'THE ROAD FROM POLAND'
“THE JUDAS GOAT”
or
“WARP”
by
Max Werner
884 Kenduskeag Ave.
Apt. C
Bangor, Maine 04401
207-990-3525
FADE IN:
INT. PHONE BOOTH - NIGHT - ON A YOUNG WOMAN
She EXITS from the phone booth and returns to a parked MERCEDES and gets in.
From the expression on her face, we SEE that she senses something is wrong. In her mind, she hears a MAN’S VOICE-OVER.
MAN (V.O.)
. . . and he couldn’t leave any witnesses behind.
She freezes.
From the back seat of the Mercedes, a GLOVED HAND points a pistol at the back of the woman’s seat.
Two LOUD PINGS RIP through the seat.
The woman slumps toward the steering wheel.
TO A MAN IN BLACK IN THE BACK SEAT
He leans between the seats toward Drew and holds her head in his gloved hands and brushes her hair from her face.
MAN IN BLACK
Mama should have told you there’d be days like this.
INT. DARK ROOM - NIGHT - ON A MAN
whose face is obscured, looking at a photograph. His posture suggests resignation, defeat.
EXT. COUNTRYSIDE IN SUMMER - DAY
A GOAT peacefully grazes in a meadow next to a slaughterhouse.
A HIGH-PITCHED WHISTLE BLOWS.
The goat startles, raises its head.
EXT. CURVED CONCRETE PATHWAY - DAY
ON entrance of the slaughterhouse. The JUDAS GOAT approaches from around the corner. A few beats later a herd of SHEEP follows.
The first sheep enters the slaughter chamber.
INT. RESTAURANT - NIGHT - ON RICO
age 38, of Italian descent, a little over five feet tall. He is dressed in a cheap suit. His hair is meticulously combed.
The interior of the restaurant is dimly lit.
RICO sits at a corner table, scowling into his drink as he taps his fingers on the table nervously.
MINCING STEPS in polished SHOES approach the table. PAN UP.
The SUIT, in his forties, is well dressed. He is tall and handsome. He accepts Rico’s invitation to sit down.
Rico’s presence pales compared to the Suit’s.
SUIT
You look a little green around the gills. You irregular?
RICO
Yeah. Gimme the name of your proctologist.
SUIT
You have no respect. My wife’s at a civic meeting tonight, and I could be over at my secretary’s apartment, bangin’ her until she’s blue in the face, but instead I come over here to save you from yourself.
He stops short as a WAITRESS in a tightly molded miniskirt approaches their table and takes his order.
The Suit calculates the trajectory of Rico’s focus on the waitress’ swaying hips, walking back to the bar.
SUIT
This guy with the fantasy of replacing me tells me he’s figured out a way to take down your operation.
RICO
We been down that road before. What’s he have in mind, napalm or anthrax?
SUIT
His specialty is rats.
The Suit shakes his head.
SUIT
I ignore him when he wants to give me the details. Don’t want anybody to get the idea somebody’s looking out for your interests. . . .
RICO
You’re not givin’ up much.
SUIT
I got nothin’ more to give at the moment, but if I were you I’d be thinking about hiring a security consultant.
The Suit neatly pushes his chair back from the table and stands up.
The expression on his face is smug.
As the Suit walks away, Rico leans back in his chair and exhales a sigh and shakes his head.
From a roll of BILLS, Rico removes a DOLLAR BILL and leaves it on the table and EXITS.
FLASHBACK - INT. GOVERNMENT BUILDING/OFFICE - DAY
We HEAR a THUMP and SEE a dart hitting the picture of J. Edgar Hoover (pinned to a dart board).
TURNER, the stereotypic, clean-cut agent, about forty, sits behind a desk. The SUIT stands across from him.
TURNER
Penetration from the outside has never worked because he hand-picks his people from inside the organization. He thinks he’s Gambino and has somebody taste his fettucini before he eats it.
(pause)
What we need is a different bag of tricks.
Turner smiles cryptically.
END FLASHBACK
INT. INDOOR FIRING RANGE - DAY - ON RICO
as he prepares to fire. ANGELO, Rico’s brother, stands next to him, watching. He is 42, overweight.
Rico smiles and quickly fires off nine rounds. All rounds but one miss the bulls-eye.
Angelo shakes his head and rolls his eyes. Rico looks around to see if anybody else has observed his poor marksmanship.
Both men walk to a cooler. Rico fills a paper cup.
ANGELO
(sotto voce)
What is the thinking man’s response?
RICO
Practice, practice?
ANGELO
About our problem, cavone.
Angelo tilts his head back and looks at a whirring ceiling fan.
RICO
He basically didn’t tell me shit.
ANGELO
They know we can’t be penetrated, so the rat has gotta be somebody we own, and the question is who and how did they turn him?
INT. BOSTON AQUARIUM - DAY - ON THE BACKS OF A MAN AND A WOMAN
as they look at the marine life in the main aquarium.
From a distance, over their images, WE HEAR FILTERED VOICE- OVERS:
MALE (V.O.)
I need you.
FEMALE (V.O.)
You haven’t called me in two years.
MALE (V.O.)
I haven’t forgotten how good you are, and I need your services.
FEMALE (V.O.)
You know my rate.
MALE (V.O.)
Cost is never the problem,
(pause)
Ya gotta find somebody for me.
FEMALE (V.O.)
It’ll cost you my rate times two, and I’m in with a condition.
MALE (V.O.)
What’s that?
FEMALE (V.O.)
This has to be strictly business.
MALE (V.O.)
(laughs)
No perks?
FEMALE (V.O.)
No perks, no candlelight dinners, no Lord of the Rings, no blow-jobs.
EXT. JFK INTERNATIONAL AIRPORT - DAY - ON JET
on the flight-line, waiting to taxi in.
The echoing roar and whine of jet engines is overpowering.
INT. SHUTTLE JET - ON ANGELO
as he sits apprehensively in a window seat.
He wears a yellow blazer and black trousers. His face is flushed. His forehead is covered with beads of perspiration.
He picks up a newspaper and looks at it, then throws the paper down.
EXT. JFK INTERNATIONAL AIRPORT - DAY - ON JET
taxiing to the terminal.
INT: JFK LUGGAGE CAROUSEL - DAY - ON ANGELO
waiting impatiently, looking at the opening from which luggage spills onto the carousel.
He spots a black duffel bag and picks it up and starts walking. In his other hand, he carries a one-suiter.
Angelo walks to a locker near a set of revolving doors. He opens the locker and removes a small black CASE.
BATHROOM STALL
ANGELO opens the black CASE and removes a 9 mm PISTOL. He places the pistol in his inside coat pocket.
INT. TERMINAL - ON ANGELO
walking back to the locker. He opens it and places the CASE back in the locker and locks it.
Angelo EXITS through the revolving doors.
INT. TAXI - DAY - TRAVELING
We HEAR a BOB MARLEY tune as the taxi dances around other vehicles.
CUT TO ANGELO
sitting in the back seat. He frowns as he looks at the DRIVER’S head, a Medusa of dreadlocks.
ANGELO
Hey, man, will ya turn dat monkey juice down to a mild roar?
DRIVER
Woteva she say, mon. . . .
The driver’s glazed eyes reflect in the rearview mirror.
The duffel bag now lays on the seat next to Angelo.
INT. NEW YORK ATHLETIC CLUB/LOBBY - DAY - ON ANGELO
standing out conspicuously against the stuffy atmosphere as he registers for a room.
A scrawny, beady-eyed CLERK winces, looking at Angelo’s yellow blazer.
A BELLHOP approaches tentatively.
ANGELO
Forget about the duffel bag; take the one-suiter.
The bellhop follows Angelo to the elevator.
ELEVATOR
Next to the BELLHOP, ANGELO stands stiffly in the back of the elevator. Nervously, he unloosens his tie.
INT. ROOM
ANGELO gives the BELLHOP a tip and, after the bellhop EXITS, empties his pockets on the bedside table, picks up the phone, and punches in numbers. Through the window, he looks toward Central Park.
INSERT - PISTOL on the table with his wallet, keys, etc.
BACK TO SCENE
ANGELO
Everything goin’ down as planned?
Angelo is nervous as he listens.
MICKEY (V.O.)
So far so good. Everybody’s in place.
ANGELO
. . . I’m thinkin’ I don’t wanna go to that damn wedding.
MICKEY (V.O.)
Try to make the best of it. Keep everything normal. If Gino’s daughter weren’t such a scag, you probably wouldn’t mind givin’ her a goose instead of an envelope stuffed with hundred dollar bills for the privilege of dancin’ the tarantula with her.
FLASHFORWARD INT. BALLROOM FANTASY - DAY
Revealing GINO and LOU, dressed in tuxedos, as they observe the action on the dance floor.
Gino, in his early seventies, personifies wealth and power.
Lou, in his sixties, is heavy-set and resembles JACKIE MASON.
ANGELO and a rather homely BRIDE dance in the middle of the ballroom floor.
The GUESTS clap their approval.
BACK TO SCENE
Angelo paces back and forth with the phone to his ear.
MICKEY (V.O.)
Everything is goin’ down as planned, so don’t give yourself a fuckin’ heart attack. . . when they see you recovered the product and cash you’ll be smellin’ like a rose in a pile of shit.
After hanging up, Angelo gets up from the bed and puts the duffel bag into the closet.
He turns on the TV and surfs the channels. He winces as he observes the execution of Chinese criminals in a sports stadium.
He changes the channel. A JAMES CAGNEY film plays on the TV.
The digital clock read on the night stand is 8:30.
Angelo undresses and removes clothing from the one-suiter and methodically dresses in a completely black outfit, including black cap.
He takes the service elevator to the first floor and EXITS from the side entrance of the club. He heads in the direction of downtown.
A nondescript car picks him up and speeds away.
INT. NEW YORK ATHLETIC CLUB BATHROOM - DAY (NEXT MORNING) - ON ANGELO
standing at the bathroom sink, shaving.
He looks beat.
He brushes his teeth and does a thin line of cocaine.
He pulls in his stomach and addresses the image in the mirror.
ANGELO
(mimicking Marlon Brando)
Ya could lose ten pounds. . . or maybe fifteen, but any guy who’d screwed as much as you did this past week woulda needed medical attention and a fuckin’ shot of testosterone. . . OUCH.
EXT. NEW YORK ATHLETIC CLUB - DAY (LATE MORNING) - ON ANGELO
dressed to the nines, standing on the steps. His face is flushed, and a tab of tissue paper conspicuously sticks to his neck.
He has the duffel bag and one-suiter with him.
A black CADILLAC pulls up. A WISE GUY gets out of the passenger side, nods at Angelo, and takes Angelo’s duffel bag and places it in the trunk.
Angelo and the Wise Guy get into the Cadillac.
EXT. L. I. EXPRESSWAY - DAY - ON CADILLAC TRAVELING
past that morbid stretch of weathered grave stones on both sides of the expressway.
INT. CADILLAC - SCENERY THROUGH WINDSHIELD
From the back seat, ANGELO looks past the DRIVER and HIS COMPANION in the front. The silence is heavy.
DRIVER
How ya been anyway, Angelo?
ANGELO (O.S.)
Not bad. I didn’t think I was important enough to need an escort. Who’s your friend?
DRIVER
Charlie.
Angelo’s hand reaches toward Charlie and gives him two crisp $50 bills.
ANGELO (O.S.)
Split it.
Surprise registers on Charlie’s face.
CHARLIE
Today must be our lucky day.
ANGELO (O.S.)
The day ain’t over yet.
EXT. PORT WASHINGTON/MAIN STREET - DAY - ON CADILLAC
slowly ENTERING FRAME and cruising down the street.
Pedestrians stare at the sleek sedan.
INT. CADILLAC - WINDSHIELD VIEW OF BUSY STREET INTERSECTION
ANGELO (O.S.)
Nice town for kids and law-abiding citizens, and horny doctors’ wives.
EXT. NEAR GINO CASTELLANO’S RESIDENCE - DAY
LIMOUSINES and expensive AUTOMOBILES line both sides of the road.
INT. CADILLAC - ON ANGELO
raising his eyebrows.
ANGELO
Madonn’, this looks like a fuckin’ convention. Where’s the Good Year blimp?
ANGELO’S POV - GINO CASTELLANO RESIDENCE
pans across the FRAME.
BACK TO SCENE
ANGELO
Double park next to that silver piece of shit.
CHARLIE
That’s against the law.
Angelo laughs.
The driver stops the Cadillac in front of the gate.
