RIVER KEY

GARY SANDERS

INSPIRED BY TRUE EVENTS

GSANDS7@GMAIL.COM
9218 METCALF
SHAWNEE MISSION KS.66212
(913)271-7349
 FADE IN:

EXT. LAS VEGAS STRIP - 1970'S - DAY

Down from the roof of the tallest hotel. Roll along the strip,
past casino after casino. Marquees offer LOUIS PRIMA, PETULA
CLARK and the world’s biggest buffet. Up the long driveway to
the front door of the grandest hotel/casino on the strip.

DENNY ANDREWS (V.O.)

Vegas didn’t rise up out of the
desert on its own. Sixty million
bucks from blueprint to grand
opening. That’s what it took to
open a casino. Sixty million
dollars before one thin dime ever
rolled into a slot machine.

INT. VEGAS CASINO FLOOR - NIGHT

BLUE-HAIRED OLD WIDOWS pull handles on banks of one-armed

bandits. Craps tables overflow with DRUNKEN CONVENTIONEERS.
SEXY COCKTAIL WAITRESSES smile for CARD SHARK HIGH ROLLERS.

DENNY (V.O.)
Get your hands on that kinda’ money
it’s comin’ from one place and
that’s the mob. Maybe it’s really
from pension funds of hard working,
brawling Teamsters. The mob’s still
controlling it.

INT. CASINO BANQUET ROOM - NIGHT

Burly JACK WILSON (50), in a polyester suit, smiles wide as

he shakes hands with clean-cut casino president BRAD BUTLER
(38). Flash bulbs POP. An oversized cardboard check for sixty-
two million dollars is propped beside them.

DENNY (V.O.)
Jack Wilson, Vice President of the
Teamsters union, invested pension
money in Vegas. It got great
returns for the Teamsters. Which
casinos got the loot? That was
controlled from Kansas City by the
boss of bosses, Papa Nick Corelli.

PHOTOGRAPHERS jockey around for the best angle of the two.

 2.

DENNY (V.O.)
You never saw a picture of Papa
Nick, probably never heard of him.
He was that damn good.

INT. CASINO COUNTING ROOM - NIGHT

SERIOUS-LOOKING MEN in black suits and ties empty trays of

cash, then flash the empty tray for the CCTV above. Stacks of
hundreds are piled next to counting machines as the men count
out more.

DENNY (V.O.)
You borrow money from the mob you
don’t just pay the money back. You
gotta pay the vig.

A MAN opens a metal cabinet, lifts out a Samsonite suitcase.

He places it directly into the hands of a SECOND MAN.

Without a word the second man turns and walks out the
counting room door...Walks the suitcase through the casino.

DENNY (V.O.)
That extra cash was headed back to
Kansas City and Papa Nick, ‘cause
without Papa Nick, nobody got their
money.

EXT. LAS VEGAS AIRPORT - DAY

A TWA plane gathers speed on the runway...lifts off.

INT. TWA AIRPLANE CABIN (AT ALTITUDE) - DAY

FATHER O'NEIL (64), a Priest in full garb, sits comfortably

in an aisle seat. A LITTLE BOY (7) bounces up the aisle. He
stops to stare at Father O'Neil.

DENNY (V.O.)
Papa Nick figured out a long time
ago, you work with the church they
work with you.

Father O'Neil reaches out, places his hand on the boy’s head.

FATHER O'NEIL
Bless you, my son.
 3.

INT. CROWDED AIRPORT - DAY

CARLOS (40) scans PASSENGERS as they arrive. BUSINESSMEN

search for DRIVERS, FAMILIES reunite. Father O'Neil finally
appears, suitcase in hand. Carlos nods a greeting.

SUPER: “MID-’70s - KANSAS CITY INTERNATIONAL AIRPORT”

FATHER O'NEIL
You finished clearing the hillside?

CARLOS
Lilies will bloom for Easter mass.

FATHER O'NEIL
See, Carlos, when you’re sober you
get a lot done.

Carlos smiles as Father O'Neil hands him the Samsonite case.

CARLOS
The sisters are in the car, just
outside that door.

FATHER O'NEIL
They came along?

CARLOS
You know Sister Katherine.

EXT. KANSAS CITY INTERNATIONAL AIRPORT - DAY

Father O'Neil is on the sidewalk now. Two men watch his every
move, from down the way. ANGELO (32), buff in a tailored
suit, takes a drag off his smoke, tosses it to the concrete.
PAULIE (40s) wears a silk shirt with dress slacks.

ANGELO
Hope he had his fun.

PAULIE
Ain’t gettin’ no cheaper, is he?

Angelo laughs, shakes a Kool from the pack, fires it up with

his Zippo. The THREE NUNS smile from the back seat as Father
O'Neil and Carlos reach the station wagon. Windows are open.

SISTER KATHERINE
That young woman Connie has been
coming by. Says no on else can hear
her confession.
 4.

Father O'Neil ignores her comment and opens his door as

Carlos hustles the Samsonite into the rear of the station
wagon.

Father O'Neil drops into the passenger seat -- Reaches for

the door handle -- Grabs his chest -- His body seizes --
Tumbles onto the curb -- The nuns and Carlos rush to his aid -
- Paulie and Angelo hustle over.

NUN
(screams)
Somebody call a doctor!

ANGELO
Give him some room.

Paulie kneels -- Checks Father O'Neil’s pulse -- Frowns a no

to Angelo -- Nuns scream -- Sister Katherine drops to his
side -- Shoves a rosary into Father O'Neil’s hand.

Angelo and Paulie step to the rear of the car -- Angelo grabs
the Samsonite -- Paulie hesitates, looks back at the Priest
again -- They cross the street -- Sirens SCREAM.

INT. PAULIE’S CADILLAC (MOVING) - DAY

Paulie meets the blaring ambulance on its way in as he wheels

out the exit. Angelo rides shotgun.

PAULIE
Papa Nick is gonna be pissed.

ANGELO
Fuck it, least we got the money. He
sends Sal or one of the crew, they
panic, leave without it.

PAULIE
You heartless bastard. We don’t
even know what fuckin’ killed him.

ANGELO
I’m bettin’ a heart attack.

PAULIE
Heart attack?

ANGELO
Heart attack. I hear he had five
hookers the last twenty-four hours.
 5.

PAULIE
Five hookers? Where do you get this
shit anyway?

ANGELO
Don’t get it sittin’ in mass,
that’s for sure.

PAULIE
Still bustin’ my balls? When’s last
time you went?

ANGELO
Mass? I musta’ been about nine. The
fuck you go?

PAULIE
You’re so big-time smart, you
explain it to Papa Nick.

EXT. CITY MARKET, DOWNTOWN KANSAS CITY - DAY

Tables overflow with all variety of grapes, oranges, apples,

bananas and vegetables.

SHOPPERS squeeze the produce, haggle with VENDORS. GENO

CORELLI (68), perched like a chubby eagle atop a tall stool
at the back of the produce stand, eyes them all.

INT. CITY MARKET OFFICE - DAY

The Samsonite sits empty on the pool table. Cowboy shirts,

jeans and underwear are piled from the table to the floor.

WHEELIE (58), wheelchair bound, sits next to Angelo. SAL

(45), tall with muscle gone to fat, stands across the room.
They maintain silence. All eyes on PAPA NICK.

NICHOLAS CORELLI (62), graying, better looking than these

guys usually are. He’s Don Corelli to the North side and Papa
Nick to his crew. He stands from his desk, rubs his backside.

PAPA NICK
My ass is burnin’ here.

Paulie enters from the other room.

PAPA NICK
You talk to him?
 6.

PAULIE
Rose eyeballed the count, put him
on the plane. No fuckin’ chance the
switch happened in Vegas.

Papa Nick locks his gaze on one crew member, then the next.

DENNY (V.O.)
In nineteen-sixty the Nevada gaming
commission created the black book.
It listed the names of known
undesirables who could never set
foot inside a casino. Papa Nick and
his older brother Geno were the
first two on the list.

ANGELO
Boss, when Father O'Neil went down,
God bless him, at no time did
Paulie or myself not have eyeballs
on that case.

WHEELIE
Eyeballs on some cunt, most likely.
See any flyin’ waitresses?

ANGELO
Fuck off, Wheelie.

PAPA NICK
Enough.

SILENCE, Angelo and Wheelie exchange hard looks.

DENNY (V.O.)
A pipe bomb had exploded a little
too quickly ten years earlier,
putting Wheelie into the chair. It
also killed Angelo’s older brother.

SAL
You think Father O'Neil got greedy?

PAPA NICK
Greedy? I know him since grade
school, he fucks me now? He was a
Catholic priest, for fuck sake.

ANGELO
Walls everywhere you go, fuckin’
new airport. Old one downtown,
everything’s out in the open. You
can’t see shit out th--
 7.

PAPA NICK
Don’t even fuckin’ start. What was
the count, Paulie?

Paulie pulls a torn piece of cardboard from his jacket.

PAULIE
Woulda’ been seven hundred large.

DENNY (V.O.)
Paulie always knew what was goin’
out, what was comin’ in. Wheelie
was the tech guy. Video poker and
vending machines all over the city.
Most of ‘em had started out in Papa
Nick’s warehouse. Wheelie’s job was
to keep ‘em suckin’ cash.

FAT TONY (37) enters at a brisk clip. One look, you know he’s
a bodyguard.

FAT TONY
I got home addresses for the
baggage handlers.

DENNY (V.O.)
Fat Tony wasn’t fat, he was an
earner. Served full-time as Papa
Nick’s bodyguard, still managed the
biggest book of collections. Had
his guys on the street more
organized than Bank of America.

PAPA NICK
Fat, what’s that cartoon we saw?

FAT TONY
What cartoon, Boss?

PAPA NICK
On TV, the cat’s s’posed to be
guardin’ the kitchen but the mouse
gets the fuckin’ cheese.

FAT TONY
Do’no, Boss.

PAPA NICK
Your faces right now, you look like
that fuckin’ cat.

Papa Nick walks to the pool table. Everyone mumbles in

protest, “no way”, “we’ll kill ‘em”.
 8.

PAPA NICK
Sal, you listen to Angelo. The two
of you get these baggage guys over
to Jilly’s. Find out who had balls
enough to leave us sniffin’ their
dirty fuckin’ underwear.

Papa Nick slams the Samsonite closed, brushes it to the

floor. Angelo and Sal hustle out the door.

DENNY (V.O.)
Sal was not the guy you wanted with
you if you were facin’ off against
a room full of Harvard professors.
Any other bunch, he was your man.

Papa Nick steps over to Fat Tony who is seated next to

Paulie. He faces Fat, puts a hand on his shoulder.

PAPA NICK
O'Neil’s at Castino Brothers
funeral home, the basement. There’s
a chain, holds a key.

FAT TONY
We’ll handle it.

PAULIE
Right away, tonight.

PAPA NICK
Good. The embalmers get him first
thing in the morning.

INT. HIGHLAND HIGH SCHOOL - DAY

SHEILA (17), a blonde beauty, bounces down the hall with her
best friend ANITA, (18), brunette and almost as pretty.

Sheila fills her tight jeans perfectly. Shiny hair, bright

smile. Her skin glows.

DENNY (V.O.)
When I was thirteen I had a dream
so intense I was awakened from a
deep sleep. I was connected soul to
soul with the most beautiful girl.
At fifteen I met her.

SHEILA’S EYES.
 9.

DENNY (V.O.)
Sure, she was pretty and had a
great body...but her eyes.

YOUNG LIZ TAYLOR EYES.

INT. 1968 CAMARO (PARKED) LAKESIDE - DAY

DENNY ANDREWS (18) is stretched across the console of the

front seat into Sheila’s lap. They make out. He is, as a
cheerleader once said, worthy.

Denny fiddles with Sheila’s bra strap. The strap gives way
and Denny caresses the most beautiful breasts known to man.

SHEILA
(giggles)
You can’t do that.

Denny gently circles her nipples with his fingers. His Levis
grow tight.

DENNY
I know, I won’t...Sheila?

SHEILA
Yeah?

Denny caresses her breasts.

DENNY
You know how stoked I am about you,
right? I mean I woul...

Sheila sits upright, pulls away and turns to face her door.

SHEILA
...We better book. I’ve got gym
second hour with that goofy-ass
Striker bitch.

She slides her bra around, inserts her stunning breasts.

Denny bangs his hand on the steering wheel, opens his door,
steps out onto the dewy grass. Waits for the door to close.

DENNY
Shit...shit...shit.

Denny adjusts his Levis, gives his hard-on room to hide. He

slides back into the car. Sheila sits facing front.

DENNY
Yeah, Striker’s a Nazi.
 10.

SHEILA
A Nazi? Ha. I think you finally
nailed her.

A British convertible, top down, speeds around the corner,

slides to a stop. The driver slams reverse, backs in, window
to window with Denny.

INT. CONVERTIBLE - DAY

KEITH (18), wild red hair, scarf, cuts the engine. JOHN (18),
a tan surfer, bigger and more muscled than the others, leans
on the passenger door. BEN (18), slight with a Kenny Loggins
shag haircut, peers through the back window.

INTERCUT AS NEEDED -

KEITH
Far out. I thought I’d find you
guys here.

DENNY
What it is, blood?

KEITH
I was just telling John, you said
you’d work with him cleaning the
Carousel Club.

Keith nods, gives John a wink.

DENNY (V.O.)
Keith and I were tight since first
grade. John had just moved in next
door to Keith, straight from
California. His dad was dead. When
he got to be too much for his mom,
she shipped him to his older
brother here in suburbia.

KEITH
Old man won’t let me help ‘cause
baseball’s coming up. Fuck head...
Sorry, Sheila.

Sheila leans over Denny.

SHEILA
Watch that...Fuck head. Working
already, John? You barely got here.

John leans forward, makes eye contact with Sheila, smiles.

 11.

JOHN
I’m taking lover boy with me.

DENNY
We got blood brother business to
tend to first. Remember Keith?

KEITH
Can’t you chill on that, Denny?
We’re not kids.

Denny slams his door on his way out of the car -- John gives
Keith a “what the fuck?” look -- Keith shrugs -- John
scrambles out of the car -- Meets Denny on the pavement.

BEN
I wish he wouldn’t do this shit.

KEITH
(calls out)
It’s just drawing blood on the
other guy, John.

EXT. LAKESIDE - DAY

All three friends pile out to watch.

JOHN
I get it, Keith.

Fists up, the two circle each other.

DENNY
Just an Indian thing, I like the
Indian ways.

Sheila, Keith and Ben huddle together and watch -- Denny

punches John hard in the nose -- John smiles back, undamaged -
- Denny nails him again --

-- No blood -- John motions Denny forward -- Denny winds up,

advances -- John catches him coming in -- WHAP -- Blood rolls
from Denny’s mouth.

INT. CAROUSEL CLUB - DAY

First thing you notice, the main bar is circular. Like a

merry-go-round it turns slowly, bar stools and all.
 12.

DENNY (V.O.)
“Largest nightclub in Kansas City,
you must be twenty-one to enter,”
the radio ads always said. It was
owned by Papa Nick...’course the
ads never said that.

The next room is the bandstand, dance floor and miles of

small cocktail tables. A doorway leads to the game room.
Pool, pinball, Pac Man, foosball, video poker, you name it.

INT. BANDSTAND, DANCE ROOM - DAY

Cocktail tables are stacked. John uses a broom and struggles

to free the beer-soaked popcorn from the carpet. Denny, on
his knees, uses a brush.

INT. MEN’S BATHROOM - DAY

Denny sizes up his busted lip and swollen nose in the mirror.

DENNY
What were we fighting about?

John leans in next to him. He traces the outline of his own

black eye and smirks at the mirror.

JOHN
Your idea, Geronimo.

DENNY
Damn Indians.

John pulls a wet mop from the bucket, plops it onto the tile
floor. Denny grabs the large trash can. Liquid sloshes out
all over his shoes.

DENNY
Sonuvabitch...I don’t fuckin’...

JOHN
What?

DENNY
Trash can’s full a piss.

John comes over to look. CHARLENE (30), a bartender and a

brick house, steps into the bathroom.

CHARLENE
Oh yeah, hun. Saturday night’s too
crowded. Can’t wait.
(MORE)
 13.
CHARLENE (CONT'D)
They fill the sink, then the cans.
Frankie wants you to mop the game
room today.

CHARLENE’S FACE AND BODY

DENNY (V.O.)
Charlene had worked downtown at the
Playboy club. She was even in the
magazine once. It had been eight or
ten years ago but she could still
fill up a Bunny suit.

Charlene turns to go.

CHARLENE
I’ll tell Frankie you’ll get it at
end of shift.

DENNY (V.O.)
Frankie carried the title but
Charlene ran things.

SILENT FLASH - FRANKIE (30), dark and moody, jumps up from a

card table of players, throws his cards down in disgust. A
SLEAZY BRUNETTE hangs on his arm. He pushes her away.

DENNY (V.O.)
Spoiled beyond belief? Why not? He
was Geno’s only son. Papa Nick was
childless, which made Frankie is
only heir. They stuck him over here
at the Carousel where he couldn’t
do much damage. Still, he managed
to fuck up.

A SCREAM pierces the silence. John and Denny drop everything

and run toward the sound of Charlene’s wail.

INT. FRANKIE’S OFFICE - DAY

Charlene stands frozen in place, sobbing. On the floor,

Frankie’s lips are blue, needle still stuck in his arm.

John springs into action -- Jerks the syringe out, tosses it

aside -- On his knees now, John pounds on Frankie’s chest --
Frankie groans -- John slaps him hard in the face.

JOHN
Char, get a bucket of ice.

Charlene can’t move -- Denny grabs her shoulders -- Shakes

her violently -- Spins her -- Pushes her out the door.
 14.

