAY THE MONEY BACK, I SWEAR.

[crying] PLEASE DON''T.

WE DON''T KILL PEOPLE FOR STEALING.

WHAT DO YOU THINK WE ARE?

SAVAGES?

WE LET THE PUNISHMENT FIT THE CRIME.

WHAT DO YOU LIKE TO DO?

[crying] DO?

YOU KNOW, "R" AND "R."

I LIKE TO GO DANCING.

(man) OH.

I DO A LITTLE DANCING MESELF SOMETIMES.

[struggling noises]

AH, HAVE WE GOT ANY SHEARS?

THIS?

UH...BIGGER.

[muffled screaming and crying]

(man) AH, JESUS,

COME ON-- A BIG PAIR OF SHEARS.

[pleasantly] AHH.

WELL, NOW YOU''RE TALKING.

[muffled struggling]

AH, I WANT TO SEE HIS FEET.

[shears snapping]

[screaming]

[shears snapping]

HOW THEY TREATING YOU, ANYWAY?

OH, SAME OLD, SAME OLD.

ANOTHER DAY, ANOTHER HALF DOLLAR.

THE BOSS IS TOUGH, BUT HE''S GOT TO BE.

HE''S THE BOSS.

[saw whining]

SO THEY WOULD HANG THIS CAT UPSIDE DOWN.

[bell ringing] AND IT WOULD, LIKE--

COME ON IN.

IT WOULD, LIKE, LICK ITS OWN EYEBALL OR SOME SHIT.

AH, COME IN AND TAKE A LOAD OFF, FRANKIE BOY.

HAPPY BIRTHDAY, BOSS.

AH, FRANKIE.

HEY, SCUMBAG.

HEY, NONE OF THAT!

WE WERE TALKING ABOUT THE LETTERMAN SHOW LAST NIGHT,

FRANKIE.

[giggling]

HE HAD THIS GREAT STUPID PETS ON.

GOD, I WISH I''D SEEN HIM.

YEAH, I WISH YOU''D SEEN IT.

OH, I LOVE TO LAUGH.

[all laughing]

(man) FRANKIE, SO YOU FUCKED UP AGAIN LAST NIGHT, HUH?

HOW''S THAT?

YOU INVOLVED SOMEBODY ELSE IN OUR TRANSACTION WITH LEW.

ACTUALLY, HE KIND OF INVOLVED HIMSELF.

WHO WAS THAT GUY?

A GUY-- I KNOW HIM.

I VOUCH FOR HIM.

IT''S ALL RIGHT.

THAT''S YOUR DEAL, FRANKIE.

THAT''S THE THOUSAND THAT LEW HAD ON HIM.

I DON''T THINK WE''LL HAVE ANY TROUBLE GETTING THE REST.

OH, HE DOESN''T THINK; THAT''S A LAUGH.

GWYNNE, THIS IS A GOOD BOY.

DON''T BE HANDING HIM OUT SHITE.

THIS BOY-- HE LOVES ME.

YES, HE DOES.

DON''T YOU WORRY ABOUT GWYNNE.

HE''S GOT A TINY DICK,

AND IT''S RUINED HIS OUTLOOK ON LIFE.

[chuckling]

TALKING OF WHICH,

HOW''S MELISSA?

SHE''S GOOD.

WHEN ARE YOU GETTING MARRIED?

EH, IF IT AIN''T BROKE, DON''T FIX IT.

YOU KNOW WHAT I MEAN?

WE''LL JUST LIVE TOGETHER AS WE''RE DOING NOW.

SEE HOW IT GOES.

AYE, NOW, FORGET ABOUT THAT!

KIDS IS AMAZING; I''VE HAD SEVEN.

I KNOW.

THE LOVE YOU GET FROM A SON BEATS EVERYTHING.

TRUST ME ON THIS. MARRY HER.

I GOT YOU SOMETHING.

(Gwynne) HEY,

I GOT YOU SOMETHING TOO.

HEY, TOMMY.

IT''S-- IT''S A LIGHTER.

YOU LET A MAN OPEN IT HIMSELF

AND SEE FOR HIMSELF WHAT HIS PRESENT IS, GWYNNE.

JAY-SUS GOD,

DID NO ONE TEACH YOU ANYTHING AT ALL?

I FOUND THIS ON BALTIC AVENUE.

"TO POPS, WITH LOVE ALWAYS,

FRANKIE AND MELISSA."

IT''S BEAUTIFUL.

HAPPY BIRTHDAY, POP.

(Lange) GOD GO WITH YOU, FRANKIE.

(Frankie) TAKE CARE.

I''LL HAVE THAT OTHER JOB DONE IN ABOUT A WEEK, OKAY?

AND GET THAT GIRL KNOCKED UP!

[chuckling]

YOU''RE NOT GOING TO LET ME OFF THE HOOK, ARE YOU?

I''LL SEE YOU, POPS.

HOW''S IT GOING?

OH, YOU''RE SHITTIN'' ME.

WHY DON''T YOU BUY ME A DRINK?

I DON''T HAVE EXTRA MONEY.

I HAVE BARELY ENOUGH FOR MYSELF.

I''LL GET THIS ROUND.

EXCUSE ME.

ANOTHER OF WHATEVER HE''S HAVING AND ONE FOR HIM TOO.

THANKS.

SO YOU''VE SEEN ME WORK.

WHAT DO YOU DO?

I DRINK.

YOU''RE LIKE A TEACHER

OR SOMETHING, RIGHT?

WHAT GIVES YOU THAT IDEA?

JUST TELL, THAT''S ALL.

LOOK, YOUR OPINIONS AND GUESSES ABOUT WHAT I DO ARE BORING.

NOW, LEAVE ME ALONE.

YOU REALLY THINK YOU''RE IN A POSITION

TO BE TELLING OTHER PEOPLE WHAT TO DO?

[sighs]

YOU DRINK TOO MUCH, PAL.

YOU BEAT PEOPLE UP FOR A LIVING.

SHOULD YOU REALLY BE TELLING ME WHAT I SHOULD DO?

IT''S A GOOD SKILL, YOU KNOW; IT COMES IN HANDY.

I MEAN, I SAVED YOU FROM GETTING YOUR ASS HANDED TO YOU

THE OTHER NIGHT.

WAS I DREAMING THIS?

DID YOU THINK THAT GUY WAS GOING TO LET YOU WALK?

I''D HAVE BEEN FINE.

OH.

I''VE BEEN WALKING AROUND

FOR 40 YEARS WITHOUT YOUR HELP.

YEAH, HOW MANY OF ''EM

YOU PLANNING ON SPENDING AT THE BOTTOM OF A BOTTLE?

WHAT IS IT YOU WANT?

YOU WANT TO SLEEP WITH ME OR WHAT?

HEY, I GOT A WOMAN FOR THAT, ALL RIGHT?

SHE TAKES CARE OF IT BEAUTIFULLY.

I GOT NO COMPLAINTS.

YOU''RE A LUCKY GUY.

YEAH.

I''M JUST TRYING TO HELP YOU.

I DON''T WANT YOUR HELP.

SO WHAT DO YOU DO?

NOTHING. I''M UNEMPLOYED.

YEAH, I KNOW, BUT BEFORE, WHAT''D YOU DO THEN?

CHRIST, I WAS A WRITER, OKAY?

NOW YOU KNOW WHAT I DID; ARE YOU HAPPY?

WHY''D YOU STOP?

FUCK, I GOT TO GET AWAY FROM YOU.

YOU''RE RELENTLESS.

(Frankie) HEY, JAKE! JAKE!

HEY--

WILL YOU LEAVE ME ALONE?

LOOK, LET ME ASK YOU SOMETHING.

YOU''RE A SMART GUY, RIGHT?

I''M NOT SUCH A SMART GUY,

BUT YOU KNOW A LOT ABOUT BOOKS AND ART

AND THAT KIND OF THING, RIGHT?

YOU DO.

AND YOU CAN TEACH ME THOSE THINGS, YOU KNOW?

''CAUSE THERE''S THINGS I COULD TEACH YOU:

LIFE THINGS, IMPORTANT THINGS, USEFUL THINGS.

IT''D BE LIKE A DEAL, RIGHT?

YOU KNOW WHAT I''M SAYING?

COME ON, WHAT DO YOU SAY?

WHAT DO YOU GOT TO LOSE?

WHAT DO YOU GOT TO LOSE?

WHAT THE FUCK ARE YOU DOING IN THIS SHITHOLE ANYWAY?

I WAS BORN HERE.

I DON''T KNOW WHAT YOUR EXCUSE IS.

I''M OBSERVING THE HUMAN COMEDY.

EVERY FACE HAS A STORY.

THAT''S WHERE YOU''RE WRONG, SEE,

''CAUSE THESE PEOPLE DON''T GOT A STORY.

THIS IS ATLANTIC CITY.

WELL, WHY DON''T YOU LEAVE THEN?

MAKE MY MOVE WHEN THE TIME COMES,

BUT, YOU KNOW, YOU COULD LEAVE, AND YOU DON''T.

I THINK YOU SHOULD. WHY DON''T YOU?

I DON''T WANT TO.

LOOK, I REALIZE THAT MY WORLD IS NOT AS FABULOUS AS YOURS.

WHAT, ARE YOU MAKING FUN OF ME NOW?

I MAKE FUN OF EVERYBODY.

YEAH, BUT THAT INCLUDES ME, RIGHT?

LOOK, PAL,

I DIDN''T ASK YOU TO FOLLOW ME.

IF MY BLACK-HEARTED HUMOR IS NOT TO YOUR TASTE,

THERE''S A LOT OF OTHER PLACES WHERE I''M NOT

WHERE YOU COULD BE.