Angelo and Charlie EXIT from the Cadillac. Angelo waits while Charlie removes the duffel bag from the trunk.
Carrying the duffel bag, Angelo walks toward the gate.
ANGELO
Catch ya later for cake and ice cream.
EXT. GINO CASTELLANO’S GATE - DAY - ON TWO WISE GUYS
who greet ANGELO.
WISE GUY #1
Security.
Wise Guy #2 pats Angelo down and then opens the duffel bag.
WISE GUY #2
I gotta have Lou check this out. (to Angelo) Wait here until I come back.
He walks off, carrying the duffel bag.
EXT. GINO CASTELLANO’S GARAGE - DAY
WISE GUY #2 (with duffel bag in hand) and LOU talk. (M.O.S.)
Lou motions the WISE GUYS to accompany him into the garage.
ANGELO waits apprehensively with another WISE GUY who stands next to him.
LOU
One of you stay outside and don’t let nobody in.
INT. GARAGE
LOU opens the duffel bag. His face is expressionless.
Streams of light criss-cross through the windows.
Lou removes one of the units (white powder), cuts through the wrapping, and looks at and samples the content. He thumbs through the stacks of bills and frowns.
LOU
Put the bag in that locker.
EXT. GARAGE - DAY - LOU AND TWO WISE GUYS
walk back toward ANGELO.
LOU smiles at Angelo and pats him on the cheek.
LOU
Sorry about the inconvenience, but these days ya can’t be too careful with all of society’s misfits runnin’ around.
(pause)
I think we got a reception to attend.
The three men close around Angelo, and all walk toward the residence.
INT. RESIDENCE BALLROOM - DAY
We are bombarded by the visual of dozens well-dressed GUESTS and the WEDDING PARTY, drinking, eating, dancing.
The ORCHESTRA plays the TEA-FOR-TWO CHA-CHA.
LOU stands at the edge of the dance floor and observes the crowded dance floor. WE HEAR HIS VOICE OVER:
LOU (V.O.)
Tomorrow will be soon enough. Why the fuck does this shit hafta happen to me?
Lou’s eyes lock on a willowy, attractive GIRL.
She self-consciously looks away.
Lou emits a picture-perfect grin, takes the girl to the dance floor, and moving his elbows like CHRISTOPHER WALKEN dancing, falls expertly into the beat of the cha-cha.
EXT. SEEDY BUILDING ENTRANCE (GREEN DOOR) - NIGHT - ON A MAN
in a coat, who can’t be identified as white, black, young or old. He ENTERS the building.
INT. TWO PORNO CUBICLES SEPARATED BY A PARTITION - LOW LIGHTING - ON TWO INDIVIDUALS SITTING ON CHAIRS
watching PORNO on their respective video screens. A small sliding panel allows communication between cubicles.
WILLIE
I’ve got a stock question whenever I handle somebody new.
SAL
Yeah?
WILLIE
What do you think about Martin Luther King, Jr.?
SAL
I don’t. You gotta identity problem?
WILLIE
I don’t know too many oppressed niggers who don’t. My understanding is that you and certain parties have come to a quid pro quo arrangement, and I’m the nigger who’s gonna be handlin’ you. I wanna caution you against even dreamin’ of playin’ both sides against the middle if you wanna see your daughter again dead or alive.
SAL
Kiss my ass, mother-fucker.
WILLIE
Relax, I’m your benefactor, remember? You be cool wit me and you and me will successfully traverse the valley of evil.
SAL
Whatever, but you’ve got delusions of grandeur if you think I’m gonna find anything.
WILLIE
You’re on his payroll and were in the slammer wit him. He trusts you. You stand as good of a chance as anybody.
SAL
I wouldn’t bet on it. By the way, why are we meetin’ in this dump that smells like a cross between a chemistry lab and a fertility clinic?
WILLIE
Nothin’ personal. It wouldn’t look too good for you or me if they seen us havin’ coffee and scones at the local Holiday Inn.
(pause)
Stay cool, man.
SAL
Yeah, right.
EXT. PASTORAL SETTING IN MASSACHUSETTS - DAY
CAPTION: ONE MONTH LATER
The landscape is a mosaic of rolling hills, woods and open fields, and farm houses and out-buildings.
In a farm yard, we SEE the stiff and bloated CARCASS of a dead steer on its back, with feet sticking in the air.
A jewel of a POND is barely visible in the middle of a heavily wooded area.
Some distance farther the CAMPUS BUILDINGS can be seen through the trees.
An AMBULANCE with its lights flashing, careens around a bend.
EXT./INT. TWO-DOOR SEDAN - DAY - ON SAL TRAVELING
on a two-lane rural road. Sal, 42, looking bookish like Woody Allen, is dressed like a safari guide. He is ragged around the edges, has a sad expression on his face.
EXT. SAL’S SEDAN - ON SAL
cursing out his window at the AMBULANCE as it passes him.
We next SEE the unpretentious wooden sign inscribed with the letters “POLAND INSTITUTE".
EXT. POLAND INSTITUTE - DAY - ESTABLISHING
The INSTITUTE is a drug treatment facility for young adults. The campus is a ramshackle arrangement of a large farm residence, several smaller buildings and trailers that serve a variety of functions. It is a depressing place.
We HEAR FILTERED ARGUING, YELLING, SCREAMING, DOGS BARKING.
EXT. POLAND INSTITUTE - DAY - ON RICO AND SAL
walking down the steps of the administration trailer.
RICO
And my goddamn wife took the cat to a motivational psychologist.
(pause)
That bastard charged me $125 for the visit and another $35 for one of them plastic collar things. The fuckin’ cat got her head stuck and choked to death.
Rico nods to two YOUNG WOMEN who pass by.
Sal self-consciously smiles at them.
RICO
Sometimes I think Angelo makes a mistake by havin’ too many good-lookin’ bitches around. It makes the natives restless.
SAL
You restless?
RICO
Not me. Those goddamned bitches do nothin’ for me, I keep tellin’ my wife.
Before Sal can reply, his and Rico’s attention is drawn to a black LIMOUSINE stopping not too far from them.
A well-dressed WOMAN and adolescent MALE EXIT from the limousine. The woman yells at the boy. The ironic conflict between power and rebelliousness is revealed.
Rico studies Sal studying the scene.
INT. DINING ROOM - DAY
A black MALE, followed by two punk-looking FEMALES, walks by the group. He wears a sign around his neck that proclaims: I’M THE PEPSI-COLA PIMP, AND I CAN’T KEEP MY HANDS OFF WOMEN.
A FEMALE, dressed like a hooker, sits at the table next to them. THREE BLACKS taunt her.
A quiet tension exists in the room.
Under the table, A HAND methodically lacerates skin with a SHARD OF GLASS.
INT. TWO PORNO CUBICLES - ON SAL AND WILLIE
SAL
(sotto voce)
. . . so why they send you to our freak show? You win an award for outstanding service?
WILLIE
I’m probably here for no reason different than yours. We get trapped by our karma and then we do what we hafta to survive.
SAL
Your karma’s dead-ended you. There’s no weed growin’ here or rooms or crack cocaine cookin’.
(pause)
There’s no warehouse here or cargo containers. You think somethin’s movin’ in and out, lost or hidden in the traffic?
WILLIE
Like what?
SAL
Maybe the joint is an auction house for valuable art the Germans kifed from all over Europe. We got a lot of foreigners who come and go here.
WILLIE
Don’t fuck with my head, man.
SAL
My point is we wouldn’t be here, if we knew what’s goin’ down.
WILLIE
(whispering)
You know somethin’?
SAL
I know about the small bullshit, but I don’t know nothin’ about anything big goin’ down.
WILLIE
Then you gotta dig underneath the surface.
SAL
I might be able to do that after I look you in the eye and see who you are.
WILLIE
That may or may not be possible.
SAL
Yeah, always keep your distance in case the schmuck you handle gets whacked or a few fingers cut off.
WILLIE
The last I heard we ain’t no fuckin’ social club.
(pause)
Angelo up to anything different these days?
SAL
Same as usual. Arrives at 10. Checks the figures in the business office. Takes off for lunch at 12 and never comes back.
WILLIE
And not a worry in the world.
SAL
I’m not so sure about that.
DINING ROOM - DAY - ON SAL
sitting at a table, drinking a cup of coffee.
There is a COMMOTION, YELLING.
Sal walks to the back of the dining room and look through a window, into a small room.
In the room TWO WORKERS confront two surly residents, a MALE and FEMALE.
The male resident is several years older than the female, who looks vulnerable.
Several other RESIDENTS, dressed in white T-shirts and black trousers, silently observe the action.
The first worker throws himself into oxygen debt as he tries to emit one more insult before inhaling air. The effect is like that of an alarm clock winding down.
WORKER #1
. . . so she decides to heighten her sensory awareness by stuffin’ that white shit until her nose bleed, and the next thing is she’s peddlin’ her tight ass from Red Hook to the Bronx.
(pause)
After a trip to the local ER she wind up here. Now she don’t know what the hell is goin’ on and mistakenly trusts your ass, and all you’re thinkin’ about is how fast you can slide your Mr. Johnson up her used ta be tight ass.
The SECOND WORKER faces off with the male resident.
WORKER #2
You dumb. You ugly. But this ho must be dumber’n shit to let you fuck wit her.
Suddenly the small chorus of residents becomes alive.
The residents curse and stand in the faces of the two targets.
Sal’s face reveals pain and tension.
INT. TWO PORNO CUBICLES - ON SAL AND WILLIE
SAL
Does uptown know how they treat the inmates?
WILLIE
Nobody uptown gives a shit about what he does with the human garbage.
(pause)
There are bigger issues at stake.
SAL
J. Edgar tell you that? What would the country do without you?
INT. WILLIE’S APARTMENT - NIGHT - ON EMPTY PIZZA BOXES
and other take-out containers cluttering up the counter.
WILLIE, on the phone, stands in the kitchen.
WILLIE
No shit.
INTERCUT TO - CONTROL’S OFFICE and WILLIE’S CONTROL looking out the window. The CONTROL is a fat, middle-aged bureaucrat.
CONTROL
(into the phone)
This hood in Detroit plea-bargains a Murder One rap to manslaughter, and he’ll testify that Angelo is the kingpin of a drug and money laundering operation.
(pause)
If you can come up with anything, it’ll make up for that screw-up in Philadelphia.
INTERCUT TO - WILLIE’S APARTMENT.
CONTROL (V.O.)
Remember, you’re after Angelo and his connections, not the joint. Don’t get hung up with the moral issues.
(pause)
That’s what Mother Theresa and bleeding-heart social workers are for.
EXT. LOGAN INTERNATIONAL AIRPORT - DAY (EARLY MORNING)
A LEAR JET taxis to a hangar and stops.
Two PASSENGERS EXIT from the plane.
The MAN wears sun glasses and a cheap suit that pinches his shoulders and crotch.
He has the look of someone who can handle himself in a fight.
The WOMAN, dark-haired and maybe twenty-five, is dressed casually. The expression on her face is somber.
The two walk toward Angelo’s gleaming black LIMOUSINE.
HARRY sits in the driver’s seat of the limousine.
HARRY
Santiago and Drew Rivera?
SANTIAGO slowly nods his head in affirmation, and DREW remains glumly silent.
HARRY (O.S.)
Put these on her.
Santiago nods.
Santiago secures a PLASTIC STRAP around Drew’s wrists.
He assists her as she gets into the limousine.
Santiago keeps looking after the limousine until it drives through a gate.
INT. LIMOUSINE - DAY - ON HARRY
who is in his early forties. His fingers, short and stubby, suggest unusual strength.
His eyes emit that chilling and unexplainable difference of the very creative or very perverted.
Harry, about three feet tall, is a DWARF.
He is surrounded by various mechanical gadgets that allow him to navigate the limousine.
DREW
So where are we off to, Ringling Brothers?
The expression on Harry’s face remains impassive.
DREW
Where is this goddamn lunatic asylum?
HARRY
About a half an hour’s drive away.
He checks her out, but she’s too self-absorbed to notice.
DREW
Somebody shoots me up with Haldol, and three hours later I wake up in a goddamn jet. This is bullshit.
She screws up her face.
HARRY
I guess today isn’t your day on the Yellow Brick Road.
Drew rolls her eyes in her head.
INT. ADMINISTRATION TRAILER - DAY - ON ANGELO
looking out the window through the blinds.
HIS POV - LIMOUSINE and HARRY
as he scampers around the limousine and opens the door for DREW.
She steps from the limousine and examines the surroundings.
