CRIME SPREE
Written by
Brad Mirman
First Draft, March 1996
FOR EDUCATIONAL PURPOSES ONLY
FADE IN:
INT. DARK ROOM - NIGHT
Pitch dark. We hear two men speaking FRENCH in hushed voices.
NOTE: All dialogue is in French until otherwise noted.
DANIEL
(whispering)
Turn on the flashlight.
JULIEN
I'm trying. It doesn't work.
DANIEL
It has to work. You just bought it this
afternoon.
A beat.
JULIEN
Do they come with batteries?
DANIEL
You didn't buy batteries?
JULIEN
I thought they came with batteries.
DANIEL
I can't believe you didn't check.
JULIEN
I bought everything you put on the list.
Gloves. Pen knives. Flashlight.
Batteries were not on the list.
DANIEL
Why should I have to put it on the list?
It's like saying to buy a car with tires.
EXT. HOUSE -- NIGHT
A wealthy neighborhood of Paris off the Champs Elysees. Large
homes line the secluded street. We see the silhouette of a man in
a Peugeot. We MOVE IN closer to see RAYMOND GAYET, 30's, waits
nervously.
INT. DARK ROOM -- NIGHT
Dark. DANIEL FORAY lights his Zippo lighter. He is late 30's,
tall, handsome with eyes that seem to twinkle in the glow of the
flame. Beside him is JULIEN LABESSE, 30's, hyper. Daniel places
the LIGHTER on a small table and moves over to a PAINTING on the
wall. Daniel stops at one, removes a pen knife and starts to cut
the canvas from the frame.
Daniel rolls up the canvas.
DANIEL
Let's go.
Julien starts to pick up the ZIPPO.
DANIEL
Be careful it's...
Too Late! Julien has already picked it up. It burns his hand ans
he flicks it away. It flies through the air and lands in the corner
of the room. The CURTAINS catch on fire.
DANIEL
... hot!
Julien panics! He grabs the canvas out of Daniel's hand and begins
beating the flames with it. Daniel looks at him with disbelief.
Julien flails his arms wildly as he beats back the flames. He
turns to Daniel pleased that his efforts have extinguished the
fire, but unaware that the canvas has now caught on fire. A beat.
Julien sees the flames and puts them out. Daniel just stares at
him. He opens the canvas. The painting is ruined.
EXT. STREET -- NIGHT
A Mercedes parks in front of the Peugeot, boxing it in between it
and a car behind it. The DRIVER gets out and walks away.
INT. HOUSE FOYER -- NIGHT
Daniel and Julien move through the darkness.
DANIEL
Light your lighter. I can't see
anything... and try not to burn down
the house!
Julien remove a lighter and presses it. The entire room fills
with light. Julien stares at the flame amazed.
OLD MAN'S VOICE
Don't move!
They turn to see an old man standing at the top of the stairs in
his bathrobe. He is frail, his face pasty white. He is holding a
very long, double-barrel shotgun.
Julien looks to Daniel with a 'what now' expression. The old man
slowly moves down the stairs. He loses his balance and falls down
the stairs, tumbling head over heals until he reaches the bottom.
Daniel and Julien stare at the old man who is sprawled out on the
floor, motionless.
JULIEN
Is he dead?
DANIEL
I don't know. He looks dead.
JULIEN
He looked dead before he fell.
The old man groans, then opens his eyes. He grabs his shotgun.
Daniel and Julien run to the door.
EXT. HOUSE -- NIGHT
Daniel and Julien run towards the street.
DANIEL
Start the car! Start the car!
Raymond starts the engine. Daniel and Julien rush across the street
and get in the back seat.
Raymond tries to pull out but there are only a few inches between
the Mercedes in front and the car behind. Like a pinball stuck
between two bumpers the Peugeot jerks rapidly back and forth.
INT. PEUGEOT -- CONTINUOUS
Daniel and Julien stare angrily ar Raymond.
JULIEN
You didn't think to move the car before
we came out!
Daniel looks out his window and sees...
DANIEL'S POV -- the old man runs out of his house with his shotgun
and heads towards the car.
Raymond is desperately trying to get the car free. They all slide
down as the old man fires. The windows on the left side of the
car shatter.
DANIEL
Raymond, get us out of here!
Raymond pops up and returns to getting the car out as the old man
opens the breach of the shotgun to reload..
Raymond floors the Peugeot keeping his foot on the brake. The
engine revs. He turns the wheel to the left and releases the brake.
The Peugeot juts forward smashing into the rear of the Mercedes
and pushing in out into the street. Before the old man can take
aim the Peugeot is speeding down the street.
INT. PEUGEOT -- MOVING -- NIGHT
Raymond bites his lip nervously as he drives. Julien finds the
whole thing amusing. Daniel leans forward.
DANIEL
(to Raymond)
You know what makes a good get away
driver?
(controlled anger)
Being able to get away!
RAYMOND
You're always pointing out my negative
qualities. My analyst says positive
reinforcement is a much more productive
way of relating with people.
JULIEN
Fine. Raymond, we'd like to commend you
on how well you fucked up tonight.
EXT. STREET, PARIS -- DAY
A narrow street. Daniel carries the cardboard tube as he walks
with Julien and Raymond. They enter a WAREHOUSE.
INT. BASTALDI'S OFFICE -- DAY
Two large desks are lined up face to face. One is empty. The
other is occupied by LAURANT BASTALDI, 40's, all business. Off to
the side is MARCEL BUROT, 40's. Daniel, Julien and Raymond enter.
As they approach the desk Daniel glances at Marcel who is staring
at him.
MARCEL
(amused)
I heard you almost got your ass blown
off last night. Some thief. A regular
black panther.
Marcel glances at Bastaldi to see if he appreciates his comments.
RAYMOND
A Black Panther was a member of an African
American militant group in the sixties,
Marcel. I think you're referring to The
Pink Panther.
MARCEL
Pink panther, black panther. Who gives
a shit? And I don't remember asking you
a God Damn thing, you little turd.
RAYMOND
There's no reason to be abusive. You're
projecting your anger on me as a defense
mechanism.
MARCEL
What the hell is he talking about?
RAYMOND
I'm talking about human beings
communicating openly and honestly.
MARCEL
How about getting on your knees and
communicating with my dick?
BASTALDI
Shut up! Both of you! You're giving me
a fuckin' headache.
A beat. Raymond and Marcel stare at one another. We HEAR a muffled
GROANING SOUND in the b.g.
DANIEL
Where's your brother?
BASTALDI
Vincent's in the States on business.
(a beat; referring to
the painting)
That it?
Daniel lays the cardboard tube containing the painting on the desk.
Bastaldi removes the painting. To him it is not a work of art,
just a commodity to be sold. He opens his desk drawer, removes
several large stacks of money and hands them to Daniel.
BASTALDI
Okay. Now I've got something I want to --
We HEAR the groaning sound again. Bastaldi looks irritated. He
gets up and walks over to a closet. He opens to the doors to reveal
a man in his underwear, his wrists tied behind his back, his mouth
taped shut. A wire noose is around his neck forcing him to stand
on his tip toes to avoid hanging himself.
BASTALDI
Do you mind? I'm trying to do some
business here.
The man looks at Bastaldi through pleading eyes and mumbles
something.
BASTALDI
One more sound out of you and I'm going
to cut your fuckin' tongue out.
Bastaldi closes the door. Daniel looks at him inquisitively.
BASTALDI
You take someone in. Give them a steady
job and how do they repay you? By
claiming to misplace a shipment of your
merchandise.
RAYMOND
Maybe he did misplace it.
BASTALDI
You misplace your car keys. You misplace
your cell phone.
You do not misplace one hundred and forty
seven wide-screen TV's!
DANIEL
Laurant, how long has he been in there?
Bastaldi looks puzzled.
BASTALDI
I don't know. What day is today?
JULIEN
Thursday.
BASTALDI
Is it Thursday already? This week has
just shot by.
Bastaldi thinks about something for a moment, then...
BASTALDI
You and your crew speak English, don't
you?
Daniel is still staring at the closet.
BASTALDI
Hey Daniel! Hello?
(snaps his fingers)
Do you guys speak English?
DANIEL
Uh, yeah.
BASTALDI
Good. I have a job for you in America.
Bastaldi tosses a photo of a middle-aged American couple. He points
to a diamond necklace around the woman's neck.
BASTALDI
The Taylors from Chicago. Very rich.
An acquaintance of mine recently quit
working for Mrs. Taylor as an assistant.
She tells me they keep all their jewelry
in a safe in their bedroom.
JULIEN
It seems like a long way to go for a
necklace.
DANIEL
Besides, we don't know the city and--
MARCEL
(overlapping)
Mr. Bastaldi isn't asking you if you
want to go.
He's telling you you're going! And if
he's telling you you're going to be going
then you are going to go!
BASTALDI
Thank you Marcel, for that... extremely
redundant explanation.
DANIEL
C'mon, Laurant, America?
BASTALDI
The job is worth about two million euros.
Pull this off and you and your crew could
make some real money, Daniel. You leave
tomorrow.
They know they don't have a choice.
JULIEN
We're going to need to find someone who
knows the city.
MARCEL
I know someone.
EXT. NOTRE DAME -- DAY
The plaza is filled with tourists. Moving through the crowd is
SAMI ZERHOUNI, Algerian, late 20's, a small time street hustler,
dressed in jeans and a "I Love Paris" tee-shirt. He passes a
MAN who is about to take a picture and lifts his wallet.
Sami moves on. He sees two overweight women standing at a
vendor's cart, holding a large wad of MONEY. The woman puts the
cash back in her purse, but does not zip it up.
Sami moves in behind her and slips his hand into the purse. She
zips the bag closed. Sami's face fills with pain as the zipper
catches the hair of his arm. The women walk towards the
cathedral. Sami has no choice but follow after them. He tries
to match their pace so he doesn't alert them of his presence.
The woman looks back and sees Sami's hand. She pulls her bag
away, ripping a section of hair off his arm, then swings the
bag, putting all of her weight behind it. It hits Sami squarely
in the face. He lands on his back with a thud. WALLETS and
BILLFOLDS fly out from every one of his pockets.
He staggers to his feet and starts to pick up the wallets when
he sees...
HIS POV -- ACROSS THE PLAZA: of two police officers moving
towards him .
He knows he has no more time. He takes off running, disappearing
into the crowd.
INT. CAFE -- LATIN QUARTER -- DAY
Sami is at the bar. He sees Marcel enter and runs towards the
back. Standing in his way is one of Marcel's MEN. Sami turns
around as Marcel approaches and forces a smile.
NOTE: All dialogue is now in English unless otherwise noted.
MARCEL
Going somewhere?
SAMI
Oh, Marcel! I thought you were somebody
else. If I knew it was you I would have
never run.
A long, awkward beat as Marcel just glares at him.
SAMI
You're probably here for the money I owe
you.
(off Marcel's nod)
I don't have it.
Marcel opens the door to the bathroom and pushes Sami inside.
INT. BATHROOM -- CONTINUOUS -- DAY
Marcel closes the door. He is face to face with Sami.
SAMI
You know this is how rumors get started.
Marcel punches Sami in the stomach. He drops to his knees. A
beat. The door to the bathroom opens and the LARGE MAN peers
inside. He stares awkwardly at what he perceives as the beginning
of a sexual act.
SAMI
Told you.
Marcel slams the door then grabs Sami by the ear and yanks him to
his feet.
MARCEL
Today's your lucky day, Sami.
SAMI
(breathlessly)
Yeah, I can see that.
MARCEL
Normally I'd be breaking your fingers
right now, but I'm going to give you a
chance to make enough to pay me back and
have some extra for yourself. We have a
group going to Chicago to do a job.
You're going with them.
SAMI
Me?
MARCEL
You lived there. You know the city.
SAMI
I've still got a few legal problems back
in the States.
Marcel glares at him.
SAMI
(nervously)
But I'd be... I'd be happy to go.
Marcel stares at him with hard expression.
MARCEL
If you try to leave town I'll know. If
you manage to leave town I'll find you...
and the next time we meet in a bathroom
I'll be cutting you up into little pieces.
He hands Sami a piece of paper.
MARCEL
Be at this address at nine o'clock
tomorrow morning.
INT. CAFE -- MORNING
Daniel sits with Julien. At the end of the bar Raymond is on the
pay phone.
RAYMOND
(in French)
Yes, Mama. Yes, I have my vitamins. I
have everything. Of course I'm coming
back. I'm not leaving you. I'm only
going to be gone a few days. I'll call
you when I get there. Okay? I've got
to go now.
(listens)
Mama, I've got to go.
(listens)
No, I'm not yelling.
Sami enters and walks over to Daniel and Julien.
SAMI
I'm Sami. Marcel sent me.
JULIEN
What is it you do, Sami?
SAMI
You know, a little of this, a little of
that. I've boosted cars, stole radios,
run a few scams. Right now I'm into
pick-pocketing.
JULIEN
I see. A master criminal.
SAMI
Hey, I was told to come here by Marcel.
You guys don't want me, I'll be more
than happy to leave.
The door opens. ZERO enters. No one knows his last name. He is
40's, blonde hair, leather jacket, black pants. Looks more like a
rock-star than a criminal. His eyes are flat and there is an
intensity about him that is unnerving. Zero casually nods to
Daniel. Zero stares at Sami as Daniel leads him over.
DANIEL
(to Sami)
This is Zero.
SAMI
Hi. I'm one and this is two, three,
four and five.
Sami laughs at his little joke. The others cringe. One look in
Zero's eyes tells Sami what everyone else already knows: This is
not someone to fuck with. Julien puts his arm around Sami and
leads him away from the others.
JULIEN
Let me give you some advice. You don't
want to piss him off because he'll kill
you for the fun of it. What you want to
do is keep your mouth shut and do what
we tell you.
ZERO
(in French)
So, we are going to America?
DANIEL
In English. Sami doesn't speak French.
ZERO
Where are you from?
SAMI
Algeria.
ZERO
And you don't speak French?
SAMI
Well, you know, not all Algerians speak
French. It's a matter of what school
you went too. Me I never really --
ZERO
(overlapping)
-- Zero isn't interested in your life
story.
(to Daniel)
Who gets killed?
DANIEL
Hopefully no one.
ZERO
(confused)
No one? Then why is Zero here?
Sami leans over to Raymond.
SAMI
He speaks about himself in the third
person?
RAYMOND
Feel free to correct him if you want.
DANIEL
(to Zero)
I just want you there in case there's
trouble.
ZERO
And if there is, then Zero can kill
someone?
DANIEL
We'll see.
EXT. CAFE -- DAY
Daniel and the others step out carrying their suitcases. The door
to a limousine opens and Marcel gets out. The scene is in FRENCH.
BASTALDI
(to Daniel)
I thought I would accompany you to the
airport to say bon voyage... and tell
you that Marcel will be going with you.
DANIEL
What?
BASTALDI
This is a considerable move up for you,
Daniel. The temptation of having so
much money might be too much for you.
DANIEL
You don't trust me?
BASTALDI
I don't trust anyone. You don't get to
the top of this game by trusting people...
and after all, you are a thief. It's in
your nature to steal. I'm just protecting
my investment.
INT. LIMO -- MOVING -- DAY
For many of them this is the first time they have ever been inside
a limo. Julien pours himself a drink. Sami plays around with the
air conditioner.
Zero turns on the radio and clicks through a few stations until he
comes to RENAUD singing "Des que le vent souffera." He leans back
in his seat, bobbing his head to the music. Marcel doesn't like
it. He changes the station. We hear JOHNNY HALLYDAY singing, "Que
je taime."
MARCEL
That's better.
Zero doesn't like it. He pushes the button returning to the Renaud
song and stares at Marcel. Marcel, not to be outdone returns the
Hallyday song. Like two children they click the buttons of the
radio, switching back and forth between Renaud and Hallyday.
Bastaldi has had enough.
BASTALDI
Stop it! Both of you!
He turns off the radio. A long beat. Marcel, like a child who
has to have the last word starts singing to himself quietly, but
loud enough for Zero to hear.
MARCEL
(singing)
... que je t'aime... que je...
Marcel sees Bastaldi glaring at him and stops.
EXT. O'HARE AIRPORT -- MORNING
Daniel and the crew get into a mini-van taxi.
EXT. CHICAGO DRIVING MONTAGE -- MORNING
Quick cuts of the familiar sights of the city. The Sears building.
Chicago board of trade building. Grant park. Then with each
successive cut the beauty of the city seems to fade until we are
in...
EXT. STREET -- MORNING
An industrial section of the city. Empty streets. Run down
buildings. Graffiti filled walls and burnt out hulls of abandoned
cars line the street. The taxi driver leans out his window.
TAXI DRIVER
Are you sure you guys have the right
address? This ain't no tourist area.
Marcel looks at a piece of paper he is holding.
MARCEL
Yes. We are sure.
The taxi speeds off, leaving them standing on the sidewalk, their
bags in a pile. Suddenly, from out of nowhere three BLACK TOUGHS
appear and walk over. Daniel looks behind him and sees another
two approaching from the rear. Zero calmly sits down on one of
the suitcases.
SAMI
Let me handle this.
LAMAR, 30's, the leader of the group steps forward.
SAMI
Hey, brother. What's happening, man?
Sami raises his hand as if to greet Lamar.
LAMAR
Don't you brother me, motherfucker.
Sami looks like an idiot with his hand up in the air. He casually
lowers it. Lamar looks over the group and grins.
LAMAR
What's in the bags?
JULIEN
Dirty underwear.
Lamar forces a laugh.
LAMAR
Dirty underwear. That's a good one.
Let me explain something to you. This
is my street and you're gonna give me
want I what or I'm gonna bust your heads
open.
Raymond steps forward and places his hand on Lamar's arm.