I''M JUST SAYING DON''T LAUGH AT ME, THAT''S ALL.

I''M NOT LAUGHING.

DON''T BE SO SCARED OF ME, COME ON.

WHY NOT? YOU''RE SCARY.

I''M NOT SCARY.

I JUST DON''T LIKE TO BE MADE FUN OF, OKAY?

I''M SORRY.

OH, GOD, WHAT THE FUCK IS THE PURPOSE OF THIS?

I TOLD YOU ALREADY.

TELL ME AGAIN.

TO BE YOUR FRIEND-- COME ON.

GOT A LOT OF FRIENDS, DO YOU, FRANKIE?

NO, NOT THAT MANY, REALLY.

WHY DO YOU THINK THAT IS?

I DON''T KNOW.

NEVER REALLY THOUGHT ABOUT IT BEFORE.

BAD LUCK OR SOMETHING.

THERE''S ANOTHER REASON.

YEAH, WHAT''S THAT?

YOU SCARE PEOPLE.

(Frankie) I DO GOT ONE GUY YOU SHOULD MEET.

HE''S A FRIEND OF MINE.

I KNOW YOU DON''T THINK I HAVE ANY FRIENDS,

BUT MY BOSS-- HE CAN HELP YOU OUT

YOU CAN MAKE SOME MONEY.

I MEAN, IT''LL HELP, OKAY?

I MEAN, WHAT DO YOU WANT ME TO SAY?

YOU WANT TO STICK AROUND THIS SHITHOLE COUNTIN'' COCKROACHES?

IS THAT WHAT GOD PUT YOU ON THE PLANET FOR?

LISTEN, LET ME TELL YOU SOMETHING.

PEOPLE ONLY WANT HELP WHEN THEY ASK FOR IT.

OTHERWISE, IT''S JUST ANOTHER FUCKIN'' RACKET.

THAT''S IT. SEE?

THAT''S THE SORT OF STUFF. I LIKE THAT.

YOU CAN TEACH ME HOW TO SPEAK LIKE THAT.

LET ME GET THIS STRAIGHT:

YOU''RE FOLLOWING ME AROUND

BECAUSE YOU WANT ME TO BE YOUR TEACHER?

WHAT I SAID.

LET ME ASK YOU SOMETHING.

WHEN WAS THE LAST TIME YOU GOT LAID?

WHAT?

YOU HEARD WHAT I SAID.

A MAN CAN''T BE BOTHERED TO GET HIMSELF LAID,

SOMETHING''S WRONG, ISN''T IT?

HE''S REACHED THE BOTTOM.

IT''S A SIGNAL.

YOU''RE A SINGULAR GUY, FRANKIE,

I''M TELLING YOU, ONE IN A MILLION.

TELL YOU WHAT, WHY DON''T YOU MEET ME TOMORROW?

28th STREET GYM, COFFEY''S. YOU KNOW THE PLACE?

I''LL PUT YOU IN TOUCH WITH MY BOSS.

GET THE BALL ROLLING.

YOU''LL MAKE SOME MONEY. YOUR LIFE WILL CHANGE.

YOU''LL SEE.

TOMORROW, NOON.

[giggling nervously]

[melancholy music]

♪ ♪

[water running]

[groaning]

[bell dings]

(Jake) I APPRECIATE THIS, YOU KNOW.

HOW DID THIS HAPPEN?

I DID IT TO MYSELF.

I FIGURED IT WAS A GOOD WAY TO GET TO BE WITH YOU ALONE.

ARE YOU INSANE?

I JUST KEEP THINKING ABOUT YOU, MELISSA.

I MEAN, SOMETHING HAPPENED

THE OTHER NIGHT, YOU KNOW,

THE WAY YOU TOOK CARE OF ME--

WHAT AM I SUPPOSED TO DO?

WHAT DO YOU WANT?

YOU.

LOOK, I LOVE FRANKIE.

GET AWAY FROM ME.

WHAT IF I CAN''T?

WHAT IF I DON''T WANT TO?

[whispering] Sal, can you cover for me for a little while?

I''m not feeling too good.

ANYTHING SERIOUS?

NO, NO, I JUST GOT A SPLITTING HEADACHE,

AND I NEED SOME TIME ALONE.

OH, TAKE YOUR TIME.

[woman over intercom] Nursing supervisor to second floor.

SO WHAT DO YOU THINK OF THIS NOTION

YOUR BOYFRIEND GOT IN HIS HEAD

ABOUT REDEEMING ME, HUH?

THAT''S FRANKIE''S THING.

I DON''T INVOLVE MYSELF.

YOU MUST HAVE THOUGHT ABOUT IT, THOUGH.

YOU GOT AN OPINION, RIGHT?

NO, IN ALL HONESTY, I NEVER GAVE IT A THOUGHT.

I THINK THE GUY''S NUTS.

YOU TRYING TO SCORE POINTS WITH ME

BY INSULTING MY BOYFRIEND''S INTELLIGENCE?

NO, I''M JUST TRYING TO FIGURE OUT

WHY THE GUY KEEPS FOLLOWING ME AROUND.

WHAT?

OH, WHAT, I SHOULD BE WORRIED THAT HE''S QUEER FOR YOU?

YOU KNOW, SOME PEOPLE HAVE BEEN KNOWN TO FIND ME ATTRACTIVE.

PEOPLE OF BOTH SEXES, ACTUALLY.

[snickering]

I''M SURE.

YOU''RE SMILING.

SEE, THAT''S A GOOD SIGN.

WHY ARE YOU WITH HIM?

[chuckling]

WHY ARE YOU WITH HIM?

BECAUSE I LOVE TO FUCK HIM.

[chuckling]

HE''S GOT A PRICK LIKE THIS,

LIKE A LOAF OF ITALIAN BREAD.

COME ON.

[sighs]

BECAUSE HE NEVER LIES TO ME.

NEVER.

A PSYCHOPATH WITH INTEGRITY-- EVERY GIRL''S FANTASY.

YOU SAY ONE MORE INSULTING ITEM OF VOCABULARY LIKE THAT

ABOUT MY FRANKIE, AND THIS CONVERSATION IS OVER.

YOU GOT IT?

I''M SORRY.

LOOK,

I''M NOBODY.

I''M A FUCKED-UP HACK WRITER. I''M NOTHIN''.

BUT JUST NOW, SITTING HERE, STARING AT YOU,

SITTING THIS CLOSE TO YOU--

[sighs]

I STARTED TO FEEL LIKE I MIGHT HAVE SOME POSSIBILITIES,

YOU KNOW?

YOU THINK WAY TOO HIGHLY OF ME, PAL.

NO, I DON''T.

I THINK JUST AS HIGHLY OF YOU AS YOU DESERVE TO BE THOUGHT OF.

LOOK, WE MEET PEOPLE--

ATTRACTIVE, INTELLIGENT, NICE PEOPLE--

THEY DON''T DO IT FOR US.

WHY?

''CAUSE THEY DON''T HAVE IT,

THAT THING,

THE POWER.

YOU HAVE IT.

KEEP TALKING.

OKAY, SO...

SO FRANKIE''S HONEST, AND FRANKIE''S TOUGH,

AND FRANKIE''S WHATEVER,

BUT HE DOESN''T SEE YOU,

WHO YOU ARE.

NOT LIKE I DO.

SO PLEASE, TELL ME,

WHY ARE YOU WITH HIM?

BECAUSE-- BECAUSE HE SAVED MY LIFE.

HMM.

WELL, THEN YOU AND I HAVE SOMETHING IN COMMON.

HE SEEMS TO WANT TO SAVE MINE TOO.

AND I JUST MIGHT LET HIM.

IT''S A FREE COUNTRY.

IT MEANS I''M GOING TO SEE YOU AGAIN.

WELL, I HOPE NOT--

FOR YOUR SAKE.

SO I''VE DECIDED TO LET YOU CHANGE MY LIFE.

YEAH.

I AIN''T SO SURPRISED.

I KNEW YOU''D SHOW.

WHAT''D YOU DO TO YOUR HAND?

I WAS CHOPPING VEGETABLES;

THE KNIFE SLIPPED.

[chuckling dryly]

FIRST THING IS,

I''M GOING TO HAVE TO GET YOU SOME NEW CLOTHES.

WE''RE GOING TO BE HITTING SOME PRETTY SHARP PLACES,

SO YOU CAN''T GO LOOKING LIKE THIS.

COME ON.

IT''S NOTHING PERSONAL.

HOW LONG YOU KNOWN ME?

LOOK AT YOU.

ALREADY YOUR LIFE IS IMPROVED, HUH?

I DO LIKE HOW IT FEELS, FRANKIE.

THANKS.

YOU''RE WELCOME.

A MAN WEARS MATERIAL LIKE THAT,

YOUR LIFE GOES NOWHERE BUT UP, YOU SEE.

I DO HAVE A SORT OF A PRACTICAL QUESTION FOR YOU, THOUGH.

YEAH, WHAT''S THAT?

HOW MUCH AM I MAKING? IN CASH?

DON''T START GETTING TOO AMBITIOUS ON ME, ALL RIGHT?

AN HOUR AGO, YOU WERE AN OUT-OF-WORK LUSH.

YOU''RE ON COMMISSION FOR NOW.

NICE WORK, JERRY.

BINGO.

IT''S NICE, FRANKIE.

I WOULD SAY SO.

HEY, RHODE, BRING IT UP.

(Rhode) RIGHT AWAY, MR. McGREGOR.

OH, YOU''RE GOING TO LOVE THIS.

LOOK AT THE FUCKER ON THE LEFT.

SEE HIM? THE MALE MODEL?

THAT''S WARD.

THE DIAL TONE THAT''S WITH HIM IS PLIMPTON.

