Source: Based on my published novel -- Murder Takes Time.
Contact Info: [email protected]
(281) 370-2233
A BLACK SCREEN
Super: "It is not the oath that makes us believe the man, but
the man, the oath. ~ Aeschylus."
FADE IN:
INT. DINER — BROOKLYN — DAY
A lone WAITRESS (20s, pencil behind her ear, red hair, a gum-
chewer) waits on the few customers at the counter. She
shuffles across a worn linoleum floor and carefully refreshes
their coffee.
NICKY FUSCO (30s, focused and intense, the kind of man you
don't cross) sits in a booth and stares across the street at
a used-car lot, watching NINO (30s, big, heavyset, always
smiling) lock up the lot and get in his car.
NICKY
(whispering)
It's time, Nino.
He plucks a few strands of hair from a torn cushion and
fingernail clippings from the windowsill, then he puts them
into a bag and wipes everything with a napkin. After that, he
pays the check and exits.
Nino leaves the car lot and stops to get pizza.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
2 -
The Ambush
EXT. RANCH HOUSE — DAY
Nicky drives to a small, brick ranch house and parks a block
away. He checks the surroundings to see if anyone is watching
and then walks to the front door.
INT. RANCH HOUSE — DAY
Nicky opens the door and sets a canvas bag on the kitchen
counter. He removes a pair of tongs and a shot glass, and
sets them on the coffee table. He then spreads the contents
of the bag from the diner on the floor.
He removes a baseball bat from the canvas bag and sits on the
couch behind the door. When a car pulls into the driveway,
Nicky sits up and grips the bat.
EXT. RANCH HOUSE — DAY
Nino talks on a cell phone as he gets out of the car. He's
carrying a box of pizza and a bottle of Chianti.
NINO
(into the phone)
Hey, Eddy, it’s only Thursday, and
I'm above quota. Maybe I'll buy
Anna that coat she wants.
Nino pulls out his keys and prepares to go inside.
NINO (CONT’D)
Gotta go, Eddy. I'll talk later.
INT. RANCH HOUSE — DAY
Nino walks into the house, sees the black sports bag on the
counter and the tongs and shot glass on the coffee table.
Confused, he starts to turn, but a bat slams into his right
kidney and sends him reeling.
Nicky swings the bat again and hits Nino's arm just above the
wrist. The SOUND of bone cracking is heard amid more screams.
NINO
FUCK!
Nino reaches toward his coat pocket, but Nicky slams the bat
into his ribs. Blood gurgles from Nino’s mouth. He looks up,
and recognition lights his face.
NINO (CONT’D)
Anything you want. Just kill me
quick.
NICKY
I got Renzo last month.
Nino nods, and Nicky taps Nino's pocket with his foot.
NICKY (CONT’D)
If you reach for the gun, I'll hit
you again.
Nino nods again as Nicky stands above him, staring.
NICKY (CONT’D)
You've got one chance to give a
name.
Nino doesn't answer, so Nicky kneels next to him, takes the
shot glass from the coffee table and puts it to Nino's lips.
NICKY (CONT’D)
Open your mouth.
Nino shakes his head, so Nicky shoves the tongs into the side
of Nino's mouth, pries it open, and squeezes the shot glass
inside. Then he stands and swings the bat.
Nino's lips split apart. His teeth shatter. The shot glass
digs gouges into his tongue, severing the front of it.
Shards of glass pierce his flesh. Blood drips from his lips
and mouth, and pools on the floor.
NICKY (CONT’D)
You shouldn't have done it, Nino.
Nicky blesses himself with the sign of the cross.
NICKY (CONT’D)
In nomine Patris, et Filii, et
Spiritus Sancti.
Nicky shoots Nino — once in the head and once in the heart,
then sprinkles the contents of the plastic bag atop the body.
He removes protective covers from his shoes and exits, turns
his collar, up and tucks his head into his chest as he walks.
NICKY (CONT’D)
Forgive me, Father, for what I have
done.
(a beat)
And what I still have to do.
EXT. BENSONHURST — CATALDI'S RESTAURANT — DAY
A gold Lexus pulls to the curb in front of Cataldi's, and
PAULIE 'THE SUIT' PERLANO (30s, big man, barrel chest, always
looking for approval) steps out wearing a Brioni suit.
FOUR MEN (one with big ears, one a crooked nose, one bald,
and one chewing a cigar — all 30s and 40s) stand outside the
restaurant by the stoop. Bulges show under their jackets
revealing guns.
Paulie straightens his blue silk tie, runs a comb through his
hair, and walks up to the men standing by the entrance.
BIG EARS CROOKED NOSE
Hey, Suit. Hey, Paulie.
Paulie nods to them and stops.
PAULIE
Anyone tell Tony yet?
Four heads shake at once.
BIG EARS
You fuckin' tell him, but he's not
gonna like it.
Paulie stands on his toes and peers through the window. TONY
SANNULLO (30s, intelligent, sharp-witted and ruthless) sips
on a cup of espresso.
Paulie shakes his head and enters the restaurant.
Genres:
["Crime","Thriller"]
Ratings
Scene
3 -
Tensions at Cataldi's
INT. BENSONHURST — CATALDI'S RESTAURANT — DAY
ANNA CATALDI (20s, short, all smiles) greets Paulie.
ANNA
Buongiorno, Paulie. Beautiful day,
huh?
PAULIE
Every day it ain't raining is
beautiful.
(a beat)
How you doin'? How's the new baby?
Anna's smile widens, and she leads Paulie to Tony's table.
ANNA
Good, Paulie. And your kids?
Paulie shrugs and follows her.
PAULIE
Kids are kids. They're always good.
Pains in the ass, but good.
As they near Tony's table, Paulie taps her arm.
PAULIE (CONT’D)
He in a good mood?
Anna raises her eyebrows and shrugs.
ANNA
It's February.
PAULIE
Ah, shit.
Paulie sits at Tony's table, his gut rumbling. Tony scratches
in one of the remaining answers on his crossword.
TONY
When are you gonna dress like the
rest of us, Paulie? Nobody wears
suits anymore.
Paulie fidgets with silverware as Tony finishes the puzzle.
PAULIE
Me wearing suits is the least of
your worries. Somebody killed Nino
Tortella last night.
Tony slaps the table with his palm.
TONY
Shit! Same as Renzo?
PAULIE
Yeah, so you know what this means.
TONY
I know, and there's no way Nino
didn't talk. Might be a couple of
guys tough enough, but not Nino.
Anna brings two cups of espresso and places them in front of
Tony and Paulie. Tony waits until she’s out of earshot.
TONY (CONT’D)
Anybody seen Donnie Amato?
PAULIE
I called. No answer.
TONY
Send a couple of guys to warn him.
You know how hardheaded Donnie is.
He thinks he can handle himself.
Paulie stands and tosses a few bills on the table.
PAULIE
Fat chance of that.
Paulie starts to walk away, then turns back.
PAULIE (CONT’D)
You didn't have nothin' to do with
this, did you?
TONY
You know who's doing this.
Paulie lowers his head and nods.
PAULIE
Where'd it go wrong?
TONY
Christ, Paulie. Does it matter? The
important thing is, it did go
wrong. And we've got to do
something about it.
PAULIE
We shouldn't have done it, Tony. It
was wrong from the get go.
Tony slugs the last of his espresso and stands.
TONY
Tell me about it. A lot more people
are gonna die now.
Genres:
["Crime","Drama"]
Ratings
Scene
4 -
A Message in the Shadows
EXT. RANCH HOUSE — DAY
A car pulls to the curb. FRANKIE DONOVAN (detective's badge,
30s, exceptionally well dressed, cocky) gets out. He
carefully avoids the slush as he makes his way to the house.
He nods to a PATROLMAN (40, solidly built) at the door.
PATROLMAN
Neighbors didn't hear anything, and
it looks the same as Renzo's.
FRANKIE
I wasn't at Renzo's, but I heard
about it.
PATROLMAN
They ever get anything on that?
FRANKIE
Got a dead male, shot in the head
and heart. Damn near every bone in
his body broken. And they found
hairs, blood, and other DNA from a
bunch of people.
INT. LIVING ROOM — DAY
Frankie walks into the living room. KATE BURNS (medical
examiner, 30, a woman dedicated to her profession, and loaded
with sarcasm) kneels next to the body, her back to Frankie.
FRANKIE
Got anything on this one?
Kate shakes her head, wraps up her kit, and tucks it into a
bag, then she stands and faces Frankie.
KATE BURNS
I'm sure we have his DNA, but it's
mixed with the rest. I'll process
what we have, but unless you get me
something else, it won't do you a
damn bit of good.
Kate glances around as if checking the scene, then leaves.
Detective LOU MAZZETTI (50s, wearing a detective's badge and
looking almost as unkempt as his clothes) enters. His cuffs
are frayed, and his shoes are scuffed.
FRANKIE
Kate just left. She said we've got
nothing.
LOU MAZZETTI
Who's got the balls to kill Tito's
guys? Think it’s a mob war?
Frankie shrugs, checks the body again, and looks at the mess
on the floor. He then looks in the kitchen.
KITCHEN — DAY — CONTINUOUS
Frankie checks the kitchen counter, examines small specks
scattered about. Then he pulls a knife from his pocket,
separates them, and looks closer.
FRANKIE
What's this?
LOU MAZZETTI
It looks like rat shit. We found it
at all the scenes.
FRANKIE
You said there were no clues.
LOU MAZZETTI
It's not a clue; it's rat shit. If
this is like the other scenes, we
got cat hairs in the sink, but he
doesn't have a cat. There's
probably dog shit in the bedroom,
but no dog. And we'll have enough
DNA to represent half the cons at
Rikers.
Frankie opens the fridge and removes a bag. He opens it, and
pulls back quickly, a disgusted look on his face.
LOU MAZZETTI (CONT’D)
What's in there?
FRANKIE
A dead rat. In the fuckin' fridge!
You gonna tell me this ain't a
clue?
LOU MAZZETTI
Who the hell knows? Maybe the
psycho eats 'em.
FRANKIE
Mazzetti, I want everything you've
got on these murders. Every scrap
of information. Every photo.
LOU MAZZETTI
I told you. We got nothing. What
the fuck? You know something?
Frankie walks toward the front door and turns to Lou.
FRANKIE
I think somebody's sending a
message, and if I'm right, you
don't want to know.
LOU MAZZETTI
Now I really want to know. Is the
guy nuts or just crazy?
Frankie stares at a blank wall, thinking.
FRANKIE
I don't know. I'll catch up with
you tomorrow.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
5 -
Tensions and Memories
INT. SOUTH BROOKLYN — DINER - NIGHT
Nicky sits in a booth by the window, staring across the
street. He sees a man, DONNIE AMATO (45, struts when he
walks, over-confident) leave the building, so he gulps the
rest of his coffee, calls the waitress, and stands.
NICKY
Miss, I need the check please.
He shifts weight from foot to foot as he waits, and he
continually checks on Donnie. When Donnie opens a car door to
get in, Nicky tosses a ten-spot on the table and rushes out.
EXT. DINER - SOUTH BROOKLYN — NIGHT
Nicky mumbles as he quickly moves to his car and gets in.
NICKY
Be seeing you soon, Donnie.
EXT/INT. FRANKIE'S APARTMENT — EVENING
Frankie parks the car, gets out, and walks to his apartment
building — a four-story with a set of concrete steps outside.
He goes upstairs, unlocks the door, and undresses as he makes
his way to the shower.
LIVING ROOM — DAY — CONTINUOUS
He walks in clad in shorts and a T-shirt, then sits at his
desk. He leans back in his chair, takes out a smoke, turns it
in his hand and stares. The phone rings and he answers.
FRANKIE
Donovan.
LOU MAZZETTI
Frankie, I'm at the café about a
block from Cataldi's. Why don't you
find your way here so we can talk.
You got me worked up today, and I
want to know what's going on.
FRANKIE
All right, Mazzetti. I'll be there,
but it'll be twenty minutes. And
you better keep it short.
INT. BENSONHURST — CAFÉ -NIGHT
Frankie spots Lou sitting at a table, and joins him.
FRANKIE
What's so damn important?
LOU MAZZETTI
You need to tell me what's going
on. You definitely knew something
today, but you didn't say much.
FRANKIE
(sighs)
I didn't say much to protect you.
The way I see it, it has to be one
of two guys, and they're both
dangerous. One is a crew boss for
Tito, and —
LOU MAZZETTI
A crew boss! You shittin' me? You
can't be havin' friends like that.
Frankie shakes his head.
FRANKIE
Lou, I've been friends with these
guys since I was eight years old. I
can't just 'unfriend' them. This
isn't social media.
The WAITRESS (20s) brings two espressos.
FRANKIE (CONT’D)
The way I see it, this is one of
two guys, and he’s sending me a
message. I'm pretty sure it's
Nicky, and it's probably about this
damn oath we swore to, but it could
be a girl. Nicky was a romantic
when it came to girls. He wouldn't
even curse in front of them.
Frankie lights a smoke and stares.
FRANKIE (CONT’D)
If it is a girl, I don't know who
it is. Angie's married . . . though
there is that other one.
FLASHBACK — WILMINGTON — 24 YEARS AGO
INT. NICKY'S HOUSE - WILMINGTON — DAY
YOUNG FRANKIE (8, dressed immaculately) and YOUNG TONY
(devilishly charming smile, quick-witted) open the front door
to a row house and run inside.
YOUNG NICKY (8, respectful and polite) is in the kitchen
fixing breakfast.
YOUNG FRANKIE
Let’s go. We need some cigs.
YOUNG TONY
We'll go down to Johnny's; it's
easy to steal from there. But you
have to help me clean.
YOUNG NICKY
You prick. You knew that before you
got here. I'll let you slide, but
only because I want coffee.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
6 -
A Taste of Trouble
INT. TONY'S HOUSE — DAY
The front door opens to a small living room and the SOUND OF
A VACUUM running. Nicky raises his head and sniffs the air.
YOUNG NICKY
What smells so good, Mamma Rosa?
MAMMA ROSA (late 40s, plump, eternal smile) shuts off the
vacuum and pulls a dust cloth from a pocket on her old plaid
dress. She wipes beads of sweat from her forehead.
MAMMA ROSA
You know what smells good — the
garlic in my sauce.
YOUNG NICKY
Any coffee, Mamma?
MAMMA ROSA
It's in the pot. And while you're
there, taste the sauce.
Nicky pours a cup of coffee and dips a finger in the sauce.
YOUNG NICKY
Perfetto.
MAMMA ROSA
You better be right 'cause it's for
your birthday.
She walks to the pot, dips her finger in, then adds a pinch
of garlic and a sprinkle of cheese, then tastes it again.
Tony races down the steps into the kitchen.
YOUNG TONY
Ciao, Mamma. We're done already, so
we're off to find some work. Maybe
stack boxes at the grocery store.
The boys head out the front door, down three worn steps, and
across the yard. Six more steps take them to the sidewalk.
INT. JOHNNY'S SUPERMARKET — LATER
Two steep hills lead to Johnny's Supermarket, a store that
caters to ethnic neighborhoods. Once inside, their plan goes
into action.
Tony bumps into a stand with bags of chips, knocking them
over. While the cashiers clean up, Frankie jumps onto the
counter and grabs packs of cigarettes. JOHNNY, (OWNER, late
40s) grabs him.
Nicky rams into him, in an attempt to break his hold on
Frankie; instead, he grabs Nicky too, then he hauls them to
the cop station.
Genres:
["Crime","Drama"]
Ratings
Scene
7 -
A Father's Protection
INT. WILMINGTON — POLICE STATION INTERVIEW ROOM — DAY
SEAN MOYNIHAN (50, tall white cop, rigid, sour look on his
face) and REGGIE SMITH (late 30s, black cop, relaxed, soft
eyes) grill Nicky and Frankie. It's a hot, sticky day,
windows are closed, and both kids are in the same room.
Moynihan loosens his collar, dabs sweat from his head, and
hands Nicky a bottle of Coke.
SEAN MOYNIHAN
Remember your name, kid?
YOUNG NICKY
I gotta pee.
SEAN MOYNIHAN
Not till we get a name.
REGGIE SMITH
(consoling voice)
While you're remembering your name,
think of who you were with.
YOUNG NICKY
Already told you. Wasn't with
anyone.
Reggie leans down and looks Nicky in the eyes.
REGGIE SMITH
We already got one kid. Who else
was there? The owner said two boys
were with you.
SEAN MOYNIHAN
Two other dagos.
Nicky looks up at him and sneers.
YOUNG NICKY
I know who you mean, but I think
they were dirty micks.
Nicky gestures to Frankie, pointing a finger at him.
YOUNG NICKY (CONT’D)
Wasn't him. I don't know him.
Moynihan rears back to smack Nicky, but Reggie grabs Sean's
arm and shakes his head. He steps close and whispers.
REGGIE SMITH
Johnny said the kids were dark-
haired and looked Italian. He said
the one who stole the cigarettes
had a birthmark on his neck just
like your friend.
YOUNG NICKY
They must've been black Irish.
SEAN MOYNIHAN
You little fuck.
Moynihan stretches across the table, slaps Nicky, and knocks
him off the chair.
REGGIE SMITH
(raises voice)
Sean! Leave it alone.
Sean slams Nicky into a chair, and jams it into the table.
SEAN MOYNIHAN
You'll tell us who you were with
before you leave here, or I swear —
The door to the interrogation room opens, and DANTE (50,
muscular, barrel-chest, fearsome, the kind of man you don't
cross no matter how big you are) walks in. Nicky runs to his
father, who picks him up and hugs.
YOUNG NICKY
Pops.
Dante takes out his handkerchief, and cleans a trickle of
blood from Nicky's lip. He motions for Frankie, then walks
them out the door.
Reggie moves to prevent Dante from leaving, but Sean holds
out his arm and stops him.
SEAN MOYNIHAN
That’s Dante Fusco.
Reggie gulps.
REGGIE SMITH
Shit! You fucked us now, partner.
Genres:
["Crime","Drama"]
Ratings
Scene
8 -
Cigarettes and Connections
EXT. WILMINGTON — SMOKE SHOP — DAY — WEEKS LATER
Nicky and Frankie walk down Union Street toward the smoke
shop. Cafés and various stores line the east side of the
street and neatly kept row houses, the west.
NICKY
We gotta get cigs.
FRANKIE
Doggs won't sell us cigs.
NICKY
All that matters to Doggs is cash.
INT. WILMINGTON — SMOKE SHOP — DAY
Floor-to-ceiling shelves of cigs fill the room.