RAYMOND
Lamar, violence is never an answer to
settling disputes. I can see you have a
lot of anger... but this is not the way
to get it out.
LAMAR
Get outta my face!
Lamar removes a knife. The others in his group bring out an
assortment of clubs, chains and pipes.
LAMAR
Now, are you going to give me the
suitcases? Or are we going to have to
take them?
Zero is still sitting on one of the suitcases.
ZERO
Va te faire foutre!
LAMAR
What did he say?
DANIEL
He said to go fuck yourself.
ZERO
We are tired and bored with your bullshit.
So, put that stupid little knife away
before Zero shoves it up your ass.
LAMAR
Who is Zero?
JULIEN
He is.
LAMAR
(to Julien)
He speaks about himself in the third
person?
Julien shrugs his shoulders.
LAMAR
Maybe Zero would like to get off his ass
and take my knife from me?
ZERO
If you insist.
Zero stands up and raises his hand. He is holding a .9mm Glock.
He aims it at Lamar's head.
Lamar's brave exterior quickly fades now that he is looking down
the barrel of the gun. The rest of his gang turns and runs away.
Zero aims the gun at his groin.
ZERO
Leave now before Zero shoots off those
little raisins you call balls.
Lamar runs away. Daniel and the others smile at Zero as they pick
up their bags and walk towards a building.
Zero is left with Sami who stares at him with disbelief.
SAMI
You put a loaded gun in your bag and
brought it through customs? How stupid
is that?
ZERO
Zero did not put it in his bag. He put
it in yours.
Zero grins and walks away.
EXT. WAREHOUSE -- MORNING
The crew stands at a door. Marcel knocks. A peep-hole in the
door is opened and an eye looks them over.
MARCEL
We are looking for Sophie. Laurant send
us.
The door is opened by SOPHIE (the girl in the photo on Bastaldi's
computer). She is late 20's, beautiful.
SAMI
(softly)
Ouh La La.
INT. SOPHIE'S WAREHOUSE -- MORNING
An old building, the rooms are partitioned off by sheets hanging
from the ceiling. The main area is an artists workspace where
large abstract paintings lean against the wall.
SOPHIE
I wasn't expecting this many of you.
I've got a few sleeping bags you can
use.
SAMI
Thanks.
Of to the side, sitting on the couch is WAYNE, 20's, a burn-out
with long hair and a scraggly goatee. His face is buried in a
bong as he sucks in a lung full of marijuana. He watches a cartoon
show on the television.
SOPHIE
(to all of them)
This is Wayne. My roommate.
Raymond walks over to him.
RAYMOND
I am Raymond. Thank you for allowing us
to stay here.
WAYNE
No problem, man.
(offers him the bong)
Hey, you wanna hit?
RAYMOND
No thank you.
Raymond looks at the television and sees a cartoon show.
RAYMOND
Oh, Pepe Le Pew. He is very funny and
quite well known in France.
WAYNE
Yeah, I dig him.
RAYMOND
Although a cartoon I feel he shares a
universal theme: We are all searching
for love. No?
Wayne stares at him with a dead pan expression as he tries to
assemble a coherent thought.
WAYNE
Whoa... That's deep.
SOPHIE
You guys hungry?
INT. COFFEE SHOP -- AFTERNOON
Because of the hour the room is not crowded. Only a few PEOPLE
sit at the counter sipping coffee. A WAITRESS, 50's, bee hive
hair style, face covered in make up arrives at the table.
WAITRESS
Ready to order?
Julien looks up at her.
JULIEN
Could we see a wine list please?
WAITRESS
(smirks)
That's cute.
SOPHIE
They don't have a wine list.
JULIEN
Oh, then we will have the house wine.
WAITRESS
Sure -- and would you like that before
your escargot in white truffle sauce?
JULIEN
I did not order escargot.
SAMI
They don't serve wine here.
JULIEN
What kind of restaurant doesn't serve
wine?
SAMI
This kind.
JULIEN
Okay. I will have a beer.
WAITRESS
I don't think he's grasping the concept.
Iced tea, lemonade, coca cola, sprite or
root beer.
JULIEN
(to the others)
C'est quoi root beer?
DANIEL
He'll have a sprite. We'll all have
sprite.
WAITRESS
Good. Now that we've gotten the beverage
selection out of the way, dare we move
on to the main course?
ZERO
Idiot.
Zero grins as he puts a cigarette in his mouth. The waitress pulls
it out of his mouth.
WAITRESS
And no smoking.
ZERO
(in French)
No smoking? No drinking? What kind of
country is this?
CUT TO:
CLOSE ON MAN'S FACE.
VINNY, 40's, not the brightest bulb on the tree. His head snaps
back as someone punches him in the face. Blood flows from his
nose. We are in...
EXT. ALLEY -- AFTERNOON
Two GANGSTERS stand on each side of Vinny. They are JOEY "TWO
TONS" 40's, could have a second career as a Sumo Wrestler. NICKY
"THE RAKE", 30's, thin a rail. They make a strange pair but they
both have one thing in common: They are stone cold killers.
Standing in front of the them is FRANKIE ZAMMITO, 30's, a wise
guy, tough as they come. He wears a well tailored suit, black
leather gloves and polished shoes.
VINNY
(frightened)
I'm sorry, Frankie. Really.
Vinny gets off his knees and moves towards Zammito.
ZAMMITO
You bleed on me, I'll kill ya.
Vinny takes a step back.
ZAMMITO
What'd I tell you? Huh, Vinny? What'd
I tell you when you came to me for money?
Didn't I ask you not to do it? Did I
not say that?
(to Joey)
What'd I say to him?
JOEY "TWO TONS"
You said don't do it, boss.
ZAMMITO
That's right. I said don't do it. Did
you listen to me? No. You wanted the
money. So, I lent you twenty large.
Now it's been three weeks and you ain't
paid a dime. What do you think that
makes me look like on the street? I
don't do something to you and everyone
will think they can skate.
VINNY
Frankie, I --
ZAMMITO
-- Shut up! Don't you try to make me
feel bad about this. You knew what would
happen to you if you didn't pay. This
is on your head, not mine.
(to Joey and Nicky)
Break his arm.
Vinny looks up at Zammito through pleading eyes.
VINNY
Jesus, Frankie, I'm your brother!
ZAMMITO
That's why we're only breaking one arm.
INT. COFFEE SHOP -- LATER -- AFTERNOON
The table is littered with plates. Sophie has sketched out a
diagram of a house on her napkin.
SOPHIE
There's an exterior alarm system. There's
also another one in the hall that leads
to the bedroom with a motion detector.
The control panel is in the bedroom.
JULIEN
I can handle the exterior alarm, but the
one in the bedroom is a problem.
SAMI
After the outside alarm is off we go in
through the bedroom window.
DANIEL
(impressed)
Good. Zero and Julien will go in through
the window and disable the motion
detector. The rest of us will come in
through the front door.
JULIEN
What about transportation?
SOPHIE
You can use my car.
DANIEL
Not a good idea. Someone gets a license
number and it all leads back to you.
Raymond, you'll steal one.
RAYMOND
No problem.
SAMI
When do we go?
SOPHIE
Tonight.
DANIEL
Tonight?
SOPHIE
I know they won't be home tonight.
SAMI
You ever hear of jet lag?
SOPHIE
Take a nap.
EXT. SOPHIE'S WAREHOUSE -- AFTERNOON
As they crew and Sophie approach the door we hear the muted roar
of loud MUSIC.
INT. SOPHIE'S WAREHOUSE -- AFTERNOON
As the enter the music is even louder. The bass pounds through
the walls. Wayne seems oblivious to it as he sits on the couch
smoking a joint.
JULIEN
What the hell is that?
WAYNE
Neighbors. They do this all the time.
SAMI
I can't even hear myself think.
ZERO
How are we supposed to sleep with this
noise?
SOPHIE
I've asked them a hundred times to keep
in down. They don't listen.
RAYMOND
I will talk to them.
Sophie and Wayne both find his offer amusing.
WAYNE
Yeah. Right.
SOPHIE
Not a good idea.
RAYMOND
It's just a matter of communication.
Raymond leaves.
EXT. SIDE OF WAREHOUSE -- AFTERNOON
Raymond walks towards a door at the end of the building. The MUSIC
grows louder. He KNOCKS on the door and waits. It is opened by a
very large man... a biker type, leather jacket, full beard, several
long earrings hanging from his ear. He is holding a BEER BOTTLE.
Behind him are two other rough-looking men.
RAYMOND
(cheerfully; loudly
over the music)
Hello. My name is Raymond. I am visiting
next door and I was wondering if you
could make your music a little less loud.
The Biker takes a sip of his beer.
BIKER
No.
RAYMOND
But the music is very--
Before Raymond can finish his sentence the Biker pours his beer
over Raymond's head.
BIKER
Fuck off!
He slams the door in Raymond's face.
INT. SOPHIE'S WAREHOUSE -- MOMENTS LATER -- AFTERNOON
The music continues to pound through the walls. A soggy Raymond
steps into the room. He walks over to a chair and sits down, his
head hung down, embarrassed. Marcel is angered by this. He glances
over to Daniel who subtly nods to him. Marcel leaves the room.
EXT. SIDE OF WAREHOUSE -- MOMENTS LATER -- AFTERNOON
Marcel walks purposefully along the side of the building. He
reaches into his jacket pocket and removes two black leather gloves.
He slips them on as he approaches the door, then knocks. A beat.
The Biker opens the door.
BIKER
Listen asshole, I told you --
Marcel head butts him, slamming his forehead into the bridge of
his nose. The Biker clasps his hands over his bleeding nose.
Marcel grabs him by the hair and rapidly punches him in face several
times -- each punch backing the Biker into the room.
INT. BIKER'S WAREHOUSE -- CONTINUOUS
On the last punch the Biker falls backwards crashing through a
large glass coffee table.
BIKER #2 moves in behind Marcel and throws a hard punch as Marcel
turns around. Marcel bends his head down, so that his attackers
fists slams into the hard crown of his skull.
BIKER #2 painfully grabs his broken knuckles. Marcel knees him
hard in the groin. BIKER #2 turns to his side and doubles over.
Marcel kicks the man into the back of his knee spinning him around
and down on his knees.
In a fluid movement he elbows the man in the back of head . BIKER
#2 falls face forwards and is out cold.
Marcel turns to the third BIKER who is standing by the stereo. He
is smaller than the others and has seen enough. He quickly turns
off the power. DEAD QUIET.
INT. SOPHIE'S WAREHOUSE -- MOMENTS LATER -- AFTERNOON
Marcel enters. Wayne is on the couch with Raymond.
WAYNE
(impressed)
What'd you say to them?
MARCEL
(dryly)
Nothing.
EXT. SOUTH SIDE SOCIAL CLUB -- AFTERNOON
A plain looking building in an old neighborhood of the city.
INT. SOUTH SIDE SOCIAL CLUB - ZAMMITO'S OFFICE -- AFTERNOON
Zammito sits at his desk. Joey "Two Tons" and Nicky "The Rake"
sit on the couch. Bobby Beans balding, stocky enters.
ZAMMITO
Hey, Bobby beans... How you doin'?
He walks up to Zammito and they kiss each other on the cheek.
BOBBY BEANS
Good. I'm doing good. How you doin',
Frankie?
ZAMMITO
Good. I'm good.
BOBBY BEANS
Mr. Maranzano sends his warmest regards.
ZAMMITO
When you return please extend my regards
to Mr. Maranzano and his family.
Zammito motions for Bobby to sit down.
ZAMMITO
Can I offer you something. A drink?
Coffee?
BOBBY BEANS
No thank you.
ZAMMITO
You sure? I just got a shipment of
espresso from Sicily. Special blend.
Can't find anything like it in the States.
BOBBY BEANS
I'm good. Really.
ZAMMITO
Okay. I understand you're interested in
one of our properties?
BOBBY BEANS
Yeah. That warehouse over on Merchant
Street. The volume on our import business
has risen dramatically. The proceeds
this quarter will be supernumerary due
to the --
ZAMMITO
(overlapping)
-- Super what?
BOBBY BEANS
Supernumerary. It means better than
expected.
ZAMMITO
Then why not just fuckin' say better
than expected? Everybody knows what
better than expected means.
BOBBY BEANS
I'm taking a vocabulary course to enhance
my communication skills.
ZAMMITO
Okay. How much?
BOBBY BEANS
I'm not here to negotiate.
ZAMMITO
Why are you here?
BOBBY BEANS
To tell you that we're interested in the
property.
ZAMMITO
You told me that on the phone. What the
hell are you doing here? Showing off
your communication skills? Go back to
your people and tell them when they're
serious to put a number on the table.
BOBBY BEANS
I will relay the particulars of our
conversation to Mr. Maranzano.
ZAMMITO
Yeah -- you do that.
Bobby Beans leaves.
ZAMMITO
Jerk-wad!
Zammito looks over at Joey and Nicky.
ZAMMITO
How's my brother?
NICKY "THE RAKE"
He's over at St. James. They had to put
two pins in his arm.
ZAMMITO
I said a clean break.
JOEY "TWO TONS"
Hey boss, it's not a science.
ZAMMITO
Send some flowers. Something nice.
Roses or carnations. And one of those
get well soon cards.
Nicky gets up to carry out his instructions.
ZAMMITO
Oh and uh, send a case of steaks over to
his house. I don't want the kids to go
hungry while he's recuperating.
INT. SOPHIE'S WAREHOUSE -- LATER -- AFTERNOON
Julien and Zero are playing cards at the back of the room. Sami
sitting by himself sorting through a BLACK CANVAS BAG filled with
shoes. Sophie joins him. Sami pulls another pair of shoes out of
the canvas bag.
SOPHIE
You like shoes?
SAMI
No, I like the bag. It would be good
for the job tonight.
SOPHIE
It belongs to Vincent Bastaldi. He left
it last time he was here. I'm sure he
wouldn't mind if you used it.
Sami dumps the rest of the shoes out of the bag.
SOPHIE
So, how did you get hooked up with these
guys?
SAMI
Just lucky I guess. How'd you start
working for the Bastaldi's?
SOPHIE
The art world doesn't fully appreciate
my talent yet. I needed some way to pay
the rent. Laurant and Vincent pay well
for information.
SAMI
So you arranged to have the people you
worked for robbed?
SOPHIE
They're not nice people.
She sees a TATTOO on Sami's arm. It's a heart with someone's faded
name.
SOPHIE
I like your tattoo.
Sami is suddenly self-conscious of it. She traces along the letters
with her finger.
SOPHIE
(reading the name)
Casandra. Old girlfriend?
SAMI
Something like that.
SOPHIE
Did she break your heart?
SAMI
Something like that.
SOPHIE
It looks old. Did you get it a long
time ago?
SAMI
You ask a lot of questions.
SOPHIE
That's how you get to know someone. Did
it hurt when you got it?
SAMI
I don't remember. I was drunk.
SOPHIE
You got it in a bar?
SAMI
No. I got it in prison. I went in for
three years. When I came out she was
married to my best friend. Happy?
SOPHIE
Sorry. I didn't mean to pry.
SAMI
It's okay. It was a long time ago.
SOPHIE
I've been thinking about getting tattoo.
You know, a flower or something. On my
ass.
Sami looks at her quizzically.
SAMI
Who's gonna see it there?
SOPHIE
The lucky ones.
She smiles flirtatiously and walks away.
EXT. LIQUOR STORE -- EVENING
A car drives up. We can only see the outline of an old Chevy
Impala. Two men get out of the car, leaving the engine running as
they head for the liquor store.
Across the street Raymond is checking out a Buick LaSabre, but
stops when he sees the flashing alarm light on the dashboard. He
looks across the street and sees the Impala.
INT. LIQUOR STORE -- EVENING
An OLD MAN is behind the counter. Two masked men enter with guns
and rush up to the counter.
RAPHAEL
Gimme the money!
The old man opens the cash register and hands him all the bills.
RAPHAEL
Open the safe!
OLD MAN
I don't have the combination.
Raphael pistol whips him with his gun and drags him half way over
the counter, then presses his gun to the old man's head.
OLD MAN
I swear! I don't have it!
Raphael pushes him to the floor. He runs out of the store with
the others.
EXT. LIQUOR STORE -- EVENING
They run out and remove their masks. RAPHAEL RUIZ, 20's, Latin,
tough, shaved head, neck covered with tattoos. HECTOR, Latin,
small, cubby, stops and stares at something with confusion.
HECTOR
Hey, Vato, where's your car?
Raphael stops as he sees the street is empty.
RAPHAEL
My car!
Hector has to grab Raphael who is too stunned to move and drag him
down the street.
INT. SOPHIE'S WAREHOUSE -- EVENING
The crew gets ready. On the table a variety of gear is laid out.
Cells phones, electronic devices, all the tools of the trade.
Sami throws some items into the black canvas bag. A cell phone
rings. Julien answers it.
JULIEN
It's Raymond. He's outside with the
car.
They grab their gear and head for the door. Sophie leans over and
kisses Sami on the cheek. He stares at her, half surprised, half
embarrassed.
SOPHIE
For luck.
EXT. STREET, SOPHIE'S WAREHOUSE -- NIGHT
The crew steps out to find Raymond in the IMPALA. We can see it
clearer now. It's a low rider car. Bright orange flames are
painted on the side, wire wheels and chrome exhaust pipes.
SAMI
I'm glad you didn't get something flashy.
RAYMOND
Watch this.
Raymond pushes a button and the hydraulics make the car bounce up
and down. Sami rolls his eyes as the others get into the car.
ACROSS THE STREET -- Lamar is standing in the shadows with one of
his friends, watching.
INT. IMPALA -- MOVING -- EVENING
The six of them are crammed into the car as it moves down the
street. Julien studies a map.