We HEAR FILTERED SCREAMING AND WAILING. (V.O.)
INT. ADMINSTRATION TRAILER - DAY
RICO and SAL ENTER the trailer and join ANGELO near the window.
ANGELO
What do ya think?
RICO
She looks like an old girl friend of mine in high school. Every red-peckered schmuck will be afta her ass.
SAL
Not bad.
ANGELO
And then some.
Angelo laughs and slaps Sal on the shoulder.
Angelo picks up the phone and hits a number.
ANGELO
(into the phone)
Have Rita call me, will ya.
He slams down the phone.
The phone RINGS and Angelo picks it up.
ANGELO
Come to my office and don’t forget your cigarette case. . . and Jill.
INT. AMINISTRATION TRAILER (LATER)
RITA and JILL ENTER.
Rita, around thirty, a made-over low-life, is expensively dressed. She wears too much gold jewelry and is heavily made up.
JILL is on the plain side, but sexy. She wears a man’s shirt and jeans. The best thing about her is her strawberry-blond hair.
Rita hands Angelo a gold cigarette case.
He cuts several lines of cocaine.
ANGELO’S POV - RITA AND JILL
Rita reaches for Jill and slowly rakes her fingers through her luxuriant hair.
BACK TO SCENE
Angelo laughs. He likes the action.
INT. MAIN COTTAGE/DINING ROOM - DAY (EARLY MORNING)
A number of RESIDENTS sit at other tables near him.
SAL AND DREW ENTER and walk to the service counter.
DREW nervously brushes her hair from her face.
SAL
Care for something to eat or a soda?
Drew looks distastefully at the buffet style selection of breakfast foods under heating lamps.
DREW
I’ve seen better at McDonald’s.
Sal doesn’t know what to do with his hands.
Drew senses his anxiety, and we can see in her eyes that she feels in control, although the captive.
DREW
What’s with you; you gotta problem with me or women in general?
SAL
Just bitches who are on the rag. The procedure around her is that when somebody is admitted here one of us is assigned to you as your personal advocate, so to speak, and this is why you and I are meetin’ today to get acquainted.
DREW
Okay, advocate me the hell out of here.
INT. TWO PORNO CUBICLES - ON SAL AND WILLIE
SAL
I might have somethin’. A produce truck from New York comes here every once in a while, but doesn’t deliver any produce. Weekly, we get all our vegetables from Boston.
WILLIE
Somethin’ is comin’ in?
SAL
Maybe. There’s somethin’ else.
WILLIE
What?
SAL
Every move Angelo makes is thought out. He thinks of all the angles, but he’s freaked out. What does that tell you?
WILLIE
You tell me.
SAL
Ever watch a professional on a tight rope?
WILLIE
Long time ago.
SAL
Did he look freaked or in control? Did he look down?
WILLIE
He looked focused; nothin’ distracted him, not the people, not the noise.
SAL
You mean not freaked out?
WILLIE
You splittin’ hairs.
SAL
You can’t be totally focused and in control of a situation if you’re freaked out.
WILLIE
What you gettin’ at?
SAL
A man who’s freaked out is gonna make a mistake.
(pause)
Angelo’s walked the wire enough to not be freaked out, yet he’s freakin’.
(pause)
The wire’s the same height and length. So something is going on nobody don’t even know about.
WILLIE
(laughs)
He cheatin’ on his wife?
SAL
He owns guilt, or he’s afraid of losing something. Maybe both. Whatever the case, he’s vulnerable.
WILLIE
You study parapsychology or numerology?
Sal smiles self-consciously.
INT. MAIN COTTAGE/DINING ROOM - DAY - ON SAL
sitting at a corner-table, drinking a cup of coffee.
Residents mingle around. It is a bizarre melange. The atmosphere is both hilarious and tense.
DREW sits at a table at the other side of the room.
TWO FAT GUYS in long overcoats sit at a table, talking quietly, looking around.
RICO ENTERS the dining room and spots Sal.
He makes his way toward Sal and sits down across from him.
RICO
What’s that all about?
SAL
What?
Rico nods toward Drew.
RICO
Don’t jive me, man. You know I’m talkin’ about that new broad.
Rico nods his head knowingly.
RICO
I’d suggest not gettin’ too cozy with her. Angelo has his eyes on her.
SAL
Meaning?
RICO
He has plans for her.
SAL
Good for him.
RICO
Don’t get yourself in the middle of somethin’ that might be too big for you. Life’s more than about ass and good relationships.
SAL
You think so. . . ?
Sal smiles, then frowns.
A WORKER ENTERS, pushing a resident in front of him.
INT. POLAND INSTITUTE/SAL’S OFFICE - DAY
We HEAR KNOCKING on the door.
SAL opens the door and DREW ENTERS, followed by a RESIDENT.
We can feel TENSION in the air.
As the resident walks out the door, he gives Drew a blatant up and down look. Drew sits down.
Sal checks the door to make sure no one is eaves-dropping.
He has a chart in his hands.
SAL
I looked over your records, and they don’t tell me anything real about you, so all I know is you’re here, but I don’t know how you got here.
DREW
So what do wanna know?
SAL
I don’t see any tracks on your arms, and your nose don’t run. There’s no detox record here, so what do you do?
DREW
There’s only one thing you need to know about me, and that’s that I need to get the fuck out of here on a fast track.
SAL
I understand your feelings, but you’re not makin’ it easy for me to be helpful to you. We’ll talk more later. I got stuff to do.
DREW
Wait a minute. I’m not ready to go back to that bullshit yet.
(pause)
What’s your story, anyway? You drag me up here, and when things don’t go your way you can’t deal with it.
SAL
I got a lot of shit I’m dealin’ with right now. Want some tea?
INT. BOSTON WATERFRONT NIGHT CLUB - NIGHT
The inside is dimly lit and crowded.
On a stage in front of the tables, an ORIENTAL GIRL, in bikini bottoms, gyrates seductively to a blues number.
LIGHTS PULSATE ON AND OFF; a haze of smoke fills the air.
The patrons are a rough and seedy crowd - LONGSHOREMEN, FISHERMEN, and bearded HIPPIES.
There are few WOMEN.
A life-sized PLASTIC DOLL is passed around from table to table.
There is laughter and AD LIB chatter.
SAL and WILLIE sit at a table off to the side, drinking beer. Willie is a fit looking guy in his late thirties.
SAL
(squeamishly)
Have I passed some test. . . they do a porn show here?
WILLIE
A change of scenery does the heart good. Besides, you said you wanted to see my pretty eyes. Why the new girl interest you?
SAL
I’m playin’ a long shot. I hear she might be goin’ out to Angelo’s. Maybe with development she can be my eyes.
WILLIE
I hope you’re not playin’ with fire.
SAL
What’s your stake in this assignment, anyway?
WILLIE
This ain’t no cush assignment for me, and my options are thin. If I don’t come up with something here I might not pass my next physical, and they’ll cut my happy ass loose. So you and I are sort of in the same boat.
SAL
Whoopee.
Sal shakes his head.
WILLIE
How they turn you? They have somethin’ major on you?
Sal tightens up.
SAL
Let’s say they threatened to put me in a position of not being able to assume my responsibilities. Don’t think I’m doin’ this because of my allegiance to the fuckin’ government.
WILLIE
You’ll learn all about allegiance in the witness protection program.
SAL
That’s not my plan.
Sal and Willie get up from the table and walk toward the front of the night club.
Willie pays the bill and both men EXIT.
EXT. ALLEY - NIGHT
SOUND OF FOOTSTEPS clicking on the cobblestones. (O.S.)
SAL ENTERS, turns and walks down to a fishing wharf.
Several DECK HANDS work late on a skiff.
Sal approaches.
The name on the side of the bow is ‘LADY LUCK’.
SKIFF’S FOREDECK
SAL
Workin’ late?
DECK HAND
Can’t leave ‘em without cleanin’ ‘em and putting ‘em up.
SAL
Any bass?
DECK HAND
They ain’t cleaned or scaled. How many ya want?
SAL
One. How much?
DECK HAND
Five bucks wholesale.
SAL
Okay.
The deck hand picks out a STRIPED BASS from the ice bin behind him and rinses the fish in a bucket of water and wraps it in newspaper.
SAL
Thanks.
Sal walks back in the direction he came from and disappears into the cold mist.
EXT. POLAND INSTITUTE/PARKING AREA - DAY (MORNING) - ON HARRY AND ANGELO
getting out of the limousine.
Angelo looks hung-over.
He slams the door of the limousine.
INT. ADMINISTRATION TRAILER - DAY - ON GAIL
a buxom blond riding an EXERCISE BICYCLE.
ANGELO ENTERS
Gail senses that he has had a bad night.
GAIL
You look like you died and gone to hell.
ANGELO
Bring me some ice and save me from your keen insight.
Angelo sinks down on the couch across from his desk and props his feet up on the desk, and closes his eyes.
INTERCUT TO - A TRUCK stopped for a traffic infraction.
LAW ENFORCEMENT and a SWAT team converge on the truck.
GUNS are pulled; there is mayhem.
The SHIPMENT is lost and Gino Castellano calls for Angelo.
Angelo sinks to the bottom of a river with his feet tied to several cement blocks.
BACK TO SCENE
A KNOCKING on the door startles Angelo.
ANGELO
Come in, damn it.
RICO ENTERS.
He looks worried, walks up to Angelo, and whispers in his ear.
ANGELO
What the fuck for?
Angelo’s face betrays alarm.
RICO
Ya need to see for yourself.
ANGELO
In a minute.
Angelo waves with his hand for Rico to leave the office.
RICO
Okay, I’ll be lookin’ over some numbers with Gail.
Angelo walks to the wet-bar and picks up a glass and fills it half-full with water and pops two Valium.
INT. ADMINISTRATION TRAILER/RECEPTION AREA - ON RICO
sitting in a chair, paging through a Hustler. He stands up when ANGELO ENTERS.
GAIL continues riding the exercise bicycle.
Angelo nods his head and allows Rico to lead the way.
EXT. ADMINISTRATION TRAILER - DAY - ON ANGELO
as he reaches into his pocket and removes a pair of SUN GLASSES and quickly puts them on.
Angelo and RICO approach the MERCEDES 450 SL and stop and look in through the driver’s side window.
A STRIPED BASS, partially wrapped in newspaper, lays on the driver’s seat.
ANGELO
Madonn’.
RICO
. . . one of our smart-ass residents from South Boston.
ANGELO
Where would a resident get a striped bass?
(pause)
We got no fresh fish in the freezer. This is a message from somebody.
RICO
Angelo, ya might be overreactin’.
ANGELO
You’re underreactin’. No forced entry, and the coincidence of cash and units arrivin’ today from New York. I don’t want that fuckin’ truck showin’ up here on a bent dime.
RICO
What do ya want me to do?
ANGELO
Tell Drew I wanna talk to her.
We SEE SAL behind a thicket of scrub oaks.
He points a parabolic MICROPHONE toward the Mercedes 450 SL.
INT. LAUNDRY ROOM - NIGHT - ON DREW
folding sheets and towels on a table.
She senses that something is not quite right, maybe she is being watched.
She tries to hurry.
Suddenly RICO appears from behind her. Drew is startled.
DREW
What the. . . .
Rico takes a step back and raises his hands. He is somewhat unsteady.
RICO
Relax, I’m the assistant diector.
DREW
What do you want?
RICO
(giving her a up and down look)
You new here, I seen you around, and I just wanna give you a little bit of advice.
DREW
Don’t need any.
He moves closer to her, smiling but menacing.
She moves back. It is a tense moment.
He grabs her and pulls her toward him.
She struggles.
RICO
I seen you struttin’ your stuff out there and thought we could do each other a few favors.
DREW
You drunk? Take your fuckin’ hands off me.
SAL ENTERS and briskly walks up to Rico.
SAL
I been lookin’ all over for your happy ass. Angelo’s pissed; wants to see you in his office. Let’s go.
Rico reluctantly lets go of Drew, shakes his head in frustration, and follows Sal out the door.
EXT. LAUNDRY ROOM - NIGHT - ON SAL AND RICO
walking toward the administration trailer.
INT. ADMINISTRATION TRAILER - NIGHT
SAL and RICO ENTER. There is no one inside except GAIL.
GAIL
What can I do for ya?
RICO
Angelo’s lookin’ for me.
GAIL
Angelo ain’t been here for two hours. You hallucinatin’?
Rico looks at Sal.
RICO
You fuck. . . .
SAL
Just savin’ ya a whole lot of trouble; you were gettin’ in way over your head.