DENNY
Hurry.

Charlene runs for the ice machine.

JOHN
Get him on his feet.

EXT. CAROUSEL PARKING LOT - DAY

Frankie, on his feet now, wedged between John and Denny --

Back and forth they march him -- Each one screams into his
ear -- They slow only to slap him across the face --

Charlene runs alongside -- Presses ice onto his neck -- The

three battle death -- Together they pull Frankie back from
the land of nod -- An ambulance hits the driveway.

DENNY (V.O.)
My old man fought in Korea. Said
if he had known he’d be sleeping on
ice, guys shootin’ at his ass, he
never woulda’ signed up. Still, he
was proud he went and the guys he
served with were like brothers to
him. Looking back, I wonder if we
had known, John and me, what was
coming at us would we have gone and
enlisted in the Army? After all,
the war was ending over there.

INT. CAROUSEL DANCE ROOM - DAY

JIM CROCE warns about “BAD BAD LEROY BROWN” from the jukebox.
John and Denny sweep the floor. The music jerks to a stop.
They look up. Fat Tony holds the plug in midair.

PAPA NICK (O.S.)

Need your keys.

Denny exchanges a worried look with John. Papa Nick steps

from around the corner. Fat Tony stops in front of Denny, his
hand out.

PAPA NICK
Got somethin’ for you.

Denny holds his Camaro keys out for Fat Tony who snatches
them and heads for the door.
 15.

PAPA NICK
Frankie’s due back in a coupa’la
days. Let’s not say nothin’ bout
whatcha’ did.

DENNY
For sure.

JOHN
We wouldn’t.

PAPA NICK
Family’s the important thing in
life. Frankie’s a good boy, just
gotta’ learn to stay out of his own
fuckin’ way.

JOHN
We did what anybody would do, sir.

PAPA NICK
Call me Papa Nick. No, I know
people. What you did was way above
ordinary. You stepped up, that’s
why I’m askin’ you to help Frankie.

DENNY
Help Frankie?

PAPA NICK
My guys would help, but Frankie, he
could be their boss one day.
Embarrassin’ for him, ya see?

DENNY
Whatta’ we do?

PAPA NICK
Gets his strength back, he’s right
back on the junk. Ever see the
mulatto kid, brings him the shit?

JOHN
Drives the white Caddy?

PAPA NICK
Goes by Mayo. Comes here, picks up
Frankie’s scratch before he scores.
Hour later, he’s back.

DENNY
So, we tell you when he leaves to
pick the shit up?
 16.

PAPA NICK
No, gotta stop this at the source.
Follow Mayo, lay back, don’t let
him see you. Get me an address, a
plate number, somethin’.

The front door opens. Fat Tony re-enters. Papa Nick lowers
his voice.

PAPA NICK
This stays between us three, right?

JOHN
Sure.

DENNY
The three of us.

Fat Tony steps back into the circle. Papa Nick turns to go.

PAPA NICK
You get ‘em some good fruits and
vegetables, Fat?

FAT TONY
The best.

DENNY
Hey, thanks a bunch.

PAPA NICK
Don’t let me down.

EXT. SHEILA’S PARENTS’ HOUSE - DAY

Dogwood trees advertise spring. Denny chases Sheila past the

fenced horses in the pasture. The two lovers round the corner
of the house at top speed.

DENNY
When I catch you...

SHEILA
...If you catch me.

Sheila glances over her shoulder, laughs and without breaking

her stride steps it up a notch.

SHEILA
What’s wrong, Andrews? Don’t you
have it?
 17.

DENNY
I got it, you’re gonna get it.

SHEILA
Eww...Promises.

A ‘67 Mustang turns off the blacktop, starts up the long

lane, rolls to a stop in the driveway.

Sheila clears the front corner of the house, full throttle.

Denny closes the gap. Sheila runs full-on into the Mustang’s
passenger door. Denny slides up behind her, pulls her to the
grass. John leans over from behind the wheel.

JOHN
Watch the paint, will ya?

Denny kisses Sheila playfully, springs up.

DENNY
Superrrjanitor. Able to le...

JOHN
...Super Janitor’s got bathrooms.

Denny extends a hand to Sheila, pulls her up. Vaults into the
passenger seat through the window.

SHEILA
Gotcha something.

She pulls out a square leather piece with Denny’s initials

etched on it. Leans in, ties it to his belt loop.

SHEILA
This way, you don’t lose it.

DENNY
Hey, I like that.

Face to face with Sheila now.

SHEILA
Don’t lose him, John.

Sheila locks into a kiss with Denny.

JOHN
(in his best Bogie)
Dangerous work, sweetheart.
 18.

INT. JOHN’S MUSTANG (MOVING) - LATER

John drives fast on the country blacktop. Denny checks that

Sheila’s gift is tied to his belt loop.

DENNY
Thanks for coming all the way out
here, dipstick.

JOHN
Someone’s gotta get your lazy ass
off the poon and in to work.

DENNY
Been thinking. This extra job for
Papa Nick’s a bad idea.

JOHN
Bad idea? All we do is copy down a
plate number or two.

DENNY
You’re not from here, dude. Papa
Nick’s the mob. It’s been in all
the papers.

JOHN
It’s not like he wants us to kill a
guy. Graduation’s coming up and my
brother puts my ass on the street.

DENNY
Never looked at it like that.

JOHN
Maybe you should. My oldest brother
Mark bummed around after school so
long he became one.

DENNY
Old man wants me to join the Army.
Not up for that. I wanna give
Sheila the best life possible.

JOHN
Exactly. I figure we end up with
our own bar outta this.

DENNY
Really, what if we run into tough
guys, bigger than we can handle?
 19.

JOHN
Shit gets deep, we bail. I don’t
wanna get all crippled up.

DENNY
Crippled up? The first job will
probably kill us.

INT. JILLY’S GARAGE, CAR BAY AREA - NIGHT

Sal tightens the vice on BAGGAGE HANDLER #1’s hand -- BAGGAGE

HANDLER #2, rope looped around his neck -- Tied to the car
lift -- Thrashes from side to side.

BAGGAGE HANDLER #1
Dono’ whatcher talkin’ ‘bout,
eh...eh.

SAL
(to Angelo)
Think Papa Nick was talkin’ ‘bout
Tom and Jerry?

ANGELO
Sal, we gotta job here.

SAL
I’m just sayin’.

Sal spins the vice handle -- Bone snaps -- #1 screams -- Sal

stuffs a greasy shop towel in his mouth -- Angelo’s fingers
tap out a rhythm on the car lift handle.

BAGGAGE HANDLER #2
He’s got a kid for Christ sake.

SAL
Good to know. May have to kill the
fuckin’ kid.

Baggage Handler #1, muffled screams, drips sweat -- Angelo

pushes the car lift handle -- Lift rises -- #2 frantically
scrambles, on tiptoe now -- Loses his footing on the greasy
floor -- CHOKES -- GAGS.

BAGGAGE HANDLER #1
(spits out shop towel)
We’ll talk, we’ll talk.

Sal tightens the vice on #1 -- Blood squirts out -- #1

SCREAMS -- Angelo edges the lift down for #2.
 20.

BAGGAGE HANDLER #1
Sonuvabitch. We’re talkin’.

#2 CHOKES, HACKS -- Toes finally touch concrete.

ANGELO
I don’t hear nothin’.

BAGGAGE HANDLER #2
All we did was switch ID tags.

ANGELO
ID tags? What was your cut?

BAGGAGE HANDLER #2
We didn’t get money. Honest to God.

BAGGAGE HANDLER #1
Black guy, six-four, six-five, he
gave us dope. We got a habit. Don’t
know how he knew.

Sal pushes #1’s shirt sleeve up...Like potholes on a bad

road, track marks run up his arm...Sal and Angelo shake their
heads in disgust -- #2 struggles for footing.

SAL
His name jughead? What’s his
fuckin’ name?

BAGGAGE HANDLER #2
Big Willie they call him. You gotta
stop the guy. Said he’d kill our
whole family, we talked.
(chokes)
Gimme some air.

BAGGAGE HANDLER #1
We knew it was your bag, we never
woulda touched it. We ain’t that
fuckin’ stupid.

Angelo walks to the car lift...grabs #2’s arm...Needle marks,

just like his friend.

ANGELO
Where you guys buy your shit?

BAGGAGE HANDLER #2
Black guy, Boogie’s his name.
(hacking)
He didn’t have dick to do with it
though.
 21.

Angelo lowers the lift. Baggage Handler #2’s feet finally

rest flat on cement.

INT. RYAN’S JOB-READY CEMENT - DAY

CONNIE (32) concealed beauty, types at her secretarial desk.

Her phone buzzes, she answers.

CONNIE
(pauses)
Yes, Mr. Ryan, I’ll bring it in.

Connie grabs the file and hurries through the door, “ED RYAN
PRESIDENT”.

Fat Tony sits in front of RYAN (45), chunky, crew-cut. Angelo

studies the photos and awards on the wall.

RYAN
Come on over.

Connie hands Ryan the file. He grabs her wrist, pulls her
onto his lap. Connie’s jaw clenches.

RYAN
What’s a matter? These are my
friends. Loosen up.

CONNIE
I’ve got a lot to do, that’s all.

RYAN
Call that steakhouse I like, make
reservations for me and the wife.
Meet me back here at eight.

He loosens his grip. She stands, smooths her dress. Ryan

smiles as Connie exits. Ryan slides the file over to Fat
Tony. Angelo glances that way, then turns back to the photos
and awards. Fat Tony opens the file, quickly scans it.

RYAN
Big Willie? He worked here one
summer. Good worker, didn’t always
show up though.

FAT TONY
He’s not at this address anymore.
Any idea where he would be?

Fat Tony lays the file back on Ryan’s desk.

 22.

RYAN
These laborers come and go so
quick. Once they’re outta here, who
knows?

ANGELO
I gotta ask. How the hell do you
stay so sharp at the end of the day
like this?

Ryan shoots Fat Tony a puzzled look. Fat Tony stares back at
him, stone faced.

RYAN
I, ah, I shower two times a day.
Added my own personal bathroom when
we remodeled last year.

ANGELO
No kiddin’? Right in here?

Angelo steps toward the bathroom -- Ryan jumps up from his

desk -- Fat Tony confronts him face to face -- Angelo circles
back, joins them.

RYAN
You see the wet bar we put in?

Fat Tony pushes his face up to Ryan’s.

FAT TONY
You need to know, the Boss ain’t
gonna cover you on this.

RYAN
Cover me? Whatta ya mean?

FAT TONY
Big Willie’s a small turd in the
punch bowl. He would need somebody
to back him.

RYAN
That’s crazy. I just poured some
concrete for you guys...what’s it?
You know, River Key.

Fat Tony steps aside -- Angelo moves on Ryan -- Pushes him up

against his desk.

ANGELO
You fuckin’ playin’ me and Fat for
stooges are ya?
 23.

RYAN
I’m on your side here. I don’t even
know the problem.

FAT TONY
Problem is, money’s gone and we’re
s’posed to believe some eggplant
outta’ nowhere jacked it?

RYAN
Papa Nick knows me.

Angelo backs off of Ryan. He and Fat Tony head to the door.

RYAN
Tell Papa Nick, I find out anything
it’ll go straight to you guys.

They ignore Ryan. Fat Tony and Angelo exit. They slow down to
admire Connie who types in the outer office.

Ryan raises the edge of the window blind with a pencil,

watches his two visitors cross the huge garage below.

LT. DANFORTH (O.S.)

I thought that wop motherfucker was
gonna take a shower.

LT. DANFORTH (42), dressed in his police uniform, ambles out

of the bathroom. Ryan plops back down behind his desk, pats a
handkerchief at the sweat on his face.

RYAN
I don’t work with ‘em I’m gonna
have troubles, you know that.

LT. DANFORTH
You Irish were in control from the
start. Why they still around?

RYAN
Better question’s why are they
snooping round here for Big Willie?
You said I’d never be connected.

LT. DANFORTH
He worked here, that’s all. Stupid
fucker. I try to help him, he
steals the money and disappears.

RYAN
They find him, they’ll know what he
ate for lunch in grade school.
 24.

LT. DANFORTH
Don’t worry about Big Willie. I
gotta hunch he may get shot
resisting arrest.

INT. FOURTH FLOOR WAREHOUSE - NIGHT

FELIX (26), army jacket, collar turned up, watches KUNG FU on

a silent television. He smokes a joint in his kicked-back
recliner. Sparse furniture forms a circle.

The freight elevator clangs to a stop. BIG WILLIE (25), six

foot five, black as night, carries the gray Samsonite. BOOGIE
(30), black, much smaller, peers through the steel cage.

BOOGIE
Felix, my man, come get the money.
C’mon, get yo ugly white ass up.

BIG WILLIE
Can he hear us?

Felix pulls a .38 from his army jacket. The GUN leads the way
as he warily approaches the cage.

BOOGIE
My man, here he is.

FELIX
Let me see it.

BIG WILLIE
Now?

BOOGIE
I told ya you’d like him, Willie.
He does not fuck around.

Big Willie fumbles with the broken lock, raises the lid.
Felix eyes rows of banded one-hundreds, stacked deep.

FELIX
You’re both carry’n, ain’t cha?

Big Willie closes the suitcase, sets it down. Big Willie

joins Boogie as they raise their shirts and spin around.

BOOGIE
We know the rules, my brotha.

Felix unlocks the elevator gate. Big Willie uses one hand and
one foot to pull apart the top and bottom steel doors. They
follow Felix.
 25.

FELIX
Bring your asses over, have a seat.

Felix drops into his recliner, hits the joint. They take a
seat on the couch with Big Willie furthest from Felix.

BOOGIE
This Kung Fu guy’s bad to the bone.

(ON TV) KANE peacefully kicks the shit out of FOUR COWBOYS.

FELIX
Ain’t realistic. Nine times outta
ten the other bastard’s gonna shoot
your ass ‘fore you can lay this
shit on him.

BIG WILLIE
Showed ya mine. Where’s yours?

FELIX
Shit I got ain’t Mexican tar,
junkies ‘round here are used to.
It’s white as snow. Folks think
it’s coke, call it China White.

BIG WILLIE
Boogie told me that. Let’s do this.

FELIX
Hold up. You gotta cut the shit
five to one. Don’t do that, people
will O.D. and I’m one upset
motha...fucker.

BOOGIE
Taste you gave me knocked my dick
in the dirt.

FELIX
That was a match hit.

BIG WILLIE
Hell, more money for us. Why
wouldn’t we cut the shit?

FELIX
Go to the store, get baby laxative.
They get the shits, they think it’s
better junk.

Felix stands -- Checks his pocket for his .38 -- Takes a few
steps -- Bends down behind one of the beams.
 26.

Big Willie opens the Samsonite -- Quickly brushes money off a

shoebox lid taped to the bottom -- Slips out his .22 pistol --
Palms it on the couch.

(ON TV) A GORILLA in a cage attacks a Samsonite, swings it

around, bangs it against the bars, throws it into a wall.

Felix sets a box on the table -- Raises up -- Willie shoots

him in the stomach -- Rocked -- He pulls his .38.

Boogie scrambles for cover -- Willie rolls left -- Dodges a

bullet -- Fires a slug into Felix’s forehead -- Felix tumbles
over the TV, onto the floor.

BOOGIE
(peeking out)
Sonuvabitch, Willie. We had his
fuckin’ money.

BIG WILLIE
We had our money. Now whatta we
got? Our money.

Big Willie stands over Felix -- Gun pointed -- He’s dead.

BIG WILLIE
Grab the box. Let’s roll.

Still shaking, Boogie clambers out from behind the recliner.

He steals a look at Felix, picks up the box. Follows Big
Willie to the elevator.

BOOGIE
Dude was alright, Willie.

BIG WILLIE
Difference in a Midwestern Negro
and a brother from Compton. Small
town brother like you, do’no how
the game’s played.

Blood puddles around the TV on the floor. (ON TV) Kane as a

small boy tries to grab the pebble from his master’s hand.

EXT. RIVER KEY SIDEWALK - DAY

Papa Nick strolls through the River Key with DANTE BONARI
(68) and Dante’s son, TED (25). Fat Tony is their shadow.
CARPENTERS add classy doors to timeworn brick buildings.

PAPA NICK
First pick, Dante. This corner
property’s in a good spot.
 27.

GLAZERS install antique beveled glass in the corner building

across the street.

DANTE BONARI
Teddy here, he’ll decide. What
you’ve done Nicholas, it’s grand.

They turn and look back up the street. Beautifully finished

storefronts sit mostly empty. TWO WORKERS carry construction
trash from inside a building to a pickup truck.

PAPA NICK
Hustlin’ their asses off. Two
weeks, mayor cuts the ribbon.

Papa Nick nods at FIONA, a matronly woman who stands inside

the door of her dress shop. “FIONA’S FINEST” is painted on
the door. They enter the restaurant next to the dress shop.

INT. RIVER KEY RESTAURANT - DAY

A WAITER leads the four to a private room. The crew is

already seated. Fat Tony takes a position outside the door.

PAPA NICK
Like a funeral in here. Somebody
else die?

Everyone remains quiet. Finally Angelo speaks.

ANGELO
Got news for you on the case.

PAPA NICK
Don’t see my money on the table.

INTERCUT AS
NEEDED:

INT. FIONA’S FINEST DRESS SHOP - BACK ROOM - SAME TIME

AGENT FRED BARNES (58) balances on a milk crate, feeds a

cable through a tiny hole in the brick wall. Fiona looks on
from the doorway.

FIONA
I don’t mind helping the FBI but I
cannot lose customers. Ladies in
that fitting room can hear any
noise you make back here.
 28.

Agent Barnes gazes through the two-way mirror into the empty
fitting room.