DOGGS CAPUTO mans the cash register (50, wiry hair, and
wearing thick glasses. A man whose best friend is the 'F'
word. He uses it as a noun, a verb, an adjective, and an
adverb. Sometimes, he uses all of them in the same sentence).
NICKY
Need a pack of Winston's.
DOGGS CAPUTO
Fuckin' young to be smoking.
NICKY
Not your problem.
Doggs looks at Frankie.
DOGGS
What's your fuckin' name, kid?
FRANKIE
Frankie —
Nicky kicks Frankie in the leg.
FRANKIE (CONT’D)
Nothin'.
Doggs flicks a lit cig at Nicky, hitting his head.
DOGGS
So, we got Frankie fuckin' Nothin'
and Mr. Fuckin' Nobody, huh?
He lights another cig and laughs loudly.
PATSY The WHALE (350 lbs, a booming voice, bellows like a
bull, but is as gentle as a lamb. He's so large he waddles)
rushes from the back of the smoke shop. His belly brushes the
sides of the small door as he squeezes through.
PATSY THE WHALE
Everything okay, Doggs?
DOGGS
I'm having a fuckin' conversation
with my new friends.
PATSY THE WHALE
Hey, Doggs, maybe lay off the
language. They're just kids.
DOGGS
They ain't been kids since they
were fuckin' born.
Patsy shrugs and goes to the back room as Doggs tousles
Nicky's hair.
DOGGS (CONT’D)
You the kid Moynihan couldn't bust
at the station?
Doggs bends down and looks closer, then stands again.
DOGGS (CONT’D)
Yeah, I thought so. You're Dante's
boy. Got those same fuckin' eyes.
He opens the door at the back of the shop.
DOGGS (CONT’D)
Patsy, get a couple packs of
Winstons. One for Frankie Nothin'
and one for Nicky the Rat.
NICKY
I ain't no rat.
DOGGS
That's why you're getting the name.
Not many kids your age keep their
mouths shut, but I’m not surprised.
You got good blood.
Doggs tosses a pack of cigs to each of them.
DOGGS (CONT’D)
See me next summer if you want
work.
Genres:
["Crime","Drama"]
Ratings
Scene
9 -
Cigarette Heist Plans
EXT. WILMINGTON — UNION STREET — DAY
Frankie and Nicky strut down the street, smoking cigarettes.
FRANKIE
The rat! I like it.
NICKY
Sounds like a goddamn squealer.
FRANKIE
Bullshit. Doggs gave you the name,
for Christ’s sake. It's like Johnny
Viola, you know how they call him
Johnny Handsome.
NICKY
Guess so. He's an ugly fucker.
FRANKIE
Ugly as a fuckin’ peach seed.
EXT. WILMINGTON — ST. ELIZABETH'S SCHOOL — DAY
SUPER: "8 YEARS LATER"
TEENAGE NICKY and TEENAGE FRANKIE wait on the corner. When
the bell rings, crowds of kids exit and cross the street.
Nicky approaches TOMMY MCDERMOTT as he passes (16, wiry,
confident, with a smart-ass attitude).
TEENAGE NICKY
Hey, mick. I know you saw me steal
those cigs the other day. Good
thing you didn't rat.
Tommy walks toward them sneering.
TEENAGE TOMMY MCDERMOTT
Thought I'd rat? Only pussies do.
TEENAGE NICKY
You know better is why.
TEENAGE TOMMY MCDERMOTT
Fuck you, dago. I'm not scared of
you. I just don't rat.
Frankie laughs and punches Tommy in the arm.
TEENAGE FRANKIE
I'll buy that. If you want, you can
hang with us, but we got rules.
TEENAGE TOMMY MCDERMOTT
If any of those rules involve
fuckin' my sister, stand in line.
Everybody wants her, but she ain't
puttin' out.
TEENAGE NICKY
(laughs)
Follow us.
They walk down Banning Street, three abreast. Brick row
houses line both sides of the street. They turn left at St.
Elizabeth St., and cross Broom St.
TEENAGE TOMMY MCDERMOTT
Hey, you guys up for some action?
TEENAGE FRANKIE
Always. What kind?
TEENAGE TOMMY MCDERMOTT
I overheard my brother talk about a
load of cigs that sounds like an
easy target, but it's gotta be done
tonight 'cause he plans on hitting
it with the Woodside Gang.
TEENAGE NICKY
We can make that work. Let's get to
the garages and tell Tony.
Genres:
["Crime","Drama"]
Ratings
Scene
10 -
Oath of Brotherhood
INT. GARAGES ON BROOM STREET — DAY
Nicky, Frankie, and Tommy walk in. TEENAGE TONY lounges on a
sofa with torn cushions, a cigarette dangling from his mouth.
TEENAGE NICKY
Hey, Tony, this is Tommy 'the Mick'
McDermott. He told us about a load
of cigs his brother's gonna hit —
unless we get there tonight.
TEENAGE TONY
Sounds good. But before we do this,
he's gotta swear the oath.
TEENAGE TOMMY MCDERMOTT
What oath?
TEENAGE NICKY
Friendship and honor. That's it.
Two rules.
TEENAGE TONY
Friendship means we look out for
each other. Nobody rats or betrays
anyone. Honor means nobody fucks
with any of us. We don't run unless
we all run. If we're gonna get our
asses kicked, we all get 'em
kicked.
TEENAGE TOMMY MCDERMOTT
Good by me. How do we do this oath?
We cut ourselves or something?
TEENAGE NICKY
We're not dumb micks. We swear to
it on our mother's eyes.
TEENAGE TOMMY MCDERMOTT
So you're not dumb micks, just dumb
dagos.
EXT. UNION STREET — DAY
Teenage Nicky, Tony, and Frankie walk down the street smoking
cigarettes, laughing, and whistling.
TEENAGE TONY
Been three days, Nicky, and no
interference.
(MORE)
TEENAGE TONY (CONT’D)
We fucked Woodside and Mikey both.
I say we split the money up now.
Tony stops abruptly and taps Nicky's arm.
TEENAGE TONY (CONT’D)
Across the street. It's Mikey!
TEENAGE NICKY
So what? He doesn't know.
TEENAGE FRANKIE
Bullshit! You don't steal in
Mikey's territory without him
finding out. We should have paid
him. Let's get outta here.
MIKEY (mid-40s, heavy, obsessed with his looks, and always
staring into anything resembling a mirror) holds his hand up
to stop traffic and walks across the street as if he owns it.
MIKEY FAGULLO
Ciao, ragazzi. What are you doing?
TEENAGE FRANKIE
Let's go before he gets here.
The boys run before Mikey gets to them.
Genres:
["Crime","Drama"]
Ratings
Scene
11 -
Debt and Loyalty
INT. GARAGES ON BROOM STREET — DAY
Mikey opens the garage doors and enters into a small area
furnished with two sofas, and chairs with torn cushions.
TUCKS (30s, lapdog to Mikey) and POCKETS (30s, crooked eye,
Mikey's muscle) are at his side.
MIKEY FAGULLO
Why'd you boys run yesterday? I
just wanted my due. You stole from
my neighborhood, so you gotta pay.
Mick darts around Pockets and heads for the door, but Tucks
grabs his collar and tosses him back inside, then he and
Pockets form a line in front of the door.
Tucks straightens his collar, then tucks in his shirt.
Pockets shoves both hands into his pockets and shifts his
weight from one foot to another, prepped to stop any escape.
TEENAGE NICKY
You lookin' for change, Pockets? Or
just playin' with your dick?
TEENAGE TONY
Sorry, Mikey. We didn't mean to cut
you out.
Mikey laughs, slaps Tony playfully, and pushes Nicky.
MIKEY FAGULLO
You fuckin' boys make me laugh. Pay
what you owe, and we'll be square.
TEENAGE TONY
Our cut was four seventy each.
MIKEY FAGULLO
Since it's your first time, let's
see ... how about fifty percent?
Nicky lifts a sofa cushion and pulls out a paper bag. He
counts out the money and hands it to Mikey.
TEENAGE NICKY
Here's your cut.
Mikey pats Nicky on the back and turns to Pockets and Tucks.
MIKEY
Don't leave marks.
Pockets and Tucks use rubber bats to beat the boys' upper
legs and bodies. When they finish, Tucks leaves and returns
with a paper bag. Mikey tosses it to Nicky.
MIKEY (CONT’D)
No hard feelings.
Mikey, Pockets, and Tucks, exit the garage and close the
door. Nicky watches them leave, then empties the bag.
TEENAGE TONY
Thirty-two packs of smokes. Not
worth the beating, but something.
TEENAGE NICKY
It was my fault. I should've paid.
TEENAGE TONY
We're in this together.
TEENAGE NICKY
The important thing is we stood
together. We stood by the oath.
TEENAGE FRANKIE
Even if we have to die, we'll keep
the oath.
TEENAGE NICKY
If somebody breaks the oath, they
will die.
The kids put their fists together and raise their hands.
ALL KIDS
Friendship and honor.
Genres:
["Crime","Drama"]
Ratings
Scene
12 -
Boys, Banter, and Meatballs
INT. TONY'S HOUSE — DAY
The kids trudge up the alley, dripping wet from swimming, and
wearing only shorts. A fence lines one side of the alley and
a stone wall, the other.
Nicky grabs Tony by the elbow and whispers.
TEENAGE NICKY
Who’s that Angela girl? And why’s
she always at your house?
TEENAGE TONY
That's Angela Catrino, you know
Angie. Christ sake, Nicky, she was
in our class last year.
TEENAGE NICKY
That's Angie? I don't remember her
looking that good.
TEENAGE TONY
She lives a couple blocks over. Her
mother died, so her father asked
Mamma to teach her to cook.
TEENAGE FRANKIE
What Nicky meant was he didn't
remember her ass being so nice.
TEENAGE NICKY
You're one to talk. You're so busy
drooling over Patti McDermott, you
don't even notice other girls.
INT. TONY'S HOUSE — DAY
Nicky, Tony, and Frankie walk in the back door. ANGELA (16,
long hair, flirty smile) cooks while Mamma Rosa watches.
TEENAGE NICKY
Are those meatballs I smell?
Nicky reaches into the pot and grabs one, and takes a bite.
Angela swings a wooden spoon at him.
TEENAGE ANGELA
Get out of there.
Nicky takes another bite and smiles.
TEENAGE NICKY
Not bad; in fact, it's pretty good.
TEENAGE ANGELA
Pretty good? What do you mean by
pretty good?
TEENAGE NICKY
Could use more cheese in the sauce.
More garlic too. And a pinch of
sugar, don't forget that.
Angela takes out a meatball and tastes it, then she looks at
Mamma Rosa, almost apologetically.
TEENAGE ANGELA
He's right. It needs cheese and
garlic. And maybe sugar.
Mamma Rosa lowers her head and smiles.
MAMMA ROSA
Whatever you think, dear.
TONY'S BASEMENT — DAY — CONTINUOUS
Nicky runs down the basement steps, careful not to trip.
TEENAGE NICKY
Sorry I'm late, guys. I was —
TEENAGE TONY
— staring at Angie's ass.
TEENAGE NICKY
I like is how she twirls her hair
around her finger.
TEENAGE FRANKIE
We know what you like about her,
and it's not her hair.
A 4'x8' pool table sits in the middle of the basement,
leaving little room for anything else. Tony picks up the
short cue, stands by the steps, and takes a shot, sinking the
eight ball into the side pocket.
TEENAGE TONY
Nicky, if you ever get bored with
that sweet ass, let me know.
Nicky crushes his butt on the floor and glares at Tony.
TEENAGE NICKY
Shut the fuck up.
TEENAGE TONY
Hey, you hear about the big game?
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
13 -
Roach Rumble at the Smoke Shop
INT. SMOKE SHOP — NIGHT
The boys, and Paulie Perlano go inside. Nicky walks behind
the counter and rings a buzzer, then Patsy the Whale opens a
door that leads to a room filled with pool tables, card, and
dice tables. A roulette wheel sits on the side.
DOGGS
About time you fuckin' got here. I
was just gonna assign players.
Doggs hands out slips of paper to each of the boys.
DOGGS (CONT’D)
Tony gets Paulie Shoes and
Knuckles. Frankie gets The Nose and
Pockets. Nicky gets Mikey and me.
And Paulie gets Tucks and Patsy.
Mikey takes a seat next to Doggs and stacks his chips.
MIKEY
Hey, Doggs, you hear about Moynihan
gettin' clipped?
DOGGS
That surprise you after what he did
to little Nicky? I'm shocked he
lasted this long.
Doggs walks to the back room and comes back holding a coffee
can with a plastic lid on it.
DOGGS (CONT’D)
Today, I caught eight fuckin'
cockroaches in the back room. I'm
gonna let the fuckers go. Whoever
kills the most, wins ten bucks.
Doggs kneels on the floor, turns the can upside down, then
slides the lid out. Eight roaches run like hell.
TEENAGE FRANKIE
That ten bucks is mine.
Nicky turns to CHARLIE KNUCKLES (40, big belly, serious, and
bets on anything).
TEENAGE NICKY
Ten bucks on Frankie.
KNUCKLES
I’ll take Tony.
Frankie goes into action, stomping, whacking, and using the
broom handle to kill bugs. Within seconds, Frankie kills
every roach before anyone else gets one.
Mikey laughs uncontrollably and slaps his palm on the table.
MIKEY FAGULLO
What the hell was that? You see
that shit? Frankie killed them
fuckin' roaches like he had a
machine gun.
Doggs peels two fives from a wad of bills and pays Frankie.
DOGGS
Frankie, hell. Gentlemen, meet
"Bugs" Donovan.
Mikey peels a five-dollar bill from his wad and gives it to
Bugs. He is followed by Tucks and Pockets.
MIKEY THE FACE
Here's five more. Helluva job.
Knuckles laughs and hands Frankie a five, then tosses Tony a
ten-spot and a leash.
KNUCKLES
Take Pisser for a walk, and take
your time. Make sure he goes.
PAULIE SHOES (40s, fanatic about shoes, always cleaning them
off) crushes his cigar in the ashtray, then reaches down and
brushes off his shoes.
SHOES
Hope Pisser doesn't run into
Chinski's dog. That son of a bitch
is nasty, and it can run.
MIKEY FAGULLO
It's fast all right. The son of a
bitch should be in a race.
Mikey looks around the room as if a light went off.
MIKEY FAGULLO (CONT’D)
That ain't a bad idea. We should
gather the dogs in the neighborhood
and have a race. Bet on them.
Nicky leans toward Tony and whispers.
TEENAGE NICKY
He's gonna have a dog race? I'm
stuck with two losers, and he's
thinking about dog races instead of
cards. I wish he'd just win a pot.
Nicky lights a smoke and hands one to Tony.
TEENAGE NICKY (CONT’D)
You know, it just hit me. Did you
see the way those roaches ran when
Doggs dumped them? Maybe we should
have a race, but with roaches.
Genres:
["Crime","Drama"]
Ratings
Scene
14 -
Roach Race Excitement
EXT. BACKYARD OF ROW HOUSE — DAY
All the boys sit on a stoop in the backyard of a row house,
smoking cigarettes. Paulie kneels on the patio, using chalk
to draw two circles.
TEENAGE TOMMY MCDERMOTT
Who's gonna catch the roaches?
TEENAGE NICKY
Bugs is. Who do you think?
Nicky hands an empty jar to Bugs, who runs off and returns
with the jar filled with roaches.
FRANKIE
I got twelve of 'em.
BACK YARD - DAY — CONTINUOUS
Thirty people are in the back yard with more coming up the
alley. Nicky leans to the side and taps Tommy on the leg.
TEENAGE NICKY
This is gonna be big. There are
more people coming every minute.
(a beat)
Tony, make sure you glue the
numbers on the back of the roaches
so people can see who they're
betting on.
Paulie whistles loudly.
TEENAGE PAULIE
Races are about to begin.
Paulie positions the coffee can on the smaller circle. He
taps the bottom of the can, makes sure all the roaches are on
the concrete, then slides the lid out from under it.
Paulie jumps out of the way as the roaches scatter.
CROWD OF BETTERS
Come on, number two. Get goin',
six.
Seconds later, number five races across the line to win.
Moments later, the second race runs, and five wins again.
Nicky taps Tony on the shoulder, anxious as hell.
TEENAGE NICKY
How'd we do?
TEENAGE TONY
Only two 50-cent bets on number
five. We cleaned up on the rest.
Genres:
["Crime","Coming of Age"]
Ratings
Scene
15 -
Betting Tensions
EXT. ALLEY - DAY
Mr. McDermott bets five bucks on number nine, causing the
boys concern. TONY nudges NICKY and whispers.
TONY
Nine's a dog. Got no shot.
The SOUND of a car door SLAMMING echoes up the alley. MIKEY
THE FACE steps out with his normal group of hangers-on:
PAULIE SHOES, TOMMY TUCKS, POCKETS, and PATSY THE WHALE.
Mikey prances down the alley like he owns it, brushing his
hair, and straightening his suit. He enters a small yard
(17') enclosed by a chainlink fence, and stares at the odds
board while he scratches an imaginary beard.
MIKEY
Five's won two in a row, huh?
TONY
Odds are going down on him.
Mikey peels two C-notes from a wad of bills and plunks them
down.
MIKEY
Those odds ain't goin' nowhere.
Tony looks side to side.
TONY
Mikey, we can't cover that much.
Mikey's usual smiling face turns mean. He picks up the bills
and waves them in front of Tony's face.
MIKEY
What the hell, kid? You takin' the
bet or not?
The gate SQUEAKS open, and DANTE walks in carrying a small
box. He steps up to Tony and hands him the box.
DANTE
Take the bet.
Tony looks inside the box and pulls out a wad of cash. He
counts it, then jumps up, grinning ear to ear.
TONY
That's two hundred on number five.
Mikey snatches the bills and stuffs them in his pocket.
MIKEY
Decided not to bet.
He turns and walks into Dante, who stands as stiff as the
stone wall in the alley. Dante's notorious hawk eyes burn
into Mikey.
DANTE
You laid the money down. That’s a
bet.
Nicky's proud look turns to fear, and he runs up and hugs his
father.
NICKY
Pops, it's all right. I—
DANTE
Stay out of this.
Nicky turns to Frankie, angst all over his face. Just then,
Bugs grabs his arm and whispers.
FRANKIE
Nicky, you see what I'm seeing?
Mikey is scared shitless.
No one makes a move to help Mikey or intervene. Mikey takes
the bills out and throws them at Tony.
MIKEY
What the fuck's two bills anyway?
Paulie whistles, then places the coffee can on the circle.