RICO
You bastard. . . .
EXT. POLAND INSTITUTE/BASKETBALL COURT - DAY - ON RESIDENTS
playing a rough game of basketball.
SAL and DREW walk toward the court.
DREW
Was that guy lookin’ for him?
SAL
No. I’ve seen that sleaze bag watchin’ you, and I know how he operates. Thought I’d save you a hassle.
DREW
He must not be too happy with you. Why do you care what happens to me?
SAL
I don’t know. . . there’s somethin’ about you.
DREW
Give me a break.
SAL
I’ve been thinkin’ about things. You don’t want to be here, and I need to take care of a problem.
(pause)
You and I could be of use to each other.
Drew looks puzzled, but we also SEE that she is drawn toward Sal.
SAL
I’ve been thinking of an angle. . . but I need to know that I can trust you.
DREW
You playin’ an angle inside an angle or do you have a low I.Q.? What makes you take the risk of asking me if you can trust me?
SAL
Sometimes I have feelings and sometimes you can’t afford not to take a chance. Nothin’ in this life is risk-free.
DREW
What’s your angle?
SAL
A large amount of money.
DREW
Somebody else’s money?
SAL
Somebody else’s money.
DREW
You know where this money is?
SAL
Not exactly, but maybe with your help we can find it.
DREW
How?
SAL
Sometimes Angelo invites residents to work at his place, and I think you’re on his calendar.
DREW
What?
Her eyes reveal distrust.
SAL
That’s the word that’s out. Angelo has a thing for good lookin’ women.
DREW
So you want me to find out where he keeps his money?
SAL
You accept the invitation and watch every move he makes. The rest will fall into place.
DREW
There’s something I don’t like about this picture.
SAL
He won’t bother you. You’re a private referral.
DREW
That’s comforting.
SAL
You can count on me to make sure you don’t get hurt in the process.
She gives him a look.
INT. HOSPITAL ICU UNIT - NIGHT - ON SAL AND A TEENAGER
lying in a hospital bed, hooked up to IVs, monitors, etc. Her facial coloration is jaundiced.
She is not quite awake.
Sal leans over her, gently stroking her hair.
SAL
Ooohm. Ooohm.
She awakens and smiles weakly.
GIRL
Hi, papa. I love you.
SAL
Hi, baby. I have some good news for you. I think we’re gonna be able to solve our problem very soon. I love you.
Tears well in his eyes.
Through a window, a concerned HOSPITAL ADMINISTRATOR looks on. She is a black, middle-aged woman.
SAL
Sweetie, I’m gonna leave you now so you can get some rest. I’ll be back tomorrow.
GIRL
Okay, papa. I love you.
INT. HOSPITAL ADMINISTRATOR’S OFFICE - NIGHT
The HOSPITAL ADMINISTRATOR AND SAL stand in the doorway, looking toward the GIRL’S room.
HOSPITAL ADMINISTRATOR
We’re running out of time.
SAL
I understand. I’ll get the money.
INSIDE THE DOOR OF AN OFFICE NEXT TO THE HOSPITAL ADMINISTRATOR’S, DREW stands, listening.
CLOSE TO her face, expressing APPREHENSION,PAIN.
EXT. HIGHWAY - DAY (NEXT MORNING)
Angelo’s LIMOUSINE travels at a high speed and turns on a secondary rural road.
EXT. ANGELO’S RESIDENCE - DAY - ON ANGELO’S LIMOUSINE
ENTERING FRAME and stopping in front of the gate.
The WALL, extending in both directions, dominates visually.
Inside the gate, a mosaic of sandstone blocks leads toward a broad-sweeping Spanish stucco MANSION.
The landscape and trees are meticulously manicured.
The limousine parks in front of the five-car garage, and HARRY and DREW EXIT from the limousine.
Harry SEES apprehension in Drew’s eyes as she looks at the wall.
HARRY
The wall keeps the rest of the world out. It doesn’t come down like the Berlin Wall.
We next SEE the STABLES and PADDOCKS.
Near the GREENHOUSE, DOGS BARK.
HARRY
(continuing)
Security. . . .
Drew follows Harry toward a brick walkway.
A stone patio, extending each side of a double set of French doors opens up toward the now empty rectangular-shaped swimming pool.
Harry motions Drew to follow him up the steps.
INT. ANGELO’S RESIDENCE KITCHEN
The handsomely appointed kitchen looks too perfect, not cooked in.
DREW looks around.
HARRY
Life is not hard here, but you have to be careful outside. The dogs run fast and have long teeth.
KITCHEN - DAY (A FEW DAYS LATER) - ON ANGELO
standing at the counter, drinking a cup of coffee. He turns to the sports page of the paper. His face is flushed, and he looks hung-over.
DREW ENTERS, carrying two frozen CHICKENS.
Angelo’s eyes follow Drew as she walks toward the table.
She drops the chickens in the sink.
ANGELO
Lemme help you.
With a cleaver, he quarters the chickens.
DREW
I didn’t realize cooking was part of . . . .
ANGELO
I’m a man who believes in diversification and opportunity.
(sotto vocce)
Be careful about what you say when somebody else is around.
(pause)
You havin’ any luck?
DREW
Luck is for suckers.
EXT. ANGELO’S RESIDENCE/GROUNDS - DAY
ANGELO and DREW talk (M.O.S.) as they walk slowly toward the stables. FINALLY WE HEAR:
ANGELO
Almost every human malady is represented in my crew. None of ‘em could make it in the civilian world; so I own ‘em, but then every once in a while there’s a crack in the system. You gotta find this mook.
DREW
I’m lookin’.
ANGELO
The human susceptibility. . . it’s always about wanting more or less.
Angelo looks at his WATCH.
INT. ANGELO’S RESIDENCE/LIVING ROOM - DAY
Maple logs burn in the FIREPLACE.
We HEAR a PUCCINI OPERA.
ANGELO and DREW are in the middle of lunch.
A PATRICK NAGEL image of two women hangs on the wall. The eyes stare down at Drew.
ANGELO
Sal is too smart to get tangled up with them. Rico is my brother. Harry’s been with me too long to betray me. The rest of ‘em never even get close enough to smell the action.
DREW
I don’t understand why you don’t do your business elsewhere. If the JD’s on to you, they’ll never stop until your neck is in the noose.
ANGELO
What I’m doing is part of something else.
There is a lull in the conversation. He pours more wine.
ANGELO
(continuing)
You look like you’re getting indigestion. I hope you’re not having doubts about this job.
DREW
No, it’s just that sometimes the sharp end of the business gets to me. Maybe I should retire. . . .
Angelo looks at her curiously.
Before Drew can continue, we HEAR a PHONE RINGING.
ANGELO
Nothing good in this life comes without a price.
Angelo EXITS.
Drew remains seated. She is in a reflective mood.
INT. KITCHEN - DAY
DREW stands by a window, looking out.
HER POV - GROUNDS
on which she observes a MAN who awkwardly opens the greenhouse door as he balances a cardboard box.
The identity of the man is obscure.
BACK TO SCENE
HARRY, from another vantage point, observes Drew looking out the window.
INT. SAL’S OFFICE - DAY - ON SAL AND DREW
standing next to his desk; he’s turning the radio dial.
DREW
I saw two guys near the greenhouse, carrying a large bag.
SAL
What was unusual about that?
DREW
They didn’t look like the types of guys who were interested in beef steak tomatoes.
SAL
What’s the setup like at Angelo’s?
DREW
Different than I imagined. . . no round the clock parties and Donna Summers; very little traffic. It’s almost like a stage set without the audience.
SAL
You doin’ okay?
DREW
He hasn’t tried anything, but in between things he checks my inventory. He looks like a man who has a lot on his mind.
SAL
He’s thinking that Mulberry Street is onto something, and that it’s only a matter of time before somebody come sniffin’ around.
The sexual undercurrent between Sal and Drew increases.
DREW
You got something personal against him?
Sal fails to reply and just looks at her.
SAL
Let’s say it’s a matter of life and death.
Drew apprehends his anguish, but remains silent. She touches his arm.
Sal pulls her toward himself. It is an emotional moment.
We SEE anguish in Sal’s eyes, but then the sexual undercurrent breaks loose.
Drew yields in his arms and presses herself against him.
DREW
(whispers)
I wasn’t planning on this.
Both fumble around with each other. He pushes her away.
SAL
I can’t do this. Maybe another time. . . .
DREW
Yeah; maybe. . . .
We SEE HARRY on the other side of the wall, observing Sal and Drew through a small aperture.
INT. HARRY’S APARTMENT/LIVING ROOM - DAY (MORNING)
The living room is modestly furnished.
HARRY and his wife, ISABELLE, are in the middle of breakfast.
Isabelle, in her forties, blond-haired, looks like a movie star from the fifties.
A beautiful girl, about twelve years old, can be seen through her bedroom door. She reads a book.
Harry looks wistfully toward his daughter.
HARRY
I wish we could spend more time in the country.
ISABELLE
You always say that when something bothers you. What’s going on?
HARRY
Some things don’t add up about Angelo and the new girl.
ISABELLE
You’ve seen Angelo’s tricks come and go. What’s so different about her?
HARRY
She shows up out of nowhere, without the usual fanfare of a private referral coming in, and she carries herself different, more mature.
ISABELLE
How?
HARRY
Her eyes show too much wisdom, and three weeks after she arrives here, Angelo takes her over.
(pause)
He usually waits until they’re broken down.
ISABELLE
You think there’s something going on you don’t know about?
Isabelle frowns.
HARRY
Maybe. Angelo keeps part of the book closed.
ISABELLE
Angelo’s a self-serving rat.
HARRY
He’s pulled me through some things. I owe him.
ISABELLE
And you’ve covered his ass for twenty years.
Isabelle’s slender fingers stir the tea in her cup.
ISABELLE
(continuing)
What’s really bothering you, Harry?
HARRY
The kids. . . killin’ themselves.
(pause)
The scam doesn’t work for me anymore.
INT. ANGELO’S RESIDENCE/KITCHEN - DAY -ON DREW
arranging flowers in a vase. ANGELO stands by, watching.
The mood is relaxed.
HARRY ENTERS, carrying a briefcase.
Angelo turns to Harry.
ANGELO
I’m flyin’ to New York tomorrow morning, and I want ya to keep your eye on things.
(turning to Drew) Will you excuse us?
Angelo and Harry EXIT.
EXT. ANGELO’S RESIDENCE - DAY - ON ANGELO and HARRY
walking toward the greenhouse.
DOGS BARK.
HARRY
You mentioned flying to New York tomorrow. Is anything wrong?
ANGELO
I’m not sure. Tomorrow, I’ll handle the delivery, and I’ll talk to Lou to see if he’s heard any rumblings about anything.
HARRY
Be careful with Lou. He’ll smile at you while he’s twisting a shank in your back.
ANGELO
Where’s your trust in the human condition?
Angelo removes a small silver WHISTLE from his pocket and places it to his lips and blows into the instrument.
The whistle emits no audible sound.
The dogs are suddenly silent.
Harry has a thin smile on his face.
The two ENTER the greenhouse.
INT. GREENHOUSE - DAY
In the back of the greenhouse ANGELO pushes a pallet aside and opens the floor vault.
Angelo removes stacks of currency that HARRY arranges neatly in the briefcase.
ANGELO
Can ya give me a ride before eight-thirty?
HARRY
Yeah; sure.
Angelo closes the floor vault and pats Harry on the shoulder.
Both men EXIT from the greenhouse.
Angelo carries the briefcase.
Looking through a window, DREW observes Angelo and Harry.
INT. ANGELO’S RESIDENCE/UPSTAIRS BATHROOM - DAY - ON ANGELO
wearing only a towel around his waist.
He is on the phone.
LOU (V.O.)
. . . in a dog’s age. Are ya in town?
ANGELO
No, but I’m flyin’ down tomorrow. Can we get together for lunch?
LOU (V.O.)
Yeah, I need to collect for that bimbo I loaned you when ya were last in town.
ANGELO
And I’ll give you my chiropractor’s bill.
Angelo laughs loudly.
LOU (V.O.)
Hey, don’t do me no favors.
ANGELO
Seriously, where do you wanna meet?
LOU (V.O.)
Since you’re pickin’ up the tab, Luigi’s?
ANGELO
Fine with me.
LOU (V.O.)
Meet ya there at twelve-thirty.
ANGELO
Ciao.
Angelo walks into the bathroom and opens the medicine cabinet and removes a small VIAL.
INTERCUT TO DOWNSTAIRS LIVING ROOM - ON BRIEFCASE
on a table.