AGENT BARNES
You sure it’s legal to have a
mirror like that?

FIONA
My late husband felt it was the
best way to combat theft.

The front door opens and Fiona leaves to greet her customer.

AGENT BARNES
I bet he did.

Agent Barnes puts on his headphones, spins the tuner dial.

RESTAURANT

SAL
(in Italian)
Coupl’a eggplants, Boss. Can you
believe it?

PAPA NICK
(in Italian)
The fuck are they?

PAULIE
(in Italian)
Kid named Big Willie and a guy they
call Boogie.

WHEELIE
Could we switch to English?

ANGELO
Forgot, gotta jag-off Irishman in
the crew.

WHEELIE
Why you wanna fuck with me?

PAPA NICK
Save it.

SAL
We fanned out, checked all their
contacts.
 29.

ANGELO
Nothin’, course Big Willie used to
work for Ryan.

PAPA NICK
Whatta coincidence.

ANGELO
Yeah, me and Fat had a little talk
with him.

DRESS SHOP BACK ROOM

Agent Barnes turns the volume up.

PAPA NICK (O.S.)

Connect that bastard, it’s game
over.

ANGELO (O.S.)
Knew nothin’ a course but...

Agent Barnes, focused on the wiretap, is startled to see a

nude, 350-POUND WOMAN through the two-way mirror in front of
him. FEEDBACK loud enough to fill the room SCREECHES through
his headphones.

AGENT BARNES
Damn it.

Barnes rips the headphones off his head -- Hops around --

Holds his right ear.

FITTING ROOM

The fat lady panics -- Lunges for her dress -- Avoids the
falling clothes stand -- Trips, CRASHES through the cheap
plywood and glass -- He looks up -- Barnes sees only fat and
loose skin -- Lights out.

RESTAURANT

WHEELIE
Wasn’t there a hotdog forward for
K.U. Coupl’a years back they called
Big Willie?

PAULIE
That’s him. Headed for the NBA,
blew his knee out.
(MORE)
 30.
PAULIE (CONT'D)
Goes home to L.A., sticks up a
Seven-Eleven. Facin’ twenty years,
he skips.

PAPA NICK
Got faith you’ll find him. Meantime,
all of you give up twenty-five
percent of your book.

SAL
Boss, no disrespect, some of us got
mouths to feed.

PAPA NICK
Layin’ off your puttana for a
coupl’a weeks will help your family
life. Keep ya home more.

Everybody LAUGHS.

PAPA NICK
Paulie, from now on you make the
Vegas run. Use the old airport.

INT. CAROUSEL CLUB - DAY

Denny carries a mop bucket out of the game room. Passes

Frankie’s office, hears voices. Denny sets the bucket down.
Pushes his ear up to Frankie’s door.

FRANKIE (O.S.)
Tell Boogie this don’t weigh out.

MAYO (O.S.)
Just a taste, my man. I’ll be back
with som...

Denny jets. Checks all areas for John. No luck.

MAYO, who looks like Papa Nick described him, exits the back
door.

Denny runs to the coat room. Grabs car keys from his jacket.
Then he hears it. FLESH SLAPS FLESH.

DENNY
(calls out)
Mayo just left. I’ll be in front.

CHARLENE (O.S.)
Ooh...eeh...yeah.

Denny bolts out the coat check door.

 31.

EXT. CAROUSEL PARKING LOT - DAY

Mayo’s Cadillac exits the lot. Denny slides his car to a stop
at the front door. John hurls himself through the open
passenger window of the Camaro, shoes and shirt in hand.

INT. DENNY’S CAMARO (MOVING) - DAY

Denny guns it. The Cadillac comes into sight once again, then
disappears over the next hill. Just as it appears, it turns.

JOHN
There he goes.

They crest the hill, meet a tractor head on. Denny whips the
car onto the shoulder, barely misses the tractor.

JOHN
Damn, that was close.

The old man on the tractor shakes his fist. Denny turns where
Mayo did. He follows up the road but pulls the car over
behind some trees, by a creek.

DENNY
Road goes one place. The old Miller
cabin, been empty for years. Better
walk in through the woods.

EXT. MILLER’S CABIN - DAY

The wind stirs the leaves of the jumbo oak and elm trees that
surround the cabin. The wooden clapboard has only patches of
faded paint and the porch looks unsteady.

John and Denny creep around the cars parked outside. Denny
scribbles the last license plate number on a piece of paper.

DENNY
(whispers)
Let’s get back to the woods.

SILENCE. Denny looks around. John, on the porch now, peers

through the screen door. Denny joins him.

DENNY
(whispers)
C’mon, let’s go.

JOHN
Don’t ya wanna see who it is?
 32.

DENNY
(whispers)
Hold it down.

John slips through the door -- Denny hesitates, then goes

after him.

INT. MILLER’S CABIN - DAY

With the windows boarded up, John and Denny stand in total
darkness. Light leaks from a sheet which covers the kitchen
doorway. They take a position on each side of the sheet.

They watch as Boogie and Mayo, who stand at a large table,

scoop China White onto a plate, then mix in baby laxative.
Big Willie oversees from a small table where he twirls a
handgun. A shotgun propped nearby.

BIG WILLIE
Boogie, set out an eight ball, no
cut. Lil bitch...Frankie can slam
that up his arm.

Boogie dumps uncut product onto the scale. Fiddles with the
weight. Dumps it into a baggy.

BOOGIE
Purest junk he’ll see.

MAYO
Saw in the paper, Felix got his ass
dusted. Didn’t you go to school
with the dude?

Denny motions for John to follow him out. John waves him off.

BOOGIE
What about it?

MAYO
Kinda strange. Survives Nam, comes
back, catches a bullet.

Boogie looks up from his mixing duties. Big Willie’s eyes

narrow as he fixes his gaze on Mayo.

BIG WILLIE
Nothin’ strange ‘bout it. Folks
gettin’ killed every day.

MAYO
He first got back, said a buddy was
shippin’ him pure China Wh...
 33.

The bullet hits Mayo in the chest -- Big Willie calmly lays
the pistol on the table -- Mayo drops onto the big table --
CHOKES, GURGLES -- Death fills his lungs.

Boogie scrambles -- Scoops the white powder away from the

blood that streams onto the table.

BOOGIE
God damn it, Willie. Who’s gonna
move the shit on the street?

BIG WILLIE
Thought you was my mothafuckin’
sales manager.

John and Denny creep toward the front door.

BOOGIE
I’m not cleaning this mess up.

A board creaks under John’s foot.

BIG WILLIE
It’s a rip off.

Big Willie tosses the pistol to Boogie -- Grabs the shotgun --

John and Denny hit the front porch at warp speed -- Big
Willie gives chase -- Boogie runs out the back door.

EXT. MILLER’S CABIN - DAY

Denny hits the woods first -- John close behind -- Bullets

rip into the trees above their head -- John twists his ankle,
goes down -- Boogie catches up -- Holds him at gunpoint.

BOOGIE
Get up, fuck head.

John makes a wobbly stand.

BOOGIE
I know you. You work for Fra--

Shotgun pellets rip into Boogie’s neck -- Explode his major

artery -- Blood splatters John -- Denny doubles back -- Big
Willie catches up -- Trains his shotgun on John and Denny.

INT. MILLER’S CABIN KITCHEN - DAY

The back door flies open -- John and Denny hoist Boogie’s
body through the doorway -- Big Willie motions with the
shotgun -- They dump him on the table opposite Mayo.
 34.

DENNY
You shot your own man.

BIG WILLIE
Your fuckin’ fault.

DENNY
Our backup will be here any time
now. Just hand me the gun.

Big Willie LAUGHS LOUDLY -- John eases toward him -- Willie

points the shotgun at his belly.

BIG WILLIE
You ain’t got no backup. I’m
bettin’ you’re punks, followed
Mayo. More bodies don’t bother me.

Big Willie pulls the trigger -- Like lightning -- John swings

a chair up -- The BLAST goes into the ceiling -- John kicks
him in the knee -- He falls to his knees -- Drops the gun -

- Willie blocks a roundhouse kick -- Throws John into the

wall -- Denny dives onto Big Willie as he stands -- Willie
flies backward -- Smashes him into the wall -- They struggle -
- John points the shotgun at Big Willie -

JOHN
On your feet.

- Denny stops punching Willie -- Joins John -- Big Willie

moves toward the table -

JOHN
I will fucking shoot you.

BIG WILLIE
You ain’t shootin’ nobody.

- Big Willie picks up the pistol from the table -- John

squeezes the trigger -- CLICK -- Shotgun’s empty -

BIG WILLIE
Used all the ammo in that one. This
one’s good.

- Willie fires -- A bullet zings past John’s head -- John

throws the shotgun at him -- Willie, Big-Bird-like, dodges
it, smiles -

BIG WILLIE
Open that closet door behind you.

- Denny opens it.

 35.

BIG WILLIE
Grab the suitcase and tackle box.
Open ‘em up on the table.

They each pick one up, do as told. The Samsonite’s still full
of cash and the tackle box is loaded with heroin.

BIG WILLIE
Now that fuckin’ cheers me.

DENNY
That why you’re killing your
friends off?

JOHN
All of it for you now?

BIG WILLIE
Torchin’ this place. Even a hound
dog shouldn’t suffer. Headshots
oughta’ work best.

Big Willie points the pistol at Denny’s head -- A SHOT ECHOES

-- Red dot appears on Big Willie’s forehead -- He falls over
dead -- Angelo steps into the room -- John and Denny exhale.

ANGELO
Papa Nick thought you might need a
postcard about now.

DENNY
Thank God.

Angelo walks through the room, takes in the body count.

ANGELO
What kinda shit storm blew through
here anyway?

JOHN
You would not believe it.

DENNY
I was here and I don’t believe it.

Angelo spots the suitcase still filled with cash.

ANGELO
Papa Nick’s gonna be a happy
fuckin’ camper.

DENNY
Whatta we do with these guys?
 36.

ANGELO
Do with ‘em? They’re done.

EXT. MILLER’S CABIN - DAY

The Camaro follows Angelo’s new Buick down the road toward
the blacktop. Behind them, flames rise from the cabin.

INT. CAMARO (MOVING) - DAY

John laughs. Denny shakes his head side to side.

JOHN
My brother Matthew’s a black belt.
Taught me a lot of moves.

DENNY
Didn’t teach you how to fight a
windmill. Gets rough, we’ll bail,
you said.

JOHN
Dude was tall. Admit it, though,
you never felt so good.

DENNY
You’re too fucking old for reform
school. Probably just send your ass
on to the big house.

They both laugh.

INT. SHEILA’S BARN - DAY

Sheila mucks a stall, Denny carries a bale of hay to the two

horses. She turns up the FM radio, which blasts LEON
RUSSELL’S “CARNEY” album.

LEON RUSSELL (V.O.)

“UP ON A TIGHT WIRE, ONE SIDE’S
ICE, ONE IS FIRE...” (continues)

DENNY
So, split it between the two?

SHEILA
No, knucklehead, they each get one.

Denny dumps the bale in the horse stall, goes back to the
stack. He lifts a bale onto his shoulder.
 37.

Sheila tickles his belly from behind. He cracks up, drops the
hay, spins around, pulls her in to him.

SHEILA
Break time.

Sheila pops a tightly rolled joint into her mouth, lights it.

DENNY
We doin’ that today?

SHEILA
Said you wanted to try it. Family’s
all away in Nebraska.

Sheila inhales, holds her hit in, puts the burning joint to
Denny’s lips. He takes a huge hit, coughs it back out
immediately. Sheila laughs.

SHEILA
No, babe, take a little toke, then
hold it in long as you can.

DENNY
Who got you high the first time?

She helps Denny with his hit, takes another hit for herself,
holds it long as she can. Exhales smoke and laughter.

SHEILA
Older sister Bonnie. When Jim sent
the first four-pack, you should’ve
seen us. Acting all cool like we
knew what we were doing.

DENNY
Jim sends the stuff from Nam?
Thought there was a war going on.

INT. SHEILA’S BARN, HAYLOFT - DAY

SILENCE greets the sunset. Sheila lies sprawled over Denny.

They look out across the pond from their peaceful spot on the
floor of the hayloft.

DENNY
Wow, let’s not ever leave here.
This time, this space.

SHEILA
Wouldn’t we be lost in space?

They laugh like kids at a carnival.

 38.

DENNY
Science know about this? How’d your
sister Bonnie discover it?

SHEILA
She had to try it after she read
about The Beatles turning Bob Dylan
on, in college.

DENNY
Dylan and The Beatles in college?

SHEILA
Not them. Her, you dope.

DENNY
(cracking up)
Dope? Yeah, I’ll have some.

Funniest thing they’ve ever heard.

INT. JOHN’S CAR (MOVING) - DAY

Denny stares out the car window. Brick streets and new
sidewalks lined with New-Orleans-style lampposts welcome them
to River Key.

JOHN
Didn’t say I hadn’t tried it,
cowboy. Sativa is a tricky
mistress.

DENNY
Why you driving so slow?

JOHN
Makes you crave things you never
thought of. Luke, two years older
than me, he smoked and smoked till
he had to try cocaine. He’s a mess.

DENNY
I didn’t say I was gonna be smokin’
it for breakfast.

John pulls over in front of The River Key club.

INT. KEY CLUB - DAY

Angelo, Paulie, Denny and John sit at a table on the lower

level of the majestic bi-level bar. Most of the interior is
done. CARPENTERS and PAINTERS work behind them.
 39.

ANGELO
They finish next week. Boss wants
you operatin’ outta here now.

DENNY
What about the Carousel?

PAULIE
You ain’t janitors now. You wanna
hire some guys, take an override on
‘em, fine.

ANGELO
(chuckles)
Yeah, guess Frankie don’t want you
guys around.

PAULIE
Anj, some day your fat mouth’s
gonna get you in trouble.

ANGELO
Okay, grandma.

JOHN
I don’t get it. What’s our job?

PAULIE
Boss figures we need young music in
these places. River Key is bustin’
out. You’ll be our music directors.

John and Denny exchange smiles.

ANGELO
Dante Bonari, corner bar, used to
be in the music business. He’ll
help get you started.

PAULIE
Got an office connected to the
stock room. Got a bed, a shower,
anything you need. Cash weekly,
triple the old deal.

An Italian-looking MAN (45), carries a clipboard over from

behind the bar.

MAN
Looks good, Anj, you’ll have to
move the beer taps, though. Too
close to the sink.
 40.

The man tears off a sheet of paper from his clipboard, lays
it on the table.

ANGELO
Till we get a manager in here, I’m
the man. Hey, this is John and
Denny. They’re workin’ with us,
just so ya know.

John and Denny stand, shake his hand. He sizes them up.

MAN
Get ‘em some ID, for God’s sake.
Don’t make me look bad.

The man turns for the door.

PAULIE
Geez, you didn’t think a that, Anj?

ANGELO
What about you, dipshit?

DENNY
Who was that?

ANGELO
Liquor control for the city. He
won’t fuck with you. Wheelie will
make you new driver’s licenses.

PAULIE
Congratulations, boys. You just
turned twenty-one.

INT. NORTH SIDE CATHOLIC MASS - DAY

FATHER GILL (40), bald, drones on in Latin. The pews overflow

with families. PAULIE’S WIFE and TWO KIDS sit next to him.
Sal sits on his other side.

SAL
(whispers to Paulie)
He ain’t Father O'Neil.

PAULIE
(whispers)
Give him a chance. He’s young.
 41.

INT. SUBURBAN CATHOLIC MASS - DAY

The PRIEST drones on in English. Denny slouches next to

Sheila, he feigns interest. A few rows up, across the aisle,
SHEILA’S MOM and DAD monitor the two young lovers.

SHEILA
(whispers)
Keep an eye on the priest.

Denny is caught in a dream while everyone else slides to

their knees. He finally drops to his knees as they all sit
upright again. Sheila’s mom glares at Denny.

INT. NORTH SIDE CATHOLIC MASS - DAY

Sal and Paulie carry full collection plates down a hallway.

They mix banded one-hundred dollar bills with the donated
money. Paulie deposits more cash from his pants pocket.

SAL
Boss didn’t say nothin’ ‘bout that.

PAULIE
Been thinkin’. Our families are
doin’ great. Think how many times
we could’a been killed.

They enter a large room, where FOUR ELDERLY MEN convene at

tables. They count the day’s take.

EXT. MILLER’S BURNED-OUT CABIN - DAY

The morgue truck is parked in front. UNIFORMED COPS search

the area. Agent Barnes, his right arm in a cast, kneels in
front of a burned-out car. He examines the license plate.

POLICEMAN
Somethin’ you gotta see.

The POLICEMAN and Barnes stand in the grove of trees, blood

everywhere. Barnes wipes his shoe clean, steps in more blood,
backs up. He spots something brown in the brush, kneels and
picks it up.

LT. DANFORTH (O.S.)

Looks like the perp left his
calling card.

Barnes ignores Danforth, examines the leather square with

initials “D A” carved in it. Lt. Danforth peers over his
shoulder. He stands a bit too close.
 42.

AGENT BARNES
Might belong to one of the vics.
So, Ryan worried about this is he?

LT. DANFORTH
I’m just here for the department.

AGENT BARNES
Day you’re just anywhere for the
department, I wake up, Raquel Welch
is blowin’ me.

LT. DANFORTH
I hear she’s talented.

AGENT BARNES
Get the fuck out of my crime scene.

LT. DANFORTH
Hear you went mano-a-mano with the
circus fat lady...and lost.

AGENT BARNES
The fuck out, now.

Lt. Danforth turns to go.

LT. DANFORTH
Pretty common initials, DA.

EXT. HIGHLAND HIGH AUDITORIUM - NIGHT

Keith, Ben, John and Denny linger on the edge of the crowd.
Keith still wears his graduation gown.