INT. RAPHAEL'S HOUSE -- EVENING
Raphael sits on the couch. He can barely contain his anger. He
looks up slowly, his jaw clenched. Hector sits across from him
with a few other GANG BANGERS.
HECTOR
Maybe you should call the police.
RAPHAEL
Hey, idiot -- I've got stolen wheels and
a stolen radio in the car.
HECTOR
I just thought that--
RAPHAEL
(overlapping)
-- Don't think. Okay? You're not good
at it.
The other Gang Bangers laugh at Hector.
RAPHAEL
Go do something -- get some beers for
the guys.
Hector slinks out of the room. Raphael's face hardens.
RAPHAEL
When I find out who did this I'm going
to mount their head on my dashboard!
INT. ITALIAN RESTAURANT -- EVENING
A family operation. Checkerboard table clothes. Candles burning
in Chianti bottles. On the stereo VIC DAMONE sings "Angela Mia".
Zammito waits at a table. His cell phone rings.
ZAMMITO
(into phone)
Yeah?
HALF TOOTH TONY (V.O.)
Mr. B. wants to see you.
ZAMMITO
Now? I've got a date with a drop dead
major babe.
HALF TOOTH TONY (V.O.)
I'll tell him that.
Zammito thinks it over.
ZAMMITO
Okay. I'm coming.
He walks over to the MARIO, the OWNER of the restaurant.
ZAMMITO
Mario, I gotta go. When my date arrives
tell her I had an emergency.
MARIO
Of course, Mr. Zammito.
EXT. WRIGLEY FIELD STADIUM -- NIGHT
The Impala is stopped in the parking lot.
RAYMOND (V.O.)
I think we went the wrong way.
SAMI (V.O.)
Oh, you think?
MARCEL (V.O.)
The map said to go left.
JULIEN (V.O.)
Yeah and if you turned it around it would
say to go right.
MARCEL (V.O.)
(amused)
Oh yeah.
INT. BONANNO'S HOUSE, STUDY -- EVENING
Zammito enters to find ANGELO BONANNO, 60's, powerful, head of the
Chicago Mob. He is smoking a cigar with a glass of brandy.
BONANNO
Frankie, come in. Good to see you. You
want something?
ZAMMITO
No, I'm good, Angelo.
Bonanno motions to the couch. Zammito sits down.
BONANNO
I understand Bobby Beans came to see you
today.
ZAMMITO
Yeah. Seems Maranzano wants to talk
about buying the Merchant Street
warehouse.
BONANNO
And?
ZAMMITO
And nothing. He's just feeling us out.
BONANNO
He's trying to get a foot hold in our
territory.
ZAMMITO
He sticks his toes in the water again,
we'll cut 'em off.
BONANNO
Business must be good if he can afford
to buy up useless property.
ZAMMITO
I heard this quarter his profits are
gonna be supernumerary.
Bonanno stares at him.
BONANNO
They're gonna be what?
ZAMMITO
Supernumerary. It means better than
expected.
BONANNO
Good word.
Half Tooth Tony, 30's, built like a tank step into the room. He
has the face of a boxer, several of his teeth are chipped or broken.
HALF TOOTH TONY
Mr. Bonanno, I just wanted to remind you
that you have an appointment in ten
minutes.
Half Tooth Tony leaves.
ZAMMITO
Someone else coming?
BONANNO
Nah, that's just Tony's way of telling
me Judge Judy starts in ten minutes.
You ever watch it?
ZAMMITO
Uh, no --
BONANNO
You should. You can learn a lot about
the criminal justice system on a program
like that. Very informative. Stay and
watch it with me.
ZAMMITO
You know, I'm kind of tired. I'm just
gonna go home if it's all the same to
you.
Bonanno affectionately slaps Zammito's cheeks.
BONANNO
Go. Rest.
Bonanno takes a sip of his brandy, but his eyes stay on Zammito.
BONANNO
Oh Frankie, what's this I hear about
your brother?
ZAMMITO
He missed three weeks.
BONANNO
Your own brother? You couldn't send
someone else to do it?
ZAMMITO
I did. Joey "Two Tons" and Nicky "The
Rake" did the deed.
BONANNO
But you were there?
ZAMMITO
Angelo, we live and die by the rules we
make. We are men of honor, but honor
without respect is a... horse-less
carriage.
A long beat. Bonanno thinks about what he said, not sure what to
make of it, then...
BONANNO
What the fuck does that mean?
EXT. STREET -- NIGHT
The Impala is by the pumps. Sami leans out the window holding the
map as he speaks with the station attendant.
EXT. RESIDENTIAL STREET -- NIGHT
An upscale neighborhood. Expensive homes line the wooded street.
The Impala stops and the crew gets out.
DANIEL
(to Raymond)
Park on the next street over. We'll
meet you when we're done.
EXT. ZAMMITO'S HOUSE -- NIGHT
Julien attaches a device to the alarm panel. A series of numbers
flash by as the computer cracks the code. One by one, the numbers
stop until the entry code is displayed on the screen. He enters
the numbers on the alarm and nods to the others.
Julien and Zero move around to the side of the house as Daniel,
Sami and Marcel wait in the shadows.
EXT. ZAMMITO'S HOUSE, SIDE OF HOUSE -- NIGHT
Julien places a retractable ladder against the wall and climbs up.
He pries open the window and climbs in. Zero follows.
INT. ZAMMITO'S HOUSE, BEDROOM -- NIGHT
Dark. Julien makes his way to the door and repeats the process
with another alarm panel. Zero sits on the corner of the bed and
waits patiently. Julien turns off the hall alarm and nods to Zero.
Zero speed dials a number on his cell phone.
ZERO
We're in.
EXT. ZAMMITO'S HOUSE -- NIGHT
Daniel uses a locksmith tool and quickly pries the lock out of the
door. They go inside.
INT. ZAMMITO'S BEDROOM -- NIGHT
Julien and Zero wait for them. We hear a toilet flush. The door
to the bathroom opens and a man steps out. In an instant Julien
and Zero jump him. The others enter and quickly join in to subdue
the man.
EXT. STREET -- NIGHT
Raymond waits in the Impala. He can't resist using the hydraulics,
raising the car up and down.
INT. ZAMMITO'S BEDROOM -- NIGHT
The lights are on. The room is an interior designers nightmare.
Clashing colors, zebra skin bedspread. We move along Daniel, Sami,
Marcel, Julien and Zero as they stare at something.
THEIR POV -- Tied to a chair, his mouth taped shut, is a very angry
Frankie Zammito. He yells, his voice muffled by the tape, but
it's not hard to understand what he's saying.
DANIEL
So much for no one being home.
Julien goes to a bookcase and finds the safe.
JULIEN
At least they got this right.
He removes his tools and goes to work. Sami stares at Zammito
with vague recognition, then turns to the others.
SAMI
We've got to be careful not to use our
real names while we're in here.
DANIEL
Good idea.
SAMI
I'll be Elvis and you--
MARCEL
(overlapping)
-- I want to be Elvis.
SAMI
It's my idea.
MARCEL
(whining)
C'mon, I look more like Elvis than you
do.
SAMI
Okay. You can be Elvis.
Marcel smiles happily.
SAMI
And the rest of us are... John, Paul,
George and Ringo.
Marcel sees an autographed baseball on the book shelf.
MARCEL
Hey, Barry Bonds. The home run king.
Marcel tosses the ball into the black canvas bag. Daniel stares
at him.
MARCEL
It's for my nephew.
INT. HOUSE ACROSS THE STREET -- NIGHT
A surveillance operation. Two FBI agents sit near the window. A
small card table is littered with coffee cups. SPECIAL AGENT
AGENT HADLEY, 40's, a hardened field agent, picks up a pair of
binoculars and looks out the window.
HIS POV - THROUGH THE BINOCULARS: of Zammito tied to the chair
and surrounded by the others.
AGENT HADLEY
Looks like Zammito's being robbed.
FBI AGENT
Should I call C.P.D.?
AGENT HADLEY
Yeah, but tell them not to move until
these morons come out of the house.
INT. ZAMMITO'S BEDROOM -- NIGHT
BLACK SCREEN. From inside the safe we see Julien open the door.
Daniel and Julien look inside. There are a several stacks of cash,
envelopes and a small cardboard box. Julien starts removing
everything and puts it into the bag canvas bag.
JULIEN
Where are the jewels? There aren't any
jewels.
Marcel looks as surprised as they are.
MARCEL
There has to be.
JULIEN
I'm telling you I've pulled out everything
in the safe. There aren't any jewels.
MARCEL
There must be half a million dollars
here though.
DANIEL
Marcel, we came here for jewels, remember?
Sami moves closer to Zammito, studying his face. He moves over to
the dresser where there are several photographs of Zammito with
various famous people. Next to the photographs is a plaque that
reads: TO FRANCIS ZAMMITO...
We can see the color drain from Sami's face. He glances over at
Zammito whose eyes are locked on his. Sami grabs Daniel and Marcel
and pulls them aside.
SAMI
(babbling nervously)
We have a problem. Problem isn't the
right word. Dilemma. No that really
doesn't describe --
(flatly)
Do you know who that is?
MARCEL
Mr. Taylor?
SAMI
No, that's not Mr. Taylor.
DANIEL
(sensing something
bad is coming)
It's not?
SAMI
That's Frankie Zammito. The Under boss
of the Chicago Mafia.
MARCEL
(confused)
Why would they want us to rob the Mafia?
SAMI
(screaming)
WE'RE IN THE WRONG HOUSE, YOU FUCKIN'
IDIOT!
A beat. The three of them turn and look at Zammito. The
seriousness of the situation finally dawns on Marcel. He moves
over to Zammito and rips the tape off his mouth.
MARCEL
Mr. Zammito, there seems to have been a
big mistake here. May I use your phone?
ZAMMITO
Feel free.
Marcel picks up the cordless phone and dials.
QUICK CUT TO:
INT. BASTALDI'S BEDROOM - EARLY MORNING
Bastaldi removes a sleep mask and answers the phone.
BASTALDI
Hello?
MARCEL (V.O.)
(in French)
It's Elvis...
BASTALDI
Who?
MARCEL (V.O.)
(in French)
It's me...
BASTALDI
Marcel?
CUT BACK TO:
INT. ZAMMITO'S BEDROOM -- NIGHT
Marcel continues his conversation.
MARCEL
(in French)
Yes.
We went to the address we were given and
had to tie up the owner of the house who
turns out to be some Mafia guy.
BASTALDI (V.O.)
(in French)
You're there now?
MARCEL
Oui.
BASTALDI
(in French)
You're calling me on your cell phone,
right?
MARCEL
No.
BASTALDI (V.O.)
(in French)
You're calling me on is phone?
MARCEL
Oui.
BASTALDI (V.O.)
(in French)
My number's going to show up on his bill!
MARCEL
(In French)
Should I call you back?
We can hear Bastaldi sigh over the line.
BASTALDI (V.O.)
(in French)
You've already robbed the safe?
MARCEL
Oui.
BASTALDI (V.O.)
(in French)
Take what you've got and get out of there.
Bastaldi hangs up. The line goes dead.
ZAMMITO
Walk out of here with nothing and I'll
forget this ever happened.
SAMI
Yeah. Right. You're not a vendetta
kind of guy.
ZAMMITO
I'll find you. No matter where you go
I'll find you.
DANIEL
You don't carry the same weight in France
as you do here.
Marcel whispers into Daniel's ear.
MARCEL
You think it's smart to tell him we're
French?
DANIEL
I think he's already figured that out.
Zero who has been standing quietly by the window sees something
across the street. A flash. Light reflecting off glass. He takes
a pair of night vision binoculars out of one of the bags and looks
out the window.
ZERO'S POV -- of Agent Hadley and the other FBI Agent watching
him.
ZERO
We are being watched.
Daniel grabs the binoculars and looks.
DANIEL
Cops?
ZAMMITO
FBI. They've been there for months.
Think I don't know. Morons.
Daniel closes the curtains. He tries to think. The crew huddles
together in the corner, speaking softly so Zammito can't hear them.
JULIEN
What do we do?
MARCEL
I was told to take what we have and go.
JULIEN
Go where? The police are outside.
Daniel looks at the others.
DANIEL
If we do this we all have to agree.
Marcel and Zero nod. Daniel looks to Julien who appears indecisive.
JULIEN
I don't know. Maybe if we did just leave --
SAMI
C'mon, get real, will you. You think
he's just going to forget about this?
These guys are all about respect. All
about honor. He's coming after us, so
we might as well take the money.
Julien nods. Sami walks over and grabs the black canvas bag.
ZAMMITO
You're all dead.
Zero grins then tapes his mouth closed again.
EXT. BACK OF HOUSE -- NIGHT
The crew goes out the back door and climb over a fence.
EXT. STREET -- NIGHT
The crew arrives to find Raymond still playing with the hydraulics
of the Impala. They get in.
EXT. SOPHIE'S WAREHOUSE -- NIGHT
The Impala pulls into a driveway and goes to the rear of the
building, out of view from the street.
EXT. SOPHIE'S FRONT DOOR -- NIGHT
The crew waits as the door is unlocked. Wayne opens the door in a
stoned haze.
INT. SOPHIE'S WAREHOUSE -- NIGHT
The crew places their equipment on the table.
SOPHIE (V.O.)
Wayne, who is it?
She enters and appears surprised to see them.
SOPHIE
I wasn't expecting you guys back so fast.
How'd it go?
She quickly notices their angry expressions.
SAMI
How'd it go? I don't know. Daniel, how
would you say it went?
DANIEL
I would have to say... pretty fuckin'
bad. You gave us the wrong address
Sophie.
SOPHIE
No, I didn't.
JULIEN
Bastaldi got the address from you, yes?
SOPHIE
Yes.
JULIEN
And he gave it to us. 145 Ridgeway Road.
SOPHIE
No. 145 Ridgeroad Way.
DANIEL
That moron.
MARCEL
It was an honest mistake. Ridgeway...
Ridgeroad... Ridgeway Road.
DANIEL
Everyone get some sleep. We're leaving
in the morning.
INT. SURVEILLANCE HOUSE -- NIGHT
Agent Hadley checks his watch.
AGENT HADLEY
What the hell are they doing in there?
FBI AGENT
Chicago P.D. says they can't hold the
units here any longer. They want to
know if they should go in?
Agent Hadley thinks a moment.
AGENT HADLEY
Tell them no. We'll advise if anything
changes.
INT. ZAMMITO'S BEDROOM -- NIGHT
Zammito is still tied to his chair.
HIS POV -- of the cordless phone of his bed.
He pushes with his feet, sliding the chair over to the bed, then
starts rocking back and forth until he tips over forward, his face
pressed against the mattress. Using his nose he turns on the phone
and presses a speed dial number.
INT. JOEY TWO TONS BEDROOM -- NIGHT
Joey "Two Tons" is asleep in a sleeveless tee shirt. Next to him
is his wife, her hair in curlers, her eyes covered by a black sleep
mask. The phone rings. Joey answers it.
JOEY "TWO TONS"
Yeah?
We hear Zammito's muffled cries for help. It almost sounds like
someone moaning during a sexual act. Joey is surprised at first,
then glances over at his wife to make sure she is asleep. He slides
his hand under the covers and closes his eyes.
JOEY "TWO TONS"
(quietly)
Hmmm.... Oh yeah... Uh huh
INT. ZAMMITO'S BEDROOM -- CONTINUOUS
Zammito stops as he begins to realize what Joey is doing on the
other end of the line. He grimaces, then shouts louder.
INT. JOEY TWO TONS BEDROOM -- CONTINUOUS
Joey is really going to town now as his hand moves slowly under
the covers. We hear a loud scream on the phone.
JOEY "TWO TONS"
That's right baby, give it to papa Joey.
He is really deep into his fantasy world when...
JOEY "TWO TONS" WIFE
Joey, who is that?
Joey sits up quickly.
JOEY "TWO TONS"
(loudly; for his wife's
sake)
-- And don't call here again, you pervert.
He slams the phone down. A long beat. It rings again. This time
he checks his caller ID and sees that call is coming from Zammito's
house.
JOEY "TWO TONS"
Yeah boss?
Again we hear the same muffled cries.
JOEY "TWO TONS"
Boss?
INT. BODY SHOP -- NIGHT
Raphael enters with Hector and two GANG-BANGERS. The room is filled
with low rider cars.
Working under the hood of a car is FELIX, 30's, sleazy. Raphael
walks over and slams the hood down, pinning Felix's upper body and
squishing his face between the hood and engine.
RAPHAEL
Someone stole my car tonight!
FELIX
C'mon Raphael, you don't think that I
would steal your car?
RAPHAEL
You run a chop shop for low riders.
Yes, I think you'd steal my car.
Raphael lifts up the hood and slams it down on Felix again.
FELIX
I swear I didn't. I wouldn't!
RAPHAEL
And I should just believe--
HECTOR
(overlapping; to Felix)
-- you stole my cousin Enrique's car.
RAPHAEL
(to Hector)
Hector, don't interrupt me.
HECTOR
He told Enrique he didn't know anything
about his car.
RAPHAEL
I don't give a shit about your cousin's
car. We're here about my car. So, shut
your mouth! You think you can do that?
You think you can keep your big mouth
shut?
Hector is embarrassed as Raphael once again berates him in front
of the others. Raphael picks up a pair of pliers of the workbench.
He clamps them down on the tip of Felix's nose and squeezes.
Felix's face fills with pain.
RAPHAEL
If I find out you're lying. If I find
out you know anything about this I'm
going to come back and cut off your nose.
He gives the pliers one last squeeze, then releases Felix.
RAPHAEL
(to the others)
Vamos.