HEY, WHAT?

WHAT''S WITH THE LONG FACE?

SOMEBODY THREATEN YOU WITH A BAT?

FUNNY.

GUESS WHAT; I RAN INTO LEW COLLINS THE OTHER DAY.

(man) YEAH, HE ACTED LIKE HE HAD HIS DICK CAUGHT IN A BLENDER.

COULDN''T HAPPEN TO A NICER GUY.

THAT''S A LOT OF WORDS FOR YOU, PLIMPTON.

YOU KNOW, YOU MIGHT WANT TO STICK TO THE ONES YOU KNOW

LIKE "FIRE BAD, FOOD GOOD."

WHO''S THIS WITH OPINIONS?

THIS IS A FRIEND,

SOMETHING ELSE FOR WHICH YOU HAVE NO CONCEPT, WARD,

UNLESS OF COURSE YOU INCLUDE, WHAT, THE SCUMBAGS YOU RIP OFF.

SO NOW YOU''RE GOING TO GIVE ME LESSONS IN GOOD CONDUCT?

MAYBE, IF YOU''RE LUCKY.

I DON''T KNOW WHO YOU ARE.

YOU''RE PLAYING STOOGE TO THIS FELLOW,

YOU CAN EXPECT A WHOLE LOT OF HURT FROM ME.

TALK IS CHEAP, WARD, ALL RIGHT?

YOU''RE THE CHEAPEST PRICE I KNOW.

KEEP MOUTHING OFF, FRANKIE.

I''M GOING TO LOVE IT ALL THAT MUCH MORE

WHEN THE WHIP COMES DOWN.

(Frankie) WHO YOU KIDDING, WARD?

WHO ARE YOU KIDDING?

YOU''VE BEEN GUNNING FOR ME FOR TWO YEARS NOW.

I AIN''T NEVER BEEN GOT.

WELL, LEW COLLINS TOLD US ALL ABOUT YOU

AND WHAT YOU DID TO HIM.

COLLINS IS A COWARD,

WILL NOT SAY WORD ONE IN OPEN COURT.

SO QUIT WASTING MY TIME, ALL RIGHT?

NOW, IF YOU''LL PARDON ME, MY CAR IS HERE.

LET''S GO.

FUCKING COPS ARE UNBELIEVABLE-- BUMS WITH BADGES.

YOU TAKE AWAY THE D.A.s AND THE JUDGES,

THEY WON''T LAST FIVE MINUTES OUT HERE, I TELL YA.

THE SHIT THEY THINK OF THEMSELVES.

YOU GET OFF ON THAT, DON''T YOU?

TELLING COPS WHAT''S WHAT.

I GET OFF ON TELLING ANYBODY WHAT''S WHAT.

GUY STANDING THERE DROOLING

WITH HIS PANTS TO HIS ANKLES,

YOU''RE AN IDIOT. DON''T CALL HIM A GENIUS.

I MEAN, OTHERWISE, WHAT''S THE POINT?

YEAH, RIGHT.

SO WHERE WE GOING NOW?

NOW WE MEET THE BOSS.

JAKE, THIS IS MR. LANGE.

GWYNNE, ONE OF HIS ASSOCIATES.

HOW DO YOU DO?

FRANKIE HERE IS JUST A LITTLE SHY ON THE DETAILS

OF WHAT CREWS YOU WORKED FOR BEFORE, JAKE.

I BEG YOUR PARDON?

WE NEED TO KNOW WHO YOU''VE DONE BUSINESS WITH IN THE PAST,

MR. BRIDGES.

I THOUGHT FRANKIE WOULD HAVE TOLD YOU THAT.

IF HE HAD TOLD US,

WHY THE FUCK WOULD I BE ASKING YOU?

SURPRISE, SURPRISE.

FRANKIE DRAGS IN A REAL DING-A-LING.

SHUT UP, GWYNNE.

ANSWER THE QUESTION, JAKE.

I, UH--

WORKED AS A WRITER MOSTLY--

IN NEW YORK DOING HUMAN INTEREST STORIES,

MEAT-AND-POTATOES KIND OF STUFF, YOU KNOW?

I WAS GOOD AT IT FOR A WHILE,

AND THEN...

I WASN''T GOOD AT IT.

SO HERE I AM.

A WRITER?

(Gwynne) WHAT ARE YOU GOING TO DO, JAKE?

WRITE ABOUT ALL THE SECRETS OF OUR OUTFIT?

SELL ''EM TO THE MOVIES?

I WASN''T THAT KIND OF WRITER.

(Lange) WELL, NOW, TELL ME, JAKE,

WHO DO YOU THINK THEY''D GET TO PLAY ME

IN THE MOVIE VERSION OF ME LIFE?

LIKE CLINT EASTWOOD, MAYBE.

[chuckling]

AH, COME HERE.

IT''S BEEN A GRAND PLEASURE,

JAKE BRIDGES.

CAN YOU GIVE ME A COUPLE OF MINUTES WITH FRANKIE?

CERTAINLY.

HE''S ALL RIGHT.

COME HERE, YOU.

NOW, FRANKIE, LISTEN.

HE''S YOUR RESPONSIBILITY.

HE SCREWS UP JUST ONE TIME,

AND YOU''RE BOTH FUCKED.

HOW''D I DO?

GOOD.

(Jake) SO, UH, THIS GUY GWYNNE SEEMS TO BE A PIECE OF SHIT

WRAPPED IN HUMAN SKIN, ISN''T HE?

YEAH.

WELL, UNFORTUNATELY FOR MR. LANGE,

HE''S GOT TO HAVE THINGS IN HIS LIFE LIKE GWYNNE, YOU KNOW.

SHIT GETS OUTTA HAND, GETS OUT OF CONTROL,

YOU GET A GUY LIKE GWYNNE,

WHO APPARENTLY KNOWS SHIT.

SO...

TO BE A WRITER,

YOU GOTTA READ A LOT OF BOOKS?

IT HELPS TO READ A LOT OF BOOKS.

WHAT WAS THE BEST ONE YOU EVER READ?

MOBY DICK BY HERMAN MELVILLE.

GREGORY PECK MOVIE, RIGHT?

I DIDN''T SEE THAT.

WHITE WHALE THING.

YEAH, AND CRAZY CAPTAIN AHAB WHO WANTS TO KILL HIM.

IS HE, LIKE, REALLY CRAZY?

I MEAN, REALLY CRAZY,

LIKE WHY DO WE EVEN GIVE A SHIT ABOUT HIM?

NO, CRAZY IN A KIND OF HEROIC WAY.

OH.

SEE, THIS WHALE,

MOBY DICK, TORE HIS LEG OFF,

AND AHAB BELIEVES THAT BY TAKING VENGEANCE ON THE WHALE,

HE CAN CHANGE THE WHOLE BALANCE OF THINGS IN THE WORLD.

CAPTAIN TAKES HIMSELF A LITTLE SERIOUSLY,

DON''T YOU THINK?

VERY SERIOUSLY.

AHAB IS A VERY SERIOUS GUY.

[exhales]

SO WHAT''S SO GOOD ABOUT THIS BOOK?

I MEAN, WHAT''S THE POINT?

TAKES YOU ON A JOURNEY,

AN INCREDIBLE JOURNEY.

I DON''T KNOW HOW ELSE TO PUT IT.

WHAT''S SO INCREDIBLE ABOUT IT, I MEAN?

YOU LEARN A LOT.

THE BOOK''S ABOUT EVERYTHING:

LIFE, DEATH, MAN, GOD, NATURE.

EVERYTHING WE UNDERSTAND

AND EVERYTHING WE''LL NEVER UNDERSTAND.

I DON''T GET IT.

YOU GOT TO READ THE BOOK.

WHERE WERE YOU WHEN GOD MADE THE WHALE?

(Frankie) I''D LIKE TO KNOW WHERE I WAS

WHEN GOD MADE ATLANTIC CITY.

IF I HAD MORE CASH BEHIND ME,

I''D GET THE FUCK OUT OF THIS DUMP,

I''LL TELL YOU THAT.

(Jake) WHAT ABOUT YOUR FAMILY?

DEAD.

[sirens wailing faintly]

I DON''T REALLY MISS ''EM ALL THAT MUCH.

I MEAN, I GOT MELISSA, YOU KNOW?

WHAT MORE COULD YOU WANT?

[siren wailing]

SO WHAT AM I SUPPOSED TO DO?

JUST STAND THERE LIKE YOU MEAN BUSINESS.

[up-tempo rock music]

WHERE''S KWAI? I''M SORRY.

YOU''LL HAVE TO TAKE A SEAT.

I''M ON THE PHONE WITH A CUSTOMER.

NO, NO, MILLIE HAS A CLIENT AT 3:00.

I CAN GIVE YOU A 3:45.

WE WANT YOU TO BE PLEASED.

YOU''RE A RESPECTED CUSTOMER.

LET ME JUST CHECK FOR YOU.

ARE YOU CRAZY?

I''M CALLING THE COPS!

WITH WHAT, HUH?

NOW, YOU ASK YOUR BOSS

IF HE WANTS ME TALKING TO THE COPS, ALL RIGHT?

NOW, WHERE THE FUCK IS HE?

HE ISN''T HERE.

HONEY, YOU''RE A LIAR.

I HATE LIARS.

LET''S GO.

(man) HEY, WHAT DO YOU THINK YOU''RE DOING?

SOMEBODY WANTS ME TO BELIEVE YOU''RE NOT HERE, HUH?

GET UP. [whimpering]

NOW,

YOU GOING TO OFFER ME SOME, AIN''T YA?

BUT I AIN''T GONNA ACCEPT.

YOU KNOW WHY? I WILL NOT BE BRIBED BY YOU.

