Gunshy (1998) - full transcript
When the New York journalist Jake Bridges catches his girlfriend with another guy, he goes to Atlantic City to drink himself to oblivion. He is saved from a bar brawl by a small-time mobster Frankie, and Jake falls in love with Frankie's girlfriend Melissa. Jake soon also joins Frankie in his money-collecting duties.
[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. ♪ ♪
♪ ♪
♪ ♪
♪ ♪
♪ ♪
♪ ♪
(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. ♪ ♪