QUICK HANDS open the briefcase and remove the stacks of $100 bills and replace the stacks with another stack of $100 bills. The HANDS close the briefcase.
BACK TO SCENE
Angelo sets down a line of COCAINE and snorts it with a straw.
He shakes his head and jumps into the shower.
INT. ANGELO’S RESIDENCE/DINING ROOM - DAY - ON ANGELO
inviting DREW to sit down.
Drew’s POV PANS from INT. to EXT. through the large picture window.
The view outside is reminiscent of English rusticity, without the sense of time and tradition.
A cold mist hangs in the trees.
BACK TO SCENE
ANGELO
Winter’s comin’.
DREW
Yeah.
(pause)
Do you ever get tired of the game?
ANGELO
Every man in this business sometimes thinks about getting out, but I don’t know nobody who’s made it out.
He looks reflectively off into space.
INTERCUT TO - EXT. RIO DE JANEIRO BUILDING SITE - DAY - 0N A CRANE
hoisting roof joists high in the air.
Construction WORKERS set the roof joists on an elaborate multi-level beach house.
ANGELO wears a construction helmet. He’s dressed in a Hawaiian-print shirt and lavender shorts. He steps gingerly through mud, toward the site, accompanied by two BRAZILIANS, dressed in suits, and a INTERPRETER.
The Brazilians avoid stepping in the mud.
A TRUCK careens aggressively away from the site, splashing mud and rock chips against a gleaming black MERCEDES.
The Brazilians, shocked, shake their hands and yell after the truck.
Angelo pays no attention to the truck.
ANGELO
This fuck comes here to lay my coral-colored carpets at $20 a square yard, and the roof ain’t even on?
(pause)
You ask these pricks if I’m gonna be able to take possession of this joint before the end of my lifetime.
Obsequiously, the interpreter attempts to translate what Angelo has said. (M.O.S.)
Angelo walks away from the Brazilians, in the direction of a car parked several hundred feet from the building site.
BACK TO SCENE
Angelo picks at his salad with his fork.
ANGELO
The existential dilemma. . . .
A pregnant silence passes between him and Drew.
DREW
. . . is a two-edged sword.
Angelo looks up.
ANGELO
It used to be different in the old days.
FLASHBACK - POOL HALL (1957) - ON
a younger version of ANGELO, with a cigarette dangling from his mouth, playing straight pool. On his T-shirt, NIGHT RIDERS, is stenciled in block letters.
He misses a shot and throws the cue across the room.
A GIRL gives him the once over.
END FLASHBACK
BACK TO SCENE
DREW
You left a piece of yourself back there, and maybe you’re realizin’ that the red pin stripe down the side of your Cadillac isn’t so important any more.
ANGELO
A lot of things ain’t so important anymore.
(pause)
I’ve made a lot of money, and I have connections that could get me an audience with Ted Kennedy, but I also know that money can’t buy everything.
DREW
Like what?
ANGELO
That 1956 two-tone Oldsmobile convertible that I used to scream past the high school in. I can’t find it anywhere.
DREW
If things were only that simple.
Drew reaches toward his face and brushes an unruly lock of hair from Angelo’s forehead.
Angelo playfully runs his hand through her hair.
The controlled tension is broken between them.
ANGELO
What are you missin’?
DREW
Replacing empty with more than empty.
EXT. ANGELO’S RESIDENCE/GROUNDS - DAY
ANGELO and DREW walk in the direction of the GREENHOUSE.
DREW
I didn’t know you had an interest in hothouse plants.
ANGELO
I don’t exactly grow no black orchids or Japanese dwarf trees. Plants interest you?
DREW
Depends.
ANGELO
Let’s check it out.
DREW
Sure.
Angelo and Drew walk closer to the greenhouse.
DOGS BARK.
Angelo unlocks the greenhouse door.
INT. GREENHOUSE
ANGELO
Try to avoid lookin’ up at dem lights.
DREW takes inventory of everything she sees.
DREW
What are those?
ANGELO
Shade and hybrid tropical fruit trees that generally don’t survive at our latitude.
DREW
Is this where you’re greasin’ the trap?
He smiles and takes her to the back of the greenhouse and pulls a pallet to the side, revealing the cover of a floor safe.
ANGELO
This is where you lead him.
INT. ANGELO’S RESIDENCE/WINDOW - DAY
BINOCULAR POV - ANGELO AND DREW (THROUGH WINDOW)
as they walk toward the residence.
EXT. ANGELO’S RESIDENCE - DAY
ANGELO and HARRY walk toward the LIMOUSINE.
ANGELO
Afta ya drop me off at the airport, call Mulberry Street and tell ‘em that I’m gonna change the location of the delivery.
HARRY
Okay.
EXT. LOGAN INTERNATIONAL AIRPORT - DAY
ANGELO and HARRY EXIT from the LIMOUSINE.
ANGELO
My flight arrives back here at seven. So meet me at Gate 17. Keep the ship afloat, will ya?
HARRY
No problem.
HARRY’S POV - ON ANGELO
who walks toward the terminal. He carries a BRIEFCASE.
The expression on his face is tense.
INT. SHUTTLE JET - DAY - 0N ANGELO
sitting in a window seat.
He holds the BRIEFCASE protectively on his lap.
Flight ATTENDANTS bustle about.
Angelo declines the newspaper that is offered.
He looks off into space.
EXT. TERMINAL - DAY - ON ANGELO
It is a cold and overcast day. A dozen or so taxis are lined up in front of the terminal.
Angelo walks to the nearest taxi and gets in.
The taxi drives off.
INT. TAXI - DAY - ON ANGELO
in the back seat.
ANGELO’S POV - MANHATTAN SKYLINE
enveloped in a hanging haze of smog.
BACK TO SCENE
DRIVER
Will ya look at that muck? I hope ya brought your gas mask.
ANGELO
Shit, I knew I forgot somethin’.
EXT. DOWNTOWN MANHATTAN - DAY - TAXI
stops and ANGELO steps out and tips the DRIVER.
Angelo waits for the light to change and crosses the street.
He is nervous and checks the time.
INT. COFFEE SHOP - DAY - ON ANGELO
standing next to a wall PHONE.
ANGELO
(into the phone)
Yeah, the hot-dog stand on the corner of 21st and Madison in fifteen minutes.
Angelo hangs up and returns to the plate glass window and intently scans across the street and surrounding area.
ANGELO’S POV - HOT-DOG STAND AND CITY LIFE
teeming with suspicious-looking pedestrians, a bearded vagrant without legs pushing himself along on the sidewalk, creeping black Cadillacs, a man carrying a flower box.
EXT. COFFEE SHOP - DAY - ON ANGELO
crossing the street, in the direction of the hot-dog stand.
His vigilance increases.
ANGELO’S POV - TWO WISE GUYS
in their late thirties, in front of the hot-dog stand.
EDDIE “The Barber” waves to Angelo.
INTERCUT TO - STOCK FOOTAGE of GANG-STYLE KILLINGS (DEAD BODIES IN CARS, ON SIDEWALKS, IN A BARBERSHOP).
BACK TO SCENE
EDDIE
Hey, paisan, where ya been hidin' yourself? Haven’t seen ya around. Coffee?
ANGELO
Yeah, sure. Who’s your associate?
EDDIE
Our friend, Lenny.
Angelo shakes hands with Lenny.
Suddenly a car’s exhaust system backfires, and Angelo almost becomes unglued but controls himself.
Eddie orders a coffee, and when he hands the cup to Angelo, he sets down his BRIEFCASE next to Angelo’s leg.
The briefcases are exchanged.
The three men speak (M.O.S.) and then part company.
The expression on Angelo’s face shows relief.
INT. LUIGI’S VESTIBULE - DAY - ON MIRROR
reflecting ANGELO as he takes several deep breaths.
He smiles at himself as he pushes through the swinging doors to the tune of a TONY BENNETT song accompanied by brass and string instruments.
The INT. of the restaurant is quite loud and bustling with clientele eating lunch, drinking at the bar.
Several MEN and WOMEN greet Angelo.
Concern registers in Angelo’s eyes. Lou is nowhere in sight.
Angelo approaches the MAITRE D’ and whispers in his ear, and palms off a $20 bill to the maitre d’.
MAITRE D'
This way, please.
Angelo follows the maitre d’ through an arbor too abundantly verdant with plastic grapes.
ANGELO’S POV - LOU
sitting alone but surrounded by plaster busts of Roman nobility. He wears a plaid suit.
Lou grins.
BACK TO SCENE
Angelo leans over and embraces LOU, and sits down. We SEE Angelo’s piece stuck in his trousers.
LOU
I was thinkin' of the old days. Do ya remember when we used ta drive to Philly to Willie Mosconi’s joint just for a couple of games of pool and a few beers?
Lou takes a sip from his drink and grimaces.
LOU
(continuing)
So how’s life treatin’ ya, anyway ?
ANGELO
Gettin’ by. I've been hearin' that you've been tying some new strings together.
LOU
This and that, but I’m not keen on the new order of things. I’m too used to the old ways, and I don’t have no use for this new corporate management horse shit.
ANGELO
The pace is too fast?
LOU
I move like the turtle. You know what happened to the rabbit? But when they need a pinch hitter they know who to call.
An attractive WAITRESS appears with DRINKS.
LOU
Let’s finish our Spumoni over by the boccie ball court. . . I got somethin’ for ya.
Both men get up and Lou leads the way.
LOU
What da ya think of the decor? All this Disneyland shit was imported from Tuscany at five times the cost of buyin’ it at PEER 1; even the fuckin’ plastic grapes.
ANGELO
I’m impressed.
LOU
You’re impressed, and the fuckin’ veal and pasta are settling in my gut like a brick, and my cholesterol is toppin’ 450.
Lou puts his hand on his stomach.
LOU
(continuing)
You don’t look so good yourself. . . .
Lou finds a table at the side of the boccie ball court.
Angelo pretends to be happily surprised as the two sit down at a small table.
Several older Italian men, dressed in white shirts and black trousers, play boccie ball. They take the game seriously.
LOU
(toward the players)
Dese fuckers play like they got hemorrhoids, and none of ‘em can see worth a shit. I see tension in your eyes. Things okay wit you?
Angelo startles.
ANGELO
There’s always heat on the other side of cold. It’s the nature of our world.
LOU
I understand. Maybe ya need a breather from the game.
(pause)
. . . a couple a weeks in St. Croix or Aruba, where some of those juicy bitches will only be too happy to sit on your face. . . .
ANGELO
I can’t even find the time to screw my office manager.
(pause)
You got somethin’ for me?
LOU
Yeah, Gino asked me to personally hand ya this.
He hands an ENVELOPE to Angelo.
LOU
(continuing)
Gino wanted me to tell ya that ya will honor him by attending the celebration of a milestone in his daughter's life.
Angelo takes the embossed envelope and smiles weakly.
The maitre d’ apologetically interrupts.
MAITRE D'
. . . at the bar needs to speak with you for a moment.
LOU
I'll be back in a minute.
Lou gets up and follows the maitre d’ to a side room.
INT. ROOM - ON EDDIE
holding the briefcase.
LOU ENTERS, greets Eddie, and takes the briefcase from him and puts it into a wall safe.
BACK TO SCENE IN LUIGI’S
Angelo studies the envelope and looks around.
Lou returns and sits down again.
ANGELO
Nothin' serious, I hope?
LOU
Nah, just a guy who’s behind on somethin’. . . so where were we. . . oh, yeah, the invitation.
ANGELO
I don’t usually get invited to Gino’s shindigs. Have I been promoted?
Lou looks like he wants to say something, then holds himself back, then blurts out:
LOU
Oh, fuck, I'm gonna go way out on a limb for ya on this one, but ya have to swear on your mother's grave that ya will not betray my confidence.
ANGELO
Sure, anything ya say.
LOU
Your circus freak is steppin’ on our product.
Angelo can’t hide his shock.
LOU
(continuing)
He faces foreclosure and severe penalties.
ANGELO
You sure?
LOU
Yeah; there’s no other explanation for the unscheduled delivery of certain goods to a friend of ours in Chicago.
Lou removes an ENVELOPE from the inside of his jacket and pulls out a number of 5x7 PRINTS.
Angelo picks up the prints and studies them.
Lou observes Angelo carefully.
ANGELO
Do they think I’m behind this?
LOU
Hey, nobody blames you because he got no ethics. . . somebody put the malocchio on that fuck long before he was born.
ANGELO
What do I need ta do?
LOU
It’s his cost.