BEN
Where’s Bill?

KEITH
Just saw him taking pictures with
his grandma or somebody. Why?

BEN
Rode with him. I can’t let you guys
get a head start on the keg.

DENNY
Hold up. I’ll be back.

Denny joins Sheila. AUNTS, UNCLES, BROTHERS and SISTERS have

her surrounded. Off to himself is Sheila’s older brother, JIM
(22), taut body, short hair, fresh from Nam.
 43.

DENNY
Welcome home, man. Great to see you
made it back.

Jim shakes his hand.

JIM
Do I know you?

DENNY
You wouldn’t. Used to watch you
play ball as a senior. Been dating
Sheila since last year.

JIM
Denny...right? She wrote me about
you. Baseball, that seems like a
lifetime ago.

DENNY
You had a shot at the bigs, hittin’
two homers a game. Coach still
talked about you when I played.

JIM
He never liked me. Gave him trouble
running all those sprints.

DENNY
He was a maniac on running. You
guys really kicked some ass over
there...Nam, I mean.

JIM
All I saw were people dyin’.
Theirs, ours. All you dream about
is gettin’ home. You get home, you
dream you’re still there.

DENNY
What were you doing?

JIM
Sniper. I volunteered. Fifty-eight
confirmed kills. I’d go back to get
to sixty.

Sheila walks up.

SHEILA
Watch it, Denny. He’ll have you
doing push-ups.
 44.

EXT. HIGHLAND HIGH AUDITORIUM PILLARS - NIGHT

The CROWD has thinned out. Denny and Sheila stand face to
face behind a large column, all alone.

DENNY
We’ve been planning on going to
this party all year.

SHEILA
I know, but Jim got discharged
early, all my family’s in town.

DENNY
We could leave early. I can have
you home by midnight.

SHEILA
I better not.

DENNY
We always said once we graduated we
wou--

SHEILA
I know what we said.

DENNY
No pressure.

SHEILA
Let’s talk about it later.

They hug. He starts to leave, she pulls him back, kisses him
passionately. Surprised, Denny finally gets into it.

DENNY
What’s gotten into you?

SHEILA
I don’t know. You just look good.

DENNY
More reason for you to come along.
Not good being apart.

SHEILA
Just because we’re apart, love
doesn’t end. You know that.

They kiss again and saunter over to her family, hand in hand.
Denny slowly releases her hand and walks off. Denny turns.
 45.

DENNY
(loud to Jim)
Good to have you back.

Jim waves and then turns back to a family member. Denny

traipses backward, admires Sheila’s back-end.

INT. CITY MARKET OFFICE - DAY

Papa Nick drinks his usual strong espresso at his desk. Fat
Tony enters.

FAT TONY
That new priest, he’s here.

PAPA NICK
Bring him in.

Father Gill is ushered in. Papa Nick stands but doesn’t offer
his hand. Fat Tony takes a position by the door.

FATHER GILL
I’m Father Gill, I took over Fa--

PAPA NICK
I know who you are, pains me to see
you here.

Papa Nick takes his seat as the priest sits down.

FATHER GILL
I’m sorry about Father O’Neil’s
passing. I know a lot of you in the
community are still dealing with
the loss.

PAPA NICK
What can I do for you?

FATHER GILL
I want you to know we appreciate
you supporting the parish.

PAPA NICK
Long as you feed the poor, I’m here
to help.

FATHER GILL
In today’s church, financial
support isn’t enough. Church
attendance at least wh--
 46.

PAPA NICK
What kinda family name is Gill?

FATHER GILL
Gill’s my given name. I feel using
it makes me more approachable.

PAPA NICK
Well, Gill, been in that little
parish since I’m born. When I leave
it, you’ll be puttin’ on the
biggest funeral you ever preached.

FATHER GILL
I’m ordained as a priest, please,
when addr--

PAPA NICK
Get off your horse, Padre. Whatta
ya want?

FATHER GILL
I think you have something that
belongs to the church.

Papa Nick hardens his look.

PAPA NICK
No.

FATHER GILL
Father O'Neil might have been
mistaken in giving it to you.

PAPA NICK
Father O'Neil wasn’t a man that
made mistakes. I got business.

Father Gill rises. Fat Tony steps in front of the priest.

Father Gill moves so that he still meets Papa Nick’s eye.

FATHER GILL
You can drop it at the rectory...if
you prefer.

Papa Nick doesn’t react. Father Gill finally turns, saunters

to the door.

PAPA NICK
Hold up.

Papa Nick takes a sip of his coffee. Father Gill turns back,
waits on Papa Nick.
 47.

PAPA NICK
Doctor gave him six months to live,
over a year ago.

FATHER GILL
Nobody knew that.

PAPA NICK
Told me, ‘cause he had a reason.

FATHER GILL
Think about what I’ve said. You
like, I can hear your confession.

Papa Nick’s eyes narrow. Father Gill leaves.

INT. THE KEY CLUB - DAY

Denny leans on the bar, dials the phone. John paces over to
the bannister. He still marvels at the size and grandeur of
the place. John takes it all in, hurries back to Denny.

JOHN
Saturday’s our first band. You
think the turnout will be good?

Denny cradles the receiver with his shoulder, lets it ring

continuously. He burns and destroys matches into an ashtray.

DENNY
Told the whole school. Boss has ads
everywhere. Don’t see how we miss.

JOHN
Yeah, nobody from school’s old
enough to get in.

DENNY
After Miller’s cabin, I don’t think
it much matters.

JOHN
I just wanna make sure we get to do
music for all the bars.

Denny slams the receiver into the cradle.

DENNY
Sheila hasn’t been home in days.
 48.

JOHN
Her whole family’s in town.
Probably stuck taking them to the
zoo, showing ‘em the big city.

ANGELO (O.S.)
You guys up there?

John rushes to the bannister. He Looks down. Angelo and Dante

Bonari stare up at him.

JOHN
Where’s the meet?

ANGELO
Come on down. We’ll do it here.

DENNY
I gotta go, man. Sheila’s driving
me nuts.

Denny brushes past John on his way to the door.

JOHN
Damn, Denny, this is important.

DENNY
You can cover.

INT. THE KEY CLUB - DAY

John enters the dark, empty club. The sound of GLASS BREAKING
startles him. He grabs a vodka bottle from behind the bar,
moves toward the back room and the sound.

John creeps into the room...bottle raised overhead. Denny,

missing for two days, lies on his back on the cot. Whiskey
bottles litter the floor. He tries to drink, still prone.

JOHN
What happened?

DENNY
Hey, ole buddy.

JOHN
Ole buddy, my ass. The fuck
happened? You missed opening night.

DENNY
See, you didn’t need me. Nobody
really needs me.
 49.

JOHN
How long you been this drunk?

DENNY
She’s gone, John. Fucking gone. Her
brother says she left the state. I
gotta get her ba...

John grabs Denny’s arm, jerks him up off the bed.

JOHN
Let’s go. C’mon.

John pushes him into the bathroom, pulls back the shower
curtain, shoves him into the shower.

DENNY
I don’t need a show...

The cold water hits Denny.

DENNY
...Holeee crap.

JOHN
Here, I’m warming it up. You stand
right there.

John adjusts the faucet. He stomps back into the other room,
bends down, picks up a crumpled piece of paper from the
floor. Denny starts to sing, John reads the note.

DENNY (O.S.)
“Ain nothin’ like a Sunday, da da
de de da...on these city sidewalks,
Sunday mornin’ comin’ down...”

SHEILA’S NOTE:

SHEILA (V.O.)
“I do love you, Denny, that’s why I
have to take the coward’s way out.
Our families are very different
from each other. As my parents
point out, we’re very young. I need
to experience the world, see what’s
out there. Please don’t look for
me. Some day, if it’s meant to be,
it will be. It’s easier on both of
us this way. Love, Sheila.”

From the shower, Denny continues to sing. John lights his

lighter, touches it to the note, watches it burn.
 50.

INT. PAPA NICK’S CITY MARKET OFFICE - DAY

SUPER - “THREE MONTHS LATER”

Paulie steps into a waiting room full of NORTH SIDE PEOPLE,

in line for their Friday favor. A weekly ritual.

Fat Tony opens the office door, carries Paulie’s large

suitcase into Papa Nick’s office, Paulie follows. MR.
TREMAINE (60), hat in hand, sits facing Papa Nick.

PAPA NICK
Mr. Tremaine, you know Paulie.

MR. TREMAINE
Good to see you, sir.

Paulie picks up the suitcase, sets it on the pool table. He

hurries to the bar, pours himself a drink. Papa Nick turns
back to his guest.

PAPA NICK
This man will drop the charges.
Walt, over at bonding’s gettin’
your boy out. You gotta control
him. He coulda’ killed this man.

MR. TREMAINE
His mother and me, we get him off
the whiskey, he’s a good boy.

Papa Nick stands. Mr. Tremaine rushes over, holds on to his

benefactor’s hand after the handshake.

MR. TREMAINE
Bless you. Every night, my wife,
she says a prayer for you.

Mr. Tremaine stops at the door.

PAPA NICK
Take care of that boy a yours.

MR. TREMAINE
The North Side would be nothing
without you, Don Corelli, nothing.

Fat Tony opens the door for Mr. Tremaine, releases him into
the waiting room. One of the men waiting jumps up. Fat Tony
holds a traffic cop open-fisted hand up.

FAT TONY
You don’t see he’s busy? I’ll come
get you.
 51.

The man takes his seat.

Fat Tony goes back into the office, takes a position at the
pool table.

FAT TONY
So, Paulie, what kinda broads you
have this trip?

PAULIE
We got problems.

Papa Nick sets his cup down, ambles over to the pool table.

PAPA NICK
You had trouble with the run?

Paulie joins them in front of the suitcase, pulls the tally

from his jacket.

PAULIE
Buck fifty, short. Rose was gettin’
back into the counting room. Butler
shows up, starts givin’ Rose a hard
time. Like he owns the place.

PAPA NICK
What did Butler say exactly?

FAT TONY
That stupid fucker.

PAULIE
Says we gotta lay low. Tells Rose he
ain’t in charge. Butler threatens to
fire him. Like he can fire Rose.

PAPA NICK
What did Rose do?

PAULIE
Chicago Phil’s there lookin’ out
for Rose like you tell him to. Ends
up, Rose has to keep Phil from
killin’ the fucker. Later, Butler
sends a stooge to my room, tells me
I ain’t comped.

PAPA NICK
Sorry for your trouble, Paulie.
Butler don’t show Rose some
respect, I’ll jerk his ass here to
meet with me. Now go home, get
yourself some rest.
 52.

PAULIE
That’s somethin’ I could use.

Paulie finishes his drink, drops his glass at the sink and
lets himself out.

FAT TONY
Ready, Boss?

PAPA NICK
If the Pope’s here, come three
o'clock, you clear ‘em out. I gotta
call Rose.

FAT TONY
Sure, Boss.

Fat motions for the next man who waits. He bolts upright.

EXT. JUDGE ROY’S BAR - NIGHT

John and Denny exit the Mustang, look around the half-full
parking lot. Fifties music blasts from the bar. They stare at
the Wild West display on each side of the door.

DENNY
Business don’t look so bunk to me.

JOHN
Maybe all that money’s burnin’ a
hole in his pocket.

INT. JUDGE ROY’S BAR - NIGHT

John and Denny share a table and drinks with TWO VERY HOT
YOUNG WOMEN who seem to have the sniffles.

WOMAN #1
Mr. Ryan’s a great guy to work for.

WOMAN #2
He’s outta sight.

DENNY
What’s the skinny? Whatta you gals
do for him?

The women exchange glances, laugh.

WOMAN #2
We keep the party going.
 53.

JOHN
I like that job description.

Woman #1 offers up a bullet-like coke sniffer from her bra.

DENNY
Thanks, darlin’, trying to quit.

Ryan waddles across the room. Maybe the oldest guy in the
place, definitely the chubbiest. Ryan gets the gals’
attention, jerks his thumb up in an angry umpire signal. The
two party girls giggle like schoolkids and scamper off.

RYAN
What do you think of our place?

JOHN
Pretty spiffy.

DENNY
Business looks pretty kosher for a
weeknight.

RYAN
Our average ticket’s about six
bucks. I figure you boys could help
bring that up.

DENNY
We’re pretty jammed up as it is.

RYAN
Everybody knows what you’ve done
for Corelli. You got the music
connections already, how tough
could it be?

JOHN
Let us talk it over.

John and Denny stand.

DENNY
We’ll see what we can do.

John and Denny head for the door.

RYAN
(loudly)
Money’s not a problem. I’ll double
whatever he’s paying ya.
 54.

DENNY
Thanks for the drinks. We’ll let
you know.

The door closes behind John and Denny. Ryan glares.

EXT. JUDGE ROY’S BAR - NIGHT

John and Denny slow to look at the Wild West display with the
stuffed horse and bear.

DENNY
Didn’t know they had fifties music
back in the Wild Wild West.

JOHN
The chicks weren’t bad.

DENNY
Yeah, you’re into working girls.

JOHN
You seem to be lately.

DENNY
At least I know what I’m gettin’.

JOHN
Sophie, remember Sophie? She’s got
this smokin’ hot friend, Lisa.
Anyway, she’s planning a gig where
we all go out this weekend.

DENNY
Damnit, John, I’m not into that.

JOHN
Tellin’ ya, Denny, she’s a fox.
Could get away with it, I’d do her.

DENNY
Been riding down to Twelfth Street
with Angelo. That’s hot enough.

JOHN
You might get more than you want
there. Best be careful.
 55.

EXT. GOLF COURSE - DAY

Fat Tony drives a golf ball far into the fairway. He rejoins
Papa Nick and Teamsters Vice President Jack Wilson who watch
Fat’s drive.

JACK WILSON
That’s two hundred fifty yards.

PAPA NICK
Embarrassin’ to fuckin’ play him.
Tell Jack what you shot last month
down in Dallas.

FAT TONY
Do’no. Seventy-six, seventy-eight.

Fat returns his club to the bag in the back of the cart.

JACK WILSON
Sounds like my first nine holes.

They walk to the next hole. A CADDY follows in the golf cart,
with all three golf bags.

PAPA NICK
Glad you’re joinin’ us, Jack.
Didn’t wanna talk on the phone.

JACK WILSON
You need me somewhere, I’m there,
you know that. No troubles with the
forty-two mill I hope.

PAPA NICK
Nothin’ like that. Vegas got it
already. I spoke to Rose.

The golf caddy circles the cart out into the fairway, then
back to the three players.

GOLF CADDY
Your ball, Mr. Corelli.

PAPA NICK
Thanks, son.

Papa Nick leads Jack Wilson to the edge of the fairway, under
the trees. He hands Jack a cigar, lights it for him.

PAPA NICK
I want you to hold up the funds on
Shangri-La, Jack.
 56.

JACK WILSON
Butler already leveled the old
building. He’s got contractors
crawling all over that site.

PAPA NICK
Won’t be for long. I’ll let you
know when to let it go.

JACK WILSON
Problems?

PAPA NICK
Nothin’ we can’t handle.

A FOURSOME at the tee box wait impatiently on the threesome

to hit out of the way.

GOLFER #1
(yelling)
Ya need some help, old man?

GOLFER #1’s three friends laugh it up. Fat Tony grabs his
largest driver. Storms toward the tee.

JACK WILSON
Big Briney’s calling my office
twice a day, wants outta Milwaukee.

PAPA NICK
Gotta get more fuckin’ pickets
walkin’ ‘fore he goes back to
Chicago. He knows that.

JACK WILSON
No big deal, just a nuisance.

PAPA NICK
No, you gotta have your
concentration. I’ll handle him.

Club in hand, Papa Nick approaches his golf ball. In the

distance, Fat Tony goes berserk with his driver on Golfer #1,
as his buddies scatter.

INT. CAROUSEL BAR - DAY

Angelo and Sal, still in yesterday’s wrinkled clothing, share

a table and a bottle of whiskey. Charlene plops down on the
customer side of the moving bar, rests her head on her arms.
 57.

ANGELO
Get the feelin’ Char’s not too
happy with us. What time you open
up, sweetie?

Charlene turns her head just enough to look at her watch.

CHARLENE
‘Bout four hours.

They laugh hysterically, pour more whiskey. Paulie strides

through the front door, pulls a chair over.

PAULIE
What the hell happened to you?

Angelo rubs his fat lip. Charlene sets another glass down.
Angelo quickly fills it.

ANGELO
Some hayseed called the whore I was
with a hooker.

SAL
Shoulda’ seen the other guy.

ANGELO
Shoulda’ seen the hooker.

Sal and Angelo crack up.

PAULIE
You get me outta bed to hear about
fightin’ and fuckin’?

ANGELO
Got ya outta bed ‘cause I don’t
like bein’ out in the cold.

SAL
Seems like some things we ain’t
been told.

ANGELO
Not the first time the Boss sends
us out workin’ a job, he’s got no
way a knowin’, less he’s psychic.

PAULIE
He’s got rats and snitches
everywhere. You know that.
 58.

ANGELO
Last night we’re s’posed to watch
Danforth’s house.

SILENT FLASH - Angelo and Sal are slumped down in the front
seat of a car. They watch a house at the bottom of the hill.
Cop cars come screaming up, cops charge into the house.

SAL
Danforth’s busted, off the force.

SILENT FLASH - Uniformed COPS carry new stereos and

television sets out of Danforth’s house while plain-clothes
DETECTIVES watch.

SAL
Stealin’ from the property room.

PAULIE
They took Danforth down? Great.
Papa Nick, musta’ had a tip.

ANGELO
Papa Nick was the tip. Got
somethin’ to do you and Fat goin’
to the funeral home, I figure.