PAULIE
The third race is about to begin.
Paulie lifts the can, and ten seconds later, number nine
crosses the line. After the race, Mikey and his crew storm
out the gate and down the alley.
The next three races run smoothly, but then the MARCOLI girl
(12, skittish) gets scared and steps on two of the roaches,
which ends the day.
After everyone leaves, Tony counts the money.
TONY
Son of a bitch! We made $120 bucks
each.
Genres:
["Crime","Drama"]
Ratings
Scene
16 -
From Joy to Grief
EXT. OUTSIDE NICKY'S HOUSE — NIGHT — MONTHS LATER
Nicky, Angela, and Frankie walk to a party a few blocks away.
There are kegs of beer and plenty of weed. While others are
dancing, Nicky motions for Angela to follow him up the steps.
TEENAGE ANGELA
Where are you going?
TEENAGE NICKY
I want to show you something.
Angela eyes Nicky suspiciously, but reluctantly follows him
into the bedroom.
BEDROOM - CONTINUOUS - NIGHT
Nicky pulls her close and kisses her.
TEENAGE ANGELA
Nicky, I —
TEENAGE NICKY
Don't worry. I've got a present,
and I don't want everybody to see.
He pulls a black jeweler's box from his pocket.
TEENAGE NICKY (CONT’D)
I thought you'd like it.
Angela opens the box slowly, then stares, mouth agape.
Inside is a gold bracelet with six small diamonds.
TEENAGE NICKY (CONT’D)
If you don't like it, I can take it
back. I just —
Angela grabs Nicky and pulls him close, then kisses him.
TEENAGE ANGELA
I can't believe ... I mean, really
can't believe. I love it! Where did
you get the money?
TEENAGE NICKY
Remember when we had those stupid
races? I saved since then, plus
Doggs got me a deal. I've just been
waiting for the right time.
TEENAGE ANGELA
This is the best gift I've ever
gotten.
She kisses him one more time, softly, deeply.
TEENAGE ANGELA (CONT’D)
Why don't you lock the door.
TEENAGE NICKY
Listen, Angie, I didn't give you
the bracelet for that ... I mean, I
don't expect you to do ...
TEENAGE ANGELA
(commanding voice)
Lock the door.
Nicky locks the door and climbs into bed next to Angela.
TEENAGE ANGELA (CONT’D)
I can't believe we're doing this.
Angela and Nicky make love, then Angela rolls on top of him.
TEENAGE ANGELA (CONT’D)
I love you, Nicolo Fusco.
Nicky kisses her forehead, then her lips.
TEENAGE NICKY
And I love you, Angela Catrino.
EXT. NICKY'S HOUSE — DAY
Nicky runs up the steps leading to his house. Mamma Rosa
stands by the door.
NICKY
Mamma Rosa, what's the matter? Tony
said to come home.
Mamma Rosa pulls Nicky to her bosom and hugs him.
MAMMA ROSA
Nicky, I'm so sorry. Your father .
. . Your father passed. It must
have been his heart.
Nicky cries and yanks away from Mamma Rosa.
NICKY
Let me go. I gotta see Pops.
INT. NICKY'S HOUSE — DAY
Nicky pulls away from her and runs inside. Mamma Rosa stands
beside Nicky while he kneels next to Dante. She pats Nicky's
back as he holds his father's hand.
MAMMA ROSA
It's gonna be all right.
NICKY
Christ's sake, I just saw him this
morning.
SIRENS are heard, then an ambulance pulls to the curb. The
TECHS come inside and take Dante away on a gurney.
MAMMA ROSA
It's time, Nicky. Come with me.
We'll call Jimmy, and we'll grieve.
Grief is the pain the heart needs
to heal.
Genres:
["Drama","Romance"]
Ratings
Scene
17 -
A Lullaby for Farewell
INT. MALDONADO'S FUNERAL HOME — NIGHT
Tony, Frankie, and Paulie stand beside Nicky as others pay
their respect.
TONY
You got everything for the coffin?
You know Mamma’s superstitions.
NICKY
I got it all.
MAMMA ROSA
Let's see what you have.
Nicky pulls out a picture of himself when he was five years
old and a picture of his mother as a young woman.
MAMMA ROSA (CONT’D)
And the lighter and cigarettes?
Nicky takes an old lighter from his pocket and shows it to
Mamma Rosa. Next he pulls out half a pack of cigarettes.
MAMMA ROSA (CONT’D)
You did good, Nicky. When someone
dies, we don't want their spirit
coming back, so we put in things
that they'll need to be happy in
the next life: pictures of their
loved ones, their favorite lighter,
half a pack of cigarettes —
NICKY
Why don't we put a whole pack in?
MAMMA ROSA
Because the spirit might think
there is an endless supply and come
back for more. If they see only
half a pack, they will know they
got all there is. I've never seen a
spirit come back when half a pack
is put in.
Nicky reaches over and hugs Mamma Rosa.
NICKY
You're a saint, Mamma.
MAMMA ROSA
Just get in line. And don't forget
to save your items until last.
NICKY
You think many people will show?
MAMMA ROSA
I don't know. We'll see.
The door creaks open and in walks Mikey the Face followed by
Tucks and Pockets. Before the door closes, Doggs comes in
with Paulie Shoes. As they kneel in front of the casket,
Patsy the Whale gets in line with half a dozen others.
Nicky turns to Bugs, beaming, and nudges him.
NICKY
Bugs, I can't believe it. Everybody
who's anybody came to see pops.
Mamma Rosa taps on the back of Nicky's head.
MAMMA ROSA
Don't worry about who came. It's
time to say your prayers, Nicky.
Nicky puts the lighter and smokes by Dante's right hand, then
leans in and sings in a very soft tone.
NICKY
Fa la ninna, Fa la nanna. Nella
braccia della mamma. Fa la ninna
bel bambino, Fa la nanna bambino
bel.
Frankie pats Nicky's shoulder when he returns.
FRANKIE
What the hell was that about?
Nicky blushes.
NICKY
That's the lullaby my dad sang to
me as a baby.
Genres:
["Crime","Drama"]
Ratings
Scene
18 -
A Tense Intervention
INT. NICKY'S HOUSE — EVENING
Nicky is dressing for work when someone knocks on the door.
He answers and sees Frankie's sister, DONNA (20,
standoffish). She is crying and looks panicked.
NICKY
What's wrong, Donna?
DONNA
Frankie and them are fighting
Woodside in the clearing past the
ball field, and they have guns.
NICKY
Go home. I'll take care of it.
INT. SMOKE SHOP — EVENING
Nicky runs inside the smoke shop. The Whale is behind the
counter.
NICKY
I need to see Doggs.
PATSY THE WHALE
He's gone for the night. What's up?
Nicky pounds his fist on the counter.
NICKY
Bugs and Tony are fighting
Woodside, and they're packing.
Patsy looks around the shop, then whispers.
PATSY THE WHALE
Tell you what. I'll take care of
you, but know this — your mouth's a
fuckin' trap, you hear?
Patsy reaches behind his pants, pulls out a .22, cleans it,
and hands it to Nicky.
PATSY THE WHALE (CONT’D)
I never seen this fuckin' gun.
Never heard of this fuckin' gun.
Don't ever want to hear of this
fuckin' gun.
He grabs Nicky's cheeks and makes him stare straight at him.
PATSY THE WHALE (CONT’D)
You got me?
NICKY
Thanks, Patsy. I won't forget this.
PATSY THE WHALE
You're wrong already. I want you to
forget it.
Genres:
["Crime","Drama"]
Ratings
Scene
19 -
Loyalty in the Shadows
EXT. CANBY PARK — NIGHT
Frankie, Tony, and Mick are fighting with a gang of young men
from Canby Park — the Woodside Gang. Nicky runs through the
woods, and as he crosses the last hill, he hears a gunshot.
He runs faster and then sees Tommy fall to the ground.
NICKY
Tommy!
Nicky pulls the gun and races toward Tommy. Just as he gets
there, the BOY (20) who shot Tommy aims at Bugs.
NICKY (CONT’D)
Duck, Bugs!
Nicky aims the gun and shoots. The other boy goes down, blood
oozing from his face.
TONY
Run! We can't stay here.
Nicky kneels beside Tommy. He has a hole in his face and
blood is everywhere. Nicky gives him mouth-to-mouth and rips
his shirt as a cloth to apply pressure to the wound.
NICKY
Help me save him, God. Please?
Sirens wail in the distance, then the sound grows louder.
Tony grabs Nicky's arm and tugs him.
TONY
Cops. We gotta go.
Nicky turns his head to the side and spits blood.
NICKY
We can't leave him. He needs us.
TONY
He's probably dead. You'll get
caught if you stay.
NICKY
He's one of us. I ain't leaving.
Nicky puts more pressure on Mick's face to stop the bleeding
as the sound of sirens draws closer.
NICKY (CONT’D)
You're gonna make it. Hang on.
Tommy grabs Nicky's arm and pulls him closer.
TOMMY MCDERMOTT
Don't leave me.
As the sirens grow louder, Nicky gets up on his knees, ready
to run. He then looks at Tommy, and sits down.
NICKY
I ain't goin' nowhere. We're
getting you fixed.
An ambulance pulls up next to the cops. A COP (30s, burly)
points a gun at Nicky, and the EMERGENCY TECH examines Tommy,
then shakes his head as they put Tommy on a gurney.
COP
Hands behind your back.
The cop cuffs Nicky and puts him in the back of the patrol
car. Nicky leans against the door. Tommy's blood is all over
his hands and face and stains his shirt. On the way to the
station, Nicky presses his head against the window and cries.
NICKY
Who's gonna tell his mom?
Genres:
["Drama","Crime"]
Ratings
Scene
20 -
Confinement and Conflict
INT. SMYRNA PRISON — DAY
SUPER: “THREE MONTHS LATER”
Nicky is fingerprinted, he showers, then is led to his cell.
He shivers at the sound of steel on steel when the door
clangs shut.
MONTAGE — FIRST DAYS IN PRISON
WALKWAY OUTSIDE CELLS
— A lone guard walks past the cells. His footsteps seem
abnormally loud. His nightstick clatters the bars.
— In the yard, a group of blacks play basketball, whites play
baseball, and Latinos sit on the bleachers, smoking. Nicky
walks slowly through the yard, eyeing the blacks and Latinos.
— As Nicky works out, TEDDY 'THE TANK' MORESCO (Whale's
brother, 45, 350 pounds, superior attitude) offers
protection.
TEDDY
Hey, Rat. Patsy told me you’d be in
here. Stay close and nobody will
bother you. This ain't the best way
to grow up, but it ain't the worst.
NICKY
As Doggs used to say: you gotta eat
some shit if you want to bloom.
END OF MONTAGE
When Nicky returns to his cell, he is alerted that he has a
visitor. He slowly walks to the visitor's room.
INT. SMYRNA PRISON - VISITOR ROOM - DAY
Nicky's face lights up and he walks quickly to see Angie.
NICKY
Angie, how'd you get here?
ANGELA
Tony brought me. He's waiting, but
he said I can't stay long.
NICKY
He's not coming in?
ANGELA
He's running an errand for Doggs.
He said he’d me up in twenty
minutes.
NICKY
I can't believe he didn't come in.
Now it's just you and Mamma Rosa.
ANGELA
You know what an ass he's been.
NICKY
Still doing drugs?
ANGELA
Dealing them too.
NICKY
You should stop coming. I got seven
years, even with early release. You
can't wait. I won't let you.
ANGELA
Go to hell, Mr. Fusco.
Genres:
["Drama","Crime"]
Ratings
Scene
21 -
Confrontation and Consequences
EXT. SMYRNA PRISON — DAY
Tony pulls up with two guys Angela doesn't know — one in the
back and one in the passenger seat.
ANGELA
You don't need to be driving, Tony.
TONY
Just get in the car.
ANGELA
If you're driving, I'l1 find
another way home.
Tony gets out of driver's seat and into the back.
EXT/INT. TONY'S CAR - DAY
The guy in the back seat moves up front and drives away.
TONY
This is bullshit.
ANGELA
Are you high again?
TONY
Shut up, Angie. Just shut the fuck
up. You sound like my mother.
ANGELA
Don't talk to me that way. Your
mother —
TONY
My mother's not here for
protection. And neither is Nicky.
Tony continues drinking and snorting cocaine.
ANGELA
Let me out at the next light. I'11
find a ride.
TONY
So you can tell my mother how badly
I treated you? No thanks.
Tony takes hold of her hair and pulls her to him.
ANGELA
Stop it. You're hurting me.
Tony pulls her closer and kisses her forcefully.
TONY
Why don't you give me some of what
Nicky got? I've always wanted a
taste of that.
At the traffic signal, Angela grabs the door handle and tries
getting out, but Tony pulls her back. She smacks him, but he
yanks on her arm and hits her.
ANGELA
Help me! For God's sake, stop him.
Tony laughs as he pulls her pants off.
TONY
You're not getting help from them,
bitch. Just shut up and enjoy.
LATER
Angela pulls her pants up, slides against the door, hugs
herself, and cries. She remains silent until she exits the
car at her house. As she exits, she turns and glares.
ANGELA
Remember this day, Tony. One day,
you'll pay for it.
She races to her house and doesn't look back.
INT. ANGELA CATRINO'S HOUSE — DAY
Angela runs straight to her bedroom and locks the door. She
undresses and takes a shower, then another, and another,
scrubbing harder with each one until her skin turns red.
Tears run down her face.
Genres:
["Drama","Crime"]
Ratings
Scene
22 -
A Burdened Heart
EXT. ST. ELIZABETH'S CHURCH — DAY
SUPER: “TWO MONTHS LATER”
Angela sits on the park bench across from the church. She is
counting rosary beads and mumbling prayers.
Sister Thomas sits on the bench next to her.
Angela stands and paces up and down the sidewalk. She thumbs
her rosary beads more rapidly.
SISTER THOMAS
Angela, you look as if something is
on your mind.
ANGELA
Sister, can we talk?
SISTER THOMAS
Of course. But sit on the bench.
It's such a nice day.
Angela sits next to Sister Thomas and cries. Sister Thomas
clasps her hands, and speaks softly.
SISTER THOMAS (CONT’D)
Tell me what's bothering you. We'll
work it out together.
ANGELA
Sister, a few months ago, someone
forced themself on me. Now I'm
carrying their child.
Angela cries, leans her head on Sister Thomas's shoulder,
then cries harder.
ANGELA (CONT’D)
I feel filthy, like I've just
crawled through a sewer. And all
the scrubbing in the world doesn’t
take the sins away.
Sister Thomas squeezes her hand.
SISTER THOMAS
You can't scrub the sins away
because there are no sins. You did
nothing wrong. Just like a person
who is murdered or gets cancer. You
are a victim, not a sinner.
ANGELA
What can I do? I don't want the
baby. I can't love a child brought
into the world this way.
SISTER THOMAS
I understand, but you know abortion
is forbidden by the church.
Angela nods and sobs harder.
SISTER THOMAS (CONT’D)
There are other options though. You
can give birth, then wait a few
months? If you still feel the same,
offer it for adoption. There are
plenty of people looking for a baby
to adopt.
(a beat)
Does Nicky know?
ANGELA
No! And please don't tell him. He
can't do anything from prison, and
it would break his heart. I'll tell
him when he gets out.
Genres:
["Drama"]
Ratings
Scene
23 -
From Grief to Fury
INT. SMYRNA PRISON - VISITOR ROOM — EARLY SPRING — DAY
Sister Thomas is admitted as a visitor to see Nicky.
SISTER THOMAS
Nicky, how have you been?
NICKY
Not so good, Sister. Angie sent a
letter saying she wouldn't be
coming anymore. And from your
expression, whatever brings you
isn't good.
SISTER THOMAS
Nicky, I ... There's no other way
to say it. Rosa Sannullo is dead.
She died of a stroke the night
before last.
NICKY
Oh, my God! Not Mamma Rosa. No.
Nicky cries and cries. Once he composes himself, he walks to
his cell and buries his head in a pillow.
EXT. SMYRNA PRISON YARD — DAY
MONTAGE — TRAINING
— Nicky runs laps around a track.
— Nicky lifts weights on a bench (two or three people watch).
— Nicky does pull-ups in the yard (a small crowd watches).
— Nicky spars with a large black man in a boxing ring (a
large crowd observes).
END OF MONTAGE
INT. SMYRNA PRISON - SHOWERS — DAY
Nicky finishes his workout and prepares to take a shower. He
undresses and steps into an empty spot, water running onto
him from above.
THREE LARGE WHITE MEN enter slowly, an ominous look on their
faces. They look past everyone else and focus on Nicky. The
others grab their towels and leave, and the largest of the
three approaches Nicky.
LARGEST MAN
You look lonely, sweet-cake.
Nicky turns quickly and almost slips on the soapy tile
floors.
NICKY
I was just leaving.
LARGEST MAN
Not so fast. We want a little
something first.
Nicky smiles at the man and walks closer.
NICKY
Is that all you want? Why didn't
you say so?
Nicky kicks the guy in the balls. When the man doubles over,
he kidney-punches him several times. Then he grabs one of
them and slams his head against the tile wall five or six
times. Massive amounts of blood gush out and mix with the
running water.
The third man runs, but Nicky catches him and slams him to
the floor. He takes a bar of soap from the rack and shoves it
up the man's ass. As the man screams, Nicky walks back to the
first man and crushes his larynx with his foot.
Genres:
["Drama","Prison"]
Ratings
Scene
24 -
Reconnecting with the Past
EXT. SMYRNA PRISON — DAY
SUPER: "YEARS LATER"
Nicky exits the prison gate, stands on a corner, and waits
for a bus. A car pulls to the curb, and a nun wearing a habit
gets out.
NICKY
Sister Thomas! Why are you here?
SISTER THOMAS
Someone had to greet you. Now get
in, and we'll get some food, then
you can tell me about your plans.
Sister Thomas drives to a local diner along Route #13.
SISTER THOMAS (CONT’D)
They have good pie and good coffee
here.
INT. DINER - SMYRNA — DAY
A WAITRESS (20s, cheery) comes by the table. Sister Thomas
orders coffee and pie for both of them.
SISTER THOMAS
Do you have plans?
NICKY
Probably get a job, then go see
Angie. It's been a long time.
Sister Thomas sighs.
SISTER THOMAS
Nicky, I guess you don't know.
Angela is married. She has a child.
NICKY
(shocked)
Married? When? To whom?
He shakes his head and sips coffee.
NICKY (CONT’D)
Never mind. I heard Tony's in New
York. Maybe I'll go see him.