INT. SURVEILLANCE HOUSE -- NIGHT
Agent Hadley sips a cup of warm coffee. He looks very concerned.
FBI AGENT
Sir, do you think we could have a hostage
situation in there?
Agent Hadley is about to answer when he sees something.
HIS POV -- of a Lincoln Town Car pull up. Joey "Two Tons" gets
out, goes to the front door and enters.
AGENT HADLEY
Hold on a second. Joey "Two Tons" just
pulled up.
INT. ZAMMITO'S BEDROOM -- NIGHT
Joey enters to find Zammito tied to the chair, face down on the
bed.
JOEY "TWO TONS"
Jesus, Boss!
INT. ZAMMITO'S LIVING ROOM -- NIGHT
Zammito stands behind the bar pouring himself a large scotch.
ZAMMITO
They were all French guys.
JOEY "TWO TONS"
French guys? You mean like from France?
ZAMMITO
(with strained patience)
Yeah, French guys from France.
JOEY "TWO TONS"
What'd they take?
ZAMMITO
Everything.
JOEY "TWO TONS"
Everything?
ZAMMITO
Everything.
JOEY "TWO TONS"
Boy, you must be pissed.
ZAMMITO
Well, you know, when five guys break
into my house in the middle of the night,
stick guns in my face, tie me up and
steal from me... it does irritate me.
JOEY "TWO TONS"
Well, I must say you're handling it very
well.
ZAMMITO
You know why I'm handling it very well?
Because you're going to get these guys
for me.
JOEY "TWO TONS"
Okay boss. Where are they?
ZAMMITO
If I knew where they were you wouldn't
have to find them, would you?
JOEY "TWO TONS"
You didn't say find them. You said,
"get them."
ZAMMITO
Just find them!
JOEY "TWO TONS"
Okay boss.
Zammito stares at Joey for a long beat, then...
ZAMMITO
Papa Joey?
Joey looks away, embarrassed.
INT. SOPHIE'S WAREHOUSE -- NIGHT
Sami can't sleep. He walks over to the table and sorts through
the canvas bag containing the contents of Zammito's safe. Inside
a small cardboard box he finds several cassette tapes. He removes
the box and walks to the stereo system on the floor, then inserts
a tape into the cassette deck. A moment later Sophie enters.
SOPHIE
Can't sleep?
SAMI
No.
SOPHIE
I'm sorry things went so wrong today.
SAMI
It's not your fault.
She notices the box of tapes.
SOPHIE
What are you doing?
SAMI
I thought I'd listen to some of the tapes.
See what's so important that a mob guy
has to lock it away in his safe.
SOPHIE
Sounds boring.
SAMI
It's three in the morning. Not much
else to do.
She grins seductively, then leans in towards him.
SOPHIE
I can think of something.
They kiss.
INT. SOPHIE'S WAREHOUSE -- MORNING
Sami is asleep on the floor, curled up under several blankets. He
wakes up and looks to his side expecting to find Sophie. She is
not there. Sami looks around for her.
Wayne is sitting on the couch preparing his morning joint.
WAYNE
She's not here, man.
SAMI
Where is she?
WAYNE
I think she went to do some laundry.
Threw some stuff in a bag and left.
It takes a moment for Sami to connect the thoughts.
SAMI
Bag?
Sami runs to the table. The black canvas bag is gone.
CLOSE ON DANIEL: Asleep. Sami shakes him. He opens his eyes.
SAMI
Get up. We've been ripped off!
INT. SOPHIE'S WAREHOUSE -- MOMENTS LATER
Daniel and Sami are with the crew. They are not a happy bunch.
Wayne is smoking his joint, his eyes locked on the television.
JULIEN
Oh, man... this is bullshit! You can't
trust anyone these days.
RAYMOND
She took everything! Didn't even leave
us cab fare.
A thought occurs to Sami.
SAMI
Not everything.
He removes the tape he put in the cassette deck last night before
Sophie entered.
SAMI
I was going to listen to it last night
but I --
He realizes it may not be the time to tell them what happened.
SAMI
-- feel asleep.
Wayne blurts out a sloppy laugh.
WAYNE
No you didn't, dude. You were bangin'
Sophie. I saw you guys going at it.
DANIEL
You slept with her?
SAMI
Well, actually I would say she slept
with me.
Daniel stares at him angrily.
SAMI
What's the big deal? It's not like I
was on guard duty or something.
DANIEL
You didn't think it was little suspicious
that someone you only knew for a few
hours wanted to sleep with you?
SAMI
No. Chicks dig me.
Daniel grabs the cassette and puts it in the player. On the tape
we hear a phone ringing.
MAN'S VOICE
Hello?
ZAMMITO'S VOICE
It's me. I need an answer from you if
I'm going to move.
MAN'S VOICE
We're not just talkin' about a 'piece of
work' here. We're talking about a boss.
Sami is the first to realize what he is hearing.
SAMI
Holy shit.
RAYMOND
What?
Sami holds his hand signaling them to be quiet so he can hear the
rest.
ZAMMITO'S VOICE
Bonanno's a dinosaur. Guy thinks he's
fuckin' Vito Corleone or something. The
old ways are gone. If we don't change
now we're going to get pushed out. I
need to know if I can count on your
support?
A pause on the line.
MAN'S VOICE
Yeah.
The line goes dead. Sami leans back.
SAMI
No wonder Zammito didn't want us to walk
out with this stuff. He's planning on
killing Bonanno and taking over the
family.
JULIEN
This wasn't the deal! The deal was to
steal a necklace, not get in the middle
of a Mafia war.
MARCEL
The deal is whatever Mr. Bastaldi says
it is.
DANIEL
You know, if you could get your nose out
of Bastaldi's ass for two seconds you
might see what's going on around you.
JULIEN
I knew this was a mistake! I knew it
last night when you asked me to go along
with this. I could hear that little
voice in my head saying, "don't do it!
Don't you do it!" Jesus, why don't I
ever listen to myself?
SAMI
Yeah, but you did do it. So let's deal
with that.
MARCEL
What are you guys so scared of? Zammito
doesn't know who we are. We just get
out of town and it's over.
ZERO
Oh, you think it's that easy?
RAYMOND
Yeah. We just go home.
DANIEL
We can't.
RAYMOND
I agree with Marcel. I say we go to the
airport and get on a plane.
SAMI
They'll be waiting for us at the airport.
DANIEL
You steal some money from a man he gets
over it in time. But these tapes. He's
never going to stop looking for us.
SAMI
We have to find Sophie.
RAYMOND
How are we going to do that?
WAYNE
I know where she went.
They all look over at him as he takes a huge hit off his joint.
WAYNE
I heard her talking on the phone. Bay
View Motel. It's about five blocks from
here.
EXT. STREET -- MORNING
A beat up Ford Pinto sputters down the street, black smoke spewing
from the tail pipe.
INT. PINTO -- MOVING -- MORNING
Raphael is at the wheel, his eyes scanning the street for his car.
In the passenger seat Hector sits calmly. They come to a red light
and stop.
RAPHAEL'S POV -- Across the street is low rider car.
Raphael stares at it as he thinks about his own car.
ON HECTOR. We see the Impala pull up beside them. Raymond is
driving. Daniel, Sami and Zero are with him.
Hector glances over and sees the Impala. Raymond smiles at him
and nods. Hector slowly nods back. He looks over at Raphael who
is still looking out the window.
The light turns green. The Impala turns right. Raphael looks
over at a confused Hector.
RAPHAEL
Tell me the truth Hector... do you think
we'll find my car?
HECTOR
Hard to say.
EXT. BAY VIEW MOTEL -- MORNING
A motel like any other. Sami stands outside the office with Daniel,
Raymond and Zero.
RAYMOND
How do we know what room she's in?
SAMI
Wait here.
INT. OFFICE -- BAY VIEW MOTEL -- MORNING
Sami enters. Behind the counter is the MOTEL CLERK, middle-aged,
balding.
SAMI
Hi. Did a woman just check in? She's
about five six. Pretty. Dark hair.
MOTEL CLERK
I can't give out information on our
guests.
SAMI
C'mon man, I think she's having an affair.
MOTEL CLERK
So are half the people in this place. I
can't help you, pal.
Sami nods and walks outside. Through the window we see him talking
with the others. A beat. Sami steps back inside with Zero.
MOTEL CLERK
Look, I can't tell you --
Before he can finish the sentence Zero has his gun out and wedged
under the clerks jaw.
MOTEL CLERK
Room fourteen.
ZERO
Thank you.
EXT. MOTEL ROOM -- MORNING
Sami knocks. The others stand off to the side of the door. Sophie
opens the door and sees Sami. Before she can slam it he pushes it
open.
INT. MOTEL ROOM -- MORNING
Sami pushes her onto the bed.
SAMI
I really thought we had something special
going. I can't tell you what a
disappointment you've turned out to be.
SOPHIE
After last night I could say the same
for you.
Sami feigns a smile. Zero checks the bathroom to make sure she is
alone. He looks at Daniel and shake his head. Raymond finds the
black canvas bag on the dresser and checks the contents.
RAYMOND
The money isn't here.
SAMI
Where is it, Sophie?
SOPHIE
I don't know.
DANIEL
If you think because you're a women this
can't go hard on you, think again.
She stares at them defiantly.
SAMI
Who are you waiting for?
SOPHIE
Stick around and find out.
INT. MOTEL ROOM -- LATER -- MORNING
A knock on the door. Sami clamps his hand over Sophie's mouth
just in case she gets any stupid ideas. Daniel opens the door.
Agent Hadley steps in, stares at Daniel, then feels the barrel of
Zero's gun pressed against his head.
Hadley steps into the room. Daniel closes the door. Zero searches
him. Finds a gun which he gives to Daniel, then a wallet. He
opens it and sees his FBI identification.
ZERO
He's FBI.
Zero knowingly bends down and removes Hadley's backup gun which is
strapped to his ankle. He gives the gun to Sami.
RAYMOND
What is she doing with an agent du FBI?
Sami looks at her -- at Hadley -- at the black canvas bag. Slowly
it starts to come together in his mind.
SAMI
We've been set up.
He stares at Sophie angrily.
SAMI
We didn't go to the wrong house. We
went to right one, didn't we Sophie?
Her expression gives away nothing.
SAMI
They send us to Zammito's house. The
FBI is right across the street watching
the whole thing, but they don't move. A
crime is going down and they don't move.
Why?
(beat)
Because they were waiting for us to come
out so they could arrest us.
ZERO
What does arresting us get them?
SAMI
(to Hadley)
You wanna tell him?
AGENT HADLEY
You're telling it fine.
Daniel motions to Zero.
DANIEL
You see my friend over there? I nod to
him and he's going to put a bullet in
your knee.
Zero stares at Hadley, just waiting for Daniel to give him the go
ahead.
AGENT HADLEY
You wouldn't.
Daniel nods. Zero aims his gun at Hadley's knee cap.
AGENT HADLEY
That's going to make a lot of noise.
Not much time for a conversation after
you pull the trigger.
They know he's right.
SAMI
He's got a point.
Sami lifts up a heavy brass lamp from the nightstand. He pulls
the electrical cord out of the base, then touches two wires
together. They spark. Before Hadley can say a word Sami touches
them to his hand. Hadley's body jerks violent as he screams.
Sami removes the wires. Hadley winces in pain from the burn mark
on his hand.
AGENT HADLEY
Okay! Okay! We've been investigating
Zammito for years, but we've never had
enough evidence for a warrant to search
his house. We got word through a snitch
that Zammito was planning on taking
Bonanno out.
DANIEL
We know all this.
AGENT HADLEY
You just don't take out a boss. You
need permission from the other families
to do something like that. Our informant
told us that Zammito was talking with
other bosses and recording their
conversations in case they later claimed
they weren't involved. Look at these
tapes. The guy has recorded every
conversation he's had for years.
DANIEL
So we rob Zammito. You arrest us when
we come out and the contents of the safe
is now evidence which you can use against
him.
Agent Hadley nods.
SAMI
(to Sophie)
What are you getting out of this?
There is no point in hiding anything now.
SOPHIE
Money. It was supposed to simple. In
and out.
Zammito wasn't supposed to be there.
QUICK CUT TO:
INT. ITALIAN RESTAURANT -- LAST NIGHT (FLASHBACK)
We see Zammito walk over to Mario.
ZAMMITO
Mario, I gotta go. When my date arrives
will you explain to her I had an
emergency.
MARIO
Of course, Mr. Zammito.
Zammito leaves. Through the window we see Joey "Two Tons" open
the door to the car. Zammito and Joey get in and drive away. A
beat. A Taxi pulls up. The front door opens and Sophie enters,
all dressed up and beautiful. She walks up to Mario.
SOPHIE
Hi. I'm meeting Frankie Zammito --
CUT BACK TO:
INT. MOTEL ROOM -- CONTINUOUS
Sami stares at her with contempt.
SAMI
Why?
SOPHIE
Vincent Bastaldi is in jail.
DANIEL
For what?
SOPHIE
Laurant and Vincent were in business
with Zammito.
DANIEL
What kind of business?
SOPHIE
Black market art. Zammito got to a few
key security guards at the Metropolitan
Museum. The Bastaldi's supplied the
artists to make copies of famous works.
They'd switch the paintings, send the
originals to Paris and the Bastaldi's
would sell them to private collectors.
AGENT HADLEY
We're talking Matisse, Renoir, Monet.
We know for sure they replaced Van Gogh's
"Vase with twelve sunflowers" last week
with a copy. It was on loan from the
London National Gallery and they're not
going to be very happy when they find
out about it.
SAMI
So Bastaldi makes a deal with the Feds
to trade up for his brother?
AGENT HADLEY
Yeah. He delivers the goods on Zammito.
If we got what we wanted we'd let his
brother go providing he tells us where
the Van Gogh and the other paintings
are.
RAYMOND
No one has mentioned the part of the
plan about us getting caught and going
to prison.
DANIEL
We're leaving. Raymond get the bag.
AGENT HADLEY
You walk out with that bag and you won't
only have Zammito and his people after
you. You'll have the entire United States
justice department. How far do you think
you'll get? I know who you are Mr. Foray?
Mr. Zerhouni. Mr. Gayet.
(looks at Zero)
Mr...
Agent Hadley looks to Sophie.
SOPHIE
Zero. That's all I know.
AGENT HADLEY
You'll never get out of the city.
They move to the door.
EXT. BAY VIEW MOTEL -- MORNING
Daniel, Sami, Raymond and Zero walk to the Impala.
DANIEL
Bastaldi's dead. He is fuckin' dead!
ZERO
You want Zero to kill him?
DANIEL
I'm going to kill him myself!
ZERO
What about the money?
SAMI
It has to be at Sophie's. She didn't
have time to go anywhere else before she
came here.
ZERO
We don't know that for sure.
DANIEL
Forget the money! We've got bigger
problems than the money right now.
RAYMOND
She probably hid it at her place. The
six of us could find it in --
SAMI
(overlapping)
-- We don't have time to look for it.
Hadley's first move is going to be to
look for us there.
Daniel dials a number on his cell phone.
DANIEL
We're moving. Pack up and be on the
street in five minutes.
INT. MOTEL ROOM -- MORNING
Agent Hadley steps out of the bathroom, a towel wrapped around the
burn on his hand.
AGENT HADLEY
This is turning to shit. If word gets
out of my involvement in this I'll go to
prison.
SOPHIE
Listen, we know their names. They don't
know the city. You'll find them. You're
the FBI.
AGENT HADLEY
I can't bring the Bureau into this. If
I do the tapes become evidence.
SOPHIE
They're supposed to be evidence. That's
why Bastaldi set this up.
AGENT HADLEY
Fuck Bastaldi and his brother. These
tapes are gold. Do you have any idea
what Zammito would pay to get them back?
SOPHIE
I thought you wanted Zammito?
AGENT HADLEY
What for? The minute I get him some
other Gavone will take his place. I've
been doing this for twenty years. When
I retire it's not going to be to some
trailer park in the suburbs.
She likes the idea. Already she's thinking how she can work her
way into this.
AGENT HADLEY
Too many people know about my involvement
in this.
SOPHIE
Then we just have to make sure everyone
who knows can't say anything.
His jaw tightens.
AGENT HADLEY
You're right about that.
Hadley is standing behind her. He lifts up the brass lamp with
his towel and swings down hard towards Sophie's head.
EXT. STREET, SOPHIE'S WAREHOUSE -- MORNING
Marcel, Julien and Wayne are waiting as the Impala drives up.
Raymond hops out of the car.
RAYMOND
I would like to thank you for your
hospitality.
(hands him a card)
If you are ever in Paris here is my
number.
WAYNE
Cool.
Marcel grabs Raymond and leads him back to the car. Daniel sees
Lamar standing across the street.
DANIEL
(to the others)
I'll be right back.
He gets out of the car and walks over to him.
LAMAR
What do you want now?
DANIEL
Guns. Can you get them?
LAMAR
Man, I can get anything.
DANIEL
Don't bullshit me.
LAMAR
I ain't bullshittin'. I can get guns.
I can get any kind of gun you want. But
they ain't gonna help your sorry ass.
You ain't been in town one day and already
you got two of the toughest people in
Chicago looking for you. How is that
possible?
DANIEL
I've got a way with people.
LAMAR
I can see that. The man's car you stole.
Raphael Ruiz. He's head of the 19th
Street gang and one crazy motherfucker.
And Frankie Zammito's got the word out
he's looking for some French dudes.
You're French ain't ya?
DANIEL
I'm from Belgium.
LAMAR
Yeah, I'd be from Belgium too if I was
you. You know Zammito just put his own
brother in the hospital? Broke his arm
cause he was late on a debt. I mention
this to illustrate the kind of people
who are lookin' for you.
DANIEL
Why haven't you turned us in?