PAULIE
Yeah, Fat still has nightmares.

SILENT FLASH - Paulie disrobes Father O'Neil’s stiff corpse.

Fat Tony lifts the body up, a gold chain catches the light.

PAULIE
Got a safety deposit key off him.

ANGELO
What about the bank box?

PAULIE
A red, leather-bound book.

SAL
A Bible?

Charlene drops off another full bottle of whiskey.

PAULIE
Papa Nick didn’t say not to tell
ya...A book of sins.

SAL
Book a sins? What the hell does
that mean?
 59.

Angelo opens the new whiskey bottle, pours everyone a healthy

dose. Paulie hesitates.

PAULIE
Uhmm...confessions. You know, to
the priest.

ANGELO
(laughs)
Father O'Neil leaves the Boss a
list of loyal Catholics and the
sins they confessed to?

PAULIE
Just important people.

Angelo laughs hysterically, Sal chuckles, Paulie just drinks.

ANGELO
Don’t you feel stupid? Papa Nick’s
holdin’ aces with this.

PAULIE
I don’t go to confession, not since
I’m a boy.

ANGELO
What a deadly fuckin’ tool. Hell,
the mayor, half the city council’s
Catholic.

Charlene empties ashtrays. Drops ice into their glasses.

CHARLENE
Aren’t you guys hungry? Why don’t
you go have some bacon and eggs?

SAL
Yeah, Anj. I’m starved. I could eat
a dozen fuckin’ eggs right now.

Angelo laughs so hard he has to stand up.

PAULIE
What’s so funny?

ANGELO
Who you figure was the first
farmer, tells his fuckin’ ole lady,
“See that white thing rollin’ out
the chicken’s ass? Cook that up.”

Sal and Paulie laugh hysterically, too. Charlene just shakes

her head. Sal stands, holds his stomach.
 60.

SAL
You’re killin’ me. I gotta piss.

Sal goes off to the bathroom.

ANGELO
Who else could get their hands on
somethin’ like that? A book a sins?
Un-fuckin’-believable.

Angelo stands. Throws three hundred-dollar bills on the

table. Paulie stands.

ANGELO
For you, hun. All of it. Put the
liquor on Frankie’s tab.

CHARLENE
Appreciate that, Anj. I really do.

Sal emerges from the bathroom. The three of them stumble out
the front door. LAUGHTER from the sidewalk. Charlene hurries
over. Locks the door behind them.

EXT. RIVER KEY STREET - NIGHT

A Mardi Gras atmosphere as PEOPLE party while they wait to

get into bars. SOPHIE (22), a lanky beauty, turns heads as
she walks past the GUYS AND GALS. Some hold drinks.

GUY IN LINE
Sophie. Get down tonight?

Sophie glances over her shoulder.

SOPHIE
Dream on.

Sophie turns at the corner. Behind her a neon billboard:

“RIVER KEY -- THE PLACE TO BE”.

At the bottom of the hill she pushes past people to get to

the front door of The Key Club.

SOPHIE
John here tonight?

The DOORMAN looks away, shrugs. She brightens, walks on in.

 61.

INT. KEY CLUB - NIGHT

Two levels of extravagance. The two dance floors are FULL. A

BAND plays loudly on stage. Sophie works her way through the
maze of people.

She sees Denny and another man just as they disappear into
the office. Finally, she spots John at one of the bars and
works her way to him.

JOHN
Hey, Sunshine.

John wraps himself around her.

JOHN
Where you been, Babe?

SOPHIE
Killin’ Lisa’s buzz. She thought it
was on. The four of us.

JOHN
Denny’s on a bummer right now.

SOPHIE
Why do you always cover for him?
Who was the chick that got to him?

JOHN
He’ll come around.

SOPHIE
Yeah, too late for Lisa. Why not go
talk to him? We could still go out,
the four of us. He’s back in that
cave of yours, with some dude.

JOHN
What dude?

SOPHIE
Scruffy looking dude, an older guy
with a broken arm.

INT. KEY CLUB OFFICE - NIGHT

Agent Barnes hovers over Denny, who is seated in an office

chair, feet on the desk.

AGENT BARNES
These hoodlums eat young punks like
you for breakfast.
 62.

John rushes through the door.

JOHN
What’s going on, Denny? Who’s the
sling dude?

Agent Barnes adjusts his arm in its sling. With his good
hand, fishes his wallet out, flips it open to his badge.

AGENT BARNES
I’m with the Bureau. Trying to save
you...Both of you.

DENNY
Dude is whack, wants us to wear a
wire. Bust Papa Nick.

JOHN
Get the fuck outta here.

DENNY
Best leave, old man.

AGENT BARNES
Didn’t want it to come to this.

Barnes pulls out a plastic bag which holds Denny’s old

leather piece from Sheila. He holds it up.

AGENT BARNES
Look familiar, D-A? The Bureau’s
prepared to bring three capital
murder charges against you and your
sidekick here.

Denny and John’s expressions freeze.

AGENT BARNES
You won’t be outta Leavenworth till
you’re Papa Nick’s age. They enjoy
young boys up there.

JOHN
That was stolen, don’t prove
nothin’. Anybody coulda left that
at Mil...anywhere.

AGENT BARNES
Miller’s cabin? We know Papa Nick
was behind this. Want your freedom?
Wear a wire, get him talking.

Denny pushes back from the desk, jumps up from his chair.
 63.

DENNY
Get the fuck out.

Barnes makes sure they see the leather piece one more time as
he slowly puts it away, eases toward the door.

AGENT BARNES
Choosing sides, right now, both of
you. When I walk outta here you
won’t get another chance.

JOHN
Want the other arm broke? You heard
him, get out.

AGENT BARNES
I got a guy on the inside. You’d be
scared you knew how crazy Papa Nick
really is.

Agent Barnes tosses his business card on the desk.

AGENT BARNES
I’ll give you the next couple a
days to call me.

Denny wads the card up, tosses it to the trash. Barnes

finally gets to the door.

AGENT BARNES
Angelo, Sal, they both saw you come
in here with me.

Barnes exits the door. He leaves it open, with John and Denny
exposed to the crowd. John hurries over, slams it shut.

DENNY
Here’s another fine mess you’ve
gotten us into, Ollie.

JOHN
You fucking believe this? What a
nightmare.

DENNY
Know what, fuck this grueler.
Let’s see what Papa Nick says.

INT. CITY MARKET OFFICE - DAY

Fat Tony works in the kitchen on the morning coffee. John and
Denny pace nervously in front of Papa Nick’s empty desk.
 64.

FAT TONY
One of ya, come over here.

Denny shuffles over.

JOHN
Smell in here would wake the dead.

FAT TONY
Act like you seen a fuckin’ ghost.
Here, taste this.

Fat Tony offers up a spoonful. Denny sips Italian coffee from

the spoon. CHOKES, quickly spits it into the sink.

DENNY
Gawd, what is that?

FAT TONY
Caffe corretto, came out perfect.

Denny watches Fat Tony pour some into Papa Nick’s cup. He
pours in a shot of grappa, then spoons milk on top of it.

FAT TONY
He don’t like it amaro, so I spoon
in a little milk. One shot of
grappa, just mornings.

Papa Nick carries the morning paper in, takes his seat. Fat
Tony sets the fresh espresso in front of him.

PAPA NICK
You take too good a care of me,
Fat.

FAT TONY
Prob’ly.

John and Denny fidget around in the chairs in front of Papa

Nick’s desk.

PAPA NICK
John, Denny, you bring me breakfast?

JOHN
Got a problem.

DENNY
We had to come to you with this.

PAPA NICK
This Barnes, gives you bad dreams?
 65.

John looks at Denny, who shakes his head side to side.

JOHN
You know about that?

DENNY
He’s got something from the cabin.

Opening a desk drawer, Papa Nick pulls out a file folder,

opens it. He takes a sip from his coffee cup, starts reading.

PAPA NICK
“Subject property, although
initialed, is of unknown origin.”

Papa Nick hands the file to Denny. He reads silently.

PAPA NICK
Flowery fuckin’ heretofore’s and
subject to’s wear thin for me.

JOHN
Looks official.

Denny passes it to John.

PAPA NICK
He had a case, why would he need you
to rat me out? He’s got nothin’.

DENNY
It reads like it came right off
their desk.

PAPA NICK
I spend more money on payroll in
that building than the Federal
fuckin’ Treasury.

FAT TONY
Feelin’ better, guys?

JOHN
Denny’s not worried, are you, Den?

DENNY
Guess not. Said he had an inside
guy...a rat.

PAPA NICK
No shit? Fat, look into that. Could
be fuckin’ dangerous.
 66.

FAT TONY
Sure thing, Boss.

Fat looks up and down his chest.

FAT TONY
Got him. It’s me, Boss.

Papa Nick starts to laugh.

PAPA NICK
Barnes has his nose up my ass for
ten years, he’s got nothin’. Fat,
here, feeds him a little somethin’
from time to time.

FAT TONY
Snitch money remodeled my house.

PAPA NICK
A well-fed dog don’t go huntin’,
just lays on the porch.

DENNY
You guys running him? I love it.

PAPA NICK
Got in over your head there at
Miller’s, I’m sorry for that.
You’re doin’ one helluva job for me
here in the Key. The Feds can’t do
shit, just keep your mouth closed,
stick close.

JOHN
No worries there.

PAPA NICK
Look, you did the right thing
comin’ to me with this. Back in the
day, we paid the cops. Now, we
don’t bother. A housewife could buy
any one of ‘em with her milk money.

FAT TONY
I’d sooner trust the Russian army.

PAPA NICK
Few good Italian boys we take care
of, just makes more sense to buy
the higher-ups.
 67.

FAT TONY
Federal boys cost more, they got
more to lose. Once you buy ‘em,
though, you own ‘em.

PAPA NICK
Between the ones we own and the
comic books Fat reads the straight
ones, they’re too busy chasin’
their tail to do any damage.

DENNY
I guess so.

PAPA NICK
So, go have a big breakfast, take a
good nap, you’re fresh for tonight.

INT. RESTAURANT - DAY

John devours eggs and bacon while Denny stretches out on his
side of the booth. A WAITRESS fills coffee cups, rushes off.

JOHN
You heard Papa Nick, we got nothing
to worry about.

DENNY
It’s not that. Can you believe Papa
Nick? He’s amazing. Got the man and
every other airhead in his pocket.

JOHN
Good to be on the winning team.

DENNY
Ever think about those dead guys? I
mean, they had families.

John pauses, his fork in the air.

JOHN
We kill those guys? No, we did not.
You need to mellow out. Those dudes
were hard core.

DENNY
You’re right, I need to maintain.
Tell you what else. I’m done crying
over Sheila.
 68.

JOHN
Alright, that’s what I’m waiting to
hear. I’ll call Sophie. Ever tell
ya ‘bout the time my broth--

DENNY
Ever tell ya I’m sick a hearin’
your family stories?

INT. DANTE BONARI’S HOUSE - DAY

Frank Sinatra music fills the house. John and Denny make
their way past the old folks in the front room. The kitchen
is full of men who drink and joke. Dante Bonari cooks.

DANTE BONARI
There they are. Come on in. Get ‘em
a drink, Teddy.

John and Denny nod at everyone. Dante gives them each a hug.
Ted fills two glasses. Paulie and Angelo give them a hug.

JOHN
Everybody’s here.

DANTE BONARI
Every week we used to do this. Now,
with the restaurant, not so much.

PAULIE
Here’s to the best food and the
busiest place in the Key.

Everybody raises a toast. Dante works the stove, samples his

gravy. Ted mixes ingredients on the counter.

DANTE BONARI
My son, he’s a great cook. Listens
to his old man.

ANGELO
Don’t hurt, his old man monopolizes
the fuckin’ parkin’ lots.

DANTE BONARI
You thought old Dante was not so
smart, payin’ the city for those
lots before the Key got goin’.

PAULIE
You saw the future on that one.
 69.

ANGELO
Turned out better than your
Sicilian flavored popcorn.

Everybody chuckles as MAMA BONARI walks in from the other

room. She drops off dishes in the sink.

MAMA BONARI
Please, we still got cases of that
in the garage.

Everybody laughs.

DANTE BONARI
Ahead of its time, that’s all.

DENNY
Sounds good. What’s it taste like?

ANGELO
Ever chew on a dirty fuckin’ sock?

Laughter breaks out again. Mama Bonari waves her hand as she
walks back out of the kitchen.

JOHN
Maybe you didn’t have the right
marketing plan.

DANTE BONARI
See, Anj, you and Paulie, you’re
just too damn old to get it.

INT. BAR NONE, RIVER KEY - NIGHT

John and Sophie dance next to Denny and LISA (22), as pretty
as described. Music stops, the girls head to the bathroom
while John and Denny go back to their table.

DENNY
This Lisa, she’s pure fillet, man.

JOHN
You thought I was jivin’?

The deejay puts on “HOT STUFF” by DONNA SUMMER.

JOHN
I hate this disco crap.

DENNY
You hired the guy. Maybe we ne--
 70.

JOHN
Look at the fucking dance floor.

Everybody in the bar rushes to the dance floor. Sophie and

Lisa return, force John and Denny up and onto the floor.

Finally, the guys drag the girls back to their table.

LISA
C’mon, I’m just starting.

DENNY
You need to chill.

JOHN
Go fire this guy, Denny. He’s still
playing the crap.

SOPHIE
Get real. Disco’s happening, might
as well get with it.

DENNY
You saw the dance floor. Maybe we
make Thursday disco night.

LISA
There you go. Why fight it?

DENNY
We won’t play it everywhere.

Jim, Sheila’s brother appears at their table.

JIM
Waitress, bring these guys a round.

Denny, startled at first, jumps up, shakes his hand. John

can’t hide a frown.

DENNY
Good to see you, Jim. What’s
shakin’?

JIM
Hired on at GM, night shift.
Sheila’s doing great in Chicago.

John jumps up, throws his arm over Jim’s shoulder, hot foots
him away from the table.

JOHN
Super. Thanks for stopping by.
 71.

John returns alone.

SOPHIE
Why you so rude, John?

JOHN
I was nice, wasn’t I, Den?

DENNY
Nice enough, I guess.

INT. BARNES’S FBI CAR (STOPPED) - DAY

Agent Barnes parks at the end of the lane from Miller’s

cabin, at the edge of the two-lane blacktop. Barnes slides
his seat back, cuts the ignition. He flips through a file.

AGENT BARNES
(to himself)
Got nothin’. Bad guy always loses.
Bad guy always lo...

EXT. BARNES FBI CAR (STOPPED) - DAY

On the blacktop a car crests the hill, flies around a slow-

moving OLD MAN on a tractor. Laying on his horn, the DRIVER
nearly loses control. The old man inches along, oblivious.

Barnes slams his door, hurries to the road. The old man eases
the tractor along. Barnes flags him. The old man pulls over,
cuts his engine, SPITS a stream of tobacco juice.

AGENT BARNES
You go by here often?

OLD MAN
Ever day.

AGENT BARNES
You know Miller’s cabin?

OLD MAN
Ol’ widr’ woman Miller. Were a
shame her dyin’, nobody rou--

AGENT BARNES
The house, it burned. You go by
that day?

OLD MAN
Ever day...Tolja.
 72.

AGENT BARNES
Need you to come downtown, look at
some photos.

OLD MAN
Naw, plowin’ to do. ‘Sides, seen
burnt houses afore.

AGENT BARNES
Not the house. Some men met here
that day. Could you I.D. photos of
the men?

OLD MAN
Naww.

AGENT BARNES
You won’t miss work. I coul--

OLD MAN
Naw.

AGENT BARNES
Look, the government has a cas--

OLD MAN
No need. Run’t me over, damn near.
Drivin’ crazy. Tol his Pa.

AGENT BARNES
You saw ‘em?

Old man leans, SPEWS out a dark stream of tobacco juice.

OLD MAN
Do’no other un’s name. Californy
kid. Ain’ a bad family, Andrews.

Agent Barnes can’t control the smile on his face.

INT. PAPA NICK’S BUICK (MOVING) - DAY

Fat Tony drives. Brad Butler, director of the Vegas casinos,

glances quickly from side to side in the back seat. Butler’s
tailored suit and styled hair are losing their starch.

BUTLER
This doesn’t look right.

FAT TONY
Been sayin’ that since we left the
airport. Said you was never in
Kansas City.
 73.

BUTLER
I don’t travel in these areas of
town, in any city.

Butler’s head spins, stares out the rear window.

BUTLER
You passed a freeway entrance. We
could’ve gotten out of this ghetto.

FAT TONY
We’re here.

TWO HOOKERS patrol the sidewalk in front of the seediest

hotel Butler has ever seen.

BUTLER
I will not stay here.

INT. SEEDY HOTEL ROOM - DAY

Butler hits the off button on the TV. A continuous porno

movie won’t stop. His suitcase is parked on top of a dirty,
worn bedspread. He rummages through it, pulls out a Scotch
bottle. A GIANT steps into his room.

BUTLER
I told you, stick to the hall.

The Giant turns his head, pops his neck, says nothing.

BUTLER
This is kidnapping. Your boss
doesn’t know who the fuck he’s
dealing with.

The Giant smiles at Butler, turns, leaves the room. Butler,

Scotch bottle in hand, searches the bathroom. No glass. He
uncorks it. Takes a swig.

HOURS LATER

SNORING, CHOKING, Butler wakes himself, sits up. Searches his

brain for where he might be. The stained, torn wallpaper and
ripped furniture remind him. He dials the phone.

BUTLER
Room service?...Send up a room.

He laughs, hangs up, knocks over the half-empty Scotch

bottle, stumbles to the door. Eases it open. The Giant stares
back at him.
 74.

BUTLER
I could walk outta here.