I''M TOO FUCKING SMART.

WE SUPPLY YOU. WE HAVE EXPENSES.

YOU HAVE NOT BEEN MEETING THEM.

(Kwai) THE COST IS TOO HIGH.

YOU LOST 25 FUCKIN'' "K." YOU UNDERSTAND ME?

25 FUCKIN'' "K," PAL.

(Kwai) I DON''T HAVE THAT KIND OF MONEY.

(Frankie) WHEN DO YOU THINK YOU''LL HAVE IT?

WHEN BUSINESS PICKS UP.

WHEN BUSINESS PICKS UP.

SORRY, NOT GOOD ENOUGH.

(Kwai) MORE TIME, PLEASE!

I''LL SELL MORE.

RIGHT NOW, I''VE GOT FIVE GRAND.

YOU GOT FIVE GRAND?

YOU GOT FIVE GRAND IN CASH RIGHT NOW?

YOU GIVE IT TO ME.

FOR FIVE GRAND, THEY DON''T WANT ME TO HURT YOU,

WHICH IS FINE BY ME.

HEY, HEY!

[gunshot]

[screaming]

YOU BROKE MY HAND!

YOU BROKE MY HAND!

SEE WHAT I''M SAYING, JAKE?

HE TRIES TO SHOOT ME,

BUT HE WANTS ME TO CRY ABOUT HIS BROKEN HAND.

YOU PIECE OF SHIT.

THAT BETTER BE FIVE GRAND, PAL.

IT BETTER BE FIVE GRAND!

LET''S GO.

THANKS.

(Jake) "WHY DID THE OLD PERSIANS HOLD THE SEA HOLY?

"WHY DID THE GREEKS GIVE IT A SEPARATE DEITY?

"SURELY ALL THIS IS NOT WITHOUT MEANING.

"IT IS THE IMAGE OF THE UNGRASPABLE PHANTOM OF LIFE.

AND THIS IS THE KEY TO IT ALL."

"THE UNGRASPABLE PHANTOM OF LIFE."

IT''S LIKE THE-- IT''S THE POINT OF THE BOOK.

RIGHT.

TRYING TO GRASP THE UNGRASPABLE PHANTOM OF LIFE.

RIGHT.

[seagulls crying]

WHAT IS IT?

IT''S NOT SOMETHING I CAN EXPLAIN.

IT''S SOMETHING YOU FEEL.

YOU HAVE TO READ IT.

(Frankie) "''GOOD NIGHT, LANDLORD,'' SAID I.

"''YOU MAY GO.''

I TURNED IN AND NEVER SLEPT BETTER IN MY LIFE."

THAT''S GOOD. THAT''S GOOD.

GOOD WRITER, THIS GUY, HUH?

YEAH.

GOOD CHAPTER,

THAT ONE THERE WITH ISHMAEL AND THE CANNIBAL.

I LIKE THAT.

I SHOULD HAVE READ THIS STUFF A LONG TIME AGO.

I TELL YOU.

TOO BUSY DOING OTHER THINGS WITH MY LIFE.

LIKE WHAT?

GETTIN'' THE SHIT KICKED OUT OF ME

AND LEARNING HOW TO FIGHT FOR MY LIFE,

THAT''S WHAT, BUT--

YOU LIKE HURTING PEOPLE?

I LIKE HURTING PEOPLE WHO DESERVE TO GET HURT.

I LIKE KNOWING WHEN I''M GOING TO GO FIGHT,

I''M GOING TO WIN,

AND THE OTHER GUY''S GONNA LOSE.

THAT I LIKE.

KNOW WHAT A GUY ONCE SAID TO ME?

HE SAID,

"THE ONLY THING IN THIS WORLD THAT YOU''LL EVER REALLY OWN

IS A PIECE OF GROUND THE SIZE OF YOUR SHOES."

SEE WHAT I''M SAYING?

YOU GOT TO FIGHT FOR THAT.

RIGHT?

RIGHT. THAT''S RIGHT.

[Frankie clears throat]

GOOD EVENING, SIR.

DO YOU HAVE A RESERVATION?

NO.

OH, SORRY, SIR.

THERE''S NO TABLE SERVICE WITHOUT A RESERVATION.

WE''RE NOT HERE TO EAT; WHERE''S WILLIS?

MR. WILLIS IS CONFERRING WITH THE CHEF.

HE CANNOT BE DISTURBED.

CAN I ASK YOU SOMETHING?

DO YOU THINK I''M DRESSED RIGHT FOR THIS PLACE?

WHY DON''T YOU TAKE A WALK WITH ME?

AH, COME ON, TAKE A WALK.

TAKE A WALK WITH ME!

MAURICE,

IS THIS MAN BOTHERING YOU?

SIT DOWN.

DO YOU KNOW WHO YOU''RE TALKING TO?

HUH?

YOU KNOW WHO YOU''RE TALKING TO HERE?

OH--[sputters]-- JAKE, WHO KNEW?

IT''S MEL GIBSON.

WHAT IS THIS?

IT''S PAYDAY IS WHAT IT IS. WHERE IS IT?

(Willis) ASSHOLE, DO YOU KNOW WHO YOU''RE DEALING WITH HERE?

I''M DEALING WITH A THIEF DON''T PAY HIS BILLS.

NOW, YOU CAME TO US FOR 50 FUCKIN'' GRAND.

FRONT THOSE ROCKS SOME HOTSHOT L.A. FRIEND OF YOURS SHOWED YOU.

I AIN''T SEEN DOLLAR ONE OF MY INVESTMENT.

WHERE THE FUCK IS IT?

WHAT DO YOU THINK, ASSWIPE?

THAT I''M ONE OF THESE TWO-BIT HUSTLERS

THAT USED TO SELL NICKEL BAGS ON THE STREET?

YOU TAKE MONEY FROM MR. LANGE,

YOU ARE THE LOWEST PIECE OF SHIT IN THE WORLD.

YOU MEAN NOTHING TO ME. FUCKIN'' UNDERSTAND ME?

LANGE DOESN''T WANT ME HANDLED THIS WAY!

(Frankie) LANGE WANTS HIS FUCKIN'' MONEY!

YOU UNDERSTAND?

I DON''T GIVE A FUCK HOW HE GETS IT.

COME HERE! COME HERE!

[Willis screaming]

YOU''RE BREAKING MY ARM!

YOU''RE RIGHT I''M BREAKING YOUR ARM.

50 GRAND IS A LOT OF CASH.

[screaming]

(Frankie) JAKE!

COME ON!

COME ON, THAT''S ENOUGH!

LET''S GO! LET''S GO!

[pan clattering]

[chuckling] THAT WAS GREAT.

SEE, WHEN YOU NEED IT, IT''S THERE.

"I''D STRIKE THE SUN IF IT OFFENDED ME."

WHAT''S THAT?

SOMETHING CAPTAIN AHAB SAID.

OH, YEAH? I AIN''T GOT TO HIM YET.

♪ AND IF YOU DON''T LOVE ME, YOU JUST LEAVE ME ALONE. ♪ ♪

HOW YOU DOING, POPS?

[whistling]

MEL!

MEL!

[Melissa shushing]

HI.

HEY. HI.

GOOD.

GOOD DAY? BAD DAY?

BAD.

(Frankie) YEAH, BAD DAY. YEAH.

(Frankie) GIVE THE MAN A KISS.

WHAT?

REMEMBER OUR OLD FRIEND HERE, JAKE BRIDGES?

GIVE HIM A KISS.

HE SAVED MY LIFE.

GO ON.

[sighing]

GOOD.

NOW, CHANGE YOUR SHOES, CHANGE YOUR OUTFIT--

LET''S GO DANCING.

HONEY, I--

AH, COME ON.

THERE WAS A RUMBLE UP THE STREET.

THREE GUYS DIED IN HERE TONIGHT.

I KNOW. I UNDERSTAND.

BUT THIS IS WHAT I''M SAYING.

THIS''LL MAKE YOU FEEL BETTER,

DON''T YOU THINK?

GET YOUR DANCING SHOES ON.

IT''D BE A GOOD IDEA FOR YOU.

I PROMISE.

I''VE SEEN YOU WHEN YOU HAD NO SLEEP.

YOU''RE A BARREL OF LAUGHS.

[mouthing words] I THINK HE NEEDS TO GET LAID.

[techno music]

♪ ♪

A PLETHORA OF LADIES IN HERE.

A WHAT?

IT MEANS THERE''S A LOT OF ''EM.

OH, OKAY. GOTCHA. THANKS, JAKE.

(man) HOW DID I GET MIXED UP IN THIS?

I CAN''T BELIEVE YOU LIKE THAT SONG.

I MEAN, YOU LIKE THAT SONG,

AND YOU WANT TO BE A SINGER?

WELL, NO, LOOK, I WANT TO TRY TO SING.

I MEAN, FORGET ABOUT IT, ALL RIGHT?

FIRST OF ALL, YOU''RE NOT PRETTY ENOUGH.

YOU DON''T HAVE THE GUTS.

AND YOU HAVE, LIKE,

THE WORST TASTE I''VE EVER SEEN IN ANYBODY.

HEY, BUDDY!

IT''S HOT IN HERE, ISN''T IT?

WHY DON''T YOU GO OUTSIDE AND GET SOME AIR?

WHY DON''T YOU GO OUTSIDE AND GET SOME AIR?

[groaning]

YOU''RE NOT GOING TO MISS HIM, ARE YOU?

HARDLY.

SO FIRST HE TELLS ME

I WAS THE MOST BEAUTIFUL GIRL HE EVER SAW,

NEXT I WAS A SKANK FROM HELL.