SISTER THOMAS
No reason to leave Wilmington. The
economy is booming. We have —
NICKY
I always wanted to see New York,
and I haven't seen Tony in a long
time.
SISTER THOMAS
Tony is up to no good. You'd do
better looking up Frankie.
NICKY
I'll probably look them both up, so
if you don't mind, drop me at the
train station.
Genres:
["Drama","Crime"]
Ratings
Scene
25 -
Reunion at Grand Central
EXT. GRAND CENTRAL STATION - NEW YORK — NIGHT
Nicky (29) gets off the train and goes to a phone booth.
NICKY
Is this Tony "The Brain" Sannullo,
the dumbest fuck I know?
TONY (V.O.)
Rat, don't tell me it’s you? They
actually let you out?
NICKY
I’m at the train station. Just got
in from Wilmington.
TONY (V.O.)
I'll be there in a half hour. Maybe
less. Stand outside.
LATER:
Tony pulls up in a Caddy with Paulie 'The Suit' sitting
beside him. He pulls to the curb, and he and Suit get out and
hug Nicky. Everyone is smiling and laughing.
Nicky stands back a few feet, admiring Paulie.
NICKY
I see you finally got that suit.
PAULIE
That I did, Nicky. Got a bunch of
'em, thanks to Tony.
TONY
Can't believe it's you. It's been a
long time.
Tony tosses Paulie the keys.
TONY (CONT’D)
Open the trunk for Nicky's bag.
Nicky gets in back seat. Tony drives, and Suit sits in the
front seat.
NICKY
Where to?
PAULIE
Let's get Bugs.
NICKY
Call him. You got a number?
TONY
We'll call him from the bar, but
you need to know, he's a damn cop.
Genres:
["Crime","Drama"]
Ratings
Scene
26 -
A Night of Nostalgia and Tension
INT. ANTHONY'S BAR AND RESTAURANT - BENSONHURST — NIGHT
Tony sits at a table in the back, close to the dart board. He
then signals the waiter to bring them a phone.
NICKY (ON PHONE)
Mr. Donovan, please.
FRANKIE (V.O.)
This is Frankie.
NICKY
I need some bugs killed in my
house. Are you available?
FRANKIE (V.O.)
Who the hell is this?
Tony picks up the phone, laughing.
TONY
Hey, Bugs. It's Tony. We're at
Anthony's, and you won't believe
who's with us.
Tony, Nicky, and Paulie shoot a game of darts, then drink
another round. Paulie downs a shot of limoncello and tosses a
dart that is way off the mark. As he makes his way to the
table, Bugs walks in.
He waves his hands and shouts.
PAULIE
Hey, Bugs. Come see who we got.
Nicky rushes over to hug Bugs.
NICKY
Been way too long, Bugs. It's good
to see you.
FRANKIE
It has, Nicky. Way too long. I'm
sorry I didn't visit, but I got
married and moved here. It's no
excuse for not writing, but . . .
NICKY
You're married?
Frankie looks down and shakes his head.
FRANKIE
Not anymore. It didn't take.
TONY
Enough gloom and doom, Frankie.
Tony taps his glass on Nicky's and lifts it as if saluting.
TONY (CONT’D)
Nicky, you see the Irish finally
came out in Bugs. He's a damn cop.
FRANKIE
Yeah, well let this cop show you
how to play pool.
Frankie and Tony play a game of eight-ball, and Frankie wins.
After that, Frankie beats Paulie in nine-ball.
TONY
All right. You can play pool. Let's
see if you can drink.
They order a round of limoncello, followed by a bottle of
wine. Frankie plays pool with Nicky and beats him as well.
TONY (CONT’D)
You see what cops do all day. No
wonder crime is rampant.
FRANKIE
(looks at time)
Shit. It's one o'clock. I've got to
get sleep.
PAULIE
We need to do this more.
FRANKIE
(shakes head)
I can't be seen with you assholes.
Nicky's okay, but not Paulie. And
sure as shit not Tony. I already
risked my ass coming here tonight.
Frankie hands Nicky a card.
FRANKIE (CONT’D)
Call me sometime, Nicky. By the
way, where are you staying?
TONY
With me. He lived with me half his
life. No sense in changing things.
NICKY
(laughing)
Guess I'm staying with Tony.
EXT. TONY'S CAR - BROOKLYN — DAY
SUPER: “SIX MONTHS LATER”
Tony and Nicky (both 30 years old) are in a car riding
through the streets of Brooklyn.
NICKY
Tony, it's been six months and I've
still got no steady income. I need
work. I'll do anything. I've got to
earn enough to get Angie back.
TONY
I wouldn't worry about Angie. Hell,
I heard she's married. But if
that's the way you want it, I'll
introduce you to Tito. He's not
like Doggs though. He's Doggs times
ten. Piss him off and you're dead.
NICKY
Got it.
Tony pulls into a parking lot filled with cars surrounded by
a chainlink fence. A small building sits near the back. Men
stand outside the front door, smoking.
NICKY (CONT’D)
What's this place?
TONY
Union hall. Tito's place.
Genres:
["Drama","Crime"]
Ratings
Scene
27 -
A Chance for Redemption
INT. UNION HALL — DAY
Tony nods to several people, then walks up to MANNY (40s,
barrel-chested, contagious laugh), who's sitting by the
kitchen door. Manny is a big man who loves food as much as he
loves life.
TONY
Where's Tito?
Manny gestures toward the back, and Tony nudges Nicky toward
the room Manny points to.
TONY (CONT’D)
I'll introduce you, then I'll
leave. Whatever you and Tito work
out is between you.
Nicky follows Tony through the kitchen and in to see TITO
(50, eyes that sum you up immediately and a mind that
processes it as quickly).
TONY (CONT’D)
Tito, this is my best friend, Nicky
Fusco. He's someone you'll like.
Tito waits for Tony to leave, then he leans back in his chair
and stares at Nicky like a jeweler assessing a gem.
TITO
You knew Tony as a boy?
NICKY
His mother raised me.
TITO
And you're looking for a job now?
NICKY
Everyone needs work, Mr. Martelli.
Even ex-cons.
TITO
Convicts aren't much use to me. I
might get you a job as a union rep.
NICKY
I need more than that. I can do
anything. If you have something you
need done, I can do it.
TITO
Anything sounds ominous. Besides,
what would I need done?
Tito grabs a biscotto from the plate and dunks it in his
espresso, then nibbles on it.
TITO (CONT’D)
And call me Tito. I hate that Mr.
Martelli shit.
NICKY
I said anything, and I meant it.
But once I get enough money, I'm
quitting. You need to know that.
TITO
I like a man who knows what he
wants. But why do you need so much?
NICKY
I screwed up a long time ago, and
I've got to get my girl back.
Tito nods knowingly, then walks to where Manny sits.
TITO
I'll be talking to Tony's pal. Make
sure I'm not disturbed.
He returns to the table and sits.
TITO (CONT’D)
Sit, Nicky. Tell me about yourself.
Tell me about this — anything — you
said you would do.
Nicky leans back in chair and rests his hands on the table.
TITO (CONT’D)
Ever kill anyone?
NICKY
I killed a guy in a gang fight at
nineteen, and I killed a few more
in prison — all justified.
Tito nods and sips his espresso.
TITO
I like that, Nicky. I like a man
with morals. I'll let Tony know,
but we might need to meet again.
Tito stands, goes to the door, and opens it.
TITO (CONT’D)
Manny will take you home.
Nicky walks out, and Tito calls CHICKY (40s, balding, the
kind of man who does anything).
TITO (CONT’D)
I need someone checked out, Chicky.
His name is Nicky Fusco. He served
ten years in Delaware.
CHICKY
Might take a few days.
TITO
Take as long as you need.
Genres:
["Crime","Drama"]
Ratings
Scene
28 -
Testing Loyalty
INT. TITO'S OFFICE — DAY
SUPER: "TWO DAYS LATER"
Chicky walks into the union hall, stops to fill a cup of
coffee, then walks to Tito's office.
TITO
What have you got, Chicky?
CHICKY
Took me two days to find out, but
what you got is a bonafide psycho.
TITO
Tell me about it.
CHICKY
He goes in at nineteen for shooting
a guy in a gang fight. A few years
in, three of the toughest whiteys
decide to get some sweets.
(a beat)
They follow Nicky into the shower
but ten minutes later, Nicky comes
out leaving one guy dead, one with
a cracked head, and the other with
a full bar of 99.44 percent pure
ivory soap shoved up his ass 100
percent of the way.
TITO
Thank you. This is helpful.
CHICKY
I forgot one thing. They said this
kid ain't scared of nothin'.
Fuckin' nothin'.
TITO
Tell Manny to get Johnny Muck.
INT. SMALL CAFE - BRONX — DAY
Tito sits at a table by the window in a small Italian café in
the Bronx. Signs taped to the windows boast of the best
biscotti and the best espresso.
JOHNNY MUCK walks in (40s, tall, cap slanting to the side,
seldom smiles) and looks around the café. Tito calls to him.
TITO
Over here, Johnny.
Johnny sits at the table across from Tito.
TITO (CONT’D)
I need some help. I’ve got a kid
that needs testing.
The WAITER (30) brings espresso and biscotti.
Johnny waits for the waiter to leave.
JOHNNY MUCK
What kind of testing?
TITO
Johnny, you should try smiling
sometimes. You might like it.
JOHNNY MUCK
You think I'm getting old?
TITO
We're all getting old, Johnny, but
this is to train your successor.
JOHNNY MUCK
Who is he?
TITO
Young kid from Philly. Napolitano.
Ten years in prison, but —
JOHNNY MUCK
You know I don't do that.
TITO
This kid is different.
JOHNNY MUCK
What do you have in mind?
TITO
See what he can do. If he pisses
his pants or fucks up — kill him.
JOHNNY MUCK
When?
TITO
I'll let you know. And I'm not
telling him what he's in for. Let's
see how he thinks on his own.
INT. TITO'S OFFICES — DAY
Tito sits at his desk, files spread across the top. Nicky
walks in and pulls up a chair.
NICKY
You got something for me?
TITO
Johnny Muck needs an apprentice.
NICKY
Who's Johnny Muck? And what kind of
apprentice? What's he do?
TITO
None of your business.
NICKY
Can I assume I won't be needing my
carpenter's hammer or saw, or shit
like that? I'm not good with tools.
TITO
(laughing)
That's good, Nicky. I like that.
He hands Nicky a slip of paper with an address on it.
TITO (CONT’D)
Meet Muck at that address in three
days. Be there at eleven.
Genres:
["Crime","Drama"]
Ratings
Scene
29 -
Preparation for the Hit
EXT. PARKING GARAGE — DAY — THREE DAYS LATER
Nicky follows the directions to a garage downtown. He meets
Muck on the sixth floor, and gets in the passenger seat.
JOHNNY MUCK
Sit and listen. Three guys in this
building owe Tito money. Tito sent
his regular guy two weeks ago, and
they beat him half to death. One
held a gun while the other did the
work. They dumped him in front of
his family — his family, for
Christ's sake!
NICKY
Tell me what to do.
JOHNNY MUCK
Wipe the car down. We'll wait until
they get back from lunch.
(a beat)
Murder takes time, Nicky. That's
the first rule of our business.
That means you need to be prepared,
study your targets. You need to
watch them, know all about them and
everyone around them.
Johnny eyes Nicky again, looks at his watch, then opens the
door, pops the trunk, and removes two briefcases.
JOHNNY MUCK (CONT’D)
Another thing. Don't use the same
places to watch from and don't
watch at the same time of day.
Don't use the same car or wear the
same clothes. Remember that.
Sameness is your enemy. Now, clean
the car to get rid of all prints.
He waits for Nicky to finish, then hands him a briefcase.
JOHNNY MUCK (CONT’D)
This is yours. The gun is clean and
has a silencer. The case is clean
too. Make sure they come out with
you. And don't look anybody in the
eyes. Keep your head lowered.
Johnny walks toward the office carrying one of the
briefcases. The brim of his hat protects him from cameras.
JOHNNY MUCK (CONT’D)
Let's go. And remember to keep your
head down. This city's as bad as
Chicago. Cameras everywhere.
Genres:
["Crime","Thriller"]
Ratings
Scene
30 -
A Dark Encounter
INT. INSIDE LOBBY OF LAW OFFICE — DAY
Double-doors open into a huge lobby with marble floors, an
escalator on one side and a bank of elevators on the other.
Johnny approaches the RECEPTIONIST (20s, thin, chatty, quick
to smile) sitting behind a large desk in the center.
JOHNNY MUCK
I'm Mr. Temple. I have an
appointment with Mr. Steinberg.
Johnny continues to stare at the receptionist, then he points
his finger at her, as if in recognition.
JOHNNY MUCK (CONT’D)
I know you. Don't you live over by
Prospect Park?
RECEPTIONIST:
I do. Right by the coffee shop on
the corner.
JOHNNY MUCK
I thought so. I've seen you when I
drive by.
RECEPTIONIST
It's a small world, isn't it? Wait
one moment, Mr. Temple. I'll take
you to see him.
Muck bends over and whispers to Nicky.
JOHNNY MUCK
Remember to touch nothing.
The receptionist walks them across the lobby to a large
conference room, opens the door, and shows them in.
INT. CONFERENCE ROOM — DAY
A large oval table fills the center of the room, and has a
dozen chairs surrounding it. The outside wall is all windows
and the shades are drawn, making the room dark.
RECEPTIONIST
Mr. Temple is here, sir.
She walks back out and closes the door.
STEINBERG
And who do you have with you, Mr.
Temple?
JOHNNY MUCK
(gestures to Nicky)
This is my assistant, Simon.
Muck opens the briefcase, taps Nicky, and points to the gun.
JOHNNY MUCK (CONT’D)
And I believe to start out with,
Simon has something to show you.
Nicky opens his briefcase, takes out the gun, and shoots all
three men. Blood splatters on the table, chairs, and floor.
Johnny tosses a wet cloth to Nicky and he uses another cloth
to wipe the table and chairs.
JOHNNY MUCK (CONT’D)
Clean yourself off and be quick. I
doubt anyone heard the shots, but
there's no sense hangin' around.
They leave the conference room and walks toward the exit.
INT. INSIDE LOBBY OF LAW OFFICE — DAY
Johnny Muck tips his hat as he walks past the receptionist.
RECEPTIONIST
Meeting over so soon?
JOHNNY MUCK
I'm afraid it is, but don't worry,
I'll see you around, now that I
know where you live.
NICKY
That's supposed to guarantee her
silence?
JOHNNY MUCK
Without a doubt. Now, let's go.
EXT. TITO MARTELLI'S HOUSE — DAY
A FedEx truck pulls to the curb and a DRIVER (30s, white)
gets out and calls to Manny.
FEDEX DRIVER
Package for Mr. Martelli.
Genres:
["Crime","Thriller"]
Ratings
Scene
31 -
The Price of Betrayal
INT. TITO MARTELLI'S HOUSE — DAY
Manny examines the envelope, then hands it to Tito, sitting
at the kitchen table, drinking cappuccino.
MANNY ROSSO
You got a package.
TITO
Who's it from?
MANNY:
Fedex package from Giuseppe . . .
hard to make out the last name.
TITO
I don't know any Giuseppe. Open it.
Manny opens the package and reads the letter.
MANNY
It's a letter addressed to you.
It's . . . Damn, it's from Gina.
TITO:
Gina? What the hell does she want?
MANNY
You need to look at this. She says
she has the piece you used to kill
Danny Zenkowski. She wants $400,000
in untraceable bills. She included
a burner phone and said she'd call
in three days.
Tito grabs the box and throws it across the room.
TITO
Find this bitch, Manny. I should
have killed her father years ago. I
won't make the same mistake again.
TITO MARTELLI'S HOUSE — DAY — CONTINUOUS
Tito sits on the patio and waits for GINA's (30, a woman who
will do what needs to be done) instructions. When she calls,
he writes them down.
TITO
Manny, the dumb bitch wants me to
Fedex the money?
Tito turns to Manny, and Tito’s so angry, he's shaking.
TITO (CONT’D)
I'll Fedex it like she wants, but I
want our best men on this. Find her
and cut her throat.
INT. TITO MARTELLI'S HOUSE — NEXT DAY
Tito's phone rings while he's at the kitchen table. He swigs
the last of his coffee and answers.
TITO
Yeah, Donnie?
PAGE
Gina fucked us, boss. She picked
the package up earlier.
Tito slams his palm on the table, then gets up and storms
around the kitchen.
TITO
That son of a bitch.
He pokes his head out the front door and calls Manny.
TITO (CONT’D)
Manny, we need to find Gina. I
don't care what it costs. Get the
burner phone traced. Find out where
she bought it. Do something.
INT. TITO'S HOUSE — DAY
Manny walks into the kitchen, where Tito is drinking coffee
by himself at a table meant to seat six.
MANNY
I checked out Gina's burner phone.
It was bought in Hershey, PA.
TITO
She could have bought it there to
throw us off.
MANNY
Maybe, but she's a devout Catholic,
so I say we stake out churches. If
she’s in Hershey, we'll find her.
Genres:
["Crime","Thriller"]
Ratings
Scene
32 -
Trust Issues
EXT. TITO OFFICES — DAY
SUPER: "SIX DAYS LATER"
Chicky walks up to Tito outside the door to the union hall.
CHICKY
We found her. Just like Manny said.
TITO
Good. Get Johnny Muck.
Tito goes inside as Manny comes out. Tony pulls into the lot,
gets out, and joins Manny and Chicky.
TONY
Manny, ain't that Nicky leaving?
MANNY
Yeah, why? You worried?
TONY
What are you talking about?
MANNY
Tito's got himself a new boy,
that's what. Better watch your ass.
TONY
Get outta here. I taught Nicky
everything he knows.
MANNY
Now I know you're nuts.
Manny laughs and pats Tony on the back as he passes by.
MANNY (CONT’D)
I'll tell Tito you're here.
Tony enters Tito's office.
TITO
Tony, tell me we made a lot of
money last week.
TONY
What's wrong? Somebody giving you
trouble?
Tony walks to the bar and pours a brandy.
TONY (CONT’D)
And don't tell me nothing. I've
known you too long for that. So
what's going on? Who's giving my
favorite boss all this trouble?
TITO
Some broad.
TONY
A broad? You get her pregnant?
TITO
God, no. She's ... I've got to take
care of her, that's all.
TONY
Maybe I'm off base, but why not
give the job to Nicky?
TITO
He told you what he does?
TONY
Tito! Nicky and I are best friends.