The Giant slowly reacts. Butler slams the door, checks his
watch, glances at the porno movie. Same one. He arranges his
clean shirts to cover the dirty bedspread, lays back down.

HOURS LATER

Fat Tony shakes Butler awake. He sits up with a start. Fat

Tony stands over him. Papa Nick sits at the ratty table as if
he does business here everyday. Fat nods toward the Boss.

FAT TONY
Mr. Corelli is here.

PAPA NICK
Have a seat.

Butler tries to orient himself. He staggers over to the table

where Papa Nick has taken a seat.

BUTLER
I demand to know why my funds for
the Shangri-La have been delayed.

FAT TONY
He’s got demands, Boss.

Fat Tony pours Butler some espresso from a thermos. Papa Nick
drinks from his own cup.

PAPA NICK
Drink up. You gotta be real clear
on what I’m about to tell you.

Butler takes a sip from the cup. He has the same wide-awake
reaction everyone has when they taste Papa Nick’s espresso.

BUTLER
If you don’t like my management
style, bring it to the attention of
our board of directors.

PAPA NICK
Your board a directors is Rose. He
says do somethin’, do it. You
refuse an order from him, you’re
refusin’ me.

BUTLER
Threatening me won’t help you.
 75.

PAPA NICK
Listen up. Was up to me, you
wouldn’t leave here alive.

Papa Nick knocks on the wall two times. Fat Tony takes a
position by the door.

(On TV) The image of two nude girls teasing each other
flickers off.

BUTLER
That thing doesn’t work.

(On TV) A MAN in a fedora hat, face in shadow, pads down a

hallway. He turns on a light to reveal a baby grand piano in
a well-decorated living room.

BUTLER
I pay a fortune for security on
that frickin’ place...damn it.

PAPA NICK
They do quite a job.

(On TV) The man in the fedora continues his tour. A large
gourmet kitchen looks unused. He starts down a back hallway.

PAPA NICK
You like the dancers?

BUTLER
If he’s gonna threaten Josie he can
save his time. She’s just another
piece of ass to me.

PAPA NICK
You oughta care more for the women
you’re lettin’ into your bed.

(On TV) Fedora man turns on the light, walks to the bed.
Points to a BEAUTIFUL WOMAN lying there. Covers pulled up to
her chin. Fedora man leans over her, strokes her face.

BUTLER
She could sleep through an
earthquake. She’s grumpy, she first
wakes up.

(On TV) The man in the hat pulls the covers back to reveal
her breasts.

BUTLER
Great tits, though. Don’t scare her.
 76.

(On TV) Fedora man throws the covers back. A round hole in
her stomach. Blood everywhere. He flips a knife open.

BUTLER
You bastards.

Butler’s body trembles. He springs up, vomits into a trash

can, stains his wrinkled suit. Papa Nick quietly sips his
coffee. Butler comes back across the room. His gaze fixed on
the TV and the knife.

BUTLER
(shaky)
You won’t get away with this. I’m
in with the Sheriff out there.

(On TV) Knife in hand, the man steps across the white shag
carpet. He kneels. Picks up a pistol with the knife blade.

BUTLER
That’s my gun. Put it in the safe
myself. Nobody has that
combination. How’d you?...Wait a
minute...NO.

PAPA NICK
You know, most people get killed by
someone close to ‘em?

Butler shakes. He falls back into his seat at the table.

(On TV) The picture is now a close up. The knife blade
through the gun’s trigger guard.

PAPA NICK
Finally, you hear what I say?

Butler hangs his head, nods a yes.

PAPA NICK
Nevada, it’s eight A.M. One hour,
your cleanin’ lady lets herself in,
starts screamin’. Our friend can
clean this up. You want him to?

Butler nods his head again.

PAPA NICK
I don’t hear ya.

BUTLER
Please, I need your help with this.
 77.

PAPA NICK
You owe us one-point-two million
for our trouble. Paid today. Rose
runs the casinos. You’re workin’
for him. Got it?

BUTLER
Let’s get started...it’s late.

Butler trembles like a tiny poodle. Papa Nick stands, picks

up his thermos.

PAPA NICK
Thought you were runnin’ my casinos
‘cause you’re good lookin’. ‘Cause
you got a real estate empire by
partin’ old widows with their cash.

Papa Nick walks through the door Fat has opened, turns.

PAPA NICK
It’s only ‘cause you’re
controllable. Now, dial your house.

INT. JILLY’S GARAGE - NIGHT

John and Denny step into the car bay area. A GROUP OF GUYS
roll dice near the pot-bellied stove. Sal and Angelo count
money and betting slips on the counter top.

SAL
There’s the big winner.

ANGELO
Memphis at Kentucky? You’re the
only lucky cocksucker gets paid on
that game.

JOHN
My new underdog system. It’s gonna
win big.

Sal turns from his count and hands John cash.

DENNY
Seems like you paid out more than
you cashed in.

ANGELO
He’s got you there, John boy.

JOHN
It takes time.
 78.

A YOUNG MAN stops as he leaves the dice game, smiles big.

YOUNG MAN
You guys, John and Denny, right?

DENNY
That’s us.

The young man grabs first Denny’s hand, then John’s. Pumps
them each excitedly.

YOUNG MAN
It’s an honor. You guys. Wow.

He files on out, leaves John and Denny puzzled over his

excitement. Angelo is less impressed.

ANGELO
We got that new bar openin’. Had
time to book music?

DENNY
Come on, Anj. You know better.

JOHN
Hot new band. They play reggae.

ANGELO
Rag what?...Never mind.

DENNY
You got that card for me?

Angelo pulls a card from his wallet, hands it to Denny.

ANGELO
If anyone can find your gal, he’s
your man.

JOHN
Tell me this is not about Sheila.

DENNY
This is not about Sheila.

INT. CAR (PARKED) CHICAGO - DAY

VIC (32), black, private eye, one hand on the wheel,

binoculars trained on the flower shop across the street.
Denny leans forward out of his line of view, rubs his hands
together.
 79.

DENNY
Is the heat on?

VIC
Wind blows off a lake Michigan
downtown here. It’s a bitch.

DENNY
Just as well. Flew out after the
club closed last night.

VIC
They call that the red eye. No
coffee around he...Okay, here.

Vic hands the binoculars to Denny. He quickly focuses in.

Sheila, shorter hair, stylish dress, helps a customer.

DENNY
She looks better than ever. So,
who’s the guy she’s engaged to?

VIC
Don Borka, comes from a wealthy
Portuguese family. Construction
mostly. His dad died last year,
left him in charge. The Borka
name’s a society gal’s dream.

Denny dials the binoculars in for a close up of Sheila’s

bottom as she walks away. He hands the glasses back to Vic.

DENNY
Won’t matter what her name was
gonna be, once I get her back.

VIC
She decides to leave him it won’t
be easy. Family’s got a lot of
muscle. Course, as Catholics,
there’s the whole church issue.

Denny’s head spins in Vic’s direction.

VIC
(laughs)
I haven’t seen that look since you
realized I was a brother.

DENNY
I just figured, you know, you had
to be one of the guys.
 80.

VIC
Ah sawry, Massuh, ah is what ah is.

DENNY
I didn’t mean it like that. They
just, I mean Angelo, he works with
Italian guys, inside guys.

VIC
You ain’t no inside guy.

DENNY
(laughs)
Got me there. Maybe that’s why we
get along.

VIC
Maybe. She could face
excommunication, your Sheila. Old
man Borka golfed with Bishop Ward.
They’re probably one of three
families in the country that could
get an audience with the Pope.

DENNY
Sheila’s mom must be proud.

Vic hands Denny a file from the center console.

VIC
Gotta go work another case. Here’s
her fiance’s bio. Just turn the car
in at the airport.

DENNY
When does she get off work again?

VIC
Four thirty. About two hours from
now. Things don’t go your way
today, let me know. I can keep an
eye on her for you.

Vic opens his door. Steps out onto the sidewalk. Denny leans
over across the seat.

DENNY
Wait. You don’t know where to send
the bill.

Vic, door in hand, looks back at Denny.

 81.

VIC
Star-crossed lovers are no charge.
Tell Angelo he owes me dinner at
Anthony’s next time I’m in town.

Vic shuts the door and is gone. Denny adjusts his seat and
reads the file.

LATER

Denny sleeps, bangs his head against the window. He wakes.

Quickly checks his watch: four-forty.

DENNY
Shit.

EXT. DOWNTOWN CHICAGO - CONTINUOUS - DAY

Denny throws his door open -- Jumps into traffic -- A car

swerves to avoid him -- The car in the next lane screeches to
a stop at his kneecaps -- Denny’s on the sidewalk now -

- What was a trickle of human traffic is now a flood -- He

sees Sheila -- Denny covers ground quickly -- He can almost
reach out and touch her -- The crowd pushes him back.

DENNY
(shouts)
Sheila!

A dark-featured man smothers Sheila in a hug. Sheila gives

him the look Denny hasn’t seen since high school. A large
diamond ring graces her finger. Vic was wrong. This is
DON...her husband!

SHEILA
What are you doing here?

DON
I got theatre tickets. Does Mrs.
have an interest in theatre?

Once again, the look. Expression drains from Denny’s face.

Don helps Sheila into the curbside limo. They drive away.
Denny looks up to the sky.

LEON RUSSELL (V.O.)

“I’M UP ON A TIGHT WIRE. ONE SIDE’S
ICE AND ONE IS FIRE. IT’S A...
CIRCUS GAME WITH YOU AND ME...”
 82.

EXT. KANSAS CITY STOCKYARDS - NIGHT

SUPER: “SIX MONTHS LATER”

Fat Tony glides Papa Nick’s Buick between two cattle pens.
Ryan’s limo already idles there. Ryan and Connie exit the
rear of the limo. Connie gets up front with Ryan’s DRIVER.

INT. PAPA NICK’S BUICK (PARKED) - NIGHT

Ryan slides in across the seat from Papa Nick. The cattle
MOO, shift in their pens. SOUNDS are muffled as Ryan shuts
the door of the new Buick.

RYAN
She don’t like being back there all
by herself.

PAPA NICK
Too good to meet me at a restaurant?

RYAN
I’m planning to run for Congress
soon. You got a certain reputation,
you know how it is.

PAPA NICK
I do know how it is. While you’re
polishin’ your image, you might
wanna send one a your boys to get
your brother Bobby outta Vegas.

RYAN
Oh shit. I hope he didn’t cause you
trouble. I warned the lit--

PAPA NICK
He’s down eight grand. Nervy lil
prick had a pit boss call me to up
his credit. Told ‘em no, a course.

RYAN
Thank God. Little bastard has cost
me a fortune.

PAPA NICK
What’s up?

RYAN
Hopeful you might do something
about Dante’s parking lots. They
pay to park, he gets ‘em a free
drink ticket at his boy’s place.
(MORE)
 83.
RYAN (CONT'D)
They get all liquored up, don’t
make it to my bars.

PAPA NICK
Look, Ryan, your bars are right
behind Dante’s. You can’t get folks
into ‘em, it’s not his fault.

RYAN
He leases the parking lots from the
city. Way I see it, we co--

PAPA NICK
Shut up, Ryan. I built both your
fuckin’ bars and handed you the
keys. Anytime you don’t want ‘em,
you let me know.

RYAN
I’m grateful, believe me. Sorry I
brought it up...Don’t mind me
asking, who you puttin’ in to run
things, you retire?

PAPA NICK
(laughs)
Finally we get to it. Why not just
skip the bullshit?

RYAN
Thought maybe Frankie would get his
shot, that’s all.

PAPA NICK
His time will come soon enough. I
ain’t goin’ anywhere anytime soon.

RYAN
Course not, plenty a time for
Frankie. He’s young.

PAPA NICK
So, we straight here?

RYAN
I’ll take care a Bobby.

Ryan opens the back door, steps out of the car.

PAPA NICK
Next time, pick a place that don’t
fuckin’ stink so bad.
 84.

Ryan shuts the Buick door behind him. Papa Nick and Fat Tony
watch as he goes to the front door of the limo. He opens it.
Connie gets out and follows Ryan into the backseat.

FAT TONY
She don’t look so happy.

PAPA NICK
Can ya blame her?

FAT TONY
Just give me the word, I’ll rescue
her from that bag a shit.

PAPA NICK
Not yet.

FAT TONY
I thought O'Neil wanted...wasn’t
that part of the deal?

PAPA NICK
Gotta be handled properly.

They watch as the limo drives off into the darkness.

INT. RIVER KEY CLUB - DAY

John and Denny watch a BAND perform a rough version of a

Beatles song in the empty bar. They talk above the noise.

JOHN
So, it don’t bother you I go out
with Lisa?

DENNY
I got no interest, you know that.

JOHN
Sophie, she just don’t understand
me anymore.

DENNY
You been doing Lisa since Chicago.

John smiles, shrugs at Denny. Denny signals the band to stop.

One by one, each band member stops playing.

LEAD SINGER
You wanted to hear something else?

DENNY
Got any other band covers?
 85.

LEAD SINGER
What’s wrong with The Beatles?

DENNY
They were fine, you butchered ‘em.

The singer stares back at them.

JOHN
We hire bands that do covers of hit
songs. Good covers.

LEAD SINGER
Wait, our other Beatles tunes rock.

Someone stands in the doorway. Denny blinks twice. It’s

Sheila. John signals the band. They start a rough version of
“SHE LOVES YOU”. Denny locks eyes with Sheila.

INT. CROWN CENTER HOTEL ROOM - DAY

Denny drinks coffee at a small table covered with dishes and

cups. A messy bed is in the background. Morning sunlight
streams in from the balcony. Sheila comes out of the bathroom
and joins Denny at the table.

DENNY
Ordered you poached eggs.

SHEILA
Looks good. Remember the time we
fell asleep at the drive-in?

Sheila eats breakfast while Denny drinks coffee.

DENNY
(laughs)
How could I forget? My old man said
we’d have to get married.

SHEILA
(laughs)
Yeah. Nobody believed we had just
been asleep.

DENNY
Yeah. If you hadn’t brought along
that joint. You still get loaded?

SHEILA
Never. Don’s on the President’s
Stop Drugs Committee.
 86.

DENNY
You’ve really gone places.

SHEILA
Not sure I should have married him.
I...ah, I don’t know, Den.

DENNY
So, you ready to leave him, come
back to me?

SHEILA
It’s complicated. He sure can’t
make me feel the way you do.

DENNY
Told you I was the one for you.
Ever tell him about his technique?

Sheila laughs.

SHEILA
He doesn’t listen very well.

The phone RINGS. Sheila jumps.

SHEILA
Who knows we’re here?

Denny crosses the room, picks up the receiver and drops it

back into the cradle.

DENNY
Relax. I left a wake up call, got a
a meeting.

SHEILA
I have a plane to catch, anyway.

Denny goes to the bathroom, washes his face. In the mirror he

sees Sheila behind him. Tears stream down her face.

DENNY
Hey, I don’t want you to leave,
either. Why don’t you call him? Say
you need more time with your folks.

SHEILA
It’s not that. I don’t know, I wish
things were...

Denny gently strokes Sheila’s face, wipes away the tears,

then kisses her on each cheek. He puts on his jacket.
 87.

SHEILA
I lied to you...back then, I mean.

DENNY
You ripped my heart out. You didn’t
love me like I loved you.

SHEILA
That’s not true.

Denny opens the door. Looks back at her.

DENNY
How the hell do you explain leaving
me without goodbye?

SHEILA
(crying)
I thought John would’ve told you by
now...I was pregnant.

Denny leans his head against the open door, closes his eyes.

DENNY
Wha...One thing’s for sure. It
wasn’t by me. I bought into your
Catholic schoolgirl act.

SHEILA
(crying)
It wasn’t like that. Anita and I
went out with two older guys. The
guy raped me.

DENNY
I was a lovesick idiot.

SHEILA
Damn it, Denny. Let me explain. I
had a miscarriage I didn’t ev--

DENNY
Stop. I can’t even hear this right
now.

Denny slams the door behind him.

INT. POOR OLD TEDDY’S PLACE - DAY

John and Denny enter the front door. Everything about the
decor contrasts the name. Danforth, civilian clothes now,
stands between the door and the bar where Dante and his son
Ted are.
 88.

LT. DANFORTH
You better pay attention to what
I’m telling you.

DANTE BONARI
Ryan should quit counting everyone
else’s money. His dad was never
like that.

LT. DANFORTH
His dad’s been dead twenty years.
There’s a power shift coming,
Dante. Hate to see you on the wrong
side of it.

Lt. Danforth brushes past John and Denny as he exits.

TED BONARI
Guy’s worse now, he’s not a cop.

DANTE BONARI
(to John and Denny)
Rack ‘em up, guys.

INT. JOHN AND DENNY’S HOUSE - DAY

The phone by Denny’s bed RINGS and RINGS. Denny picks it up,
drops it back into its cradle. Rolls over in bed, PHONE
RINGS again. Finally, he smothers it with a pillow.

Vic stands over Denny, shakes him awake.

DENNY
Vic? What are you doin’ here?

VIC
Been to the coast. Stopped off on
my way back. You are one hard
mothafucker to track down.

Denny rolls over, sits up.

VIC
Still want Sheila?

DENNY
I don’t know anymore. It’s
complicated, real complicated.

Denny rises, they move over to some chairs. Denny looks over
the rail. Downstairs John’s passed out on the couch, Lisa
wrapped around him.
 89.

VIC
She’s got trouble, man.

DENNY
Break it down for me.

VIC
Her old man Don’s upside down on a
gambling debt. He’s into the
outfit, over two hundred large.

DENNY
You said he was made of money.

VIC
That’s what pisses ‘em off. He’s
got the money, he won’t pay.
Cambiano, he don’t tolerate
disrespect from nobody.