LAMAR
I ain't no rat.
(beat)
You got money, right?
Daniel nods.
LAMAR
And, uh, I'm going to have to charge you
a commission... kind of like a brokerage
fee.
DANIEL
How much?
LAMAR
A thousand dollars?
DANIEL
Fine.
Daniel hands him his cell phone.
DANIEL
Take this. I'll call you in a few hours.
You tell me where we meet.
INT. SOPHIE'S WAREHOUSE -- DAY
Wayne is on the couch watching TV. There is a loud knock on the
door. He opens the door to find Agent Hadley.
WAYNE
Yeah?
Hadley pushes past Wayne and enters.
WAYNE
Hey dude, what do you think you're doing?
Hadley flashes his badge.
WAYNE
Uh... excuse me, but don't you need a
warrant or something?
AGENT HADLEY
Not today. Where are your friends?
WAYNE
They left about a half hour ago.
AGENT HADLEY
Where did they go?
WAYNE
I dunno.
Hadley punches Wayne in the face. Wayne falls to the floor.
WAYNE
Hey man, you can't do that!
AGENT HADLEY
What? This?
Agent Hadley kicks Wayne in the chest.
AGENT HADLEY
Or this?
Agent Hadley kicks Wayne in the ribs.
WAYNE
Jesus. What kind of FBI agent are you?
AGENT HADLEY
I'm your worst fuckin' nightmare. Now,
if you don't want me to keep on hurting
you, it's important that I believe you
and right now I don't. So tell me, where
did they go?
WAYNE
I swear man, I don't know. They packed
up and left a half hour ago.
(points to coffee
table)
All I got is one of their phone numbers
in Paris.
Hadley sees the phone number Raymond gave Wayne on the coffee table.
He puts it in his pocket and stares at Wayne, then just for the
hell of it gives him one last kick in the ribs.
EXT. BAY VIEW MOTEL -- DAY
A MAID stops her cart in front of room fourteen. She KNOCKS.
MAID
Maid service.
No answer. She uses her key and steps into the room. A beat. We
hear a loud scream.
EXT. HOLIDAY HOTEL -- EVENING
A large building near the freeway.
INT. HOLIDAY HOTEL SUITE -- EVENING
Raymond is on the phone.
RAYMOND
(in French)
I know Mama, but I couldn't call you
yesterday we were very busy.
(listens)
No, nothing's more important than you.
(listens)
I don't know. I think I'm going to have
to stay a few more days.
Daniel, Sami and Julien sit at a table. Marcel stares out the
window sadly. Zero is flipping through the television channels.
DANIEL
(to Marcel)
Did you know about Bastaldi's deal with
Zammito?
MARCEL
No.
DANIEL
You're sure?
MARCEL
I think if he told me he was going to
steal Van Gogh's "Sunflowers in a vase"
I would remember it.
SAMI
(correcting him)
"Vase with twelve Sunflowers."
MARCEL
Whatever! He never told me about the
Van Gogh or any of the other paintings.
Raymond hangs up the phone and joins the others.
SAMI
It makes sense. I mean, do you really
think he would come along if he knew we
were being set up?
DANIEL
I think he'd cut his dick off if Bastaldi
told him to.
MARCEL
Fuck you! You know I'd never go along
with something like this.
DANIEL
Do I?
MARCEL
This ain't about that and you know it.
This is about you never forgiving me for
leaving the crew.
SAMI
(surprised)
You guys used to work together?
MARCEL
Yeah and he can't stand it that I tried
to do something to better myself.
DANIEL
(in French)
You call being Bastaldi's lap dog better?
MARCEL
(in French)
Better than spending my life crawling
through windows in the middle of the
night.
SAMI
All right, knock it off.
DANIEL
(in French)
All you are is a professional ass-kisser.
MARCEL
(in French)
I'm not a guy who is known for his
patience and right now you're testing
mine.
DANIEL
(in French)
What is that a threat? Are you fuckin'
threatening me, Marcel?
They take a step towards each other. Sami steps in between them.
SAMI
I said knock it off! Now as far as I'm
concerned you two girls can bitch slap
yourselves silly when this is over, but
right now we've got to figure out what's
going on.
RAYMOND
It's simple. Bastaldi's moving up.
He's closing down his operation and this
is his way of saying thanks to all of
us.
JULIEN
Well, I say the whole deal is off. In
fact, if you ask me, there never was a
deal because we were screwed from the
start.
Zero turns to another channel. A news broadcast. We see a mug
shot photo of SAMI on the screen.
ZERO
Hey Sami, you're on TV.
Zero turns up the volume.
REPORTER
... Sami Zerhouni in connection with the
murder of Sophie Nichols.
Sami is stunned.
SAMI
What?
REPORTER
Police have confirmed that Zerhouni was
seen entering the woman's room by the
Motel Manager.
CLOSE ON TELEVISION
The Reporter continues her story.
REPORTER
Zerhouni is also wanted by police for
questioning regarding a robbery last
night at the home of alleged Mafia member
Frankie Zammito.
Pull back. We are now in...
INT. ZAMMITO'S BEDROOM -- CONTINUOUS
Zammito grimaces as the news of the robbery becomes public.
ZAMMITO
Oh, shit!
CLOSE ON TELEVISION
The Reporter continues.
REPORTER
The other members of his gang are reported
to be French nationals Daniel Foray,
Marcel Burot, Julien Labesse...
Pull back again...
INT. LAMAR'S APARTMENT -- CONTINUOUS
Lamar is sitting on the couch watching the news report with
amusement.
LAMAR
Dumb crackers --
CLOSE ON TELEVISION
The reporter finishes her story.
REPORTER
... Raymond Gayet and an unidentified
man only known as Zero.
Pull back again...
INT. AGENT HADLEY'S APARTMENT -- EVENING
Hadley grins as he watches the report.
AGENT HADLEY
That should shake things up.
CLOSE ON TELEVISION
REPORTER
Up next. A vacation get away on a budget --
We are back in....
INT. HOLIDAY HOTEL SUITE -- EVENING
Sami turns off the television and looks to the others.
SAMI
Hadley --
DANIEL
Has to be.
JULIEN
(freaking out)
This is bad. This is really fuckin'
bad. Am I the only one who sees how bad
this is?
SAMI
Hey, it's not your picture on the TV,
it's mine. So, try to be cool.
JULIEN
Don't tell me to be cool! We were
supposed to be in and out. In and out!
In the last twenty four hours we've
managed to get the Mafia... the FBI...
the Chicago Police Department and a group
of Latin gang members after us. I haven't
left out anyone, have I?
(pretends to think
about it)
I don't think so, because we've already
pissed off everyone in the fuckin' city!
SAMI
We've got to get out of here.
JULIEN
That's brilliant! Care to elaborate?
Sami gets into Julien's face.
SAMI
You're not helping.
RAYMOND
Julien, what you're doing right now is a
very normal psychological reaction to
stress. You're projecting your anger
onto us.
JULIEN
Oh, Jesus. We're dead.
Julien walks away. Daniel picks up the phone and dials a number.
INT. LAMAR'S APARTMENT -- SAME TIME
The cell phone Daniel gave him rings. He answers it.
LAMAR
Yeah?
DANIEL (V.O.)
It's me.
LAMAR
Hey you guys are becoming famous. I was
just watching the news and--
DANIEL (V.O.)
(overlapping)
-- Did you set it up?
LAMAR
Yeah. All set. Tomorrow morning. Ten
o'clock. Room 211. Barclay Hotel on
River Street. Oh, and due to your recent
notoriety and the heat that comes with
it, I'm going to have to increase my
brokerage fee to twenty five hundred.
DANIEL (V.O.)
We had a deal.
LAMAR
We had a deal before you and your friends
became the new poster boys for crime.
DANIEL (V.O.)
Fine. Ten o'clock.
The line goes dead. Lamar grins, happy with the money he's going
to make.
INT. HOLIDAY HOTEL SUITE -- EVENING
The others are looking at Daniel.
DANIEL
Sami, tomorrow you lift a wallet from
someone who looks like one of us.
JULIEN
What for?
DANIEL
We need to rent a car and for that you
need a credit card.
RAYMOND
Why not just steal another one?
DANIEL
Too risky. We don't need to get pulled
over because of a stolen car.
JULIEN
Maybe I'm missing the obvious, but why
aren't we leaving town? Any place has
to be safer for us than Chicago.
SAMI
It doesn't matter where we go. Between
Zammito and the FBI they'll find us. We
have to end this here.
ZERO
And how do we do that?
SAMI
I don't know.
JULIEN
That's an excellent plan. Very
comforting.
DANIEL
We'll think of something.
EXT. BONANNO HOUSE -- MORNING
A Lincoln Town Car drives up. Zammito gets out with Joey "Two
Tons" and Nicky "The Rake. They wait outside. Zammito enters.
INT. BONANNO'S HOUSE, STUDY -- MORNING
Bonanno is behind his desk. Half Tooth Tony sits on the couch.
Zammito enters. Bonanno walks around his desk and hugs Zammito.
BONANNO
Why didn't you tell me about this?
ZAMMITO
You have enough to worry about, Angelo.
You don't need my problems.
Bonanno places his hands on Zammito's cheeks and presses them
together.
BONANNO
We're family. An insult to you is an
insult to me.
Bonanno releases him.
BONANNO
They knew who you were when they broke
in your house?
ZAMMITO
Yes.
BONANNO
What is happening with the world? There
was a time no civilian would touch a
made man. Now every babbo in the world
thinks he can get away with something.
What did they take?
ZAMMITO
Some cash. Jewelry. The other stuff I
can replace, but there's a cardboard
box... photos of my mother. They're the
only ones I have of her.
BONANNO
We're doing everything we can to find
these people. Right Tony?
HALF TOOTH TONY
We've reached out to everyone we know.
BONANNO
If they're still stupid enough to be in
this city, Tony will find them.
EXT. BONANNO HOUSE -- MORNING
Zammito steps out onto the street. Joey "Two Tons" and Nicky "The
Rake" are pitching pennies against the wall. They start arguing
about something.
JOEY "TWO TONS"
Frankie, come here a second.
Zammito walks over.
NICKY "THE RAKE"
Who is closer to the wall, Joey or me?
ZAMMITO
(impatiently)
Get in the car.
NICKY "THE RAKE"
Just tell me who's closer to the wall?
Zammito grabs him by the neck and smashes his face into the wall.
ZAMMITO
You are! Now get in the fuckin' car!
Both men walk to the car. Zammito starts after them, then stops.
He turns back, picks up the coins and puts them in his pocket.
INT. HOLIDAY HOTEL -- LOBBY -- MORNING
Sami moves through a crowd of PEOPLE. He looks around until he
sees a man who looks remarkably similar to Raymond. Sami bumps
into him and lifts his wallet.
INT. STEREO STORE -- MORNING
Marcel waits as a SALESPERSON brings over several boxes of
electronic equipment.
EXT. LUGGAGE SHOP -- MORNING
Sami passes the shop. He stops. In the window is BLACK CANVAS
BAG that is identical to the one that they used on the job. He
goes into the store.
EXT. BARCLAY HOTEL -- MORNING
An old building that has seen better days. Daniel and Zero get
out of a Taxi and go inside.
INT. HALLWAY -- BARCLAY HOTEL -- MORNING
Looks even worse on the inside. A dark corridor is lit by bare
light bulbs hanging from the ceiling. An old PROSTITUTE walks
past them, her smile signaling she is open for business. They
arrive at room 211 and knock. The door is opened by a very large
BLACK MAN. Behind him we can see Lamar with ELLWOOD, 20's, sun
glasses, his neck draped in gold chains.
BLACK GUY
(very loud)
I'm gonna have to search you.
DANIEL
We'll save you the trouble.
Daniel pulls back his jacket to reveal the gun he took from Hadley
in his waistband.
BLACK GUY
(loudly)
You can't come in here with that.
Daniel looks past him to Ellwood.
DANIEL
What's wrong with this guy?
ELLWOOD
He's my cousin. He's deaf.
Daniel removes an envelope full of cash.
DANIEL
We're here to buy, not steal. If you
guys are straight there's not going to
be a problem.
Ellwood stomps his foot several times on the floor. The black guy
feels the vibration and turns around.
ELLWOOD
Let them in.
The black guy steps aside. Daniel and Zero enter.
INT. BARCLAY HOTEL ROOM -- MORNING
Ellwood is sitting on the bed behind several open suitcases
displaying a variety of weapons.
ELLWOOD
What can I do you for?
Daniel looks over the merchandise.
DANIEL
How much for the nines?
ELLWOOD
A grand a piece.
DANIEL
I'll need extra clips and ammo.
Daniel starts counting out the money. Ellwood points a .357 magnum
he's been holding behind the open suitcase at them.
LAMAR
What the hell you doing, Ellwood? I
gave them my word.
ELLWOOD
Zammito's offering twenty grand a head
for these guys. You think I'm going to
settle for four G's when I can make forty?
(to Daniel)
All right. Reach in easy and put the
gun on the floor.
Daniel slowly grabs his gun and places it on the floor, then kicks
it under the bed.
ELLWOOD
I said put it on the floor, not kick it
under the bed.
Ellwood speaks to his cousin, speaking slowly and enunciating each
word so he can read his lips.
ELLWOOD
Get that and add it to my inventory.
The black guy get on his hands and knees and starts looking for
the gun under the bed. As he does Daniel glances over at Zero
with a look. Ellwood aims his gun at Zero.
ELLWOOD
I assume you're carrying too?
Zero opens his coat and reveals his .9mm.
ELLWOOD
Okay, put it on the floor... and do not
kick it under the fuckin' bed.
ZERO
(flatly)
No.
He stares at Ellwood calmly through dead, flat eyes.
ELLWOOD
No? Did you just say no? Listen cowboy,
if you're thinking about makin' a move,
don't. Nobody is that fast.
ZERO
Zero is.
ELLWOOD
Who's Zero?
LAMAR
He is.
Ellwood is confused. Daniel bolts to his left. Ellwood's eyes
leave Lamar for a moment -- it's a moment too long. In a blur of
movement Zero has his gun out and fires one shot into Ellwood's
forehead.
Ellwood slumps down on the bed, dead. The black guy who has heard
nothing continues searching under the bed. Zero casually picks up
the suitcase filled with guns and hands it to Daniel. They walk
out of the room. Lamar stands there, stunned, then quickly runs
after them.
A beat. The black guy pops up with Daniel's gun oblivious to what
has transpired in the room.
BLACK GUY
Found it!
EXT. BARCLAY HOTEL -- MORNING
Daniel pushes Lamar out the door. Zero steps out behind him. He
stares at Lamar for a long moment, then hands him the envelope.
DANIEL
There's ten grand in here. It's yours.
I'm going to call you again. There's
one more thing I need you to do.
LAMAR
What?
DANIEL
I'll tell you when it's time.
In the background we hear the loud, agonizing scream from the black
guy as he finds Ellwood's body.
INT. CAR RENTAL AGENCY -- DAY
Raymond and Julien approach the counter. Raymond is nervous.
RAYMOND
(in French)
I am not comfortable with this. I'm not
a good liar.
JULIEN
(in French)
Relax. It will be fine.
They arrive at the counter. The RENTAL AGENT, a man in his 30's
looks up at them with a smile.
CAR RENTAL AGENT
Hello.
RAYMOND
Hello. I am Robert M. Carney from Dayton,
Ohio and I would like to rent a car with
my visa gold card.
Raymond smiles, a big, friendly, completely over exaggerated smile.
Julien looks at him and rolls his eyes. The Rental Agent walks
down to the end of the counter and dials a number on the phone.
CAR RENTAL AGENT
(into phone)
I got a couple French guys here trying
to rent a car.
(listens)
Sure. I can stall them.
INT. HOSPITAL ROOM -- DAY
Vinny is in bed, his arm in a cast and sling. His wife ANGIE,
30's, big hair, loud clothes. She sits on the bed feeding him.
His two kids, RICHIE, 8, and TOMMY 10, sit off to the side. Zammito
enters.
ZAMMITO
Angie, how you doin'?
She kisses him. Vinny stares blankly at his brother. Zammito
takes a step back, looks her up and down. He lays on the charm.
ZAMMITO
Hey, you're looking good. There's
something different about you. You get
a boob job or something?
ANGIE
I've gained weight.
ZAMMITO
Yeah, well, it suits you.
Zammito moves over to the kids and offers a quick hello.
ZAMMITO
Hey Tommy.
RICHIE
I'm Richie. He's Tommy.
ZAMMITO
Whatever.
Zammito pulls out a roll of bills that could choke a horse and
peels one off.
ZAMMITO
Angie, take the kids down to the gift
shop and buy 'em something. I need a
word with Vinny.
Angie looks at the money.
ANGIE
(flatly)
Gee, five bucks. What ever shall we
buy?
She takes the kids and leaves.
ZAMMITO
She seems pleasant enough.
VINNY
She doesn't know. She thinks I fell
down the stairs.
ZAMMITO
That's good. That's what a stand-up guy
does.
Zammito sits on the edge of the bed.
ZAMMITO
So, I just come by to see how you're
doin'?
VINNY
You broke my arm. How the hell do you
think I'm doin'?
ZAMMITO
Yeah. I mean besides that. They treating
you all right? Food okay?
VINNY
Yeah. I'm going home today. What do
you want, Frankie?
ZAMMITO
I don't want anything.
I just wanted to say... that I may have...
overreacted a little the other day.
VINNY
A little?
ZAMMITO
Yeah. I mean, you are my brother and...
well I should have found another way of
expressing my disappointment. So, I've
decided to make it up to you.
VINNY
You gonna forget about the money I owe
you?