TITO
I'm giving this to someone else.
TONY
Yeah, good idea. No way Nicky would
take out a broad. He wouldn't do it
if Jesus Christ told him to.
Tito sips his coffee and stares over the rim of the cup.
TITO
You know I can't have a guy I don't
trust.
Tito stares at Tony.
TITO (CONT’D)
But you knew that, didn't you?
That's why you brought it up. Does
Nicky know you hate him so much?
Tito paces and nods his head.
TITO (CONT’D)
You're rolling big dice here. If I
give this to Nicky, he'll either be
a hero or a corpse.
TONY
I'm sure he'll do fine.
Genres:
["Crime","Drama"]
Ratings
Scene
33 -
Negotiating Morality
EXT. NICKY'S CAR — DAY
Nicky is driving through Brooklyn when his cell phone rings.
TITO (V.O.)
We need to talk.
NICKY
Go to the garage on Seventh Street,
third level. There's a blue Camry
near the elevator. Keys are in the
rear wheel well, driver's side. I'm
close, so I'll meet you soon.
TITO (V.O.)
You're getting more cautious. I
like that. Keeps both of us on our
toes.
NICKY
Glad you see it that way.
EXT. PARKING GARAGE — DAY
Nicky drives to the parking garage and pulls next to Tito.
NICKY
Get in. We'll go where we can talk.
Tito gets in the car and Nicky drives off.
NICKY (CONT’D)
What do you need?
TITO
I've got a special one. And she's
gotta go quick.
NICKY
She? I don't kill women.
TITO
She's not a woman; she's a thief.
NICKY
Get Johnny. I don't like it.
TITO
Get your head out of your ass,
Nicky. This is business.
NICKY
I don't know. I —
TITO
This isn't some mom soccer mom.
This is a blackmailing thief who
was smart enough to steal four
hundred large from me. She knew
what she was buying into, and she
sure as shit knew the consequences.
NICKY
How much?
TITO
How much? I told you — four hundred
large.
NICKY
That's a lot of money, Tito. But I
meant how much for me.
TITO
So that's what this is about. I
forgot what a cold-hearted fuck you
were. Don't worry, there's plenty
in it for you.
NICKY
I like 'plenty,' Tito, but I need
to know how much 'plenty' is.
(MORE)
NICKY (CONT’D)
If you want me to do this, I get to
keep whatever she has left of the
money, and if it's less than a
hundred, I get a hundred.
TITO
You're nuts!
NICKY
Then get Johnny.
TITO
You're a cocksucker. Know that?
NICKY
Yeah, I know. You got the details?
Tito hands Nicky a manila envelope, then gets in his car and
calls Chicky.
TITO
Get Donny, and go to Hershey. I'm
sending Nicky to take care of Gina.
Make sure it gets done. But make
sure to stay out of his way.
Genres:
["Crime","Thriller"]
Ratings
Scene
34 -
A Moment of Hesitation
EXT. ELEMENTARY SCHOOL - HERSHEY, PA — DAY
Nicky stakes out the school where Gina works. While he’s
watching, he sees Chicky, and calls him.
NICKY
You can go home now.
CHICKY
Maybe we should —
NICKY
Tito gave me permission to kill
anyone who interferes with my job.
If you're here in twenty minutes,
I'll consider that interference.
CHICKY
Fuck you. How about that?
NICKY
Just so you know, the last guys who
tried to fuck me are dead.
Nicky waits for the kids to return from recess, then he puts
Gina in his sights. He raises the rifle and scopes her in. He
puts his finger on the trigger, focuses on Gina, and then she
twirls her hair around her finger.
FLASHBACK MONTAGE — REMEMBERING ANGELA
— Angie cooking meatballs at Mamma Rosa's stove.
— Angie twirling her hair when she grows nervous.
— Angie and him walking in the park, holding hands.
— Angie lying under him, naked.
- Angie being there for him at his father's funeral.
END OF MONTAGE
NICKY
Why does she have to be a twirler?
He takes his finger off the trigger and lowers the rifle,
then packs it up and returns to the car.
INT. GINA'S APARTMENT - HERSHEY — NIGHT
The phone rings, and Gina gets out of bed and answers it.
She’s dressed in pajamas and her hair is in curlers.
GINA
Hello?
NICKY (VO)
Gina, don't panic. Tito Martelli
sent me to kill you. Don't worry.
I'm not going to do it. But you
need to listen to me . . .
EXT. ELEMENTARY SCHOOL - HERSHEY — DAY
Nicky waits in the woods until Gina comes out for recess. He
fires a shot, and she falls to the ground. The kids scream
and run toward the school.
Gina counts to thirty before getting up, and then she walks
away slowly.
Nicky waits for her to get out of sight, then he quickly
leaves the scene and calls his friend DEXTER (35, black).
NICKY
Dex, it's Nicky.
DEXTER (V.O.)
Nicky the Rat! How about that shit.
What can Dex do for you?
NICKY
I need a story planted in the
Hershey, Pa., paper.
DEXTER (V.O.)
Tell me how you want it to read.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
35 -
Desperate Measures
EXT. PHONE BOOTH BETWEEN - HERSHEY AND BROOKLYN — DAY
Nicky pulls to the curb alongside a phone booth, inserts a
few coins, and dials.
NICKY
Sister, it’s Nicky. A woman named
Gina will contact you. Please hide
her until you hear from me.
SISTER THOMAS (V.O.)
Nicky, I can't do anything illegal.
NICKY
If you trust me, please hide her
for a few days, then put her on a
flight to Indianapolis and tell her
to call you every other day for
instructions.
SISTER THOMAS (V.O.)
All right. I'm trusting you.
INT. TITO MARTELLI'S HOUSE — NEXT DAY
Manny walks in smiling. He carries a folded-up paper and sets
it on the table in front of Tito.
TITO
You check it out?
MANNY
Chicky saw it go down, and I
checked the Hershey paper. Obituary
was there this morning.
TITO
Anything in the paper about how she
died? Or about the shooting?
MANNY
Just a statement that the Feds have
it under investigation.
(a beat)
You hear that, Tito — the Feds? It
must have been a trap.
TITO
I warned Tony he was rolling the
dice.
INT. TITO'S OFFICE — DAY
Nicky walis in, and holds his hand out, palms up.
NICKY
Time to pay up, Tito. And time for
me to quit.
TITO
I didn't get my money.
NICKY
I can't help that. The deal was,
what she had left or $100,000.
Tito goes to his safe, mumbling. He removes stacks of cash,
puts it in a bag, and hands it to Nicky.
TITO
You're a heartless prick.
NICKY
I know.
MONTAGE — Concealing Gina
— Nicky goes to Philly airport and rents a car.
— He drives to Indianapolis and parks at a motel.
— He climbs the stairs and knocks on room #245.
END OF MONTAGE
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
36 -
New Beginnings
EXT/INT. MOTEL - INDIANAPOLIS — NIGHT
A young woman with an olive complexion answers.
NICKY
You're as pretty as your name.
GINA
Who are you? Are you —
NICKY
Yeah, I'm Nicky. Pack a bag. We're
going to Chicago.
GINA
Chicago? What for?
NICKY
Need to get you new identities, and
the best guy I know is there.
EXT. CHICAGO — DAY
Nicky exits I-65 and drives to the print shop to see 'SAL,
THE TAILOR' (50s, bald, thin, intense, suspicious, a
discerning eye)
INT. PRINT SHOP - CHICAGO — DAY
Nicky walks in smiling and grabs Sal's hand.
SAL
Nicky! Long time, paisan.
NICKY
Come va, Sal? (How’s it going, Sal)
Sal rubs his stomach and smiles. Nicky returns the smile.
NICKY (CONT’D)
Looks like life's been good.
SAL
I don't know about life, but my
wife's cooking has. So tell me what
I can do for you.
Nicky looks around to make sure no one is there, then leans
forward and whispers.
NICKY
I need two new IDs for my friend
and one for me. And I need the
works: licenses, passports, and
clean credit cards. And you better
figure on birth certificates and
social security cards too.
SAL
No problem. Let's go in the back
and get the pictures. I'm not busy,
so it will only take me a day to
get you the finished product.
Genres:
["Crime","Drama"]
Ratings
Scene
37 -
Tensions on the Road
INT. SAL’S PRINT SHOP - CHICAGO — NEXT DAY
Nicky drops by Sal's print shop and picks up the IDs, then he
and Gina head back to Indianapolis.
INT/EXT. CAR - INDIANAPOLIS — DAY
NICKY
Gina, you need to live by new rules
if you want to stay alive.
GINA
I did all right for a long time.
NICKY
But now Tito's out to kill you.
(a beat)
If you want to be safe, you can't
have contact with anyone from the
past. No phone calls and no
letters. You can't work at the same
job. Everything must be new, or
they'll track you down.
GINA
I thought Tito thinks I'm dead.
NICKY
He does for now, but that might not
last. To be safe, do as I say.
GINA
I don't like Indianapolis.
NICKY
It's a good place to hide. Big
enough but not too big. And four
interstates that can zip you to a
lot of places in a hurry: Chicago,
St. Louis, Cincinnati, Cleveland,
Detroit, Louisville, and more.
INT. CATALDI'S RESTAURANT - BENSONHURST — DAY
Tony and Paulie sit at a table eating and drinking espresso.
Tito joins them.
TITO
Hey, Paulie, why don't you watch
the car. Let me talk to Tony.
Tito waits for Paulie to leave, then leans close and lowers
his voice.
TITO (CONT’D)
That thing we talked about before?
It went good. Your boy did okay.
TONY
You mean Nicky? With the broad?
TITO
Yeah, the same Nicky you introduced
me to.
TONY
If you didn't see the body, you
paid for something you never got.
But who cares? If it took care of
your problem, that's all that
matters.
TITO
My men saw it. And it was in the
papers.
TONY
You know better than to believe
everything you read in the papers.
Stories are easy to plant. And
eyewitnesses are often mistaken.
All I'm saying is, Nicky didn't
kill no broad.
TITO
I'm gonna check this out. In the
meantime, have Nicky watched. I
want to know where he goes, what he
does, what he eats, everything. If
he fucked me ...
TONY
I'm sure it had nothing to do with
you. It's the broad thing.
TITO
If he didn't kill this broad, kill
them both. Get anyone you need.
Genres:
["Crime","Drama"]
Ratings
Scene
38 -
Tensions Rise: A Plan in Motion
EXT. CATALDI'S RESTAURANT - BENSONHURST — DAY
Paulie stands by the car as Tito storms out of the restaurant
and rushes by. Tony is right behind him.
PAULIE
What happened? Tito stormed out
like he wanted to kill someone.
TONY
Just the normal.
PAULIE
Hey, Tony, don't give me that shit.
What happened?
TONY
All right, Paulie, but this stays
between us.
(a beat)
Nicky was supposed to take a
problem Tito had — a woman down in
Pennsylvania — but he didn't do it.
PAULIE
You tellin' me Nicky’s a shooter?
TONY
You heard it right. The problem is
he didn't do the job. Now Tito's
pissed and Nicky's fucked.
PAULIE
What are we gonna do? We can't let
anything happen to Nicky. I don't
give a shit about Tito. This is
Nicky we're talking about.
TONY
You don't give a shit about Tito?
Who the fuck pays for your house?
Who sends your kids to private
school?
(a beat)
Don't worry. I got a plan. If we
get the girl, we can convince Tito
to leave Nicky alone.
Tony pats Paulie's arm, then heads for his car.
TONY (CONT’D)
I'll call you later.
INT. TITO'S HOUSE — DAY
Manny enters carrying a folded newspaper, opens it, and shows
it to Tito, who is sitting at the kitchen table, drinking
espresso.
MANNY
I been checking the papers every
day like you said, and today —
bingo — a retraction on Gina's
murder. I don't know how it
happened, but I'll get on it.
Tito grits his teeth and clenches his fists. He stands and
kicks the chair, knocking it down.
TITO
Nobody does this to me — nobody. I
want Tony in charge of this.
(MORE)
TITO (CONT’D)
Give him four guys and make sure
Johnny Muck is one of them.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
39 -
Confronting the Past
INT. JERRY'S BAR — DAY
Nicky enters and waves to the bartender, then he joins Tony
at a table in the corner.
NICKY
What's up? Why'd you call?
TONY
I needed someone to talk to, so who
better than my oldest friend.
NICKY
You got it, Tony? What do you need?
Tony is silent for a few seconds, then he lowers his head and
sighs, a grief-stricken expression on his face.
TONY
Nicky, when I was young and
addicted to drugs, I did a lot of
things I'm not proud of — things I
wish I'd never done. Some of them
still haunt me. I think of them
every night and wish they never
happened, but no matter how much I
wish, the memories don't go away.
NICKY
All of us have skeletons buried
somewhere. You can get over it.
TONY
I don't know. I've tried. This is
something that can't be forgiven.
Nicky leans forward and lowers his voice.
NICKY
Try me. I can forgive anything —
well, almost anything. If somebody
hurt you or Bugs or Angie, I'd find
it tough to forgive.
Tony nods, then orders another round of limoncellos. He
closes his eyes and looks at the ceiling.
TONY
This might be as bad, Nicky. The
night Mick got shot, you did the
right thing. You stayed and helped.
I ran like a coward, and I can't
get that out of my head.
Nicky takes a sip of his drink and pats Tony's hand.
NICKY
I was pissed for a while, but it’s
forgiven. Don't give it a thought.
Nicky slugs the rest of his drink and stares.
NICKY (CONT’D)
If that's all you wanted, I've got
to get back to work.
Nicky tosses a twenty on the table and starts to leave, but
Tony grabs his arm and stops him.
TONY
Hang on, Nicky. That's not the only
reason I invited you. Sit down.
You've got to hear this.
Nicky sits back down, a confused look on his face.
TONY (CONT’D)
I'm not supposed to know this, but
that broad you were gonna take care
of — Tito knows it didn't happen.
NICKY
I don't know what the hell you're
talking about.
TONY
Forget what I know or don't know.
Just listen. She was spotted by one
of Tito's men. I don't know the
specifics, but what I know is that
Tito’s going nuts.
NICKY
Are we on camera or something? Not
that I don't appreciate your
concern because you really seem
upset, but you’ve got nothing to
worry about. I'm a union rep. And
speaking of that, union reps have
to work, so I'll see ya' later.
Tony dials the phone as Nicky exits the bar.
TONY
I want to know where he goes.
Genres:
["Crime","Drama"]
Ratings
Scene
40 -
Race Against Time
EXT/INT. NICKY'S CAR - DAY
Nicky drives to the airport and books a flight. He calls Gina
while he's waiting to board the plane.
NICKY
Gina, it's Nicky. Get out, now!
GINA (V.O.)
What? Why?
NICKY
Tito knows where you are. Pack a
bag and get your money, the
evidence, and whatever else you
need. Go to the airport and meet me
at the United gate for Chicago.
GINA (V.O.)
They'll look at the airport.
NICKY
Maybe. But they can't get guns
through security. You'll be safe
until I see you. If anyone
approaches you, scream.
GINA (V.O.)
But the evidence is a gun, and it's
not with me.
NICKY
Don't worry. We'll get it later.
GINA (VO)
Hurry, Nicky. I'm scared.
INT. TONY'S HOUSE — DAY
Tony is sitting in his living room when the phone rings.
UNKNOWN CALLER (VO)
He got on a flight to Indianapolis.
TONY
Okay, thanks.
Tony makes a call.
TONY (CONT’D)
Get help and go to the Indianapolis
airport. I'll fill you in later.
INT. INDIANAPOLIS AIRPORT — DAY — LATER
Gina jumps when her cell phone rings, but then answers it.
GINA (VO)
(meek voice)
Nicky?
NICKY
Walk calmly from where you are and
exit the airport. I'll pick you up
at the entrance.
GINA (VO)
I'll have to leave security.
NICKY
I know. I'll meet you there. Walk
slowly. And remember what I said.
If anyone bothers you — scream.
Nicky watches from the ticketing area as Gina enters. He
walks up behind her and grabs her arm. She gasps.
NICKY (CONT’D)
It's all right. It's just me. You
did good. No one followed you.
GINA
Thank God, you're here. I'm scared.
NICKY
Stay scared. This is far from over.
We have to get out of here.
GINA
I feel safe now. They wouldn't --
NICKY
We're not safe. We'll never be
safe. This is the mob, Gina. Our
only hope is to stay hidden.
GINA
Where will we go?
NICKY
We'll get a rental and drive
somewhere. Probably Cincinnati.
(a beat)
And while we drive, you need to
think about where you'd like to go.
No big mob cities. So no New York,
Philly, Boston, Baltimore, Chicago,
San Francisco, Kansas City —
GINA
Is there any place decent?
NICKY
That leaves plenty of choices:
Denver, Houston, Phoenix, San
Diego, Dallas, Seattle,
Minneapolis, Portland ...
GINA
I can't live in Minnesota.
NICKY
Me neither. Too cold. And Houston,
Dallas, and Phoenix are too hot.
Seattle and Portland are too rainy.
GINA
How about Cleveland? It's not far.
NICKY
That's on the 'off' list.
GINA
You didn't mention Cleveland.
NICKY
You didn't let me finish. If you
had, I would have said: Buffalo,
Cleveland, New Orleans and more.
GINA
You think you're a clever fuck,
don't you?
NICKY
I think you've got a filthy mouth.
Gina draws her knees up and cries.
GINA
I wish you killed me in Hershey.
Why didn't you?
Nicky sighs and slowly shakes his head.
NICKY
I'm sorry. Really.
CINCINNATI AIRPORT - NIGHT
Nicky arrives at the Cincinnati airport, parks in a long-term
lot, and takes a shuttle to the Marriott.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
41 -
Intimacy Amidst Danger
INT. MARRIOTT HOTEL — NIGHT
Nicky checks into a room using fake IDs. The room has two
queen-sized beds. After settling in, Gina takes a shower and
comes out wrapped in a towel. She ties her hair in a bun.
NICKY
What can I do to convince you that
I'm sorry, Gina?
GINA
Why didn't you kill me in Hershey?
NICKY
I was gonna lie, but the truth is I
came close. At the last minute you
did something that reminded me of a
girl I loved.
Gina leans forward and kisses Nicky on the forehead.
GINA
That's sweet. You're not as bad as
you pretend to be.
(a beat)
Now hand me that lotion.
Nicky gives the lotion to Gina, and she rubs it on her feet.
NICKY
Want me to do that? I give a good
foot massage. At least, I once did.
Gina stares with her eyes narrowed, as if evaluating him.