(pause)
Don't bring a piece with ya to Gino’s home, and enjoy yourself; okay pal? I'll be lookin' for ya dere.
Angelo and Lou continue their discussion. (M.O.S.)
AD LIB chatter can be HEARD around them.
Intermittently the two men sip anisette, and Lou puffs on a cigar.
Both men look at their watches, get up from their table, and walk toward the maitre d’ station.
EXT. LUIGI’S - DAY - ON NEWSPAPERS
blowing down the sidewalk.
TO ANGELO who looks worn-out and thoughtful.
He walks to the curb and hails a TAXI.
We HEAR ANGELO’S VOICE OVER:
ANGELO (V.O.)
Harry, you fuckin’ schmuck.
INT. LUIGI’S RESTAURANT - DAY - ON MAITRE D’
who walks to the table where Angelo and Lou sat. He surreptitiously disconnects a wire from the table decoration and leaves the table.
NEXT
WE SEE HARRY DRIVING THE LIMOUSINE
He is listening to the conversation between Angelo and Lou in Luigi’s.
INT. SAL’S OFFICE - DAY
The phone RINGS. SAL picks it up.
SAL
Can you come up?
DREW (V.O.)
I found what you’re lookin’ for in the greenhouse.
SAL
How?
DREW (V.O.)
He led me to it.
SAL
Any cost to you?
DREW (V.O.)
I can’t talk now.
The expression on Sal’s face is concerned.
INT. HARRY’S LIVING ROOM - DAY - ON ISABELLE
setting a tea tray on a coffee table. HARRY is fiddling with a small TAPE PLAYER.
ISABELLE
She asked me why you don’t have a regular work schedule or an office. . . I couldn’t think of a reply.
HARRY
That bothered you?
ISABELLE
It bothers me for our daughter that we have to live a double life.
HARRY
You and me both.
Isabelle looks worried.
Harry looks frustrated. He pushes the Play button on the tape player.
We HEAR DIALOGUE BETWEEN SAL AND DREW.
HARRY
The J.D. turned Sal. I wonder how?
Harry is deep in thought.
Both listen to the tape for a few moments more.
HARRY
(continuing)
I don’t like this.
ISABELLE
What’s the problem?
HARRY
I don’t know yet.
Harry gets up and walks over to Isabelle and tenderly kisses her.
EXT. POLAND INSTITUTE/CIRCULAR DRIVEWAY - DAY
SAL and DREW are walking around the driveway.
Drew bites her lip.
Sal sees that she is upset.
DREW
I’m in too deep, and I can’t go on with the game.
SAL
What do you mean?
DREW
Angelo has your number, and I’m the Judas Goat.
SAL
Yeah, I know.
DREW
You know?
(pause)
You know before or after you pulled me in?
SAL
It don’t matter. Why you givin’ yourself up? You almost had me.
DREW
I know. . . .
The two look hard at each other, continue walking, without talking. They have an existential moment.
SAL
I’m in a position where I couldn’t afford not to take my last long shot. You were my last chance.
(pause)
The JD loses nothing if I don’t make the delivery or if I get whacked. So why’d you tell me and what are you gonna do?
DREW
I don’t know.
(pause)
I’m supposed to lead you to his place where he can take control, and the vault is the bait.
Drew looks away.
Sal becomes contemplative.
SAL
What changed things for you?
DREW
(tears in her eyes)
I followed you to the hospital. . .
He knows she knows.
SAL
The J.D. told me they were going to fix it so that I wouldn’t even be able to attend her funeral. Angelo’s vault is my last chance of coming up with one hundred large to save my daughter’s life.
He brushes something from Drew’s shoulder.
SAL
I know what I hafta do, no matter what the cost. One way or the other, I’m goin’ out there. . . nobody can stop me.
EXT. LOGAN INTERNATIONAL AIRPORT - NIGHT - AERIAL SHOT
of a panoramic view of surrounding Boston area and airport.
INT. ANGELO’S LIMOUSINE - NIGHT
CLOSE TO Harry’s FINGERS on the steering wheel.
HARRY (O.S.)
How was the flight?
ANGELO (O.S.)
Not bad. The delivery went smooth as clockwork, but they weren’t too happy about my changing the location.
HARRY (O.S.)
You meet Lou?
ANGELO
The unit value is $90,000 for highest grade white, and one of Gino’s wholesalers complained that our product has been stepped on.
HARRY
(expressionless)
So Gino needs to be satisfied that neither of us is prospering at his expense?
ANGELO
He’s investigating. This is not a good thing.
HARRY
Lou ask for anything?
ANGELO
I’ve been invited to attend Gino’s daughter’s wedding reception.
(pause)
This might be a twist on gettin’ called for.
HARRY
They don’t mix business with pleasure.
ANGELO
They’ll mix cement with ice cream when they want to.
Angelo and Harry have a deep discussion. (M.O.S.)
INT. HARRY’S LIVING ROOM - DAY - ON HARRY and ISABELLE
sitting across from each other.
Isabelle senses something is wrong.
Harry waves a tape in the air.
HARRY
Drew is the Judas Goat, and she’s calling the sheep.
ISABELLE
For what purpose?
HARRY
To create an opportunity for a deception and a message when, poof, the magic dragon evaporates into thin air. It will take them years to recover from the insult.
(pause)
The problem is she looked the sheep in the eye. . . .
ISABELLE
Did you know Angelo had brought her in?
HARRY
He’s kept me out of that loop, which makes me think there might be more going on.
INT. ANGELO’S RESIDENCE/KITCHEN - DAY - 0N HARRY AND DREW
playing a game of cards.
HARRY
(sotto voce)
Come with me.
Drew is surprised.
Harry and Drew EXIT, and Harry leads her toward the greenhouse. He unlocks the door and both ENTER.
INT. GREENHOUSE - DAY - ON HARRY AND DREW
HARRY
Come in.
DREW follows.
Harry stops about ten feet from the pallet. He removes a dime from his pocket and throws it a couple of feet in front of him. As the dime hits the ground, we HEAR an unusual high-frequency sound.
Harry removes a device from his other pocket and pushes a button on the devise. The high-frequency sound stops.
HARRY
Without this gadget the vault is fail-safe against entry, and it’s possible that anyone making the attempt wouldn’t leave the green-house alive.
(pause)
Sal is a man with a problem you may or may not know about. His thing isn’t about money or power or betrayal. You’re workin’ for Angelo, but I suggest you think about who you’re doing business with.
Drew startles.
HARRY
(continuing)
I’m prepared to help you. If you can’t figure out the right thing to do don’t even think of sharing this conversation with Angelo.
(pause)
If anything happens to me and my family a packet of information will be delivered to a man named Turner over at the JD.
(pause)
You might have heard how dwarves respond when they’re fucked with. . . it’s nothin’ at all like Ringling Brothers. I need to know tomorrow if you’re in or out.
EXT. GROUNDS (LATER) - ON ANGELO and DREW
walking toward the stables.
DREW
I found your man.
ANGELO
Who is it?
DREW
Harry.
ANGELO
That fuck. Lou had his number.
There is a menacing look on his face.
INT. ANGELO’S RESIDENCE/LIVING ROOM - DAY - ON ANGELO
placing five thick ENVELOPES into a briefcase. DREW sits nearby, cleaning a high-tech PISTOL.
DREW
Glock has never let me down.
ANGELO
Charlton Heston would appreciate that. I’m not a high tech guy myself. I’ve gotta go and check on somethin’.
He EXITS.
She walks over to the table and picks up the phone, and punches in a number.
DREW
(into the phone)
. . . he didn’t explain why he’s willing to help us.
SAL (V.O.)
What does he want?
DREW
Nothin’. Maybe he’s in mid-life crisis or settling a score.
SAL
How do we know that this isn’t a setup within a setup?
DREW
Ya never know, but like you said, sometimes you gotta take a chance.
EXT./INT. MICKEY'S BAR & GRILL - DAY - ON ANGELO
carrying a BRIEFCASE, and in a hurry, walks across the street to Mickey’s joint.
He brushes off two HOOKERS.
SONNY, the bartender, continues wiping glasses as Angelo ENTERS.
SONNY
Mickey's in the office, expectin' ya.
Angelo nods and continues walking to the back. He opens the office door without knocking.
BACK OFFICE
The office is seedy and papers are piled all over Mickey’s desk.
MICKEY talks on the phone.
He is obese, about forty-five, and flamboyantly dressed.
His jet-black hair and white sideburns suggest that he has taken to dyeing his hair.
MICKEY
(pointing Angelo to a chair)
I'll have to get back to ya later. I've got a man here who’s callin’ in a marker.
Mickey laughs and hangs up the PHONE and stands up and embraces Angelo.
It is clear that both men have good feelings for each other and trust each other.
Angelo nervously places the briefcase on Mickey’s desk, opens it and removes five envelopes.
He hands one of the ENVELOPES to Mickey.
Mickey opens the envelope and removes a stack of $100 bills.
He examines the bills and thumbs through them.
MICKEY
(mischievously)
Unmarked and ten large times five. Ya remembered all those birthdays I wanna forgot.
ANGELO
I got a situation that needs your expertise.
MICKEY
What do ya need and how soon?
ANGELO
A crew of three or four, and nobody in apprenticeship training.
MICKEY
Why so many guys? Ya startin' a war?
ANGELO
A schmuck who works for me is plannin' to relieve me of certain assets, and things have gotten complicated.
MICKEY
Have our friends in New York approved of your plan?
ANGELO
New York, so to speak, has an interest. . . .
MICKEY
If you're takin' on anybody on the inside, den there's nothing I can do to help. . . ya understand?
ANGELO
Nobody who’s connected, but this is a proposition of havin’ to act now and maybe asking for forgiveness later.
We HEAR KNOCKING on the door.
MICKEY
Come in.
Sonny ENTERS carrying a tray of CUPS and a small pot of CAPPUCCINO.
MICKEY
(to Sonny)
Shit, that ain’t English breakfast tea.
Mickey laughs and picks up a piece of PAPER and scribbles something on it, and hands it to Sonny.
MICKEY
(continuing)
Call dese guys and tell 'em I want ‘em here later tonight for a consultation. Capisce?
SONNY
Yeah, boss.
MICKEY
Am I correct in assuming this generous stipend implies that someone will have to get whacked?
ANGELO
Yeah. . . .
Mickey fails to bat an eyelid and sits back in his chair, momentarily contemplating what Angelo had said.
MICKEY
Okay, let's go ova the details.
Angelo and Mickey have a serious discussion. (M.O.S.)
Mickey takes notes.
He breaks out a BOTTLE of whiskey and pours two drinks.
The two men drink and talk some more. (M.O.S.)
Finally, Angelo and Mickey embrace, and Angelo EXITS.
EXT. STREET - DAY - ON ANGELO
who is a transformed man as he walks to the MERCEDES 450 SL.
There is a bounce and new vitality in his stride.
INT. MICKEY’S BAR & GRILL/BACK OFFICE - NIGHT
A CREW of four and MICKEY sit around a table.
There is FOOD and DRINK on the table.
The air is heavy with smoke.
CREW MAN #1 is heavy-set and of Italian ancestry, but his hair is short and dyed blond, making him look menacing, sinister.
CREW MAN #1
. . . my point is dat no death at all is the worst death if administered correctly.
CREW MAN #2, with a DAVID BOWIE haircut, is sallow-faced, wiry and nervous. There is a crazy look in his eyes.
CREW MAN #2
Is that sort of like no orgasm is the best orgasm of all?
CREW MAN #1
You prick.
CREW MAN #3 is wearing a baker’s outfit.
CREW MAN #3
How can no death be the worst death? That’s an oxymoron.
CREW MAN #1
A what?
CREW MAN #3
Neva mind. . . .
CREW MAN #1
When ya maim a guy with absolute certainty, then ya leave him with misery and horror for the rest of his life.
CREW MAN #2
The advantage of misery and horror against the risk of him gettin’ even?
CREW MAN #3
Most guys would drop a dime on ya or put a pipe bomb in your mailbox or somethin’.
CREW MAN #1
Not if ya told him ya’d take out his family if he as much as dreamed of retribution. . . assuming dat this guy has a couple of kids. . . ya might even consider taking out the last-born wit a humane death.
CREW MAN #4 is an oriental built like a brick shit house. His left hand is missing the digit of his smallest finger.
CREW MAN #4
Why last-born?
CREW MAN #1
The last born is always the favored.
CREW MAN #3
The rule is ta keep civilians outta dese things.