(Jake) YOU KNOW, YOU SHOULD ALWAYS TAKE A BEAT

BEFORE YOU BELIEVE WHAT ANYONE SAYS ABOUT YOU,

GOOD OR BAD.

HMM, I DON''T KNOW.

HE''S A LAWYER.

(Frankie) SO WHAT?

JAKE TELL YOU HE''S A WRITER?

DO YOU WRITE FOR TV?

I''M RETIRED.

(woman) GOD, YOU''RE KIDDING!

YOU''RE TOO YOUNG TO BE RETIRED.

WHAT WAS YOUR NAME AGAIN?

JENNY.

(Jake) JENNY, HERE''S 40 BUCKS.

TAKE A CAB HOME, OKAY?

(Jenny) HEY, IT DOESN''T TAKE THIS MUCH.

SO BUY YOURSELF SOME BRUNCH TOMORROW.

THANKS.

NICE MEETING YOU. SEE YOU.

WHATEVER.

SEE YOU LATER.

[Frankie chuckling]

WHAT?

I DON''T KNOW. FUCK.

ALL THE HEROICS AT THE BAR AND WHATNOT,

AND THEN YOU JUST SEND HER HOME.

I MEAN, COME ON.

(Jake) THE LAST THING THAT GIRL NEEDS

IS ANOTHER NIGHT OF MEANINGLESS SEX.

SENDING HER HOME MAKES ME FEEL...

USEFUL.

OH.

WHICH IS NOT A BAD WAY TO FEEL.

FUCKIN'' YOUR BRAINS OUT ALL NIGHT

AIN''T EXACTLY A TERRIBLE FEELING EITHER, JAKE.

I LOVE IT WHEN YOU TALK LIKE THAT.

COME ON.

WHAT?

I LIKE THIS ONE.

AH, I ASKED YOU TO DANCE EARLIER.

DANCE WITH ME, STUPID.

I''M TIRED, HONEY. COME ON, COME ON.

ASK JAKE HERE.

WANNA DANCE WITH ME, JAKE?

[sultry jazz music]

(woman) ♪ OOH, DO YOU KNOW-- ♪

SURE.

♪ HOW MUCH DO YOU SEE? ♪

♪ WHEN YOU CLOSE YOUR EYES, ♪

♪ DO YOU DREAM THIS DREAM WITH ME? ♪

♪ I WALKED FIRE FOR YOU, ♪

♪ THOUGH I''M NOT SUPPOSED TO SAY. ♪

♪ I''LL TAKE MY CHANCE TONIGHT, ♪

♪ IF YOU LEAD THE WAY. ♪

YOU KNOW, RIDING AROUND WITH FRANKIE ALL DAY

AND THINKING ABOUT YOU IS GETTING TOUGHER

THAN I THOUGHT IT WAS GOING TO BE.

WHY?

''CAUSE I''M STARTING TO LIKE FRANKIE.

I''M WORRIED ABOUT WHAT''S GOING TO HAPPEN TO HIM.

WELL, EVERYONE LIKES FRANKIE.

FRANKIE''S A GENUINELY LIKEABLE GUY.

DOESN''T KEEP ME FROM WANTING YOU, THOUGH.

STOP IT.

I CAN''T.

I CAN''T STOP.

(woman) ♪ NO ONE HAS TO KNOW. ♪ ♪

AND REMEMBER ONE LINE, ALL RIGHT?

SIGHT THE WEAPON IN YOUR ARM.

SQUEEZE.

AUTOMATIC--

NEVER KNOW WHEN YOU MIGHT NEED ONE OF THESE, ALL RIGHT?

SO NOW, GOT A LITTLE MORE KICK ON IT.

SAME THING, BUT JUST PULL AND HOLD ON, ALL RIGHT?

WHENEVER I WAS SHOWN ONE OF THESE,

I USED TO FEEL QUEASY.

YOU''RE JUST A LITTLE GUN-SHY, THAT''S ALL.

NOW I KNOW WHAT I WAS AFRAID OF.

OH, YEAH, WHAT WAS THAT?

HOW GOOD IT FEELS.

[clattering]

[gentle music]

♪ ♪

(Melissa) WHY DON''T YOU UNPACK LATER?

(Jake) I DON''T KNOW.

ONE DAY IT JUST GOT TO THE POINT

WHERE I''D GONE TO BED WITH TOO MANY WOMEN.

AM I ACTUALLY GETTING OFF,

OR AM I JUST REPLAYING SOME FLIMSY OLD TAPE

OF GETTING OFF?

AND THEN WHAT?

THEN I COULDN''T WRITE ANYMORE.

I''M NOT FOLLOWING YOU.

[inhales slowly]

CREATIVITY FOR ME IS LIKE A BAD DRUG.

AT FIRST IT GETS YOU HIGH,

AND THEN IT TRIES TO DESTROY YOUR LIFE.

MOST WRITERS DON''T CARE HOW UNREAL THEIR LIVES GET

AS LONG AS IT MAKES IT EASIER TO WRITE ABOUT.

BUT THEN ONE DAY YOU WAKE UP

AND THE WORLD''S EMPTY.

ALL THE LOVE I HAD FOR WRITING IS GONE.

WHAT''S THE SOLUTION?

YOU.

YEAH, RIGHT.

[scoffs]

I WAS ONE OF A MILLION CHICKS THAT COME TO THE BIG APPLE,

AND I HAD THESE VISIONS OF MYSELF

AS SOME KIND OF CREATIVE PERSON, QUOTE UNQUOTE.

AND I GOT PICKED UP AND FUCKED OVER

BY THE USUAL GUYS FOR THE USUAL REASONS.

WHAT ARE THE USUAL REASONS?

WHAT CAN I TELL YOU ABOUT MEN?

THEY WANT YOU TO BE THEIR DAUGHTER, THEIR MOTHER,

THEIR ADDICTION.

THEY WANT YOU TO WANT THEM,

THEN THEY DON''T WANT YOU.

[inhales sharply]

I DON''T KNOW.

I GOT TURNED INSIDE OUT.

I GOT USED UP.

[sighs]

ONE NIGHT I WAS SCREAMING IN THE MIDDLE OF THE STREET,

"WHAT THE FUCK DO YOU ALL WANT FROM ME?"

AND I COULDN''T STOP.

SO WHAT HAPPENED?

THEY PUT ME IN A HOME FOR SIX MONTHS.

[sighs]

AND WHEN THAT ENDED,

I WAS JUST A GHOST.

AND THEN I MET THIS BOY.

HE TALKED TO ME.

AND HE SAID ALL THE SAME THINGS

THAT THE GUYS WHO''D FUCKED ME OVER HAD SAID,

BUT HE MEANT IT.

YOU KNOW, HE STOOD BEHIND IT.

FRANKIE MEANS EVERYTHING HE SAYS.

HE BROUGHT YOU BACK?

YEAH, AND THIS IS HOW I REPAY HIM.

WAIT A MINUTE.

FRANKIE HELPED YOU OUT AT A TIME WHEN YOU NEEDED HELP.

THAT DOESN''T MEAN

YOU''RE SUPPOSED TO SPEND THE REST OF YOUR LIFE WITH HIM.

IF YOU''RE SUGGESTING WHAT I THINK YOU ARE--

YOU''RE SMART, BUT YOU''RE NOT BULLETPROOF.

FRANKIE''D KILL YOU.

SO RUN AWAY WITH ME.

[scoffs]

YOU ARE MOVING TOO FAST.

YOU ARE MOVING WAY TOO FAST.

ALL RIGHT.

I GOT ALL THE TIME IN THE WORLD.

I''LL WAIT AS LONG AS IT TAKES,

OR UNTIL FRANKIE''S NOT AN ISSUE.

WHAT DOES THAT MEAN?

FRANKIE''S NOT GOING TO LIVE VERY LONG.

DON''T SAY THAT.

DO YOU HATE ME FOR DOING THIS TO YOU?

YOU KNOW I DON''T.

[melancholy jazz music]

♪ ♪

[woman moaning and gasping on film]

Ooh, yeah, give it to me!

[door opening]

[door closing]

[door opening]

[footsteps approaching slowly]

[florescent lights buzzing]

SO TELL ME,

DOES THE POPCORN BUTTER AID IN YOUR MASTURBATION PROCESS?

[chuckling]

GOT A LITTLE ATTITUDE WORKING, JAKE?

THIS PLACE IS SO YOU, WARD.

GET DOWN TO IT.

WHEN YOU MEETING LANGE AGAIN?

TOMORROW.

[flushing]

SCARED?

SHOULD BE.

I WATCH MY MANNERS.

I GIVE THESE PEOPLE NO REASON TO BE UPSET WITH ME.

WELL, THAT''S GOOD, JAKE.

''CAUSE YOU SLIP UP,

YOUR PAL FRANKIE''S GOING TO DO SOME LONG, HARD TIME.

WHAT IS THAT?

THAT''S NOT THE DEAL.

OH, FUCK THE DEAL.

FROM NOW ON, YOU DO WHAT I SAY, ASSHOLE.

YOU HAVE SERIOUSLY JEOPARDIZED YOUR VALUE AS A WITNESS

SINCE THE DAY YOU STARTED PARTICIPATING IN THE COMMISSION.

PLEASE.

THAT PRICK DESERVED EVERYTHING HE GOT.

[laughing menacingly]

LISTEN TO YOU.

SOUNDIN'' LIKE 100% THUG NOW.

GUESS I WAS RIGHT COMING AFTER YOU.

LET ME TELL YOU SOMETHING.

I AGREED TO DO THIS FOR YOU,

''CAUSE I NEEDED A STORY.

I DID WHAT YOU ASKED.

YOU KEEP UP YOUR END OF THE DEAL.

[whispering] You owe me.