ZAMMITO
What are you nuts? A debt is a debt. I
was thinking I'd throw a little extra
work your way. You know, you come down
to the club, make espresso for the boys...
wash their cars... run some errands...
things like that.
Zammito's cell phone rings.
ZAMMITO
(into phone)
Yeah?
(his face hardens)
I'm on my way.
Zammito hangs up.
ZAMMITO
I got something I gotta do. I'm glad we
had this talk. Heal. Get better. Let
me know when you're ready to start.
Zammito leaves. Vinny can only shake his head in bewilderment.
EXT. TATTOO SHOP -- DAY
Several low-rider cars are parked on the street. Raphael and Hector
are with several GANG MEMBERS.
GANG MEMBER
I ain't seen it your car. Sorry man.
Hey, you know who you should talk to is
Freddy O.
RAPHAEL
I thought he was in prison.
GANG MEMBER
Got out last month. He's trying to go
straight but he's still wired in.
He's working at some restaurant. I'll
find out where and call you.
INT. HOLIDAY HOTEL SUITE -- DAY
Sami is recording something on a tape deck Marcel bough. He sees
Marcel outside on the balcony and removes a piece of paper from
his pocket, then picks up the phone and dials.
AGENT HADLEY (V.O.)
Agent Hadley.
SAMI
Do you know who this is?
AGENT HADLEY (V.O.)
Yeah. I figured I'd be hearing from
you.
SAMI
If you ever want to get those tapes,
meet me in one hour at Grant Park near
the statue.
INT. CAR RENTAL AGENCY -- DAY
The Rental Agent walks back over to Raymond and Julien.
CAR RENTAL AGENT
I'm sorry about the wait. There was a
problem with the equipment.
JULIEN
Everything okay now?
The Rental Agent's eyes drift to a black Lincoln Town Car parked
across the street.
CAR RENTAL AGENT
Everything's fine.
EXT. STREET, ACROSS FROM CAR RENTAL AGENCY -- DAY
A Lincoln pulls up. Zammito gets out and walks over to three
WISEGUYS in another Town Car. One of the Wiseguys points to the
window of the rental agency. Zammito looks at Raymond and Julien.
ZAMMITO
I don't know the little one, but the
other guy is definitely one of them.
Follow them and call me when you find
out where they go.
Zammito walks back to his car and drives off.
EXT. CAR RENTAL LOT -- DAY
An EMPLOYEE drives up in a CADILLAC DE VILLE. He gets out and
Julien grabs the keys from him.
JULIEN
(in French)
I'll drive.
RAYMOND
(in French)
I'm the driver.
JULIEN
(in French)
I've never driven a Cadillac before.
Raymond nods and gets in the passenger seat.
EXT. STREET -- DAY
The Cadillac moves down the street. The Lincoln follows a few
cars behind them.
INT. CADILLAC -- MOVING -- DAY
Julien drives the car.
JULIEN
(in French)
This is a car. I think this is the best
American car I've ever driven.
RAYMOND
(in French)
This is the only American car you've
ever driven.
EXT. GRANT PARK -- DAY
Agent Hadley walks towards the statue wearing a pair of sun glasses.
As he approaches, Sami steps out.
SAMI
You set me up, you piece of shit!
Hadley pushes him up against the statue and starts frisking him.
SAMI
What are you doing?
AGENT HADLEY
You think I'm going to talk to you until
I know if you're wired.
SAMI
Wired? I ain't wired.
Sami lifts up his shirt showing Hadley his bare chest. He drops
his pants down to his ankles.
AGENT HADLEY
Okay. Okay. I believe you.
SAMI
You killed her!
AGENT HADLEY
No. You killed her. Manager remembers
you going into her room. Your
fingerprints were found all over the
place.
SAMI
Bullshit! She was alive when we left
her with you.
AGENT HADLEY
You're fucked, Sami. You know it. That's
why you're here.
SAMI
Look, I just want out of this nightmare.
I don't know these guys. A few days ago
I'm in Paris picking pockets and now I'm
America's most wanted.
AGENT HADLEY
Where are the tapes?
SAMI
I can get them -- but what do I get if I
do?
AGENT HADLEY
A pass.
SAMI
A pass? How you gonna give me a pass?
A witness can put me at the crime scene.
AGENT HADLEY
Witness' can be convinced they made a
mistake. Without the murder weapon the
D.A. won't have enough to prosecute you.
SAMI
They don't have a murder weapon?
AGENT HADLEY
No. I have it. The lamp? The one with
your fingerprints and her blood on it?
(holds up his burned
hand)
Remember?
Sami is stunned, then his thoughts snap back to...
CUT TO:
INT. BAY VIEW MOTEL ROOM -- MORNING (FLASHBACK)
Sami picking up the brass lamp off the nightstand and leaving his
fingerprints all over it.
CUT BACK TO:
EXT. GRANT PARK -- DAY
Sami stares angrily at Hadley who appears to be enjoying his
frustration.
AGENT HADLEY
Of course they could always get an
anonymous tip. Find it in the dumpster
behind the motel.
Sami stares at him a long moment.
SAMI
You want the tapes for yourself. You're
going to sell them.
AGENT HADLEY
I'm going to retire with a shit-load of
money. Find me a small country that
doesn't have an extradition treaty with
the States and live the good life.
SAMI
You didn't have to kill Sophie.
AGENT HADLEY
Yes I did. Lose ends are messy.
SAMI
What about me? Aren't I a loose end?
AGENT HADLEY
When this is over you can say whatever
the hell you want. I'll be long gone.
Besides, who's going to believe you?
You're just a two-bit crook.
SAMI
And you're a dirty cop. At least I don't
pretend to be something different than
what I am.
Hadley hands him a card.
AGENT HADLEY
When you've got the tapes call me on
this number. We'll make the exchange
and that'll be the end of it.
Hadley leaves.
EXT. GRAND AVENUE -- DAY
Julien drives the Cadillac along the North River. The Lincoln
keeps pace with them several cars behind.
INT. CADILLAC -- MOVING -- DAY
Raymond clicks through a few Radio Stations. Julien glances in
his rear view mirror.
HIS POV - IN THE MIRROR: of the Lincoln several cars back.
Julien seems concerned. He turns the steering wheel hard to the
right.
EXT. GRAND AVENUE -- DAY
The Cadillac cuts across the right lane almost hitting a car and
turns onto another street. The Lincoln makes a sharp move to stay
up with it.
INT. CADILLAC -- DAY
Raymond looks over at Julien.
JULIEN
(in French)
We're being followed.
Julien hits the gas.
EXT. WELL STREET -- DAY
The Cadillac speeds down the street, weaving in and out of traffic.
The Lincoln does the same. The Cadillac reaches an intersection.
The traffic ahead of them is stopped for a red light. The Cadillac
veers onto the sidewalk. Pedestrians jump out of the way and the
car streaks down the pavement. Behind the Lincoln follows.
EXT. OHIO STREET -- DAY
The Cadillac screeches around the corner, onto a ONE WAY STREET.
INT. CADILLAC -- MOVING -- DAY
Julien concentrates as he weaves the car in and out of the on coming
traffic.
RAYMOND
(in French)
I knew I should have driven.
JULIEN
(in French)
Stop talking. I'm trying to concentrate.
EXT. STREET -- DAY
The oncoming traffic veers off. Cars collide. The Lincoln clips
a car, loses control for a moment, then continues after them. At
the corner the Cadillac turns onto another street and joins traffic
in the right direction.
EXT. FRANKLIN STREET -- DAY
The Lincoln moves up along side the Cadillac. Two WISEGUYS lean
out the window with guns in their hands. The Cadillac veers away
just as they start shooting. Bullets riddle the car.
INT. CADILLAC -- MOVING -- DAY
Raymond removes Hadley's backup gun. The Lincoln pulls up beside
them again. The sound of GUN FIRE fills the air as Raymond shoots
from the Cadillac. The rear passenger window of the Lincoln
shatters and Raymond fires. The Lincoln drops back.
EXT. HUBBARD STREET -- DAY
The Cadillac turns the corner. The Lincoln follows. The traffic
is heavier here. The cars have to slow down. The Lincoln moves
beside them again. Raymond fires his last shot. His gun his now
empty. Several rounds of gun fire come from the Lincoln.
INT. CADILLAC -- MOVING -- DAY
Raymond looks over to Julien.
RAYMOND
(in French)
What are we going to --
His voice trails off as he sees Julien. A bullet has glanced his
neck, not deep, but deep enough to sever an artery. Blood pours
down his neck and covers his shirt. His face is pale. He glances
at the wound in the rear view mirror.
EXT. STREET -- DAY
Julien steers the caddy onto another street. The towncar follows.
INT. CADILLAC -- MOVING -- DAY
Julien looks at Raymond. He is paler now, his shirt completely
covered with blood. He strains to stay conscious.
JULIEN
(in French)
When we get to the next corner jump out.
RAYMOND
(in French)
I'm not going to leave you.
JULIEN
(in French)
We both know I'm already dead.
Raymond knows he's right. The car races into the next turn.
JULIEN
(in French)
Go!
Raymond opens the door.
He jumps out.
INT. LINCOLN - DRIVER'S POV -- DAY
Of Raymond as he rolls towards the curb. The Caddy skids around
the corner.
EXT. STREET -- DAY
The Lincoln slams on it's brakes in the middle of an intersection.
Raymond is dazed from his fall. He gets up slowly, his pants torn
and sees..
P.O.V. RAYMOND OF THE TOWNCAR -- DAY
The driver is reaching out the window with his gun to take aim and
is just about to shoot when...
EXT. STREET -- DAY
Julien comes racing into the intersection full speed and smashes
into the Lincoln. The impact sends the Lincoln spinning around.
When it stops the driver's window is facing the front of the caddy.
The driver of the caddy takes aim and fires. The bullet goes
through the windshield and kills Julien.
The driver looks over at the passenger just in time to see...
P.O.V. A LARGE TRUCK -- DAY
Speeds through the intersection and smashes head on into the
Lincoln. It crumbles like a toy under the weight.
EXT. STREET -- DAY
Raymond limps into the street oblivious to the oncoming traffic.
He stares sadly at Julien.
INT. HOLIDAY HOTEL SUITE -- AFTERNOON
Zero and Marcel are checking over the guns. Daniel writes some
notes on a pad of paper. Sami appears nervous as he sits off to
the side.
The door opens. Raymond limps into the room. His face is dirty,
bruised, his pants torn, legs scraped. He stands there, staring
at them through empty eyes.
Daniel looks at the door expectantly. He knows the answer before
he asks the question.
DANIEL
Julien?
Raymond's face fills with sadness. He shakes his.
INT. HOLIDAY HOTEL SUITE-- LATER -- DUSK
There is a cold silence in the room. Daniel stares at the sliding
glass door, staring out over the city.
SAMI
It's not your fault, Daniel.
DANIEL
No?
He looks at them sadly.
DANIEL
We had a chance to walk out of Zammito's
house.
MARCEL
We all agreed to it. You had no way of
knowing Bastaldi was setting us up.
DANIEL
I just want to live long enough to get
back to Paris. Just long enough to kill
Bastaldi.
SAMI
I say we make him pay first. After that
you can do whatever you want to him.
RAYMOND
He's right. Do you have any idea what
Van Gogh's "Vase with twelve Sunflowers"
is worth?
MARCEL
No. How much?
RAYMOND
I don't know. It's gotta be millions.
DANIEL
We still have to get out of here.
MARCEL
Maybe if we gave the tapes back --
ZERO
(strongly)
No.
Everyone looks to Zero.
ZERO
They killed our friend. It's personal
now. Besides, if we do that, then Julien
died for nothing. The tapes are the
key.
SAMI
He's right. The tapes give us leverage
with Bastaldi.
INT. AGENT HADLEY'S APARTMENT -- EVENING
Agent Hadley sits on his couch, deep in thought. He glances at
the paper with Raymond's phone number on the coffee table. A beat.
He gets an idea. He picks up his phone and dials.
AGENT HADLEY
Hello? Mrs. Gayet? Do you speak English?
(listens)
You do. Great.
(listens)
Oh, you taught Raymond English. You did
a wonderful job. I'm sorry to call so
late but I'm supposed to meet Raymond --
(listens)
No, I didn't know he was a difficult
child. Mrs. Gayet, I'm calling because --
(listens)
No, I don't have any children of my own.
I'm supposed to meet Raymond tonight at
his hotel and I forgot what Hotel he is
at. I wondering if you --
(listens)
The Holiday Hotel. Room 912. Thank you
very much.
EXT. HUBBARD STREET -- EVENING
Tow trucks and cleaning crews work around wreckage of the cars.
Only a few POLICE CARS are there.
A UNIFORMED COP looks over and sees Joey "Two Tons" on the sidewalk.
Joey motions with his head to an alley.
EXT. ALLEY -- EVENING
The Uniformed Cop enters the alley and joins Joey.
JOEY "TWO TONS"
What'd you guys find?
UNIFORMED COP
Dead bodies. The ones in the Lincoln
are your... associates.
JOEY "TWO TONS"
And the other car?
UNIFORMED COP
Some French guy. At least that's what
his passport said. You know Joey, I
shouldn't be talking to you about this.
JOEY "TWO TONS"
Are you forgetting who supplements your
income?
UNIFORMED COP
No. It's just that the French guy had a
gunshot wound on his neck. So, this is
a homicide. Are you guys involved in
this?
JOEY "TWO TONS"
Yeah. I'll come down and make a full
confession later. Right now, tell me
what else you found?
UNIFORMED COP
A Wallet. A hotel room card. Some cash.
This sparks Joey's interest.
JOEY "TWO TONS"
What hotel?
UNIFORMED COP
The Holiday Hotel.
JOEY "TWO TONS"
What room number?
UNIFORMED COP
I don't know. I didn't look.
JOEY "TWO TONS"
Go look.
INT. HOLIDAY HOTEL SUITE -- EVENING
The crew sits around a table trying to figure out how they can get
out of town.
DANIEL
Okay. Airports, train stations, bus
station are out. We know they're
connected to the car rental agencies
because that's where they picked up
Raymond.
SAMI
Even if we get out of town and go to
another airport I'm sure the FBI and
Chicago P.D. has alerted customs.
MARCEL
How about Canada?
RAYMOND
What are we going to do, take a taxi?
Sami opens a pack of cigarettes to find it's empty.
SAMI
I'm going to get some cigarettes.
INT. RESTAURANT -- EVENING
Because of the early hour the room is empty. Raphael and Hector
are with FREDDY O, 30's, hard-looking. He is wearing a bus boy
uniform as he sets the tables.
FREDDY O
I can't believe someone would have the
balls to rip off your ride.
RAPHAEL
When I find them they won't have them
for much longer.
FREDDY O
I'll ask around. If they try to move it
I can find out.
RAPHAEL
Thanks.
Raphael and Hector exit. We move with them through the door into...
INT. HOLIDAY HOTEL LOBBY -- EVENING
Raphael and Hector head for the front door. The elevator doors
opens and Sami exits. They walk past each other as Sami heads
across the lobby and into the gift shop. As Raphael and Hector
walk out the front door Agent Hadley steps in walks past them. He
goes over to a WOMAN CLERK at the front desk.
AGENT HADLEY
I'd like to see the manager please.
She walks over to the HOTEL MANAGER and points to Agent Hadley.
The Manager walks over.
HOTEL MANAGER
May I help you?
Agent Hadley shows him his badge.
AGENT HADLEY
I'm looking for several French men who
checked in within the last twenty four
hours.
HOTEL MANAGER
They checked in last night.
AGENT HADLEY
I need you to take me to their room.
Agent Hadley follows the manager as they walks towards the elevators
and pass... Sami who pretends to read a magazine, covering his
face so Hadley will not see him. Sami walks quickly across the
lobby and passes...
Joey "Two Tons", Nicky "The Rake" and three other WISEGUYS enter
the hotel. Agent Hadley gets in an elevator with the Hotel Manager.
The doors close as the wiseguys approach.
The moment the doors close Sami bolts into the lobby and over to
the house phones. All of them are being used except one. A MAN
is just about to lift the receiver when Sami pushes him aside.
MAN
Excuse me. I was here first.
Sami ignores him as he waits for the hotel operator to answer.
The phone just rings and rings.
Behind him another elevator has arrived and the wiseguys enter.
Sami's frustration is growing as the phone continues to ring. The
Man who Sami pushed away is still there.
MAN
Hey buddy, you just can't push in here.
SAMI
Go away.
MAN
I most certainly will not go--
Sami quickly smacks him on the head with the receiver. The man
slinks away.
OPERATOR'S VOICE
Operator.
SAMI
(into phone)
Room 912.
INT. HOLIDAY HOTEL SUITE -- EVENING
The phone rings.
DANIEL
(to Raymond)
Get that, will you?
RAYMOND
Why do I always have to answer the phone?
DANIEL
Because you're the closest.
RAYMOND
I'm not any closer than you are.
INT. ELEVATOR -- EVENING
The wiseguys watch the floor indicator.
INT. HOLIDAY HOTEL SUITE -- EVENING
The phone continues RINGING.
DANIEL
Why is everything an argument with you?
RAYMOND
I'm just setting my boundaries.
Daniel looks at Raymond and sighs, then gets up and lifts he
receiver.
DANIEL
Hello?
SAMI (V.O.)
Get out of the room! You've got company
coming up. I'll meet you at the Chevy.
Daniel slams down the phone. The others can see the urgency on
his face.
DANIEL
Raymond, grab the tapes. We're leaving!
RAYMOND
Why do I have to pick up the tapes.
DANIEL
Jesus!
Daniel grabs the canvas bag.
INT. HOLIDAY HOTEL -- HALLWAY -- EVENING
The manager is about to open the door with his key. Agent Hadley
takes it and removes a gun.