GINA
Do your best, Mr. Fusco, but be
warned, I'm a taskmaster when it
comes to foot massages.
Nicky dabs lotion on his hands and rubs them together, then
he massages it into her skin. She rolls over, her foot
brushing against him. He lies next to Gina and kisses her
passionately. She responds by wrapping her legs around him.
Nicky continues to kiss her, then he and Gina make passionate
love, twice.
Lying on the bed, Nicky runs his fingernails up and down
Gina's side. He stares into the distance as he does.
GINA (CONT’D)
What are you thinking about?
NICKY
I'm wondering how Tito found us.
GINA
So it's us now?
He kisses her, then kisses her again, and runs his hand
between her legs. He rubs her gently.
NICKY
Maybe it is.
GINA
How do you think he found us?
NICKY
It may have been my fault. If I
were Tito, I'd have let it leak
that I knew where you were, then
I'd have me followed, hoping it
would lead to you.
GINA
And you think that's what he did?
NICKY
Maybe so. My friend told me Tito
found you. Now I have to wonder if
he was in on it.
GINA
We’ll solve that mystery later, but
now that you're under my spell, do
me a favor.
NICKY
Name it.
GINA
I want to live in Philly. My father
lived there for years, and I know
the area — the restaurants, the
churches, and where to shop.
Nicky shakes his head vehemently.
NICKY
Philly is a definite no.
GINA
How about Boston?
NICKY
Another no.
GINA
Okay, out of NY, Cleveland, and
Baltimore, which is safest?
NICKY
None of them are safe.
GINA
I asked which was safest.
Nicky thinks, then shakes his head.
NICKY
Of the ones you mentioned,
Cleveland is a reasonable
compromise, but I don't like it.
GINA
I could be happy in Cleveland. It's
not high on my list, but it could
do. My father and I spent a couple
years there, and it wasn't bad.
Nicky looks at her for a long time.
NICKY
Why did you live in so many places?
GINA
It wasn't so many, but my father
was on the run.
NICKY
From the locals or the Feds?
GINA
From Tito.
Nicky turns and stares in surprise.
NICKY
Tito? Why?
GINA
Dad worked for Tito, but he wanted
out, so one night, he took off with
copies of Tito's books, copies
which would be damning in the hands
of the district attorney. Tito came
after him just for leaving.
(a beat)
If he knew my father took his books
or had his gun, he'd have looked a
lot harder.
NICKY
His gun?
GINA
Tito gave my father a gun he used
to kill an accountant who wasn't
compliant. He told my father to get
rid of it, but Dad kept it for
insurance.
NICKY
Now I know why he wants you so
badly. That gun could do him in.
Nicky laughs, then he stands and paces. He pours himself a
drink and paces some more.
NICKY (CONT’D)
All right. Here's the deal. I don't
like it, but if we go to Cleveland,
you have to do everything I say,
and I mean everything. No calls to
anyone you knew. No job that is
even remotely related. No letters
to family or friends. No social
media. No publicity of any kind.
GINA
You've got a deal.
Genres:
["Crime","Romance","Thriller"]
Ratings
Scene
42 -
Love and Danger
EXT. CLEVELAND — RANCH HOUSE — DAY
Gina stands outside of a ranch house and talks to a Realtor.
Nicky walks up to Gina as they speak.
NICKY
Is this the one you like?
GINA
It's perfect. We can walk to the
fruit stand, and there's a butcher
and a bakery nearby.
NICKY
I'll go along with you, but only if
the bakery has sfogliatelle.
REALTOR
I'll have the paperwork tomorrow.
You can move in within a week.
INT. RANCH HOUSE - CLEVELAND — DAY —ONE WEEK LATER
Nicky walks in the door carrying several bags from the
bakery. He grabs a few plates from the cabinet and sets them
on the kitchen table.
NICKY
I brought you cannoli. And on the
way home, I was thinking that maybe
we should get that Catholic wedding
you wanted.
GINA
Are you proposing again?
Nicky gets on his knees and looks up.
NICKY
I know it hasn't been long. And I
know you've probably got a lot f
questions, but yeah, I guess I am.
Gina looks down at him and gives him her sexiest smile.
GINA
There are other positions I'd
rather have you in.
Nicky gets up and kisses her, then leads her toward the
bedroom. After plopping on the bed, they make love.
INT. NICKY'S HOUSE — DAY
Nicky enters the bedroom, carrying a breakfast tray. Gina is
lying on the bed, just stirring from sleep. She rubs her eyes
when he turns the lights on.
NICKY
Wake up, lazy. Room service.
GINA
What's this?
Nicky sets a breakfast tray on her lap. The tray contains
bacon, eggs, toast, and a cup of coffee. It has a small vase
in the corner holding one red rose.
NICKY
Your favorite breakfast, plus a red
rose for a beautiful lady.
Gina props herself up and situates the tray on her lap.
GINA
Oh, my God, Nicky. I can't believe
it. No one's ever done anything
like this for me.
NICKY
Get used to it. I'm tired of giving
foot massages for sex.
GINA
You know I love you. And if you're
serious about that proposal and go
to confession . . .
Nicky nods and kisses her cheek.
NICKY
I'll go. Now, sit. I've got another
surprise but first, tell me where
the gun is.
GINA
In a safe deposit box.
NICKY
We could put Tito away for good
with that.
GINA
No way. He'd kill us.
NICKY
He already wants to kill us. If we
put him away, he won't be able to.
Besides, I know a cop in Brooklyn
who can help.
GINA
I told Tito if he paid me, I'd
forget him.
NICKY
And where has that gotten you? On
the run, hiding and afraid to do
anything.
GINA
Can you trust this cop?
NICKY
Definitely.
GINA
I'm not testifying.
NICKY
You may have to. But first we'll
turn the gun over.
Nicky calls Bugs.
NICKY (CONT’D)
Bugs, it's me.
FRANKIE (V.O.)
Nicky, where the hell are you? You
had me worried to death, you prick.
NICKY
Bugs, I need help.
FRANKIE (V.O.)
Anything. Name it.
NICKY
Good old Bugs. You don't even ask
what I want, and you're ready to
help. The situation is, I'm with a
girl, and she's in trouble.
FRANKIE (V.O.)
What can I do?
NICKY
Tito's after her. He tried killing
her because she has evidence that
would put him away. Give me an
address, and I'll mail it to you.
FRANKIE (V.O.)
I'll get you the address. And don't
worry, I've got your back.
NICKY
Me too, Bugs. Me too.
EXT COFFEE SHOP - BROOKLYN — DAY
Frankie drives to a local coffee shop and calls Tony.
FRANKIE
Tony, I know Tito's looking for
Nicky. I need to know why?
Tony looks from side to side and sighs.
TONY (V.O.)
I'll tell you, but I don't want any
cop shit. This is between friends.
FRANKIE
Tell me.
TONY (V.O.)
Some broad's got something on Tito,
and Nicky's helping her. Tito put
out a hit on both of them.
FRANKIE
And you didn't tell me?
TONY (V.O.)
That's why I've been trying to find
Nicky. The last I heard, he was in
Kansas City, but now I don't know.
Frankie shakes his head.
FRANKIE
He's not there now. He called me
from Cleveland the other night.
TONY (V.O.)
Can you get him a message? Tell him
Tito's looking for him, so he needs
to be careful.
FRANKIE
I'll get it to him. In the
meantime, if you hear anything, let
me know. I'll do the same.
Genres:
["Crime","Romance","Drama"]
Ratings
Scene
43 -
Strategic Tensions at Cataldi's
EXT. TONY'S CAR — DAY
Tony gets in his car and dials the phone.
TONY
Bobby, take down this number — 555-
4624. Tell our guy to get phone
records of all calls to or from
Cleveland, and get the address too.
INT. CATALDI'S RESTAURANT - BENSONHURST — DAY
Anna Cataldi seats Tony when he enters, and shows him to the
back room, where he sits at the table next to Tito.
TITO
Any news?
TONY
They're in Cleveland.
TITO
Staking out churches worked in
Hershey.
Tony shakes his head.
TONY
Too many churches in Cleveland.
We'd need a hundred men.
Tony slaps his hand on the table.
TONY (CONT’D)
Sfogliatelle!
TITO
You know they don't serve it here.
TONY
Not here. But it's Nicky's
favorite. He can't go a week
without it. And I'd bet there
aren't many places in Cleveland
that sell it, so we stake them out
and wait.
TITO
You're a genius. Get it done. And
make sure to tell everyone if they
have a chance to get Gina, do it.
We can get him later.
TONY
I don't know, Tito. I wouldn't piss
Nicky off like that.
TITO
He's one man, for Christ's sake.
Genres:
["Crime","Drama"]
Ratings
Scene
44 -
Sweet Temptations and Hidden Threats
INT. NICKY'S HOUSE - CLEVELAND — DAY
Nicky exits the front door and turns to Gina.
NICKY
Hey, babe. I'll see you shortly.
GINA
Where are you going?
NICKY
To the bakery, then we're leaving
for church.
GINA
I'm dressing now, but I'll be ready
when you get back. And don't forget
to pick up cannoli.
NICKY
Promise sexual favors, and I might.
GINA
The favors I'll promise, but don't
act like this is for me. You're
only going for sfogliatelle.
Sometimes I think you like eating
that more than other things.
NICKY
Goddamn. That hurt.
GINA
Because I'm right?
NICKY
I guess I'd choose you, but
sfogliatelle comes in close.
GINA
Really? I'll remember that tonight.
EXT. BAKERY BY NICKY'S HOUSE — DAY
Nino Tortella sits in the back of a car. Two others are up
front. He leans forward and taps Tommy Devin on the shoulder.
NINO TORTELLA
Tommy, what's your take? That him?
TOMMY DEVIN
No doubt. I saw him at the hall.
Nino sits back and dials his phone.
NINO
Bingo!
JOHNNY MUCK
Where?
NINO
Bakery. Like you said.
JOHNNY MUCK
Don't let him spot you.
NINO
Don't worry, he —
JOHNNY MUCK
Don't try anything. If he suspects
something, he'll kill you ten times
before you can think of what to do.
Believe me, you don't want him on
your ass. Just follow him. I want
to know where he lives, and I need
to find the girl.
Johnny Muck drives to meet Nino and the others. He parks his
car, then gets in the car with Nino and the rest of them.
JOHNNY MUCK (CONT’D)
Park around the corner. And keep
the car out of sight.
TOMMY DEVIN
Tony said to wait until we could
get them both.
Johnny turns to the other passengers.
JOHNNY MUCK
I've got other orders from Tito. If
we can get her, we do it.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
45 -
A Confession of Love and Loss
EXT. CLEVELAND — CATHOLIC CHURCH — DAY
Nicky parks the car, and he and Gina walk toward the church.
GINA
By the way, I'm going to confession
first. That way, I won't have to
wait soooo long for you to finish.
Gina goes up the steps, turns, and points to Nicky.
GINA (CONT’D)
Wait here, and don't chicken out.
Nicky watches as she walks into the church, head up high.
EXT. CHURCH - DAY — CONTINUOUS
When Gina comes out, Nicky rushes to her and hugs her.
NICKY
Get all those sins absolved?
GINA
(whispers)
Now that I'm cleansed of sin, maybe
we should do something nasty to
taint our souls.
NICKY
You're a bad influence on me. At
least wait for me to confess.
GINA
I'm staying out here to smoke. I
have a feeling you'll be a while.
INT. CHURCH - DAY — CONTINUOUS
Nicky dips his fingertips into the holy water, then steps
inside the confessional. The priest sits on the other side of
the screen.
Nicky makes the sign of the cross and speaks in a low voice.
NICKY
Bless me, Father, for I have
sinned. My last confession was. . .
a few years ago.
EXT. CHURCH — CONTINUOUS — DAY
As Gina smokes, a car pulls to the curb. Three men get out.
The tall one wears a hat and scarf. Gina nods and smiles.
TALL ONE
Good morning.
Gina turns to say hello and panics when she sees the other
men. She runs toward a neighbor's house.
JOHNNY MUCK
Now!
INT. CHURCH CONFESSIONAL — DAY
The sound of GUNFIRE causes Nicky to run outside.
EXT. CHURCH — DAY
Bullets streak past as Nicky opens the church doors. He dives
to the ground and fires back, nicking one. The assailants run
to two waiting cars and continue to fire at Nicky.
The car pulls away and Nicky runs to Gina, who is lying on
the ground. He checks her pulse at the wrist and neck, but
she's dead — shot in the head and heart.
Tears run down Nicky’s face as he kneels next to her. He
holds her in his arms and squeezes. Her blood smears his
clothes. He leans down, kisses her on the lips and whispers.
NICKY
God no. No! I love you, Gina.
The priest walks up and puts his hand on Nicky's shoulder.
PRIEST
The cops will be here any minute.
NICKY
Do what you need to. It makes no
difference.
MONTAGE — TIME TO PAY
— Nicky gets in the car and drives off. Screeching tires are
heard. He punches the steering wheel as he rounds the corner.
— Nicky goes to his house and gets guns.
— Nicky rummages through drawers to get IDs.
— Nicky drives east and north until he gets to NY.
END OF MONTAGE
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
46 -
Descent into Darkness
INT. BROOKLYN — DONNIE AMATO'S HOUSE — CURRENT DAY
Nicky opens Donnie's door and goes inside. He hammers holes
in the drywall two feet apart and puts a thick rope through
the holes.
A car pulls up as he finishes, and he sits on a sofa behind
the door.
Donnie enters the house, glances to his left at the holes in
the wall, chest high, two feet apart.
DONNIE AMATO
What the hell?
Nicky hits Donnie with a bat, knocking him to the floor. He
drags him to the wall and ties him with a thick rope. When
Amato stirs, Nicky puts a knife to his throat.
NICKY
I need a name.
DONNIE AMATO
Fuck you. Who do you —?
Nicky uses a heavy three-pronged fork and shoves it into
Donnie's mouth, breaking several front teeth.
NICKY
If you don't answer, I shoot you.
Donnie spits blood, then nods.
Nicky squirts lighter fluid between Donnie's toes.
DONNIE AMATO
What the fuck are you doing? I
don't know what kind of freak you
are, but I got friends.
NICKY
And I only want the name of one.
DONNIE AMATO
I told you. I don't know.
Nicky lights a match and drops it on the floor. He waits
through several seconds of screaming, then puts the fire out
and waits for Donnie to stop.
DONNIE AMATO (CONT’D)
What the fuck? Are you nuts?
NICKY
I'll ask again. Don't lie to me.
DONNIE AMATO
Wat do you want?
NICKY
I already told you. The name of the
one who planned it.
DONNIE AMATO
All right. All right. Nino T.
Nicky shakes his head and sighs, then jams the prongs into
Donnie's mouth, busting more teeth.
NICKY
You shouldn't have lied.
He squirts lighter fluid on Donnie's balls.
DONNIE AMATO
Johnny Muck. It was Muck! That's
all I know.
NICKY
Now I believe you.
Nicky soaks a rag in lighter fluid and shoves it into
Donnie's mouth. Then he throws a lit match on Donnie's balls.
The flames rush up and catch onto the rag in his mouth.
NICKY (CONT’D)
I'll set your soul free, Donnie.
How about that?
He waits for Donnie to die, then smothers the flames and
spreads evidence. He shoots Donnie — once in the heart and
once in the head, then makes the sign of the cross.
NICKY (CONT’D)
An eye for an eye, and then some.
Genres:
["Crime","Thriller"]
Ratings
Scene
47 -
Clues and Confusion
EXT/INT. DONNIE AMATO'S HOUSE — DAY — TWO DAYS LATER
Frankie is sitting on the stoop when a car pulls to the curb.
Lou gets out and walks slowly to the house.
FRANKIE
I knew it was you, Mazzetti. You
drive like an old woman.
LOU MAZZETTI
Didn't figure Donnie was in any
rush.
Lou sits on the stoop and holds his hand out.
LOU MAZZETTI (CONT’D)
Hit me with a smoke, Donovan.
FRANKIE
You just threw one out.
LOU MAZZETTI
Yeah, well I'm old.
FRANKIE
What the hell does that have to do
with anything?
LOU MAZZETTI
Old people smoke a lot. We don't
give a shit.
Frankie hands Lou a cig, then gestures toward the curb.
FRANKIE
Looks like Kate pulling up.
Kate opens the car door, and walks confidently to the house.
Lou starts to follow Kate inside, but stops abruptly when she
opens the door.
LOU MAZZETTI
Christ, that stinks.
He ducks back out and covers his mouth and nose.
KATE BURNS:
Sissies.
LOU MAZZETTI
She's right. We're pussies.
A minute later, Lou enters, a handkerchief over his mouth.
KATE BURNS
Covering your face and holding your
breath will only help for a moment.
And if your lungs are as bad as I
suspect, probably less.
LOU MAZZETTI
Screw you, Kate.
KATE BURNS
I don't think you have the stamina.
I've seen you climb stairs.
LOU MAZZETTI
Well fuck you, then.
KATE BURNS
Here we go — male genital response
mechanism.
LOU MAZZETTI
Fuck you twice now.
KATE BURNS
And that's pure fantasy.
Frankie leans in and takes a closer look.
FRANKIE
Did he set Donnie's balls on fire?
KATE BURNS
He set everything on fire — feet,
genitals, mouth.
LOU MAZZETTI
Whoever did this was a sick fuck.
Frankie walks around the house, searching.
FRANKIE
You find anything, Lou?
LOU MAZZETTI
If I knew what you were looking
for, I'd know.
FRANKIE
Anything.
Lou pokes Frankie's chest with his finger.
LOU MAZZETTI
Donovan, we got a shitload of
reporters gathering outside, and
you're walking around looking for
things that ain't here. You want to
tell me what's going on?
FRANKIE
All right. But this is you and me.
LOU MAZZETTI
Convince me of something.
FRANKIE
When we were kids, my friend Nicky
used to leave rat shit to let
people know we were the ones who
did the crime. Another time, Tony
put a rat in a guy's fridge.
LOU MAZZETTI
That's it? Rat shit? There's rat
shit in every home in New York. I
got it in my house.
FRANKIE
There was also a dead rat at Nino's
— in the fridge.
LOU MAZZETTI
If you're basing your hunches on
dead rats? You're too stupid to be
a cop.
Genres:
["Crime","Drama"]
Ratings
Scene
48 -
Conflicted Loyalties
EXT. AMATO'S HOUSE — DAY
Frankie storms out and walks into a wall of reporters . He
holds his hands up to block the camera lights and pushes away
the mics. One of the reporters, TOM MASON (50s, Channel 3
News) shoves a mic in front of Frankie.