[chuckling]

I CAN''T BELIEVE I''M STANDING IN A URINAL

TALKING TO THIS IDIOT.

[growling]

THINK YOU''RE PRETTY CLEVER, DON''T YOU?

[Jake over recorder] So run away with me.

[Melissa over recorder] You are moving too fast.

You are moving way too fast.

[recorder rewinding]

IT GETS BETTER, JAKE.

[Melissa moaning] Jake.

[Melissa and Jake panting]

OOH.

[giggling]

OOH.

RATTING A GUY TO THE COPS,

THAT''S ONE THING.

FUCKIN'' HIS GIRL! JAKE!

[chuckling menacingly]

YOU HAD NO BUSINESS BUGGING--

I HAD NO BUSINESS.

YOU HAD NO BUSINESS JEOPARDIZING THIS CASE.

WITH THAT WAYWARD DICK OF YOURS.

WHAT DO YOU THINK''S GOING TO HAPPEN

WHEN FRANKIE HEARS THIS?

HE''LL PROBABLY KILL ME.

BUT WITHOUT ME, YOU''VE GOT NO CASE.

SO I''LL FINISH THIS FOR YOU, BUT FRANKIE WALKS.

[breathing heavily]

YOU''RE MINE.

YOUR EYES ARE MINE; YOUR EARS ARE MINE.

YOUR DICK IS MINE.

[florescent lights buzzing]

FACT IS, EVERY STEP YOU TAKE, YOU TAKE FOR ME, JAKE.

YOU GOT THAT?

YEAH.

(Jake) DID YOU GET TO MY FAVORITE PART YET?

WHAT''S THAT?

IT''S CALLED THE TRYWORKS.

ISHMAEL STANDS AT THE STEERING WHEEL OF THE SHIP

WATCHING THE HARPOONERS STOKE A FIRE,

TURNING THE WHALE BLUBBER INTO OIL.

NO, I AIN''T GOT THERE YET.

WHAT HAPPENS?

WELL, HE GETS HYPNOTIZED BY THE FIRE.

[quietly] RIGHT.

AND HE LOSES CONTROL OF THE SHIP.

BUT AT THE LAST SECOND, HE SNAPS BACK TO REALITY.

SO WHAT''S THE POINT THERE?

LET ME READ YOU SOMETHING.

[clears throat]

"LOOK NOT TOO LONG IN THE FACE OF THE FIRE, O MAN!

"NEVER DREAM WITH THY HAND ON THE HELM!

"TURN NOT THY BACK TO THE COMPASS;

"BELIEVE NOT THE ARTIFICIAL FIRE,

"WHEN ITS REDNESS MAKES ALL THINGS LOOK GHASTLY.

"THE GLORIOUS, GOLDEN SUN, THE ONLY TRUE LAMP--

ALL OTHERS ARE BUT LIARS!"

I''M A LITTLE LOST.

HE''S SAYING

CHOOSE WHAT''S REAL, NOT WHAT''S FALSE.

THERE''S MORE TO LIFE THAN JUST SURVIVING IT.

LIKE WHAT?

LIKE THE PEOPLE THAT WE CARE ABOUT,

THAT WE TRULY LOVE.

SO YOU''RE SAYING, LIKE,

LANGE, LIKE WHEN HE TOOK ME OFF THE STREET WHEN I WAS A KID,

AND, LIKE, SO HE HELPED ME OUT, SO I OWE HIM NOW, RIGHT?

THAT''S NOT WHAT I MEANT.

WHAT''D YOU MEAN?

I MEAN THAT CARING ABOUT SOMEONE AND LOVING SOMEONE,

THAT CONNECTION IS MORE IMPORTANT

THAN WHETHER WE LIVE OR DIE, WHETHER WE''RE RICH OR POOR,

OR WHETHER WE OWE SOMEBODY SOMETHING OR NOT.

LOOK, IF MELISSA GOT INTO TROUBLE,

YOU''D DO ANYTHING IN THE WORLD TO HELP HER, WOULDN''T YOU?

RIGHT.

THERE YOU GO.

YOU LOVE HER,

WHETHER THERE''S A POINT TO IT OR NOT.

I DON''T KNOW.

SHE CAN PRETTY MUCH TAKE CARE OF HERSELF.

THAT''S NOT WHAT SHE SAID.

SHE SAYS YOU SAVED HER LIFE.

WHEN''D SHE SAY THAT?

UM, THE OTHER NIGHT WHEN WE WERE DANCING,

WE WERE TALKING ABOUT YOU.

SHE''S SO FULL OF SHIT.

SHE CAN GET ALONG FINE WITHOUT ME, BELIEVE ME.

WE COULD ALL GET ALONG FINE WITHOUT EACH OTHER, FRANKIE.

THERE''S MORE TO IT THAN THAT, ISN''T THERE?

YOU KNOW, IT''S FUNNY.

I FEEL NO MATTER HOW MUCH I READ OR WHATEVER I WOULD LEARN--

I DON''T KNOW, HER AND ME, WE''RE JUST DIFFERENT PEOPLE,

THAT''S ALL.

WE''RE JUST DIFFERENT.

[melancholy music]

(Frankie) WHAT''S UP, POP?

[sighing]

THE RESTAURANT JOB, FRANKLIN.

YOU FUCKED IT UP.

GUY DOESN''T PAY UP; I HIT HIM.

WHAT''S SO UNUSUAL?

YOU ATTACKED SOMEONE ELSE IN THE RESTAURANT.

A GEEK WHO GOT IN OUR WAY?

(Lange) THAT GEEK HAPPENED TO BE AN ASSISTANT DISTRICT ATTORNEY.

YOU FRACTURED A D.A.''S JAW, BOY!

SORRY, I DIDN''T KNOW.

IGNORANCE IS NO EXCUSE, FRANKIE.

(Lange) AM I SUPPOSED TO SIT HERE

WORRYING ABOUT WHAT YOU DON''T KNOW?

DO YOU KNOW WHAT IT COST ME TO PUT A THING LIKE THIS RIGHT?

FUCK OF A LOT MORE THAN YOU''RE WORTH, SHITHEAD.

BRING HIM NEAR ME.

WAIT A MINUTE, THIS ISN''T RIGHT.

FRANKIE DIDN''T-- JAKE, JAKE.

YOU WANT SOME NEXT?

(Lange) THAT HURT, RIGHT? GOOD.

MAYBE NOW YOU''LL GET YOUR THING TOGETHER.

GWYNNE SAYS YOU''RE OUT OF CONTROL,

CRAZY.

NOW YOU''VE GOT TO PROVE TO ME THAT HE''S WRONG.

LOOK AT ME, FRANKIE.

[controlled crying]

OTHERWISE, WE CAN''T BE AS CLOSE AS WE ONCE WAS.

NOW I''M GIVING YOU AND YOUR PAL, IF YOU LIKE,

TO GWYNNE FOR AN IMPORTANT JOB.

AND YOU''RE TO DO WHAT HE SAYS

LIKE HIS WAS THE WORD OF GOD.

WE''RE GOING TO STEAL

ABOUT $100,000 WORTH OF BEARER BONDS.

THEY''RE AS GOOD AS CASH.

WE KNOW A GUY THAT WORKS IN A BROKERAGE.

IT''LL BE A PIECE OF CAKE.

OUR CONTACT SAYS TO MAKE THE HIT TOMORROW.

THAT''S THE NIGHT

BEFORE THEY SHIP EVERYTHING THEY GET OVERSEAS.

GOT IT?

I GOT IT.

[quietly] Thanks.

THANK YOU, MELISSA.

FRANKLIN McGREGOR, YOU DON''T EAT THAT FOOD,

I SWEAR TO GOD YOU''RE GOING TO BE WEARING IT.

WHY ARE YOU SO UNHAPPY?

YOU DON''T THINK GWYNNE HAS IT IN FOR ME?

FRANKIE, LANGE TRUSTS YOU AS MUCH AS HE TRUSTS GWYNNE.

THAT''S NOT THE POINT.

THAT GWYNNE IS A KILLER, ALL RIGHT?

I NEVER HAD TO DO A JOB WITH THIS GUY BEFORE.

WHO''S GOING TO GET KILLED?

WHO''S GOING TO GET KILLED? I DON''T KNOW.

I''M JUST SAYING HE KILLS PEOPLE.

ME, I PULLED A FEW GUNS ON A FEW PEOPLE IN MY TIME,

BUT I NEVER HAD TO KILL NOBODY.

I NEVER DID. I''D LIKE TO KEEP IT THAT WAY.

BELIEVE IT OR NOT, I''M KIND OF PROUD OF THAT,

ALL RIGHT?

I BELIEVE YOU, HONEY.

I BELIEVE YOU TOO.

YOU KNOW, FRANKIE, THERE IS A SIMPLE SOLUTION TO THIS.

YEAH, WHAT''S THAT?

QUIT.

STOP.

DON''T DO IT ANYMORE.

I OWE THESE PEOPLE, PAL.

I OWE ''EM EVERYTHING.

FRANKIE, IF THEY''RE ALL A BUNCH OF SHIT,

YOU DON''T OWE ''EM ANYTHING.

AND THEY ARE A BUNCH OF SHIT.

DO YOU KNOW WHAT THE FUCK YOU''RE SAYING ABOUT MY LIFE?

HUH? YOU UNDERSTAND?

STOP IT! YOU''RE GOING TO KILL HIM!

STOP IT!

NOW, EVERYBODY''S GOING TO SIT DOWN AND SHUT UP.

WE''RE JUST GOING TO COOL DOWN,

NOT SAY ANOTHER WORD.

[melancholy jazz music]

♪ ♪

BUT COULDN''T YOU NOT DO THIS?