AGENT HADLEY
You should go now.
The manager runs away. Agent Hadley inserts the key and opens the
door. His face fills with fear as he sees...
AGENT HADLEY'S POV -- Daniel, Marcel, Raymond and Zero are on the
other side, their guns pointed at Hadley's head.
INT. HOLIDAY HOTEL SUITE - BATHROOM -- EVENING
Daniel uses Hadley's handcuffs and handcuffs him to a pipe under
the sink.
INT. HOLIDAY HOTEL -- HALLWAY -- EVENING
Daniel, Raymond, Marcel and Zero step into the hall. The moment
they do the elevator doors at the end of the hall open. The
Wiseguys step out and see them.
The door to the room next to theirs opens and a LITTLE GIRL, 8,
dressed in a pink dress steps out.
LITTLE GIRL
(calling into her
room)
C'mon, Mommy.
Everything seems to move in slow motion.
-- The Wiseguys go for their guns.
-- The crew goes for theirs.
-- The little girl is caught between both groups.
-- Marcel lunges forward, tackling the girl to ground.
-- The Wiseguys begin to shoot.
-- The hallway fills with gunfire.
-- Marcel pulls the little girl into her room.
-- Plaster explodes off the walls as bullets rip through them.
-- The Crew rushes back into their suite.
INT. LITTLE GIRL'S ROOM -- EVENING
Marcel hands the frightened girl to her mother, then moves over to
the door that joins with the crews. He shoots the lock and moves
through the door.
INT. HOLIDAY HOTEL SUITE -- EVENING
As Marcel steps through he sees the crew all aiming their guns at
him. Daniel gets an idea. As Zero holds off the Wiseguys from
the doorway, Daniel goes to the adjoining door on the other side
of the suite. He shoots off the lock.
DANIEL
Let's go!
The Crew moves through the door.
INT. ADJOINING MOTEL ROOM -- EVENING
Empty. The crew runs across to the door. Because the room is
built at the intersection of two hallways the crew step out into a
corridor out of the Wiseguys line of sight.
INT. HOLIDAY HOTEL -- BACK HALLWAY -- EVENING
The Crew exits and heads for the staircase.
INT. HOLIDAY HOTEL -- FRONT HALLWAY -- CONTINUOUS
Silence. The Wiseguys move down the hall and stop outside the
door of the Crew's suite. A beat. They rush in.
INT. HOLIDAY HOTEL SUITE -- CONTINUOUS
Empty. Nicky "The Rake" sees the open adjoining door and motions
for them to follow him.
INT. HOLIDAY HOTEL -- BACK HALLWAY -- EVENING
The Wiseguys step out just as the Crew are going through the door
to the stairwell. The Wiseguys run after them. Joey "Two Tons"
lags behind.
INT. STAIRWELL -- EVENING
The Crew runs down the stairs. Above them the Wiseguys follow.
Joey "Two Tons" is breathing heavily as he runs down the stairs.
INT. UNDER GROUND PARKING LOT -- EVENING
The door flies open as the Crew runs across the lot. Sami has
already started the Impala and is waiting for them.
A moment later the stairwell door opens and the Wiseguys run out,
guns blazing.
The Crew heads for the Impala, shooting behind them as they run.
Nicky "The Rake"" shoots.
Zero is hit in the leg. He falls to the ground, then rolls on his
side behind a parked car. He fights through the pain, props himself
up and begins to shoot back.
Two Wiseguys step out to flank Zero. Zero takes aim and shoots
one. He lines up on the other Wiseguy and pulls the trigger again.
Click! His gun his empty.
Daniel and Marcel run towards Zero, firing their guns as fast as
they can pull the trigger. Marcel takes aim and fires.
The Wiseguy's dive for cover as Marcel blazes away until his gun
is empty.
We hear tires screeching as the Impala backs up.
The Wiseguys shoot, blowing out the back window. They move in on
Marcel and Zero.
Daniel runs forward with two guns firing at the wiseguys. As he
nears Marcel he throws the extra gun to him.
SLOW MOTION :on the gun as it flies through the air.
SLOW MOTION: One of the WISEGUYS has almost circle around the car.
SLOW MOTION: on the gun has it flies through the air.
REAL TIME -- ON MARCEL: He looks to his left just as the gun
arrives. It hits him on the forehead and knocks him down.
Daniel fires a few SHOTS driving the Wiseguy back. He runs over
and with Marcel's help they grab Zero and help him to the car.
They dive into the back seat. The car screeches forward and races
out of the garage.
Silence. The staircase door opens and an exhausted Joey "Two Tons"
steps out, gasping for air.
INT. IMPALA -- MOVING -- EVENING
Daniel attends to the wound on Zero's leg.
DANIEL
The bullet went clean through.
Daniel stares at him. A beat. Zero grins, saying thank you.
INT. COFFEE SHOP -- EVENING
A distraught Raphael sits across from Hector in a booth near the
window. Hector has almost finished eating. Raphael hasn't touched
his food. He pushes his plate away.
RAPHAEL
I can't eat.
Raphael lowers his head sadly. Hector looks out the window.
HIS POV -- of the Impala driving by -- rear window missing, bumper
about to fall off.
Hector watches it go by, then turns back. Raphael looks up.
HECTOR
So, can I have your fries?
EXT. COZY COURT COTTAGES -- EVENING
A group of small bungalows built adjacent to the interstate.
INT. COTTAGE -- EVENING
Small. Filled with cheap furniture. A small kitchenette is off
to the side of the room. Zero lays on the bed. Daniel uses his
belt as tourniquet to slow the bleeding. Raymond sits at the table
staring at the black canvas bag containing the cash and tapes.
Marcel is in the kitchenette.
DANIEL
(to Zero)
When we get back to Paris I'll take you
dancing.
Zero smiles. Sami enters carrying a shopping bag. He places it
on the counter.
DANIEL
Bring me the scissors.
ZERO
And the Vodka.
Sami removes the items from the bag. He opens the bottle and hands
it to Zero who quickly gulps down a few mouthfuls.
DANIEL
Cut his pants up the leg to the groin.
ZERO
And be careful when you get near the
top. Zero has a very long one.
He winks at Sami.
SAMI
What's he joking around for? He's been
shot.
DANIEL
He's been shot a lot. He's used to it.
Raymond cuts the pant leg away. Daniel walks over to Marcel who
is standing over the gas range. Over the flame is a tire wrench,
the metal tip glowing red hot. Sami opens the bag and removes
some white bread.
SAMI
Anybody hungry?
DANIEL
What'd you get?
SAMI
Some bread and...
He removes a can of cheese whiz and sprays the cheese onto the
bread.
SAMI
Cheese.
All the French guys look at him as though he is from another planet.
DANIEL
Cheese? In a can?
Sami stuffs his mouth with a big bite.
SAMI
It's good.
MARCEL
God, I want to go home.
SAMI
Hey, you know you can't this in France.
DANIEL
Thank God.
Daniel uses a towel to pick up the tire wrench and walks over to
the bed. Sami and Raymond grimace as they think about what's about
to happen.
DANIEL
(to Zero)
Ready?
Zero nods. Daniel takes the bottle of Vodka and pours some over
the wound. Zero flinches. Daniel looks at Marcel, then releases
the belt. Blood flows from the wound. Marcel presses the hot
poker against the wound. Zero grunts, but does not scream. His
face contorts violently from the pain.
INT. SOUTH SIDE SOCIAL CLUB -- EVENING
Zammito sits at a table in the back eating an assortment of pasta.
DEAN MARTIN "Innamaraia" plays on the stereo. EDDIE, 60's,
arthritic, finishes making an espresso. He starts carrying it
over to Zammito, moving incredibly slow, shuffling one foot in
front of the other. Zammito watches him with strained patience.
Joey "Two Tons" and Nicky "The Rake" enter. Their faces tell the
story.
ZAMMITO
What happened?
NICKY "THE RAKE"
They sort of got away.
ZAMMITO
I see. Well, get back out on the street
and find them before I "sort of" kill
you.
JOEY "TWO TONS"
But we ain't had nothing to eat all day
boss.
ZAMMITO
Oh, I'm sorry.
Zammito scoops up a handful of pasta out of his plate and throws
it at him.
ZAMMITO
Had enough?
Joey "Two Tons" looks down sheepishly, several pieces of pasta are
stuck to his face. Zammito walks over to him.
ZAMMITO
Try to get this through that fat, stupid
fuckin' head of yours. If Half Tooth
Tony finds these guys before we do and
Bonanno knows what was in my safe we are
all dead.
They turn around and leave. Zammito stares after them angrily.
ZAMMITO
Cafones!
He looks over at Eddie who is only half way to the table.
ZAMMITO
You gonna bring that over here today, or
what?
INT. COTTAGE -- MORNING
Zero is passed out, a half empty Vodka bottle on the nightstand.
The others have been up all night. Raymond is across the table
from Sami.
RAYMOND
The new Beaujolais' come out in France
next week. You like wine?
SAMI
I'm more of a whiskey drinker myself.
RAYMOND
J&B?
SAMI
Glenmorangie.
RAYMOND
Glenmorangie is very good.
Sami realizes that Raymond wants to talk about something...
anything... that will get his mind of the events that have lead
them here.
SAMI
But I'll have a glass of Beaujolais with
you when we get back.
Raymond forces a weak smile. Daniel who has been watching them
grabs a few things off the table.
DANIEL
I'll be back in an hour.
Daniel looks at Sami and motions for him to come outside.
EXT. COTTAGE -- MORNING
Sami steps outside. Daniel is staring at him.
SAMI
What?
DANIEL
Can I trust you, Sami?
SAMI
Hey, who warned you that they were coming
up to the room?
DANIEL
If they had taken us by surprise they
would have gotten the tapes back. That
would have left us with nothing.
SAMI
No, that would have left me with nothing
because all of you would be dead.
DANIEL
You haven't answered my question.
SAMI
Does it really matter what I say?
DANIEL
I'm leaving you with my friends. I'm
trusting you to do the right thing today.
SAMI
I will.
DANIEL
You better.
EXT. BONANNO'S HOUSE -- MORNING
Daniel walks up to the front door and rings the bell. Half Tooth
Tony opens the door and looks him up and down.
HALF TOOTH TONY
Yeah?
DANIEL
I would like to see Mr. Bonanno please.
HALF TOOTH TONY
Who the hell are you?
DANIEL
Tell him I'm the guy who robbed Frankie
Zammito.
INT. BONANNO'S FOYER -- MORNING
Half Tooth Tony searches Daniel. He finds a small cassette player,
glances at it and sticks it back in Daniel's pocket.
HALF TOOTH TONY
(points to a door)
In there.
INT. BONANNO'S LIVING ROOM -- MORNING
Daniel enters. Half Tooth Tony stands behind him, his eyes locked
on Daniel's every move. Bonanno is sitting in an armchair.
BONANNO
Either you are incredibly brave, or
incredibly stupid. Which one is it?
DANIEL
I guess we're going to find out.
BONANNO
You rob an associate of mine... a friend
and--
DANIEL
(overlapping)
Not such a good friend. May I reach in
my pocket?
Bonanno looks to Half Tooth Tony.
HALF TOOTH TONY
He's clean.
Bonanno nods. Daniel removes the cassette player and turns it on.
ZAMMITO'S VOICE
Of course. I need an answer from you if
I'm going to move.
MAN'S VOICE
We're not just talkin' about a 'piece of
work' here Frankie. We're talking about
a boss.
ZAMMITO'S VOICE
Bonanno's a dinosaur.
Guy thinks he's fuckin' Vito Corleone or
something. The old ways are gone. If
we don't change now we're going to get
pushed out. I need to know if I can
count on your support?
Daniel turns off the tape. Bonanno's anger is visible.
DANIEL
I've got to tell you, Mr. Bonanno, This
guy's an idiot. How he's lived this
long is a mystery.
BONANNO
(seething)
I don't think it will be a mystery much
longer.
DANIEL
He's recorded every conversation he's
had with you for years.
BONANNO
I assume you want something?
DANIEL
We've got a lot of people looking for
us. We'd just like to go home.
BONANNO
You want me to help you get out of the
country?
Daniel nods.
BONANNO
And for my help I would get what?
DANIEL
Half the tapes.
BONANNO
And the other half?
DANIEL
I'll destroy them when we get back to
Paris.
BONANNO
I only have your word for that.
DANIEL
I just want to get my people home. I
know who you are and what you could do
to me if I don't honor my word.
BONANNO
Where are you staying?
Daniel grins. He isn't going to tell him.
BONANNO
I only ask so I can call you when the
arrangements are made.
DANIEL
How about if I call you?
INT. COTTAGE -- MORNING
Zero and Raymond are sleeping. We hear the shower running in the
bathroom. Sami is at the table. The black canvas bag containing
the tapes is on the table. Sami removes the identical canvas bag
he bought at the store from under the bed and places it on the
table. He takes the original and leaves.
EXT. COZY COURTS -- MORNING
Sami removes the card Hadley gave him, takes out his cell phone
and dials. A taxi pulls up.
SAMI
Same place. One hour.
Sami gets in the taxi and it drives away. A beat. A moment later
another taxi pulls up. Daniel gets out.
INT. COTTAGE -- MORNING
Daniel enters to find Zero and Raymond still sleeping. He looks
at the black canvas bag on the table. Marcel steps out of the
bathroom wrapped in a towel.
EXT. GRANT PARK -- MORNING
Hadley is waiting by the statue holding a cardboard box. Sami
walks towards him holding the black canvas bag.
SAMI
What the fuck was all that about at the
hotel last night? I thought we had a
deal?
AGENT HADLEY
Hey, you're not exactly the most
trustworthy guy in the world. I took a
shot. It didn't work. Did you bring
the tapes?
Sami holds up the canvas bag.
SAMI
The lamp?
Hadley opens the cardboard box to reveal the bloody lamp base.
Sami hands him the canvas bag.
AGENT HADLEY
Just a second. You must think I'm a
real moron.
Hadley removes a small cassette player from his jacket. He picks
a tape and inserts it into the player.
ZAMMITO'S VOICE
I just came by to tell that "piece of
work" you asked for on Johnny Wicks --
It's done.
BONANNO'S VOICE
Good. How'd he go?
ZAMMITO'S VOICE
Like the crying rat bastard that he was.
Hadley stops the tape. He inserts another one.
ZAMMITO'S VOICE
Angelo, we can't lean too hard on this
guy. He's a congressman.
BONANNO'S VOICE
I made Peter Dimiano a congressman. We
pay him each month to look after our
interests.
Hadley grins. This is great stuff. He looks up at Sami.
AGENT HADLEY
Here you go, sport.
Sami grabs the box and leaves. Hadley starts whistling a tune and
walks off the other way. As he reaches the tree line Lamar pops
out with two of his friends. All of them have guns.
LAMAR
I'll take the bag.
AGENT HADLEY
You don't think I see through this? You
tell Sami he's dead.
One of Lamar's guys searches through Hadley's pockets, finds his
gun, then takes his wallet.
AGENT HADLEY
You're making a big mistake. I'm an FBI
agent.
Hadley stares at Lamar defiantly. Lamar cocks the hammer back on
his gun and presses the barrel to Hadley's forehead. Hadley drops
the canvas bag.
Lamar picks up the canvas bag and runs away. Hadley stands there
fuming. Lamar runs towards the statue and disappears behind it.
ANGLE -- BEHIND THE STATUE
Daniel is waiting, holding the other black canvas bag. As Lamar
passes they quickly exchange bags.
From Hadley's point of view Lamar has merely run behind the statue
as he heads for the street. Lamar runs a few more steps, then
stumbles and falls... several cassette tapes spill out of it.
Lamar's buddies are already at the street.
LAMAR'S BUDDIES
C'mon, man! Let's get out of here.
Lamar gets up, looks at the bag, pretends to be panicked. He runs
off leaving the bag laying on the grass.
ON HADLEY: He can't believe his luck. He runs over, picks up the
loose cassettes and puts them back in the bag, then leaves.
ON DANIEL: he peers out from behind the fountain, watching as
Hadley walks off in the other direction.
EXT. STREET CORNER -- MORNING
Daniel arrives to find Sami and Lamar.
SAMI
See, I told you that you could trust me.
Daniel grins and pats him on the back.
LAMAR
Okay, we're square now, right?
DANIEL
There's just one more thing I need you
to do.
Lamar is about to protest when Daniel takes out a roll of bills.
LAMAR
I'm listening.
INT. TAXI -- MOVING -- DAY
Daniel and Sami sit in the back. Daniel is on his cell phone.
DANIEL
(into phone)
Mr. Bonanno, I was wondering if you--
(listens)
That would be fine. Thank you.
INT. FBI HEADQUARTERS -- DAY
Hadley enters with the black canvas bag. The RECEPTIONIST hands
him a package.
RECEPTIONIST
This came for you.
INT. HADLEY'S OFFICE -- DAY
Hadley opens the package and finds a video cassette. Hadley pops
the cassette into the VCR. On the screen we see Sami speaking
into a video camera.
SAMI
Since we're such good pals I thought I'd
sneak you an advanced copy of my latest
work. I call it, "I am a scum-sucking
FBI agent".
On the television screen we see Hadley and Sami in the park on
their first meeting.
SAMI
You want the tapes for yourself. You're
going to sell them.
AGENT HADLEY
I'm going to retire with a shit-load of
money. Find me a small country that
doesn't have an extradition treaty with
the States and live the good life.
SAMI
You didn't have to kill Sophie.
AGENT HADLEY
Yes I did. Lose ends are messy.
The color drains from Hadley's face. Sami reappears, talking into
the camera again.