DENNY
Don has lost his fucking mind.

VIC
Cambiano won’t accept just the
payment now. Wants a piece of the
business. Things have gotten so
bad, word is, they’re gonna kill
Sheila first.

DENNY
Damn. Will you help, if I can get
‘em a break?

VIC
I’m your man. Just don’t be so hard
to get a hold of.

DENNY
I’m right here.

VIC
John, isn’t that his name? I
called, told him a week ago this
was about Sheila.

DENNY
Really? Vic, how long you think
Sheila has known about this?

VIC
Couple a weeks, at least.
 90.

DENNY
How ‘bout some coffee?

They both stand.

VIC
No time. Got a plane to catch.

Denny sees Vic to the door. Denny comes back to his room,
looks over the balcony. The couch is empty. Out the window,
he watches John and Lisa drive off.

EXT. JOHN AND DENNY’S HOUSE - NIGHT

Two FBI cars and three police cars snake up the road and stop
in John and Denny’s driveway.

Agent Barnes and a YOUNG FBI AGENT, guns drawn, jump out of
the lead car -- Rush the front door -- SIX COPS back them.

INT. JOHN AND DENNY’S HOUSE - NIGHT

Barnes and the Young Agent look lost, standing in the living
room. Barnes, one hand on his hip, one on his holstered gun,
watches the final COP come up from the basement.

COP
All clear, sir.

This cop leads the rest of the force back out the front door.
Barnes and the Young Agent look around the room for a few
seconds. They say nothing. Barnes exercises his weak arm.

AGENT BARNES
You told none of the officers where
we were headed?

YOUNG FBI AGENT

Kept it on a need-to-know basis
just like you wanted.

EXT. HILL ABOVE JOHN AND DENNY’S - NIGHT

Denny, in a robe, sits on a large tree stump. John,

shirtless, in pajama bottoms, stands. They watch the parade
of car lights go back down the drive, then the road.

DENNY
Hate missing my shut-eye.
 91.

JOHN
I feel cheated. It’s four A.M. I
just got to sleep two hours ago.

DENNY
You didn’t even hear the phone.

INT. KANSAS CITY CLUB, LUNCH - DAY

MARK SABLE (58), trim, gray hair, wears his Brooks Brothers
attorney uniform. He slices into his steak. John looks out
the window, fourteen stories below. Denny sips his drink.

MARK SABLE
Pierre can butterfly a strip in
under six minutes.

DENNY
Thanks, traveling light. Mr. Sable,
Papa Nick asked us to see you some
time ago, what do you think?

MARK SABLE
Well, son, my dad was a Yellow Dog
Democrat and one hell of a poker
player. He taught me, sometimes to
win, you got to fold. Nick can’t
win this one.

DENNY
What do you mean?

MARK SABLE
Twenty years as his counsel. He’s
never even been to the courthouse.
Been a great run, very profitable.
I’m afraid it’s over now.

Mark Sable works on his steak. John rechecks the window. With
the formally attired WAITERS, elegant oak and cherry decor
and men in suits, John looks at his work shirt.

MARK SABLE
The government recently passed this
new RICCO law. Since that time they
have systematically taken down two
of the East Coast families.

DENNY
Papa Nick said we’d be okay. You’re
saying we’re in trouble?
 92.

MARK SABLE
From what I know of your case,
Barnes has no chance of a
conviction against the two of you.
Certainly not on triple murder.

JOHN
Why’s he so hot for us then?

MARK SABLE
He’s fishing. You’re the bait. If
he can get Papa Nick worried you’ll
testify, gets him to kill you.
Well, that’s one way.

DENNY
Cheerful thought.

A waiter silently replaces John’s drink, slips in a new bread

basket, disappears.

MARK SABLE
At the very least he ties Papa Nick
to ordering you to the cabin.
Either way, Barnes wins.

JOHN
Quite a club you got here. How
long’s it been around?

MARK SABLE
Eighteen seventy-eight. With RICCO,
Barnes just needs one or two
events. It makes it easy for them
to tie it all together.

The MAITRE D’ appears, bends at the waist beside Mark Sable.

MAITRE D’
Sir, FBI and several policemen
insist on coming up.

Denny jumps up, John follows suit.

DENNY
‘Nother way out of here?

MARK SABLE
No need. We’ll surrender you, have
you back on the street in two,
three hours at most.
 93.

Denny at the window now, looks to the street below filled

with cop cars. John drains his drink, sets it down. The
maitre d’ watches them apprehensively.

DENNY
Slide me that chair, John.

John slides his chair over to the window next to Denny.

DENNY
These buildings look the same. Are
they connected up here somehow?

MARK SABLE
Gentlemen, Corelli posts your bond,
you’re home for the evening news.

DENNY
Well?

MAITRE D’
In the basement, there is a tunnel,
but...

Denny’s on the chair now -- Pulls the long rod holding the
drapes out of the wall -- Mark Sable moves out of the way -

- John helps Denny pull the rings and drapes off the rod --
Dumps them on the table -- The other diners look on in shock -

JOHN
...Which side of the building’s the
tunnel on?

MARK SABLE
East end, it’s marked. The cops
will have all the elevators,
stairwells blocked.

- Denny tosses the long curtain rod to John -- The maitre d’

tries to calm the diners -- John looks the rod over -- It’s
thick as a bat, twice as long -- Spear-like ends -

DENNY
These two elevators, that about it?

- Sable nods a yes -- Denny rushes to the elevators -- John

drains Denny’s drink -- Smiles at Mark Sable -- Throws the
big curtain rod over his shoulder -

JOHN
Kind of an Indian thing with him. I
like the evening news, myself.
 94.

- Denny stands between the elevators -- One’s on the tenth

floor and rising -- He pushes the other down button -- John
arrives with the rod -- They move behind a planter -

- Door opens -- Barnes and his posse step out -- John and
Denny, each with an end of the rod -- Push them into the
elevator in a heap on the floor -- DING -- Other door opens -

DENNY
Get it.

- John runs, holds the empty car -- The posse struggles to

get up -- Denny slams the curtain bar down -- Wedges it
between the open doors -- DING - DING -- Doors can’t close -

- Barnes is up -- Denny punches him -- Knocks him into the

crew -- In a heap on the elevator floor again -- Denny runs,
dives into the car with John -- Door closes -- Elevator down.

INT. TOW TRUCK (MOVING) - DAY

BIRDIE, fat in a greasy shirt, drives the tow truck with one
hand, eats a sandwich with the other. Radio rumbles to life.

DISPATCHER (O.S.)
Birdie, got a hook, city lot,
market and River Key.

Birdie keys the mic.

BIRDIE
On lunch. Get somebody else.

DISPATCHER (O.S.)
They’re all across the river.

Birdie keys the mic again.

BIRDIE
Alright, okay.

Birdie tosses the sandwich to the floor.

EXT. CITY PARKING LOT - DAY

Birdie slides under the rear of the Cadillac...stretches the

chain...SPLAT...Something cold and wet lands in his eye...
Birdie scoots out from under the car...wipes his face.
 95.

INT. RIVER KEY CORNER BAR - DAY

Denny and Ben play foosball. Angelo, Sal and Paulie drink at
a nearby table.

PAULIE
Feds still on your ass?

DENNY
Seems that way.

ANGELO
Where’s your brother?

Ben slams the ball past Denny’s defense, scores.

DENNY
He’s not my brother, Angelo.

BEN
Ungrateful bastard. My going away
party, I just joined the Army.

ANGELO
Do I detect some jealataciousness?

PAULIE
John’s a ladies man first.

SAL
You guys see the new broad he was
with at Teddy’s last week?

A YOUNG GUY rushes in the front door of the bar.

YOUNG GUY
The cops found a body in old man
Bonari’s Caddy.

Everyone except Sal freezes. Sal rushes to the young guy.

YOUNG GUY
Down the hill. They’re sayin’ it’s
old man Bonari.

Sal punches him in the stomach -- He doubles over, falls to

the floor -- Sal and the guys spill onto the street, rush
down the hill to the parking lot.
 96.

EXT. CITY PARKING LOT - DAY

HOMICIDE DETECTIVE THOMAS stands at the back of Dante

Bonari’s Caddy. Angelo, Paulie, Sal and Denny are held back
by UNIFORMED COPS. Ben stands behind them.

PAULIE
It’s Dante’s car alright.

ANGELO
(to a cop)
Get Thomas. Gotta talk to him.

The cop walks over to Detective Thomas -- John appears, runs

through the unmanned spot -- Pushes past the detectives --
Dante Bonari’s folded-up body lies on its side -

GUNSHOT TO THE HEAD.

JOHN
No...God damn it. Noooo.

- A cop pulls John backward -- He punches the cop -- He’s

swarmed by cops -- Ends up pinned to the ground -- Angelo and
Denny are held back by the rest of the force -

DETECTIVE THOMAS
What the hell goes on here, Angelo?

ANGELO
He’s upset. We’ll get him home.

Detective Thomas gives a signal -- The cops let John up.

DETECTIVE THOMAS
Do it quick or I’m taking him
downtown. Know anything about this?

ANGELO
No, but I’ll sure as hell find out.

DETECTIVE THOMAS
Somebody’s making a move on you.

Angelo and Denny usher John back to the other guys. John and
Denny are visibly upset after seeing Dante’s cold body.

ANGELO
Sal, get to Jilly’s. Put a coupl’a
guys outside Teddy’s place.

SAL
On it.
 97.

Sal hurries off.

ANGELO
Paulie, better get over to Dante’s
house. Keep ‘em away from the missus.

PAULIE
Yeah. I’ll break the bad news. You
gonna ca--

ANGELO
Don’t want Papa Nick hearin’ about
this on the news. He and Dante go
way back.

PAULIE
They were in school together. Dante
was older, looked out for the Boss.

Paulie rushes off. John, Denny and Ben approach Angelo.

DENNY
John and I know who did this.

ANGELO
Gotta pretty good idea myself.
Do nothin’. Wait on the Boss.

Dusk settles in as Angelo hurries back up the hill.

EXT. JOHN AND DENNY’S DRIVEWAY - DAY

John carries two pistols and a shotgun. He struggles to load

them into the back seat of his car. Denny parks, gets out.

DENNY
Papa Nick said to stay outta this.

JOHN
Meeting Ben in the country. We’re
shooting some targets.

DENNY
We can’t stay here, Barnes will be
all over us.

JOHN
Don’t worry, I’m staying at Lisa’s.

John finally gets the guns into the car, closes the door.

DENNY
Why didn’t you tell me Vic called?
 98.

JOHN
Hell. Guess I forgot.

DENNY
Like you forgot to tell me Sheila
was raped?

JOHN
The day Anita told me, you were on
your bender, Sheila had gone. After
that, I didn’t see the point.

DENNY
The point would’ve been getting her
back...We talked on the phone for a
long time last night.

JOHN
She’s sucked you into rescuing her,
hasn’t she? She’s playing you, man.

DENNY
She needs help. She decides to come
back, that’s up to her.

JOHN
That’ll be handy. She can carry
your balls in her purse.

Denny rushes John -- Punches him in the face -- John

stumbles, stays on his feet -- John doesn’t raise his hands --
Denny hits him again -- John falls against his car, slides to
the ground, sitting upright -

DENNY
C’mon, fight back.

JOHN
You do’no’ who your friends are.

DENNY
I still love her. I know that.

- John gets up, checks his chin -- Dusts himself off.

JOHN
Don’t plan on moving her in here.

DENNY
I’m moving my things out. Sick of
seeing your face everyday. You and
your girl of the moment.
 99.

JOHN
Suit yourself. Don’t come whining
to me when she leaves again.

John jumps into his car and races out of the drive.

EXT. KANSAS FARMHOUSE - DAY

Fat Tony leads Denny past ARMED GUARDS scattered around a big
white farmhouse. They go through a gate into the backyard.

FAT TONY
Tough times. He’ll be real happy to
see you.

Papa Nick sits alone. Watches cows graze in the field.

PAPA NICK
Denny, have some coffee.

Papa Nick stands, greets Denny like a son. They take a seat.
A YOUNG WOMAN serves espresso.

PAPA NICK
Out here, you can almost forget
what’s goin’ on.

DENNY
Can’t believe Ryan had balls to
kill Dante and leave him there.

PAPA NICK
Ryan wanted to fuckin’ kill the
River Key. With Dante he did.

Papa Nick points to the front page of The Kansas City Star
newspaper on the table, “MURDER IN THE RIVER KEY”.

PAPA NICK
Families, young people, this will
scare ‘em shitless...Sable tells me
you’re still hidin’ from Barnes.

DENNY
Can’t you just kill that guy?

PAPA NICK
Killin’ people’s highly fuckin’
overrated. Gets ‘em outta the way
but you don’t get to see ‘em pay
their penance.
 100.

DENNY
I got bigger troubles anyway. High
school sweetheart married a guy
with a gambling jones. He’s upside
down with Chicago.

PAPA NICK
Two hundred large, upside down.

Denny is stunned, but not shocked.

PAPA NICK
Angelo told me you had troubles. I
checked with Chicago. Cambiano is
very upset with your boy.

DENNY
They wanna take his business.

PAPA NICK
It’s their turf, Denny, their
money.

DENNY
We talked one time about the
importance of family.

PAPA NICK
Didn’t say I wouldn’t help...We get
her out safe, whatever happens to
him, happens. You okay with that?

DENNY
It can’t be that way. I want her,
but not like that.

PAPA NICK
Can buy ‘em twenty-four hours. You
get ‘em out of Chicago. He’ll still
have to pay his debt, any luck, he
saves his business.

DENNY
I been worried for her. This gives
us a chance.

PAPA NICK
I gotta finish this war Ryan
started. We’re all through, we’ll
see about Barnes.

Fat Tony appears again.

 101.

FAT TONY
Sorry, Boss. Time for the phone.

Papa Nick and Denny stand up from the table, hug. Fat Tony
leads Denny to the gate. Papa Nick calls out.

PAPA NICK
You and John, don’t be in the Key
when the bars close.

DENNY
Okay, no problem.

INT. DOWNTOWN RESTAURANT - DAY

COUNCILMAN GARZA and his ASSISTANT, both in suits, drink

their coffee. Dirty lunch plates cover the table. Councilman
Garza stands, pushes his chair in.

COUNCILMAN GARZA
I’ll see you for the two o’clock
vote. Making a trip to the library.

ASSISTANT
Don’t forget. I promised the mayor
your support on the bridge vote.

Councilman Garza takes the newspaper off the table, eases

into the rest room.

EXT. RESTAURANT REST ROOM - DAY

A MAN passes, tapes a sign to the door. ”CLOSED - CLEANING”.

INT. RESTAURANT REST ROOM - DAY

Garza opens the first toilet stall, an “OUT OF ORDER” sign

covers the toilet.

COUNCILMAN GARZA
Damn it.

Garza sits down in the other stall, opens the newspaper --

Reads -- A noose drops from the false ceiling -- Tightens
around his neck -- Jerks him upward -- Paper hits the floor -

- He pulls at the rope -- It tightens -- Garza thrashes and

fights -- The news pages take a beating from his feet --
Garza GURGLES and CHOKES as his throat closes -
 102.

- Garza struggles -- His body goes limp -- A young man drops

to the floor -- The man who shook hands with John and Denny
at Jilly’s -- He pulls Garza’s body back into a seated
position -- Sticks the “OUT OF ORDER” sign on Garza’s chest.

INT. CAR SALES LOT - DAY

A YOUNG CAR SALESMAN sits behind a desk. BRENNAN, tall, about

Dante’s age, closes the toilet door behind him.

CAR SALESMAN
I got a guy, big down payment, what
he wants is a green pickup truck.

BRENNAN (O.S.)
We still got the Lincoln your man
was gonna buy. Get us a deposit.

A toilet flushes. Brennan prances out of the bathroom.

BRENNAN
Sell what’s on the damn lot. How
many ti...

Brennan glances at the salesman -- Paulie presses a gun to

his temple -- The salesman is in shock -- Sal and Angelo
troop toward Brennan -

BRENNAN
Angelo. I, ah, I was callin’ you
guys. We, me and Dante, was golfi...

- Sal and Angelo continue to advance -- Brennan pulls a small

pistol -- Thrusts it into his mouth -- Pulls the trigger --
Blood and brain splatter the wall behind him.

INT. CHICAGO PENTHOUSE - NIGHT

The living room overlooking Lake Michigan is dark. A tiny

shaft of light pierces the darkness of the bedroom. The door
of Sheila’s dressing room is open a crack. She rests on the
floor against her makeup table and cradles the phone against
her shoulder.

SHEILA
Denny, I haven’t been able sleep.
You need to think for both of us.
 103.

EXT. KANSAS CITY CORNER PHONE BOOTH - NIGHT

Denny leans against the glass booth. He holds the phone in

one hand and traces outside rain droplets down the glass with
his other hand.

INTERCUT AS
NEEDED:

SHEILA
Shouldn’t have married him. He
needs help. I tried to be fair.

DENNY
The fair’s something the state has
in the fall every year. They give
prizes for the biggest heifer.

SHEILA
Even when you talk nonsense, I feel
better just hearing your voice.

DENNY
Had a girlfriend in high school.
She always felt that way.

SHEILA
Stop it, will ya?

DENNY
Vic will contact you. He’ll tell
Don we need to split you two up. He
willing to do what Vic tells him?

SHEILA
Doesn’t have much choice. I come
there to you? Right?

DENNY
That’s the plan. Just do what Vic
says, we’ll be together soon.

SHEILA
I love you so much, Den...There’s
still a lot we can do.

Denny hangs up.

EXT. PARKING LOT - NIGHT

An unmarked police car pulls up near Lt. Danforth’s car.

PETER (40), a Danforth informant, gets out, stands by his
trunk. Danforth emerges from the darkness. Opens his trunk.
 104.