COULDN''T WE GET AWAY AND--

I COULDN''T RUN FAST ENOUGH.

(woman) ♪ YOU''RE STILL HANGING ON. ♪ ♪

JIM BEAM, PLEASE.

SINGLE.

HEY, DIDN''T I OFFER TO BUY YOU A DRINK ONE TIME?

YEAH, THAT WAS ME.

LET ME--LET ME BUY YOU THAT DRINK.

WHY NOT?

THANKS.

SO HOW''S YOUR WRITING CAREER GOING?

COULD BE BETTER.

WELL, MAYBE I COULD TAKE A LOOK AT YOUR WORK SOMETIME.

REALLY?

I''D LIKE THAT.

YOU KNOW, YOU SURE LOOK DIFFERENT.

YEAH?

GUESS ALL THAT PLASTIC SURGERY PAID OFF, HUH?

MAN, THE LAST TIME YOU WERE IN HERE,

YOU WERE DEAD.

YEAH?

YEAH.

ALL YOU NEEDED WAS A TOE TAG.

[woman speaking faintly over intercom]

YOU''RE CRAZY.

GOD, I MISS THAT.

WHAT IF YOU JUST DON''T GO?

EH, IT WOULDN''T STOP HIM.

HE THINKS HE OWES THESE PEOPLE.

BESIDES, IT WOULDN''T HELP FRANKIE,

ME NOT BEING THERE.

HOW DANGEROUS IS THIS THING GOING TO GET?

I HAVE NO WAY OF KNOWING THAT.

I JUST WISH I COULD MAKE SURE

THAT FRANKIE WAS GOING TO GET THROUGH THIS THING IN ONE PIECE.

THEN I COULD GET OFF THE HOOK FOR EVERYTHING ELSE.

WHAT EVERYTHING ELSE?

HURTIN'' HIM...

AND LOVIN'' YOU.

YOU REGRET THAT ALREADY, HUH?

I KNEW YOU WOULD.

MELISSA, YOU''RE THE ONE THING IN MY LIFE THAT I DON''T REGRET.

YOU ARE THE ONE THING THAT MAKES SENSE TO ME.

THAT''S MY PROBLEM.

I DON''T KNOW HOW TO FIT US IN.

I MEAN, YOU AND FRANKIE--

JAKE--

DON''T.

I HEAR YOU,

WHAT YOU''RE SAYING.

[sighs heavily] YEAH.

HARRY?

HARRY? HUH?

I''M GOING TO SEND DOWN FOR COFFEE AND SANDWICHES.

THEY DELIVER.

THEY SEND A KID OVER.

DO YOU WANT SOMETHING?

NO, THANKS, MR. WILMER.

OKAY.

ON SECOND THOUGHT,

I''LL HAVE SOME DECAF, NO MILK, TWO SUGARS.

OKAY, HARRY.

♪ WHAT DO YOU DO WITH A DRUNKEN SAILOR? ♪

♪ WHAT DO YOU DO WITH A DRUNKEN SAILOR? ♪

♪ WHAT DO YOU DO WITH A DRUNKEN SAILOR ♪

♪ EAR-LAY IN THE MORN? ♪

WHY DON''T YOU SHUT THE FUCK UP, ASSHOLE?

YO, BUDDY, YOU GOT A LIGHT?

SORRY, I DON''T SMOKE.

(Jake) ♪ WHAT DO YOU DO WITH A DRUNKEN SAILOR? ♪

♪ WHAT DO YOU DO WITH A DRUNKEN SAILOR ♪

♪ EAR-LAY IN THE MORNING? ♪

♪ PUT ''EM IN A LONGBOAT TILL HE''S SOBER. ♪

♪ PUT ''EM IN A LONGBOAT TILL HE''S SOBER. ♪

♪ PUT ''EM IN A LONGBOAT TILL HE''S SOBER ♪

♪ EAR-LAY IN THE MORNING. ♪

[knocking]

LOOK, I GOT TO GO.

[groaning]

WHO''S THERE?

(Frankie) YOU ORDERED SOME FOOD?

HEY.

HI, GUY.

RIGHT BACK IN THERE; MR. WILBER''LL PAY YOU.

[punching]

SEE?

NO WORRIES.

[whispering] Hey, psst!

Come on in here.

♪ HOO-RAY, AND UP SHE''S RISING. ♪

♪ HOO-RAY, AND UP SHE''S RISING ♪

♪ EAR-LAY IN THE MORNING. ♪ ♪

[ominous music]

YOU KNOW, THAT''S A LOT MORE.

WHAT DO YOU MEAN?

I MEAN, THAT''S TEN TIMES MORE THAN WE THOUGHT.

I DON''T BELIEVE THIS.

MOORE, YOU FUCKIN'' DICK.

SON OF A BITCH.

[engine starting]

(Frankie) THAT''S IT.

OKAY, YOU KNOW WHERE MY PLACE IS.

I''LL BE GOING WITH THE COPS LATER TONIGHT.

[tires squealing]

[sirens wailing]

[tires squealing]

[engine accelerating rapidly]

(Frankie) ANYWAY,

WE''RE ALIVE AND WELL.

HOW THE HELL DO YOU THINK THE COPS KNEW WHERE WE WERE?

(Gwynne) LET''S GO.

WE''RE PAYING ONE MORE OFF TONIGHT.

TONIGHT? I THOUGHT--

IT''S THE WORD FROM LANGE.

HE''S TALKING TO WILMER NOW.

WE''RE EXPECTED.

NO PROBLEMS, BOY, JUST DO AS YOU''RE TOLD.

HI.

COME IN.

(Gwynne) WHAT''S IN THERE?

BEDROOM.

I DIDN''T KNOW THAT YOU WERE GOING TO HIT ME.

I''M SORRY, WILMER.

I MUST NOT HAVE BEEN THINKING CLEARLY.

I DON''T KNOW WHY WE HAVE TO DO THIS SO FAST.

I JUST LISTEN TO WHAT I''M TOLD, WILMER.

I DO IT LIKE ANY OTHER WORKING STIFF.

I FIGURE MY CUT IS 250 "K."

(Gwynne) THAT''S A LOT.

WELL, THERE WAS TEN TIME MORE THAN WE THOUGHT WAS IN THERE.

I MEAN, THERE WAS $1 MILLION.

MY BOSSES WERE BIGGER CROOKS THAN I THOUGHT.

(Gwynne) HOW ''BOUT SOME MUSIC, WILMER?

A DRINK?

(Wilmer) IT''S LATE.

(Gwynne) COME ON, WILMER.

FANCY PLACE LIKE THIS?

THE SOUNDPROOFING IN HERE MUST BE TREMENDOUS.

OH, REALLY?

[Vesti La Giubba from I Pagliacci plays]

(Gwynne) 250 GRAND--

THAT SOUND RIGHT FOR A GUY LIKE YOU?

WHAT DO YOU MEAN?

(Gwynne) I MEAN,

YOU''RE NOT GOING TO MAKE THAT KIND OF MONEY--

NOT YOU.

(man) ♪ E RIDER VUOLE QUA. ♪

THOSE YOUR WIFE AND KIDS?

YEAH, THEY''RE WITH THEIR MOM''S MOM.

♪ RIDI PAGLIACCO! ♪

SAY GOOD-BYE!

FRANKIE, SHOOT HIM!

NOW!

SHOOT HIM!

SHOOT HIM IN THE FACE, FRANKIE!

NOW!

NOW, FRANK!

SHOOT HIM IN THE FACE!

DO IT NOW!

♪ IN UNA SMORFIA IL SINGHIOZZO E''L DOLOR. ♪

FRANKIE, I''LL DO IT.

JAKE!

HEY, FRANKIE,

GOT TO TAKE AFTER YOUR FRIEND THERE,

GROW SOME BALLS.

[gunshot]

♪ SUL TUO AMORE INFRANTO! ♪

♪ RIDI DEL DUOL CHE T''AWELENA IL COR. ♪ ♪

YOU ARE OUT OF YOUR FUCKIN'' MIND.

YOU''RE IN A LOT OF TROUBLE, FRANKIE.

I TOLD YOU TO TAKE WHATEVER ORDERS GWYNNE GAVE YOU

LIKE IT WAS COMING FROM ME, BUT YOU WON''T LISTEN.

THIS GUY''S A FUCKIN'' ANIMAL, ALL RIGHT?

WE HAVE TO HAUL OFF AND SHOOT THE GUY IN THE FACE.

WHAT THE FUCK WAS THAT ABOUT? WHAT WAS THE REASON FOR THAT?

(Lange) I TOLD HIM TO!

THAT WAS THE REASON.

WHAT AM I GOING TO DO WITH YOU, FRANKIE?

I DON''T KNOW, POPS.

YOU JUST GOT TO BE SENSIBLE, THAT''S ALL.

(Lange) EVERYTHING WE DO IS SENSIBLE!

I NEED PEOPLE I CAN COUNT ON.

I''M THE ONE YOU COUNT ON, NOT HIM!

I CAN''T COUNT ON YOU

UNLESS I CAN CONTROL YOU!

(Gwynne) FRANKIE CAN''T BE CONTROLLED.

HE''S TOO SMART NOW.

[ominous music]

HOW ABOUT THAT, FRANKIE?

ARE YOU TOO SMART?

YOU''RE GOING TO KILL ME, AREN''T YOU, POPS?

AFTER ALL I DONE FOR YOU.

[gunshots]

AYE, I''LL KILL YA!

[shouting]

[breathing heavily]

OH, MY GOD, FRANKIE.

[whispering] Oh, no.

I''VE FALLEN, JAKE.

NO, NO, NO.

NO, THIS IS WHERE WE CAME IN, REMEMBER?

WARD, THIS IS 6-1, COME IN.