TOM MASON
Detective, is this a mob hit? Is it
connected with Nino Tortella's
murder?
FRANKIE
Can't say and won't say. When we're
ready, we'll make a statement.
EXT. FRANKIE'S CAR - DAY
Kate catches up to Frankie just as he is getting in the car.
KATE BURNS
Donovan, I know you've got a lot on
your mind, but if you ever want to
just chat, call me.
Frankie looks at Kate and shrugs.
KATE BURNS (CONT’D)
I talk to dead people all day,
Detective. When I get someone who
talks back, I listen.
FRANKIE
You up for dinner?
KATE
As long as you realize I can't do
any favors — work-wise or sexual.
FRANKIE
I just need you to listen. I'm in a
messy situation.
KATE
Listen, I can do. I'm good at it.
INT. SENZU RESTAURANT — NIGHT
Kate enters and looks for Frankie. He’s sitting at a private
table near the back. She sits across from him.
KATE BURNS.
I'm surprised you’re so early.
FRANKIE
I guess that tells you how eager I
am to get started.
KATE BURNS.
No time like the present.
Kate and Frankie both order wine, then Frankie starts.
FRANKIE
I don't like talking to people
about problems. You're the only one
I've ever felt comfortable with.
KATE
I'm flattered. But if you remember,
it was you who broke off our
relationship. I thought we had a
good thing going.
FRANKIE
I take the blame, but right now,
I've got a different problem. In
fact, it's more of a dilemma.
KATE BURNS.
Explain.
FRANKIE
This may sound stupid, but when I
was a kid, I swore an oath with
several other kids to be friends
forever. We stuck by it for years,
but now I think someone is breaking
that oath, and I believe the
murders we're looking at are the
results. The dilemma part is that
going after him puts me in conflict
with my oath as a cop.
KATE BURNS.
How you see it as a problem?
Somebody is killing people. It's
your job to catch them.
FRANKIE
I know it sounds simple, but it's
not. At least, not to me. Maybe if
you grew up like we did, you'd
understand. Swearing an oath in our
neighborhood was meaningful.
KATE BURNS.
Why did you become a cop? Think
about that.
FRANKIE
I don't even know why. I married
young and was about to get
divorced. My two best friends were
on the wrong side of the law, and I
think I just made up my mind not to
go there. Maybe it wasn't because I
wanted to be a cop, more that I
didn't want to be a criminal.
Kate holds Frankie's hands and looks into his eyes.
KATE BURNS.
I like you. We had great times when
we went out. And my judgment is
usually good about people. I'm sure
you're going to do the right thing.
(a beat)
Just keep in mind that technically,
you'd be breaking the law if you
didn't bring him in.
Frankie sighs and nods.
FRANKIE
Tell me what I don't know. But
thanks for the support..
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
49 -
Connecting the Dots
INT. POLICE STATION — DAY
Frankie sits at his desk and searches the files. He suddenly
stops, picks up the phone and dials Lou.
FRANKIE
Mazzetti, I've been thinking since
we left Amato's house. We're
missing something.
LOU (V.O.)
We've been over it a thousand
times, and the same questions go
unanswered. 'Why were the victims
tortured like they were?' and 'How
did they know each other?'
FRANKIE
Yeah, but Tommy Devin wasn't
tortured. Why?
Lou cocks his head to the side.
LOU (V.O.)
Maybe we should look at what Devin
had in common with the others — he
was shot once in the head and once
in the heart.
FRANKIE
Goddamn, Lou. That's it! That's why
he's doing it. I'm calling Carol.
Frankie disconnects the call with Lou.
FRANKIE (CONT’D)
Carol, get me the number for
Cleveland homicide.
Frankie is searching files when CAROL (40, sassy) hands him a
slip of paper with a name, number, and address.
CAROL
One of their best detectives —
Eddie Pollard.
FRANKIE
Thanks. You're a doll.
Frankie dials the number Carol gave him.
EDDIE POLLARD (V.O.)
Homicide.
FRANKIE
Detective, this is Donovan,
Brooklyn Homicide. I've got reason
to believe one of our cases ties to
Cleveland. Got any unsolved cases
with female victims?
POLLARD (V.O.)
Which doll do you want, Detective?
You just hit my number-one pain-in-
the-ass case.
FRANKIE
What have you got?
POLLARD (V.O.)
It was about six to eight months
ago. Woman shot in front of a
church. Age 34. Mary Krasner.
FRANKIE
How was she killed?
POLLARD (V.O.)
Multiple shots to the head and
chest — .38s and 9 mms.
FRANKIE
Any witnesses?
POLLARD (V.O.)
A priest with nothing to say.
FRANKIE
All right. Thanks.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
50 -
A Grim Warning
EXT/INT. FRANKIE'S CAR — DAY
Frankie calls Tony on the way home.
FRANKIE
Someone tried killing Nicky.
TONY (V.O)
What? Tell me.
FRANKIE
You fucked up, Tony. You missed
him. Now he won't stop until he
gets you. And he'll get you last.
TONY (V.O.)
Let him try. I'm not Nino Tortella.
FRANKIE
You're dead. You're dead, and you
don't even know it. Did you forget
who you're fucking with?
EXT. POLICE STATION — NEXT DAY
Frankie pulls up to the station and sees Lou standing on the
sidewalk near the curb. He rolls down his window.
FRANKIE
Lou, what are you doing outside?
LOU
It's our lucky day, Donovan. We got
a body in Valley Stream. I know
it's not our jurisdiction, but we
got a special invitation from the
shooter. He asked for you by name.
INT. VALLEY STREAM — RANCH HOUSE - DAY
Frankie and Lou brush aside the crime scene tape and step
inside. A local COP stands duty.
COP ON SCENE
You Donovan?
FRANKIE
Yeah, and this is my partner.
COP ON SCENE
I'm Bobby Tilton. And if you follow
me, I'll introduce you to the late
Gianni Mucchiatto, also known as
Johnny Muck. I didn't know him but
he must have pissed somebody off.
Frankie steps into the room and gags.
FRANKIE
Jesus Christ!
Johnny Muck's wrists and ankles are bound, with nails
hammered through his hands, feet, and face.
LOU
Some friend you got there, Donovan.
Tilton spins his head to face Frankie.
BOBBY TILTON
You know who did this?
FRANKIE
I know one of the suspects.
BOBBY TILTON
You plan on sharing, Detective?
FRANKIE
I'll send the files — five of them.
BOBBY TILTON
Five? How come we haven't heard
shit about this?
FRANKIE
FBI thinks there are ties to bigger
fish and want us to keep quiet.
Shouldn't have even told you that.
Anything on this guy? Any
connections?
BOBBY TILTON
Not even a parking ticket.
FRANKIE
He must have been a shooter, and he
must have been good to stay clean.
Let me know if you get anything.
BOBBY TILTON
You got it. And you do the same.
FRANKIE
Lou, I'm dropping you off and going
to see Tony.
LOU
And I'm not invited?
FRANKIE
Not a chance. He probably won't
even talk to me. If you're there,
he definitely won't.
(a beat)
But don't forget to ask the lieu
for a surveillance team on Tito.
And tell him it needs to be more
than two guys.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
51 -
Beneath the Surface
EXT. BENSONHURST — CATALDI'S RESTAURANT - DAY
Frankie joins Tony and Paulie at a table.
FRANKIE
You hear about Johnny Muck?
TONY
Don't know any Johnny Muck.
FRANKIE
How about you, Paulie?
PAULIE
Can't say I do, Bugs. Why?
FRANKIE
Guess it doesn't matter since you
don't know him.
(MORE)
FRANKIE (CONT’D)
But I'll tell you this — if he was
the last link between you and the
dead girl, I'd leave town.
Frankie throws a twenty on the table and stands.
FRANKIE (CONT’D)
See you guys ... I hope.
As Frankie walks out door, Tony calls Tito.
TONY
Something happen to Muck?
TITO
I haven't heard from him, although
I wasn't expecting to. But this
isn't a good line. See me later.
INT. TITO'S HOUSE — DAY
Tony parks the car and rushes into Tito's house.
TITO
Tony, glad you made it. Something
happened to Muck all right. He was
butchered. Jesus Christ. Tell him,
Manny. Tell him what happened.
MANNY
Nicky tied him up and nailed him to
the floor. Crucified him on his own
floor.
TITO
Tell it all. Tony's a big boy.
MANNY
He put nails in his hands, feet,
and face.
Manny shakes his head and points a finger at Tito.
MANNY (CONT’D)
I warned you about this. Remember
that shit in WWII about waking a
sleeping giant? I think you woke
one when you killed Gina.
TONY
He's one man, for God's sake.
MANNY
Tell that to Renzo, Tommy, Nino,
Donnie, and Muck.
(MORE)
MANNY (CONT’D)
Johnny Muck, for Christ's sake! He
was a legend, and Nicky killed him.
TITO
Don't worry. I'll kill that fuck.
Tito throws a glass across the patio.
TITO (CONT’D)
Get everybody here. We're gonna
find him.
INT/EXT. PAULIE PERLANO'S HOUSE — DAY
Paulie sits at the table, finishing his coffee when the
doorbell rings. He gets up and answers it.
PAULIE
Nicky, what are you doin' here?
NICKY
You going to invite me in, Suit?
PAULIE
Come on in.
NICKY
I saw your family leave, or I
wouldn't have come.
PAULIE
Yeah, I appreciate that, Nicky. You
want coffee?
NICKY
I could use some.
Genres:
["Crime","Drama"]
Ratings
Scene
52 -
Confrontation in the Kitchen
INT. PAULIE PERLANO'S HOUSE — DAY
Nicky follows him to the kitchen, and lays his gun on the
table.
NICKY
You hear what they did, Paulie?
PAULIE
If you mean about Gina — I heard.
I'm sorry. I know she meant a lot.
NICKY
Meant a lot? She was my wife!
PAULIE
Shit, Nicky, I didn't know.
NICKY
As long as I find out you didn't
have anything to do with it, I
won't kill you. But keep quiet.
PAULIE
Can't do that if you're going after
Tony. I'd do the same for you. I
swear, Nicky, we never wanted this.
Tony fucked up. Got in a jam.
NICKY
Got in a jam?
Nicky picks up the gun and shoves it against Paulie's head.
NICKY (CONT’D)
Tony killed Gina!
He smacks Paulie in the head with the gun, drawing blood.
Paulie falls, bringing his hands to his temple.
PAULIE
Christ's sake. Don't kill me. I
don't mind for me, but my kids ...
He blesses himself after standing.
PAULIE (CONT’D)
I'm sorry about what happened.
Nicky keeps his finger on the trigger, but after about five
seconds, he puts the gun away.
PAULIE (CONT’D)
Tony didn't mean this.
NICKY
Give me the phone.
Nicky takes Paulie's phone and dials the number for Tony.
TONY (VO)
Suit, where are you?
NICKY
It's me, Tony.
TONY (VO)
(weak, pleading)
That you, Rat?
NICKY
I'm with Paulie.
TONY (VO)
Is he okay?
NICKY
Did you forget the oath? I didn't.
TONY (VO)
Fuck you and your stupid oath. That
was thirty years ago. Grow up.
NICKY
Wrong answer. But you get a chance
to give the right one. Did Paulie
have anything to do with this?
TONY (VO)
Is he there? Is he hurt?
PAULIE
I'm okay, Tony, but he's serious.
TONY (VO)
He didn't know anything.
NICKY
I'm coming for you, Tony.
TONY (VO)
Yeah, I know. But don't think I'm
going down like Nino or Muck.
NICKY
I'll see you soon.
Nicky hangs up the phone, wipes it clean, and hands it to
Paulie. He gulps down his coffee and heads for the door.
NICKY (CONT’D)
You're off the hook. I'm glad.
PAULIE
How about Tony — for old times?
NICKY
Can't, Paulie. And you ought to get
out of here. They got cops all over
the place.
PAULIE
Been thinking that anyway. Thanks.
NICKY
Tell the kids good stories about
me, Suit? I wouldn't want them
knowing the bad stuff. And, Suit,
leave the door unlocked. I might
need the house for a few days.
Paulie gives Nicky a hug.
PAULIE
You got it.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
53 -
Betrayal and Regret
INT. SURVEILLANCE HOUSE ACROSS FROM TITO'S — DAY
Frankie walks up the stairs to a small living room with TWO
MEN manning surveillance cameras and ONE monitoring a
listening device.
FRANKIE
What's going on? Any news?
SAPPERSTEIN (40s) gestures behind him.
SAPPERSTEIN
Morreaux broke down and gave us
more help. We wired Tito's house
this morning after he left. And
we've also got Tony Sannullo wired.
FRANKIE
I can't believe he went for it.
SAPPERSTEIN
I think he saw that he had little
choice, Detective.
FRANKIE
Get anything on the wire?
SAPPERSTEIN
Nothing yet, but we will. Wait! I'm
getting something.
NICKY (V.O.)
(heard on wire)
Get in, Tony.
TONY (V.O.)
Nicky, what are you doing here?
FRANKIE
It's Nicky. He's got Tony. Get some
bodies over there. Shit! Do we know
where they are?
SAPPERSTEIN
The 43rd St. parking garage.
Frankie dashes for the door.
FRANKIE
I'm on my way, Tony. Hang on.
EXT. TONY'S CAR — PARKING GARAGE — DAY
Nicky stands behind a concrete pillar, waiting. Tony walks
down the ramp and opens his car door. Nicky steps behind him
and presses a gun to his back.
NICKY
Move to the passenger seat.
Nicky climbs behind the wheel, still holding the gun.
TONY
Get the fuck out of my car.
NICKY
Shut-up and enjoy the ride.
TONY
Why are you going this way?
Cataldi's is left.
NICKY
You'll see.
INT. PAULIE PERLANO'S HOUSE — DAY
Nicky takes Tony into Paulie's house, now empty.
NICKY
Don't try anything. I'm not going
to torture you like I did the
others. Maybe it's Mamma Rosa.
Maybe it's the friendship we had.
You should thank God for whatever
it is.
(a beat)
Decide how you want it, Tony. I
don't have a lot of time.
Tony spits on the floor and scowls.
TONY
You pitiful fuck. You lived your
life in my shadow: raised by my
mother, relied on me for grades,
got a job with my boss, then you
fall for a girl you're supposed to
take out. Fuck you, Rat. This is
the real world.
Nicky lays his gun on the counter and punches Tony.
NICKY
You dirty fuck. Shooting is too
good for you. I'm gonna kill you
with my bare hands.
Tony yanks Nicky's legs from under him.
TONY
You're not killing anybody today.
They struggle, rolling on floor. Tony hits Nicky with an
ashtray and gets on top, pummeling him. Nicky uses his foot
as leverage and pushes against the counter to roll Tony off.
Nicky grabs the gun and stands. He points it at Tony.
NICKY
Don't even blink.
Nicky starts to pull trigger, but stops.
NICKY (CONT’D)
Tony, you're —
Tony charges, going for the gun. Nicky instinctively fires,
dropping Tony to the floor, bleeding badly from the gut.
TONY
Guess I'm going out the way I want,
Rat. Had to make it easier for you.
I knew you'd do it anyway.
Nicky grabs a towel and kneels next to Tony.
NICKY
Apply pressure. I'll call an
ambulance.
TONY
Just get out of here, Rat. You
can't let them find you.
NICKY
As much as I hate you for what you
did, I can't let you die alone.
TONY
Get outta here and remember the
good times we had. I'll be okay.
NICKY
Why'd you do it?
TONY
Too many things went wrong, Nicky.
You'd have killed me anyway. I was
on drugs then. I didn't mean it.
NICKY
What are you talking about?
TONY
Never mind. But you gotta know,
Bugs didn't do anything. He kept
the oath. Sorry, Rat. I Didn't want
it to go like this.
NICKY
You swear Bugs didn't know.
TONY
He was trying to give me a heads-
up, and I traced his calls. I swear
on my mother's eyes.
NICKY
On Mamma's eyes? You swear it?
Tony nods.
NICKY (CONT’D)
You want a priest?
TONY
Not even if I believed. I don't
want Mamma seeing me. Shame on me
for what I've become.
Nicky wipes his eyes with his sleeve.
NICKY
Shame on both of us, Tony.
Nicky holds Tony in his arms until he dies.
NICKY (CONT’D)
Mi dispiace, Mamma Rosa. I'm so
sorry.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
54 -
Unraveling Secrets
EXT. FRANKIE'S CAR — DAY
As Frankie drives through Prospect Park, his phone rings.
FRANKIE
Yeah.
LOU
Tony Sannullo's dead.
FRANKIE
What? Where?
LOU
Ambulance picked him up at
Perlano's house.
FRANKIE
That doesn't make sense. Never
mind, I'll see you there.
INT. PAULIE PERLANO'S HOUSE — DAY
Lou is at Paulie's house when Frankie arrives.
LOU
So where the hell is Perlano? Your
buddy kill him too?
FRANKIE
Is his family around?
LOU
Nobody's seen 'em.
FRANKIE
Good. It means he's still alive.
Nicky would never kill his family.
LOU
I don't know if Nicky did this.
Looks like there was a fight, and
Sannullo was shot. But he was shot
just once in the gut. No head shots
and no torture. It doesn't fit.
FRANKIE
That's something, but I don't know.
LOU
Another thing. The ambulance was
called from the house, like the
shooter made the call.
FRANKIE
If the shooter made the call, and
if Tony was still alive, it must
have been an accident.
LOU
That's how I see it.
FRANKIE
Maybe Tony and Paulie fought and
the gun went off.
LOU
Whatever you say.
INT. SURVEILLANCE HOUSE ACROSS FROM TITO'S — NIGHT
Frankie parks on the next block. He and Mazzetti walk to the
surveillance spot above the deli.
A cab drives slowly past Tito's house. Nicky hides in the
back and a passenger sits up front.
NICKY
Any cars parked on the street?
PASSENGER
All the way up and down.
NICKY
(to passenger)
Okay, you're gonna get out here,
walk slowly down street and turn
right at the corner. Cabbie, you
pick him up on the next block.
CABBIE
What are you doing?
NICKY
That's my business.
The door opens and the passenger gets out. Nicky sneaks out
and gets under the car, then crawls up the street to the next
car. He continues until he is under Tito's car.
Nicky stays there until the front door to Tito's house opens.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
55 -
Under Threat
EXT. TITO'S HOUSE — DAY
Tito’s car doors unlock, then Manny starts the car, and
beeps. When the door opens, Nicky rolls out from under the
car, yanks the door open, and shoves a gun into Tito’s face.
NICKY
Lock the doors and hit the gas.