LT. DANFORTH
Had to make sure you weren’t
followed. You like the car?

PETER
(laughs)
I was at a buddy’s yesterday.
Flipped the lights behind the grill
on. Should’a seen him scramble.

Lt. Danforth passes Peter a sack from his trunk.

LT. DANFORTH
Here’s two uniforms. Hit ‘em both
together. Here’s the first half.

He hands Peter a cash-filled envelope.

PETER
What if they’re suspicious?

LT. DANFORTH
They don’t even carry a piece. Just
act like a cop.

PETER
Piece a cake.

Peter carries the sack to the unmarked car. Slides behind the
wheel. Danforth watches until the car is out of sight. He
gets in his car. Puts his key in the ignition.

LT. DANFORTH
Stupid sons a bitches.

Danforth turns the key -- A LOUD EXPLOSION -- FIREBALL --

Blow the car and contents into the sky -- Chassis of the car
drops, burns -- Fiery car parts fall from the heavens.

INT. OFFICE FURNITURE WAREHOUSE - NIGHT

BOBBY RYAN, younger and thinner than his brother, naked, hog-
tied over a desk -- Sal jabs him with an electric cattle prod
-- Bobby YELLS -- Sal prods him again -- He SCREAMS -

ANGELO
Tell us what your brother’s up to
so we can let you go.

BOBBY RYAN
Oh, eh, ah, he don’t tell me
nothin’, don’t trust me.
 105.

Angelo dumps a bucket of water over him -- Sal applies the

cattle prod near Bobby’s privates -- He SCREAMS -- Sal
punches him in the ribs.

SAL
Stop your stallin’.

ANGELO
You shoulda’ stayed in Vegas.

BOBBY RYAN
Eh...Eh...I never thought you...
was like this, Anj.

Angelo strokes his hair.

ANGELO
Soon as you tell us, we let you go.

SAL
Gettin’ tired. Should I get the
rusty razor blades?

Angelo nods at Sal, who walks away.

BOBBY RYAN
What’s he talking ‘bout?

ANGELO
Rusty razor blades. Mostly they rip
and tear. Sal puts his glove
on...cuts your asshole out.

BOBBY’S P.O.V. - Sal carries a clear bag full of rusty razor

blades and a glove. Steps behind Bobby.

ANGELO
I pour whiskey on, kinda’
antiseptical. Those that live,
usually it’s enou--

BOBBY RYAN
Okay...alright. No need for that.
Two young guys. He wanted to hit
‘em ever since Miller’s cabin.

Sal pulls a chair close to Bobby Ryan’s head. Shakes the bag
of razor blades at him.

SAL
Get it right.
 106.

BOBBY RYAN
That is right. Danforth’s handling
it. He figures John and Denny ain’t
made. Ya know, in the outfit like
you guys.

Angelo and Sal rush to the door. It slams behind them.

Trussed up like he is, Bobby can barely turn his head.

BOBBY RYAN
(yells out)
Don’t leave me here. Guys, guys?

INT. OLD DOWNTOWN AIRPORT - NIGHT

Denny hurries into the small lobby. Sheila runs to him. They
kiss hungrily.

SHEILA
Thank God. I was starting to worry.

DENNY
Any trouble with Don?

SHEILA
No, he did just what Vic told him
to. I like your friend Vic.

DENNY
He’s a good man.

EXT. A RIVER KEY BAR - NIGHT

The MANAGER locks up for the night. The BARTENDER, the

manager and John walk to the parking lot.

BARTENDER
You sure you’re alright to drive?

BAR MANAGER
You shoulda’ cut him off.

JOHN
I’ll keep it between the poles.

A car screeches into the lot. Slides to a stop.

DRIVER
Sal and Angelo find you yet?

JOHN
Haven’t seen ‘em. What’s up?
 107.

DRIVER
They been searching all over for
you. There’s a hit team out to get
you and Denny.

John speeds out of the lot -- Passes Ryan’s two bars -- The
ground RUMBLES -- A LOUD EXPLOSION flattens Judge Roy’s --
The second bar EXPLODES -- Becomes rubble -

- A board still aflame lands on John’s windshield -- He

swerves, smacks a parked car -- John’s head slams into the
steering wheel -- He’s out cold on the steering wheel.

INT. OLD DOWNTOWN AIRPORT - NIGHT

Denny and Sheila drink coffee from paper cups. They sit on a
couch as Sheila rests her head on Denny’s shoulder.

SHEILA
This place is empty at night.

DENNY
Not much different in the daytime
since the new airport opened.

SHEILA
I don’t mind. After Chicago, I want
us to live in the country. Maybe we
could raise horses...Are we waiting
on somebody?

DENNY
Actually we are. It won’t be long.

SHEILA
Are you sure Don got away safely?

A LOUD EXPLOSION shakes the building -- The sky lights up --

A SECOND EXPLOSION rocks the building -- Sheila and Denny
Rush to the window -- Look across the river -- The sky is red
with fire.

SHEILA
What was that?

DENNY
Looks like Wheelie must have used
too much powder.

Sheila sees Don’s jet taxi by the window.

SHEILA
That’s Don’s plane.
 108.

DENNY
Yeah, I thought you two had some
unfinished business.

Sheila looks into Denny’s eyes.

SHEILA
I thought it was you and me...This
was going to be our chance.

DENNY
We missed our chance, senior year.
You can’t keep running away when
things get rough, Sheila.

SHEILA
Is that what this is?...Revenge?

DENNY
You know me about as good as
anybody. Used to think it was me
that was all screwed up. Now, I
know it’s the whole damn world.

SHEILA
Crazy...But I know what you mean...
I’ll always love you, Den.

DENNY
And me you, kid. We were great.

SHEILA
What do I do with Don?

DENNY
You married him.

EXT. OLD DOWNTOWN AIRPORT TAXIWAY - DAY

Don, with TWO BODYGUARDS close behind, crosses from his plane
to Denny and Sheila as the sun rises. Don pulls Sheila into
his arms.

DON
Thank God you’re here.

DENNY
Didn’t Vic tell you to come alone?

DON
These men have been with my family
for years.
 109.

SHEILA
This is Denny. He’s our savior.

John peeks from behind the tanker truck...Rubs his

forehead...Brushes back blood oozing from a cut...Sunlight
bounces off something on the bluff...John strains to see.

BODYGUARD #1
(yells)
You, behind the truck, slide your
weapon out. Walk out backward.

JOHN
(yells)
Yeah. Sit on your thumbs for me.

Denny turns toward the tanker.

DENNY
(yells)
What the hell, John?

DON
These men are well trained to take
control. I suggest he does exactly
what they say.

BODYGUARD #2
(yells)
Do as I say, John boy, we’ll shoot
the lady first.

Sheila and Don look surprised.

DON
Don’t forget who you work for.

SECOND BODYGUARD
We get paid for you or your body,
Don. Which way you want it?

DENNY
Brought your killers with ya, Don?
Brilliant...
(yells)
APACHE!

John fires -- Hits Bodyguard #1 in the leg -- Denny grabs

Sheila’s hand -- Runs for cover behind a dump truck -- John
trades shots with the bodyguards -

- Don ends up safe behind the truck with Denny and Sheila --
The bodyguards take cover behind a plane -- Shooting stops --
Bodyguards reload -
 110.

BODYGUARD #1
(voice raised)
Fucked up, John boy. Shoulda’ aimed
for my head.

- Bodyguard #2 tears up a shirt...wraps his partner’s wound --

Eyes the open space between the truck and the plane --
Bodyguard #1 tests his walk -- All good.

JOHN
(loudly)
You make it, Den?

Denny looks Don and Sheila up and down.

DENNY
(yells)
Looks that way.

John checks his gun -- Two bullets -- The bodyguards fire at

him again -- Bullets PLINK all around -

BODYGUARD #1
Must be out of ammo.

- Bodyguard #2 eases out from behind the plane -- John shoots

twice -- #2 dives to the deck -- Barely avoids a direct hit -

BODYGUARD #2
Gotta be out now.

- The two fire at John while walking fast and limping to the
big truck -- No return fire -- Denny in the cab of the truck
now -- Turns the key -- Won’t start -

BODYGUARD #1
(yells out)
Coming for you next, John boy.

- Denny frantically turns the key -- Pumps the accelerator --

Dodges bullets as Bodyguard #1 fires through the windshield --
Bodyguard #2 levels his gun at Don and Sheila -

- Bodyguard #1’s HEAD EXPLODES -- Bodyguard #2 spins, squints

up at the bluff -- A bullet RIPS OPEN his chest -- Both die
quickly -- Bleed out on the concrete.

EXT. BLUFF ABOVE THE AIRPORT - DAY

Sheila’s brother Jim peers through binoculars at the runway

and his sister. He smiles. Two bad guys dead and Sheila’s
safe. He slings his sniper rifle over his shoulder, strolls
to his Jeep.
 111.

INT. AIR TRAFFIC CONTROL TOWER - DAY

A lone AIR TRAFFIC CONTROLLER eyes the runway, adjusts his

headset. A small plane lands on runway #1.

CONTROLLER
Tango one-niner whiskey go-go, you
are clear on runway two.

Don’s jet lifts off from runway #2 into a clear blue sky. The
controller dumps his headset, picks up the phone, dials.

CONTROLLER
No, flight plan hasn’t changed.
(pauses)
Yeah, Puerto Rico...The whole
debt’s cancelled?...Good, gimme
Denver and the points.

EXT. RIVERBANK, BEHIND AIRPORT RUNWAY - DAY

Ben and Keith cut the outboard motor, guide the motorboat to
land, jump out onto the riverbank.

BEN
I wonder what would’ve happened if
I met Sheila before Denny did? We
have real chemistry.

KEITH
You went to grade school with her.
Denny didn’t even meet her till
high school, dipstick.

EXT. DECK, PADDLE WHEEL SHOWBOAT (MOVING) - DAY

Sheila and Don watch the family jet fly away as the showboat
heads up river, away from the deadly airport.

DON
Tell me about this character Denny.
He seems to know you very well.

Sheila rolls her eyes at Don, flips a joint into her mouth,
lights it. Don’s eyes widen, his jaw drops.

INT. DENNY’S CAMARO (MOVING) - DAY

Denny drives fast. John rides shotgun.

 112.

JOHN
You didn’t tell me we had a sniper
on the team.

DENNY
Didn’t ask...You saw Ryan’s bars?

JOHN
Both of ‘em rubble now. Not a
window left anywhere in the Key.

DENNY
Thought you were done with the
Sheila project.

JOHN
Couldn’t let the bastards kill you.
You’re the only brother I got.

DENNY
What about your brother Mark, the
bum? Your druggie brother Luke?
Matthew, who taught you karate?

JOHN
Matthew, Mark, Luke and John? You
never read the Bible? I was raised
in an orphanage.

DENNY
You made up a whole family?

JOHN
Family I live with wanted me to
have senior year like a normal kid.
His dad’s director of the Boys
Republic, in Chino. I was in there
for stealing a car at fifteen.

DENNY
Why would you create a family?

JOHN
People treat you funny. You don’t
know how it is. I been the kid
nobody picked up on pick-up day.

DENNY
Whatever you say...Brother.

Denny runs a red light. Police lights and a siren come on

behind them. Denny pulls over in an intersection. John
quickly checks his gun, no bullets. He stares at the cops.
 113.

JOHN
Don’t forget the hit squad.

EXT. INTERSECTION - DAY

Behind them -- The ‘COP’ on the passenger side stands by the

police car, gun drawn -

- The driver, Peter in a uniform one size too small, opens

his door -- A car careens into the driver’s door -- Trapping
him in the car -

Angelo and Sal pop out of their car -- Guns blazing -- The
fake cops return fire -- Too late -- Sal and Angelo kill both
of them -- John and Denny join Angelo and Sal in the street.

DENNY (CONT'D)
Thanks, guys. I couldn’t afford
another ticket.

EXT. SANTA MONICA PIER - DAY

Connie, Ryan’s stressed secretary, stands next to her MOM,

who is in a wheelchair. They watch as sailboats race across
the ocean. Connie kneels by her mother.

CONNIE
You okay, Mom?

MOM
I feel great. Don’t have to worry
about you being ruled by that
monster ever again.

Connie smiles, focuses on the colorful red sails.

FLASHBACK - The red confessional curtain blocks Connie’s view

of Father O'Neil seated on the other side of the curtain.

FATHER O'NEIL
Do you realize how many times you
have been to me with this affair?

CONNIE
(crying)
I don’t have a choice.

SILENT FLASH - Ryan chokes Connie while he gently rubs her

breast with his other hand. Her wrists are tied.
 114.

CONNIE
Nobody in this town will hire me.
He makes sure of that.

FATHER O'NEIL
Always a choice, my child. You need
to pray for guidance and timing.

FLASHBACK - KCI AIRPORT - The three nuns smile from the back
seat as Father O'Neil and Carlos reach the station wagon.
Windows are down.

SISTER KATHERINE
That young woman Connie has been
coming by. Says no one else can
hear her confession.

FATHER O’NEIL’S FACE

FLASHBACK - Papa Nick has a fatherly hand on Connie’s

shoulder as he leads her into his office.

Connie pushes her Mom across the pier toward the Palisades.
An FBI AGENT leaves his bench, gets in step with Connie.

INT. RYAN’S OFFICE - DAY

FBI Agent Barnes and TWO OTHER AGENTS escort a handcuffed

Ryan from his inner office into Connie’s empty office.

RYAN
Got a lot of important friends in
this town.

AGENT BARNES
I wonder how many will admit that
by the time you get to court.

Agent Barnes clicks the button on a cassette recorder.

LT. DANFORTH (O.S.)

You sure you want Bonari killed?

RYAN (O.S.)
Hell, don’t stop there. If his
son...

Fred hits the stop button.

AGENT BARNES
...You had a meticulous secretary.
She gave us hours of this. Four
counts of murder, for starters.
 115.

The agent lets go of Ryan’s handcuffs. Ryan, drained of

energy, sits down in Connie’s secretarial chair.

INT. POT-BELLIED STOVE - DAY

Red flames lick upward...Pages, then the leather cover of the

red BOOK OF SINS catches fire...A hand drops the entire book
into the heart of the blaze...WHOOSH...Flames engulf it.

INT. JILLY’S GARAGE, CAR BAY AREA - DAY

Fat Tony closes the cast-iron door of the stove. John and
Denny sit across the circle from Papa Nick. They all watch
the fire through the glass in the door of the stove.

FAT TONY
Angelo offered me twenty grand not
to burn the good book.

PAPA NICK
No need to fuckin’ cheapen
it...Let’s not keep our guests
waitin’, Fat.

Fat Tony walks over, opens the door to the office. He is

followed back into the bay area by two BEEFY GOVERNMENT
AGENTS who wear custom tailored suits, thin ties.

PAPA NICK
Thanks for comin’ all this way.
Wan’cha to meet John and Denny, the
guys I told you about.

John and Denny stand, shake hands with both men.

GOVERNMENT AGENT #1
You men have been working with one
of America’s great patriots.

GOVERNMENT AGENT #2
It’s a shame the world can never
know that.

PAPA NICK
I did what I could over the years.
John, Denny, these men have a job
for you.

The door bursts open. Agent Barnes rushes in. Two FBI AGENTS
and a platoon of UNIFORMED POLICE OFFICERS trail behind. Papa
Nick waves Fat Tony off.
 116.

AGENT BARNES
Time to go, boys.

Government Agent #2 steps in front of Barnes. Flips out his

JUSTICE DEPARTMENT BADGE.

GOVERNMENT AGENT #2
These young men are with us now,
national security.

Barnes ignores the badge.

AGENT BARNES
You're dealing with the Federal
B...I...Here, boys.

Government Agent #1 pulls a letter from inside his jacket.

Hands it to Barnes, his eyes go directly to the signatures.

AGENT BARNES
Joint Chiefs and the President?

Barnes passes the letter to one of the other agents, who

reads it, then hands it back to Government Agent #1.

Barnes signals the two government guys to step back into the
office with him. The other FBI agents and the police
contingent crowd around, spill out the front door.

AGENT BARNES
(lowering his voice)
You realize, I got murder one on
these guys?

GOVERNMENT AGENT #1
Consider it null and void.

AGENT BARNES
(raising his voice)
Wait a cotton pickin’ minute, I
gotta solid case, I’m in cha--

GOVERNMENT AGENT #2
That’s different, big guy. You can
fly back with us, explain to the
President and the Joint Chiefs.

GOVERNMENT AGENT #1
Yeah, why exactly you disregarded
national security.

GOVERNMENT AGENT #2
You don’t mind traveling in cuffs?
 117.

Agent Barnes suddenly seems shorter next to these two burly

men. He signals his men and the police.

AGENT BARNES
Saddle up, boys. Nothing to do here.

Barnes leads and they all file out the door. The two
government men go back to the car bay area where the group
laughs it up.

PAPA NICK
See what I deal with here?

DENNY
I appreciate what you’re offering
us, but it’s not our bag. Reports,
alarm clocks, training.

JOHN
Orders, that kinda stuff, it’s just
not us.

GOVERNMENT AGENT #1
Good. What we need are guys with
street smarts. Loyalty can’t be
taught, we’re told you have plenty
of that.

GOVERNMENT AGENT #2
Our division, you’re out there on
your own in the woods. Time to
time, you send us smoke signals.
Kind of like an Indian scout.

John exchanges a knowing look with Denny.

DENNY
We could have our own bar?

JOHN
Someplace tropical, right?

GOVERNMENT AGENT #1
Wherever you want. The agency will
fund it for you.

John looks at Denny, shrugs. Denny gives him a “no big deal”
look...Wide smiles spread across their faces.

FADE OUT:

THE END