[Ward over radio] Go, 6-1.

(man) EVERYTHING LOOKED GOOD

WHEN THEY WENT IN WITH THE MONEY,

BUT THEN I THINK SOMETHING WENT WRONG.

I DON''T KNOW FOR SURE,

BUT IT LOOKS LIKE FRANKIE''S HURTING PRETTY BAD.

[tires squealing]

[lock clicking]

(Jake) MELISSA!

EASY, EASY! YEP, YEP, YEP, YEP, YEP.

WE DON''T HAVE ANY TIME.

YOU GOT TO FIX HIM UP,

AND THEN YOU GUYS GOT TO GET OUT OF HERE.

YOU GOT THAT?

[moaning quietly]

[sirens wailing]

FRANKIE.

FRANKIE, WAKE UP!

YEAH, WHAT?

MELISSA BANDAGED YOUR WOUND.

COME ON. YOU GOT TO SIT UP.

[groaning]

I DON''T--

COME ON.

COME ON.

NOW, LISTEN TO ME.

YOU GOT TO GO NOW.

YOU GOTTA GET OUT OF TOWN.

WHY DO I...

BECAUSE THEY''RE ON YOU-- THE COPS.

UH-UH.

HOW DO YOU KNOW THAT?

I KNOW THAT THEY''RE ON YOU BECAUSE I PUT THEM THERE.

(Frankie) JAKE,

WHAT ARE YOU TELLING ME?

WHAT?

WHAT''S GOING ON?

(Frankie) JAKE...

THAT FIRST NIGHT THAT YOU HELPED ME--

THE NIGHT IN THE BAR WITH LEW--

YOU WERE BEING SET UP.

WARD WAS FOLLOWING YOU.

AFTER THAT, HE CAME TO ME,

AND HE ASKED ME TO STAY CLOSE TO YOU.

FUCK, FRANKIE,

I WANTED A STORY,

AND WARD WANTED LANGE.

MY DEAL WITH HIM WAS THAT YOU''D GO FREE.

FRANKIE--

[breathing heavily]

LISTEN TO ME, FRANKIE.

HALF AN HOUR AGO,

YOUR BEST FRIEND WANTED TO KILL YOU.

I SET YOU UP BEFORE I EVER GOT TO KNOW YOU,

AND NOW I''M YOUR FRIEND,

AND I JUST WANT TO HELP YOU.

YEAH, RIGHT.

(Melissa) FRANKIE, DON''T.

YOU SHOOT HIM, YOU MAY AS WELL SHOOT ME.

THERE''S THINGS YOU DON''T KNOW, FRANKIE.

WHAT ARE YOU SAYING?

I CARE ABOUT HIM.

FRANKIE...

WHAT THE FUCK ARE YOU SAYING?

NO, FRANKIE. NO, DON''T.

NO, PLEASE DON''T.

FRANKIE, DON''T!

PLEASE DON''T.

(Frankie) YOU GIVE ME A FUCKIN'' REASON, JAKE.

BECAUSE YOU LOVE HER.

AND BECAUSE SHE LOVES YOU.

[Frankie screaming and firing gun]

[empty cartridge clicking]

GET YOUR HANDS UP!

GET ''EM UP!

YOU ARE UNDER ARREST, YOU PIECE OF SHIT,

FOR THE MURDER

OF BYRON LANGE AND CLARENCE GWYNNE.

HOW YOU DOIN'', WARD?

SHUT UP.

(Jake) THAT WAS A REAL SMART MOVE YOU PULLED TONIGHT.

YOU KNOW,

IT''S GETTING ALMOST ABSOLUTELY IMPOSSIBLE TO TRUST YOU ANYMORE.

CUFF ''EM, PLIMPTON.

CHECK THE REST OF THE HOUSE.

I''M PUTTIN'' THIS ASSHOLE IN JAIL FOR LIFE.

I DON''T GIVE A FLYING FUCK IF YOU TRUST ME OR NOT.

(Plimpton) HEY, HEY, GIVE ME THAT!

[gunshot]

[screaming]

JAKE, DON''T--

GET ON YOUR KNEES!

ON YOUR FACE!

YOU ARE DIGGING YOUR OWN GRAVE.

MOVE ONE MUSCLE, AND I''LL BLOW A HOLE

THROUGH YOUR EMPTY FUCKIN'' HEAD.

WHAT THE HELL ARE YOU THINKING, JAKE?

STUPID SON OF A BITCH.

YOU ALL RIGHT, FRANKIE? YOU GOT TO GO.

(Ward) JESUS, JAKE, THINK ABOUT THIS.

THERE''S NO TIME TO BE PISSED OFF.

YOU GOT TO GO.

(Ward) GIVE IT UP, FRANKIE.

I''LL SHOOT YOU IN THE BACK, WARD!

YOU''RE MINE. GOD, I SWEAR YOU''RE MINE.

EVERYTHING I EVER SAID TO YOU, I MEANT.

YOU GOTTA BELIEVE THAT.

YOU TAKE CARE OF HER, FRANKIE.

I THOUGHT I WAS.

FRANK, WE''RE GOING.

WE''RE GOING.

GO.

(Jake) I''LL BEAT THIS RAP.

YOU GOT TO GET OUT OF HERE. GO.

JUST GO ON. GET OUT OF HERE!

(Ward) WE''LL FIND YOU, McGREGOR.

[melancholy jazz music]

♪ ♪

I GUESS YOU THINK YOU''RE PRETTY DAMN SMART,

DON''T YOU, JAKE?

(man) ♪ OOH, THAT NIGHT TRAIN REFLECTED IN THE WATER. ♪

♪ WHEN ALL THE RAINY PAVEMENT LEADS TO YOU. ♪

♪ IT''S OVER NOW. ♪

♪ I KNOW IT''S OVER, ♪

♪ BUT I CAN''T LET GO. ♪

[reporters clamoring]

♪ IT''S OVER NOW. ♪

♪ I KNOW IT''S OVER. ♪ ♪

[flashbulb popping]

HEY, BRIDGES,

YOU MUST HAVE SOME KIND OF PULL WITH THE WARDEN.

ANOTHER PHONE CALL.

YOU GOT FIVE MINUTES.

HOLLYWOOD AGAIN?

YEAH, RIGHT.

COME ON. LET''S GO.

[calypso music]

♪ ♪

THIS IS JAKE.

SO YOU WEREN''T SO SMART AFTER ALL, JAKE.

I MEAN, YOU DIDN''T BEAT THE RAP.

[chuckling] H-HEY!

I WANT TO CHOKE YOU TO DEATH.

YOU KNOW THAT?

I''M SORRY TO HEAR THAT.

DON''T THINK I DON''T KNOW GUYS ON THE INSIDE

WHO COULD DO IT.

I DON''T DOUBT THAT.

I''D HAVE IT DONE IN A SNAP IF I FELT LIKE IT.

But you don''t feel like it, ''cause you just said--

DON''T TELL ME WHAT I SAID.

I FEEL WHAT I WANT TO FEEL WHEN I FEEL LIKE IT.

LOOK NOT TOO LONG UPON THE FIRE, JAKE.

SO HOW''S MEXICO?

It''s cheap, you know.

SINCE THE DEVALUATION,

THE AMERICAN DOLLAR GOES PRETTY FAR.

Since the devaluation?

What are you, an expert on monetary policy now?

I''M AN EXPERT AT A LOT OF THINGS.

How''s Melissa?

SHE''S GOOD.

JUST FOUND OUT SHE''S PREGNANT, SO...

THAT''S GREAT.

I MISS YOU BOTH.

[waves crashing]

JAKE.

Jake!

WHAT?

WHAT--

WHAT SHOULD I READ NEXT?

I''m looking for a good book to read, you know?

HEY.

HEY, TOUGH GUY.

COME ON.

[woman vocalizing]

♪ LOVING YOU, ♪

♪ ONLY YOU. ♪

(Jake) TWO YEARS, I''M OUT.

I''LL PROBABLY NEVER SEE THEM AGAIN.

(woman) ♪ NOTHING CAN COME BETWEEN YOU AND ME. ♪

(Jake) IT''S FUNNY.

PEOPLE YOU DON''T EXPECT TO LOVE ARE THE ONES YOU NEVER FORGET.

(woman) ♪ LOVING YOU. ♪

♪ ONLY YOU ♪

[woman vocalizing]

♪ THREE HEARTS ONE DAY WILL BE FREE AGAIN. ♪

♪ OOH, OH, OH. ♪

♪ JUST THE WAY I FEEL, BABY. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ JUST THE WAY I FEEL, BABY. ♪

♪ JUST THE WAY I FEEL, BABY. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ IT''S JUST THE WAY I FEEL, BABY. ♪

♪ IT''S JUST THE WAY I FEEL, BABY. ♪

♪ ♪

♪ IT''S JUST THE WAY. ♪

♪ IT''S JUST THE WAY I FEEL, BABY. ♪

♪ OH, OH, OH. ♪

♪ THREE HEARTS ONE DAY WILL BE FREE AGAIN. ♪

[vocalizing]

♪ ♪

♪ IT''S JUST THE WAY I FEEL, BABY. ♪

♪ IT''S JUST THE WAY I FEEL. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪ ♪

♪ ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪

♪ THREE HEARTS ARE HARD TO HOLD. ♪ ♪

♪ IT''S JUST THE WAY I FEEL, BABY. ♪

♪ JUST THE WAY I FEEL ♪

♪ JUST THE WAY I FEEL, BABY. ♪

♪ JUST THE WAY I FEEL, BABY, ♪

♪ BABY. ♪

[woman vocalizing]

♪ IT''S JUST THE WAY I FEEL, BABY. ♪

♪ BABY. ♪ ♪