CREW MAN #2
You’re a man with a value system compared to Iranians and fuckin’ gooks who do things you wouldn’t even wanna imagine in your worst nightmare. You ever hear of the Death of a Thousand Cuts?
CREW MAN #4 gets up quickly and knocks his CHAIR over.
He grabs CREW MAN #2 and lifts him up in the air.
CREW MAN #4
You like having two kidneys or none?
CREW MAN #4 drops CREW MAN #2 and smiles broadly.
The other crew men laugh nervously.
Mickey is thoughtful. Through a bite in his sandwich, he reminisces:
MICKEY
This miserable prick did me dirty. I put him in my Sicilian coffin and drove him out to dis bird sanctuary, and I took out both his knees with a shotgun.
(pause)
I left dat fuck dere, and when I saw him about a year later, he was a broken man. . . that fuck never breathed a word to nobody.
Mickey looks at each of the crew men.
MICKEY
(continuing)
Back ta business. De scenario is almost like a grade B movie. Our client learned that a guy he owns was turned to compromise one of his enterprises. Our client decides to set up his own contractor, and unbeknownst to the contractor, we will follow the action, so to speak.
Mickey lights a CIGARETTE and inhales deeply.
The crew men listen intently. One of them plays with a KNIFE in his hand.
Sonny stands in the b.g.
Mickey hesitates and takes a drink. Some M.O.S. discussion follows.
MICKEY
The contractor will have to be tailed at all times for the next few days. You need to be observant of anything unusual and anyone the contractor might meet with. Don’t use your own cars or your own hardware. Capisce?
CREW MAN #1
This is no more than a two man job.
MICKEY
We need to make sure nothin’ goes wrong.
INTERCUT TO - EXT./INT. INDUSTRIAL BUILDING - DAY - ESTABLISHING
Sunlight reflects off the windows, causing surreal reflections.
We SEE a ramp, ENTER through a steel door, into a large room. In the middle of a wet concrete floor, there is a large drain. The walls are two-tone institutional gray.
The light of a bare bulb reflects off cutting instruments on a metal table. A stainless-steel apparatus stands ominously in the b.g.
BACK TO SCENE
Mickey looks each man in the face, and the crew men look at each other.
MICKEY
(continuing)
I haven’t told ya everything about Harry. He’s a dwarf,
and ya gotta remember that a dwarf is capable of the humanly unexpected, so be careful.
The crew men think this over.
EXT. POLAND INSTITUTE - DAY (EARLY MORNING) - ON A TRUCK
pulling into the parking area.
HARRY EXITS from the LIMOUSINE and greets the DRIVER of the truck.
The driver’s PARTNER places two SUITCASES in the trunk of Angelo’s limousine.
Harry closes the trunk as the truck drives off.
EXT. ANGELO’S RESIDENCE - DAY (MORNING)
HARRY drives slowly up the driveway to the GREENHOUSE.
ANGELO EXITS from the residence and joins Harry.
ANGELO
(anxiously)
Any problems?
HARRY
No.
Harry removes the SUITCASES from the trunk and opens them for Angelo’s inspection.
ANGELO
Good, let’s bring ‘em in.
INT. GREENHOUSE - DAY
ANGELO and HARRY carry the SUITCASES to the back.
Angelo opens the floor vault and removes a large DUFFEL BAG.
He and Harry transfer the UNITS from the suitcases to the duffel bag.
ANGELO
What was the count?
HARRY
Fifty units.
ANGELO
How much cash?
HARRY
1.8 million.
Angelo and Harry divide the stacks of $100 BILLS into two stacks, and Harry places one stack into a satchel.
The two men then place the duffel bag including the other stack of bills in the floor vault.
HARRY
So far so good. . . . Have you booked your flight?
ANGELO
I'm flyin' out tomorrow late afternoon.
HARRY
You need a ride to the airport?
ANGELO
I want you and Drew to drive me to the airport.
HARRY
Okay. I’d better get moving.
Harry gets into the LIMOUSINE.
He declines to look at Angelo as he drives off.
Angelo looks after him and returns to the greenhouse.
He removes the duffel bag and everything else from the floor vault.
INT. LIBRARY - NIGHT - ON ANGELO
using a public PHONE. He furtively looks around as he talks.
ANGELO
I have in my possession something that will interest you and Gino.
LOU (V.O.)
Bring it wit you to the wedding. You staying at the usual location?
ANGELO
Yeah.
LOU (V.O.)
I’ll send out a couple a boys to drive you out to the island.
ANGELO
Okay.
EXT. ANGELO’S LIMOUSINE - TRAVELING
and pulling into a gasoline STATION.
HARRY EXITS from the limo and ENTERS a PHONE BOOTH and makes a call.
HARRY
Plan B.
He hangs up the phone.
A MAN wearing sun glasses, in an old DATSUN, keeps his eye on Harry.
INT. ANGELO’S RESIDENCE/LIVING ROOM - DAY - ON DREW
watching a tennis match on TV.
ANGELO ENTERS carrying the duffel bag. He sets it down next to the table.
DREW
Can’t you just alibi yourself in Boston?
ANGELO
New York makes more sense. I gotta go out to Long Island to attend a goddamn wedding reception anyway.
DREW
You’re making it sound like you’re going to a funeral.
ANGELO
Hey, don’t fuckin’ jinx me!
Angelo goes upstairs and showers and dresses meticulously.
Angelo returns to the living room and looks at Drew.
She is filing her nails.
ANGELO
Your doin’ the biggest contract of your life, and you’re filing your nails. You sure you got the right mental edge?
DREW
I thought you already knew you picked the best man for the job. Nails can’t be too long.
INT. PORNO CUBICLES - ON SAL AND WILLIE
talking.
WILLIE
We haven’t known each other for a very long time, but I’m seein’ you different than the geek they described to me.
(pause)
I don’t think you have a snow ball’s chance in hell. . . according to protocol I’m supposed to keep anything from happening that compromises our objectives.
SAL
You do what you gotta do. I got no other choice.
WILLIE
When’s the storm?
SAL
Tonight.
EXT. ANGELO’S RESIDENCE/GROUNDS - DAY - ON ANGELO
slowly walking toward the GARAGES. He carries the duffel bag and a one-suiter.
Near the MERCEDES 450 SL, he spots a dead SPARROW laying on the ground.
Angelo startles at the sight of the dead bird.
He flash-visualizes a COFFIN.
EXT. CIRCULAR DRIVEWAY - NIGHT - ON RICO
walking toward the AMINISTRATION AND BUSINESS OFFICE TRAILERS.
We are caught off-guard by EXPLOSIONS, YELLING, AND CHAOS.
Rico stops in his tracks.
He notices something in the BUSINESS OFFICE TRAILER and removes a .38 SPECIAL from his pocket and carefully opens the door of the business office trailer.
INT. BUSINESS-OFFICE TRAILER - NIGHT
There is movement near one of the metal cabinets.
RICO
Who’s in there?
The outline of a MAN moves away from the cabinets, and as light reflects from the man’s face, Rico recognizes him.
RICO
You scumbag.
Rico points his .38 SPECIAL at SAL.
RICO
(continuing)
. . . with that fuckin’ outfit you’re wearin’, I won’t even hafta bury you. You’ll blend in with the landscape before the crows pick your bones clean.
(pause)
You and I are gonna take a walk.
Rico gloats and grins at Sal.
We HEAR a tapping. (O.S.) Rico looks away from Sal.
Sal flies toward Rico and tackles him, bowling him over like a sack of potatoes.
RICO
Ahh, my fuckin’ ribs. I can’t breathe. You bastard.
WILLIE stands in the b.g., observing the action. He is cool, silent before he speaks.
WILLIE
I figured you’d need some backup.
Sal smiles at him and then stands over Rico menacingly.
SAL
You miserable little mother-fucking Napoleon complex. I can’t decide whether to cut your throat or shoot you in the balls and let you bleed to death?
RICO
(frantic)
Hey, gimme a break. I’ll give you money, women. . . anything you want. Don’t do nothin’ you’ll regret.
SAL
You’re too much of a bad cartoon for me to wanna do your wife a favor and take you out.
Sal removes a COMMANDO KNIFE from his pocket and moves in on Rico.
Rico is terrorized.
Sal grabs Rico by the hair and begins to systematically slice patches of hair off his head.
After Sal is done, Rico, a pathetic sight, looks like one of those punk kids with their hair going every each way.
SAL
I’m also gonna give your proboscis something to remember me by.
Sal punches Rico on the nose and knocks him cold.
Sal, with Rico limp over his shoulder, and Willie EXIT from the trailer.
EXT. BUSINESS-OFFICE TRAILER - NIGHT
There is CHAOS.
SAL dumps RICO on the ground.
We SEE FLAMES and SMOKE; RESIDENTS run everywhere.
Sal throws an INCENDIARY DEVICE inside the trailer.
A FIREBALL WHOOSHES through the trailer, followed by an EXPLOSION.
For the first time we clearly SEE Sal’s camouflage-painted face. The image is stark, but funny at the same time.
Sal and Willie run to a parked JEEP.
The Jeep speeds down back roads.
EXT. BOSTON WATERFRONT - NIGHT (LATER)
A cold mist can be seen floating in over the water. The Jeep ENTERS FRAME and parks.
INT. JEEP
SAL and WILLIE, quickly and business-like, inspect the inside of the vehicle, making certain not to leave any traces of themselves.
INT. BOSTON WATERFRONT CAFÉ - NIGHT
SAL and WILLIE sit in a booth, drinking coffee.
Sal looks like a washed-out rag compared to the fit and sleek-looking Willie.
WILLIE
You need to do somethin’ about your make-up.
Sal looks into the reflection of a metal napkin holder and sees that he has failed to remove a patch of camouflage paint from his cheek.
He tries to rub the paint from his cheek.
SAL
You know what your problem is? You got an image bias. You can’t respect nobody who don’t look like Bill Russell.
WILLIE
Ah, sheet.
SAL
Life’s about more than a good piece of ass and doo wop. You need to get in touch with the real realities. You remember your code question about Martin Luther King, when I first met you?
WILLIE
Yeah.
SAL
Now let me give you the real truth this time, and I don’t give a shit if you file a complaint with Mohammed Ali or Jessie Jackson. The first thing you gotta understand is that MLK was nothing more than a glorified opportunistic maggot who capitalized on other people’s misery.
WILLIE
Who the fuck you talk to, J. Edgar Hoover? If King was such a bad ass, why they naming streets and a goddamn holiday after him?
SAL
You don’t have a clue, do you? “Dreams” and puttin’ Bill Cosby on TV gives you niggers a sense of social affirmation. . . . How the fuck you think you really got accepted into the company?
WILLIE
Huh?
Sal puts his hand in his coat pocket and subsequently slaps an ENVELOPE down in front of Willie.
SAL
I found this in one of the cabinets before Rico so rudely interrupted me. Maybe you ought to consider trading that goddamn Chevy in for a BMW and buy yourself some Brooks Brothers clothes.
(pause)
I’m just fuckin’ with your mind, bro. (laughs)
Willie opens the envelope and rifles through the bills.
The WAITRESS arrives, looks at Sal funny and anxiously, and refills the cups.
SAL
(continuing)
You sure you can handle those boys when they call you in to debrief your black ass?
WILLIE
They ain’t gonna go too hard on this nigger. I got all them civil rights.
Sal looks at the envelope.
SAL
Give me until morning before you check in, and watch your back. There’ll be people lookin’ for you. I’d appreciate you wearing a disguise to give me a head start, but I’d stay away from tight dresses and metallic wigs.
WILLIE
(chuckles)
Motha-fucka. . . .
Sal smiles and looks at his watch.
SAL
Hang tight and don’t bend down to pick up the soap. The system’s waitin’ around the corner ta fuck ya deep and hard. I love ya, brother.
WILLIE
If your white ass has the capability for deep and hard, and if you ever get to Chicago, I’ll introduce you to my sister, Shakila.
Willie laughs, and the two men give each other high fives. Willie picks up the envelope and slides it in his pocket.
Sal EXITS, and Willie looks after him.
STREET
Proceeding toward an alley around the corner, Sal gets into a black MERCEDES and drives off.
EXT./INT. ANGELO’S RESIDENCE - NIGHT - ON SAL
as he scales the wall and runs toward the residence. He blows a whistle.
He knocks on a window once.
DREW opens the door and pulls him inside.
SAL
Poland is history. In fifteen minutes we’ll be on our way.
EXT. GREENHOUSE - NIGHT
SAL and DREW approach the greenhouse door.