MANNY
Where to?
Nicky draws a second gun and presses it against Manny's head.
NICKY
Just move.
TITO
You're dead!
Nicky pops Tito with a tranquilizer dart.
MANNY
What the fuck? You kill him, Nicky?
NICKY
Just put him out. Take the first
right. If you try anything, you're
dead. If we get caught, you're
dead. If anything goes wrong,
you're dead.
MANNY
We're not getting caught. I been
doing this too long.
NICKY
I know. I'm just reminding you.
Now, take a right at the second
corner, then a quick left. Make
sure you lose any tails.
MANNY
Sorry, what they did to Gina.
Nicky stares into the rearview mirror and looks at Manny.
NICKY
That true? About you being sorry?
MANNY
I liked her. She had balls.
NICKY
(laughing)
Yeah, she did. Manny, I don't want
to kill you. Do I have to?
MANNY
They won't get a word out of me.
NICKY
If you talk, I'll find you. It'll
be worse than Johnny Muck.
Manny holds up his right hand as if swearing.
MANNY
I don't even know you.
NICKY
Do as I say, and you'll be safe.
Drive to Red Hook.
MANNY
Just tell me when to stop.
EXT. RED HOOK — DAY
Manny pulls into an empty parking lot near a warehouse.
NICKY
Help me get Tito out, then give me
your cell and your keys.
MANNY
That all?
NICKY
I wasn't fucking with you earlier.
You say anything, and I'll find
you.
MANNY
You lettin' me go?
NICKY
I said I would.
They place Tito in the car, then Nicky gets in.
NICKY (CONT’D)
Manny, if the other bosses get an
idea to come after me, tell them
I'm through with it. This was
between me and Tito.
MANNY
You got it, Nicky. Thanks.
NICKY
Take care, Manny.
Genres:
["Crime","Thriller"]
Ratings
Scene
56 -
Descent into Darkness
EXT. JOHNNY MUCK'S STREET — DAY
Nicky puts Tito in a wheelbarrow and covers him with a
blanket. He takes him down to the cellar, then ties him to a
table and gags him.
Tito is lying spread-eagle on the table. Nicky puts on a
raincoat and a plastic cover, then screws Tito’s hands and
feet to the table. Tito’s screams are heard through the gag.
Afterward, Nicky positions a 55-gallon drum above Tito’s ass,
and removes the gag.
TITO
I'm gonna kill you.
NICKY
You shouldn't have come after us.
But since you did, you should have
finished the job. That was Johnny's
most important rule.
TITO
Yeah, well I finished the job on
that bitch. I hear she died on her
back like the whore she was.
Nicky grits his teeth.
NICKY
I'd almost made up my mind to be
merciful, but you just ruined that.
Nicky grabs a hammer and spike and puts the gag back in.
Afterward, he tapes Tito's mouth.
NICKY (CONT’D)
You asked if anyone fucked me in
prison. I figured you were curious,
so I thought I'd let you see what
it feels like.
Nicky places a spike into Tito's ass, then steps back.
NICKY (CONT’D)
That drum is filled with water,
making it weigh about 500 pounds.
It's held in place by being tied to
another drum, equalizing the
weight. I'm going to drill a small
hole in that other drum. As the
water drains, the drum above you
will lower, driving the spike
further into your ass. Enjoy.
Nicky watches for a while, then dials Bugs, who is listening
to a voicemail from Paulie when the phone rings.
FRANKIE (V.O.)
Yeah?
NICKY
Hell of a way to answer, Bugs.
FRANKIE (V.O.)
Nicky, where are you?
NICKY
Doesn't matter where I am. I don't
even know why I'm calling except
maybe to say I'm sorry. Sorry about
a lot of things, but mostly I'm
sorry about Tony. That was an
accident. He came at me.
FRANKIE (V.O.)
You okay? Sounds like you're
crying.
NICKY
Jesus Christ, Bugs, he died in my
arms.
FRANKIE (V.O.)
Where are you?
NICKY
Right in my arms, and I couldn't
save him.
FRANKIE (V.O.)
Where are you?
NICKY
I'm with Tito. I'm not coming for
you. Tony told me you had nothing
to do with it. Sorry I thought
different, just . . . shit, I don't
know. I'm fucked up.
FRANKIE (V.O.)
Nicky —
NICKY
How did it go so wrong? Everything
went so wrong —
FRANKIE (V.O.)
If you think it went wrong before,
believe me, it hasn't started. I'm
coming to arrest you.
NICKY
I'm done. Tito was the last one.
FRANKIE (V.O.)
Last chance. Tell me where you are.
Nicky hangs up the phone and Frankie calls Lou.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
57 -
Race Against Time
INT/EXT. FRANKIE'S CAR — DAY
FRANKIE
Mazzetti, I'm on my way to pick you
up. We've got to find Nicky.
LOU (V.O.)
I'll wait in the parking lot.
The tires squeal as Frankie's car rounds the corner to pick
up Lou. He comes to a quick stop.
FRANKIE
Get in quick. Nicky's got Tito.
LOU
I hope he finishes before we get
there. Got any idea where he is?
FRANKIE
Knowing Nicky, he'd go somewhere we
wouldn't think to look, somewhere
we've already looked.
LOU
Like a previous murder scene?
FRANKIE
Jesus Christ! That's it. He's at
one of the houses. I bet it's Muck.
Frankie does a U-turn and flips on the siren.
FRANKIE (CONT’D)
You better run, Rat. I'm comin'.
INT. JOHNNY MUCK'S HOUSE — DAY
Nicky waits until Tito is dead, then he plants the gun Gina
had given him. He sees cars pull up and block the street.
Nicky runs across the backyard, through a breezeway, then
across another street. He ducks into a garage, finds
gasoline, pulls out his phone, and dials 9-1-1.
9-1-1 OPERATOR
9-1-1. What's your emergency?
NICKY
I'd like to report a fire.
MONTAGE: FIRE
- Nicky lights the garage on fire, then exits.
- From behind shrubbery, he watches the firetrucks race past.
- He joins a growing crowd of people and enters the subway.
END OF MONTAGE
FRANKIE
Where the hell is he?
LOU
I'd go to the mall. Lots of people,
and it's only a few minutes away.
FRANKIE
That's it! Green Acres Mall is only
half a mile from here. I want three
men with me.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
58 -
Confrontation in the Restroom
INT. GREEN ACRES MALL — DAY
Bugs, Sapperstein, and Mazzetti rush into the mall.
FRANKIE
Sapperstein, take somebody and go
left. Lou, go right. I'm going
upstairs.
FOOD COURT - SECOND FLOOR - DAY
Nicky sees Bugs riding up the escalator, and makes his way
toward the restroom.
Frankie gets off and scans the crowd in the food court. A man
heads toward the restrooms that looks like Nicky. Bugs draws
his gun and follows.
RESTROOM — DAY
FRANKIE
Everyone out now! This is police
business.
After everyone leaves, one stall door remains closed.
FRANKIE (CONT’D)
Come on out, Nicky. It's over.
NICKY
I'm unarmed.
Nicky exits the stall with his hands raised.
FRANKIE
I ought to shoot you right here.
Frankie shoves him against the wall and frisks him.
NICKY
You won't find anything.
FRANKIE
I bet I'll find gunshot residue.
Washing your hands won't get it off
your clothes.
NICKY
Maybe. But maybe I just came from
the shooting range.
FRANKIE
Fuck your maybe. You're caught.
Bugs drags him to the sink and places a gun against his head.
FRANKIE (CONT’D)
You fuck, killing Tony like you
did.
NICKY
You don't want to push this, Bugs.
I don't need a gun to kill you. But
you can shoot me if you want. You
already ruined my life.
FRANKIE
Ruined your life? You're the one
who turned into scum. It was your
choice.
NICKY
My choice?
Nicky moves closer to Bugs.
NICKY (CONT’D)
Nino, Renzo, Tommy, Donnie, Johnny
Muck. All those bodies are on you.
I wouldn't have killed them if they
didn't get to Gina.
(a beat)
And who led them there? You're to
blame. Just like everything else.
FRANKIE
What do you mean 'everything else'?
Nicky stares. Tears running down his face.
NICKY
Everything. Woodside, prison, me
being a shooter. I was clean, Bugs.
Me and Angie, we —
FRANKIE
What are you talking about with
Woodside?
NICKY
Guess you don't know. Donna came to
me that night when I was going to
pick up Angie.
(MORE)
NICKY (CONT’D)
She told me you were going after
Woodside and that they had guns.
She begged me to help.
Frankie lowers his gun. His knees buckle.
FRANKIE
Donna? How did she know they had
guns? Jesus Christ, why didn't you
tell me this?
NICKY
When was I gonna tell you? When you
didn't visit me in prison? Or in
answer to the letters you didn't
write? Besides, it was over. I was
in prison.
FRANKIE
You could have said something.
Nicky shakes head.
NICKY
We weren't raised like that.
Besides, you have nothing on me.
There's more of your DNA at the
scenes than mine, not to mention
Tony's, Paulie's, and Tito's.
FRANKIE
Are you done with it?
NICKY
There's nobody left.
FRANKIE
I'm making a judgment call. I don't
think we have enough evidence, but
who knows what somebody upstairs
might think. If I were you, I'd get
the fuck out of here. In fact, I'd
disappear for good.
NICKY
Might be hard to disappear with
cops all over the place.
FRANKIE
Right now, they have nothing on
you. Even if they find your DNA,
they have a dozen other people's,
so you'd be one of many.
Bugs lights a smoke, puts it in his mouth, and takes a few
drags. Then he crushes it out on the floor.
FRANKIE (CONT’D)
You're leaving me in a rough spot.
I've got no one to pin these
murders on.
NICKY
Suppose you had Tito's gun, with
Tito's prints?
FRANKIE
That would be nice, but I don't
have that.
NICKY
I bet when they search Tito's coat
they'll find it.
FRANKIE
Another of those damn coincidences?
NICKY
Yeah, and to top it off, I'd bet
this gun was the one that killed a
guy named Danny Zenkowski.
FRANKIE
So who killed Tito?
NICKY
Must have been a grieving family
member of someone he killed. Who
knows? You're the detective.
FRANKIE
Yeah. But how did you know I'd get
assigned the cases?
NICKY
I didn't, but I knew Tito and Tony
would pay attention to their guys
getting whacked. And I knew when
Tony saw the clues, he'd tell you.
FRANKIE
He didn't.
NICKY
Yeah, well, you know what Sister
Thomas used to say — the Lord works
in mysterious ways. Besides, I
never counted on Tony being the one
to betray me.
FRANKIE
Just a suggestion, but you should
leave. Maybe go on a vacation. Or
better yet, find Angie.
NICKY
She's married, or did you forget?
FRANKIE
I was married once. Didn't take.
NICKY
Maybe I will, Bugs. Maybe I will.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
59 -
Rekindled Hearts
INT. FOOD COURT - DAY
Frankie goes to the food court and sees three of his men.
FRANKIE
Find anything?
EXT. ROW HOUSE - WILMINGTON — DAY
Nicky drives to Angie's old house. An OLDER WOMAN (70s, gray
hair) answers.
OLDER WOMAN
May I help you?
NICKY
I'm looking for Angela Catrino.
OLDER WOMAN
Angela lives a few blocks away. Let
me think ... 1022 —
NICKY
Clayton Street?
OLDER WOMAN
Yes, that's it — a block from the
school. Are you from around here?
NICKY
Yeah. Long time ago; in fact, I
used to live in that house. I
appreciate your help, and sorry
again to have bothered you.
OLDER WOMAN
Tell Angela I said hello.
EXT. ANGELA'S HOUSE BY PARK — DAY
Nicky pulls to the curb by the park and watches the house,
afraid to knock on the door.
He starts the engine, prepares to leave, then turns it off,
and punches the dashboard.
He starts the engine again, but this time, he drives down the
block to Angie's house and knocks on the door. A woman
wearing a green-and-white apron, stained with red sauce,
opens the door.
NICKY
Do I smell garlic and meatballs?
INT. ANGELA'S HOUSE — DAY
Angie squints, then steps back. Her hands fly to her mouth.
ANGELA
Nicky! Nicky Fusco. Oh, my God.
Come inside. Please?
NICKY
Angela, I —
Angela turns her head and cries, then she wipes her tears and
faces Nicky.
ANGELA
Don't say anything. Not a word. I
need to know it's real.
Nicky wraps his arms around her and squeezes.
NICKY
Angie, I'm sorry. I didn't want to
upset you.
ANGELA
Sorry? Where have you been? When I
heard you got out and didn't come
by, I thought you didn't care. I
thought you hated me.
NICKY
How could I ever hate you?
ANGELA
Why didn't you call?
NICKY
I didn't feel it was right ... you
being married and all.
ANGELA
Nicky, I haven't been married for a
long time. After we got divorced, I
bought your old house.
NICKY
What about your child?
ANGELA
You know about her?
NICKY
Sister Thomas told me.
ANGELA
And that's what kept you away? You
thought I'd been with someone else?
NICKY
Angie, I loved you so much I
couldn't take it. I thought you
left me for someone else. I —
She smacks his face, then again, then breaks into tears.
ANGELA
All this time we could have been
together. Oh, God, Nicky, how could
you do this?
NICKY
Angela, if it's any comfort to you,
I — never mind. I'm a goddamn
idiot. Sorry I came.
Nicky grabs the doorknob to leave, but before he opens it,
Angela yells.
ANGELA
Nicky Fusco! Get your ass back
here. You're not walking out on me
again.
ANGELA (CONT’D)
Sit, Nicky. There's a lot you
should know. First, the man I
married is her stepfather, not
father. And he's not her stepfather
anymore. And no, Nicky, there has
never been anyone else. I may have
had to share my bed temporarily,
but I never shared my heart.
NICKY
I'm the stupidest man alive.
ANGELA
There's something else you need to
know, and you won't like it.
NICKY
You can tell me anything.
ANGELA
Remember that day I came to see you
in prison, the last time?
NICKY
I remember, Tony drove you.
ANGELA
(sobbing)
Yes, Tony drove me, and he was high
on drugs. On the way home, he ...
Nicki nods and listens intently. As Angela talks, he
occasionally grits his teeth or grimaces. Then he reaches out
and holds her hands. When she finishes, he hugs her.
NICKY
You don't have to worry about him
anymore. He's dead. I shot him.
ANGELA
(shocked)
You knew?
NICKY
No, and it's a long story, so I'll
tell you later.
ANGELA
I want to be with you forever.
NICKY
Then let's plan on it.
ANGELA
I think we should go upstairs.
NICKY
What about your daughter?
ANGELA
It's our daughter — if you’ll have
her. And don’t worry. She won't be
home for hours.
NICKY
I intend to make up for lost time.
It may take hours.
ANGELA
Promise?
NICKY
Promise.
INT. ANGELA'S HOUSE — BEDROOM — DAY
After making slow passionate love, Angie lays her head on
Nicky's shoulder, her arm draped across his neck.
ANGELA
I love you, Nicolo Fusco.
NICKY
And I love you, Angela Catrino.
Genres:
["Crime","Drama","Romance"]
Ratings
Scene
60 -
A Night of Connection
INT. FRANKIE'S APARTMENT - BROOKLYN — NIGHT
Frankie calls Kate but the call goes to voice mail.
KATE (V.O.)
This is Kate. Leave me a message.
FRANKIE
Hey, uh, Kate, this is Frankie. I
was checking to see what you were
doing. Thought maybe ... I don't
know ... thought maybe I'd take you
up on that offer to chat.
Frankie pours a glass of wine, turns on some music, then
while changing clothes, his doorbell rings. He answers,
dressed only in his boxers. He opens the door to see Kate
standing in the hall holding pizza and wine.
FRANKIE (CONT’D)
Kate! What the hell are you doing
here?
KATE
Do I get to come in? You sounded
like you needed company, so I
canceled all my dates, and here I
am.
FRANKIE
Damn, excuse me. Let me slip some
pants on.
KATE
We've got hot pizza and slightly
chilled wine; besides, I’ve seen
you in less. The pants can wait.
(a beat)
Sit down and tell me about the
case. It's all over the papers.
FRANKIE
It was a tough one. It involved all
my old friends. And it involved the
oath we had.
KATE
The oath you told me about?
FRANKIE
Yeah, when we were kids we used to
put our fists together and raise
them in the air and holler
'Friendship and honor.' It was kind
of stupid, but it worked for a long
time.
KATE
Whatever happened with this oath?
FRANKIE
It's dead. All the guys are gone.
KATE
So tell me, Frankie, what good did
all this do? You drove yourself
crazy, you almost got fired — hell,
you almost got killed.
Frankie sips on his wine and looks at the ceiling.
FRANKIE
I can't explain. It would be tough
to explain to anyone how Nicky and
I grew up, how close we were.
Frankie sits up straighter and stares at Kate.
FRANKIE (CONT’D)
Understand, when I say 'grew up
together' I don't mean we spent a
few summers at the beach or went
camping. We did everything
together. We were hauled to the cop
station together when we were six;
we shared our first dates; our
first break-ups; our first gang
fight.
Frankie stares at the wall, smiles, then takes Kate's hand.
FRANKIE (CONT’D)
The night Nicky's father died, I
walked the neighborhood with him
until six in the morning. Goddamn,
Kate, he killed somebody to save
me. Killed them. And it cost him
ten years in prison.
(a beat)
No matter what people might think
of him, that's who Nicky is, and
who he'll always be. I almost lost
that, but luckily it worked out.
Frankie leans against the sofa cushion and smiles.
FRANKIE (CONT’D)
We swore to an oath almost thirty
years ago. With most people, oaths
don't last forever, but with some
people they do. And when that
happens, it's great. It makes you
feel as if your life means
something. It almost feels like
immortality — like you can live
forever and nothing else matters.
KATE
Well, Donovan, if you're game, I'd
like to give that a shot. I've
never felt that way, and I think
I'd like to.
Frankie kisses her, then holds her tightly.
FRANKIE
I'm game. I'm definitely game.
KATE
I like you, Frankie, and not just
for sex. We could be real friends.
I'd even take an oath.
FRANKIE
You feel like watching a movie?
KATE
What kind?
FRANKIE
An old one — black-and-white.
They're the best.
Kate kicks her shoes off and tucks her feet under her legs.
KATE
I think so too. By the way, you can
put pants on now. I don't want that
thing poking out during the movie.
Frankie leaves the room laughing, and Kate laughs too — real
hard.
INT. BEDROOM - CONTINUOUS
Frankie sits on his bed and just listens to Kate laugh.
FADE OUT