SAMI
It's a little arty I know, but it has
great content, don't you think? You
were so busy looking for a wire you
probably didn't even think about a video
camera. It was on the statue. Anyway,
I've sent a copy of the whole tape to
the Chicago P.D. and the FBI. They'll
get it tomorrow. If I were you I'd take
the day off.
The tape turns to static. Hadley tries to think. He takes the
VHS tape from the machine, then picks up his phone and starts to
dial a number. A beat. He thinks better of it, hangs up and uses
his cell phone.
INT. SOUTH SIDE SOCIAL CLUB -- DAY
Eddie is on the phone. Zammito is at his usual table.
EDDIE
Hey boss, some guy named Hadley. Says
he's got some tapes you want?
Zammito springs out of his seat and grabs the phone.
ZAMMITO
Yeah?
(listens)
How much? Are you nuts?
(listens)
Okay. Okay. There's an old warehouse
on Merchant Street...
EXT. SOUTH SIDE SOCIAL CLUB -- DAY
Zammito and Joey "Two Tons" rush to the car carrying a briefcase.
EXT. VINNY ZAMMITO'S HOUSE -- DAY
Raymond knocks on the door. Vinny answers it, his arm in sling.
RAYMOND
Mr. Zammito?
VINNY
Uh huh.
RAYMOND
I represent a person who wishes to remain
anonymous, but is aware of your current
financial problems with your brother.
VINNY
I don't know what you're talking about.
RAYMOND
I understand. The person who sent me
wishes to help you.
VINNY
How?
RAYMOND
You see that car?
Vinny looks on the street and sees the Impala.
VINNY
Yeah.
RAYMOND
It's yours. A gift. A gift you could
give to your brother... or anyone you
owe money to as partial payment.
VINNY
No shit?
RAYMOND
The papers for the car will arrive
tomorrow.
EXT. MERCHANT STREET WAREHOUSE -- DAY
An old building, dirty windows and peeling paint. The main door
is open.
INT. MERCHANT STREET WAREHOUSE -- DAY
Zammito and Joey "Two Tons" are standing next to Zammito's Lincoln.
Hadley parks ten yards away and gets out with the black canvas
bag.
ZAMMITO
Those the tapes?
Hadley starts to place the canvas bag on the hood of Zammito's
car.
ZAMMITO
Watch the paint.
Hadley opens the bag. It is filled with cassette tapes.
AGENT HADLEY
The money?
Zammito nods to Joey "Two Tons" who opens another briefcase filled
with cash.
ZAMMITO
How'd you get these?
AGENT HADLEY
I got 'em. That's all you need to know.
Hadley starts to go. Zammito motions him to stop.
ZAMMITO
Just a second.
Zammito picks a tape and tosses it to Joey "Two Tons." Who puts
the cassette into the cars cassette player. Suddenly we hear Wayne
Newton singing "Danke Schoen."
WAYNE NEWTON'S VOICE
Danke Schoen, darling Danke Schoen.
Thank you for all the joy and pain...
Hadley's face turns white. He produces an audible gulp as he looks
at Zammito weakly.
EXT. MERCHANT STREET WAREHOUSE -- CONTINUOUS
The music continues as we hold on a wide shot of the building.
WAYNE NEWTON'S VOICE
Pictures show, second balcony, was the
place we'd meet...
Through the dirty windows we see several flashes as the air fills
with gunfire.
WAYNE NEWTON'S VOICE
... second seat, go Dutch treat, you
were so sweet...
Zammito's Lincoln pulls out of the warehouse and drives down the
street.
INT. LINCOLN -- MOVING -- AFTERNOON
Music continues in the cassette deck. Joey "Two Tons" drives.
Zammito sits in the passenger seat.
ZAMMITO
Can you believe that guy? What a moron.
JOEY "TWO TONS"
(referring to cassette)
Good song though.
ZAMMITO
Great fuckin' song.
EXT. PRIVATE AIRPORT -- AFTERNOON
Sami, Marcel and Raymond help Zero out of the taxi and towards a
small plane. Off to the side Bonanno is standing with Half Tooth
Tony. Daniel walks over to him.
BONANNO
This plane will take you to Canada.
From there you can fly back to Paris.
DANIEL
Thank you.
BONANNO
You have something for me?
Daniel hands him the cassette case with half the tapes. Bonanno
hands it to Half Tooth Tony who takes them into the car and listens
to a tape.
HALF TOOTH TONY
They're good, boss.
BONANNO
And the other half of the tapes?
DANIEL
You have my word. I'll destroy them.
EXT. SOUTH SIDE SOCIAL CLUB -- AFTERNOON
The Lincoln pulls up. Zammito and Joey "Two Tons" get out. Vinny
is waiting beside the Impala.
ZAMMITO
What's this?
VINNY
A car.
ZAMMITO
Oh really? Thanks. I thought it was a
sewing machine. What the hell is it
doing here?
VINNY
It's for you.
ZAMMITO
For me? What am I going to do with a
piece of shit like this?
VINNY
I don't know. Sell it. It's gotta be
worth something. Someone gave it to me.
C'mon Frankie, I'm trying to make good
here.
ZAMMITO
Okay. Okay.
VINNY
I'll get you the papers tomorrow.
Vinny starts to walk away.
ZAMMITO
(yelling after him)
Hey, if you're well enough to be walking
around you're well enough to start working
here.
EXT. MEXICAN RESTAURANT -- AFTERNOON
A gang hang out. Raphael is with several hard-looking gang-bangers.
Lamar arrives with two of his friends.
RAPHAEL
You lost?
LAMAR
Don't come off like a hard-on with me.
I'm about to make you a very happy man.
EXT. GANG HANGOUT -- AFTERNOON
Several Gang Bangers stand around their low rider cars. Sananta's
"Oye Como Va" plays loudly on one of the radios. Raphael talks
heatedly with several of the gang bangers.
A SERIES OF QUICK CUTS
Music continues as several gang members check their guns.
EXT. STREET -- AFTERNOON
The Santana song continues as several car loads of Gang Bangers
drive down the street.
INT. SOUTH SIDE SOCIAL CLUB -- AFTERNOON
The air is thick with cigar smoke. Several GUMBAS hang around the
bar. Zammito is at his table with Joey "Two Tons" and Nicky "The
Rake." DEAN MARTIN "Return To me" plays on the jukebox.
Outside we hear the sound of cars pulling up and screeching to a
stop. The door opens and Raphael and ten other very tough-looking
GANG MEMBERS step inside. The room falls silent, except for Dino
on the jukebox. Zammito stands up.
RAPHAEL
Anybody know about that car outside?
ZAMMITO
Yeah. It's mine.
RAPHAEL
No. It's mine.
ZAMMITO
The hell it is.
RAPHAEL
I'm telling you that's my car! And
someone's gonna pay for it!
ZAMMITO
And I'm tellin' you it ain't! Now, turn
your taco-eating ass around and get the
hell out of here.
RAPHAEL
Fuck you, grease-ball!
ZAMMITO
Fuck me? Fuck you!
They are right on the edge of having a major disaster. The Dean
Martin song ends. Dead quiet. Each group watches the other to
see who's going to make the first move.
The jukebox selects another record. The needle scratches against
the vinyl intro. We hear the intro to JERRY VALE singing "Amore
Scusami".
SERIES OF QUICK CUTS
-- Raphael's eyes burn into Zammito's
-- A Gang-Bangers eyes dart from side to side.
-- A Wiseguy bites his lip.
-- Nicky "The Rake" twitches his fingers nervously.
-- Sweat glistens on the forehead of Joey "Two Tons".
At the bar Eddie reaches behind for something without looking. He
knocks over a bottle. It falls to the floor and breaks. The noise
is enough to push things over the edge.
JERRY VALE'S VOICE
My love, forgive me...
Raphael goes for his gun. All hell breaks loose! People dive for
cover as shots rings out. In the close quarters it's like shooting
fish in a barrel.
JERRY VALE'S VOICE
I didn't mean to have it end like this...
Eddie lifts a shotgun from behind the bar and blows away a gang
member. Another gang member kills him.
It's a massacre! Bodies drop like flies. The room is so thick
with smoke you can't see two feet in front of you. Finally it is
quiet.
JERRY VALE'S VOICE
I didn't mean to have you fall in love,
in love with me...
We move through the room, past the carnage. Smoke swirls, blood
covers the floor. Raphael is dead. Along with Joey "Two Tons"
and Nicky "The Rake" On the floor, Zammito is against the bar.
He sits up, amazed that he is untouched. He gets to his feet and
makes his way to the front door.
EXT. SOUTH SIDE SOCIAL CLUB -- AFTERNOON
Music continues. Zammito staggers outside and into the street.
He laughs, a nervous laugh at his good fortune.
JERRY VALE'S VOICE
My love, please kiss me...
Zammito turns around to see
ZAMMITO'S POV -- A Lincoln Town car speeding towards him. Through
the windshield he can see the smiling face of Half Tooth Tony.
The front of the car slams into Zammito, lifting him into the air.
He flips head over heals then smashes into the windshield and over
the car. He lays in the middle of the street, dead.
The Lincoln speeds off down the street.
JERRY VALE'S VOICE
Arrivederci amore kiss me...
INT. BONANNO'S HOUSE -- AFTERNOON
Music continues. Bonanno sits on his couch, eating a cannoli as
he watches Judge Judy on television..
JERRY VALE'S VOICE
Remember when we part...
INT. MERCHANT STREET WAREHOUSE -- AFTERNOON
Music continues. Agent Hadley is leaning against his car, his
eyes open, a large bullet hole in his head.
JERRY VALE'S VOICE
You'll have my heart...
INT. SOPHIE'S WAREHOUSE -- AFTERNOON
Music continues. Wayne is sitting on the couch, an open package
on the coffee table. He smiles as he stares at the stacks of cash
the crew took from Zammito.
INT. PLANE -- MOVING -- AFTERNOON
Music continues. The crew sits quietly.
JERRY VALE'S VOICE
I love you so...
EXT. PLANE -- MOVING -- AFTERNOON
Jerry Vale continues singing as the plane glides through a clear
blue sky. Music fades.
DISSOLVE TO:
EXT. BASTALDI'S'S WAREHOUSE -- PARIS -- MORNING
Bastaldi steps outside into the crisp morning air. He takes a few
steps, then stops.
BASTALDI POV -- across the street, standing side by side are Daniel,
Sami, Raymond, Marcel and Zero. They look like a ragged bunch,
tired, dirty. We PAN across the faces of each one of them as they
stare at Bastaldi.
A BUS goes by blocking Bastaldi's view of the boys. When it passes
the crew it gone!
Bastaldi bites his lip nervously. Bastaldi looks around, but there
is no sign of them.
A DIFFERENT ANGLE
We can see the five of them crouched behind a parked car. Marcel
peers through the window at Bastaldi who is still trying to figure
out where they went. They are all amused with Bastaldi's
bewilderment.
RAYMOND
What's he doing?
MARCEL
He's looking around for us.
ZERO
Zero can't stay like this much longer.
His leg is hurting.
Finally, Bastaldi turns around and goes back into his apartment.
INT. BASTALDI'S WAREHOUSE -- DAY
Bastaldi is at his desk, nervously tapping his fingers on the
surface. The phone rings. He knows who is calling. He stares at
the phone for a long moment, then he slowly lifts the receiver.
BASTALDI
Hello?
DANIEL (V.O.)
(in French)
It's Daniel.
BASTALDI
(in French)
Daniel. Listen I'm afraid there has
been a big--
DANIEL (V.O.)
(overlapping; in French)
-- I've got the tapes. If you ever want
to see your brother out of jail do exactly
what I say. Bring one million euros to
your boat at six o'clock.
BASTALDI
(in French)
A million! I don't have that kind of
money.
DANIEL (V.O.)
(in French)
Don't bullshit me, Laurant! I know about
the Van Gogh.
BASTALDI
(In French)
I don't have it. That's why Vincent
went to Chicago. They arrested him before
he could bring it back.
DANIEL (V.O.)
(in French)
Well, you better get the money somehow.
Six o'clock and come alone. If you don't
we'll destroy the tapes.
The line goes dead.
EXT. HOUSEBOAT -- AFTERNOON
Bastaldi drives up. He gets out carrying a suitcase and nervously
walks to the boat.
INT. HOUSEBOAT -- AFTERNOON
Bastaldi enters. No one appears to be there. Bastaldi's cell
phone rings. He answers it.
DANIEL (V.O.)
(in French)
Go back on deck. There's a small rowboat
in the water --
EXT. OTHER SIDE OF RIVER -- CONTINUOUS
Daniel, Sami and Zero watch the houseboat. Daniel continues his
conversation on the cell phone.
DANIEL
(in French)
Put the money in the rowboat and untie
it. The current will carry it down river.
When we see that the money is there I'll
call back and tell you where the tapes
are.
DANIEL'S POV: Bastaldi appears on deck. He puts the suitcase in
the rowboat and unties it. It drifts slowly into the current.
EXT. DOWN RIVER -- AFTERNOON
The rowboat hugs the shore, moving slowly down the river. Marcel
is on the shore with Raymond. Raymond reaches out with a long
pole and pulls the boat to shore. Marcel opens the case. Inside
are several stacks of five hundred franc notes. Marcel looks to
Raymond with a grin and nods. Raymond opens his cell phone.
EXT. OTHER SIDE OF RIVER -- CONTINUOUS
Daniel, Sami and Zero continue to watch the houseboat. Sami's
cell phone rings. He answers it and listens.
RAYMOND (V.O.)
We're in business.
Sami nods to Daniel.
EXT. HOUSEBOAT -- AFTERNOON
Bastaldi's cell phone rings. He answers it.
DANIEL (V.O.)
(in French)
Go down into the main cabin. The tapes
are in the wooden chest.
The line goes dead.
INT. HOUSEBOAT -- AFTERNOON
Bastaldi enters, looks around the room until he sees the wooden
chest. He walks over and opens it. Inside there are several
cassette tapes in the cardboard box.
Bastaldi grins and lifts the cardboard box out of the chest. He
hears a CLICK. He notices something is attached to the bottom of
the cardboard box. It's a long thin wire that has pulled the pin
on an electronic device.
EXT. ACROSS THE RIVER -- CONTINUOUS
Daniel is now holding small, black device. A yellow light starts
flashing. He puts his finger on a red button.
DANIEL
This is for Julien.
He presses the button.
INT. HOUSEBOAT -- CONTINUOUS
A digital counter begins counting backwards. Bastaldi realizes
that the device is a BOMB. He stares at the numbers quickly speed
by 8... 7... 6... 5...
BASTALDI
Oh, Merde!
EXT. HOUSEBOAT -- FIVE SECONDS LATER
The houseboat explodes in a brilliant fireball, sending pieces of
wood and metal flying into the air. A thick plume of black smoke
swirls in the wind.
EXT. ACROSS THE RIVER -- AFTERNOON
Daniel, Raymond, Sami, Raymond, Marcel and Zero watch the smoldering
wreckage. Their blank faces show no emotion -- just a sense that
justice has been done.
SAMI
Did you have to use that much explosive?
DANIEL
I promised Bonanno I'd destroy the tapes.
Raymond opens the suitcase and looks inside. As he peels through
the stacks of money we see that only the top bill of each stack is
real -- underneath them all is white paper, cut to the same size
as the bills. Everyone turns to Marcel.
DANIEL
You didn't check it?
EXT. BRIDGE -- AFTERNOON
The five of them walk across the bridge.
MARCEL
I'm sorry! I was caught up in the
excitement of the moment. I should have
checked. I made a mistake. I suppose
that none of you have ever made a mistake
before?
No one answers him. Sami reaches inside the black canvas bag and
removes the autographed baseball Marcel took from Zammito.
SAMI
This is great. After everything we've
been through we've got eight hundred
euros and an autographed baseball.
MARCEL
The baseball is mine.
SAMI
No! You can't have the baseball! You're
not entitled to the fuckin' baseball!
Sami throws the baseball back in the canvas bag.
MARCEL
I'm the one who took it. It's my
baseball!
ZERO
If you say baseball one more time Zero
will shoot you.
MARCEL
Raymond, don't you think they're over
reacting a little?
RAYMOND
No. I think they have a right to express
their anger with you in light of the
fact that you're...
(something in him
snaps)
A FUCKIN' MORON! HOW COULD YOU NOT CHECK
THE MONEY, YOU GOD DAMN STUPID SHIT-HEAD!
Raymond's anger takes everyone by surprise. Even Raymond is
surprised by his outburst.
MARCEL
Fine. All of you want to be angry? Be
angry... but I'm the one who took the
ball and that makes it mine.
SAMI
No.
MARCEL
Give it to me, Sami.
SAMI
No!
Marcel tries to take the ball out of the bag. Sami pulls it away.
Marcel grabs the bag. Both of them tug on it. Marcel pulls hard
and the bag rips down the seam. The baseball falls out and rolls
off the bridge into the river.
SAMI
Perfect.
Marcel stands there holding the inside liner of the bag.
Sami throws the canvas bag to the ground in frustration.
Something catches Daniel's attention.
DANIEL'S POV -- of the black canvas. The lining has been ripped
away. A light breeze blows lifting the underside of the black
canvas. There is a flash of color. Another gust of wind turns
the black canvas over. On the other side is Van Gogh's "Vase with
twelve sunflowers".
Daniel's jaw drops. The others notice his stunned expression and
follow his stare.
THEIR POV -- of the priceless painting.
They stand there, too shocked to move at first, then rush forward.
They have almost reached the painting when a truck passes them.
The wind kicks up the painting, blowing it over the railing. They
reach out to grab it, but it is too far away. They stand there,
watching as it slowly floats down to the river below.
EXT. BRIDGE -- WIDE SHOT -- AFTERNOON
They look at one an other, then without speaking a word they all
jump off the bridge. As they fall towards the water we...
FREEZE FRAME