INT. GREENHOUSE
SAL and DREW walk up one of the aisles, guided by a FLASHLIGHT.
DREW
In the back on the right.
Drew pushes the pallet aside, revealing the floor vault.
She pushes the button on the security device.
Sal works the combination lock and opens the door of the vault.
DREW
Pay dirt?
SAL
The fuckin’ vault is empty. We’ve been had.
Sal and Drew EXIT from the greenhouse and make their way to the wall and climb over.
A MERCEDES is parked in a pullout.
Sal unlocks the doors and both get in.
INT. MERCEDES
SAL pounds on the dash board with his fists.
SAL
What the fuck. . . .
The Mercedes drives away.
EXT. PHONE BOOTH - NIGHT (LATER) - ON DREW
inside the booth.
DREW
(into the phone)
Nothing. . . empty.
HARRY (V.O.)
That might not be entirely true. Meet me at the JFK Airport Information Counter across from Eastern Airlines, let's say at two tomorrow afternoon.
DREW
I'll be there.
HARRY (V.O.)
You safe?
DREW
Yes. I’ve gotta go.
HARRY (V.O.)
Tomorrow. . . .
INT. EASTERN AIRLINES TERMINAL - DAY (AFTERNOON)
HARRY sits across from the Eastern Airlines counter, partially obscured by his open newspaper.
He is dressed in tweeds and his bowler.
He looks at a copy of a certified check made out to the hospital where Sal’s daughter is dying of kidney failure. He places the copy into a envelope.
MONTAGE
Hands on clock speed up.
Harry looking at a newspaper.
DREW ENTERS and sits down next to Harry. The two talk M.O.S.
Harry hands Drew the envelope.
He and she hug each other.
DREW EXITS
Harry sit for a few beats, then gets up from his chair and is about to turn.
He freezes.
We SEE the barrel of cold steel pressed against his neck.
A strange but familiar voice instructs him not to turn around and walk slowly toward the nearest terminal exit.
The man holding the PISTOL is CREW MAN #2, with CREW MAN #3 standing next to him.
Exiting through the glass revolving door, Harry, metamorphoses into a wild beast, and with a knife that appears from nowhere, cuts Crew Man #2’s throat and Crew Man #3 in the groin area.
Crew Man #2 sinks to the floor.
Crew Man #3 lets out a scream.
He still holds the pistol, but it might as well be a wet noodle.
Harry takes the pistol from the crew man’s hand and puts it into his coat pocket.
HARRY
You’ve a long way to go before I’m done with you, but I hope you didn’t park your car too far away. I don’t want you bleeding to death before we finish our business. I hope you can still drive, you ugly bastard.
CLOSE SHOT - BLOOD-COVERED GLASS ON THE REVOLVING DOOR.
We SEE the DATSUN driving from the airport.
Harry sits next to the crew man.
The crew man’s trousers are saturated with blood.
HARRY
Find a classical music station on the radio. Is your estate in order?
Sobbing, the crew man finds a station and starts to mumble.
HARRY
If you’re not bleeding to death right now, you might have a chance if I take you to an ER. But I ain’t takin’ you anywhere until you and I have a heart to heart talk.
LATER
We SEE the DATSUN pulling in under the canopy of an ER.
The crew man is almost delirious.
Harry and the crew man talk (M.O.S.) FINALLY WE HEAR:
HARRY
You sure now that there’s nobody lookin’ over our shoulder?
The crew man nods, No.
HARRY
You a family man?
The crew man nods, Yes.
HARRY
(continuing)
I’d suggest in your second life you visit a career counselor. . . think about getting in another line of work. See ya around.
Harry helps the Crew Man to get out of the Datsun, gets a wheel chair, helps him into the chair, and pushes the Crew Man toward the ER door.
INT. BACK SEAT OF MERCEDES - NIGHT - ON ANGELO
CU OF HIS FACE
SLOWLY PAN DOWN HIS BODY
to gloved hand in which he holds a 9 mm PISTOL
ECU OF HIS FACE
THAT NIGHT - ON DREW IN PHONE BOOTH
DREW
Okay, as soon as I can. . . .
Drew EXITS from the phone booth and returns to the MERCEDES and gets in.
From the expression on her face, we SEE that she senses something is wrong. She hears Sal’s voice-over.
SAL (V.O.)
. . . and he couldn’t leave any witnesses behind.
From the back seat of the Mercedes, a gloved hand points a gun at the back of Drew’s head.
Two LOUD PINGS RIP through the Mercedes.
TO ANGELO IN THE BACK SEAT
He leans between the bucket seats toward Drew, and holds her head in his gloved hands, and kisses her on the mouth.
ANGELO
Ya can’t count on anybody dese days. Ya shoulda played it straight up and down.
EXT./INT. AIELLO’S SLAUGHTERHOUSE - NIGHT
The DOG MAN, dirty and dressed in what looks like a horse-hair coat, emerges from the mist. He is followed by a dozen suspiciously in-bred looking MONGRELS.
He walks around the side of the building and notices the metal door ajar.
He ENTERS the slaughterhouse, with the dogs following.
INT. SLAUGHTERHOUSE - NIGHT
The DOG MAN freezes, seeing the body of a woman lying on the concrete floor.
He leans over DREW’S BODY and begins to rifle through her pockets.
Suddenly ANGELO’S ARM reaches out from the dark and grabs the Dog Man around the neck and throws him about five feet.
The dogs yap and fly through the air in the Dog Man’s wake.
The Dog Man picks himself up. He is terrorized.
The dogs surround him, yapping.
Angelo walks toward the Dog Man.
ANGELO
Come here, mother-fucker.
The Dog Man runs for his life and EXITS with dogs following.
Angelo turns and picks up the body and places it on a stainless steel table.
(Epilogue)
INT. GINO CASTELLANO’S KITCHEN - DAY (MORNING AFTER THE WEDDING RECEPTION)
GINO, contemplative, sits at the kitchen table, drinking a cup of coffee.
He is attired in a dressing gown and slippers on his feet.
Through French doors, we SEE WORKMEN moving tables and chairs, cleaning up.
Gino scowls.
EXT. GINO CASTELLANO’S RESIDENCE - DAY - ON LOU
who pulls up in a black CADILLAC and parks in the circular driveway and walks to entrance.
Before he knocks on the impressive carved double-doors, the doors open and Gino’s personal attendant, TONY, greets him and invites him in.
There is a conspiratorial smirk on his face.
TONY
Between you and me, I don’t think Gino’s too happy with yesterday’s delivery. Way to fuck up a guy’s day. . . .
Tony smiles cryptically at Lou, and Lou, even though attempting to remain calm and collected, becomes agitated.
Tony takes note of this weakness.
KITCHEN
leads LOU toward the table where GINO sits. Gino invites Lou to sit down.
GINO
Ya cut quite a swath on the dance floor yesterday. You’re also a man who understands my habits and that I don’t like mixin’ pleasure with bad news.
(pause)
Where is he?
LOU
Tied up in an apartment in Mineola.
INTERCUT TO - A CLIP of ANGELO, sitting on a chair in a sparsely furnished kitchen.
TWO WISE GUYS sit nearby, watching him.
Angelo’s head hangs. He looks like he’s been worked over.
LOU ENTERS and walks up behind Angelo’s chair.
Smiling, he pulls out a gun.
LOU
Don’t take it personal; this is a pinch hit.
He pops Angelo in the back of the head.
BACK TO SCENE
GINO
So now what?
Lou gestures to himself and Gino, and points his index finger toward the window several times.
LOU
(sotto voce)
Outside.
Gino is irritated, but he agrees to talk outside.
EXT. GINO CASTELLANO RESIDENCE/BACK LAWN - DAY - ON GINO AND LOU
walking slowly toward the private beach on the property.
Gino wears a camel’s hair coat over his dressing gown.
GINO
50 units of flour and baking soda and play money? This fuck think we’re a pizza parlor or a day care center?
LOU
Maybe Harry and Angelo were in on it from the beginning, and Harry not trusting Angelo pulled a switch, and all of a sudden everybody except Angelo disappears. So now nobody knows what the fuck is goin’ on.
GINO
Whatda ya think we should do about Harry?
Lou attempts to read the mood in Gino’s eyes.
LOU
He’s ours if we want him. If he tries to turn state’s evidence, they’ll have to put him in the federal witness protection program, and all we have to do is check the registry for dwarfs. (He smiles)
Gino slaps Lou on the back.
The two men walk back up the lawn toward the residence.
A thin smile crosses Gino’s face.
Off-shore, not far from where Gino and Lou had spoken privately, small waves lap against a log that had once been seasoned in creosote.
Bay scum intermittently adheres to and breaks away from the log.
EXT. SOMEWHERE FAR AWAY - DAY
CAMERA CRANES DOWN to an expensive COUNTRY HOME. We SEE a manicured garden and a pool.
HARRY and ISABELLE, looking relaxed, sit pool-side, drinking tea.
Their DAUGHTER and a FRIEND are swimming in the pool.
Harry and Isabelle affectionately look at their daughter, and then at each other.
FLASHBACK - ANGELO AND HARRY IN LIMOUSINE - NIGHT
ANGELO
This is a problem that extends past you and me. We gotta work it out so everybody winds up safe.
CU of Harry’s face.
BACK TO SCENE
HARRY
I had what you might call a foreshadowing.
(pause)
And then everything you ever said came into my mind, and I realized I needed to make my move fast.
(pause)
I had visions of them closing in on you to make sure they would get me.
ISABELLE
You never told me how you made the switch.
HARRY
A long time ago, I had a false bottom installed in the limousine’s trunk, and knowing how many units were coming in, I set up two suitcases with bogus shit.
(pause)
I made the switch.
ISABELLE
What did you do with the real units?
FLASHBACK - A CLIP of HARRY, cutting open the UNITS and dumping them into the bay.
BACK TO SCENE
HARRY
(smiling)
My small contribution to make the world safer for our children. . . .
ISABELLE
Are we safe?
HARRY
I sent a copy of an address book and ledgers to Lou, and I told him that the originals would be sent to a source in the Justice Department if anything happened to any of us.
ISABELLE
What do you think happened to Angelo and Drew?
Harry reflects for a moment.
HARRY
I think Angelo had to pay my ticket, and right now Drew is probably walking along some beach or lounging with a margarita as she’s watching the sunset.
Harry looks away, and the expression on his face turns dark.
ISABELLE
You can tell a story when you want to, Harry.
She looks at Harry skeptically.
The CAMERA slowly pans across the scene.
ISABELLE
What about Sal?
HARRY
That’s a good question, and I think he might have gotten what he needed. Drew knew he was a sitting duck and that I had the inside track, so she fingered me. I worked that out with her. Sal is a straight up and down guy if there ever was one.
CAMERA PULLS BACK FROM HARRY AND HIS FAMILY.
INT. ALL NIGHT CAFÉ - NIGHT
SAL sits in a booth. He looks into the bottom of his cup of coffee.
DISSOLVE TO SAL AND DREW
walking around the circular driveway.
DREW
I gave him Harry; so he’s your perfect cover, and Harry’s given you the vault.
SAL
So what’s wrong?
DREW
You know about the perfect murder. Something always goes wrong.
SAL
Maybe not this time.
(pause)
When you meeting Harry?
DREW
The day after you do your thing. I told them where I’m gonna meet him, and they’ll take over after that.
SAL
Then what?
DREW
They take him to Aiello’s Slaughterhouse.
BACK TO SCENE
CAMERA REVERSES BACK TO SAL FROM THE BOTTOM OF THE CUP
Sal looks at his watch. Another half hour has passed.
He gets up and EXITS from the café.
With his collar pulled up around his ears, he walks away.
INT. HOSPITAL HALLWAY - NIGHT - ON SAL
walking toward his daughter’s room.
The HOSPITAL ADMINISTRATOR rushes after him, excited.
HOSPITAL ADMINISTRATOR
(excited)
Mr. Fontaine. Mr. Fontaine!
SAL
Yes?
HOSPITAL ADMINISTRATOR
We’ve been trying to reach you everywhere.
She smiles, waving a piece of paper in the air.
HOSPITAL ADMINISTRATOR
The kidney is on its way. I hope you believe in angels, Mr. Fontaine.
(pause)
A woman also left this bag for you.
The expression on Sal’s face is shocked, incredulous.
He opens the gym bag. It is filled with stacks of $100 bills.
There is a small envelope with a note in it.
He opens the note, reads it:
In case we don’t run into each other again, when you look in your daughter’s eyes remember me and Harry.
He rushes to his daughter’s room.
FADE OUT.
................
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